Aesthetics For Birds recently posted #89 in the series 100 Philosophers, 100 Artworks, 100 Words.
Continue reading “89% complete”
The series began almost a decade ago. The premise for the series, sometimes abbreviated just 100x100x100, gives it long-form structure. It is not finished yet, but it is clear what’s required for it to be finished.
Over at the APA blog, Noël Carroll whinges about the fact that the blog categorizes his post as Philosophy of Film. He acknowledges that the label is used for a particular philosophical subdiscipline, but he doesn’t like it. On the one hand, the subdiscipline addresses not just movies but also television and video games. On the other hand, “film” in an original sense is strictly photographic. Today even most movies aren’t on film.
Continue reading “A grue by any other name is just as likely to eat you in the dark”
A short paper by Christy Mag Uidhir and me has been accepted by Estetika. It further develops and refines the view we’ve articulated in earlier work.
TITLE: Does art pluralism lead to eliminativism?
ABSTRACT: Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word “art” in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word “art”, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work.
On Cardiff’s academic blog, Tareeq Jalloh blogs about his work on drill music and epistemic injustice. The post summarizes a recent paper of his about the way that, in the UK, lyrics from drill music are interpreted as confessions of criminal activity. In the US context, this has been called the rap on trial mentality. Evan and I take it as our speciment example in our recent paper.
Continue reading “Parallel thinking about rap and injustice”
Earlier drafts of my paper with Evan Malone, “Popular music and art-interpretive injustice“, were not just about popular music. Although referees convinced us to drop it, we originally gestured at further examples of art-interpretive injustice arising in relation to street art.
Continue reading “Art-interpretive injustice and the missing bit about street art”
Back in September, I wrote a post about generative AI and photographic transparency. The gist of it was this: Kendall Walton famously argued that I actually see Karl Marx when I look at a photograph of him, in a way I don’t when I look at a painting. The painting is mediated by the beliefs of the painter in a way that the photograph is not mediated by the photographer’s beliefs. So, I asked, what about an AI-generated image of Marx?
As I said in a footnote to that post, I wasn’t very happy with my answer to the question. As it happens, my Philosophy of Art class got interested in photographic transparency all on their own. So I made a mid-semester adjustment, added it to the syllabus, reread the Walton essay, and taught it to students in October. It turns out there was a part of the essay that I had forgotten when I wrote my post in September, and Walton gives us the resources for a better answer to the puzzle of AI-generated images.
Continue reading “AI can’t let me see Karl Marx”
We can distinguish three different approaches in philosophy of art. They have consequences for art ontology, appreciation, and the nature of genre.
TL;DR: Some stuff about norms. The third approach, social practicism, needs a better name.
Continue reading “Social practicism about art”
After recent posts about AI image generation, I’ve been mulling over whether there are any interesting philosophical lessons. Despite the title, this is not a post about AI and the twilight of capitalism. Instead, it’s about the would-be transparency of images.
Continue reading “Can AI let me see Karl Marx?”
I’m teaching Philosophy of Art this semester, and a student pointed me to an Ars Technica story with the headline AI wins state fair art contest, annoys humans. Jason Allen used Midjourney (the same AI that I was playing with recently) to make some images and enter them in the Colorado State Fair art contest. One of those images won first place in the Digital Arts/Digitally Manipulated Photography category.
There’s lots of discussion about whether this is the end for human artists (it’s not), whether this shows that AI are now making real art (no), and whether the submission of AI-generated images to the State Fair was dishonest (maybe).
Continue reading “Robot overlords win blue ribbon (not really)”