AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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Polite Conversations: Philosophers Discuss the Arts

What follows is a guest post by Brandon Polite (Knox College).

In my YouTube series, Polite Conversations: Philosophers Discuss the Arts*, I interview philosophers about their work in aesthetics and the philosophy of art. We typically discuss a particular journal article or public philosophy piece (including some pieces from Aesthetics for Birds), diving into their views and exploring their implications for anywhere from 15 to 40 minutes. The aims of this series are twofold. The first is that I want to show off the cool and innovative work that’s happening in the field of aesthetics right now, both to the wider philosophical community and to the general public. There is some really amazing work being done in our field, and more people should know about it!

The second aim is pedagogical. Getting to see philosophers doing philosophy together can be a really eye-opening experience for students. To that end, these videos can be used as a way to deepen your students’ insights into a text you’ve assigned them to read, which is how I use them. Alternatively, one or more could be used in place of readings if, say, they’re too advanced for an introductory-level course. I have painstakingly edited the captions—including sometimes highlighting key terms and phrases—to make them accessible to those who want or need them. As teaching tools, the videos are compliant with the Americans with Disabilities Act. 

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UNE AUTRE DAME: WHY NOTRE-DAME DIDN’T REALLY BURN

What follows is a guest post by philosopher Saul Fisher, on the recent tragedy of Notre-Dame Cathedral in Paris.

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Alan Mozes, Seine/sibility #2, 2013, reproduced with permission of the artist

The burning of the roof and spire of the cathedral of Notre-Dame de Paris on April 15 was a moving and dramatic event, variously interpreted as architectural disaster, economic loss, flashpoint for myriad heritage issues, and moment of French national unity. The cathedral has endured since medieval times: construction began in 1163 CE, the towers were completed in 1250, and figurative elements were added in the mid-14th century. From this endurance alone, it is little wonder that the cathedral captures the imagination of the French, the devout, the appreciators of architectural history, and the every Parisian visitor. Little wonder, too, then, that the fire consuming the cathedral prompted strong emotional response.

While lamenting the event’s tragic dimensions and symbolism, I find consolation, or perhaps refuge, in formalist and abstractist ways that I think about architectural objects. Continue reading