Cinematic street art? Exploring the limits of the philosophy of street art

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that phot...

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Bibliographic Details
Main Author: Logan Canada-Johnson
Format: Article
Language:English
Published: Firenze University Press 2023-07-01
Series:Aisthesis
Subjects:
Online Access:https://oajournals.fupress.net/index.php/aisthesis/article/view/13862
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author Logan Canada-Johnson
author_facet Logan Canada-Johnson
author_sort Logan Canada-Johnson
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description As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art.
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spelling doaj.art-37471fac9bfa49e18548b78e094af6ff2023-07-24T11:04:01ZengFirenze University PressAisthesis2035-84662023-07-0116110.36253/Aisthesis-13862Cinematic street art? Exploring the limits of the philosophy of street artLogan Canada-Johnson0University of Southern CaliforniaAs artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. https://oajournals.fupress.net/index.php/aisthesis/article/view/13862film-philosophystreet artexperimental filmtransparency
spellingShingle Logan Canada-Johnson
Cinematic street art? Exploring the limits of the philosophy of street art
Aisthesis
film-philosophy
street art
experimental film
transparency
title Cinematic street art? Exploring the limits of the philosophy of street art
title_full Cinematic street art? Exploring the limits of the philosophy of street art
title_fullStr Cinematic street art? Exploring the limits of the philosophy of street art
title_full_unstemmed Cinematic street art? Exploring the limits of the philosophy of street art
title_short Cinematic street art? Exploring the limits of the philosophy of street art
title_sort cinematic street art exploring the limits of the philosophy of street art
topic film-philosophy
street art
experimental film
transparency
url https://oajournals.fupress.net/index.php/aisthesis/article/view/13862
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