Curtis L. Carter

The new concerns facing aestheticians in the twenty-first century require serious attention if the discipline is to maintain continued viability as an intellectual discipline. Just as art changes as cultures develop, so must aesthetics. In support of this view is a personal account of evolving engagement with aesthetics and the factors that led to embracing change and a plurality of practices as essential to the health of aesthetic today. A brief examination of the state of aesthetics as it has evolved in the American Society for Aesthetics since its inception in the 1940s will follow. These two lines of development, one idiosyncratic and personal, and the other focusing on the aims and outcomes of one prominent national society, will perhaps offer some useful background for understanding the current state of aesthetics and the problems confronting the discipline today. Following these considerations will be a look at some of the main concerns reflected in the social and political aesthetics and the expansion of aesthetics to include the popular arts which again challenges aesthetics to move beyond its historic boundaries.

Utopias from ancient times to the present have come and gone. They remain as a part of literary, philosophical and historical texts and communal practices. Yet this subject has never ceased to inspire contemporary minds as well. My aim in this paper is to consider the communities known as favelas that have formed on the edges of the Brazilian city of Rio de Janeiro as a contemporary form of utopian community. The paper begins with a brief analysis of the concept of utopia. Then follows a discussion of the Favela as an urban utopia as seen from the perspective of Latin American philosopher Enrique Dussel’s philosophy of liberation as represented in his book, The Philosophy of Liberation. The remainder of the paper will consider in what sense the Favela settlements can be understood as a form of utopia. Among additional sources for this paper, I will refer to the research on the favelas by such scholars as Janice Perlman and Catalytic Communities. Other sources will include art projects in the favelas, the novel and film City of God made on site, and photographs of Miguel Rio Branco taken in the Favelas. All of these artists’ representations reflectactual experiences of life in the Favelas. An underlying question throughout will be the role that art might play in understanding utopias.