Context, if you want it: a recent article in The Stone, the NYT’s philosophy blog that Brian Leiter likes to mock. The position, if you want it: some forms of art/music/etc. are superior to others, with classical music, for instance, being superior to pop music.
My views, if you want them: sure, there’s good art and bad art. There’s also a whole lot of complications that philosophers of art, especially those who think you can make simple divisions between high culture (the kind academics like and participate in) and low culture (the kind they look down on, or study in “studies” departments) with impunity. Continue reading
I know I’ve talked about Klein’s Zones of Immaterial Pictorial Sensibility before, but, wouldn’t you know it, it’s hard to leave a good nothing alone. As I’ve hinted once or twice before (what blog title?) I’m a fan of Eco’s rather Augustinian school of interpretation that allows for multiple overlapping interpretations of a single work—so let’s have another go at interpreting the Zones, shall we? Continue reading
So my blog site-o-meter tells me that most people who come here via search engines are looking for one of two things: Yves Klein or medieval marginalia. Which means that, while making fun of philosophical book covers may get me quick attention, half-baked art criticism gives me the long-term gains.
So, since this here blog ain’t gonna write itself, it’s time for a subject near and dear to my heart: late medieval/early Renaissance religious art.
Google Penance time.* The Search Engine Juggernaut has been referring more than a couple people looking for information on Umberto Eco’s essay to Ye Olde Humble Blogge, so I guess I should probably give those people a hand.
First, at least part of the essay is on Google Books. Have a looksee there—Eco’s a good writer, and, in this case, the horse’s mouth is as good a place to hear things from as any.
You’ve read Eco now? Yes? Good. No? Do it later, you won’t regret it.
Interpretive theories—especially those relating to “constructive” interpretation**—have many applications, most notably in aesthetic criticism and, thanks to Ronald Dworkin, jurisprudence. Now, while I think Dworkin overstates how far you can take interpretation in law, language, and aesthetics (I may explain why later, for the three people who would ever be interested in hearing why), I do think he raises an important point: the kind of interpretation one does in legal practice is very similar, formally speaking, to the kind one does in aesthetic criticism. Thus, before I start ranting about Hart, Kripkenstein, and rule-guided behavior, let’s have some art. Continue reading
Blue Monochrome (IKB 45)
Last year, the Hirshhorn put on about the best exhibition I’ve ever seen at any museum—which as a chronic museum rat, is saying a lot. Their Yves Klein retrospective, “With the Void, Full Powers,” was nothing if not spectacular, thought-provoking, and, for reasons I’ll get into later, terrifying. It was about as close to a perfectly curated exhibit as you could ask, with the exception of one thing.
The title was completely wrong. Continue reading