Really Boring Art

Ergo: An Open Access Journal of Philosophy 8 (30):190-218 (2022)
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Abstract

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success.

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Author Profiles

Andreas Elpidorou
University of Louisville
John Gibson
University of Louisville

Citations of this work

Replies to Contesi, Hardcastle, Pismenny, and Gallegos.Andreas Elpidorou - 2022 - Journal of Philosophy of Emotion 3 (2):44-77.

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References found in this work

Being for Beauty: Aesthetic Agency and Value.Dominic Lopes - 2018 - Oxford, United Kingdom: Oxford University Press.
Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. Walton - 1990 - Journal of Aesthetics and Art Criticism 49 (2):161-166.
Fearing fictions.Kendall L. Walton - 1978 - Journal of Philosophy 75 (1):5-27.

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