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philosophy > FINAL > Flashcards

FINAL Flashcards

1
Q

what is Paul Taylor’s brown paper bag test?

A

if not like brown bag then character is too black

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2
Q

Why did Nochlin think that there were no great women artists?

A

Social practices and institutions led to exclusion

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3
Q

_________________________ appropriation occurs when an artist is influenced by the works of another culture, but without their new works being in the same style

A

Motif

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4
Q

_________________________ appropriation occurs when an artist depicts another’s culture while BEING AN OUTSIDER OF THAT CULTURE

A

Subject

sS young cvm

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5
Q

_________________________ appropriation occurs when someone takes a STYLISTIC form that was born out of a culture of which are not a part of

Ss young cvm

A

Style

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5
Q

________________________ appropriation occurs when an idea is reused that was originally expressed by an author from another culture

A

Content

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6
Q

TYPES OF OFFENSES
(theres 2)

According to James O. Young, __________________ offense occurs when the offense violates the appropriate norms of conduct

A

Reasonable

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7
Q

One way it was argued that tying aesthetic judgments to the intellect and framing them as “general” or “universal” can be problematic because

A

It ignore culturally dominant demographic societal views

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8
Q

Reasonable

According to James O. Young, __________________ offense occurs when the offense is not merited

A

Unreasonable

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8
Q

____ and ___ are considered higher senses

view comes from caroline kormitcher

A

Sight and Hearing

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9
Q

__________________ is the notion that art requires the viewer to adopt the WHITE HEMOGENIC perspective that has become the social default

A

Whitely Gaze

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10
Q

HEAGAL
thought that the beauty found in art was better than the beauty of nature because
natrual beauty is….

A

Natural beauty is grounded in a particular appearance

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11
Q

t/f:
A proponent of a non-cognitivist view would say that there is no knowledge or belief requirement for properly appreciating nature

A

True

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12
Q

If you think that humans can appropriately appreciate nature emotionally, what kind of view do you hold?

A

Non-cognitivist

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13
Q

In Carlson’s view, to appropriately appreciate human environments, we must look at the __________________________ of the parts of the designed ecosystem

A

Functional fit

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14
Q

Because human environments are not naturally ocurring, there is no analogous way that Carlson’s view of aesthetically assessing wild nature can be applied to human environments

A

False

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15
Q

Looking for the ___________________ in nature is to look for the sort of beauty found in the manner of a picture instead of appreciating nature on its own terms

A

Picturesque

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16
Q

Medieval Christian philosophers thought that everything in the world was beautiful due to God. The idea of universal beauty is known as

A

Pankalia

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17
Q

How does St. Augustine explain our inability to see the beauty in every PART of nature?

A

It is because we are within the world looking at a single element without the full surrounding context. If we could step back and view the entire world as a whole, we would recognize how everything is beautiful

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18
Q

Scientific cognitivism holds that scientific knowledge is __________________________ for proper aesthetic appreciation of nature

A

Required

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19
Q

Which view ultimately results in positive aesthetics in regards to nature?

A

Scientific cognitivism

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19
Q

Which of the following is NOT a reason why we must aesthetically engage with nature in a way that is different from our engagement in art?

A

We cannot categorize nature the way we categorize art

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20
Q

How does the Blobfish pose a problem for the scientific cognitivist?

A

It’s an ugly fish, but if we know the “facts” about it, it should be beautiful. The blobfish acts as a counter example to the theory

21
Q

How was it argued that adopting a scientific cognitivist view for aesthetically appreciating nature could help with environmental conservation?

A

It helps us aesthetically appreciate the “unscenic” parts of nature and aesthetic interest tends to bring about ethical interest

22
Q

what is aesthetic engagement entail?

A

_____________________ is the model of environmental appreciation that calls for immersion in the environment and recognition that all the distinct sensations from all of our senses are engaged together when out in nature

23
Q

The realist holds that beauty is an objective matter. What would this mean for aesthetic assessment of nature?

A

Nature is aesthetically assessed the same as any other object, as the underlying principles would be the same

24
Q

Kant argues that nature can give rise to feelings of __________________________, which is a pronounced awe at the vastness and unboundedness of crude nature

A

The sublime

25
Q

What is whitewashing? What is the issue with defending the practice based off of “marketability”?

A

Whitewashing is the casting of white actors to play traditionally non-white roles. The issue with defending the practice based on “marketability” is that it only further perpetuates the lack of opportunities for non-white actors from underrepresented groups to play roles and build name recognition.

26
Q

What is the Bechdel test? What does it mean if a film fails or passes the test?

A
  1. 2 women
  2. they talk to each other about things other than men

if fail:
it has a limited representation of women as fully-recognized characters with their own narrative independent of men.

pass:
it represents women as well-rounded and does not inherently cater to a male audience.

27
Q

Why does Nochlin think there were no “great women artists”?

A
  1. women lacked genius or were genetically or biologically stunted from being so,
  2. systematically excluded from the social institutions and education of the art world. and had to do decorative arts (e.g., pottery)
28
Q

What are the “higher senses” and how did they become gendered?

A

Higher senses are the intellectual senses of sight and hearing. Historically, the ability to be rational and engage in intellectual exercises has been ascribed to men, and as such higher senses became gendered toward men.

29
Q

What is the male gaze?

A

heterosexual male perspective, which sexually objectifies women, that a viewer is required to adopt to understand a work.

29
Q

What was the issue with Hume and Kant thinking that aesthetic evaluation needed to come from a general or disinterested perspective?

A

the ppl that could do this were only white men

30
Q

What is the whitely gaze? How does it connect with the issues stemming from Hume and Kant?

A

white hegemonic perspective, which disregards and demands non-white people, that a viewer is required to adopt to understand a work

must be this to aesthetically evaluate a work in kant/hue’s eyes

31
Q

In Taylor’s view, who can authentically play the blues, and why?

A

Taylor argues that since the Blues developed as a racial project, only Black people can authentically play it. It is not a simple matter of learning chord progression and song structures but of being Black and speaking as a member of that community.

32
Q

What are the different types of cultural appropriation specified by Young?

A
  1. style
  2. motif
  3. subject/voice
  4. content
33
Q

In Rudinow’s view, who can authentically play the blues, and why?

A

Rudinow argues that since the Blues is better described as a cultural project, non-Black performers could authentically play it depending on authenticity, or whether a performer can legitimately claim the necessary relation to the original source of the Blues.

34
Q

When does Young argue that cultural appropriation is a problem?

A

Young argues cultural appropriation is a problem when the act of taking causes harm by bringing about a setback to the interests of a culture or profound offense by being an affront to a culture and striking at the core values or identity of that culture.

35
Q

How does Young distinguish between reasonable and unreasonable offense?

A

1.social value of an offensive work outweighs the offense itself or

  1. whether the act of censoring a work would be morally worse than the work itself (i.e., violates the appropriate norms of conduct).
36
Q

What is the intimacy account of cultural appropriation? What issue does Matthes identify with this account?

A

harmful apporopriation violates group intamcy which is broader in scope than problematic cases of cultural appropriation.

37
Q

What is moral deference?

A

cultural significance of an object to the culture it originates from by focusing on the historical and current pain of members of that culture.

For instance, regarding music, one reflects on what songs are significant to what audiences, why songs have such significance, and the types of performances that best honor such significance.

38
Q

What is the oppression account of cultural appropriation?

A

basically mimics the effects of colonization

states cultral appropriation harmful is how they manifest and worsen inequality and marginalization, thus representing another instance of colonization and subordination

39
Q

What is pankalia

A

universal beauty on the grounds that since God created the world perfectly, and beauty is a perfection, everything is inherently beautiful.

40
Q

What is Hegal’s view on beuaty and nature?
HINT: opposite of kant’s view

A

art beauty» nature beauty

beatuy is:
from a product of the human mind, points beyond appearances to the mental or spiritual plane and invites apprehension by both the senses and the mind

nature is:
beauty arises from a particular appearance, meaning it invites apprehension by only the senses.

41
Q

what is kant’s veiw of beauty and nature?

A

nature beauty&raquo_space; art beauty

beauty is :
LAEFUL HARMONY arouses our reason and intellect and makes us feel sublime, meaning our interest in it is disconnected from any purpose and gained\

art:
aimed at our liking, meaning our interest in it is aimed at its underlying cause, purpose, or artificiality rather than itself.

42
Q

What is the sublime?

A

intense feeling of awe brought by the vastness and unboundedness of crude nature.
both neg and posin bc creates inadequacy and powerlessness that threaten to overwhelm us

, but if viewed from a safe distance we can resist being overwhelmed and come to expand our imagination and appreciate the human mind’

43
Q

What are two things that can only be derived from aesthetic experience of nature, according to Kant?

A
  1. lawful harmony which pleasurably arouses the reason and intellect
  2. the sublime.
44
Q

How was it argued that aesthetic evaluation of art is fundamentally different than the aesthetic evaluation of nature?

(CARSTON’S view)

A

due to nature needing to be appreciated as a scene and on its own terms, since trying to isolate a natural object from its environment distorts the object of appreciation.

44
Q

How was it argued that aesthetic evaluation of art is fundamentally different than the aesthetic evaluation of nature?

(hepburn’s view)

A

nature surrounding the observer on all sides, making them a part of the object of appreciation. This ‘framelessness’ of nature offers an openness to aesthetic appreciation not found in art.

45
Q

What is the picturesque?

A

The picturesque refers to the sort of beauty found in the manner of a picture.

46
Q

What is scientific cognitivism and how does it call for appreciating nature on its own terms?

A

Scientific cognitivism is the view that scientific knowledge is required for the aesthetic assessment and appreciation of nature.

Knowing the science behind nature allows for:

  1. appreciation of nature on its own terms/objetivity,
  2. frees judges from human-centric biases.
47
Q

What is positive aesthetics?

A

viewed properly (ie in the light of scientific knowledge),

wild nature is always aesthetically good.

Natural categories are designed to suit natural objects, so by viewing nature through scientific knowledge, natural objects will always be viewed as correctly and perfectly suited to their categories.

47
Q

How is it argued that scientific cognitivism can help with environmentalism?

A

due to scientific interest supporting aesthetic interest, and aesthetic interest tending to breed ethical interest. We come to aesthetically appreciate and desire to protect the seemingly ‘ugly’ sides of nature.

48
Q

What is the non-cognitivist view?

A

suggests that the appropriate aesthetic appreciation of nature depends upon something other than scientific knowledge.

49
Q

How does Carroll argue for the proper appreciation of nature?

A

observer in nature has the appropriate emotional responses. These emotional arousals need not be grounded in scientific knowledge nor thought of as a religious or mystical experience.

50
Q

How does Carlson argue for the appreciation of human environments?

What are the counterarguments to this approach?
( berleant and Bonsdorff)

A

environments should be aesthetically assessed as designed environments whose beauty depends on how well the elements of the environment serve their individual and collective functions and the degree to which they are productive and sustainable.

Berleant argues that the aesthetic appreciation of urban environments should consider both appearance and the sense of history and human continuity they embody because these environments are living museums shaped by social patterns and regional cultures.

Bonsdorff argues that the aesthetic appreciation of urban environments depends on not simply the space and buildings themselves, but on how life is lived within them because these environments are mediated by human activities and shaped by cultural and spiritual needs.

philosophy (5 decks)

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