Recently, Diane Coetzer wrote a negative review of The Parlotone’s concert Dragonflies and Astronauts. Due to her criticisms, Eban Oliver of Catalyst Entertainment responded with unnecessary vitriol on Facebook. The whole incident is painting him in an ugly light, proceeding before lawyers and the courts, and could be the first such case in which South Africa considers defamation in terms of social media. Here, I’m looking at how criticism (of the arts works) and why it’s necessary for artists themselves. Oh, and why we need to be adults about criticism, on both sides.
There appears to be a problem with criticism. As I’ve previously explained elsewhere, labeling things ‘opinions’ and ‘feelings’ are unhelpful when we are critiquing or arguing for or against something. What matters is not that what we offer is an opinion – that’s a neutral term and, besides, everybody has one. What matters is whether it’s a good opinion. By good, I mean well-argued, reasoned, ideally with evidence and so on. This, note, can be given by experts or lay people like myself. It’s just that we expect experts to be consistently providing good arguments (mainly in their field but sometimes outside, too). This is the basis for scientific explanation and understanding. Using good arguments, with evidence and so on, the best approximation of what’s true and what is nonsense. Continue reading
The Indelible Stamp 