Скачать или смотреть Ep. 09: Monuments, Music, and Art Addressed to Groups | A Discussion with C. Thi Nguyen

C. Thi Nguyen (University of Utah | he/him) and Brandon Polite (Knox College | he/him) discuss Nguyen's paper "Monuments As Commitments: How Art Speaks to Groups and How Groups Think in Art" (Pacific Philosophical Quarterly 2019: https://onlinelibrary.wiley.com/doi/a...) and its implications.

We begin by discussing group agency, how art can be addressed to group agents (such as neighborhoods, towns, and nations), how group agents can create art, and how group agents can address art to themselves, with monuments, memorials, and street art as our focus.

We then talk about how music might be able to perform a similar sort of role, along with some of the difficulties of extending Nguyen's account of monuments to cases of music.

We consider the case of a local punk scene taking a certain song as their anthem and under what conditions they would be comfortable with that song attracting more widespread appreciation. | On this topic, see also C. Thi Nguyen and Matthew Strohl's "Cultural Appropriation and the Intimacy of Groups (Philosophical Studies 2019: https://link.springer.com/article/10....)

We also consider the case of how Oasis's song "Don't Look Back in Anger" (1995) was adopted by the community of Manchester, UK after the Manchester Arena was bombed during an Ariana Grande concert in 2017. | On this topic, see: https://www.theguardian.com/uk-news/v....

We then discuss the reverse sort of case, such as when pro-military Americans try to use Bruce Springsteen's "Born in the U.S.A." -- a song strongly critical of the U.S. military -- as an anthem for their cause; and cases where recording artists or bands, such as Fleetwood Mac and Neil Young, demand that politicians -- especially Republican politicians -- stop using their songs at political rallies and other such events because the politician's message is antithetical to their own.

Chapters:

0:00 Introductions
0:22 Public Art & Group Agency
10:01 Music as Monument
25:37 Conclusions

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