AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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8 EXPERTS REVEAL THEIR TOP 5 IN THE DECADE’S WRITING

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Florida (Lauren Groff, 2018)

This year marks the end of the second decade of the 2000s. In honor of this, we thought we’d take a look back at our decade with an end-of-year series.

The internet loves lists, especially year-end ones, and we’ll feed that love a little bit this December. We’ll be hosting seven lists of expert Decade-Best picks. We’ve done movies and games, and you can look forward to television, music, traditional visual arts, and one surprise list at the end. Our experts will include philosophers and other academics whose work concerns these topics, and people working in the relevant media. Up today: writing!

Writing is a curious category, one that can be extremely broad, as writing touches so much of the arts. Movies have scripts; songs have lyrics; cookbooks have written instructions. So in our lists below, you’ll find novels as well as a selection of the best of what writing and storytelling had to offer this decade.


Our contributors are:

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GAME EXPERTS RANK THEIR TOP 5 GAMES OF THE DECADE

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God of War (2018)

This year marks the end of the second decade of the 2000s. In honor of this, we thought we’d take a look back at our decade with an end-of-year series.

The internet loves lists, especially year-end ones, and we’ll feed that love a little bit this December. We’ll be hosting seven lists of expert Decade-Best picks. We’ve done movies, and you can look forward to writing, television, music, traditional visual arts, and one surprise list at the end. Each will include philosophers working in these and related areas, but also other academics whose work concerns these topics and people working in the relevant media. But up today: games!

We asked our experts to rank their top five games of all kinds, so let’s see what the 2010s gave us to play with.


Our contributors are:

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9 MOVIE EXPERTS ON THEIR TOP 5 FILMS OF THE DECADE

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Like Someone in Love (Abbas Kiarostami, 2012)

This year marks the end of the second decade of the 2000s. In honor of this, we thought we’d take a look back at our decade with an end-of-year series.

The internet loves lists, especially year-end ones, and we’ll feed that love a little bit this December. We’ll be hosting seven lists of expert Decade-Best picks. Expect movies, games, writing, television, music, traditional visual arts, and one surprise list at the end. Each will include philosophers working in these and related areas, but also other academics whose work concerns these topics and people working in the relevant media.

Of course, all lists are imperfect, and it’s probably a little bit silly to try to rank all of these things. But what would the internet be without a little silliness? We hope you’ll find them useful for adding things to your own lists: to-watch, to-read, to-listen, and all sorts of other to-consumes.

Now, let’s see what the 2010s had to offer us in film!


Our contributors are:

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FIVE PHILOSOPHERS DISCUSS “JOKER” [SPOILERS]

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This month saw the US release of the newest installment in the DC Comics film franchise, Joker. The film has been the subject of heated debate, with some having enormously positive responses, and others having enormously negative ones. Some see it as just a well-done villain origin story. Others see it as bringing more light to mental health and social support systems. And yet others see it as humanizing and even valorizing white male violence and the mass killings that have become too common in the contemporary US landscape.

We thought we would gather up some philosophers working on ethics and the philosophy of art to give their takes on the movie. Below, you’ll see what they have to say about how Joker treats villainy and evil, race, and moral responsibility, as well as what we should learn from all of the debate and disagreement that surrounds it.

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PLAYING GAMES WITH HISTORY: PHILOSOPHERS ON THE ETHICS OF HISTORICAL BOARD GAMES

In a recent New York Times article, journalist Kevin Draper brings us up to date on some recent controversies in the world of historical board games. The article centers on the cancellation of Scramble for Africa, a historical board game which was to let players take the role of European powers exploring and exploiting Africa, trying to get the most resources.

Joe Chacon, the designer of Scramble for Africa, was accused of not treating this situation with appropriate seriousness. In his game, the savagery that was part and parcel of that exploration seems to be dealt with in minor and trivializing ways. The players must put down rebellions, and can slow their opponents by inciting native revolts. Random events include “penalties for atrocities” and rewards for ending slavery. Butchery is gameified.

The article raises a number of fascinating questions. What are the ethics of gaming history? Can we ever gameify our troubled past, and if so, how should we do it sensitively and thoughtfully? And is there something distinctive about games that make them a thornier venue for exploring history than, say, novels?

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Puerto Rico, a board game about colonizing Puerto Rico. Image credit: Jesse Michael Nix

To take on these questions, we asked some philosophers who specialize in thinking about games, ethics, and art.

Our contributors are:

  • Stephanie Patridge, Professor and Department Chair, Religion & Philosophy, Otterbein University
  • Chris Bartel, Professor of Philosophy, Appalachian State University
  • C. Thi Nguyen, Associate Professor of Philosophy, Utah Valley University

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WHAT IS ‘CAMP’? FIVE SCHOLARS DISCUSS SONTAG, THE MET GALA, AND CAMP’S QUEER ORIGINS

Every year, the Costume Institute at the Metropolitan Museum of Art in New York City selects a theme around which to base its annual exhibition. And each year, that exhibition is kicked off with a huge fundraiser, the Met Gala. It has been called fashion’s biggest party of the year, drawing A-list celebrities and fashion personalities. Everyone attends, dressed for the exhibition’s theme. This year, that theme is camp.

A lot has been written about what camp is, and how we should understand it. But we thought it would be good to hear from scholars with interests in aesthetics and camp. Keep reading to learn more about the history of camp – including Susan Sontag’s important but perhaps overstated role, Old Hollywood, and queer and DIY cultures – as well as camp’s alternating seriousness and playfulness, and even a reading of Donald Trump as camp.

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WAPO POP MUSIC CRITIC RESPONDS TO PHILOSOPHERS

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Last year, we did a series of five Artworld Roundtables in collaboration with Chris Richards, the pop music critic for the Washington Post. Richards posed the “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” In response, we rounded up several thinkers working in these areas to see what they had to say about each question. Richards provided us with key examples to draw out the problems and complexities of each debate. The results are here: cultural appropriation, how to respect the wishes of dead artists, whether selling out is still possible, how to engage with objectionable lyrics, and separating the art from the artist who created it. And now Richards is back. Read on to see what he took away from it all.

What follows is a guest post by Chris Richards. You can find him at the Washington Post here and on Twitter as @Chris__Richards. Continue reading


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CAN WE SEPARATE THE ART FROM THE ARTIST?

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The following is an updated version of a post that appeared originally on the philosophy website Daily Nous as part of their “Philosophers On” series. Thanks to Justin Weinberg for permission to repost it with updates here.


This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Third was whether selling out is still possible. Fourth was how to engage with objectionable lyrics. Today we ask whether and to what extent we can separate art from the artist who made it.

The past couple of years have been filled with news about artists and entertainers history of sexual harassment and assault. But the bad behavior of artists isn’t limited to that. Many musicians are outspokenly racist. Some have committed crimes or even murders. And others are just terrible jerks.

How, if at all, should the personal character and moral transgressions of musicians change what we think about, and how we act in regard to, their music?

Whether we can separate the art from the artist is the fifth of “the five hardest questions in pop music”, as described in the Washington Post by pop music critic Chris Richards. Below is the guiding question accompanied by a few examples that Richards finds particularly salient, followed by our contributors’ responses. Continue reading


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ARTWORLD ROUNDTABLE: OBJECTIONABLE LYRICS

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This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Third was whether selling out is still possible. Today we ask how we should engage objectionable lyrics.

The lyrics to some of our favorite songs are, upon moral reflection, completely horrific. Do those lyrics affect whether we should endorse the music or support the artist? Or is it okay – because it’s fictional, because it’s catchy, or because we know the artists don’t share those views?

How we should engage objectionable lyrics is the third of “the five hardest questions in pop music”, as described recently in the Washington Post by pop music critic Chris Richards. Below is the guiding question accompanied by a few examples that Richards finds particularly salient, followed by our contributors’ responses. Continue reading


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ARTWORLD ROUNDTABLE: CAN TODAY’S ARTISTS STILL SELL OUT?

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Sadly they’re sold out. Must be good advertising.

This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Today we ask whether it’s still possible for musicians to sell out.

What does it mean to sell out? In today’s commercialized, social media, sponsorship-driven world, can musicians still sell out in any meaningful way? Or, in an era where people are unwilling to pay for music, is selling out just getting paid?

Whether today’s artists can still sell out is the third of “the five hardest questions in pop music”, as described recently in the Washington Post by pop music critic Chris Richards. Below is the guiding question accompanied by a few examples that Richards finds particularly salient, followed by our contributors’ responses. Continue reading