Pornographic Art and the Aesthetics of Pornography  

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===Exclusivism and Evaluation: Art, Erotica and Pornography | Patridge, Stephanie | Pages 43-57=== ===Exclusivism and Evaluation: Art, Erotica and Pornography | Patridge, Stephanie | Pages 43-57===
*"by illustrations, examples, and instances rather than by serious argument and philosophy" ([[Hume]], ''[[Dialogues Concerning Natural Religion]]''). *"by illustrations, examples, and instances rather than by serious argument and philosophy" ([[Hume]], ''[[Dialogues Concerning Natural Religion]]'').
 +*In order to help us see this point, Maes ([[Maes, 2009]]) asks us to consider ''[[Saving Private Ryan]]''. Spielberg's goal, Maes claims, is to present the events of D-Day as vividly as possible and then, as it were, get out of the way. He is not a show-off director who draws attention to his own virtuosity with every shot. He wants the audience to focus on the events and nothing else. But to make this degree of immersion possible requires great artistic skill – skill that will invite admiration when successfully ...
===A Pornographic Way of Seeing | Mumford, Stephen | Pages 58-72=== ===A Pornographic Way of Seeing | Mumford, Stephen | Pages 58-72===

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Pornographic Art and the Aesthetics of Pornography (2013) is a book on the porn/art debate edited by Hans Maes. It argues (contra Levinson and Uidhir) that pornographic art exists.

On the cover is the 'fresh' image of Purple Hyacinth, fresh state/desiccated state by Michael Petry.


Contents

Toc

Introduction | Maes, Hans | Pages 1-24

The introduction states that modern aesthetics (beginning with the désinteressement of Shaftesbury and Kant was unfavorable of sensuality.

It praises Nietzsche as the first philosopher of sensualness.

"all beauty incites to procreation—… precisely this is the proprium of its effect, from the most sensual regions up into the most spiritual…." --Twilight of the Idols
"When, forsooth, our aesthetes never get tired of throwing into the scales in Kant's favour the fact that under the magic of beauty men can look at even naked female statues "without interest," we can certainly laugh a little at their expense:—in regard to this ticklish point the experiences of artists are more "interesting," and at any rate Pygmalion was not necessarily an "unaesthetic man." --On the Genealogy of Morality:

Parts of this introduction (the bit on the unsensualness of modern aesthetics), were reproduced in Stanford Encyclopedia of Philosophy article on 'erotic art' by Hans Maes (2014).

Pornography, Art and Porno-Art | Mikkola, Mari | Pages 27-42

Exclusivism and Evaluation: Art, Erotica and Pornography | Patridge, Stephanie | Pages 43-57

  • "by illustrations, examples, and instances rather than by serious argument and philosophy" (Hume, Dialogues Concerning Natural Religion).
  • In order to help us see this point, Maes (Maes, 2009) asks us to consider Saving Private Ryan. Spielberg's goal, Maes claims, is to present the events of D-Day as vividly as possible and then, as it were, get out of the way. He is not a show-off director who draws attention to his own virtuosity with every shot. He wants the audience to focus on the events and nothing else. But to make this degree of immersion possible requires great artistic skill – skill that will invite admiration when successfully ...

A Pornographic Way of Seeing | Mumford, Stephen | Pages 58-72

Pornography and Acting | Zamir, Tzachi | Pages 75-99

The Fictional Character of Pornography | Liao, Shen-yi (et al.) | Pages 100-118

Image Economies and the Erotic Life of the Unlovely | Winters, Edward | Pages 119-138

Before Pornography: Sexual Representation in Ancient Roman Visual Culture | Clarke, John R. | Pages 141-161

Sheela-na-gig Again: The Birth of a New Style from the Spirit of Pornography | Trinks, Stefan | Pages 162-182

Aestheticizing Pornography for the 21st-century Academy: Pedagogy as Ars Erotica or Scientia Sexualis? | Bennett, David | Pages 183-202

Clean Feet and Dirty Dancing: The Erotic Pas de Deux and Boys in the Sand Miller, Edward D.Pages 205-220

The Pornography of Death Tercier, JohnPages 221-235

Porno-Graphic: Why Words Matter in Fiona Banner’s Arsewoman in Wonderland | Dhillon, Kim | Pages 236-251

A Queer Balance: Power Relations in Homosexual Representations and in Choosing FlowersPetry, Michael Pages 255-273

The Fluidity of Acceptability: Seduced by Art and Pornography and the Kinsey Institute Collection | Wallace, Marina | Pages 274-286

My Pornographic Development | Arrowsmith, Anna | Pages 287-297

See also




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