AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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WHAT MAKES KAFKA PHILOSOPHICAL?

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What follows is a guest post by Espen Hammer on his recent edited volume Kafka’s The Trial: Philosophical Perspectives.

When reading works of literature, philosophers often look for very general assertions of a quasi-theoretical nature. Thus, Camus’s The Stranger – to pick an obvious example  ̶  is supposed to demonstrate the absurdity of human existence. Or, if that doesn’t satisfy them, they typically start discussing entirely abstract questions of meaning, representation, and reference – of interest to academics steeped in Frege, Russell, and Davidson yet devoid of any concrete relation to actual texts of literary significance.

Kafka, however, on which a recent edited volume of mine entitled Kafka’s The Trial: Philosophical Perspectives (OUP, 2018) focuses, is peculiar in that his texts so vigorously seem to resist such general accounts. To be sure, many philosophers have tried to see in Kafka a kind of visionary thinker either of human existence as such or under specific circumstances, in particular those of modernity. Classical accounts of The Trial have focused on theology (“this is what the human condition looks like without God”), psychoanalysis (“this is what guilt and paranoia looks like”), and sociology (“this is the fate of the individual in a society integrated through anonymous, bureaucratic measures”). The list, of course, could be made very long. Note, though, that all the suggested interpretive keys stand in danger of violating our sense of Kafka’s mystery and ineffability. They all do what philosophers too often do: they reduce the text to a unified set of graspable, general meanings. Continue reading


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ARTIST INTERVIEW: SIMON MORRIS

Conceptual Artist Simon Morris interviewed by philosopher Darren Hudson Hick

Though he seems to spend most of his time playing with cats, Darren Hudson Hick is a Visiting Assistant Professor of Philosophy at Texas Tech University, where his research focuses on the ontology of art, philosophical problems in intellectual property law, and related issues. He is the author of Introducing Aesthetics and the Philosophy of Art (Continuum, 2012). For more on Darren, go to www.typetoken.com.

Simon Morris (b. 1968) is a conceptual writer and teacher. He is a Reader in Fine Art at the University of Teesside in the UK. His work appears in the form of exhibitions, publications, installations, films, actions and texts which all revolve around the form of the book and often involve collaborations with people from the fields of art, creative technology, literature and psychoanalysis. In 2002, he founded the publishing imprint information as material. He is the author of numerous experimental books, including; Bibliomania (1998); The Royal Road to the Unconscious (2003); Re-Writing Freud (2005); Getting Inside Jack Kerouac’s Head (2010); and Pigeon Reader (2012). He is an occasional curator and a regular lecturer on contemporary art and also directed the documentary films sucking on words: Kenneth Goldsmith (2007) and making nothing happen: Pavel Büchler (2010). Further information can be found here: www.informationasmaterial.org

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IMAGINATION, TRANSPORTATION, AND MORAL PERSUASION

What follows is a guest post by M. B. Willard, a metaphysician with an aesthetics problem. She is Assistant Professor of Philosophy at Weber State University.

Imagine becoming adrift in a novel in the way often described by avid readers: You’ve become lost in the book. Perhaps you’ve become so engrossed that your coffee grows cold, neglected on the table beside you. Perhaps you’ve lost track of time, to be startled when the clock chimes. Perhaps the story is deeply sad, and you spend the rest of the day in a mild malaise. Perhaps the story’s protagonist struggled in abject poverty, and you come away believing that while of course the story is made up, people really do live like that, and you resolve to increase your annual contributions to charity.

(Or perhaps you watched Star Trek; you spend the rest of the day mildly keyed up against injustice, and rebuke the man in front of you at Starbucks when he is rude to the barista. No judgment, Walter Mitty.)

You’ve been transported (cf. Gerrig 1993); through fiction, you’ve visited a new world, and you’ve returned somewhat changed. Continue reading