Progress Report: Virtue, Happiness, & the Meaning of Life

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Reporting period January 1 – March 31, 2017

Our project continues to engage the public and influence the work of prominent scholars and graduate students here and abroad. We will hold our 4th Working Group meeting at the University of Chicago in June; Jean Porter will deliver our public lecture, which will be videotaped and streamed live on our site. We anticipate at least 150 people will attend her lecture in person. We are now accepting abstracts from our scholars for that meeting.

 

We have selected 25 students from 66 applications for our second Summer Seminar in June on “Virtue, Happiness, and Self-Transcendence,” and all have confirmed. We reserved Seminar space and lodging and finalized faculty selection and session topics.

 

 

Our second Visiting Scholar, Father Stephen Brock, Professor of Medieval Philosophy at the Pontifical University of the Holy Cross in Rome, is here teaching our second of two undergraduate courses at the University of Chicago, this time on “Aquinas on Human Nature.” The Reading Group, also led by Father Brock, is exploring “Free Choice and Natural Law.” Father Brock is also giving a public lecture May 12 on “Aquinas and the Life of the Mind.”

 

In January Jennifer Frey and 4 of our scholars discussed our project at the annual Jubilee Centre conference in Oxford, UK and Candace Vogler delivered a keynote address. Vogler met with people at the UChicago Booth School of Business to plan a public lecture, “Corporate Life and the Larger Good.” In February Vogler discussed our project at the UChicago medical school. In March Vogler delivered The Aquinas Lecture “The Intellectual Animal” and a talk on “Synderesis” at Blackfriars College, Oxford; gave a talk at the Georgetown Humanities Workshop on “Ordinary Moral Knowledge in the Climate of Doubt”; and spoke at the Faculty Seminar at Baylor University on “Intellectual Virtue.”

 

 

Our Aristotle workshop, titled “Aristotelianism: Past, Present, and Future,” takes place April 21-22, 2017 at the University of South Carolina, where our co-P.I. Jennifer Frey and several of our scholars will give papers. Portions of the conference will be videotaped and streamed live on our site. On May 4-6 our scholar Erik Agner will discuss our project at his Virtue conference in Stockholm. Our PIs Candace Vogler and Jennifer A. Frey will give the keynotes at this conference, discussing the themes of our grant. Frey’s talk will focus on self-love and self-transcendence and Vogler will be speaking about the natural habit of  “synderesis.” on On May 27, we co-sponsor an undergraduate class on Virtue taught by NY Times columnist David Brooks. On June 4 we begin our week-long Working Group meeting; on June 5, Jean Porter will deliver a public lecture on “Courage and Cowardice in Modern Life.”

 

New York Times columnist and PBS political analyst David Brooks, excited by our project, will lead a student seminar on Virtue at the University of Chicago on May 27, 2017. We have 15 confirmed presenters for our Capstone conference to be held in Chicago October 14-15, 2017. We are on schedule for our 2017 Capstone conference to be held October 14-15, 2017 at the University of Chicago. Cardinal Cupich and Jonathan Lear have agreed to be our keynote speakers, and we anticipate large audiences.

 

We have 16 articles published or accepted from our VHML project, toward our goal of 20 articles. Our social media shows growing public engagement, with thousands of visitors reading our Facebook and Twitter pages as well as our blog. From January through March 2017 our total page “likes” on Facebook in that period are 1,947, with 2.5K interactions (likes, loves) with our posts; for Twitter, we gained 71 new followers for a total of 1,279 followers, with 61.3K Twitter impressions and 1,395 profile visits; the Virtue Blog shows 6,492 total unique visitors and 11,139 views between January 2017 and April 2017; and our Virtue website shows 2,386 active users who viewed 6,849 pages of our content.

Interview with Jennifer Rothschild, Summer Session Participant

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This post is part of a series of interviews with our incoming class for the “Virtue, Happiness, & Self-Transcendence” 2017 Summer Seminar. Jennifer Rothschild is Assistant Professor of Philosophy at the University of Florida. Valerie Wallace is Associate Director, Communications, for Virtue, Happiness, & the Meaning of Life.

 

Valerie Wallace: Where are you from?

JR:  am from Iowa, my philosophical upbringing was in Chicago, and I am currently living in Florida and teaching at the University of Florida.

 

VW: Tell me about your research.

JR: I am endlessly interested in human beings—what it is to be human, what makes individual ones of us good or bad versions of a human being, how to understand what we do (actions and practices) and why we do it, and so on. I suppose my philosophical questions converge in ethics, moral psychology, and action. Though I am willing to draw inspiration from any source that makes good points about the things I care about, my writing tends to be more narrowly anchored in Aristotelian virtue ethics. At this point in my research I would say that I work on Aristotle because, first, of the philosophy I know, he is the most right. Second, I like ancient virtue ethics because this kind of philosophy does not seem to me to lose sight of its connection to actual human beings.

Currently I am working on trying to understand self-improvement from an Aristotelian perspective. Within the framework of Aristotle’s virtue ethics, how is it that we can reach for being better than we are? What does that look like? I think this is an important question, and there are a number of obstacles to seeing our way to a good answer on it.

 

VW: What are you looking forward to for the upcoming seminar?

JR: The topic for this summer’s meeting, self-transcendence, is right in the center of my current project. Part of what I want to understand is what it is to reach beyond ourselves—the internal and external resources we need for this, and the structure of that kind of aiming and transformation. I am excited about coming together with other scholars to see what we can figure out. I am also especially interested in the resources of accounts other than Aristotle’s (in particular, that of Aquinas).

 

VW: What are your interests outside of academia?

 

JR: As the mother of a young baby, I would say sleep ranks right up there on my list of shiny goods. Does that count? I like to cook, and eat, and go new places whenever I can. I am one of those people who always has big plans for a new hobby that I never seem to get around to taking up: this summer, for example, I plan to get my boat captain’s license and learn to make mosaics (among other things, of course).

Interview with Jane Klinger, Summer Session Participant

Jane Adair Klinger.jpgThis post is part of a series of interviews with our incoming class for the “Virtue, Happiness, & Self-Transcendence” 2017 Summer Seminar. Jane Klinger is a graduate student in psychology at the University of Waterloo at Ontario and visiting scholar at The Ohio State University. Valerie Wallace is Associate Director, Communications, for Virtue, Happiness, & the Meaning of Life.

 

Valerie Wallace: Where are you from?

Jane Klinger: I’m originally from Washington Grove, Maryland, and am currently a grad student at the University of Waterloo, in Ontario- though I’ve been working from Columbus, Ohio (at OSU) since the Fall.

VW: Tell me about your research.

JK: My research is in social psychology and focuses on self-regulation and motivation and, especially, how these relate to well-being outcomes like perceived meaning and authenticity. A central question of my research is about the trade-offs of top-down control: when does it keep us in touch with our values versus actually alienate us from our values? The latter is most interesting to me, partly because it so often goes unrecognized- how the same processes that allow us to succeed in self-control conflicts can also make us rigid and insensitive to our own values; essentially, reinforcing the letter rather than the spirit of our own laws. I’m coming to appreciate more and more how much insight on this topic comes from areas far outside my own discipline (e.g., Taoism, management science)- and indeed this is a large part of what excites me about learning from this multi-disciplinary group.

VW: What are you looking forward to for the upcoming seminar?

JK: I’m looking forward to a lot about this seminar, but most broadly: thinking in a different way (learning the language of other disciplines), challenging my assumptions, and meeting thoughtful people with common interests.

VW: What are your interests outside of academia?

JK: Other things I like to do are run, write, and make art. I also recently started a book club, which has thankfully gotten me to make more time for leisure reading.

Virtue in the News: Music, Fashion, Self-Transcendence

Self-transcendence is in the air, even when selling designer clothes. In a New York Times article in early March that mixes a meditation on the self-transcendent qualities of music with elements of a fashion spread, “Three Iconic Musicians on Artistic Creation—and Its Importance Now: Beck, Kendrick Lamar and Tom Waits Articulate the Creative Impulse,”

 

Wyatt Mason discusses how Leonard Cohen, Beck, Kendrick Lamar, and Tom Waits view creativity as connecting to something larger than the individual self. Mason recalls a striking moment in an interview with Cohen before his death, when a Japanese reporter asked Cohen about the line “Hineni, hineni, I’m ready my Lord,” from his recent release “You Want It Darker.” “I don’t really know the genesis, the origin,” Cohen began. “That ‘hineni,’ that declaration of readiness no matter what the outcome, that’s a part of everyone’s soul. We all are motivated by deep impulses and deep appetites to serve, even though we may not be able to locate that which we are willing to serve. So, this is just a part of my nature, and I think everybody else’s nature, to offer oneself at the critical moment when the emergency becomes articulate. It’s only when the emergency becomes articulate that we can locate that willingness to serve.”

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ON THE COVER Kendrick Lamar, Beck Hansen and Tom Waits are featured in T’s March 5 Men’s Style issueCredit: Photographs by Craig McDean. Styled by Jason Rider.

Mason writes:  “Hineni — הנני : ‘Here I am’ — is said by Moses, Abraham, and Isaiah when God appears to ask something of each of them. It’s a declaration not of location but of disposition, of willingness.” He views Cohen’s explanation as a beautiful tribute to the creative power of self-transcendence: “At critical moments, from our depths, out of an impulse not for glory, not for wealth, not for fame, not for power, but out of an appetite to serve — serve something larger than ourselves, however one might define it — the emergency inside us finally speaks.”

 

The article appears in the Style Magazine section, and Mason’s subjects are artfully photographed wearing Calvin Klein, Ralph Lauren, Ermenegildo Zegna, Vince, AG, Joseph, Falke, Novesta, Sandro, Lanvin, Tod, Saint Laurent, Sunspel. Tom Waits wore his own clothes. Singer Kendrick Lamar speaks to Mason about feeling his audience connecting with music about being trapped by gang culture, and how one man explained to him: “‘I connect through your music not because I know about the gang culture; it’s the sense of wanting to be set free.’ Simple as that. He said, ‘That’s the message that you get across in this album. You’re dealing with that, but I’m dealing with drug abuse; you’re talking about the gang culture and you want to escape that and I want to escape my own self-afflictions and addictions. That’s where the connection comes from.’”

 

Mason quotes Beck speaking about a similar sense that songs can reveal transcendent connections that exist and have long existed between all of us: “I’ve wondered sometimes — since there isn’t really much record of music past the last few thousand years — if there is some deep memory of music, melodies in there that maybe somehow re-emerge or relate to something that we know already. There must be forgotten melodies.”

 

Tom Waits talks to Mason about the expression “We went out to the meadow,” as a way of illustrating the feeling musicians have when they have a self-transcendent experience making music. “‘It’s for those evenings that can only be described in that way: There were no walls, there were no music stands, there weren’t even any instruments. There was no ceiling, there was no floor, we all went out to the meadow. It describes a feeling. Usually someone will say it, but they’re probably reluctant to say it — you might be afraid that only you went out to the meadow last night. But it’s one of those things where you go as a group. It’s not like: ‘Last night was a really great show for me and it sucked for you.’ No. We all went out to the meadow. There’s something magical about it. And you can never plan on it.’”

 

Mason concludes with a meditation on his own sense of music connecting us through self-transcendence: “Although the expression wasn’t known to me, of course the feeling was, at least as a listener: that elemental feeling, a door swinging open in the self.”

 

Click here for the full article.

 

 

Live streaming from UofSC April 21-22: Stephen Brock and Anselm Mueller

If you’re not able to attend, join us online April 21-22 for each of the two keynotes of the workshop “Practical Truth: Reflections on the Aristotelian Tradition”. We’ll be live streaming the two keynotes from the University of South Carolina at  https://virtue.uchicago.edu/aristotle

brock_1Stephen Brock, Holy Cross University – “Thomas Aquinas, the Bearer of Practical Truth, and the Rationality of Action”

Interpreters of what Aristotle calls practical truth differ about what its bearer is or what it is properly said of.  As a result, they also differ about the distinction between practical and theoretical truth.  It is generally agreed that the bearer of theoretical truth is an assertion or a judgment about some matter, and that such truth consists in the judgment’s describing the matter correctly.  But while some hold that the same account applies to practical truth, others hold that its bearer is an action, and that what it consists in is the action’s conformity with right desire.  Thomas Aquinas thinks the bearer of practical truth is a judgment.  In this paper I present his position, consider some objections on behalf of the opposing view, and suggest what he would think is at stake the issue.

Stephen Brock’s keynote will be April 21 at 4:30 pm eastern time.

11Muellerevent_20160411_2364Anselm Mueller, Trier University – “Is Practical Truth a Chimera? Questions for Anscombe”

In a number of papers, Anscombe raises the “great question”: What is practical truth (PT)? Her answers are not elaborate but clear enough to raise further questions such as: Does PT have truth-conditions? What can be rendered practically true, and by what? – What Anscombe calls PT appears to be secured by actions’ being implemented in conclusion of a valid practical inference in which you derive a way of acting from good ends. But whose truth can be thus secured? If it is practical thought, its PT will require two seemingly separable conditions: goodness of ends, and implementation of the practical conclusion. This would deprive the notion of PT of the unity Anscombe’s explorations insinuate. If, on the other hand, PT is exhibit by actions, how can it also be produced by implementation of practical thought (= action!)? – A solution to the problems I have hinted at is suggested by consideration of the fundamental teleology of human nature.

Anselm Mueller’s keynote will be April 22 at 4:00 pm eastern time.

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Moral Art

This post was written after a visit to ArtAIDSAmerica Chicago, at the Alphawood Gallery, 2014 North Halsted Street, Chicago. The show runs through April 2, 2017.

 

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“AIDS—JUDGMENT HAS COME, Slidell, Louisiana,” 1989, Inkjet print, Ann P. Meredith. Photo by Jaime Hovey.

 

It is hard to enter the space of the ArtAIDSAmerica Chicago exhibit without experiencing outrage. The massive human tragedy caused by years of governmental and mainstream social indifference toward a disease that wiped out an entire generation of young men here and abroad, as well as women and children, and that still rages on today, draws comparison to the callous use of soldiers as machine gun fodder by the decrepit British generals of the First World War, or the stubborn insistence by the Johnson and Nixon administrations that teenaged boys by the truckload be shipped off to die in Vietnam. In 1980, 31 people had died of what would later come to be known as Acquired Immune Deficiency Syndrome. Ten years later, the death toll in the U.S. alone was 18,447, and continued to rise throughout the 1990s. People living with and dying of AIDS included all sorts of people–gay men, male and female IV needle users, straight and gay women, hemophiliacs, and children born to HIV-positive mothers. Still, the disease was perceived as particular to gay men, and as a result of the stigma associated with them, the U.S. government failed to respond quickly to the crisis.

 

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“Every 12 Minutes,” Nayland Black, 1991. Photo by Jaime Hovey.

 

Artists responded to the crisis by making overtly activist and political art. Many works in this show foreground issues of exclusion, stigma, and injustice. Entering the exhibit, one is immediately confronted by Nayland Black’s 1991 “Every 12 Minutes,” a clock on the wall with STOP IT! written in the middle, its face divided into 5 equal sections by the words “ONE AIDS DEATH.” The clock exhorts us to stop these deaths, but it also commands us to stop all the other behaviors contributing to the crisis, from spreading misinformation to having unsafe sex to stigmatizing people with the disease.

 

Turning from the clock, visitors can see a shimmering bluish beaded curtain by Felix Gonzalez-Torres, “Untitled” (Water), 1995, that stretches across a wide entryway, separating the entryway from the room beyond. Yet through the clear and bluish beads this next room is also gauzily visible, glowing and beckoning from beyond a veil.

 

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“Untitled” (Water), 1995. Felix Gonzalez-Torres. Photo by Jaime Hovey.

 

In a small, adjacent room Native American symbols speak to both stigma and loss. David Wojnarowicz’s gelatin silver print “Untitled” (Buffalo), 1988-89 is a photograph of a diorama of the Native American hunting practice of herding buffalo off a cliff, suggesting the intentional killing of people with AIDS not only through indifference, but through active hostility and homophobia. Ronald Lockett’s “Facing Extinction,” 1994, made of chalk, metal, and wood, shows a ghostly buffalo, a recurring symbol for Lockett of hunted creatures. It stands on a too-solid three-dimensional cliff, gazing into our space as its body begins to disappear into the background. “More Time Expected,” 2002, by Sicangu Lakota artist Thomas Haukaas, shows figures riding singly and in pairs surrounding a riderless horse, symbolizing those felled by the disease.

 

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“More Time Expected,” 2002. Thomas Haukaas. Photo by Jaime Hovey.

 

Part Gonzalez-Torres’s beaded glass curtain and enter a large open space with soaring ceilings. On one wall, a recreation of ACT-UP NY/Gran Fury’s 1987 video and neon installation “Let the Record Show” shines like a dark window, dominating the room. At the top a neon pink triangle glows steadily over white letters spelling out the famous ACT-UP logo, “Silence = Death.” The projection of an arched crescent and decorative columns around the outside of the logo gives it an architectural quality, like a temple or a church nave, beneath which long panels stretch down like stained-glass. Here photographs of six people from the Reagan era are superimposed on an old photograph of the Nuremburg Trials depicting Nazi war criminals seated in a courtroom guarded by Allied soldiers. An electronic panel with running titles in red shows AIDS statistics and epidemic facts. The superimposed photographs light up and go dark, alternately revealing the faces of Senator Jessie Helms, columnist William F. Buckley Jr., Cory Servaas of the Presidential AIDS Commission, an anonymous surgeon, and President Ronald Reagan. These are the war criminals of the AIDS crisis. Underneath each face is an offensive quote made by each one about disease victims, such as Buckley’s infamous assertion that people with AIDS should be “tattooed on the upper forearm, to protect common-needle users, and on the buttocks, to prevent the victimization of other homosexuals,” or the surgeon’s quip that AIDS provided a better reason to “hate faggots.” To underscore the work’s declaration that silence equals death, there is no quote from Reagan, who famously said nothing even as the worst health epidemic in centuries raged around him.

 

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“Let the Record Show”, 1987. ACT-UP NY/Gran Fury. Photo by Jaime Hovey.

 

Other mixed-media and video works include a bank of screens with headphones and seating for projects such as T. Kim Trang Tran’s “kore,” 1994, which swoops in and away from grainy black and white moving images of Asian men relaxing at the beach or walking through cities, zooming out every so often to show these figures, distanced from us by time, being watched by other men and boys on hand-held screens and scrolls. The gaze created here suggests that cruising after AIDS cannot be dispassionate; the look of curiosity, appreciation, and desire for Asian men created in and by these images is now tinged with melancholy, memory, and loss.

 

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Still from “kore,” 1994. T. Kim Trang Tran. Photo by Jaime Hovey

 

In what is thought to be the first AIDS painting, Izhar Patkin creates in his “Unveiling of a Modern Chastity” a surface of erupting skin lesions fashioned out of rubber paste, latex, and ink. Moved by the symptoms he saw in patients at his dermatology office, he documented their wounds a year before there was any public announcement about the disease or its victims. Here the sores break open the skin of the painting to ooze and glisten in the light, pushing through from underneath as if something monstrous is housed inside. The painting is shocking, but it also forces the viewer to confront the disease at the level of skin, pain, and the body.

 

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“Unveiling of a Modern Chastity,” 1981, Izhar Patkin. Photo by Jaime Hovey.

 

The cumulative effect of these works is to move viewers from outrage at homophobic and indifferent responses to the epidemic to admiration at the courage and resilience of AIDS artists, activists, allies, and survivors. In these works we see creative, political, and deeply moral reactions to the absence of justice, to the withholding of compassion, and to the celebration of love in America at a time when huge numbers of people were suffering and dying.

 

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“Eleven, October 2015”, Kia LaBeija. Originally posted on Refinery 29 here.

 

Religious imagery shapes many of the works, speaking to the gulf between the moral response of the queer community–which involved projects such as public safe sex education and meals on wheels for the homebound–and the judgmental condemnation and indifference of government officials and mainstream religious groups, which shuttered bathhouses and gay clubs in a misguided effort to stop gay sex from happening. In “AIDS—JUDGMENT HAS COME, Slidell, Louisiana,” Ann P. Meredith documents a set of billboards she saw in Louisiana as she traveled to photograph women living with AIDS. Her print shows the harsh messages of the billboards as undercut by a graffiti tagger who writes “Love” and “Peace,” and slyly quotes from Romans 3:10, “There is none righteous, no, not one,” a verse that when it appears in the Bible is followed by the words, “There is none that understandeth, there is none that seeketh after God.”

 

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“Altar Piece,” 1990, Keith Haring. Photo by Jaime Hovey.

 

Keith Haring’s gleaming silver “Altar Piece,” the last work he completed before he died, shows a weeping Mary with a shining heart and multiple arms holding the infant Jesus under a cross in the center panel of a triptych. Here the Trinity is reimagined to include her, and below her crowds raise their hands in anger and supplication as angels fly and fall.

 

Echoing the theme of Icarian angels, Daniel Goldstein’s “Icarian I Incline,” fashions a Shroud of Turin from the leather cover of a weight bench that once belonged to the Castro gym Muscle System, nicknamed Muscle Sisters by patrons. Stained with the sweat of a thousand gay men, many of whom have since died, the cover bears the ghostly image of their bodies, framed here as a relic memorializing the exuberant communities that flew too close to the sun, flourished before AIDS, and came together to support each other during and after the crisis.

 

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“Icarian I Incline,” 1993, Daniel Goldstein. Photo by Jaime Hovey.

 

Martin Wong’s 1988 “I.C.U.” shows an eye in a triangle floating over a brick building. Echoing the pink triangle in the nearby “Let the Record Show,” the eye above the building here resembles the eye on a dollar bill, but appears amidst constellations, like the eye of God. A pun on “I see you,” the letters are also the common abbreviation for Intensive Care Unit, the place in hospitals where so many gay men lay dying during the epidemic. In this work, most of the brick building is dark, and only the wing with fire escapes is lit and accessible. The eye of providence seems not to know or care about what is inside; in any case, here God is only potentially available upon exit.

 

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“I.C.U.,” 1988, Martin Wong. Photo by Jaime Hovey.

 

This is not to suggest that the show is tragic; indeed, the entire exhibit is a triumph of creativity, defiance, and love. Artists pay tribute to the fallen in painting, video, textiles, and sculpture, remember those who were there, and call out those who refused to be present. Charles LeDrey’s teddy bear in a box from 1991 suggests both mourning and the end of innocence. In Rosalind Solomon’s gelatin silver print “Silence Equals Death, Washington, DC,” 1987-90, a young man covered in Kaposi’s sarcoma lesions confronts the camera wearing full protest regalia, including ACT-UP buttons, a straw hat, and a paper Star of David. Frank Moore’s “Patient,” 1997-1998, shows an empty hospital bed painted with leaves and snowflakes, where environmental devastation and AIDS are emergencies that require equally urgent care.

 

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“Patient,” 1997-1998, Frank Moore. Photo by Jaime Hovey.

 

Kia LaBeija’s glossy technicolor photographs, such as “Eleven, October 2015,” and “Kia and Mommy” (below) document her dignity living with hospitals and doctor visits, and celebrate fashion and makeup as creative gestures that make everyday life beautiful.

 

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“Kia and Mommy,” 2014, Kia LaBejia. Photo Kia LaBejia – Visual AIDS here.

 

The pieces gathered here span three-and-a-half decades and include work by people still living, as well as cataloging the talent of too many who died too soon. Their project is a deeply moral one: to remind viewers that sick people are human, that no one deserves to suffer, that death comes for all of us, and that the proper response to tragedy is always—must be—art, compassion, and action.

 

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Detail from “By Punchinello’s Bed”, 1992, Patrick Webb. Photo by Jaime Hovey.

 


Jaime Hovey is Associate Program Director for Virtue, Happiness, & the Meaning of Life.

ArtAIDSAmerica Chicago runs through April 2.

Interview with Andrew Christy, Summer Session Participant

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This post is part of a series of interviews with our incoming class for the “Virtue, Happiness, & Self-Transcendence” 2017 Summer Seminar. Andrew Christy is a graduate student in social  and personality psychology at Texas A&M University. Valerie Wallace is Associate Director, Communications, for Virtue, Happiness, & the Meaning of Life.

 

Valerie Wallace: Where are you from?

Andrew Christy: I am from the small town of Greenwich in upstate New York. I lived in Greenwich all my life until going to college at SUNY Geneseo in western New York, and I am now doing my graduate work at Texas A&M University.

 

VW: Tell me about your research.

AC: My research broadly deals with existential psychology and the psychology of well-being, with a particular focus on self- and identity-related processes by which people deal with existential concerns and experience well-being. I study these topics using the methods of social and personality psychology. I ended up in this research area because I was very excited by the questions of meaning and the good life that I encountered in my undergraduate philosophy minor, but I was not optimistic about my ability to provide substantive philosophical answers to these questions. Instead, I study how laypeople answer these questions for themselves, and I have found this to be a very satisfying union of my interests in philosophy and psychology.

 

VW: What are you looking forward to for the upcoming seminar?

AC: This summer, I am most looking forward to meeting other scholars who take different approaches to studying the same topics that interest me. I think I will learn a lot and I hope to come away from the seminar with some new friends in addition to new knowledge!

 

VW: What are your interests outside of academia?

AC: My non-academic interests include cats, hiking, camping, and other outdoor activities, and playing blues and folk music on the lap steel guitar.