AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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PUNK ROCK PHILOSOPHY #2: NIHILISM OR ACTIVISM?

I began this series of posts here, setting up the issues and summarizing Jesse Prinz’s main points in his groundbreaking “The Aesthetics of Punk Rock”. Readers of that post will recall that Prinz identifies three characteristics of punk rock that he thinks are central to the genre:

  1. Irreverence
  2. Nihilism
  3. Amateurism

Readers of that post will also recall that I have nothing at this point to say about irreverence (of course, there likely is much to say about the exact sort of irreverence that is at work in punk rock, but I’m not going to do that today). Thus, we’ll move on to the second topic in the list: nihilism. Continue reading


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FIVE USEFUL FACTS ABOUT THE FORCE AND RELATED MATTERS (OR, WHAT YOU NEED TO KNOW BEFORE YOU SEE THE LAST JEDI)

Star Wars: The Last Jedi opens today. I suspect many if not most of you will go see it. Hence, I constructed this little guide to some important aspects of the Star Wars saga. Obviously, given both the prevalence of words like “Force” and “Jedi” in the title of this film and the (narrative-wise) previous one, and what we know of the story so far, it seems safe to assume that the nature of the Force, and clashes between different aspects or interpretations of the Force, will be front-and-center in the new film. Hence, I’ve concentrated on some Force-errific trivia tidbits that might be useful in navigating that aspect of the story:

  • Arguably, R2-D2 is the protagonist of the overall Star Wars story. In an interview conducted while filming Return of the Jedi, George Lucas stated that the Star Wars saga was being narrated by R2-D2 to the Keeper of the Journal of the Whills. The Whills are Force-sensitive beings who were revered by holy men known as Shamans of the Whills. For more detail on R2-D2’s role in the saga as a whole, see here.
  • The Whills (or, more specifically, their acolytes) are important too. It was a Shaman of the Whills who taught Qui-Gon Jinn the secret to returning from the dead as a “Force ghost”, and Qui-Gon then passed this knowledge on to Yoda and the surviving Jedi. Baze Malbus and Chirrut Imwe (from Rogue One) were Guardians of the Whills – a group of warrior-monks also connected to the Order of the Whills.
  • Jedi and Sith (and Whills) are not the only powerful Force-users in the Star Wars universe. For example, both the Nightsisters of Dathomir (who played an important role in the Clone Wars) and the Force Priestesses at the Wellspring of Life (who also apparently taught Yoda the secret to returning as a Force ghost) are powerful Force users.
  • Kyber crystals are deeply intertwined with much of the conflict in the Star Wars saga. Kyber crystals are critical components of lightsabers, but they are also used in the super-weapons constructed by the Sith and other dark-side Force users (e.g. Death Stars 1 and 2, and Starkiller Base). Kyber crystals are naturally attuned to the light side of the force. Hence a dark side user must bend a kyber crystal to his or her will, causing it to “bleed” (this explains the red color of Sith lightsaber blades).
  • In addition to the force being divided into the Dark Side and the Light Side (although it is not clear that even this division is exhaustive), the Force (both Light and Dark) is divided into four distinct aspects: The Living Force, the Unifying Force, the Cosmic Force, and the Physical Force. These four aspects are tied to different abilities (e.g., a connection to all living things, the ability to see the future, the ability to come back as a Force ghost, and the ability to move physical objects, respectively). Different Force users typically focus on different aspects of the Force, or even argue that one of these aspects is, in fact, the right way to understand the Force.

Enjoy the film, and may the Force be with you!


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A GUIDE TO THE CINEMA OF JACQUES RIVETTE

The following is cross-posted here and at Matt Strohl’s blog, Strohltopia.

Celine and julie.jpg

still from Céline and Julie Go Boating

There is wide chasm between the importance of Jacques Rivette’s work and the amount of attention it receives in the USA. My aim here is to promote Rivette awareness and provide information and guidance for those who are looking to get into his stuff but unsure of how to proceed.

Intro
1. Why Care About Rivette?
2. Chronological Survey
The Sixties
The Seventies
The Eighties
The Nineties
The Aughts
Miscellaneous
3. The Viewing Guide
Where to Start
Recommended Viewing Itineraries, organized by degree of hardcore-ness
Appendix: PAL speedup and what to do about it
Continue reading


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Modern Art: A CIA plot?

johns.jpg

Short answer: no, but a great clickbait title. Long answer: it’s possible that the CIA promoted abstract expressionism as an expression of soft power, meant to contrast the individualism of American artists with the realism of Soviet-approved art.

Either way, I’m thinking that those philosophers of art who attempt to define art really err when they failed to include “sponsored by the CIA” as one of their criteria…

Image credit: “Flag” (1955) by Jasper Johns at MoMA, photo by Nathan Laurell via Flickr


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THE ASA AT 75: DIVERSITY AND THE TIPPING POINT

The following is a guest post by Charles Peterson (Oberlin College).
This is one of three companion pieces that reflect on the ASA’s 75th anniversary. Click here for the first, by A.W. Eaton, and the second, by Paul C. Taylor. See also the ASA Officers’ response letter here.

goldsworthy

The age of 75 can signify multiple indicators. At 75 years old, an ant would be ancient. At 75 years old a mountain would be considered infantile in its span and at 75 years old a human being, has lived to a ripe and healthy age. For an academic organization, 75 years is a perfect time to celebrate its longevity and take stock of its future. The American Society for Aesthetics is at this point in regards to the inclusion of diverse scholars and discourses in its proceedings.  The ASA stands at the threshold where its present efforts to open up, encourage and support the presence of women and members from previously underrepresented backgrounds can either move forward, grow and expand or retreat into exclusivity and marginality. Continue reading


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THE ASA AT 75: ‘SPLAINING AND SAFARIS

What follows is a guest post by Paul C. Taylor (Penn State).
[Updated:] This is the first of three companion pieces that reflect on the ASA’s 75th anniversary. Click here for the first, by A.W. Eaton, and the third, by Charles Peterson. See also the ASA Officers’ response letter here.

By the time my father turned 75, he was freely exercising the wide-ranging license to offend that family elders often enjoy. He could say or do pretty much anything, and we would chalk it up to him being set in his ways. We would weigh the costs and benefits of contesting his frequently insensitive and sometimes just rude behavior, or of reminding him of all the considerations that militate against talking about women or Jews or whatever like that anymore. And we would usually decide that discretion was the better part of valour, and we would let him alone.

So on he lumbered, cluelessly, sometimes willfully, out of step with evolving social mores. The good news is that he was mostly harmless, having tucked himself away into a quiet retirement where he neither had nor wanted influence or authority over anyone other than himself.

The American Society for Aesthetics (ASA), 75 years old this year, reminds me of my father. It has an at best uneven relationship to shifting social mores, especially as these bear on behaviours that should be as distant and grating to us as the world of Mad Men. And much as my father assumed he could say whatever he wanted and continue to enjoy the respect and love of his children, some members of the ASA seem to think the organization can both live in the 1950s and win the loyalty of people today. Continue reading


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THE ASA AT 75: HOW ARE WE DOING WITH DIVERSITY AND INCLUSION?

The following is a guest post by A.W. Eaton (University of Illinois-Chicago).
[Updated:] This is the first of three companion pieces that reflect on the ASA’s 75th anniversary. Click here for the second, by Paul C. Taylor, and the third, by Charles Peterson. See also the ASA Officers’ response letter here.

calverley

The 75th anniversary of the American Society of Aesthetics is an opportunity to reflect upon both our progress regarding inclusion and diversity and also upon the remaining work to be done. I discuss them here in turn. Continue reading


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ARTWORLD ROUNDTABLE: THE ART OF IMMORAL ARTISTS

The following is 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 here.


The news over the past several months has been full of revelations of sexual harassment and assault by men involved in arts and entertainment and other fields (for lists of recently revealed cases, see here and here). The cases have brought to the public’s attention a variety of questions concerning power, justice, gender relations, privacy, business practices, and the responsibilities of perpetrators, victims, and bystanders. When it comes to those involved in the arts, most of us come into contact with them largely as consumers, and so it is no surprise that one of the questions many people are discussing is this: How, if at all, should the moral transgressions of those involved in making art change what we think about, and how we act in regard to, their art? Continue reading