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Love of All Wisdom

~ Philosophy through multiple traditions

Love of All Wisdom

Category Archives: Aesthetics

On AIs’ creativity

30 Sunday Jul 2023

Posted by Amod Lele in Aesthetics, Economics, Work

≈ 2 Comments

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academia, ChatGPT, expressive individualism, Gartner, Harvard University, Maya Bodnick, music, pedagogy, technology, Ted Gioia, Thomas L. Friedman

Until recently, my approach to the very new technology of large language models or LLMs – the AI tools of which ChatGPT is the most famous – had been heavily shaped by my experience of feeding it an essay assignment like my classes’ and thinking the result merited a B or B-. On the disturbing side, that meant that ChatGPT could easily generate a passable paper; on the reassuring side, it meant that it could not easily generate a good paper. The latter still required the human touch.

Imagine my alarm, then, at reading this essay by Maya Bodnick.

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Are mountains beautiful?

09 Sunday Apr 2023

Posted by Amod Lele in Aesthetics, God, Metaphysics, Place, Pleasure, Protestantism

≈ 4 Comments

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Henry More, Marjorie Hope Nicolson, natural environment, Plato, rasa, Thomas Burnet, Umberto Eco

Western aesthetics has made a lot of a supposed distinction between “the beautiful” and “the sublime”: “sublime” referring to things like high mountains and the starry night that make us feel awe, make us feel small in a good way. Indian rasa theory would likely refer to this feeling as adbhūta rasa, the taste of wonder. I love awe-inspiring natural phenomena – Bryce Canyon, Todra Gorge – and I find the term “sublime” helpful to describe them. But I’ve long found myself mildly puzzled by the distinction. It seems obvious to me that mountains and gorges are beautiful – their sublimity is one variety, one kind, one species, of beauty. Yet writers on “the sublime” tend to treat it as something different from beauty. Why?

I’ve found a good answer to this question in a marvelous old book by Marjorie Hope Nicolson, entitled Mountain Gloom and Mountain Glory. I turned to this book out of curiosity about a related but slightly different phenomenon: the many generations of people who thought mountains were not beautiful. In premodern England at least, it turns out that it was commonplace to view mountains as ugly, as “warts” or “tumours”, deformities of nature. In a world where the goodness of God’s creation was assumed, writers often did not view mountains’ majesty as evidence of God’s own majesty, but rather felt the need to justify why a good and loving God would deign to create such excrescences. Why was that?

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A hymn to Ecclesiastes

26 Sunday Mar 2023

Posted by Amod Lele in Aesthetics, Death, External Goods, Flourishing, Foundations of Ethics, God, Happiness, Judaism, Metaphysics, Roman Catholicism

≈ 24 Comments

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Aztec, Cantares Mexicanos, Desiderata, Hebrew Bible, James Doull, justice, Leonard Cohen, music, Stonehill College

I don’t remember when I first read the book of Ecclesiastes. I first taught it at the Catholic Stonehill College. There we were free to teach Intro to Religion however we wanted, so to follow my own intellectual curiosity I made it “God in the West”. The one thing we were required to teach was the book of Exodus, which I suspect the department had selected for an uplifting social-justice message in which God acts to free a people from slavery. But the Hebrew Bible, let alone the whole Christian Bible, has never spoken with a single voice, and I selected Ecclesiastes to teach alongside Exodus because the contrast between them is so remarkable.

Much like the Song of Songs (or Song of Solomon), which it immediately precedes, Ecclesiastes is a book you don’t expect to find in the Bible. It makes you wonder: what is this book doing here? The Song of Songs bears the most obvious contrast with what we think we know about the Bible: here is a text that is obviously about a young couple having sex, seemingly celebrating it, and they don’t even appear to be married. That’s not the sort of thing that we are led to imagine would appear in the Bible. But it’s in there.

Ecclesiastes’s contrast to the rest of the Bible is a little subtler, but it’s still notable. Exodus, and other prophetic books, give you a God who acts in the world with righteousness, freeing his chosen people from slavery with terrifying wonders. Ecclesiastes gives you a God who does not.

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The Nativity is my Ramakien

18 Sunday Dec 2022

Posted by Amod Lele in Aesthetics, Christianity, Early and Theravāda, Epics, Modernized Buddhism, Rites

≈ 2 Comments

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autobiography, Christmas, identity, Jātakas, Jesus, music, New Testament, Rāmāyana, religion, Siddhattha Gotama (Buddha), Thailand

For most of my life, when people asked me “what’s your religion?”, I usually felt the need to respond with a paragraph. That changed about eight years ago, dealing with my wife’s cancer treatment, where I realized it was important to me to be able to say simply: I am a Buddhist.

It felt strange, and yet reassuring, to be able to answer “what’s your religion?” with a simple answer. Yet complexity remains – the sort of complexity that has led me to proclaim, “I am a fine distinction“. I note nowadays how there is almost no area in which my identity is single, and I say: I am gender-fluid, biracial, binational… and a Buddhist who celebrates Christmas.

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The people need their opium

21 Sunday Nov 2021

Posted by Amod Lele in Aesthetics, German Tradition, Metaphysics, Play, Pleasure

≈ 7 Comments

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Clement Greenberg, drugs, existentialism, film, G.W.F. Hegel, Karl Marx, kitsch, Martin Heidegger, Milan Kundera, Preston Sturges, religion, Theodor Adorno

Preston Sturges’s splendid old Sullivan’s Travels is a wonderful film with an important message. (I assume a spoiler warning is not necessary for an eighty-year-old film.) The protagonist, John Sullivan, is a director of lowbrow comedies who aspires to instead make serious art about the suffering of the poor. He tries to do experiential research about their suffering, and winds up being falsely imprisoned at hard labour. The prisoners’ one reprieve is to watch a Disney Goofy cartoon, at which Sullivan finds himself laughing uproariously. His lesson, from actually experiencing the suffering of the poor, is to go back to making silly comedies. The film closes with his lines: “There’s a lot to be said for making people laugh. Did you know that’s all some people have? It isn’t much, but it’s better than nothing in this cockeyed caravan.”

Sullivan in prison laughing at Goofy

The story of Sullivan’s Travels serves as an eloquent defence of lowbrow or shallow art, of kitsch and even smarm. And I think it helps us see what is wrong with the philosophical critique of kitsch.

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Reinterpreting the Sigālovāda’s prohibition on theatre

10 Sunday Oct 2021

Posted by Amod Lele in Aesthetics, Early and Theravāda, Hermeneutics, Play, Pleasure, Zest

≈ 2 Comments

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Justin Whitaker, Pali suttas

I was delighted to see Justin Whitaker responding to my post on the Sigālovāda Sutta – both in a comment and in a separate post of his own. Justin and I first found each other long ago over our shared interest in Pali Buddhist ethics, and he was one of my more frequent interlocutors in the early days of Love of All Wisdom, so it’s great to see him back around. I recall Justin citing the Sigālovāda favourably several times in earlier conversations, so perhaps it’s not surprising that my broadside against it is what brought him out of the woodwork!

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In which I come out

29 Sunday Aug 2021

Posted by Sandhya Lele in Aesthetics, Biology, Metaphysics, Politics, Self

≈ 22 Comments

Tags

authenticity, autobiography, expressive individualism, gender, identity, Natalie Wynn, Simone de Beauvoir

The liberation of women from traditional subservient gender roles has been the crowning achievement of the 20th century. That process of liberation is not complete, and will likely not be for some time. As it proceeds, it can take on unexpected consequences and connotations.

In particular, it turns out that the complete eradication of gender is something relatively few people ever wanted, even in those societies where feminism has gone furthest. Early feminists like Beauvoir understandably attacked the ways in which social understandings of womanhood kept women in a subservient position. For Beauvoir, gender roles interfered with women’s expression of their authentic selves.

Yet as women’s social position has improved over the decades since Beauvoir (and I don’t think there’s much debate that it has improved), gender has not withered away, or even begun to. Rather, it turns out that – on the same grounds of authentic self-expression that animate Beauvoir – many of us now welcome more signifiers of gender than we have to. That is: the past decade has seen an explosion in transgender expression, in which one comes to believe that one’s authentic self is essentially a particular gender – just not the one that had been assigned according to sex organs. And one then often goes through great lengths in order to have the various signifiers of that gender – and sometimes even the associated organs themselves. Feminists and psychologists had long noted a distinction between sex as a biological category and gender as a social construct overlying that category. It turns out that for many, the result of that distinction was not to eradicate gender, but to embrace a gender identity that does not correspond to one’s biological sex.

I say all of this as a preface to a more personal announcement: I consider myself gender-fluid, and have done so for nearly three years now.

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History and the love of literature

14 Sunday Mar 2021

Posted by Amod Lele in Aesthetics, Analytic Tradition, German Tradition, Hermeneutics, Politics, Reading and Recitation

≈ 2 Comments

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academia, Ashley Barnes, Benedict Anderson, Benjamin C. Kinney, Bryan Van Norden, COVID-19, Gertrudis Gómez de Avellaneda, Johann Gottfried Herder, Jon Baskin, Matt Wilkens, Sumana Roy, William Shakespeare

Many years ago, as a master’s student in development sociology, I took a course on nationalism with the late Benedict Anderson, renowned for his idea that the nation is an imagined community. The topic and the professor attracted a cross-disciplinary audience; about half of us students were in programs of sociology and political science, the other half in programs of literature. The distinction between the two, as I recall, became apparent when, from theorists and philosophers of nationalism, our reading turned to a work of literature, the sentimental anti-slavery novel Sab by Gertrudis Gómez de Avellaneda. We wrote brief papers articulating our reactions to and thoughts about the work. The social scientists were moved by it; one fellow sociologist said she cried while reading it. But the literary theorists, as I remember, all thought it was (in Anderson’s words) a “dreadful” novel, worthy of study merely as something symptomatic of its historical period, at best. I had taken other classes with several of them, and become friends with some, and it occurred to me that I had never heard one of these literature students express love for any work of literature, with the sole exception of Joyce’s Ulysses.

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Literature as representation and rasa

21 Sunday Feb 2021

Posted by Amod Lele in Aesthetics, Emotion, Hermeneutics, Metaphilosophy, Place, Politics, Reading and Recitation, South Asia

≈ 2 Comments

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academia, APA, Bryan Van Norden, Jay Garfield, Matt Wilkens, rasa, Sumana Roy, United States

Sumana Roy, a professor of literature at Ashoka University near Delhi, wrote a wonderful recent essay in the Chronicle of Higher Education identifying significant problems with the way Indian literature is taught, in both American and Indian universities. In American universities Indian literature is expected to represent India, to provide a moral or political message about the country and its political life – and, Roy thinks, this American understanding has then been imported into India itself. When Indian universities teach English-language Indian literature, they are asked questions like “Analyze Amitav Ghosh’s The Shadow Lines as a critique of the nation-state” and “Write a note on Velutha as a Dalit character in Arundhati Roy’s The God of Small Things”. Yet in the same departments John Donne is studied as “a metaphysical poet”, Virginia Woolf as “a stream-of-consciousness novelist” and so on. European and American writers, Roy thinks, can be appreciated and enjoyed for their aesthetic qualities; Indian writers are supposed to send a message.

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The light is coming

20 Sunday Dec 2020

Posted by Amod Lele in Aesthetics, God, Happiness, Health, Hope, Judaism, Politics, Rites

≈ 2 Comments

Tags

Charles Taylor, Christmas, COVID-19, Donald Trump, Francesco Sizzi, Hanukkah, Joe Biden, United States

Tomorrow is the winter solstice: the shortest, darkest day of the year. After that, everything will slowly start getting lighter and brighter. And never in my lifetime has that felt like more of a perfect metaphor.

Christmas is perhaps the festival that most obviously commemorates the light in the darkness at this time of year, but it is not the only festival to acknowledge the darkest days and prepare for the light. Hanukkah is a smaller part of the Jewish ritual year than North Americans typically make it out to be – it is not nearly as important as Passover – but it is a real Jewish festival of light at the darkest time of the year. So too, Westerners mark a new year beginning just as the old year is at its darkest.

All these events happen every year. But this is a year like no other.

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