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\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs28 Richard Shusterman  "Form and Funk\'93 taken from \'93The Aesthetic Challenge of Popular Art,\'94  1991\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Books by Shusterman\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\i\f1\fs24 Pragmatist Aesthetics: Living beauty, Rethinking Art}{\f1\fs24  (Oxford: Blackwell, 1992,) 2nd edition  (New York: }{\f1\fs24 Rowman}{\f1\fs24  and Littlefield, 2000). \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\i\f1\fs24 Practicing Philosophy: Pragmatism and the Philosophical Life}{\f1\fs24  (New York: Routledge,1997)  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\i\f1\fs24 Performing Live}{\f1\fs24  (Ithaca: Cornell University Press, 2000) - translated into German. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\i\f1\fs24 Surface and Depth: Dialectics of Criticism and Culture}{\f1\fs24  (Ithaca: Cornell University Press, 2002). \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 Body Consciousness: A Philosophy of Mindfulness and Somaesthetics (New York: Cambridge University Press, 2008) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\i\f1\fs24 Thinking through the Body: Essays in }{\i\f1\fs24 Somaesthetics}{\f1\fs24   (2012)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Has also written on Rap\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs13 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs13\pnscheme-6{\pntxtb n}}{\f1\fs20 \'93Fine Art of Rap\'94 }{\i\f1\fs20 New Literary History}{\f1\fs20 , 22, no. 3 (1991), 613-632. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs13 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs13\pnscheme-6{\pntxtb n}}{\f1\fs20 \'93Rap Remix: }{\shad0\f1\fs20 \'93Challenging Conventions in the Fine Art of Rap,\'94 in M. }{\shad0\f1\fs20 Hjort}{\shad0\f1\fs20  (ed.), }{\i\shad0\f1\fs20 Rules and Conventions }{\shad0\f1\fs20 (Baltimore: Johns Hopkins University Press, 1993), 186-214. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs13 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs13\pnscheme-6{\pntxtb n}}{\f1\fs20 \'93Pragmatism, Postmodernism, and other Issues in the House,\'94 Critical Inquiry, 22, no.1 (1995).\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\f2\fs13 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs13\pnscheme-6{\pntxtb n}}{\shad0\f1\fs20 \'93Art Infraction: Goodman, Rap, Pragmatism\'94, }{\i\shad0\f1\fs20 Australian Journal of Philosophy}{\shad0\f1\fs20 , 73 (1995), 269-279.}{\f1\fs20  }{\shad0\f1\fs20 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\f2\fs13 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs13\pnscheme-6{\pntxtb n}}{\shad0\f1\fs20 \'93Pragmatism, Art, and Violence: The Case of Rap\'94, in T. Yamamoto (ed.), }{\i\shad0\f1\fs20 Philosophical Designs for a Socio-Cultural Transformation }{\shad0\f1\fs20 (Tokyo and Boulder: E.H.E.S.C. and }{\shad0\f1\fs20 Rowman}{\shad0\f1\fs20  & Littlefield, 1998), 667-674. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\f2\fs13 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs13\pnscheme-6{\pntxtb n}}{\shad0\f1\fs20 \'93Rap as Art and Philosophy\'94, T. Lott and J. Pitman (eds.), }{\i\shad0\f1\fs20 Companion to African-American Philosophy }{\shad0\f1\fs20 (Oxford: Blackwell, 2002), 419-428. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1\fs20 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\shad0\f1\fs20 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1\fs20 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Popular Art Vilified\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Popular art has been vilified as mindless, tasteless trash, both by the [political] left and right.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 My pragmatism is critical of the alienating esotericism and totalizing [both descriptive and prescriptive] claims of high art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 I am also critical of the idea of an unbridgeable divide between high and popular art: t}{\f1\fs28 he popular art of one culture can become the classics of another later age.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Popular Art and Intellectuals\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Popular art provides us (even intellectuals) with too much aesthetic satisfaction to reject it.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Rejecting it divides us intellectuals against the rest of community, and against ourselves.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Plato\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Since Plato, intellectuals have used this ascetic [not aesthetic] renunciation to subordinate the unruly power of the aesthetic.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Four factors make it difficult to defend popular art.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 1. We are forced to accept the (hardly neutral) terms of the intellectualist attack.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 2. Even defenders of popular art tend to concede its aesthetic poverty, perpetuating the myth of aesthetic worthlessness}{\f1  of popular art.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 3. We tend to think of high art only in terms of the work of genius, while popular art is identified with the mediocre.  \par 
}\pard\plain\ltrpar\s4\li900\fi-180\shad\f1\fs24\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1 But high art is not all masterpieces, and popular art is not all tasteless.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\shad\f1\fs28\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-7{\pntxtb n}}{\f1 4. The term "aesthetic" is appropriated to the high art, sophisticated style.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Pierre Bourdieu, France, 1930-2002\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li420\fi-420 {\pntext\pard\plain\f2\fs16 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs16\pnscheme-6{\pntxtb n}}{\f1\fs24 Although French Sociologist/Philosopher Pierre Bourdieu exposes the hidden economy and veiled interests of so-called disinterested aesthetic of high culture, he cannot recognize a legitimate popular aesthetics.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li420\fi-420 {\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs18 Pierre Bourdieu  Wikipedia }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Pierre_Bourdieu"}{\fldrslt\cf2\ul{\f1\fs18 http://en.wikipedia.org/wiki/Pierre_Bourdieu}}}{\f1\fs18   [accessed April 12, 2010]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 \'93His best known book is }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/La_Distinction" \\o "La Distinction"}{\fldrslt\cf2\ul{\i\f1\fs28 Distinction: A Social Critique of the Judgment of Taste}}}{\i\f1\fs28  [1984]}{\f1\fs28 , in which he argues that judgments of taste are related to social position. His argument is put forward by an original combination of social theory and data from surveys, photographs and interviews, in an attempt to reconcile difficulties such as how to understand the subject within objective structures.\'94\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \'93aesthetic\'94\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The term "aesthetic" }{\i\f1\fs28 did}{\f1\fs28  originate in intellectual discourse, but now is no longer so narrowly confined.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Aesthetic terms such as "grace" "elegance" "unity" and "style" are applied to popular art.  [Sibley]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 It is surprising that Bourdieu concedes to high culture such highly valued terms as "art" and "aesthetic."\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Defending the aesthetic legitimacy of popular art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 I will challenge major indictments raised by Bourdieu, and will focus on funky rock music inspired by African American culture.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 James Brown, 1933-2006, \'93The Godfather of Soul\'94\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Opponents of Popular Art\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 The opponents of popular art say that, unlike high art, it involves no aesthetic challenge, but requires a passive response. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Bourdieu: it has simple repetitive structure, which explains its wide appeal and its inability to truly satisfy. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Adorno and }{\f1\fs28 Horkheimer}{\f1\fs28 :  pleasure hardens into boredom, and no independent thinking is expected from the audience.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033\li660\fi-660 {\f1\fs40 Theodor Adorno  (1903-1969)  1941  "On Popular Music" \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs32 Adorno and Max }{\f1\fs32 Horkheimer}{\f1\fs32 \line wrote }{\b\i\f1\fs32 Dialectic of Enlightenment}{\f1\fs32  , 1944\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Somatic Forms\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 But legitimate activity is not the same as serious thinking:  there are other more somatic [body oriented] forms of effort, resistance, and satisfaction.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Rock songs, for example, involve moving, dancing, singing.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Mosh}{\f1  Pit \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs20 Robert Altman \'93Dance! \line Hippie Hill~ GG Park\'94  1967}{\f1  \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Vs. Highbrow concerts\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 More effortful somatic activity is involved in appreciation of rock than in highbrow music.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Highbrow concerts make us sit in silence without moving:  and this causes us to go to sleep!\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Funky music.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 \'93Funky\'94 which originally meant \'93positive sweat\'94 is \'93expressive of an African aesthetic of vigorously active and communally impassioned engagement rather than dispassionate judgmental remoteness." \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Passivity underlies our appreciation of high art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 It can be found in the ideas of aesthetic attitude, and disinterested [Kant], distanced contemplation. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Philosophically this is based on placing knowledge over pleasure and the individual over communal interaction.  [Chernoff]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Popular arts encourage an aesthetic of joyous return to the somatic [body] dimension which philosophy has long repressed. [Nietzsche]\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Two criticisms of popular music.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Adorno:  popular music is regressive because it is somatic [body oriented].\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Allan Bloom [1930-1992]:  rock appeals to sensuality and sexual desire: it is anti-logical. [}{\i\f1 The Closing of the American Mind}{\f1 , 1987]\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\b\f1\fs28 Allan David Bloom}{\f1\fs28  (1930-1992) Indianapolis }{\i\f1\fs28 The Closing of the American Mind}{\f1\fs28 , 1987\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Bloom\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 The problem with rock is its deep appeal to sensuality and sexual desire:  it is hostile to reason.  [Bloom translated Plato\'92s }{\i\f1 Republic}{\f1 .]\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 John Lennon, British musician, 1940-1980\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 \'93Rock n\'92 Roll music gets right through to you without having to go through your brain.\'94 quoted by Mark Miller, 1988, in support of his attack on Rock.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs28 But these attacks on popular music involve two logical blunders. Instead, Shusterman holds that:\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 THE SENSUOUS APPEAL OF ROCK DOES NOT ENTAIL ANTI-INTELLECTUALISM, for the sensuous is not incompatible with the intellectual.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 ROCK }{\i\f1 CAN }{\f1 SUSTAIN, AND BE ENHANCED BY, REFLECTIVE ANALYSIS.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Popular art is often attacked for its lack of formal complexity.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Bourdieu:  The very notion of \'93aesthetic attitude\'94 (focusing on form rather than function) leads to formal complexity and multiple meanings. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs18 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs18\pnscheme-6{\pntxtb n}}{\f1\fs28 Bourdieu: Yet popular art affirms the continuity between art and life (and subordinates form to function), and so cannot achieve formal complexity or be legitimate:  the popular aesthetic is essentially opposed to art.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Content displaced by form and }{\f1\fs40 relationality}{\f1\fs40  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Bourdieu thinks aesthetic legitimacy only happens when content is displaced by form, and emphasis is placed on relations to, and comparison with, other works.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Shusterman}{\f1 : but works of popular art are also relational in that they refer to each other, and this contributes to their formal complexity.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 The popular art audience is even more literate in their traditions than the high art audience.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Also form and content are not necessarily opposed!\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 What displays formality is not the same as what has form:  only the former is distanced.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Form, as Dewey said, is part of the shape of living, and aesthetic form has its roots in body rhythms shaped by social conditions.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Form can be funky too!\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Autonomy\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Adorno and Bourdieu think that the autonomy essential to artistic legitimacy is lacking in popular art.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Shusterman:  why should art be opposed to real life?\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 This attitude originated in Plato to insure philosophy's sovereignty in determining reality.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 But art can be seen as part of life, and life constitutes itself artistically in the art of living.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 In ancient Athens the arts were intimately integrated into everyday life.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Postmodern implosion \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Bourdieu assumes that the evolution of art into an autonomous form in the nineteenth century was permanent.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Postmodern culture, however, suggests an \'93implosion of the aesthetic into all areas of life.\'94 [Derrida and Eisenman]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Bourdieu neglects the aesthetic in which life is central and popular art is redeemed.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Shusterman follows Dewey\'92s Pragmatist theory of art\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li420\fi-420 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 which makes the energies, needs and pleasures of the live creature central to aesthetic experience.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 Bourdieu: Popular Art\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 denies its own aesthetic validity by implicitly accepting the domination of the high art aesthetic which denigrates it:  so there is no popular art, and popular culture is a paradoxical notion.}{\f1\fs36 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs40 Shusterman:  this fails as a global argument against popular art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 In America this is }{\i\f1 not }{\f1 true:  many popular artists see their role as more than mere entertainment, and the artistic status of their art is frequently recognized.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Also, there is aesthetic criticism of the popular arts (using the same aesthetic predicates one applies to high art).  [Sibley]}{\f1\fs36  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033 {\f1 \par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1\fs36 The aesthetic message from America is "get down\'94 and \'93get funky.\'94\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 The conservative taste of contemporary philosophical aesthetics makes it likely this message will not be heard by intellectuals.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 Yet there is room for theoretical work in popular aesthetics.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\shad\f1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\plain\f2\fs21 n\tab}{\*\pn\pnlvlblt\pnf2\pnfs21\pnscheme-6{\pntxtb n}}{\f1 If aesthetic philosophy neglects this it may lose touch with the cultural world.\par 
}\pard\plain\ltrpar\s1\qc\shad\f1\fs44\ppscheme-3\lang1033 {\f1 \par 
}
}