The following is a guest post by Anna Christina Ribeiro.
Stop and think for a moment about the things you have done and said, and the thoughts you have had today. Have you noticed the look of a newscaster on television, or the voice of one on the radio? When you got dressed this morning, did you consider the look of your clothes, how well they matched, or how well they reflected your style or your mood? Have you looked out the window and thought it was a nice day, or a dreary day? Have you listened to music? Watched a movie or TV show? How many times in the process of doing these things did you think ‘That is beautiful’ or ‘That is a great story but the protagonist could have done a better job’ or discussed your reactions to a song, a show, a film, a novel, an art exhibit, with friends? Do you sometimes have a pleasant feeling come over you when you look at someone’s face? When you look at a sunset? When you stop and stare at waves crashing one after another on a beach, and the vastness of the sea behind them? When you see the trees swishing to the breeze outside, and a feeling of peace fills you and you forget for a moment what you were doing? Did you imagine, as you read these lines, each of these scenes, and did you react similarly to each of them as you might have were you really experiencing those things? Now consider how you often stare in awe at a lightning storm, which as you know could easily kill you as it has killed many, and yet you take pleasure at the sight of it anyway—usually so long as you take yourself to be safely sheltered, but sometimes even when you know that you are not. Or when you read a novel whose subject is unpleasant, do you not yet relish the way the story is told, the way it engages your thoughts and feelings? When you read or hear a poem, do you ever notice how the words used, they way they sound together, engages you as much as the meaning of what is being said? Do you feel about some languages that you love or hate the way they sound, regardless of whether you understand the language? Is there someone whose voice you enjoy hearing even if what they are saying is not of great importance, or whose voice grates on you no matter how momentous what they say is, to the point of interfering with your paying attention to what they are telling you?
- What is street art, and who is its proper audience?
- How do the various forms of street art (graffiti, urban vinyl, poster art, street performance and installation) relate to their Fine-Art kin (painting, calligraphy, sculpture, fine-art prints, concert/theatre performance, performance/conceptual art)?
- How does street art relate to other “post-museum” and “post-studio” art forms?
- Is street art essentially site-specific? What are the implications for the restoration or conservation of works of street art?
- Is there such a thing as a street art “aesthetic”? What constitutes authenticity in street art?
- Does legality/criminality (e.g., vandalism, trespassing, copyright, etc.) play an aesthetic or art-making role for works of street art?
- Do municipalities incur obligations (aesthetic or otherwise) to preserve works of street art?
- How do matters of race, gender, sexual orientation, etc. figure differently within the world of street art as compared to the traditional artworld?
- What exactly is “the street” as employed in thought and talk about street art?
by Christy Mag Uidhir
***UPDATED 07/31/13. I encourage readers to continue to send suggestions.***
[minor update by Alex King in 2020; major update coming soon]
Lamarque & Olsen’s Aesthetics & The Philosophy of Art: The Analytic Tradition is arguably the best general anthology in Contemporary Anglo-American Aesthetics. Unfortunately, this anthology distinguishes itself yet another way by having only 2 of its 46 articles written by women (in fact, the very same woman as it turns out). A friend of mine teaching philosophy of art for the first time recently discovered this and asked me to suggest some articles written by women with which to supplement the anthology. I’ve copied the list I sent him below so that it might be a useful resource for others in similar situations. I welcome and actively encourage readers to suggest additions in the comments section at which point I’ll update the list accordingly. However, please note that my interest lies with maximizing the number of distinct female authors rather than the number of distinct female-authored works. Continue reading
[This post has been updated.]
What follows is an assessment of the professional state of Aesthetics with respect to faculty research at Leiter-ranked Programs in the United Kingdom. I counted only permanent faculty and so excluded visiting, emeritus, as well as affiliated faculty. Finally, faculty were counted according to two conditions which I’ve explained below (AOS, Primary). The full program/faculty list can be found at the link provided. Again, please inform me of any omissions or mistakes, as I no doubt made a few. Continue reading
What follows is an assessment of the professional status of Aesthetics/Philosophy of Art in terms of the number of philosophy faculty at U.S. programs within the Leiter Top 50. At the end, I’ll make a few observations, but for the most part the numbers pretty much speak for themselves. My aim here is neither to offer some sort of de facto guide to graduate Aesthetics nor in any way to impugn the quality or availability of any program’s graduate instruction therein. Rather, my goal is simply to draw attention to the current state of Aesthetics with respect to faculty research at Leiter Top 50 U.S. Philosophy Programs. Continue reading