philosophy of art

In the recently published “A New Philosophy of Art” by Industry founder Yuval Sharon, two chapters titled “Toward an Anti-Elite Opera” and “Breaking the Frame” offer an excellent introduction to opera L.A. style.

Thijs Lijster, a senior lecturer on the philosophy of art and culture at the University of Groningen, said that there is “something threatening in their ways of going about their work. They have a style of filming, and approaching and talking to people, which is, in a way, rather hostile.”

It reminds me of a quote by, I think, Picasso: “When art critics get together, they talk about the philosophy of art and what this or that movement means — but when artists get together, they talk about where to buy cheap turpentine and what brushes they’re using.”

A colleague in the art department had suggested that if she was going to teach a course about the philosophy of art, she should start making it herself.

The central tenet in Cage’s philosophy of art — and, for that matter, of life — is the essential need to pay attention.