What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the rights of artists are not absolute; (2) the fact that such actions are based on mistaken interpretations of the artworks has no normative weight; (3) there can be reason to object to additions and alterations whose conception of the artwork is morally worse than the original (and so, there can be reason to support additions and alterations whose conception is morally better); (4) petitioning raises special moral problems; and, most important, (5) some of these actions are valuable because they involve creative and aesthetic activity. Those acts of audience resistance that are creative, morally improve on the original work, and that minimize the infringement of the artists’ rights are good, and should be encouraged.
{"title":"On Resisting Art","authors":"J. Harold","doi":"10.1093/jaac/kpac049","DOIUrl":"https://doi.org/10.1093/jaac/kpac049","url":null,"abstract":"\u0000 What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the rights of artists are not absolute; (2) the fact that such actions are based on mistaken interpretations of the artworks has no normative weight; (3) there can be reason to object to additions and alterations whose conception of the artwork is morally worse than the original (and so, there can be reason to support additions and alterations whose conception is morally better); (4) petitioning raises special moral problems; and, most important, (5) some of these actions are valuable because they involve creative and aesthetic activity. Those acts of audience resistance that are creative, morally improve on the original work, and that minimize the infringement of the artists’ rights are good, and should be encouraged.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"335 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124715778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I begin developing what I call the genre view of public lands. It holds that public land designations fall into different genres of land management. I focus on one designation in particular—US national monuments created under the Antiquities Act—to develop the view and illustrate its significance. I characterize the national monument genre in terms of two norms stated in the Act and show how they shape public space in distinctive ways. I then illustrate how the genre view opens avenues for evaluating land designations. By way of example, I evaluate national monuments according to aesthetic considerations. I argue that the genre is, perhaps surprisingly, aesthetically vexed and that there is an aesthetic reason for presidents to depart from the original intent and meaning of the Act. This also lends support for some of the most controversial national monuments. Drawing from case law, I then show how aesthetic evaluations may hold legal weight. Such considerations can also influence decisions about whether to protect an area as a monument. In these ways, the genre view offers a framework for philosophers, and particularly aestheticians, to contribute to environmental law and policy.
{"title":"The genre view of public lands: the case of national monuments","authors":"Levi Tenen","doi":"10.1093/jaac/kpac048","DOIUrl":"https://doi.org/10.1093/jaac/kpac048","url":null,"abstract":"\u0000 In this article, I begin developing what I call the genre view of public lands. It holds that public land designations fall into different genres of land management. I focus on one designation in particular—US national monuments created under the Antiquities Act—to develop the view and illustrate its significance. I characterize the national monument genre in terms of two norms stated in the Act and show how they shape public space in distinctive ways. I then illustrate how the genre view opens avenues for evaluating land designations. By way of example, I evaluate national monuments according to aesthetic considerations. I argue that the genre is, perhaps surprisingly, aesthetically vexed and that there is an aesthetic reason for presidents to depart from the original intent and meaning of the Act. This also lends support for some of the most controversial national monuments. Drawing from case law, I then show how aesthetic evaluations may hold legal weight. Such considerations can also influence decisions about whether to protect an area as a monument. In these ways, the genre view offers a framework for philosophers, and particularly aestheticians, to contribute to environmental law and policy.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127729403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of statues based only on what they represent. Both explanations are driven by the same core idea: the significance of statues arises primarily from what they do and not what they say.
{"title":"How Statues Speak","authors":"David Friedell, Shen-yi Liao","doi":"10.1093/jaac/kpac040","DOIUrl":"https://doi.org/10.1093/jaac/kpac040","url":null,"abstract":"\u0000 We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of statues based only on what they represent. Both explanations are driven by the same core idea: the significance of statues arises primarily from what they do and not what they say.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121329535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Quatremère de Quincy’s Moral Considerations on the Place and Purpose of Works of Art: Introduction and Translation","authors":"Michel-Antoine Xhignesse","doi":"10.1093/jaac/kpac044","DOIUrl":"https://doi.org/10.1093/jaac/kpac044","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123155974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Philosophy and the Art of Writing","authors":"Botond Csuka","doi":"10.1093/jaac/kpac045","DOIUrl":"https://doi.org/10.1093/jaac/kpac045","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127713916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sometimes, a proposition is fictional in a story in virtue of the fact that other fictional truths are good evidence for it. Cases are presented in which this evidential rule, and not some rule that invokes counterfactuals or intentions, is what explains what is fictional. Applications are made to the question of interpretive pluralism and the problem of imaginative resistance. In the background is pluralism about fictionality: the evidential rule is one of a variety of rules that are needed to account for what is fictional in a story.
{"title":"When (Imagined) Evidence Explains Fictionality","authors":"Bradford Skow","doi":"10.1093/jaac/kpac039","DOIUrl":"https://doi.org/10.1093/jaac/kpac039","url":null,"abstract":"\u0000 Sometimes, a proposition is fictional in a story in virtue of the fact that other fictional truths are good evidence for it. Cases are presented in which this evidential rule, and not some rule that invokes counterfactuals or intentions, is what explains what is fictional. Applications are made to the question of interpretive pluralism and the problem of imaginative resistance. In the background is pluralism about fictionality: the evidential rule is one of a variety of rules that are needed to account for what is fictional in a story.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123800048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims at defending the old theory of iconological dualism that opposes ‘handmade’ pictures to photographic pictures. I defend a new version of that theory, according to which photographs always enable viewers to have singular thoughts on the things photographed, while handmade pictures by themselves never enable viewers to have singular thoughts but only enable them to have what I call ‘thoughts by depiction’. To this end, I defend the old theory according to which singular thoughts require a special relation—called ‘acquaintance’—between the thinker and the object thought about. I put this traditional view forward thanks to a new version of the classic spy argument for the acquaintance constraint on singular thoughts.
{"title":"Iconological Dualism Re-Thought: A New Variation on Two Old Theories","authors":"Frédéric Wecker","doi":"10.1093/jaac/kpac036","DOIUrl":"https://doi.org/10.1093/jaac/kpac036","url":null,"abstract":"\u0000 This article aims at defending the old theory of iconological dualism that opposes ‘handmade’ pictures to photographic pictures. I defend a new version of that theory, according to which photographs always enable viewers to have singular thoughts on the things photographed, while handmade pictures by themselves never enable viewers to have singular thoughts but only enable them to have what I call ‘thoughts by depiction’. To this end, I defend the old theory according to which singular thoughts require a special relation—called ‘acquaintance’—between the thinker and the object thought about. I put this traditional view forward thanks to a new version of the classic spy argument for the acquaintance constraint on singular thoughts.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"215 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122080452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Figurative Shaping of Peaks and Rocks on Geumgang Mountain: The Korean Temperament and Vision","authors":"Youenhee Kho","doi":"10.1093/jaac/kpac029","DOIUrl":"https://doi.org/10.1093/jaac/kpac029","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114029512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Some visual artworks constitute hate speech because they can perform oppressive illocutionary acts. This illocution-based analysis of art reveals how responsive curation and artmaking undermines and manages problematic art. Drawing on the notion of counterspeech as an alternative tool to censorship to handle art-based hate speech, this article proposes aesthetic blocking and aesthetic spotlighting. I then show that under certain conditions, this can lead to eventual metaphysical destruction of the artwork; a way to destroy harmful art without physically destroying it.
{"title":"Artistic (Counter) Speech","authors":"D. Dixon","doi":"10.1093/jaac/kpac038","DOIUrl":"https://doi.org/10.1093/jaac/kpac038","url":null,"abstract":"\u0000 Some visual artworks constitute hate speech because they can perform oppressive illocutionary acts. This illocution-based analysis of art reveals how responsive curation and artmaking undermines and manages problematic art. Drawing on the notion of counterspeech as an alternative tool to censorship to handle art-based hate speech, this article proposes aesthetic blocking and aesthetic spotlighting. I then show that under certain conditions, this can lead to eventual metaphysical destruction of the artwork; a way to destroy harmful art without physically destroying it.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121671900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The genre of fable tends to be overlooked in the study of Korean literary history on the ground that the genre seems too archaic to reflect the aesthetic standards established in the modern European novel, in which the focus lies in the realistic representation of the individual or contemporary society. However, the genre was not completely abandoned by modern Korean writers. Few critics have noted the continuing role played by the rich Korean fable tradition, which eventually made the reinvention of the genre in the mass media possible. In particular, it is worth noting that there was the emergence of a new subgenre of fable in the late nineteenth century: that is, fabulous court case fiction, which is quite distinct from the Chinese literary tradition that had underprivileged imaginative narrative texts under the absolute domination of Confucian historiography. The genre of fabulous court case fiction makes us reconsider the plurality of narrative forms and various narrative functions. In this study, I examine how imaginative narrative texts such as fables simultaneously pursue the pleasure of storytelling and the purposes of both moral and specialized (legal) education.
{"title":"The Fable and the Novel: Rethinking History of Korean Fiction from the Perspective of Narrative Aesthetics","authors":"Sohyeon Park","doi":"10.1093/jaac/kpac031","DOIUrl":"https://doi.org/10.1093/jaac/kpac031","url":null,"abstract":"\u0000 The genre of fable tends to be overlooked in the study of Korean literary history on the ground that the genre seems too archaic to reflect the aesthetic standards established in the modern European novel, in which the focus lies in the realistic representation of the individual or contemporary society. However, the genre was not completely abandoned by modern Korean writers. Few critics have noted the continuing role played by the rich Korean fable tradition, which eventually made the reinvention of the genre in the mass media possible. In particular, it is worth noting that there was the emergence of a new subgenre of fable in the late nineteenth century: that is, fabulous court case fiction, which is quite distinct from the Chinese literary tradition that had underprivileged imaginative narrative texts under the absolute domination of Confucian historiography. The genre of fabulous court case fiction makes us reconsider the plurality of narrative forms and various narrative functions. In this study, I examine how imaginative narrative texts such as fables simultaneously pursue the pleasure of storytelling and the purposes of both moral and specialized (legal) education.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127450356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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