Pop Culture

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 (...) course fictional actions and are often contextualized as part of the game’s competitive play. This raises the general question whether it can ever be morally wrong to perform some fictional action in a video game. To approach this question, this section will first consider how moral values are inherent within games. Players engage with the embedded moral values of games both at the level of their narratives and their rules. Games become objects for moral reflection, not only through the stories that they tell, but also through the ways in which players are invited to engage actively with those stories. Next, external ethical issues are those that focus on the nature of the gaming industry and gaming cultures. The gaming industry has notoriously struggled with representations of gender and race, both in their workforce and in the games that they produce. Turning to the ecological impacts, the gaming industry is a major source of e-waste through the production of gaming technologies. The hardware used in gaming has a lifecycle that begins with the exploitation of resource-rich developing countries that produce the precious materials used in computer screens and processing chips and ends with those same products being dumped in toxic landfills in other developing countries. Additionally, gaming is a major source of energy consumption, particularly as cloud gaming servers are required to run continuously. When considering the ethics of games, such social and ecological concerns must surely figure in one’s moral calculation. Finally, some moral issues straddle the line between the above distinction between internal and external due to the porous nature of virtual interactivity, particularly regarding multiplayer games. Various gaming cultures struggle with their own ethical issues—from the failure to promote sportsmanship in e-sports to the widespread harassment of players in online platforms. This final section will briefly consider problems with multiplayer games, harassment, and trolling. (shrink)

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.

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. (...) Magic provides a distinctive—and distinctively powerful—form of aesthetic experience whose appeal spans very different cultures, age groups, and historical periods. Recognizing this opens a variety of theoretical doors and raises a host of questions, among them the issue of the relationship between magic and other genres and art forms. Indeed, magic performances are often complex theatrical events that incorporate drama, humor, elements of horror, and—critically for present concern—music. While these are sometimes incidental accretions, mere presentational window-dressing for the magic trick itself, they can also be tools in the magician’s toolbox. For example, magicians widely appreciate that a joke can be good for more than a laugh: in virtue of how it shapes the audience’s attention, it can directly contribute to the success of a trick. -/- In this chapter, I argue that the same is true of music, and that magicians employ it not only to set the mood and highlight dramatic moments, but to facilitate the deception that’s necessary for the experience of magic itself. As we will see, music can frame, stimulate, and illuminate, but it can simultaneously also block and blind. No wonder, then, that it’s everywhere in Vegas, which, like magic, works only if we’re receptive to the illusions it openly manufactures. (shrink)

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.

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 (...) audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)

Book Chapter in _Punk and Philosophy: God Save the Queen (of the Sciences)_, ed. Josh Heter and Richard Greene.

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 (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

A critical notice of Erich Hatala Matthes' 'Drawing the Line'.

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 (...) role of kitsch in contemporary culture and society is innovatively explored and the volume aims not to condemn but to accept and understand why kitsch has become acceptable today. (shrink)

This public philosophy piece examines moral responsibility and alternatives to angry blame as exemplified in the TV show Avatar: The Last Airbender.

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 (...) context. We explain and demonstrate this using speech act theory alongside a detailed case study of blackface. (shrink)

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 (...) to stress. They show how different responses include similar symptoms, how stress impacts the people around the stressed person, and make the case that stress can break people, but also fuel heroism. It is a fantastic example of how video game mechanics can be used to educate people about complex subjects without explicitly saying this is what they’re doing. (shrink)

This article develops a Wittgensteinian treatment of the relationship between art and entertainment, combining universal and historically conditioned features.

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, (...) as it is developed in these stories, has three features: First, technology is not merely an agent of de-skilling, it can also promote self-knowledge and insight. Second, technology is not only an agent of alienation it can also provide succor and psychological relief. Finally, technology does not necessarily remake us into new beings with new capacities and needs. In many cases, it just gives us further avenues to be what we already were - to act on the tendencies and pursue the needs we always had. (shrink)

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, (...) contributing to the perception of the aversive fashioned body as a feministic act. (shrink)

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.

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.

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 (...) a return of the “uncanny valley” problem, from its reformulation as an engineering/design problem to its origins as a psychosocial symptom of an unresolved, traumatic past. I conclude that our sense of the uncanny may be best understood as a moral capacity that should be honed rather than evaded. (shrink)

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 (...) a role model for his teenage son, George Michael. The Bluths’ misadventures raise the question, what, if anything, do adult children owe their parents? This chapter explores the relationships between the members of the Bluth family and argues that Arrested Development makes the case that, insofar as adult children “owe” their parents anything, such an obligation is grounded in a sense of friendship – a voluntarily entered relation that can be terminated at any time. As a result, Arrested Development challenges the often-unquestioned assumption that children owe their parents special consideration simply in virtue of the parent-child relationship. (shrink)

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 (...) magical abilities to summon ice and snow. While Anna’s choices drive much of the action of both films, Elsa has undoubtedly been the more influential and popular of the two characters, as indicated by measures such as merchandise sales (Ellen Byron and Paul Ziobro 2014), Google search data (Play Like Mum 2020), and even baby name choices (Wolfers 2015). -/- Despite her popularity, Elsa is in many ways a paradoxical sort of hero, as she finds her actions all but predetermined by both external and internal forces. This is particularly the case in the first film, where we meet an Elsa who has been born with a power she cannot control, and which appears more as a force of nature than as anything that “belongs” to Elsa. The film’s action is driven, in large part, precisely by Elsa’s failures to exert control over her emotions and abilities. She begins the film by accidentally injuring Anna. This, in turn, causes Elsa to become fearful and withdrawn and to isolate herself from her sister, even after their parents die on a quest to find a cure for Elsa. Elsa's fear and lack of control lead to an even more dire outcome when she inadvertently calls down winter on Arendelle and abandons her people for the mountains. It is only through Anna's devoted quest to rescue her sister, first by pursuing her to the mountains, and later by throwing herself in front of the villainous Hans’ sword attack on her sister, that Elsa (and Arendelle) are saved. Elsa's most active contribution to this is to appreciate the import of Anna's sacrifice and to discover the power of "love" to overcome her fear. -/- What then, are we to make of Elsa as a character? It is the younger sister Anna who corresponds most closely to Gerda, the unquestioned protagonist of Andersen’s original tale, and her character arc fits neatly with the well-known “Hero’s Journey” model for describing myth (Campbell 2020). It is Anna, for example, who goes on a quest, meets a group of motley companions (the human Kristoff, the reindeer Sven, and the magical snowman Olaf), accepts advice from wise elders (the trolls), undergoes a severe trial, and even gets the "reward" of romantic love at the end. All of this has led some scholars (Niemiec and Bretherton 2015; Heit 2019) to hold up Anna, rather than Elsa, as something like the hero of the story. Existing scholarship on Elsa, by contrast, has focused largely on issues related to her gender and sexuality (Law 2014; Lee 2015; Steinhoff 2017; Streiff and Dundes 2017; Dundes, Streiff, and Streiff 2018; Dundes 2020; Llompart and Brugué 2020). In what follows, I’ll be taking a closer look at Elsa’s unique status as a protagonist, and what her struggles with fate reveal about the nature of free will and ethical responsibility. I’ll argue that Elsa provides a useful model of a “Stoic hero” and that her strengths and weaknesses as a character provide valuable insight into an often-misunderstood school of philosophy. My argument will proceed in several stages. I’ll begin by describing the basic tenets of Stoic philosophy, paying special attention to the role of fate and nature. I’ll then move on to a more detailed treatment of Stoic ethics, as exemplified by Elsa’s own character development. I’ll close by considering the infamous “Lazy Argument” against. (shrink)

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 (...) artículo toma a la música pop y el método de trabajo de Andy Warhol, para iluminar nuevos puntos de vista sobre las capacidades estéticas de máquinas y algoritmos. De este modo se fortalece la tesis de que las máquinas sí pueden crear arte. (shrink)

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 (...) -- Eddie Vedder’s mother’s second marriage -- informing its composition). As a moral being, she appears to be hopelessly compromised by her situation, even as she is also doing her best to survive under conditions designed to undermine her autonomy and keep her trapped (as abusive relationships do). The song is not so much critical of her choice to stay as it is confused by and resigned to it. -/- What keeps a person where she so clearly does not want to be? -/- The song itself was, at least early in its recorded life for Pearl Jam, similarly compromised. Vedder appears to have thought of it as too “accessible”, too much of a pop hit for the kind of musical vision he had in mind either for Vs. (for which it had originally been intended) or for Vitalogy; by this point in the band’s career, he was ever more actively resisting success, accessibility, and everything that went with the version of rock star life imposed collectively on the band and on him as an individual. The form that resistance took was an exercise of artistic and other forms of control, sometimes exercised in ways that were destructive or damaging (to the band and its internal relationships, its fame or success, its image, its artistic identity, etc.). -/- What keeps an artist or a band where they so clearly do not want to be? In this chapter, I oer a loose exploration of some possible philosophical approaches to answering the question of what keeps us where we are, like it or not, worked out in parallel through the lyrics of “Better Man” and the circumstances of the song’s eventual arrival Vitalogy. My main interest is in examining the ethical dimensions of the question itself -- what, if anything, are we morally required or expected to do under compromised or compromising conditions? My main suggestion is that answering the question might require of us a messier, more ambivalent, and perhaps more compassionate notion of moral agency, inspired by Simone Weil’s work on affliction. (shrink)

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 (...) the human experience itself, even in the absence of a supernatural vector of their application. After the fashion of Caputo’s Derrida, I offer a religionless interpretation of each of the three theological virtues and show how _Bad Times_ itself deconstructs the roles of ‘god’ and ‘human,’ interchanging them in a way that manifests a “religionless religion” wherein the theological virtues can remain vibrant, even without the theological structure that might be expected to undergird them. In short: _Bad Times at the El Royale_ demonstrates how even if God is dead, Faith, Hope, and Love are not. (shrink)

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 (...) version of the account is plausible; second, that its plausibility as a general account of pop music depends on a dubious conception of the ‘paradigm cases’ ; third, that its desirability as an account of a narrower range of cases is questionable; and, fourth, that it is motivated by unsuitable assumptions about representation in pop. (shrink)

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 (...) mit feinem Gespür für das massenkulturelle Imaginäre zeigt er, dass mit der Delegitimierung der Rache zugleich eine theoretische Verdunkelung einherging. Regelmäßig verkannt wird nicht nur die Bedeutung, die der Rache in sogenannten „primitiven“ Gesellschaften zukommt, sondern auch die Rolle, die der Wunsch nach Vergeltung in den modernen Gesellschaften inkognito nach wie vor spielt. In der Rache scheint nicht nur die dunkle Seite der Gerechtigkeit auf, in ihr melden sich auch diejenigen verdrängten Energien und Affekte zurück, für die es in der modernen Gegenwart keinen legitimen Platz mehr zu geben scheint. (shrink)

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 (...) scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

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. (...) Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

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 (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

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 (...) about something other than finding “just the facts” or reporting “real news”. To uncover the more interesting question Herzog raises, I situate his role in the film as an unreliable narrator against Jean Baudrillard’s work to show how all of our interactions with the media put us into relationships with narratives and agendas that go beyond a commitment to the facts. The question then becomes: How can we respond to the uncertainty inherent in the claims and narratives developed by the media? To address the question, I argue that we should not fall victim to either resignation or self-serving cynicism. Instead, by turning to Gilles Deleuze’s politics of affirmation we can see that our exposure to media is less about getting facts per se than in developing relationships with media where we can have some degree of trust. By looking at interviews with Herzog, I claim that his understanding of “ecstatic truth” vs. the “accountant’s truth” suggests that he would support an affirmation of truth beyond the facts rather than a return to a mythical time of “just the facts.” . (shrink)

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 (...) self-same impacts profile the mental health challenges identified in relation to pandemic isolation, art may be useful in mitigating mental health issues associated with lockdown. This paper does not address how the role art can play in the therapeutic mix for serious mental health disorders. More specifically it is focused on a narrower brief of ills – predominantly those associated with boredom and a loss of stimulation associated with the constrained circumstances of lockdown. The kind of ‘art therapy’ this paper has in mind is more accurately described as ‘art engagement’ as it concerns individuals actively engaging with art. Art engagement is taken as self-administered utilising the time-out imposed by lockdown as an opportunity to take stock and reset. I will argue that to be of optimal benefit to people in lockdown, the art engagement model should support art practices that are easily accessible to a wide range of people, and be broadly scoped regarding areas to explore. Finally, because the benefits flowing from art engagement are central to this quest, our art engagement model will need to be able to track how art enriches or impoverishes its practitioners. This paper will set up a framework for art engagement that provides an apt account of art practices suited to people in lockdown. I will examine how the resolution of two art puzzles point the way forward in developing an art engagement model. Adventitiously, understanding these puzzles will also prove useful for art making in constrained living arrangements. Managing the first of these puzzles requires a rejection of the notion that art can be determinately defined. Instead we opt for a model that privileges practices and products that enrich the lives of practitioners. The second puzzle assumes creativity relies to varying degrees on appropriation and so appropriation acts need to be included in the model. However, this comes at a cost. Appropriation disrupts any notion that art works are stable things situated forever in the realm of art. It will be shown that appropriation causes us to adopt a more expansive view about the fluidity of what counts as an artwork. This fluidity may take us into and out of the realm of what is traditionally thought of as ‘art’ entirely and leads us to abandon any dependency on art masters and art institutions in our artmaking quests. The paper will conclude by using the model described to outline three art engagement examples that demonstrate how sometimes ordinary everyday experiences can be enriched by taking an art-engaging stance even in the highly constrained environment of lockdown. (shrink)

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.

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.

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 (...) obra entraña una asunción de la tecnología reproductiva cargada de optimismo y confianza en un futuro emancipador a ella asociado. ¿Son en realidad excluyentes ambas interpretaciones? El presente trabajo reflexiona sobre los fundamentos sociales y epistemológicos de esta ambivalencia interpretativa. (shrink)

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, (...) Debord analiza la sociedad en que vive como un perenne espectáculo, entendido este, en lo fundamental, como falseamiento de la naturaleza esencial de un sistema. En muchos sentidos, La sociedad del espectáculo parece más haber sido escrita por estos días que hace más de 50 años. Desde la denuncia de la conversión de la política en un show business, pasando por la espectacularización vacía del arte y de la cultura en general, la prensa del escándalo y el sensacionalismo como gancho para subir el rating, hasta los reality shows que, desprovistos ya de todo pudor, asumen descarnadamente su función de hacer espectáculo por espectáculo, sin importar qué se meta adentro, todo ello, parece haber sido retratado ya en el libro de Debord como una consecuencia inevitable de esta nueva etapa de la enajenación humana, abarcadora de toda la espiritualidad y en la que terminan por perderse las fronteras entre show y vida. (shrink)

After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.

The first truly philosophical exploration of the drag queen in the context of this ground-breaking reality TV showAs RuPaul has said, this is the Golden Age of Drag-and that's chiefly the achievement of RuPaul's Drag Race, which in its eleventh year is more popular than ever, and has now become fully mainstream in its appeal. The show has an irresistible allure for folks of all persuasions and proclivities. Yet serious or philosophical discussion of its exponential success has been rare. Now (...) at last we have RuPaul's Drag Race and Philosophy, shining the light on all dimensions of this amazing phenomenon: theories of gender construction and identity, interpretations of RuPaul's famous quotes and phrases, the paradoxes of reality shows, the phenomenology of the drag queen, and how the fake becomes the truly authentic.Among the topics covered:? How the show's controversial contestant The Vixen was able to proclaim her own truth by challenging the conventional stereotypes of reality TV.? If, as RuPaul has taught us, all social roles are equivalent to drag, what justifies the show's almost exclusive focus on the classical drag queen?? Nietzsche's insight that the self is plural rather than singular, divided rather than unified, helps us construct a new kind of self - the "drag self."? When two fan subcultures meet: The interpenetration of RuPaul's Drag Race and Twin Peaks in "Fire Werk with Me."? The lip-sync is the final challenge of the glamorous gauntlet of RuPaul's Drag Race, a game without rules or clear expectations that forces us to think about the meaning of play.? New technologies of surveillance analyze and classify us in order to fix our identities; we can defend ourselves by creating our own masks, to preserve our privacy and define our own identities.? Drag queens and mall Santas as performances of gender roles. (shrink)

This chapter considers the presence, in digital games, of experiences of dwelling. Starting with an engagement with the philosopher Edward S. Casey's distinction between hestial and hermetic spatial modes, the chapter argues that the player's spatial engagement with digital game worlds has tended to align with the hermetic pole, emphasizing movement, traversal and exploration. By contrast, hestial spatial practices, characterized by centrality, lingering and return, are far less prevalent both in digital games themselves and in discussions on spatiality in the (...) game studies discourse. To counter this lack, this chapter draws upon philosophical work on space by Casey, Martin Heidegger, Yi-Fu Tuan and Christian Norberg-Schulz, using these as a conceptual lens to identify spatial structures and practices in digital games that diverge from the hermetic mode. Attention is paid to games that invite pausing and lingering in place, games where the player's relation to place is structured around practices of building, the phenomenology of home and dwelling in games, and familiarity and identity as experiential characteristics of being at home. Minecraft and Animal Crossing: New Leaf are examined in detail as case studies, though the chapter also refers to examples from other games. (shrink)

Creations of many contemporary artists indicate the emergence of technoculture. Although artistic manifestations of technoculture may appear to be a provocation, they encourage fundamental ontological questions, such as whether a person has unchanging nature; what was and is our relationship to the Other, and what it should be; to what extent can body and mind be altered before they stop being “human”; what is the future of our species. To properly understand the works of technoculture artists, it appears necessary to (...) have a thorough grasp post- and transhumanism as their key sources of inspiration. As a result, the developed tools will be employed to indicate which aspects of technoculture are a manifestation of post- and transhumanist ideas. This analysis is based primarily on the works of Stelarc and Orlan – two widely commented artists of technoculture. (shrink)

Is it ever morally wrong for a consumer to imagine something immoral in a work of fiction, or for an author to prompt such imagining? Brandon Cooke has recently argued that it cannot be. On Cooke’s account, fictive imagining is immune to moral criticism because such cases of imagining do not amount to the endorsement of the immoral content, nor do they imply that the authors of such fictions necessarily endorse their contents. We argue against Cooke that in fact fictively (...) imagining something immoral can be morally blameworthy, specifically in cases where fictive imagining is engaged in the service of immoral desires. Taking one potent case—namely, rape-fantasy pornography—we argue that the proper engagement with pornography requires the engagement of the consumer’s desires. Insofar as it is morally wrong to desire something immoral, or to encourage others to desire something immoral, then consumers can be held morally blameworthy for engaging in such fictive imaginings and works of fiction that are crafted to fit these purposes can be open to moral condemnation. (shrink)

The Seven Heavenly Palaces were created by Anselm Kiefer to inaugurate the HangarBicocca in Milan in 2004, and, after an intervention on the site in 2008, were transferred, preserved and repaired, finally relocated differently for a new and definitive exhibition, with some paintings, in 2015. Erected around prefabricated containers, these monumental ruins in reinforced concrete, are in fact assembled, reconstructed and restored ruins, nonarchitectural and metaphorical buildings with a mass of complementary materials considered an integral part of the work and (...) credited as produced by the artist in person. According to what preunderstandings and values the operation of conservation and operation has been established and carried out ? According to which idea of the ontological, perceptual and semantic identity of the work of art the aesthetic experience of this high problematic site-specific installation has been reconfigured ? (shrink)

By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual media (...) from Tolkien’s own criticism of such a possibility. (shrink)

The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...) 'Hellraiser'. In other cases, sex and horror are balanced in a manner that thoroughly blurs the distinction between porn and horror. The sustained presence of sex-horror in film suggests that these two elements fit together and the combination is a source of pleasure (entertainment, fascination, intellectual stimulation and so forth) for many. Yet sex-horror is broadly perceived to be disturbing and these negative reactions indicate that sex-horror is a source of trepidation, moral disdain or disgust for some. Thus, it appears that sex-horror inspires directly competing responses. One might conclude that sex-horror itself is paradoxical; that it holds two directly oppositional meanings simultaneously. However, as I will illustrate in this chapter, these dual responses are not as contradictory as they might first appear to be. (shrink)