We also discuss, among other things: decapitated ostriches, fatal rose petals, and Mary’s robust reappraisal of Marcus Aurelius’s ‘sub-Stoic’ maundering.
It’s hard to talk about “masterpieces” because the concept trades on a theory of aesthetics that is controversial when spelled out (aesthetic value realism; maybe even a kind of Platonism about beauty) and difficult to defend, but which we all nevertheless subscribe to intuitively.
By mistaking language as merely a tool that’s a means to an end—little different from a spatula—too many people have lost sight of the fact that understanding language provides the basis of smart thinking.
Yet what they best represent is the current state of art, where artists must skillfully package themselves as products for buyers to consume.
It’s precisely the kind of work that is uncomfortable for most artists, who by definition concern themselves with what it means to be a person in the world, not what it means to be a brand.
Active for over fifty years, Porphyrios caused great concern for Byzantine seafarers. Emperor Justinian I (r. 527–565) made it an important matter to capture it, though he could not come up with a way to do so.