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The work of artist Ron Athey has long befuddled the art historical establishment and has mostly remained under the philosophical radar. In this review of Athey’s Acephalous Monster, performed on August 28, 2021, at the Roy and Edna Disney/CalArts Theater in Los Angeles, I propose a philosophical frame- work for Athey’s radical reinvention of ethical categories like agency, mutuality and communion. I describe the performance and its critical context in order to tease out the aesthetic dimension of this reinvention and (...) the subversive power of reconstituting personhood along lines of collective artistic jubilation and creative survival. (shrink)

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This book walks us through the process of how artworks eventually get their meaning, showing us how curated exhibitions invite audience members to weave an exhibition's narrative threads, which gives artworks their contents and discursive sense. -/- Arguing that exhibitions avail artworks as candidates for reception, whose meaning, value, and relevance reflect audience responses, it challenges the existing view that exhibitions present “already-validated” candidates for appreciation. Instead, this book stresses the collaborative nature of curatorial practices, debunking the twin myths of (...) autonomous artists and sovereign artistic directors and treating presentation and reception as separate processes. Employing set theory to distinguish curated exhibitions from uncurated exhibitions, installation art and collections, it demonstrates how exhibitions grant spectators access to concepts that aid their capacity to grasp artifacts as artworks. -/- To inform and illuminate current debates in curatorial practice, Spaid draws on a range of case studies from Impressionism, Dada and Surrealism to more contemporary exhibitions such as Maurizio Cattelan “All” (2011) and “Damien Hirst” (2012). In articulating the process that cycles through exploration, interpretation, presentation and reception, curating bears resemblance to artistic direction more generally. (shrink)

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This paper employs Hannah Arendt’s characterization of the social, which lacks location and mandates conformity, to evaluate social media’s: a) challenge to the polis, b) relationship to the social, b) influence on private space, d) impact on public space, and e) virus-like capacity to capture, mimic, and replicate the agonistic polis, where “everything [is] decided through words and persuasion and not through force and violence.” Using Arendt’s exact language, this paper begins by discussing how she differentiated the political, private, social, (...) and public realms. After explaining how online activities resemble (or not) her notion of the social, I demonstrate how the rise of the social, which she characterized as dominated by behavior (not action), ruled by nobody and occurring nowhere, continues to eclipse both private and public space at an alarming pace. Finally, I discuss the ramifications of social media’s setting the stage for worldlessness to spin out of control, as the public square becomes an intangible web. Unlike an Arendtian web of worldly human relationships that fosters individuality and enables excellence to be publicly tested, social media feeds a craving for kinship and connection, however remotely. Leaving such needs unfulfilled, social media risks to trump bios politicos. (shrink)

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Until Speculative Realism’s arrival a few years back, few philosophers found it problematic to view nature as a cultural construct, circumscribed and dependent on human attitudes. While I share speculative realists’ goal to strengthen philosophy’s mind-independence, I worry that isolating nature as beyond human minds not only absolves human responsibility, but eradicates “kinship” relations, which capture non-hu­man nature providing for and sustaining human beings, and vice versa. To develop an environmental philosophy that affords mind-independence and offers evidence, unlike Positive Aesthetics, (...) which idealizes wilderness, I discuss: 1) the pro/cons of nature’s mind-independence, 2) the implications for aspection, 3) the need for assessment tools that guide human action, 4) the reasons for grounding ethical action in kinship, and 5) recent research that suggests biodiverse cities exemplify the kinship model. Inseparable from nature, human beings are kindred participants in shared eco-systems. (shrink)

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This paper explores how phenomenology facilitates people’s grasp of unfamiliar artworks. When avant-garde artworks lack handy categories, meaning-makers unwittingly deploy Edmund Husserl’s phenomenological method to avail interpretive concepts. Curators and critics engaged in the challenging process of determining the significance of artworks or performances deploy his reductions to identify relevant concepts that facilitate their ability to qualitatively differentiate indiscernible artworks and performances. Even if contemporary art curators and critics have never heard of Husserl, let alone studied his brand of philosophical (...) phenomenology, his “phenomenological epoché” epitomizes the way curators and critics deactivate their beliefs. Doing so guides curators and critics to observe as comprehensively as possible in order to generate novel, albeit fitting “potential” interpretations. Unbeknownst to most curators and critics, Husserl’s tools also guide their decision-making processes when selecting and positioning artworks within the context of an exhibition or article. What make phenomenology an especially useful tool for curators and critics is Husserl’s insight, contra Gottlob Frege, that Sinn (sense) expands Bedeutung (meaning), rather than contracts or fixes meaning to some referent. As this paper demonstrates, Husserl’s generative approach arises from his triadic system for meaning making, namely the active relationship between noema, noesis, and hyle, as opposed to Frege’s standard duo of Sinn and Bedeutung. For Husserl, identification, significance, and meaning-making prove imaginative, and thus exemplify world-making. To tease out phenomenology’s advantage over analytic aesthetics, I refer to MoMA’s “Picasso: Guitars, 1912-1914” (2011) to show how his method “radiates,” or opens-up meanings, rather than closes them down. (shrink)

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After wondering why environmental aestheticians tend to undervalue biodiversity as an indicator of nature’s well-being, I discovered that Philosophy and Science are in a face off regarding biodiversity’s utility. For the most part, philosophers meet science’s confidence regarding biodiversity with skepticism. Rather than get bogged down in technical disagreements between scientists and philosophers over the possibility of measuring and utilizing biodiversity, this paper sidesteps that conflict by turning to the relationship between biodiversity and cultural engagement. By describing: the link between (...) spoken languages and species diversity, the significance of cultural differences, the role of cities and remote communities in encouraging and safeguarding biodiverse habitats, and the heterogeneous nature of difference itself when determining biodiversity; I effectively demonstrate how human beings who value their own culture protect nature, which reveals the most important reason to value biodiversity. Biodiversity may be impossible to track, extremely difficult to measure, and shares no correlation with stability, yet no other yardstick indicates cultural proliferation. This paper surveys three ways in which biodiversity can serve as a bio-indicator for human cultural engagement, just as lichens are bio-indicators for air pollution, ozone depletion, and metal contamination. (shrink)

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Philosophers, moral psychologists and neuroscientists have written plenty about disgust as it concerns foul actions, revolting images and unsavory tastes. Far less has been written about stinky delicacies. Disgusting odours are typically treated as violations whose visceral reactions to danger prompt our protective recoil. I term this ‘basic disgust’. No matter how repulsive, meals rarely emit harmful aromas, even for people with particular food allergies. Allergic eaters must rely on labels. Moreover, neither taste nor smell is a reliable indicator of (...) food safety, since most deadly toxins are flavorless. Food repulsions thus defy evolutionary explanations typical of basic disgust, so perhaps they are exemplary of ‘moderate disgust’, such that particular food smells disgust some people, somewhere, sometimes. Even if noxious dishes repel (basic disgust) or people find overcoming food aversions difficult (moderate disgust), neither approach accounts for the way innocuous stenches attract attention, frame perception, stage deceptions, signal values, enhance retention, boost concentration and accelerate task completion. Inspired by the Disgusting Food Museum’s scheme to prompt visitors to adopt new values, I develop value disgust, which considers disgust value-driven and subject to perceptual learning. In other words, negative reactions to stinky delicacies are dispositional. As identification improves, we feel less disgust. To develop value disgust, which teases out harmless stenches’ ‘superpowers’, I begin by describing how disgust compounds smell’s already complex properties. I next review philosophical accounts of disgusting smells, then survey the Disgusting Food Museum’s surfeit of value-driven results, articulate value disgust and summarise several experiments that offer corroborating evidence. (shrink)

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Inspired by Hamid Naficy’s view that exile ‘thrives on detail, specificity and locality’, Maria Photiou and Marhsa Meskimmon set out to ‘investigate three associated concepts: house, home and homeland’ in relation to artistic practices that explore ‘departures and homecomings, indeed, homemakings’ (p. 1). Given that 68.5 million people were ‘forcibly displaced worldwide’ in 2017, artistic practices and related exhibitions focused on ‘migration, exile, diaspora and empire’ feel especially timely (p. 2). The continuous thread through this book concerns the way artists (...) hailing from elsewhere tend to have convoluted family histories that complicate narratives surrounding personal identity, thus introducing curatorial puzzles regarding how best to interpret, contextualize and/or situate resulting artworks, which can take decades.In order to frame artworks in terms of homeland, displacement and belonging, each of Art, Borders and Belonging’s ten contributors carefully teases out each artist’s unique identity. Since no two identities are ever identical (even among twins), the notion of ‘identity’ as in ‘identity studies’ is a troubling term. Identity studies should have been called either ‘nonidentity studies’ or ‘difference studies’. When it comes to personal identity, however, the term ‘identity’ makes sense, since each one is characterized by a unique string of extant modifiers meant to particularize some individual, thus approximating the identity between the string and the individual. This book’s essays, which analyze artistic practices in relationship to identity, are ideally suited for courses in Philosophy of Culture, Critical Philosophy of Race, LatinX Aesthetics or Radical Philosophy of Migration. (shrink)

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In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 93-101 [Access article in PDF] A Political LifeArendtian Aesthetics and Open Systems Sue Spaid Since the 1990s, artists have broken ground by producing works that are "open systems." That is, they are incomplete, participatory, and elastic. In this paper, I will argue that open systems exemplify Hannah Arendt's conception of vita activa, in contrast to art's traditional role as inspiring vita contemplativa. Since (...) they do not explicitly affirm or refute political policies, such works are generally not considered "political" art. However, they accommodate Arendt's notion of the political life, since they incorporate process, durability, pluralities of spectators, and unpredictability. Furthermore, because they do not resemble what ordinarily passes for art, reflective judgment is required to engage them, and to determine whether they are art.Echoing Diotima's interest in immortality, Arendt links beauty to durability. Open systems are particularly durable because we remember them as a public experiences that include participants and spectators. Such performative and pleasurable worldly actions entail aesthetic engagements that are very much in line with Arendt's description of the political life. Critical Engagement In the sphere of fabrication itself, there is only one kind of object to which the unending chain of means and ends does not apply, and this [End Page 93] is the work of art, the most useless and, at the same time, the most durable thing human hands can produce... It is the reification that occurs in writing something down, painting an image, composing a piece of music, etc. which actually makes the thought a reality; and in order to produce these thought things, which we usually call art works, the same workmanship is required that through the primordial instrument of human hands builds the other, less durable and more useful things of the human artifice. (Arendt 2000, 177-78) In a 1964 interview with Gunter Gaus, Hannah Arendt described herself as a political theorist, who though trained as a philosopher had "said good-bye to philosophy once and for all." In identifying the tension between philosophy and politics, she differentiated man as a thinking being from man as an acting being, and she identified with the latter. She found that, because philosophers cannot be neutral or objective with regards to politics, they share a certain enmity toward politics, and she sought to avoid that response. Not surprisingly, she named Kant as an exception, because he understood this enmity to lie in the nature of the subject itself. In The Critique of Judgement, experience precedes reflective judgement, thus affirming a place for each subject's particular experiences. Kant, too, was a man of action.Kant's aesthetic judgment of taste, which is a normative but non-prescriptive process, makes room for Arendt's notions of worldliness and unpredictability. Critics have decried Arendt's political theory for its anti-rationalism, political existentialism and "aestheticization of politics," yet much can be learned from her clear commitment to equality, and the way she trusted and perhaps even idealized humanity (Curtis 1999, 18). She wrote, "Only action and speech relate specifically to this fact that to live always means to live among men, among those who are my equals. Hence, when I insert myself into the world, it is a world where others are already present" (Arendt 2000, 179). Given her interest in freedom, active engagement, critical thinking, and anti-instrumentalism, it is perhaps not surprising that Arendt found inspiration in Kant's conception of aesthetic judgment as requiring only communicative sociability, the object's purposeless purposiveness, and the spectator's free play of imagination and understanding.I am interested here in Arendt's aesthetics of the political life in relation to recent art that unwittingly fosters an engaged and open conception of the political. The works in question are not necessarily conscious of their political capacity. Rather, their presence assumes that spectators are [End Page 94] equals, and facilitates an active life, what Arendt described as the vita activa, as opposed to the vita contemplativa, the contemplative life. An active life, which requires a public space, entails active... (shrink)

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Given the coterie of philosophers focused on everyday aesthetics, it's fascinating that gift reception has heretofore managed to escape their scrutiny. To enact a gift, recipients begin by imagining its use. On this level, gifts serve as a litmus test. In luring us, we're taken out of our normal ways of being to experience a different side of ourselves. Enacting a gift is thus a kind of performance, whose value depends on the donee’s interpretation, just as exhibitions, concerts, staged plays (...) or books are performances of visual art, scores, scripts or texts, whose interpretations demonstrate their aesthetic value. To develop the relationship between enacting gifts and performing artworks, I begin by surveying junctures along the gift-event’s arc: reply, imagination, trust, recognition, transformation and memory. Transformations arising from agonistic gifts strike me as significant because they characterise the way gifts challenge our beliefs, eventually altering our values. That we grow to love gifts, which we originally rejected out of hand, casts doubt on self-knowledge. Enacted gifts handily challenge self-knowledge’s twin features: authority and transparency. As this paper indicates, gift reception helps both to understand ourselves better and to remove the obstacles to what Quassim Cassim calls Substantive Self-Knowledge. (shrink)

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This chapter explores Pop Art's significance for Arthur Danto's philosophy of art. It looks at the views of British curator Lawrence Alloway, Danto's immediate predecessor at the Nation. In 1974, Alloway defined the core of Pop Art as “essentially, an art about [emphasis mine] signs and sign‐systems”. Danto characterized artworks as the kinds of things that prompt philosophizing, a point that proves especially helpful when attempting to discern art‐cars, art‐cheese, art‐billboards, and art‐photographs from mere things. By 1973, Danto was already (...) grappling with issues inspired by Pop Art's many conundrums. The more artists adopted imagery and formats familiar to commercial art, the more philosophers needed models to discern, for example, James Rosenquist's billboard‐size paintings publicizing pasta, lipstick, cars, and the like, from his actual roadside billboards, hand‐painted between 1957 and 1960. (shrink)

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This paper argues that “work” rather vividly captures the efforts of artworkers, who work tirelessly to ensure that myriad artworks “achieve work”, as Arthur Danto termed it. More basically, “work” is what we know about an “artwork” that guides artworkers, whether curators, writers or art lovers to know how to place it (historically, politically, socially, artistically, culturally), much like scores, scripts and texts facilitate performances of musical, theatrical and literary artworks. In cheering on artists such as Danto’s fictional artist J, (...) who carried the indiscernible red square “triumphantly across the boundary as if he had rescued something rare”, artworkers prompt their publics to appreciate such heroic events and/or unfamiliar objects as meaningful artworks. Being a shared, third-person account of an artwork’s significance, work typically begins as a public discussion that inspires additional artworkers to generate articles, books, catalogues and reviews. This paper thus links Danto’s focus on achieving work to Hannah Arendt’s account of work, such that artists’ actions yield artworks, whereas artworkers’ work makes the artworld where artworks perdure as work. I begin by reviewing Danto’s use of work and content in The Transfiguration of the Commonplace. I next offer an alternative approach for “achieving” work and show how this process accords with Alfred North Whitehead’s having distinguished “eternal objects” from “actual entities”. My noting that work reflects the efforts of myriad artworkers working in tandem across the globe enables me to better assess how “work” as in effort and/or meaning relates to and/or survives an artwork’s varying contexts. (shrink)

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To date, climate justice has been modeled on global justice, giving rise to such notions as ecological space, ecological debt and carbon debt. I worry that global justice fails to compel compliance and ignores hydrological systems’ role in cooling atmospheric temperatures. I thus opt to tie climate justice to hydrological justice, a form of global environmental justice that requires transparency and kinship, and proves more coercive since both burdens and targets are local. To demonstrate this view, I first distinguish global (...) justice from global environmental justice. I next show the limits of Simon Caney’s forward-looking approach to global justice, which commits diverse parties to just burdens to reach just targets in order to facilitate climate justice. I conclude by noting that modeling climate justice on hydrological justice proves compatible with the goals of the Katowice Climate Package, passed in 2018. (shrink)

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In treating care as a moral imperative, the ethics of care aims for normativity, yet its normativity is thrown into jeopardy by the fact that standards of care vary dramatically among care-givers. To counter the limitations of care ethics, I propose care aesthetics, whose success reflects measurable metrics. Rooted in ameliorative practices, care aesthetics stresses the well-being of the cared-for, whereby flourishing entails both capacity and access. Thus, care aesthetics and care ethics are distinct, since the former treats the well-being (...) of the cared-for as proof of the “sign that our caring has been received”. To demonstrate the measurable features of well-being, I offer two concrete examples: one proposed by landscape architect Joan Iversson Nassauer and another focused on curatorial practice (curare is Latin for care). To explain why philosophers have overlooked the role of well-being in signalling the success of care, I describe how concepts such as balance, harmony, order and unity, which were originally characterised as material, became immaterial aesthetic concepts by the 20th Century. I then circle back to connect well-being to epistemology and ethics, before discussing how the goal to enhance the well-being of cared-fors and care-givers alike stands to enrich quotidian experiences. (shrink)

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Inspired by recent visits to the Disgusting Food Museum (DFM) in Mälmo, SE and “FOOD: Bigger than Your Plate” (2019) at the Victoria & Albert in London, UK, this article explores the saliency of “disgust” given its role in the “attention economy,” hipster allure and emotional encoding. Initially appalled by the DFM’s demonizing national delicacies as disgusting, the author soon realised that doing so has a “silver lining” in terms of attention. One aspect that remains under-explored is the connection between (...) imagination and attention. The relationship between taste and disgust grants us a vehicle for working this out, since human beings are wired for disgust, yet what disgusts is learnt. Unlike basic emotions for which we have salience and/or memories, we deploy our imagination to anticipate disgust. To defeat disgust’s alarmist ploys, “food adventurers” must block their imagination. “Disgusting food” not only grabs people’s attention, but it tends to deceive. (shrink)

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