About this topic
Summary

Pop culture refers to the collective ideas, beliefs, trends, images, and phenomena that are prevalent in mainstream society at a given time. Aesthetics, on the other hand, pertains to the study of beauty, visual or sensory experiences, and the principles that govern the creation and appreciation of art and design. In essence, pop culture and aesthetics are deeply interconnected, with pop culture serving as a reflection of societal values, aspirations, and interests, and aesthetics providing the visual and sensory language through which these cultural expressions are communicated. The interplay between the two shapes how we perceive, appreciate, and engage with the world around us.

Key works Zahrádka 2016, Fabelo Corzo 2015, Dorzweiler 2017, Majithia 2012, Zaaiman 2012, Ribeiro 2008, Hollows 2000, Lopes 2000, Berleant 1994, Raymond 1990, Lefrançois & Lérus 2023
Introductions Zahrádka 2016, Fabelo Corzo 2015, Dorzweiler 2017, Zaaiman 2012, Ribeiro 2008
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139 found
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  1. Toward a Responsible Artistic Agency: Mindful Representation of Fat Communities in Popular Media.Cheryl Frazier - forthcoming - Journal of Aesthetics and Art Criticism.
    When fat people are depicted in popular media, we often take their behavior to be representative of all fat people. How one fat person acts becomes representative of a broader pattern of behavior that all fat people are presumed to share, shaping the way we understand fatness. This way of generalizing presents fatness as a singular experience, reducing fat people to a monolithic narrative that often reinforces anti-fat bias. How do we avoid this reduction? How can we responsibly depict fat (...)
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  2. What Does ‘New Wave’ Mean?Peter Groff - forthcoming - In Andrew Krivine (ed.), Reversing into the Future: New Wave Graphics. London, UK: Pavilion Books.
    A philosophical examination of 'new wave' as a musical genre, focusing on its developmental history and relation to punk as well as its unique ethos and aesthetic. Forthcoming 2021.
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  3. Diaectic of Pop.Robin James - forthcoming - Journal of Aesthetics and Art Criticism.
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  4. Music as Misdirection.Jason Leddington - forthcoming - In Jake Johnson (ed.), Viva Las Vegas: Music and Myth in America's City of Second Chances. Champaign, IL, USA:
    Magic and Vegas have a lot in common. Both have a reputation for bad taste and cheap thrills, and they’ve both generally been ignored—or at best ridiculed—by the art-critical establishment. It’s fitting, then, that no city loves magic like Vegas loves magic. Today, more than one-third of its top-selling shows feature magic, and this means that no complete treatment of art and entertainment in Sin City can afford to ignore it. But what’s at risk here is more than theoretical completeness. (...)
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  5. Pornography and Melancholy.Hans Maes - forthcoming - Apa Newsletter on Feminism and Philosophy.
    Section 1 proposes a new philosophical account of melancholy. Section 2 examines the reasons why one might think that pornography and melancholy are incompatible. Section 3 discusses some successful examples of melancholic pornography and makes the case that feminist pornographers are particularly well-placed to produce such material.
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  6. Immoral Artists.Erich Hatala Matthes - forthcoming - In James Harold (ed.), The Oxford Handbook of Ethics and Art.
    This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...)
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  7. Arthur Danto’s Andy Warhol: the Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - forthcoming - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  8. Aesthetic Sins of Commission and Omission.Nils-Hennes Stear - forthcoming - Analysis.
    A critical notice of Erich Hatala Matthes' 'Drawing the Line'.
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  9. The Ontology and Aesthetics of Genre.Evan Malone - 2024 - Philosophy Compass 19 (1):e12958.
    Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...)
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  10. Ethics and Video Games.Christopher Bartel - 2023 - In James Harold (ed.), Oxford Handbook of Ethics and Art. Oxford, UK: Oxford University Press.
    Ethics in video gaming is broad topic that extends beyond the familiar instances of “moral panics”. This chapter will first divide ethical issues into internal and external moral questions. Roughly, this equates to a distinction between the ethics in games and the ethics of games. The ethical issues internal to video games arise due to both their status as fictions and their status as games. Many games afford players the opportunity to perform violent and vicious acts; however, these are of (...)
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  11. Metamodernity, American Transcendentalism and Transhumanism in Japanese Anime.Steven Foertsch - 2023 - In Kaz Hayashi & William Anderson (eds.), Anime, Philosophy and Religion. Wilmington, DE: Vernon Press. pp. 73-98.
    Recent theorists of cultural studies have noticed the emergence of metamodernity as an ideal type, categorized by an oscillation between postmodern deconstructivism and modern idealism, into a form of transcendentalism. I argue in this chapter that this type of transcendentalism, informed by the historical American Transcendentalist Movement, is the emerging ideal called “Transhumanism.” I use a case study of five Japanese anime to demonstrate how transhumanist, metamodernist, and transcendental thinking often recur in key core plot points and narratives found within. (...)
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  12. La vitesse Stridentisme.Salvador Gallardo Cabrera - 2023 - Attaques 5 (5):712-727. Translated by Florence Malfatto.
    The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, the (...)
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  13. How to Know a City: The Epistemic Value of City Tours.Pilar Lopez-Cantero & Catherine Robb - 2023 - Philosophy of the City Journal 1 (1):31-41.
    When travelling to a new city, we acquire knowledge about its physical terrain, directions, historical facts and aesthetic features. Engaging in tourism practices, such as guided walking tours, provides experiences of a city that are necessarily mediated and partial. This has led scholars in tourism studies, and more recently in philosophy, to question the epistemological value of city tours, critiquingthem as passive, lacking in autonomous agency, and providing misrepresentative experiences of the city. In response, we argue that the mediated and (...)
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  14. An Aesthetics of (Popular) Music Radio.Aaron Meskin - 2023 - Journal of Aesthetics and Art Criticism 81 (3):330-340.
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  15. GOLEMA XIV prognoza rozwoju ludzkiej cywilizacji a typologia osobliwości technologicznych.Rachel Palm - 2023 - Argument: Biannual Philosophical Journal 13 (1):75–89.
    The GOLEM XIV’s forecast for the development of the human civilisation and a typology of technological singularities: In the paper, a conceptual analysis of technological singularity is conducted and results in the concept differentiated into convergent singularity, existential singularity, and forecasting singularity, based on selected works of Ray Kurzweil, Nick Bostrom, and Vernor Vinge respectively. A comparison is made between the variants and the forecast of GOLEM XIV (a quasi-alter ego and character by Stanisław Lem) for the possible development of (...)
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  16. The Changing Meaning of Kitsch: From Rejection to Acceptance.Max Ryynänen & Paco Barragán (eds.) - 2023 - Palgrave / MacMillan (Springer Verlag).
    This book inaugurates a new phase in kitsch studies. Kitsch, an aesthetic slur of the 19th and the 20th century, is increasingly considered a positive term and at the heart of today’s society. Eleven distinguished authors from philosophy, cultural studies and the arts discuss a wide range of topics including beauty, fashion, kitsch in the context of mourning, bio-art, visual arts, architecture and political kitsch. In addition, the editors provide a concise theoretical introduction to the volume and the subject. The (...)
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  17. Compassion and Moral Responsibility in Avatar: The Last Airbender: “I was never angry; I was afraid that you had lost your way”.Robert H. Wallace - 2023 - In Helen De Cruz & Johan De Smedt (eds.), Avatar: The Last Airbender and Philosophy. Wisdom from Aang to Zuko. Hoboken, NJ, USA: Wiley-Blackwell. pp. 197-205..
    This public philosophy piece examines moral responsibility and alternatives to angry blame as exemplified in the TV show Avatar: The Last Airbender.
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  18. Imagining in Oppressive Contexts, or What’s Wrong with Blackface?Robin Zheng & Nils-Hennes Stear - 2023 - Ethics 133 (3):381-414.
    What is objectionable about “blacking up” or other comparable acts of imagining involving unethical attitudes? Can such imaginings be wrong, even if there are no harmful consequences and imaginers are not meant to apply these attitudes beyond the fiction? In this article, we argue that blackface—and imagining in general—can be ethically flawed in virtue of being oppressive, in virtue of either its content or what imaginers do with it, where both depend on how the imagined attitudes interact with the imagining’s (...)
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  19. Teogonia technologiczna. Nominalistyczna koncepcja bóstwa dla transhumanizmu i posthumanizmu.Rachel 'Preppikoma' Palm - 2022 - In Kamila Grabowska-Derlatka, Jakub Gomułka & Rachel 'Preppikoma' Palm (eds.), PhilosophyPulp: Vol. 2. Kraków, Poland: Wydawnictwo Libron. pp. 129–143.
  20. Making a Choice When There Is No "Better Man".Laura M. Bernhardt - 2022 - In Stefano Marino & A. Schembari (eds.), Pearl Jam and philosophy. Bloomsbury Academic. pp. 79-94.
    The woman at the heart of Pearl Jam’s “Better Man” (Vitalogy, 1994) is trapped. She has committed herself to a relationship that makes her miserable, but she sees no viable alternative to staying in it. She mourns a past self who might have been able to leave and dreams of a dierent way things might be, but remains unable to move on. It is tempting to view her with a mixture of pity and frustration (reecting some of the personal circumstances (...)
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  21. Becoming Afflicted, Becoming Virtuous: 'Darkest Dungeon' and the Human Response to Stress.James Cartlidge - 2022 - Games and Culture 18 (2):19.
    The developers of Red Hook Studios’ 2016 gothic horror game ‘Darkest Dungeon’ said that they wanted to ‘capture the human response to stress’. This paper analyses how the game does this with its ‘stress’, ‘affliction’ and ‘virtue’ mechanics. With reference to research literature on stress, I show how these mechanics, which could easily have been cheap gimmicks, approach the topic of stress with admirable detail, offering a complex reflection on the various aspects, positive and negative, of several possible human responses (...)
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  22. A Critical Utopia for Our Time: Discussing Star Trek’s Philosophy of Peace and Justice.Andrew Fiala, Jennifer Kling & Joseph Orosco - 2022 - The Acorn 22 (1):33-56.
    A discussion of José-Antonio Orosco’s new book, Star Trek’s Philosophy of Peace and Justice: A Global, Anti-Racist Approach. Orosco has been finding wisdom in Star Trek episodes since he watched late night reruns with his mother. Then, recently, in honor of the 50th anniversary of Star Trek’s debut, Orosco began to teach the series as source material for peace philosophy. Philosophical concepts can be brought to bear on Star Trek stories; but Orosco argues that the stories also assert philosophical meanings (...)
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  23. PhilosophyPulp: Vol. 2.Kamila Grabowska-Derlatka, Jakub Gomułka & Rachel 'Preppikoma' Palm (eds.) - 2022 - Kraków, Poland: Wydawnictwo Libron.
  24. Against Modernism and Postmodernism on Art and Entertainment: A Kristeller Thesis of Entertainment.Andy Hamilton - 2022 - British Journal of Aesthetics 63 (1):41-56.
    This article develops a Wittgensteinian treatment of the relationship between art and entertainment, combining universal and historically conditioned features.
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  25. The Post-Dystopian Technorealism of Ted Chiang.James Hughes & Nir Eisikovits - 2022 - Journal of Ethics and Emerging Technologies 32 (1):1-14.
    In this article, we argue that Ted Chiang’s short stories offer a realist philosophy of technology, one that charts a third course between the techno-pessimism and techno-optimism that characterize the history of philosophizing about technology and much of the speculative fiction about it. We begin by surveying the history of utopian and skeptical approaches to technology in philosophy and speculative fiction. We then move to discuss two of Chiang’s recent stories and use them to articulate the author’s techno-realism. Chiang’s view, (...)
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  26. Women as Open Wounds: Fear, Desire, Disgust and the Ideal Feminine in the Works of Alexander McQueen and John Galliano.Danae Ioannou - 2022 - Popular Inquiry 11 (2):32-47.
    Starting from the notion of the Ideal Feminine, this paper discusses the representation of trauma and the portrayal of women as open wounds in the designs of Alexander McQueen and John Galliano. Particularly, I explore how the McQueen’s Deadly Woman and Galliano’s Doll question the boundaries between mortality, sexuality and decay. By examining the relationship between fear, desire and disgust in the aesthetic representation of the wounded fashioned body, I argue that in their works disgust functions as an empowering emotion, (...)
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  27. Drawing the Line: What to Do with the Work of Immoral Artists from Museums to the Movies.Erich Hatala Matthes - 2022 - New York: Oxford University Press USA.
    Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists.
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  28. How Museums and Arts Institutions Can Deal with the Problem of Immoral Artists: A Response to Willard.Erich Hatala Matthes - 2022 - British Journal of Aesthetics 62 (4):559-566.
    In this essay, I respond to Mary Beth Willard's commentary on Drawing the Line. I focus on responding to a number of questions and objections that Willard poses concerning the role of arts institutions in addressing the problem of immoral artists. Focusing on the case of museums in particular, I defend the idea that they can exercise their power to play a productive and important role in societal conversations about moral criticism of artists.
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  29. Which Side are You On? The Class Consciousness of Punk.Tiffany Elise Montoya - 2022 - Chicago: Open Universe. Edited by Joshua Heter & Richard Greene.
    Both the music and subculture of punk historically arose from disaffected working-class youth. This socio-economic starting point was absolutely crucial for making punk what it is. However, along with this standpoint came various levels of class consciousness that we can see evidence of in the lyrics and in various practices of people within the scene itself. I divide this consciousness into 3 specific levels of structural understanding and agency. Inspired by Georg Lukacs' analysis of class consciousness and Antonio Gramsci's theory (...)
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  30. Uncomfortably Close to Human.Shelley M. Park - 2022 - Feminist Philosophy Quarterly 8 (3).
    Social robots are marketed as human tools promising us a better life. This marketing strategy commodifies not only the labor of care but the caregiver as well, conjuring a fantasy of technoliberal futurism that echoes a colonial past. Against techno-utopian fantasies of a good life as one involving engineered domestic help, I draw here on the techno-dystopian television show Humans (stylized HUMⱯNS) to suggest that we should find our desires for such help unsettling. At the core of my argument is (...)
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  31. Arrested Development as Philosophy: Family First? What We Owe Our Parents.Kristopher G. Phillips - 2022 - Palgrave Handbook of Popular Culture as Philosophy.
    Narrator Ron Howard tells us that Arrested Development is the “story of a wealthy family who lost everything, and the one son who had no choice but to keep them all together.” The cult-classic follows Michael Bluth – the middle son of an inept, philandering, corrupt real-estate developer, George Bluth Sr., who is arrested for white-collar crimes. Constantly faced with crises created by his eccentric family, Michael does his best to preserve the family business, put out fires, and serve as (...)
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  32. 'Why Does Jimmy Get to Determine Chuck’s Healthcare?', Better Call Saul and Philosophy : I Think Therefore I Scam.James C. Ross - 2022 - Chicago: Open Universe. Edited by Joshua Heter & Brett Coppenger.
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  33. Let it Go? Elsa, Stoicism, and the “Lazy Argument”.Brendan Shea - 2022 - AndPhilosophy.Com: The Blackwell Philosophy and Pop Culture Series.
    Disney’s Frozen (2013) and Frozen 2 (2019) are among the highest-grossing films of all time (IMDb 2021) and are arguably among the most influential works of fantasy produced in the last decade in any medium. The films, based loosely on Hans Christensen Andersen’s “The Snow Queen” (Andersen 2014) focus on the adventures of the sisters Anna and Elsa as they, together with their companions, seek to safeguard their people both from external threats and (importantly) from Elsa’s inabilities to control her (...)
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  34. Artistas mecánicos: Una mirada a la capacidad estética de máquinas y algoritmos desde la música pop y el pop art.Leonardo Arriagada - 2021 - Calle 14 Revista De Investigación En El Campo Del Arte 16 (29):54-66.
    A pesar de los enormes avances que ha tenido la inteligencia artificial (IA) y la robótica, aún es polémico afirmar que una máquina pueda crear arte. Contrario a esta visión, propongo que tras la negación de las capacidades estéticas de las máquinas subyace un sesgo antropocéntrico. Para ilustrar lo anterior tomo ejemplos sobre el rol de las máquinas en la música y arte pop. He seleccionado estos géneros pues históricamente han incorporado de buena forma las novedades tecnológicas. En definitiva, este (...)
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  35. "Hands Tied: a roundtable on Maria Lassnig and Ayesha Hameed" (5th edition).Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen & M. Ty - 2021 - Another Gaze: A Journal for Film and Feminism 5:34-42.
    'Hands Tied' brings together two very different films about hands: Maria Lassnig's Palmistry (1973) and Ayesha Hameed's A Rough History (of the Destruction of Fingerprints) (2016). These works are contextualised and their scope extended further by a roundtable discussion featuring participants Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen, and M. Ty., who discuss their relation to fate, work, pleasure, touch, and surveillance.
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  36. Dave Chappelle Says He Doesn't Mean It So Just Shut Up Already.Steven Burgess - 2021 - In Mark Ralkowski (ed.), Dave Chappelle and Philosophy: When Keeping It Wrong Gets Real.
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  37. “Teach Me To Do What’s Right”: Faith, Hope, and Love as Post-Religious Virtues.A. G. Holdier - 2021 - Journal for Cultural and Religious Theory 20 (3).
    According to Thomas Aquinas, what distinguishes the theological from the cardinal virtues is the nature of their object: the latter aim at the natural excellence of humans, while the former direct us beyond ourselves to focus on the Divine. This paper considers the cinematic work of Drew Goddard — in particular, his 2018 film _Bad Times at the El Royale_ — as a post-religious response to Aquinas, insofar as it retains and re-presents Faith, Hope, and Love as valuable elements of (...)
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  38. Talk about Pop Muzik: Discussion of Enrico Terrone, ‘Listening to Other Minds: A Phenomenology of Pop Songs’, BJA 60 (2020), 435–453.Nicholas Wiltsher - 2021 - British Journal of Aesthetics 61 (4):471-483.
    In ‘Listening to Other Minds’, Enrico Terrone provides an account of the mental activity in which we ought to engage to appreciate pop music. He argues that we should ‘play a game of make-believe’ in which we imagine that we can ‘hear … the mind’ of a fictional character. We should use this ability to grasp the thoughts and feelings that the mind contains, and thus undertake ‘exploration’ of the character’s ‘inner life’. This article argues, first, that only a simplified (...)
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  39. A Paragon of Righteous Virtue.Robert Elliott Allinson - 2020 - In Heather L. Rivera & Robert Arp (eds.), Perry Mason and Philosophy: The Case of the Awesome Attorney. Chicago: Open Court Press. pp. 11-27.
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  40. Rache. Über einen blinden Fleck der Moderne.Fabian Bernhardt - 2020 - Berlin, Deutschland: Matthes & Seitz.
    Die Moderne nimmt für sich in Anspruch, die Rache glücklich überwunden und durch die Herrschaft des Rechts ersetzt zu haben. Seit der Aufklärung gilt die Rache nicht nur als Gegenspielerin des Rechts, sondern als das dunkle Andere der Moderne überhaupt. In seiner groß angelegten kulturgeschichtlichen Studie liest Fabian Bernhardt diese bislang kaum hinterfragte Fortschrittserzählung gegen den Strich. Batman tritt neben Achilles, der Potlatsch neben 9/11, Marcel Mauss trifft auf Immanuel Kant – in einer Verbindung aus philosophischer Reflexion, kulturanthropologischem Zugriff und (...)
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  41. Subversive Humor as Art and the Art of Subversive Humor.Chris A. Kramer - 2020 - The Philosophy of Humor Yearbook 1 (1):153–179.
    This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized (...)
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  42. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
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  43. The arts of action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  44. Fake News and Ecstatic Truths: Alternative Facts in Lessons of Darkness.Kyle Novak - 2020 - In M. Blake Wilson & Christopher Turner (eds.), The Philosophy of Werner Herzog. Lanham, MD 20706, USA: Rowman & Littlefield.
    This chapter draws a connection between Herzog’s falsified epigraph to Lessons of Darkness and Kellyanne Conway’s claim that there are “alternative facts”. Philosophers have a commitment to the truth, but in cases like Herzog’s quote or Trump’s inauguration it’s very easy to fact-check. Being a good citizen may require that from us, but doing so leaves little to resolve philosophically. Thus, if Herzog raises a question about finding truth in an age of “alt-facts” and “fake news”, then it must be (...)
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  45. Art works for isolates.Paul O'Halloran - 2020 - Dissertation, University of Melbourne
    In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...)
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  46. A Comedian and a Fascist Walk into Freud's Bar: On the Mass Character of Stand‐Up Comedy.Martin Shuster - 2020 - Journal of Aesthetics and Art Criticism 78 (4):525-534.
    This article explores the psychoanalytic points of commonality between stand‐up comedy shows and fascist rallies, arguing that both are concerned with the creation of a “mass” audience. The article explores the political significance of this analogy by arguing that while stand‐up shows are not as regressive as fascist rallies, their “mass” character does run counter to any political aspirations they may have toward the end of critical consciousness raising.
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  47. From Tomas Kulka on Kitsch and Art to Art as a Singular Rule.Doron Avital & Karolina Dolanska - 2019 - Espes 8 (2):17-27.
    Tomas Kulka’s celebrated body of work on aesthetics has its logical groundings among other influences in the work of Karl Popper in the philosophy of science and Nelson Goodman on art and symbolic systems. I will revisit these two anchors to draw the philosophical move Tomas takes in his Kitsch and Art and use it to further a philosophical move of my own aiming at the very logical core of the question of art.
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  48. Seeing things and screening reality. A review of “Philosophy and Film. Bridging Divides”. [REVIEW]Diana Bulzan - 2019 - Revista de Filosofie Aplicata 2 (3):124-131.
  49. La sociedad del espectáculo de Guy Debord: 50 años después.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 259-274.
    En 1967, el francés Guy Debord escribía un resonante texto, La sociedad del espectáculo, en el que nos ofrece una penetrante y aguda reflexión sobre la sociedad de consumo —cuya experiencia directa vive en la Francia de la posguerra—, donde florece la economía de la abundancia, la industria del ocio, la generalización de los medios de comunicación audiovisual y la propagación del llamado american way of life. Anclado fuertemente en las ideas de Marx sobre la alienación y el fetichismo mercantil, (...)
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  50. La encrucijada axiológica de la reproductibilidad técnica del arte.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 227-244.
    La obra de arte en la época de su reproductibilidad técnica es, sin dudas, la más emblemática aportación de Walter Benjamin a la estética y la teoría del arte. Un aspecto problemático que aflora en su lectura es el del impacto axiológico que el teórico marxista judío-alemán le atribuía a la nueva época. Es significativo el hecho de que, mientras para unos, este texto alberga una crítica negativa a la reproductibilidad técnica y una mirada nostálgica al pasado, para otros, la (...)
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