Aesthetics: Crash Course Philosophy #31

Summary

This Crash Course Philosophy episode delves into the complex relationship between art and morality, exploring the provocative 'Helena' exhibit by Marco Evaristti. It examines philosophical stances from Plato to R.G. Collingwood, discussing the impact of art on emotions and society. The episode also covers the paradox of fiction, catharsis, and the debate between autonomism and moralism in art, questioning the limits of artistic expression and its ethical implications.

Takeaways

• 🎨 Marco Evaristti's 'Helena' exhibit sparked controversy by blending art with morality, challenging visitors to interact with live goldfish in electric blenders.
• 🔍 The incident with Evaristti's art raised questions about the role of art in society and how it reflects our moral values.
• 👨‍🎨 Plato was against art, believing it appealed to emotions rather than reason, and could mislead people by presenting the imaginary as real.
• 👨‍🏫 R.G. Collingwood distinguished between 'amusement art' that provides escapism and 'magic art' that changes how we interact with the world.
• 📚 'Uncle Tom’s Cabin' by Harriet Beecher Stowe exemplified 'magic art' by influencing societal views on slavery and humanizing African Americans.
• 🤔 The debate between the transformative power of art and its potential for mere entertainment highlights the subjective nature of art's impact.
• 📸 The 'monkey selfie' copyright dispute between David Slater and the animal rights group PETA questions who can claim artistic creation and ownership.
• 🤝 The discussion around the monkey selfies suggests a potential for collaborative authorship in art, blurring the lines between creator and medium.
• 😢 Aristotle believed in the therapeutic power of art, proposing that it provides emotional experiences that can lead to catharsis, or emotional release.
• 🎭 The 'Problem of Tragedy' is addressed by Aristotle's catharsis theory, explaining why people willingly engage with emotionally intense art forms.
• 🧐 Kendall Walton's concept of 'quasi-emotions' offers an explanation for why we emotionally respond to fictional events, suggesting our reactions are not 'real' emotions.
• 💭 The debate between autonomists and aesthetic moralists reflects differing views on whether art should be judged by moral standards or considered separate from them.

Q & A

What was the name of the artwork by Marco Evaristti that involved live goldfish swimming in electric blenders?

The artwork was named 'Helena'.

What was the ethical controversy surrounding Marco Evaristti's 'Helena' artwork?

The controversy was about animal cruelty, as the exhibit involved live goldfish being blended, which led to the police ordering the blenders to be unplugged and the museum being charged with animal cruelty, although the charges were later dropped.

According to Marco Evaristti, what does it mean if someone wants to push the button on the blenders in his artwork 'Helena'?

Evaristti categorized those who want to push the button as sadists.

What philosophical distinction did R.G. Collingwood make between two types of art?

Collingwood distinguished between 'amusement art' which helps the audience escape from reality, and 'magic art' which helps the audience learn how to better interact with the world's reality.

How did Harriet Beecher Stowe's novel 'Uncle Tom’s Cabin' exemplify 'magic art' according to Collingwood?

The novel exemplified 'magic art' by changing the national mindset about slavery and making white readers see African Americans as human beings with whom they had a lot in common.

What is the 'Problem of Tragedy' in aesthetics and how does Aristotle's concept of catharsis resolve it?

The 'Problem of Tragedy' is the puzzle of why people voluntarily experience sadness through tragic art forms. Aristotle's concept of catharsis resolves it by suggesting that art allows us to experience a pleasurable release of emotions that we have been craving, thus providing emotional balance.

What is the 'Paradox of Fiction' in aesthetics and how does Kendall Walton's theory of 'quasi-emotions' address it?

The 'Paradox of Fiction' is the question of why we emotionally invest in fictional characters and events. Walton's theory of 'quasi-emotions' addresses it by suggesting that we experience emotion-like responses to fiction that are not real emotions but can be triggered by fictional events.

What are the two main schools of thought regarding the relationship between morality and art?

The two main schools of thought are autonomism, which maintains that art and morality are entirely separate, and aesthetic moralism, which argues that morality and art are interconnected and that moral flaws can affect a work's aesthetic value.

What was the copyright dispute over the selfies taken by a monkey named Naruto with a wildlife photographer's camera?

The dispute was whether the photographer, David Slater, should own the copyright because he set the stage for the photos to be taken, or if Naruto, the monkey, should own the rights because he took the pictures, with PETA arguing on behalf of Naruto.

What did Plato believe about the impact of art on the soul and why was he against it?

Plato believed that art played to our emotions rather than reason and that the rational part of the soul should be in charge. He was against art because it encouraged us to think with the emotional part of our souls and depicted the imaginary as if it were real, which conflicted with his concern for truth.

What does Aristotle believe about the usefulness of art in relation to our emotional well-being?

Aristotle believed that art is useful because our bodies need to experience a full range of emotions to stay in balance. He argued that art can provide these emotional experiences when we cannot in our actual lives, leading to a pleasurable release called catharsis.