TAILIEUCHUNG - TOBIN SIEBERS University of Michigan: DISABILITY AESTHETICS

Works of art engaged explicitly with the body serve to critique the assumptions of idealist aesthetics, but they also have an unanticipated effect that will be the topic of my investigation here. Whether or not we interpret these works as aesthetic, they summon images of disability. Most frequently, they register as wounded or disabled bodies, representations of irrationality or cognitive disability, or effects of warfare, disease, or accidents. How is disability related to artistic mimesis—or what Erich Auerbach called “the representation of reality”?4 Why do we see representations of disability as having a greater material existence than other aesthetic representations?. | TOBIN SIEBERS University of Michigan Disability Aesthetics For Judith Scott 1943 2005 Aesthetics tracks the emotions that some bodies feel in the presence of other This definition of aesthetics first conceived by Alexander Baumgarten posits the human body and its affective relation to other bodies as foundational to the appearance of the beautiful and to such a powerful extent that aesthetics suppresses its underlying corporeality only with The human body is both the subject and object of aesthetic production the body creates other bodies prized for their ability to change the emotions of their maker and endowed with a semblance of vitality usually ascribed only to human beings. But all bodies are not created equal when it comes to aesthetic response. Taste and disgust are volatile reactions that reveal the ease or disease with which one body might incorporate another. The senses revolt against some bodies while other bodies please them. These responses represent the corporeal substrata on which aesthetic effects are based. Nevertheless there is a long tradition of trying to replace the underlying corporeality of aesthetics with idealist and disembodied conceptions of art. For example the notion of disinterestedness an ideal invented in the eighteenth century but very much alive today separates the pleasures of art from those of the body while the twentieth-century notion of opticality denies the bodily character of visual perception. The result is a non-materialist aesthetics that devalues the role of the body and limits the definition of art. There are some recent trends in art however that move beyond idealism to invoke powerful emotional responses to the corporeality of aesthetic Andy Warhol s car crashes and other disaster paintings represent the fragility of 1 An illustrated abstract for this essay appeared under the same title as part of the proceedings of the Conference on Disability Studies and the University in PMLA .

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