peter.mahr

mahr'svierteljahrsschriftfürästhetik 2001-2008

Announcements in Aesthetics

 

 

April 2009 – June 2009

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January 2009 – March 2009

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October 2008 – December 2008

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April 2008 – June 2008

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October 2001 - December 2001

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April 2009 – June 2009

 

CALLS FOR PAPERS/CONFERENCES (1)

 

 

1 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

NEOHELICON

Acta Comparationis Litterarum Universarum

CALL FOR PAPERS

SPECIAL NUMBER

POETICS OF THE PARATEXT

(No. 1, 2010)

Guest Editor:  R.-L. Etienne Barnett

 

The “paratext,” here defined as any textual accompaniment exterior to the text proper and yet intrinsically bound to it (prefaces, prologues, prolegomena, forewords, codas, authorial appendices, marginal notes, didascalia and other scripturally-conjoined paraphernalia) constitute the focus of this special number.  Priority will be accorded to papers exploring the theoretical consequences and/or poetic operations of paratextual “objects” within the plexus of a work or series of works. All contributions focused upon this dimension of literary inquiry will be considered.

Manuscripts in English, French, German or Italian, not to exceed twenty-five (25) double-spaced pages, are welcome.  Requirements: Papers, prepared in accordance with MLA guidelines and accompanied by an abstract in English, are to be submitted in the form of a Word document (attachment) to Dr. R.-L. Etienne Barnett (RLEBarnett@UofA.edu) with a copy to Dr. Péter Hajdu (neohelicon@iti. mta.hu).

 

Deadline for manuscript submission:  July 1, 2009.

 

 

 

 

January 2009 – March 2009

 

CALLS FOR PAPERS/CONFERENCES (2)

1 (internet source: search engine)

(internet source: http://prs.heacademy.ac.uk/events/)

 

The Philosophy of Adam Smith: A conference to commemorate the 250th anniversary of The Theory of Moral Sentiments

Conference:

Balliol College

Oxford 6th - 8th January 2009

Although Adam Smith is better known now for his economics, in his own time it was his first book, The Theory of Moral Sentiments (1759), that established his reputation. Just as scholarly work on Smith has challenged the free market appropriation of Smith's Wealth of Nations, so it has also come to appreciate the importance of Smith's moral philosophy for his overall intellectual project. This conference, to be held at the college Smith himself attended from 1740-46, and at the beginning of the year marking the 250th anniversary of the publication of The Theory of Moral Sentiments, will provide an opportunity to re-evaluate the significance of Smith's moral philosophy and moral psychology, the relationship between them and his other writings on economics, politics, jurisprudence, history, and rhetoric and belles lettres, and the relevance of his thought to current research in these areas. Papers on any of these topics, and from any discipline, are welcome.

 

NEW 2 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

CALL FOR PAPERS:

 

Like novelists, historians or columnists, philosophers, too, are writers. They make sophisticated use of language, and employ – whether deliberately or not – specific rhetorical and stylistic devices, as well as certain repertoires of metaphors, images and symbols. As writers, philosophers also have to adjust their writing to specific audiences, tailor it to serve specific purposes, and strategically choose one genre over another, with all its rules, protocols, and constraints. In short, it is crucial for philosophers – if they are to persuade readers – to advance their ideas following certain aesthetic rules, rhetorical procedures and strategies of persuasion. This has led some authors to speak of “the literariness of philosophical texts” (Berel Lang) as something indistinguishable from the philosophical substance and relevance of those

texts.

 

A writer’s relationship to language, writing and weaving of narratives in general is always complex. For, if we are to believe Heidegger, although “man acts as though he were the shaper and master of language, …in fact language remains the master of man.” Therefore, it might well be the case that – as often happen with writers – philosophers, too, go through some peculiar experiences: sometimes, for example, they become so completely seduced by language that they almost lose themselves in the act of writing and come to utter whatever language compels them to; some other times, they become so deeply caught up in their own discourse that it becomes difficult for them to separate from it: on such occasions they are not very different from those novelists who end up becoming characters in the narratives they are weaving.

 

The implication is that a work of philosophy might well be seen as a work of (literary) art, as an autonomous world, for whose creation the author’s personal vision, imagination, playfulness and inventiveness play a major role. In other words, according to this view, “The Critique of Pure Reason” is, in a fundamental way, much closer to “Hamlet” or “The Brothers Karamazov” than to, say, “On the Origin of Species.”

 

With this in mind, some scholars of philosophy have been in a position to say that philosophy is nothing other than literature. Others, more cautious, have allowed philosophy to be literature only to some degree or under circumstances. Then, there are, of course, those for whom philosophy does not have anything to do with literature.

 

We invite submissions dealing with the multifaceted relationship between philosophy and literature, some aspects of which have been pointed to above. Interdisciplinary approaches (combining, for example, philosophy, literary theory and intellectual history) are particularly encouraged.

 

Here are only some of the possible topics:

- The employment of literary categories (genre, tropes, narrative, plot, point of view, etc.) in the production of philosophical texts

- The genres of philosophical writing (dialogue, treatise, meditation, journal article, etc) and their significance for the content of those writings; how exactly the adoption of a certain genre shapes the philosophizing in question

- Philosophical styles: styles of writing / styles of philosophizing; “the anatomy of the philosophical style” (Berel Lang)

- The variety of literary practices in the history of philosophy

- The philosophers’ rhetoric; philosophy of rhetoric / rhetoric of philosophy

- Canons and canonization in the history of philosophy

- Author/authorship/authority in the production of philosophical texts; author’s “voice”; the use of personae, masks, masquerades

- Philosophy as expression of the self (philosophy and autobiography)

- The art of the “literary philosophers” (Plato, Augustine, Giordano Bruno, Vico, Nietzsche, Schopenhauer, Kierkegaard, Wittgenstein, Heidegger, Unamuno, Benjamin, Sartre, Camus, Cioran, etc)

- Recent philosophizing on the relationship philosophy-literature (contributions dedicated to the work of Jacques Derrida, Richard Rorty, Paul Ricoeur, Hans-Georg Gadamer, Theodor Adorno, Stanley Cavell, Alexander Nehamas, Slavoj Zizek, Jean-Luc Nancy, Berel Lang, Iris Murdoch, Simon Critchley, etc)

- Literary theorists/historians on the relationship philosophy-literature (contributions dedicated to the work of Mikhail Bakhtin, Roland Barthes, Rene Wellek, Wolfgang Iser, Hayden White, Giuseppe Mazzotta, Umberto Eco, etc)

SUBMISSIONS GUIDELINES: 

Deadline for submissions: January 1, 2009

Length: 6000 words

All articles and reviews submitted to “The European Legacy” undergo peer-review. Manuscripts and Notes, typed double-spaced, should be submitted to the Guest Editor as e-mail attachments, using WordPerfect or Microsoft Word. The author’s full address should be supplied as a footnote to the title page. Manuscripts should be prepared in accordance with the Chicago Manual of Style, 14th edition.

You can submit your contributions to: bradatan@hotmail.com  Please allow

at least 4-6 months for the review process and editorial decisions.

Receipt of materials will be confirmed by email

Unless otherwise noted in this Call for Papers, the Instructions for Authors on the journal’s webpage are adopted for this issue:

http://www.tandf.co.uk/journals/journal.asp?issn=1084-8770&linktype=44

 

We look forward to your submissions!

Sincerely,

 

Costica Bradatan

Guest Editor – “The European Legacy”

Assistant Professor of Honors – Texas Tech University

Professor Texas Tech University The Honors College PO Box 41017 Lubbock,

TX 79409 Senior Editor, Janus Head http://www.janushead.org

http://www.webpages.ttu.edu/cbradata

 

 

 

October 2008 – December 2008

 

 

July 2008 – September 2008

 

CALLS FOR PAPERS/CONFERENCES (1)

 

1 (internet source: http://www.dgae.de/downloads/alltag_info.pdf)

 

Vom 29. September bis zum 2. Oktober 2008 findet in Jena an der Friedrich-Schiller-Universität der VII. Kongreß der Deutschen Gesellschaft für Ästhetik statt. Der Titel lautet: Ästhetik und Alltagserfahrung. Die Tagung behandelt die Alltagserfahrung – den gesamten Bereich der lebensweltlichen Wahrnehmung und vorwissenschaftlichen Welterfahrung – in ihrer ästhetischen Verfassung. Das Thema reagiert damit auf den Umstand, daß es bisher in den vielfältigen Theorien der ästhetischen Erfahrung zumeist um die Kunst- und Naturerfahrung ging, das heißt um außergewöhnliche, vielleicht auch emphatische Formen der Erfahrung. Wenn sich die Ästhetik jedoch nicht ausschließlich mit dem Besonderen und Seltenen befassen will, dann muß auch die ästhetische Erfahrung des Alltäglichen thematisiert werden; dann gilt es, die lebensweltliche Wahrnehmung des Normalen, Unscheinbaren und Selbstverständlichen in seiner Sinnlichkeit zum Gegenstand der Ästhetik zu machen. Es soll darüber nachgedacht werden, was an Alltagsgegenständen – am Wohnen, an der Mode, dem Populären, dem Sound der Geräte, dem Design, Film, Fernsehen, Fest und Sport, aber auch an Banalem und Kitschigem – ästhetisch bemerkenswert ist. Die interdisziplinär zusammengestellten Beiträge diskutieren die Frage, von deren Antwort letztlich das Gelingen einer Ästhetik der Lebenswelt abhängt: Mit welchen Methoden kann sich die Ästhetik einerseits für die Lebenswelt, den Alltag und seine Ausstattung öffnen, ohne aber anderseits der Gefahr zu erliegen, in einer undifferenzierten Weise diese Dinge des Alltags schlicht wie große Kunstwerke zu behandeln, das heißt ohne die Besonderheit der ästhetischen Phänomene des Alltags unter einem all zu weiten Begriff der ästhetischen Erfahrung undifferenziert verschwinden zu lassen? Genau diese Gratwanderung ist die systematische Aufgabenstellung des Kongresses: alltägliche Phänomene thematisieren, ohne ihnen die Alltäglichkeit zu nehmen. Die Tagung berücksichtigt aufgrund ihrer interdisziplinären Ausrichtung sowohl Antworten, welche mittels exemplarischer Überlegungen gegeben werden, als auch philosophisch theoretische Reflexionen über die Kategorien und Möglichkeiten einer Alltagsästhetik.

 

NEW 2 (internet source: private e-mail)

 

Tagung der Deutschen Gesellschaft für Ästhetik

 

Ästhetik und Alltagserfahrung

 

Jena, 29. September – 2. Oktober 2008

 

Vorläufiger Zeitplan

 

Montag, 29.9.08

13:00 Eröffnung und Einführung

Raum #

13:30 Eröffnungsvortrag

Konrad Paul Liessmann

„Die schönen Dinge. Über Ästhetik und Alltagserfahrung“

14:30 PAUSE

Sektion 1

Der präsentierte Alltagsgegenstand

Sektion 2

Schein und Alltag

Moderation 1

Eva Schürmann

Moderation 2

Hans-Christian von Herrmann

Raum # Raum #

15:00 Martina Dobbe

„Die Welt ist schön“

Wolfgang Braungart

„‚Und wenn ich hame geh / Scheint der

Mond so scheeh…‘ Kitsch, Literatur,

Lebenswelt“

15:45 PAUSE

16:15 Rüdiger Zill

„Im Schaufenster. Ephemere

Installationen im Alltag“

Gerhard Schweppenhäuser

„Kunst als Wunscherfüllung. Zur

kritischen Theorie des Kitsches“

17:00 PAUSE

17:30 Gudrun Lehnert

„Paradies der Sinne. Das Warenhaus

als ästhetisches Ereignis“

Josef Früchtl

„George Clooney, Brad Pitt und ich, oder:

Die schöne Illusion des Vertrauens“

18:15 PAUSE

19:00 Empfang der Referenten und Mitglieder im Zeiss-Planetarium

Grußwort des Rektors

Dienstag, 30.9.08

Forum 1

Ästhetik des Films

Forum 2

Ästhetik der

Situationen

Forum 3

Form im Alltag

Forum 4

Mode und Ware

Moderation 3

Birgit Recki

Moderation 4

Klaus Sachs-

Hombach

Moderation 5

Jakob Steinbrenner

Moderation 6

Martin Seel

Raum # Raum # Raum # Raum #

2

09:00 Herbert Schwaab

„Stanley Cavell,

King of Queens und

die

Medienphilosophie

des Gewöhnlichen“

Catrin Misselhorn

„Liebe und

ästhetische

Erfahrung“

Agnes Bube

„Die Neuentdeckung

des Gewöhnlichen –

über die

lebensweltliche

Relevanz der

Kunsterfahrung“

Petra Leutner

„Leere der

Sehnsucht“

09:45 Michaela Ott

„Die Ästhetik des

zeitgenössischen

Unterhaltungsfilms“

René Seyfahrt

„Wahrnehmung im

Tourismus.

Alltägliche

Schemata und

außeralltägliche

Dimensionen einer

spezifischen

Situation“

Helmut Hartwig

„Kunst und

Normalität“

Dagmar Venohr

„Ästhetische Praxis

zwischen Bild und

Text im

Modemagazin“

10:30 PAUSE

11:00 Mirjam Schaub

„Der Horror des

Alltäglichen. Das

Spiel mit dem

Unerträglichen im

Genre Film“

Marie-Luise Raters

„Der Alltag und

das Fest“

Hermann Pfütze

„Ästhetik der

Lebenswelt –

Schönheit der Welt –

Formprinzip der

Kunst“

Julia Hasenberger

„Alltag in Weiß:

Hemden, Shirts,

Chemise“

11:45 Jörg Sternagel

„Kennen wir uns

nicht?

Filmschauspieler als

ständige Begleiter“

Joachim

Landkammer

„Schöner töten.

Zur Ästhetik der

Waffen und des

Waffengebrauchs“

Karen van den Berg /

Markus Rieger-

Ladich

„Schule der Ästhetik

– Ästhetik der

Schule“

Kathrin Busch

„Kraft der Dinge.

Design als Kunst –

Kunst als Design“

12:30 MITTAGSPAUSE

Sektion 3

Die Alltäglichkeit der Schönheit und der

Kunst

Sektion 4

Erzählte und gezeigte Alltagserfahrung

Moderation 7

Christian Bermes

Moderation 8

Josef Früchtl

Raum # Raum #

14:00 Barbara Formis

„Gestures, Bodies and Experiences“

Christiane Voss

„Anästhesierung und ästhetische

Erfahrung des Kinos“

14:45 PAUSE

15:15 Georg W. Bertram

„Die Alltäglichkeit des Lebens und die

Alltäglichkeit der Kunst“

Stephan Günzel

„‚In real life‘ – Alltagserfahrung und

Computerspiel“

15:45 PAUSE

16:30 Constanze Peres

„Schönheit und Alltagserfahrung“

Stefan Matuschek

„Der Roman als Erkenntnis der

Lebenswelt“

17:15 PAUSE

3

17:45 Ludger Schwarte

„Ästhetik als Ideologie des schönen

Alltags“

Christoph Jamme

„Prosa der Alltäglichkeit. Zu Hegels

Theorie der modernen Kunst und ihrer

Aktualität“

18:30 PAUSE

20:00 Mitgliederversammlung

Mittwoch, 1.10.08

Forum 5

Das Alltägliche in

der Kunst

Forum 6

Philosophie und

Alltagsästhetik

Forum 7

Banalität und

Alltag

Forum 8

Theorien der

Alltagserfahrung

Moderation 9

Gerd Blum

Moderation 10

Reinold Schmücker

Moderation 11

Petra Leutner

Moderation 12

Marie-Luise Raters

Raum # Raum # Raum # Raum #

09:00 Christel Fricke

„Transsubstantiation

des Alltäglichen?“

Ronny Becker

„Der Begriff der

Fragilität in der

Ästhetik Oskar

Beckers“

Marita Tatati

„Artikulation des

Alltäglichen – Das

Banale als

ästhetisches

Phänomen“

Brigitte Hilmer

„Zur Topik des

philosophischen

Alltagsbegriffs und

seiner ästhetischen

Bedeutung“

09:45 Ulrich Seeberg

„Beobachtungen zum

Verhältnis von Kunst

und Alltag in der

Moderne“

Klaus

Schwarzfischer

„Beobachtende

Systeme:

Dezentrierende

Gestalt-Integration

als Basis einer

Ästhetik des

Alltags“

Brigitte Scheer

„Zur ästhetischen

Verfasstheit

alltäglicher

Handlungsweisen

am Beispiel des

Taktes“

Anna Tuschling

„Ein derber Witz.

Freuds ästhetische

Theorie des Alltags“

10:30 PAUSE

11:00 Sigrid Franz

„Ästhetik und

Alltagserfahrung:

Kurt Schwitters’

Merz-Perspektive“

Dimitri Liebsch

„Aporien des

Alltäglichen“

Roland Haas

„Von der Ästhetik

des Alltags: Hören,

Sound-Design,

Sound-Scapes und

Field Reports“

Harry Lehmann

„Die

alltagsästhetische

Doppeldifferenz“

11:45 Bernadette

Collenberg-

Plottnikov

„Die Musealisierung

des Alltäglichen. Zur

Bedeutung der

Institution Kunst“

Annette Geiger

„Die Kulturen von

Kunst und Design.

Versuch einer

anthropologischen

Ästhetik“

Peter Rinderle

„Zur Ästhetik von

Alltagsgeräuschen

in der Musik“

Jakob Steinbrenner

„Wie kommt man zu

ästhetischen

Alltagserfahrungen?“

12:30 MITTAGSPAUSE

Sektion 5

Phänomenologie der Alltagserfahrung

Sektion 6

Ästhetische Erfahrung ohne ästhetische

Einstellung

Moderation 13

Stephan Günzel

Moderation 14

Rüdiger Zill

Raum # Raum #

4

14:00 Thomas Rolf

„Normalität als Bleibe. Zur

phänomenologischen Ästhetik des

Kontakts“

Bruce Bégout

„The discovery of the obvious. The lost

world of the everyday life“

14:45 PAUSE

15:15 Emanuel Alloa

„Was nicht ins Auge fällt. Skizzen zu

einer Phänomenologie des

Unscheinbaren“

Gottfried Gabriel

„Ästhetik und Rhetorik der Briefmarke“

16:00 PAUSE

16:30 Dieter Mersch

Ästhetik der Dinge

Ulf Poschardt

„Das Auge überholt mit: Raserei als

existenzielle Freiheitserfahrung“

17:15 PAUSE

17:45 Christian Bermes

„Die Ästhetik der Lebenswelt als

Programm der Phänomenologie“

Jörg H. Gleiter

„Architektur und die Obsession mit den

Spuren des Alltäglichen“

18:30 PAUSE

19:00 Reisenthel-Empfang der Referenten und Mitglieder im „Turm“

Donnerstag, 2.10.08

Sektion 7

Ästhetik und Lebenswelt

Moderation 15

Birgit Recki

Raum #

9:00 Martin Seel

„Schönheit – eine kleine begriffliche Reise“

9:45 PAUSE

10:15 Ruth Maria Sonderegger

„Institutionskritik? Zum politischen Alltag der Kunst und zur

alltäglichen Politik ästhetischer Praktiken“

11:00 PAUSE

11:30 Boris Groys

„Ästhetik der religiösen Fundamentalismen“

12:30 ENDE

 

 

 

April 2008 – June 2008

 

CALLS FOR PAPERS/CONFERENCES (7)

 

1 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

UPDATE: The dates for the "Stanley Cavell and Literary Criticism"
conference have now been finalised as May 9-11 2008.

"Stanley Cavell and Literary Criticism", conference, May 9-11 2008,
Edinburgh University.

Stanley Cavell's work has been influential for the theory and practice
of literary criticism for many years. From his consideration of Beckett
and Shakespeare in his first book, Must We Mean What We Say? (1969) to
the recent collection of writing on Emerson, Emerson's Transcendental
Etudes (2003), Cavell's philosophical concerns have consistently been
grounded in the problems and challenges offered by literary texts. This
conference, the first to consider explicitly the connection between
philosophical practice and literary art in Cavell, will include major
scholars from both sides of the Atlantic. Professor Cavell has agreed to
participate in the event.

An edited volume of specially commissioned essays arising out of papers
given at the conference is also planned.

Possible topics for consideration include: literary ethics; speech act
theory; literary and philosophical romanticism; the idea of America;
Shakespeare; modernism and modernity.

Abstracts of no more than 500 words should be sent to
Andrew.Taylor_at_ed.ac.uk. The deadline for submissions is May 1, 2007.

James Loxley, Lee Spinks, Andrew Taylor (English Literature, University
of Edinburgh)

 

2 (internet source: search engine)

(internet source: http://www.sofi.ucl.ac.be/esth/colloques.html)

 

Colloques et conférences

 

17-18 avril 2008 : colloque international à l'initiative du Groupe de contact Esthétique et philosophie de l'art du FNRS (activité proposée dans le cadre de l'Ecole doctorale de philosophie (ED1) et de l'Ecole doctorale en art et sciences de l'art [ED20])

 

Cadres, Seuils, Limites

 

 

3 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

Sculpture and Touch

Symposium to be held at the Courtauld Institute of Art, London

16-17 May 2008

‘Marble comes doubly alive for me then, as I ponder, comparing, Seeing with vision that feels, feeling with fingers that see’

Goethe, Roman Elegies

Since the Renaissance, at least, the medium of sculpture has been linked explicitly to the sense of touch.  Sculptors, philosophers and art historians have all related the two, often in strikingly different ways. In spite of this long running interest in touch and tactility, in  recent decades vision and visuality have tended to dominate art historical research. The aim of the conference is to introduce a new impetus to the discussion of the relationship between touch and sculpture by setting up a dialogue between art historians and individuals with fresh insights working in disciplines beyond art history, for example, psychologists, anthropologists, philosophers, and practicing artists.

 

 

4 (internet source: http://www.aesthetics-online.org/events/calls.php)

(internet source: http://www.hermann-cohen-gesellschaft.org/pdf/call-for-papers_Coswig_08.pdf)

 

Hermann Cohen und die bildende Kunst

 

Tagung der Hermann Cohen-Gesellschaft (Zürich) in Kooperation mit der Max Liebermann-Gesellschaft (Berlin, angefragt) und der Cohen-Gesellschaft (Coswig) vom 15. bis 18. Juni 2008 in Coswig (Anhalt). Die Ästhetik Hermann Cohens war bisher eher selten Gegenstand der philosophisch-systematischen und/oder kunsthistorischen Forschung. Der Schwerpunkt der geplanten Tagung liegt bei Cohens Verhältnis zur bildenden Kunst. Zum einen sind systematische Erörterungen zur Kunsttheorie willkommen, und zwar nicht zuletzt solche, die Cohens Ästhetik mit der gegenwärtigen Debatte in Beziehung setzen. Zum andern erhoffen wir uns biographische oder geschichtliche Beiträge, die Cohen vor dem Hintergrund der damaligen künstlerischen und ästhetischen Bewegungen ins Profil rücken. Wir würden uns freuen, Interessierte Personen zu finden, die sich mit einem Referat an der Tagung beteiligen möchten. Sie sind herzlich eingeladen, bis zum 15. Dezember 2007 einen Themenvorschlag mit kurzem Exposé (max. 300 Worte) meine Adresse zu schicken.

Dr. Hartwig Wiedebach,

Martin Buber-Professur für jüdische Religionsphilosophie

J. W. Goethe-Universität

FB Ev. Theologie

Grüneburgplatz 1, Raum BL-7

60323 Frankfurt/M., Germany

wiedebach@freenet.de

Herzliche Grüße,

Ihr

Hartwig Wiedebach

Vizepräsident der

Hermann Cohen-Gesellschaft, Zürich

 

 

5 (internet source: http://www.aesthetics-online.org/events/index.php)

 

Philosophy of Literature: 2008 Ratio Conference

 

April 12, 2008, University of Reading

 

Speakers on the day will be Peter Kivy, Rutgers University, Peter Lamarque, University of York, M. W. Rowe, University of York, and Ole Martin Skilleås, University of Bergen. The conference venue is:

 

Seminar Room 1, Black Horse House

University of Reading

Whiteknights Campus

Reading RG6 6AA, UK

 

Severin Schroeder

Department of Philosophy

University of Reading

Whiteknights

Reading RG6 6AA UK

 

s.j.schroeder@reading.ac.uk

 

 

6 (internet source: http://pedagogie.ac-toulouse.fr/philosophie/forma/cal.htm)

 

«Le Sentimentalisme en Europe: splendeur, décadence et renouveau» 22, 23 et 24 mai 2008. Colloque international et pluridisciplinaire-Université du Littoral Côte d’Opale (Boulogne-sur-mer). CERCLE (Centre d’Etudes et de Recherche sur les Civilisations et les Littératures Européennes). Compsante de l’ UR H.L.L.I. –Responsable Jacqueline Bel. «Sentir» en latin supin sensum, selon le Robert, est « percevoir par les sens ou par l’intelligence ». Les différents sens du terme sentiment sont, en premier, « Conscience plus ou moins claire, connaissance comportant des éléments affectifs et intuitifs », « Capacité d’apprécier… », « Avis, opinion » ; en second, « Etat affectif complexe, assez stable et durable… émotion, passion. Amour », « la vie affective, la sensibilité… Expression de la sensibilité ». L’évolution des mots de la même famille sur la sensibilité et le sentimentalisme, montre une variété des sens attribuée à ces termes au XVIIIe siècle: une explosion philosophique et linguistique. Des études faites par Christian Pons dans son ouvrage Richardson et la littérature bourgeoise en Angleterre en 1968 expliquent la différence entre le sentimentalisme anglais et français: le mot sentimental en français « signifie d’abord pathétique et même larmoyant. C’est un terme que nous associons par ailleurs volontiers avec une conception romanesque de l’existence... ni le pathétique ni le romanesque ne caractérisent le sentimentalisme anglais… ‘Le sentimentalisme’, loin de se confondre avec l’émotivité ‘passionnée du romantisme, n’est autre chose qu’une foi aveugle, optimiste – et en ce sens ‘ sentimentale – dans la puissance de la ‘vertu’ triomphante ou rédemptrice – et finalement ‘récompensée’. Du pathétique sentimental de Richardson au pathétique romantique de Rousseau, de Sterne, il n’y a pas continuité, il y a rupture... Le ‘sentimentalisme’ anglais n’est pas un préromantisme, c’est une conception chrétienne et ‘sentimentale’ des passions ; dans le roman, c’est un romanesque chrétien’ » (5-10). Dans ce siècle des Lumières, période au cours de laquelle les écrivains, moralistes, scientifiques, philosophes, éclairent l’entendement humain par la raison, pour lutter contre les préjugés, les croyances absurdes et les superstitions, la philosophie devient un renouvellement de l’éthique, de l’esthétique et un savoir fondé sur « la raison éclairée » de l’homme. Les philosophes en Europe sont partagés entre la raison et le sentiment. Durant ce colloque international et pluridisciplinaire organisé par le C.E.R.C.L.E. en 2008, il s’impose de partir du sentimentalisme en Angleterre, en France et en Allemagne et de l’élargir à d’autres pays européens dans lesquels le sentimentalisme ne se vit pas au même rythme et dans les mêmes termes. Les Européens commencèrent alors à se définir eux-mêmes en termes de capacité de sentir. Les philosophes du XVIIIe siècle évaluent les effets des émotions par rapport à soi ou à l’autre. Ce mouvement prit la forme d’expériences sur les nerfs ; il se manifesta dans les théories de la sympathie et de la bienveillance qui essaient de développer et de promouvoir leur propre version de l’idéal humain, l’homme et la femme de sentiment. Ce colloque se propose d’analyser l’évolution et le développement de ce mouvement sentimental en Europe, qui traite parfois des problèmes éthiques et religieux importants et qui a marqué de manière profonde l’évolution des mœurs et les mentalités européennes ; d’évoquer les points de vues opposés des philosophes dans chaque pays européen où la culture des Lumières est marquée par le progrès scientifique et moral, et où la raison a échoué à améliorer et à résoudre les problèmes sociaux et moraux, en Angleterre et partout en Europe ; d’étudier les divers aspects de ce mouvement dans la littérature, la philosophie, la science, les arts, etc., qui a donné une nouvelle définition de la nature de l’homme ; de s’interroger sur les conditions sociales, culturelles et éthiques qui ont pu provoquer ce changement de l’homme défini jusque là comme un animal rationnel en Europe ; enfin, de préciser le rôle de la littérature, de la philosophie, de la science et des arts en favorisant l’éclosion de ce nouvel humain. Ce colloque invitera à réfléchir sur le décadence du sentimentalisme et sur son orientation vers le gothique puis vers le romantisme au XIXe siècle, à s’interroger sur la place de l’homme du XXIe siècle et sur le sens de sa vie avec un renouveau de la question, car dans la littérature de la sensibilité il y a une capacité à la sociabilité qui n’existe plus au XXIe siècle. Le débat sur la place respective du sentiment et de la raison dans la vie de l’homme se poursuit. Les spécialistes de nombreuses disciplines, histoire, philosophie, littérature, art, linguistique, etc., sont bienvenus dans ce colloque international et pluridisciplinaire, de telle sorte qu’un échange fructueux puisse avoir lieu entre les intervenants, afin de contribuer à l’élargissement de la réflexion sur le sujet. Les interventions auront une durée de 20 minutes avec 10 minutes réservées aux questions (8 à 10 communications par jour). ... Le programme définitif est fixé depuis décembre 2007.

 

7 (internet source: search engine)

(internet source: http://www.sofi.ucl.ac.be/esth/colloques.html)

 

Cadres, Seuils, Limites

 

17-18 avril 2008 : colloque international à l'initiative du Groupe de contact Esthétique et philosophie de l'art du FNRS (activité proposée dans le cadre de l'Ecole doctorale de philosophie (ED1) et de l'Ecole doctorale en art et sciences de l'art [ED20])

 

 

LECTURES (3)

1 (internet source: http://www.musicologie.org/Colloques/calendrier_court.html)

 

5 avril 2008, Paris

 

Séminaire Esthétique et Cognition

Théories de l’art et phénomènes cognitifs

Institut d'Esthétique des Arts et des Technologies (UMR 8153)

Université de Paris-1 Panthéon-Sorbonne/CNRS

Organisation : Jean-Marc Chouvel, Hugues Dufourt,

Xavier Hascher, Costin Miereanu

 

Un nombre considérable d’études ont été consacrées ces dernières années à la cognition musicale. Elles ont trop peu souvent fait état de la réflexion que l’esthétique, la philosophie ou la psychanalyse avaient déjà consacré à la question du rapport à l’œuvre, à la manière dont nous prenons conscience d’elle, dont nous la pensons avant même de penser sur elle. Il paraît donc essentiel aujourd’hui  d’instaurer un dialogue entre ces différents aspects de la réflexion sur la réception de l’art par l’individu. Ceci est d’autant plus important que les créateurs eux-mêmes, après une phase de concentration sur l’objet et la structure, s’intéressent à nouveau à la théorisation du sujet percevant. Comment s’articulent sensation et connaissance, objectivité et subjectivité, actuel et mémoriel, mais aussi création et perception, expérience du sujet et théorie de l’art ? Autant de questions et de clivages, réels ou apparents, qui interrogent les scientifiques, les philosophes et les artistes, et que ce séminaire tentera de débrouiller et, éventuellement, d’éclaircir.

 

Les séances auront lieu le samedi tous les deux mois environ à partir de la rentrée universitaire 2007. Elles seront organisées en deux temps, avec deux interventions le matin et deux l’après-midi, et un temps de discussion collective.

 

Adresse où se dérouleront les séances :

Université de Paris-1 Panthéon Sorbonne

Centre Panthéon (bât. de la faculté de Droit)

12 place du Panthéon, 75005 Paris

 

Accès:

Mº Odéon, Cluny-la-Sorbonne, Cardinal-Lemoine

RER Luxembourg

Bus 84, 89, 21, 27, 38, 63, 82, 85, 86, 87

 

1. Variabilité du sujet esthétique, samedi 10 novembre 2007

2. Cognition et création, samedi 1er décembre 2007

3. La compréhension musicale entre perception et cognition, 26 janvier 2008

4. Phénoménologie et esthétique, samedi 23 février 2008

5. Signes, mécanismes et catégories

Samedi 5 avril 2008

10 h–12 h et 14 h–16 h

Centre Panthéon, s. 58 (entresol)

L’expérience de la musique est-elle fondamentalement une expérience de l’ « autre » ? Comment se manifeste cette spécificité de l’ « autre » et comment peut-on l’aborder ? Quels signes, quels mécanismes et quelles catégories sont applicables ? L’objet musical est-il auto-suffisant dans la définition des critères de son intelligibilité, ou au contraire est-il redevable d’un « code » qui lui est extérieur mais auquel il se réfère ? Dans ce cas, comment accède-t-on à la connaissance de ce code ? Quel est son degré d’universalité ? Le chercheur n’est-il pas constamment dans un conflit entre ses catégories analytiques et les mécanismes de production et de perception des œuvres dans une culture donnée ?

 

INTERVENANTS

 

Xavier HAUTBOIS (IUT de Versailles)

 

Le son « humainement » organisé

 

Dans son manifeste pour un nouvel enseignement de la musique qui intègrerait une dimension sociale, How musical is man ?, John Blacking tire de son expérience de la musique des Vendas une approche  anthropologique de la connaissance. La définition générale qu’il  propose de la musique, en tant que son « humainement » organisé, lui  attribue une origine à la fois sociale et biologique. Il nous dit que « Bien des processus essentiels de la musique, sinon tous, peuvent se déceler dans la constitution du corps humain et dans des structures d’échanges des corps humains en société. » En effet, si les organisations sociales engendrent des expressions musicales dont on reconnaît la singularité, on est en droit de penser que des éléments biologiques, organiques ou relevant de la psyché humaine, sont incorporées dans la musique, par delà les cultures, permettant d’envisager l’hypothèse d’une organisation en catégories. Le débat est ancien et s’est dressé dès l’origine de l’ethnomusicologie. La question se pose de savoir dans quelle mesure ces catégories sont réellement indépendantes des cultures. Les éléments de structuration du discours musical de tradition écrite peuvent-ils avoir quelque valeur dans des systèmes de tradition orale ? Si c’est le cas, il s’agit alors de catégories cognitives qui, par une approche rationnelle ou empirique, sont susceptibles de se manifester dans d’autres domaines d’expression de l’intelligence. Nous tenterons d’apporter quelques éléments de réflexion autour de ces questions.

 

Francesco GALOFARO (Universitá di Bologna)

 

Structures semi-symboliques et signification musicale

 

Le travaille sémiotique de A. J. Greimas et de son école a reconnu dans les sémiotiques visuelles une importante modalité de signification, appelée « semi-symbolique ». Dans cette modalité, chaque catégorie au plan de l’expression est liée à une catégorie différente au plan du contenu. Par exemple, dans le « Jugement universel » de Giotto, il y a une opposition entre la droite et la gauche au plan de l’expression, qui correspond a une opposition entre judicandi et judicati au plan du contenu. La musique a la possibilité de construire l’architecture structurale du plan de l’expression selon des oppositions catégorielles qui ressemblent à certains systèmes visuels comme la peinture ou le cinéma : les oppositions entre le haut et le bas, l’antécédent et le conséquent, aussi bien que les symétries typiques des canons font de la musique un système plastique (qui possède sa propre spécificité). L’écriture musicale, en tant  que sémie substitutive, révèle la plasticité du système entier. La disponibilité d’oppositions catégorielles au plan de l’expression mène à la possibilité de l’utiliser pour véhiculer de pareilles oppositions au plan du contenu. Par exemple, la plus part des madrigalismes dans la musique de la Renaissance utilise le même mécanisme, et aussi la rhétorique des affects.

 

La structuration semi-symbolique dans un système plastique n’implique pas un actant-foyer, un spectateur ou bien un auditeur qui connaît le code, parce que l’ouvrage pose le code chaque fois selon une articulation différente. Au contraire, un système plastique présuppose un foyer qui peut reconnaître cette structuration élémentaire et s’interroger sur les différentes possibilités d’interprétation. Cela n'implique pas la connaissance a priori d’un code, mais plutôt d’un fond culturel commun, une encyclopédie, qui nous permet de reconstruire les opérations de codage.  On peut donc parler avec Roman Ingarden d’une autonomie ontologique du texte musical, qui présuppose un auditeur phénoménologique qui remplisse les différents niveaux textuels avec les significations nécessaires. À cet égard,  mberto Eco parle d’un lecteur-modèle impliqué par le texte, lecteur qui explore les différentes interprétations permises par l’ouverture de l’œuvre artistique, en écartant celles qui sont interdites.

 

Simha AROM (CNRS)

 

La cognition en acte : la catégorisation des patrimoines musicaux en Afrique Centrale

 

Chez les populations d’Afrique centrale, les patrimoines musicaux sont culturellement codés. Toute musique y est associée à une circonstance donnée. La totalité des pièces exécutées au cours de celle-ci forme un ensemble, désigné par un terme vernaculaire. La musique d’une communauté ethnique constitue donc un ensemble fini de répertoires.  Or, chaque répertoire est caractérisé par un ou plusieurs traits musicaux qui le distinguent de tous les autres. Ces traits peuvent être extrinsèques (telle ou telle formation vocale ou instrumentale) et/ou intrinsèques (organisation formelle, configurations rythmiques et échelles spécifiques). En ce qu’ils s’excluent mutuellement, les répertoires peuvent donc être assimilés à autant de catégories, témoignant d’une logique implacable.

 

Kofi AGAWU (Princeton University)

 

Iconicity in African Musical Thought and Expression.

 

The iconic mode, one of three modes of signification isolated by C. S. Peirce and accorded a foundational status in his semiotic scheme for distributing reality into conceptual categories, signifies by direct resemblance rather than through causality and proximity (the indexical mode) or a conventional or agreed-upon affiliation (the symbolic mode). All three modes function in traditional African thought and expression, but the iconic is especially prominent. For example, the practice of talking drums normally entails an iconic transfer from the realm of spoken speech to drummed speech. Similarly, in transforming the proto-music of tone languages into melody, the iconic mode exerts a strong (but not necessarily determining) influence on melodic contour. Again, popular musical genres  ike highlife and juju often incorporate iconic effects in the interactions among players and singers. Although iconicity is often acknowledged by scholars of African music, it has yet to receive thorough and comprehensive treatment. This paper begins to redress  he balance by offering a first instalment of an on-going study. I begin by describing instances of iconicity in language, song, drum language and metalanguage. Then I suggest ways in which we might begin to theorize iconicity. I finish with a comment on the politics  of iconic usage, urging creative artists to explore alternatives to the prison-house of iconicity.

 

SÉANCES PRÉVUES EN 2008-2009

6. Structuration et perception – la forme et le timbre

7. Cognition et inconscient

8. Perception et enjeux de pouvoir

9. Écoute et signification

 

 

2 (internet source: search engine)

(internet source: http://portail.unice.fr/jahia/Jahia/op/edit/pid/8690)

 

Anne Moeglin-Delcroix

 

L'invention du ready-made par l'art contemporain

 

3 avril 2008 - 19h

 

L'importance de l'invention du ready-made par Marcel Duchamp est devenue un lieu commun des discours sur l'art contemporain, qu'ils lui soient ou non favorables. On se propose de reprendre cette question dans l'autre sens, du point de vue des artistes concernés. On montrera comment ce sont eux qui ont « inventé » le ready-made, tel que Duchamp ne l'a jamais pensé. On montrera aussi que ces reconstructions n'ont rien d'homogène et qu'elles rendent lisibles quelques-uns des principaux enjeux qui divisent l'art contemporain de l'intérieur.

 

Anne Moeglin-Delcroix est professeur de philosophie de l'art à l'Université de Paris I-Sorbonne où elle dirige le Centre de philosophie de l'art.

 

Les conférences sont organisées en relation avec le Laboratoire de Philosophie de l'Université de Nice- Sophia Antipolis, l'Association des Amis du musée national Marc Chagall et le musée.

 

Toutes ces conférences se déroulent au Musée National Marc Chagall -

Avenue Docteur Ménard - 06000 Nice. Tél. 04 93 53 87 20

 

 

3 (internet source: search engine)

(internet source: http://www.seminariodestetica.it/calendario2008.html)

 

CALENDARIO SEMINARIO PERMANENTE D’ESTETICA 2008

 

Venerdì 18 aprile ore 11-13

 

Relazione del prof. Diodato  su Tipi di semanticità e conoscenza sensitiva.

La classificazione per tipi di semanticità di un vocabolario completo d'autore conduce a supporre l'esistenza di una conoscenza non intellettuale e non intellettualizzabile, la quale corrisponde a un aspetto rilevante della struttura ontologica degli enti-eventi che popolano il mondo.

 

Venerdì 16 maggio:

 

Giornata di studio dedicata all'estetica analitica

           

Seminario Permanente di Estetica, Via del Parione, 7, I-50123 Firenze (Italia)

 

 

EXHIBITIONS (NEW 1)

 

(internet source: veranstaltungen.zeitgeschichte@lists.univie.ac.at)

 

Pask Present

 

An Exhibition of experimental and contemporary art and design growing out of Gordon Pask's cybernetic theory and practice / Eine Ausstellung experimenteller Gegenwartskunst und experimentellen Designs, gründend auf Gordon Pasks kybernetischer Theorie und Praxis

 

Atelier FÄRBERGASSE

Färbergasse 6

A-1010 Wien

 

26. 3. 2008 - 4. 4. 2008, täglich 13:00 - 21:00

Eröffnung: 25. 3.2008, 19:00

 

Gordon Pask (1928-1996), einer der bedeutendsten englischen Kybernetiker, beschäftigte sich seit den frühen 1950er Jahren mit den Möglichkeiten, kybernetische Theorie und Praxis für die Künste fruchtbar zu machen. Seine Projekte MusiColour, Cybernetic Theatre und Colloquy of Mobiles haben wegen ihrer Originalität und Raffinesse heute den Status des Legendären. Das Gordon Pask Archiv, das sich am Institut für Zeitgeschichte der Universität Wien befindet, unterstützt die wissenschaftliche Beschäftigung mit diesen und anderen Projekten.

 

Richard Brown, Edinburgh, Stephen Gage, London, und Ranulph Glanville, London, Melbourne und Seaside, haben als Kuratoren eine Ausstellung von Kunstwerken zusammengestellt, die auf die Aktualität der Konzepte Gordon Pasks und Heinz von Foersters verweisen und mit diesen weiter arbeiten. Die Hybridität von Wissenschaft und Kunst ist dabei das zentrale Thema. Zugleich greift die Ausstellung den Mythors „runder“ Jahreszahlen auf. Vor 60 Jahren prägte der Mathematiker Norbert Wiener den Begriff Cybernetics, vor 50 Jahren gründete Heinz von Foerster das Biological Computer Laboratory (BCL), vor 40 Jahren fand in London die Ausstellung Cybernetic Serendipity statt, die erste Ausstellung, die versuchte alle Aspekte computerunterstützter Kunst zu demonstrieren.

 

Pask Present zeigt  Arbeiten von Richard Brown, Glenn Davidson, Robert Davis, Paula Friar, Stephen Gage, Ranulph Glanville, Ruairi Glynn, Anne E. Hayes, Omar Khan, Roman Kirschner, Chris Leung, Harry Parr, Richard Roberts und Ryan Willard.

 

Die Ausstellung steht in einem zeitlichen und inhaltlichen Zusammenhang mit dem 19th European Meeting on Cybernetics and Systems Research (EMCSR) an der Universität Wien.

 

Zur Ausstellung erscheint ein Katalogbuch: Pask Present. An exhibition of art and design inspired by the work of Gordon Pask (28 June 1928 to 28 March 1996), cybernetician and artist, edited by Ranulph Glanville und Albert Müller, Wien 2008 (edition echoraum).

 

Am 8. April 2008, 19:00, wird Ranulph Glanville den Vortrag Cybernetics for Architects an der Universität für Angewandte Kunst, Lichthof 2, halten, der das Thema der Ausstellung noch einmal resümieren wird.

 

Die Ausstellung wird unterstützt von:

Bundesministerium für Wissenschaft und Forschung, Bundesministerium für Unterricht, Kunst und Kultur, American Society for Cybernetics, Österreichische Studiengesellschaft für Kybernetik, The Bartlett, University College London, The School of Informatics, University of Edinburgh, BLAHA-Büromöbel, Korneuburg, Institut für Zeitgeschichte der Universität Wien

 

Für die Heinz von Foerster Gesellschaft

 

Dr. Albert Müller

Dr. Karl H. Müller

 

 

 

January 2008 – March 2008

 

CALLS FOR PAPERS/CONFERENCES (30 NEW + 24)

 

1 (internet source: http://www.musicologie.org/Colloques/calendrier_court.html)

 

29 - 30 avril 2008, Angers

Appel à communications au colloque international

Musique Française, esthétique et identité en mutation 1892-1992

 

Organisé par le département de musicologie de l’Institut d’Arts, Lettres et Histoire, I.A.L.H. de l’ Universite Catholique de L’Ouest, Angers, Pays de la Loire, France.

 

En coopération avec : Institut de Recherche Fondamentale et Appliquée, U.C.O. Angers, France ; Research Institute for Humanities, Keele University, Angleterre, Royaume Uni ; Groupe de Recherche Interdisciplinaire Histoire et Fiction, U.C.O. Angers.

 

Contexte : Entre la mise en œuvre du Prélude à l’après-midi d’un faune de Claude Debussy et l’année de la disparition d’Olivier Messiaen d’une part, et la reprise de son opéra-oratorio Saint-François d’Assise à l’Opéra National de Paris d’autre part, la musique française a été sans cesse questionnée tant dans son esthétique que dans son identité. Il apparaît cependant que certaines caractéristiques perdurent, procurant aux œuvres des compositeurs français une esthétique singulière.

 

A l’aube du XXe siècle, la prise en considération des premiers travaux de musicologues, la volonté des compositeurs, des chefs d’orchestre et des musiciens de réinvestir le patrimoine musical français des siècles passés, renforcées par l’effort des professeurs pour faire connaître les techniques d’écritures musicales et la découverte d’un nouveau corpus d’œuvres, tout cela a joué un rôle déterminant dans la recherche d’une identité musicale française.

 

Du retour aux grands anciens, à la prise en compte d’une musique populaire spécifique, en passant par l’intégration des musiques extra européennes, les compositeurs français ont maintenu un esprit musical qui fonde son originalité. L’enseignement musical au sein des institutions françaises les plus remarquables a aussi joué en rôle déterminant. Du Conservatoire de Paris à l’Ecole Normale de Musique ainsi qu’à la Schola Cantorum, certains professeurs ont éveillé leurs étudiants aux différents modes d’expressions musicaux, et/ou leur ont permis d’exprimer librement leur inspiration. Depuis la Seconde Guerre mondiale, les jeunes générations ont réinterrogé les paradigmes musicaux et ont ainsi créé des œuvres qui semblent participer de cet esprit français. De fait, durant ces quarante années, l’approfondissement des connaissances d’un répertoire toujours plus étendu en concomitance avec les recherches scientifiques dans les domaines du sonore ont contribué à la mutation de la musique française tout en conservant certaines spécificités.

 

Ce colloque souhaiterait établir des lignes-forces qui permettront de mieux cerner quelques caractéristiques de la musique française. Il pourrait donner lieu à l’identification d’une esthétique « française », et à en comprendre la mutation, en prenant en considération tout un ensemble de domaines. C’est pourquoi les thèmes suivants ont été donc retenus :

 

la composition, l’écriture, l’harmonie, la modalité…

orchestration, instrumentation

enseignement, pédagogie, didactique

thématiques des œuvres

la forme, les technologies

les caractéristiques et l’engagement dans le modernisme

la centralisation ou la pluralisation (Paris – Provinces)

réception des œuvres

les aperçus de l’étranger

les influences des domaines politiques, sociaux, scientifiques, artistiques français

Présentation des propositions :

 

La procédure comporte 2 étapes :

 

1) Les chercheurs enverront le titre de leur proposition de communication avec quelques lignes de présentation comportant l’axe retenu, la problématique et quelques mots explicatifs, accompagnés de leurs coordonnées (nom, prénom, adresse postale et électronique, numéro(s) de téléphone, université de rattachement) à Pascal Terrien (pascal.terrien@uco.fr) et à Barbara Kelly (b.l.kelly@mus.keele.ac.uk) pour le 7 décembre 2007, date limite de dépôt des propositions.

 

2) Une réponse sera envoyée avant le 15 février 2008. Les auteurs des communications retenues devront ensuite envoyer le titre définitif de la communication et un résumé, ainsi qu’une brève notice biographique pour le 15 mars 2008 (la longueur du résumé ne doit pas excéder 500 mots).

 

Ces deux envois seront faits exclusivement par courrier électronique sous format Word (Police Time New Roman, caractère 12) simultanément aux deux adresses suivantes mentionnées ci-dessus.

 

Comité organisateur : Pascal Terrien, Université Catholique de l’Ouest (France), Barbara Kelly, Keele University (Grande Bretagne).

 

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Call for Papers

 

Mind, Art and Psychoanalysis: Perspectives on Richard Wollheim

The Institute of Philosophy and Heythrop College, University of London

20 June 2008

 

Richard Wollheim, former Grote Professor of Philosophy of Mind and  Logic at University College, London and Mills Professor of  Intellectual and Moral Philosophy at University of California,  Berkeley, was one of the most original and pre-eminent philosophers  of mind and aesthetics of the late 20th century, whose work reached  beyond philosophy to engage psychoanalysts and art historians as  well. Yet his thought has received comparatively little comment and  discussion. This conference seeks to undo some of that neglect.

Invited speakers:

Anthony Price

James Hopkins

Derek Matravers

The conference will comprise two symposia, one on psychoanalysis,  the other on aesthetics, individual papers, and a conference address.

Papers

We invite papers on any aspect of Wollheim’s philosophy of mind,  particularly in relation to psychoanalysis and the theory of art. 

Please send a detailed abstract of 500-1000 words (or a full paper) 

by 15 March 2008 to

Michael Lacewing

Heythrop College

Kensington Square

London W8 5HQ

Or m.lacewing@heythrop.ac.uk.

Speakers’ travel expenses within the UK will be reimbursed.

Registration

For registration and enquiries, please contact philosophy@sas.ac.uk.

Registration fees

Individual members of the Institute of Philosophy: Free

Students in an institution with membership of the Institute of 

Philosophy: £5

Staff in an institution with membership of the Institute of 

Philosophy: £15

Standard: £20

 

Dr Michael Lacewing

Senior Lecturer in Philosophy

Heythrop College

m.lacewing@heythrop.ac.uk

 

 

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Philament, the online journal of the arts and culture affiliated with the

University of Sydney (http://www.arts.usyd.edu.au/publications/philament), invites postgraduate scholars to contribute articles, fictocriticism, reviews,

and opinions for Issue 12: Habits and Habitat

 

EXTENDED SUBMISSION DEADLINE: 21st December, 2007

Send to: philament_at_arts.usyd.edu.au

 

The idea that what we are as living, thinking, experiencing beings is inseparable from the place in which we live our lives are saturated by the places, and by the things and other persons intertwined with those places, through which we move, in which our actions are located, and with respect to which we orient and locate ourselves.

 

- J.E. Malpas -

 

Possible themes include, but are not limited to:

 

habitus, lived space, reading before bedtime, ideology, site-specific, home, town and country, tales of the city, apartment living, the hearth, a room of ones own, the ergonomic triangle, demographics, home is where the heart is, domestic architecture, place versus space, keep a roof over your head

 

virtual environments, Second Life, MySpace, Civilisation, Facebook, Twitter, Sim city, the blogosphere, global community, changing habits, wildlife, Greenpeace, conservation and fragmentation, ethnology, affordable housing, poetics of space, suburbia

 

religious habit/s, rite and ritual, nuns, religious apparel, illusion, identity, spatiality, family, homelessness, customs and culture, addiction, obsessive compulsive disorder, habituation and the unconscious, pleasure and pain, evolution, instinct and learning, the quarter acre block, embodied world-view

 

Philament accepts submissions in the form of:

 

Academic papers: up to 8,000 words.

 

Opinion pieces: reviews (book, stage, screen, etc.), conference reports, short essays, responses to papers previously published in Philament issues. Limit of 1000 words.

 

Creative Work: in the form of writing, images, sounds or a mixture of any or all three. All submissions should be limited to three pieces.

 

All submissions may be sent as email attachment in a PC-readable format to philament_at_arts.usyd.edu.au.

 

Please include a brief biographical summary, as well as a short description of the inspiration for or genesis of the submitted work.

 

Academic papers must include footnotes and conform to the Philament house style of referencing (see http://www.arts.usyd.edu.au/publications/philament/submissions.htm).

 

Philament will only accept submissions that have not been previously published and are not under consideration elsewhere.

 

 

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Paper proposals are invited for an international, interdisciplinary conference on "Text, Media and Improvisation," to be held at McGill University in Montreal, Quebec, Canada, on June 21 and 22, 2008. This conference is organized by members of an inter-university, interdisciplinary research project, Improvisation, Community and Social Practice and by the "Improvisation, Text and Media" working group within the project. While papers may touch on a wide range of themes related to the conference title, areas of concern might include the following: (a) problems in the notation and description of improvisatory practice; (b) cross-media, multimedia or intermedial improvisatory practices; (c) the status of improvised practice as text or discourse; (d) the relationship of sonic and graphic forms in improvisation; (e) improvised practice and cultural memory; (f) social and technological issues in the transmission and reception of improvisational practice. While musical improvisation will be a core theme of the conference, papers on improvisation in relation to other cultural and social practices are welcome. Proposals for papers should include a title, the name and affiliation of the author and an abstract of 300-400 words. Please send proposals by January 15, 2008 to Will Straw at william.straw@mcgill.ca.

 

Sheila Lintott

Assistant Professor

Department of Philosophy

Bucknell University

Lewisburg, PA 17837

Phone: (570) 577-1708

Fax: (570) 577-1717

 

Office Hours: TR 11:00-12:30

 

 

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CALL FOR PAPERS

 

American Society for Aesthetics

Eastern Division Meeting

April 4-5, 2008

Philadelphia

       

KEYNOTE SPEAKER:

Jenefer Robinson

(University of Cincinnati)

               

MONROE BEARDLEY LECTURE:

What Should We Do With Museums?

Kwame Anthony Appiah

(Princeton University)

               

Papers on any topic in Aesthetics are invited, as well as proposals for panels, author-meets-critics, or other special sessions. We welcome volunteers to serve as session chairs and commentators. All participants must register for the conference. Papers should not exceed 3000 words, and should be accompanied by a 100-word abstract.  Please send submissions in PDF, Word, or RTF format to David Clowney at Clowney@rowan.edu

        

Please feel free to direct questions to the Program

Co-Chairs: Bill Seeley (Franklin & Marshall College) at

wseeley@fandm.edu or David Clowney (Rowan University) at

Clowney@rowan.edu Deadline for submissions:  January 15, 2008

 

William P. Seeley, Ph.D.

Visiting Assistant Professor

Department of Philosophy

Franklin and Marshall College

P.O. Box 3003

Lancaster, PA, 17604-3003

pseeley@msn.com

wseeley@fandm.edu

http://edisk.fandm.edu/william.seeley/Seeley/index.htm

 

 

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The Theory Reading Group at Cornell University invites submissions for its fourth annual interdisciplinary spring conference

 

The Substance of Thought: Critical and Pre-Critical

 

featuring keynote speakers Simon Critchley (The New School for Social

Research) and Alberto Toscano (Goldsmiths, University of London)

 

Cornell University

Ithaca, New York

April 10th-12th, 2008

http://www.arts.cornell.edu/trg/conf2008.html

 

The last few decades have witnessed a struggle within continental philosophy between those thinkers who accept Immanuel Kant’s “Copernican Revolution” and those who refuse critical philosophy in favor of a “classical” metaphysics that, in the words of Alain Badiou, “considers the Kantian indictment of metaphysics…as null and void.” This conference will consider the conflict between “critical” and “classical” or metaphysical strains in contemporary thought. Has critical philosophy run its course, as Badiou suggests? Or has Kant’s critical turn determined the horizon of all future philosophical work? Or is there an alternative path?

 

We are interested in analyzing the contemporary division between thinkers who prescribe a return to the pre-critical metaphysics of, for example, Spinoza, Leibniz, or Lucretius, and those who continue to take up various trajectories of Kant's critical legacy. The former camp might include Deleuze and Badiou as well as Negri and Althusser, while the latter might include Adorno, Benjamin, Heidegger, and Derrida. We particularly wish to encourage work that takes a stand on the conflict between the two camps, as well as work that considers the implications of the conflict for the arts and social sciences. The wide range of our inquiry includes interrogations of the nature of critique, the fate of aesthetics, the privilege accorded to immanence or transcendence, and the status of materialism.

 

Suggested paper topics include (but are not limited to):

 

- transcendence and immanence

- Derrida and Deleuze

- negation and affirmation

- finite and infinite

- the rebirth of rationalism

- aesthetic ideologies

- quasi-, ultra-, immanent-transcendental

- the Althusserian legacy

- the one and the multiple

- the persistence of the dialectic

- the fate of aesthetics

- the return to Kant

- the future of the linguistic turn

- the question of critique

- futures of Marxism

- philosophies of experience

- univocity, equivocity

- the limits of representation

- the historical a priori

- the genesis of subjectivity

- the possibility of materialism

- affects, passions

- the role of the negative

- the new philosophy of science

- political ontology

- the return of nature philosophy

- radical Spinoza

- rhetoric and philosophy

 

The deadline for submission of 250-word paper abstracts for 20-minute presentations is February 1, 2008. Please include your name, e-mail address, and phone number. Please email abstracts to theory_at_cornell.edu. Notices of acceptance will be sent no later than February 15, 2008. For more information about the Theory Reading Group, visit http://www.arts.cornell.edu/trg

 

 

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The Theory Reading Group at Cornell University invites submissions for its fourth annual interdisciplinary spring conference

 

The Substance of Thought: Critical and Pre-Critical

 

featuring keynote speakers Simon Critchley (The New School for Social

Research) and Alberto Toscano (Goldsmiths, University of London)

 

Cornell University

Ithaca, New York

April 10th-12th, 2008

http://www.arts.cornell.edu/trg/conf2008.html

 

The last few decades have witnessed a struggle within continental philosophy between those thinkers who accept Immanuel Kant’s “Copernican Revolution” and those who refuse critical philosophy in favor of a “classical” metaphysics that, in the words of Alain Badiou, “considers the Kantian indictment of metaphysics…as null and void.” This conference will consider the conflict between “critical” and “classical” or metaphysical strains in contemporary thought. Has critical philosophy run its course, as Badiou suggests? Or has Kant’s critical turn determined the horizon of all future philosophical work? Or is there an alternative path?

 

We are interested in analyzing the contemporary division between thinkers who prescribe a return to the pre-critical metaphysics of, for example, Spinoza, Leibniz, or Lucretius, and those who continue to take up various trajectories of Kant's critical legacy. The former camp might include Deleuze and Badiou as well as Negri and Althusser, while the latter might include Adorno, Benjamin, Heidegger, and Derrida. We particularly wish to encourage work that takes a stand on the conflict between the two camps, as well as work that considers the implications of the conflict for the arts and social sciences. The wide range of our inquiry includes interrogations of the nature of critique, the fate of aesthetics, the privilege accorded to immanence or transcendence, and the status of materialism.

 

Suggested paper topics include (but are not limited to):

 

- transcendence and immanence

- Derrida and Deleuze

- negation and affirmation

- finite and infinite

- the rebirth of rationalism

- aesthetic ideologies

- quasi-, ultra-, immanent-transcendental

- the Althusserian legacy

- the one and the multiple

- the persistence of the dialectic

- the fate of aesthetics

- the return to Kant

- the future of the linguistic turn

- the question of critique

- futures of Marxism

- philosophies of experience

- univocity, equivocity

- the limits of representation

- the historical a priori

- the genesis of subjectivity

- the possibility of materialism

- affects, passions

- the role of the negative

- the new philosophy of science

- political ontology

- the return of nature philosophy

- radical Spinoza

- rhetoric and philosophy

 

The deadline for submission of 250-word paper abstracts for 20-minute presentations is February 1, 2008. Please include your name, e-mail address, and phone number. Please email abstracts to theory_at_cornell.edu. Notices of acceptance will be sent no later than February 15, 2008. For more information about the Theory Reading Group, visit http://www.arts.cornell.edu/trg

 

 

 

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Oscar Wilde's Critical Essays

 

I welcome abstracts and full essays for a proposed volume on Oscar Wilde's critical essays with an emphasis on how those texts were received in the author's own time and how they have impacted contemporary debates in criticism and theory. I will also consider abstracts that deal with Wilde's fiction, poetry, or drama if they suit the collection's emphasis.

 

Abstracts should be approximately 500 words long. Please submit abstracts (or full essays) in MS Word or RTF by email attachment (or send inline) to Dr. Alfred J. Drake at ajdrake_at_ajdrake.com and include in your email's subject heading the phrase "Wilde Collection" along with your name. Please include a CV as a separate attachment, and if you maintain an academic website, you are welcome to include the address. My preference is for work that has not yet been published, but I will consider previously published material. The deadline for abstracts is January 31, 2008. I will confirm receipt promptly.

 

 

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Psychoanalysis and/as Theater

 

PLEASE NOTE: Deadline for submissions EXTENDED to JANUARY 15, 2008

 

Call for Papers:

 

The interdisciplinary Psychoanalytic Studies Program at Emory University

proposes a conference entitled:

 

Psychoanalysis and/as Theater

 

March 28th-29th 2008

Emory University, Atlanta, GA

 

Keynote Speaker: Dr. Eric J. Nuetzel, Washington University in St. Louis

 

From its theoretical origins in Freud, psychoanalysis has often turned to theatrical texts and metaphors in order to explore its own meaning as a therapeutic practice. Conversely, theories of theater from Aristotle to Artaud have emphasized the therapeutic value of stage performance. This conference proposes to explore the complex interactions between psychoanalytic and theatrical theories and practices. How is theatre therapeutic? How is the clinical setting theatrical? How does the two fields’ shared vocabulary (catharsis, acting out, identification, etc.) speak to their similar purposes? How are clinicians served by theatrical ways of thinking and being? Has theater as a literary and performing art changed since the advent of psychoanalysis?

 

We encourage submissions from clinicians as well as humanities and social science scholars in order to make this conference a truly interdisciplinary endeavor.

 

Papers are invited to address (but are not limited to) the following topics:

 

• the theatricality of the therapeutic setting

• the theatrical metaphor and psychoanalysis

• clinical and dramaturgical “practices”

• the therapeutic function of theater

• psychoanalytic readings of theatrical texts and/or performances

• literary readings of psychoanalytic theories

• psychoanalysis as a dramatic art

• clinical case studies involving theatricality

• theatrical and analytic space(s)

 

Please send a 250-word abstract for a twenty-minute presentation to

analysis.theater.conference_at_gmail.com by January 15, 2008.

 

As submissions will be reviewed blindly, please remove all identifying information from your attached abstract. Be sure to include your name, email address and telephone number in the body of your email.

 

 

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Placing Poesis: The Work of Art and the Future of Literary Studies

 

18th Annual EGSA Mardi Gras Conference

 

Louisiana State University

January 30- February 1

 

Keynote Speaker: Cathy Davidson

 

“From Classical to Contemporary Theories”

 

The 18th Annual EGSA Mardi Gras Conference invites papers for the proposed panel, “From Classical to Contemporary Theories.” 15 minute papers should examine the classical roots of modern and postmodern literary theory, locating there some consistency in artistic and theoretical definitions and practices. Papers may compare specific texts or authors with one another, or may entertain the historical development of specific ideas and/or theoretical practices.

 

 

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“The Succession of Simulacra: The Legacy of Jean Baudrillard (1929-2007)”

An Interdisciplinary Conference

April 18-19, 2008

University of California, Santa Barbara

http://transcriptions.english.ucsb.edu/baudrillard/

 

The recent death of Jean Baudrillard has stimulated an engagement with his work and its legacy across various fields both within academia and beyond it. As seen in the recent “Remembering Baudrillard” issue of the International Journal of Baudrillard Studies, his ideas continue to foster productive discussion.

 

Many of Baudrillard’s terms and concepts, “hyperrality,” “simulacra,” “alibi” and “the code” continue to proliferate in not only theoretical, but popular texts as well. Whether or not we accept their validity, how can we apply, transform, refigure, critique and salvage these ideas? What has his work fostered in the different modes of critical theory: social scientific, cultural, literary, technological, popular, communication and new media theory?

 

We invite papers engaging the future of this discussion. How do we succeed Baudrillard? How should his work and thought be disseminated, disintegrated, dispersed, and employed?

 

We welcome papers responding (but not limited) to the following topics:

 

Simulacra and Second Life

The Evil Demons of Images and the Materiality of Text

The Empire Strikes Back: American Intervention in Iraq

The Desert and the Real: Mediating Iraq

Mirror(s) of Production

Consumer Culture

Baudrillard Broadly: Influences, Allusions, Legacy

Stockpiling the Past

The Metaphysic of the Code

The Evil Genie of Passion

The Historicity of Postmodernism

Universalization, Globalization and Technological Progress

The Desert of the Matrix: Misreading Baudrillard

Advertising and the Ecology of Media

Guerrilla Graffiti Art

 

Please send a 250 word abstract as well as brief biographical information to David Roh at roh_at_umail.ucsb.edu.

 

Deadline for submission: Monday, February 4th <2008>

 

 

 

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Kant’s Critique of Judgment: Art, Science, and Religion

 

March 28 - 29, 2008, Johns Hopkins University

 

The Department of Philosophy at The Johns Hopkins University in Baltimore, Maryland is pleased to announce a call for papers for the Johns Hopkins University International Graduate Philosophy Conference on Immanuel Kant’s Critique of Judgment. The conference will be held at The Johns Hopkins University on March 28th and 29th, 2008, and will consist of selected graduate student papers relevant to the topic and keynote addresses by the following scholars:

 

Prof. Eckart Förster, The Johns Hopkins University

Prof. Reinhard Brandt, University of Marburg

Prof. Rolf-Peter Horstmann, University of Berlin

Prof. Manfred Kuehn, Boston University

 

The deadline for submission to this conference is January 15th, 2008, and a response will be given by February 15th, 2008. Submitted papers should be between 4,000 and 7,000 words, and accompanied by an abstract that explains the thesis of the paper.

 

Submission deadline: January 15, 2008

 

Jennifer A. Bautz

105 West 39th Street, #816

Baltimore MD 21210

 

 

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The Synthetic Aesthetics of New Media Art

 

February 20 - 23, 2008, Dallas

 

Presented by The New Media Caucus in association with the College Art Association

 

Contrary to traditional aesthetic theories that argue for the primacy of either the subjective and phenomenological, or formal and objective interpretations of artwork, the aesthetics of electronic media, like the logic of technical media itself, is thoroughly removed from anthropomorphic sensibility. One could say that electronic media aesthetics are marked by technical trauma.

 

However, much contemporary new media art criticism exemplifies a hermeneutic approach that seeks to rationalize and transform work into intelligible *art objects* for canonization and social theories. Is this approach problematic for the logic of technical media? Can certain attributes such as color, form, affect, or sound, effectively reconcile computer based artwork with the subjective and humanistic drives in art making?

 

The panel invites papers that address the aesthetics of New Media art in distinction to previous aesthetic models or media platforms. For instance, papers suggesting the ways in which color, sound, line, form, symbolism, affect, anti-aesthetics or ideology may be distinct to new media aesthetics are all welcomed. Essentially the panel inquires: what do theoreticians and practitioners address in New Media art, and why? Which artists and / or commercial work do you think best exemplifies these issues? Special attention will be given to those abstracts that are concerned with the use of color in New Media work.

 

Presenters can propose brief lectures; media or artist presentations of their own, or other artist's work; discussions; or other acceptable suggestions.

 

Send abstract and CV to Carolyn Kane clk267@nyu.edu.

 

Carolyn Kane clk267@nyu.edu

 

 

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(internet source: http://users.ipfw.edu/bordens/IAEA08/IAEAcall.pdf)

 

Call for Papers

 

International Association of Empirical Aesthetics

 

20th Biannual Congress on Empirical Aesthetics

 

"Psychology and Aesthetics into the Future"

 

August 19-22, 2008

Chicago, Illinois, USA

 

The International Association of Empirical Aesthetics (IAEA) is an organization whose members investigate the underlying factors that contribute to an aesthetic experience, as well as aesthetic behaviors, using scientific methods. Currently we have members in 20 countries. Although the majority of members are psychologists, our membership includes sociologists, musicologists, philosophers, and researchers who specialize in the study of painting, sculpture, literature, film, museum visitor behavior, and so forth. For more information about the International Association of Empirical Aesthetics and the 20th Annual Congress visit our Web site at http://www.science-of-aesthetics.org/index.html

The purpose of the Congress is to provide a forum for the exchange of ideas and information relating to various topics involving empirical aesthetics. Congress topics may include: Aesthetic Appreciation, Aesthetic Experience, Visual Perception and Art, Auditory Perception and Art, Psychology of Music, Appreciation of Art, Music and Literature, Culture and Media, Cinema, Festivals, Museology, and Art Education. The official language of the Congress will be English. All written material (abstracts, posters, and contributions to the proceedings) and accompanying presentations must be in English.

SUBMISSION INFORMATION

Submissions are invited for four types of events: 1) spoken papers, 2) posters, 3) symposia, and 4) an exhibition of art created by participants. There will be parallel scientific sessions for oral presentations held during each of the four days of the Congress. Invited addresses and symposia will be scheduled throughout the program. An art exhibition will be open for the duration of the Congress for all those registered. The purpose of the exhibition is to show the art works of participants and stimulate discussion about the works and the creative process. Spoken Papers. The time allotted for spoken papers will be 20 minutes; 15 minutes for presentation and 5 minutes for discussion. Each presentation will have a designated time-slot assigned to it. Posters. Posters will be organized in one or more poster sessions. Instructions concerning poster format and size will be provided along with acceptance notification. Since this is a new addition to the Congress, if not enough posters are submitted authors will be asked to do a spoken paper instead. Symposia. Symposia will consist of a set of integrated spoken papers related to a theme. The maximum time allowed for symposia will be 3 hours (including a 20-min. coffee break). Symposia should consist of no more than five 25-min. papers followed by a 30-min. discussion period (variations of this format will be considered). Symposia conveners should collect together abstracts for each paper which must be in the required format described

below. These should be submitted along with an abstract for the entire symposium, stating the rationale for the topic, the aims of the symposium, and the set of speakers proposed. A discussant may be included. Art Exhibition. Art works will be limited to two-dimensional work with a maximum width of about 40 inches (100 cm) and small three-dimensional works (e.g., sculpture). Each participant can submit up to four pieces for consideration. You should plan to bring the works with you and hand-deliver them to the exhibition coordinator when you arrive. The works should be framed and ready to hang or display when you bring them. We have no facilities for receiving shipped work. In order to be considered, please submit a 500 word abstract in the same way that you would submit an abstract for a paper session (see instructions below). You might describe your methods, why you did the work and/or how the work might relate to psychological processes. In addition, on the same paper as the abstract, please list each work with the title, size (framed or displayed) and medium. Also include a print, slide, or electronic file (.jpg or .bmp) for each work. Abstracts for all four types of events must be sent by December 31, 2007 via e-mail to:

Kenneth S. Bordens, Program Moderator, iaea08@ipfw.edu Hard copy submissions will also be accepted. Send three copies of your abstract to:

Kenneth S. Bordens, Program Moderator

International Association of Empirical Aesthetics

Department of Psychology

Indiana University Purdue University Fort Wayne

Fort Wayne, IN, USA 46805

Abstracts for papers, symposia and art exhibitions must be received no later than December 31, 2007. Abstracts should not exceed 500 words in length (word processor format, Times New Roman, 12 points, 1 inch margins). The abstract must include: (1) Style of presentation (paper, symposia or art exhibition); (2) title; (3) author(s); (4) author affiliation(s); (5) abstract (approximately 500 words) describing the rationale, methods, results, and a select list of references; (6) keywords; (7) postal address with telephone, fax numbers and e-mail address. Electronic submissions must be in either .doc, .rtf. .wpd (Wordperfect) or .pdf format. Preferably, abstracts should be sent via email to: iaea08@ipfw.edu Information concerning acceptance of a paper, symposium or art exhibit shall be provided in January 2008. Final manuscripts to be published in the Congress Proceedings will be due by April 30, 2008. Details on the requirements for the final manuscript shall be provided at the time of notification of acceptance.

CONGRESS VENUE AND FEES

The 20 Congress will be held at the th Carleton Hotel and Motor Inn in Oak Park, Illinois,

USA:

Carleton Hotel and Motor Inn

1110 Pleasant Street

Oak Park, Illinois 60302

Phone (708) 848-5000

Fax (708) 848-0537

Reservations 1-888-CARLETON

email: info@carletonhotel.com

Hotel Web site: http://www.carletonhotel.com

Congress Fees (All fees shown in US Dollars)

Member Non-member Student

Regular fees:

By 3/31/08 $240 $310 $60

After 4/1/08 $310 $390 $90

Reduced fees*:

By 3/31/08 $110 $160 $20

After 4/1/08 $160 $220 $50

* To obtain a reduced fee, please contact the conference organizer, Lenore DeFonso

(defonso@ipfw.edu)

 

 

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Opera, Exoticism and Visual Culture: The Fin de Siècle and Its Legacy

 

Veranstalter: Institute of Germanic & Romance Studies and Institute of Musical Research (School of Advanced Study, University of London) , London

Datum, Ort:     25.09.2008-26.09.2008, Institute of Germanic & Romance Studies and Institute of Musical Research (School of Advanced Study, University of London), Stewart House, 32 Russell Square

Deadline:        31.01.2008

 

CALL FOR PAPERS (31 January 2008)

 

Opera is not dead. Its death may have been frequently predicted but, at the dawn of the 21st century, we see it reborn in forms using avant-garde, new media and post-modern media aesthetics that challenge and disrupt dominant forms of artistic production. Yet it remains bound to its history. This conference examines the implications, across more than a century, of one strand of that history: the colonialist exotic as it was manifest particularly in works from Aida to Turandot. We are especially interested in the role of the exotic in the opera as it confronts the historical context of cultural globalization and interculturality. How, in a postcolonial age, does one best represent the opera of a colonial past? To what extent can modern technology or filmic representation help us reinterpret such opera in a new era? How do the exotic ideals of the fin de siècle relate to highbrow and lowbrow operatic traditions of the Far East (Peking Opera, Korean musical theatre on the one hand; Noh theatre on the other) or twentieth-century operatic interpretations of them (eg. by composers such as Benjamin Britten)? What challenges for staging and visual representation do such examples of cultural exchange present?

As a uniquely hybrid, multi-media form of artistic output, straddled between music and theatre, between high and low culture, opera offers wide-ranging research possibilities in the fields of media and cultural studies. Using the problem of the exotic legacy as its primary lens, this international interdisciplinary conference explores the shifting relationships between the multi-media genre of opera and the fast-changing world of visual culture. The conference will also examine the changing aesthetics of opera in composition and performance, historical (dis)continuity and the new relations of space and time as they may affect opera in the digital age.

A selection of presented papers will be published.

 

Papers will be limited to 20 minutes. Please send proposals for individual papers (no longer than 200 words) and/or 90-minute panel sessions to Flo Austin (igrs@sas.ac.uk) by 31 January 2008. Please include your institutional details where relevant, and your email address. These details are for administrative use only in the first instance: the Programme Committee will judge abstracts anonymously.

 

Organizer: Dr Hyunseon Lee (IGRS, University of London)

 

Programme Committee: Dr Hyunseon Lee (IGRS), Prof Katharine Ellis (IMR), Prof K. Ludwig Pfeiffer (Jacobs University Bremen/University Siegen), Dr Alexandra Wilson (Oxford Brookes University)

 

Speakers include: Prof Marcia Citron (Rice University, Houston/Texas), Prof Erika Fischer-Lichte (FU Berlin), Prof Anselm Gerhard (University Bern), Prof Lydia Goehr (Columbia University New York), Prof Hervé Lacombe (University Metz)

 

Kontakt:          

Flo Austin

IGRS

Stewart House

32 Russell Square

London WC1B 5 DN

igrs@sas.ac.uk

 

 

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The Philosophy of Computer Games Conference 2008

 

Veranstalter: Institut für Künste und Medien der Universität Potsdam, Potsdam

Datum, Ort:     01.11.2007-12.03.2008, Universität Potsdam, Neues Palais 10

Deadline: 15.02.2008

 

We hereby invite scholars in any field who take a professional interest in the phenomenon of computer games to submit papers to the international conference "The Philosophy of Computer Games 2008", to be held in Potsdam, Germany, on May 8-10, 2008.

 

Accepted papers will have a clear focus on philosophy and philosophical issues in relation to computer games. They will also attempt to use specific examples rather than merely invoke "computer games" in general terms. We invite submissions focusing on, but not limited to, the following three headings:

 

Action|Space

 

Papers submitted under this heading should address issues relating to the experiential, interactional and cognitive dimensions of computer game play. What is the nature of perceptual experience in game space? How should we understand the relationship between action, interaction and space in computer game environments? How should we think about players' aesthetic, emotive and(/or) rational responses to what goes on inside the game space?

 

Ethics / Politics

 

What are the ethical responsibilities of game-makers in exerting influence on individual gamers and society in general? What role, if any, can games serve as a critical cultural corrective in relation to traditional forms of media and communicative practices, for example in economy and politics? Also: what is the nature of the ethical norms that apply within the gaming context, and what are the factors that allow or delimit philosophical justifications of their application there or elsewhere?

 

The Magic Circle

 

Terms such as "fictionality", "virtuality", "simulation" or representation" are often used to indicate specific functions of objects in games. But what is the nature of the phenomena these terms refer to in the interactive field of game play? And what is the structure of gaming-processes? What is the mediality of digital games? We are especially interested in discussions that aim at how the notion of a self-contained "magic circle" – representing an imagined border between play and reality, or the internal and external limits of game-programs – is being challenged by forms of individual action and social inter action which tend to transcend such limits.

 

Your paper should not exceed 25000 characters (excluding blanks) and be accompanied by an abstract of 300 words. Please specify the primary focus (topic) of your submission.

Deadline for submissions is February 15, 2008. Send your paper and abstract to submissions@gamephilosophy.org.

All submitted papers will be subject to double blind peer review, and the program committee will make a final selection of papers for the conference on the basis of this.

Notification of accepted papers will be sent out by March 12, 2008.

------

Dieter Mersch

Olav Asheim

Patrick Coppock

Espen Aarseth

The conference is a collaboration between the following institutions:

- Institute for Arts and Media, European Media Studies at the University of Potsdam, Germany

- Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo, Norway

- Department of Social, Cognitive and Quantitative Science at the University of Modena & Reggio Emilia, Italy

- Center for Computer Games Research at the IT-University of Copenhagen, Denmark

- Philosophical Project Centre (FPS), Oslo, Norway

Kontakt:          

 

Dr. Stephan Günzel

Friedrich-Schiller-Universität

Ernst-Abbe-Platz 8, 07743 Jena

03941-944900

032-221071960

stephan.guenzel@uni-jena.de

http://www.gamephilosophy.org/

 

 

 

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Forum for European Philosophy

Centre for Literature and Philosophy, University of Sussex

 

PHILOSOPHICAL POETS

 

A Free One-Day Conference

 

Saturday 9 February 2008, 10:00 am - 5:00 pm

Chichester Lecture Theatre University of Sussex

 

To book a place, contact: Katerina Deligiorgi K.Deligiorgi@sussex.ac.uk

 

Philosophical Poets draws inspiration from Three Philosophical Poets, the 1910 volume in which George Santayana discussed Lucretius, Dante and Goethe. Our presentations and panel discussion on modern poets will explore different ways that poets can be philosophical poets, that poetry can be seen as philosophy and that philosophical and poetic analysis can be related in understanding the works of the featured poets. We shall have readings of some of the poems we discuss in English and the original language.

 

Speakers: Professor Angela Livingstone, Professor Joe Friggieri, Hilary Lawson, Professor Simon Critchley, Professor Ulrich Schoedlbauer

 

Chair, Panel Discussion and Questions: Dr. Nicholas Bunnin

 

 

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Art, Praxis, and Social Transformation: Radical Dreams and Visions

 

6 to 9 November 2008

San Francisco, California, United States

 

Website: http://www.pages.drexel.edu/~pa34/2008CALL.htm

Contact name: Peter Amato

Papers addressing issues in all areas of radical philosophy and praxis are welcome. For more information, see our website at http://www.radicalphilosophy.org/

Organized by: Radical Philosophy Association

Deadline for abstracts/proposals: 8 March 2008

 

 

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The Politics And Poetics Of Memory

 

3rd Bi-Annual Philosophy And Literature Graduate Student Conference

 

Purdue University

March 7-8, 2008

 

Keynote Speakers:

Leonard Lawlor (University Of Memphis)

Suzanne Guerlac (University Of California, Berkeley)

 

The topic of memory is experiencing a revival of interest in Continental philosophy, literary theory programs, and the humanities in general.  A broad range of scholarship has become increasingly devoted to thematizing memory across a spectrum of special disciplines, for instance, in aesthetics, psychology, phenomenology, ontology, social-political philosophy and literary theory.  The graduate students of Purdue University are holding a conference to promote interdisciplinary dialogue organized around this revival of interest. We encourage paper submissions from graduate students in philosophy, literary theory, film theory, art theory, feminist studies, political science, and all disciplines that are engaged with the ontological, epistemological, metaphysical, political, or aesthetic reconsiderations of memory.

 

Topics welcome on any Continental thinker in relation to memory.

Possible topics:

--the ontological reading of memory, characterized by such thinkers as Deleuze and Bergson, which contrasts a static, spatial conception of memory with an interpretation of memory as a metaphysical process constitutive of the present of experience

--Proustian thematics of active (voluntary) memory and inactive (involuntary) memory, especially as concerns the explication of temporal structures through the work of art

--the Bachelardian and phenomenological interpretation of memory and imagination which views these faculties as opening a window onto a new poetics of humanistic and scientific discourses

--the creation of a new typology of memory via film, visual art, and other visual media

--Benjaminian analysis of the function and structures of memory as a praxis or mode of resistance against oppressive social and political structures

--Freudian, Derridian and engram hypotheses of memory as a trace-structure informing non-metaphysical readings in epistemology of memory 

 

Conference Website: http://www.cla.purdue.edu/phil-lit/conference/

EMAIL SUBMISSIONS TO PHILCONF@PURDUE.EDU BY JANUARY 1, 2008

Papers should be sent as word documents, not exceeding 15 double spaced pages. Personal information is to be sent in the body of the email and should not appear on the paper itself.

 

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March 29, 2008

The 9th Annual Marquette Philosophy Graduate Student Association Conference

The Philosophy of Love and Affectivity

Hosted by the Marquette University

Philosophy Graduate Student Association

Milwaukee, Wisconsin

 

Keynote Address: 

“Eros and Affectivity in Plato’s Symposium”

Burt Hopkins, Seattle University

 

Submissions are welcome across the topics of love and affectivity.

SOME TOPICAL HINTS:

The concept of love in philosophical traditions

The relationship between reason and emotion

Philosophy as love, as encouraging love and acts of love

The role of affectivity and/or desire in philosophy

Explorations of affectivity in human life

Relationship between affectivity and desire

Other submissions within these broad bounds will be considered

 

Please submit papers in blind-review format to mupgsa@mu.edu with no identifying references in the body of the paper.  Please submit a coversheet with your paper indicating your name, paper title, affiliation, email address and mailing address.

 

Please limit your paper to 3000 words for review.

Submissions are due January 15th, 2008.

Decisions will be announced by February 10th, 2008.

 

 

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Papers are invited for presentations at the international and interdisciplinary conference:

 

“Art, Creativity, and Spirituality in Dostoevsky’s Brothers Karamazov”

 

College of the Holy Cross, Worcester, MA, USA

April 10-12. 2008

 

further information, see the conference website: http://college.holycross.edu/conferences/dostoevsky/

 

Papers should be accompanied by a one-page abstract, which should include name, affiliation, address, and email address. Submitted papers will be limited to 30 minutes reading time (there will be 15 minute discussion following each paper).

Deadline for submissions of papers and abstracts is December 15, 2007.

Notification of acceptance will be mailed by January 15, 2008.

Papers should be mailed to:

Professor Predrag Cicovacki

Department of Philosophy

College of the Holy Cross

Worcester, MA 01610, USA

pcicovac@holycross.edu

 

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26-28 mars 2008, Amsterdam

 

Engaging Objects

 

ASCA International Workshop

 

Engaging Objects is an interdisciplinary conference addressing general methodological (and epistemological) issues in the humanities. Things in the world, objects of art and of everyday use, have functioned as core referents in contemporary cultural theory. Since the "linguistic turn", technological devices and philosophical texts, dirty windows, typewriter-erasers, and cyber-space, have been proposed and contested as possible sites for re-encountering material reality. The 2008 ASCA International Workshop is a space open to reflect on the methodological nuances, theoretical consequences and political implications of engaging objects within the humanities.

 

These issues will be discussed in four panels:

 

Engaging theory, which positions theory as an object of study.

 

Sensory disruptions, which explores the possibilities and implications of encountering objects through different senses and their interrelations.

 

Bodily interventions, which deals with the body as an object of study, and a site for alternative modes of knowledge production.

 

Comparison engagée, which invites an engaged reflection on the practices and politics of comparison.

 

Deadline for abstracts (300 words): October 31, 2007; deadline for papers (3000 words): January 31, 2008.

 

We are also looking for performances to be presented during the workshop that are relevant to the workshop theme of "engaging objects".

 

Things in the world, objects of art and of everyday use, have functioned as core referents in contemporary cultural theory. Since the "linguistic turn", technological devices and philosophical texts, dirty windows, typewriter-erasers, and cyber-space, have been proposed and contested as possible sites for re-encountering material reality. The 2008 ASCA International Workshop is a space open to reflect on the methodological nuances, theoretical consequences and political implications of engaging objects within the humanities.

 

"Engaging Objects" refers to the object's possibilities of seduction and resistance, of compromise and failure. Objects engage researchers: they attract our interest, involve us and position us as scholars in relation to their cultural emergence. Similarly, while engaging with objects we, as theorists, also produce them as objects of study. We further engage with culture at large through artistic or mundane, actual or virtual objects-they work as mediators of social relationships and as translators between imaginary and lived culture. This sense of engagement can be found in the root of the verb "to engage". According to the Oxford English Dictionary, a gage is "a valued object deposited as a guarantee of good faith", as well as "a pledge, especially a glove, thrown down as a symbol of a challenge to fight". Thus, engagement can be understood as an object's promise, its act of commitment or provocation. The concept of engagement gains its sense metaphorically, developing from a concrete action in which the object stands in for a socially charged gesture. The mediatory role of objects may also be abused, although objects are always already engaged with the world in ways that exceed our scholarly framing of them.

 

The relationship between object and researcher is not only limited to a metaphorical promise; it is also an actual intervention. "Engaging Objects" is thus concerned with the act of engagement. This engagement is not with the respective parties of a relation, but with the relationship itself. "Engaging Objects" aims to investigate the politics of relating within scholarly practices. Thinking of this relationship as a site where the known and the knower are partly produced, we may focus on the fractures, irregularities and inconsistencies that are constitutive of our own production of knowledge today within fields such as visual culture, literature, history, art, music, performance, anthropology, theory, and politics.

 

These issues will be discussed in four panels:

 

Engaging theory

 

This panel seeks to position theory as an object of study. In considering theory as an object, its material aspects are brought to the fore. Yet the material aspects of theory are not the same for scholars across different disciplines or schools of thought. Post-structuralist scholars, for example, might locate theory's materiality in the actual language used to construct abstract concepts. Their more Marxist-oriented critics, however, might use the term "material" to name the wider socio-cultural and political networks within which the theoretical text is inserted. Creatively re-articulating these different traditions may make our own engagements with theory more politically and intellectually productive. This panel invites participants to think through the metaphor of the "engaging object" in order to explore theory as a literary text, as a cultural object, as a social promise and as a political act.

 

Sensory disruptions

 

Sensory perception is the primary way in which we encounter objects. The senses are culturally conditioned, and each society tends to privilege certain types of sensory engagement. Modernity has often been characterized by the dominance of visuality, which posits a distant, distinct and disembodied viewer, and as such is presumed to underlie Western epistemology and theories of subjectivity. This panel seeks to explore alternatives to this, arguably still prominent, mode of sensory engagement. How can it be disrupted through the intervention of other senses (as in haptic visuality)? What kinds of engagement do the other senses, and their different interrelations, bring about? What alternative relationships between the object and the researcher do they generate (e.g. affective, ethical, erotic)? These questions imply a change of sensibility that is both perceptual and conceptual. What are the theoretical consequences of this shift from the visual to the aural, the tactile, to kinesis and proprioception? What can be gained from thinking synaesthetically? And, more generally, what art of knowing is produced in this new, sensuous engagement?

 

Bodily interventions

 

The living body has, as Crary and Kwinter (1992) state, a "menacing and delirious concreteness" and serves as a complex and fascinating object of study in cultural theory. Especially within academic research around minority subjectivities (including queer and feminist theory, disability and race studies), the body acquired an important role: it became a site for alternative modes of knowledge production. This focus on extraordinary forms of embodiment politicized certain traditions of thought. But to the extent that specifically marked bodies might feature as seductive and spectacular objects of study, it is essential to reflect on the relationship between the shape of our theories and our conceptions of embodiment. This panel further aims to explore how a critical analysis of the "unmarked" (white, male, "standard") body helps to investigate the failures of cultural theory. Where are the limitations of treating the body in theory as meaningful object? How do particular cultural engagements with the body expose and/or expand the boundaries of theory?

 

Comparison engagée

 

No matter what discipline we work in, when we engage with our objects of study, we are always involved in some form of comparison. With "parity" at its etymological root, comparison is usually understood as a methodology based on similarity and equality. But comparison is a dangerous activity, one that often conceals universalist and essentialist suppositions and whose terms are never neutral. To deal with comparison in an engaged (engagé) way, it is important to reflect on our terms of comparison. How do we decide on these terms and how do we incorporate this decision process within the practice of comparison itself? This draws attention to the necessity for scholars to acknowledge their own role in positioning objects in relation to each other and themselves. Is it possible to stand back and let objects engage with each other, or is this engagement only possible through us? If so, how does such a mediating role affect our research position? In this panel, we would like to discuss ways of dealing with the politics of comparison and to explore how and to what extent the objects we study can affect both our terms and methodologies of comparative engagement.

 

Confirmed keynote lecturers are:

 

Christoph Cox is Associate Professor of Philosophy at Hampshire College (Amherst, Massachusetts). He teaches and writes on 19th- and 20th-century European philosophy, intellectual history, aesthetics, and philosophy of contemporary music.

 

Judith Halberstam is Professor of English and Director of The Center for Feminist Research at the University of Southern California (Los Angeles). She is a renowned gender theorist, specializing in cultural studies, queer theory and visual culture.

 

Benita Parry is Honorary Professor in the Department of English and Comparative Literary Studies at the University of Warwick (Coventry, UK). She writes on the literature of colonialism and imperialism, and on imperial imaginaries and postcolonial theory.

 

Joanna Zylinska is Senior Lecturer in New Media and Communications at Goldsmiths, University of London. Zylinska is a cultural theorist writing on new technologies and new media, ethics and feminist theory.

 

As a special event, Mieke Bal and Josef Früchtl will debate on "What is Cultural Analysis? And what is the role of Philosophy?"

 

Participation

 

This workshop is the latest in a series of ASCA International Workshops and is inspired by the 2006-2007 ASCA theory seminar "Ways of Writing: The Object Speaks Back". We welcome participants from any discipline. Please e-mail or send your one-page proposal (300 words maximum) and a short biographical note by October 31, 2007 to the ASCA office: asca-fgw@uva.nl, Dr. Eloe Kingma (Managing Director), Oude Turfmarkt 147, 1012 GC, Amsterdam, tel: +31 20 525 3874. Please indicate which panel theme (out of the four mentioned above) you believe your proposal would best fit in.

 

Selected participants will be asked to send their 3000 words papers by January 31, so that papers can be distributed among participants in advance. To allow enough time for discussion, papers will not be read during the workshop. Instead, participants are expected to give a 10 minute summary, relating their argument to that of their fellow panelists.

 

We are also looking for performances to be presented during the workshop that are relevant to the workshop theme of "engaging objects". Please send a proposal (500 words maximum) indicating duration, number of participants and technical requirements. We also require a sample of your work (hard copy or electronic reference). Please send your proposals by October 31, 2007 to the ASCA office: asca-fgw@uva.nl, Dr. Eloe Kingma (managing Director ASCA), Oude Turfmarkt 147, 1012 GC, Amsterdam, tel: +31 20 525 3874.

 

Source: asca-fgw@uva.nl

 

Organizers: Paulina Aroch Fugellie, Tereza Havelkova, Jules Sturm, Astrid Van Weyenberg

 

 

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2d COLLOQUE INTERNATIONAL MAURICE BLANCHOT A L’UNIVERSITE PARIS 10 MAURICE BLANCHOT ET LA PHILOSOPHIE. Organisateurs: Eric Hoppenot (Université Paris IV- IUFM de Paris) & Alain Milon (Université Paris 10). Lieu: Université Paris 10 Nanterre. Dates: mercredi 14 et jeudi 15 mai 2008. Partenaires: Université Paris 10 & Société Internationale de Recherche Emmanuel Levinas (SIREL).

Ce colloque s’inscrit dans la continuité de ceux qui eurent lieu à Nanterre « Image et imaginaire dans l’œuvre de Maurice Blanchot » (avril 2007) et à l’UNESCO: « Levinas-Blanchot: penser la différence » (novembre 2006).

Dans « Notre compagne clandestine » écrit en hommage à son ami Levinas, Blanchot montre que notre époque est à la fois celle de la fin de la philosophie et celle où la parole philosophique n’a jamais été aussi prolixe.

La seule biographie de Blanchot, justifierait un tel colloque: ses études philosophiques entreprises à Strasbourg, et clôturées en 1930, par un mémoire portant sur « La conception du dogmatisme chez les sceptiques ». Etudes auxquelles il faut ajouter l’intérêt de Blanchot pour certaines philosophies, particulièrement celle de Levinas et de la philosophie allemande (notamment, Hegel, Nietzsche et Heidegger), intérêt dont il témoignera par diverses études.

De même, interroge-t-il, commente-t-il plus ou moins longuement, d’autres philosophies majeures, de Marx à Lyotard en passant par Kierkegaard, Bergson, Simone Weil, Foucault, Sartre, la philosophie juive, etc. Mais la philosophie est également pour Blanchot un autre nom pour désigner l’amitié, comme dans ses rencontres avec Laporte, Levinas, Bataille, Derrida, Foucault, Nancy, eux-mêmes lecteurs assidus de l’œuvre de Blanchot.

Au-delà de la rencontre avec de nombreux noms propres de la philosophie, l’on doit adjoindre des questionnements philosophiques qui ne cessent de traverser, de travailler la pensée de Blanchot (le langage, la mort, le refus de l’ontologie et le primat de l’éthique, le politique, l’Histoire, etc.), ce premier colloque sur Blanchot et la philosophie, privilégiera les thèmes suivants: l’Ethique, le Temps, le Neutre, le Livre. Dans ce cadre, il sera possible de confronter l'espace littéraire et l'espace philosophique.

Il s’agira d’analyser la manière dont Blanchot interprète tel ou tel philosophe ou système philosophique, mais aussi d’exposer les divergences affirmées et assumées par Blanchot, et ainsi de faire apparaître la singularité de sa propre réflexion philosophique. Dans le cadre des thèmes retenus pour ce colloque, on pourra également questionner la lecture que certains philosophes (Levinas, Derrida, Nancy, Foucault, Deleuze…) proposent de l’œuvre de Blanchot.

Les organisateurs privilégieront les propositions qui s’attacheront à une problématique clairement circonscrite et à l’exposition d’un point précis de la pensée de Blanchot.

Pour les intervenants:

envoyez un résumé d’une quinzaine de lignes, accompagné de vos coordonnées personnelles et d’une brève bio-bibliographie, à Eric.Hoppenot@paris.iufm.fr et à Alain.Milon@u-paris10.fr avant le 15 janvier 2008.

Les communications dureront au plus 30 minutes.

Les actes du colloque seront publiés en 2009 par les Presses Universitaires de Paris 10 et les éditions Complicités dans la collection « Compagnie de Maurice Blanchot ».

 

 

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Nordic Society of Aesthetics

 

The annual conference of The Nordic Society of Aesthetics will take place at Uppsala University 29 May to 1 June 2008

 

AESTHETICS AND THE AESTHETIC

Historical and Contemporary Perpectives

 

Call for Papers

 

It is the purpose of the conference to highlight conceptions of aesthetics and the aesthetic from an historical and/or contemporary perspective. Since Baumgarten coined the term in 1735 and established aesthetics as a branch of philosophy, in aesthetics as a discipline, or, rather as a loosely organized field of heterogeneous but related activities a great variety of conflicting as well as interacting theories, approaches and trends has emerged. In the 19th century aesthetics was predominantly conceived of as the philosophy of art, that is, aesthetics was basically an art-centered philosophical enterprise. As a reaction against the great systems of philosophy of art, interest in historical and psychological research into aesthetic phenomena, in particular art, grew and became institutionalised. The proliferation of approaches to aesthetic phenomena (in a wide sense) has continued and increased at the end of the 20th century and the beginning of the 21st century. There is, for example, a renewed interest in the aesthetics of nature alongside the emergence of an aesthetics of everyday life, phenomenological and conceptual analyses of art and the aesthetic compete and sometimes interact with semiotic, deconstructionist, and feminist approaches. The arts and aesthetic phenomena are, however, not studied only by art and literary theorists and historians or philosophers. Various branches of cognitive science and evolutionary psychology also focus on art and the aesthetic. The interrelation between various approaches to aesthetics and the aesthetic raises many methodological and conceptual problems. We welcome contributions dealing with general problems in the philosophy of art and aesthetics or with particular issues in some branches of aesthetics and art research (including the disciplines of art history, literature, music, theatre and film), related to the theme of the conference.

Invited speakers: Reinold Schmücker (Alfried-Krupp-Stiftung, Greifswald), Larry Shiner (Univ. of Illinois), Kathleen Stock (Univ. of Sussex), Sigridur Thorgeisdottir (Univ. of Iceland)

It would greatly facilitate our planning if those who wish to participate would fill in the enclosed form and send it as an attachment to the address below before 15 November 2007.

Those who plan to present a paper are asked to send an abstract (one page) before 15 February and will be notified soon thereafter if their paper has been accepted. Those who wish to participate without a paper will be asked to confirm their participation before 15 February 2008.

Presentations can be in English or in one of the Scandinavian languages

The enclosed form should be sent to:

Lars-Olof.Aahlberg@estetik.uu.se

Dept. of Philosophy

Uppsala University

P.O Box 627

SE-751 26 Uppsala

 

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CALL FOR PAPERS

 

"Formulate with the greatest care": Adorno and Performance

 

RNCM, Manchester (UK), 13-14 September 2008

 

Gnomic, speculative, penetrating, Adorno's major work on music performance occupied him throughout his life. Unfinished at his death, the copious notes and drafts have recently been collated as Towards a Theory of Musical Reproduction (2001, Eng. 2006). This conference will be based around readings of Adorno's text and its contexts, interpretations, and uses.

 

Confirmed speakers include the translator Wieland Hoban (Germany), Robert Hullot-Kentor (US), Lydia Goehr (US), Max Paddison (UK), Andrew Bowie (UK), and John Deathridge (UK).

 

Proposals are invited for papers of 20 mins. Abstracts of 500 words should be emailed by 18 April 2008 to anthony.gritten@rncm.ac.uk .

 

The programme will be available at www.rncm.ac.uk/content/view/134/80/ , with information on registration and accommodation, in May 2008.

 

Organisers: Anthony Gritten and Nicholas Baragwanath.

 

Dr Anthony Gritten FRSA FRCO

Head of PG Studies and Research

RNCM

124 Oxford Road

Manchester M13 9RD

T 0161 907 5380

F 0161 273 7611

E anthony dot gritten at rncm dot ac dot uk

W www.rncm.ac.uk 

 

NEW 26 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

CALL FOR PAPERS: SCRUTON'S AESTHETICS

 

Conference on Roger Scruton's Aesthetics: The Castle, Durham  University 22-24 July 2008

 

This is the first conference devoted to assessing Roger Scruton's contribution to philosophical aesthetics.  It will develop an  understanding of his work across Philosophy and other disciplines.  Scruton is a controversial figure and we expect the conference will serve to  publicise the domain of philosophical aesthetics outside its arena of specialisation.

 

Invited participants: Roger Scruton. Philosophers: Jerrold Levinson (music), Paul Boghossian (music), Simon Blackburn (sexual desire), John Hyman (photography), David Davies (photography), Greg Currie (imagination). Musicologists: Julian Johnson, Max Paddison and Michael Spitzer. Scruton will give responses to these papers.

 

Conference supported by The British Academy, Mind Association, British Society of Aesthetics, Durham University.

 

It will take place at the historic venue of The Castle, Durham.

 

Postgraduate student bursaries will be available

 

Call for papers: Please submit a full paper or a 500 word abstract  on any aspect of Scruton's aesthetics by 1 April 2008, to:

Scruton Conference,

Andy Hamilton and Nick Zangwill,

Philosophy Department,

Durham University, Durham DH1 3HP

 

or a.j.hamilton@durham.ac.uk

 

 (Please state if you need an early decision for grant application  purposes.)

 

Publication of the submitted papers is envisaged.

 

Details of accommodation will be given on the web page shortly:

http://www.dur.ac.uk/nick.zangwill/ScrutonConference.htm

 

Organizers: Andy Hamilton and Nick Zangwill

 

 

NEW 27 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

Call for Abstracts

 

The Hobbit and Philosophy

 

Edited by Eric Bronson and Gregory Bassham

 

The Blackwell Philosophy and PopCulture Series

 

Please circulate and post widely.

Apologies for Cross-posting.

 

To propose ideas for future volumes in the Blackwell series please contact the Series Editor, William Irwin at wtirwin@kings.edu .

 

Abstracts and subsequent essays should be philosophically substantial but accessible and fun, written to engage the intelligent lay reader. Contributors of accepted essays will receive an honorarium.

 

Possible themes and topics might include, but are not limited to, the following:

 

Life as an adventure; comfort vs. risk; moral growth; ennoblement of the humble; unlikely heroes; hoarding and possessiveness; fantasy and escapism; providence and chance; good and evil; Gollum and selfhood; Bilbo’s virtues (courage, humility, loyalty, mercy, generosity, etc.); friendship and community; enchantment vs. technology; the ‘bourgeois’ hobbit; riddles and philosophy; hobbits’ homespun wisdom; power and authority; Tolkien’s environmentalism; Tolkien’s view of war; gender/class/race in The Hobbit; religious themes in The Hobbit; self-identity of shape-shifters (Beorn); Daoist themes in The Hobbit; Gandalf and angels; the ethical and imaginative power of fairy tales.

 

Submission guidelines:

1. Submission deadline for abstracts (100-500 words) and cv’s: April 15, 2008

2. Submission deadline for first drafts of accepted papers: August 15, 2008

3. Submission deadline for final papers October 15, 2008

 

Kindly submit by e-mail (with or without Word attachment) to:

Gregory Bassham at ghbassha@kings.edu

 

 

NEW 28 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

The British Society of Aesthetics 2008 Annual Conference

 

St. Edmund Hall, Oxford

September 5-7, 2008

 

First Call for Papers: Deadline: May 12th

 

Guest Speakers

 

Alexander Nehamas (Princeton University)

Hannah Ginsborg (UC Berkeley)

Stephen Davies (University of Auckland)

Berys Gaut (University of St. Andrews)

 

This year's William Empson lecture will be given by Jonathan Jones (The

Guardian)

 

Papers in philosophical aesthetics should be submitted with a 200 word abstract and formatted for blind review (author's name, etc, on separate cover page). Papers should not exceed 3500 words (30 minutes reading time). Abstracts cannot be considered in lieu of papers. Submissions should be submitted in Word format by email to Derek Matravers: D.C.Matravers@open.ac.uk

 

There are up to 3 slots reserved for graduate papers (to be marked as such when submitted) with a £50 prize to be awarded to the best one.

 

Programme Committee: Diarmuid Costello, Ian Ground, Derek Matravers, Carolyn Wilde.

 

Programme Chair: Diarmuid Costello, Co-director of the AHRC-funded 'Aesthetics after Photography'

 

www.british-aesthetics.org

 

Dr. Diarmuid Costello

Department of Philosophy

University of Warwick

Coventry CV4 7AL, UK

http://www2.warwick.ac.uk/fac/soc/philosophy/staff/costello/

Diarmuid.Costello@Warwick.ac.uk

Tel +44 (0)2476 522952

Fax +44 (0)2476 523019

 

 

NEW 29 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

International colloquium: Character and Emotions

University of Geneva,  Swiss Center for Affective Sciences. Focus 

“Aesthetic Emotions”

April 25, 2008. Salle B 112, Uni Bastions, Geneva.

 

The term “character” is used to refer to the distinctive features of a person or of a group and to the protagonists in a play or a  novel.

 

In Ancient times, the brief and poignant essays called Characters,  attributed to the peripatetic Theophrastus, depicted the  psychological and moral attitudes of various human types, and their pride, ambition, vanity, fear, generosity, stupidity, hastiness,  malice, avarice, shamelessness, etc… In Theophrastus’ portraits, virtues and vices include what we would call today emotions, dispositions, and the behavior they imply. The “character sketch”  became a fashionable genre in the 17th century among English and  French writers, such as Bishop Joseph Hall (Characters of Virtues  and Vices, 1608), and Jean La Bruyère (who added to his 1688  translation of Theophrastus’ Characters sketches of contemporary manners). David Hume, whose arguments are still seminal for  contemporary ethical theories, considered that the characters and  actions of human beings varied immensely, and that these  differences were increased by education and habits. “Character and  manners” was an important issue all through the 18th century both in philosophy and in literature, witnessing the permeability between fiction and reality. In all times, all major writers, who deal with emotions and human actions, cannot but be deeply concerned with the temperament and personality of the characters in their novels.

 

Literary criticism in the last half a century has moved away from  what were once central questions about character and characters.  But, challenged by analytical philosophy, by works in psychology on the fragmentation and lack of character, as well as by other  interdisciplinary perspectives, it is now returning to such questions. What can the representation of characters tell us about  ethical dilemmas and problems? What is the relation between art and  life, reality and fictional worlds? What are the differences  between characters and character in the theater, film and the  novel? What can art tell us about the relations between character, personality, temperament and the emotions?

 

This colloquium, organized by the Affective Sciences research team  on “Aesthetic Emotions,” is addressed to philosophers, art  historians, film and theatre critics and literary scholars.

 

Programme: April 25, 2008 Salle B 112, Uni Bastions, Geneva.

 

Morning:

09.15 – 09.30    Introduction: Patrizia Lombardo (Université de Genève)

09.30 – 10.40    Greg Currie (University of Nottingham): Character and narrative

10.40 – 11.50    Jacqueline Lichtenstein (Université Paris 4 - Sorbonne): This is the one

11.50 – 13.00    Peter Goldie (The University of  Manchester): Cosi Fan Tutte and Deception: Don Alfonso as a Social Psychologist

 

Afternoon:

14.15 – 15.25    David Konstan (Brown University, Providence): Character and the Training of Emotions

15.30 – 16.40    Anne Reboul (CNRS, Lyon): Harpagon and Shylock: character vs person, the hunt for happiness, and the emotional rationality of ends and means

16.40 – 17.00     Break

17.00 –  18.10    Kevin Mulligan (Université de Genève): Personality versus character

18.10 – 18.30    Concluding Discussion

 

Respondents: Pascal Engel, Tom Cochrane, Julien Deonna, Claudine Tiercelin, Otto Bruun

 

Organisers:

Patrizia Lombardo (patrizia.lombardo@lettres.unige.ch)

Thomas Cochrane  (thomas.cochrane@gmail.com)

 

 

NEW 30 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

Philosophy and Film / Film and Philosophy: A multidisciplinary conference

4-6 July 2008, the Arnolfini, Bristol

Keynote Speakers:

Stephen Mulhall (Oxford)

Vivian Sobchack (UCLA)

Robert Sinnerbrink (Macquarie)

Catherine Constable (Warwick)

Karin Littau (Essex)

Julian Baggini (editor, The Philosophers' Magazine)

In recent years there has been a growing interest in the relationship  between philosophy and film within both analytic and European  philosophical traditions. At the same time, film studies as a  discipline has always raised philosophical questions and has been  enriched by a variety of philosophical traditions. The aim of this  conference is to bring together scholars from both disciplines to  examine this shared history, as well as display the current range and  state of philosophical film analysis.

 

In what ways is film philosophically informative? What methodologies  have been developed for philosophical analysis of film? What do  various philosophical traditions bring to the study of film? What  does the practice of film studies bring to the practice of  philosophy? What vibrant areas have developed in these fields? The  conference theme is deliberately broad and proposals are invited on  any conjunction between film and philosophy. We welcome submissions  that range from general and methodological observations about the field to readings and interpretations of specific films, genres, film  movements or filmmakers. We encourage submissions from graduate  students and will reserve some sessions for graduate papers.

 

Topics include (but are not limited to):

Film as philosophy

The ontology of cinema

Film and phenomenology

Particular philosophical approaches to film (Cavell, Deleuze, Frampton etc.)

The Epistemology of film

Film affect

The philosophical worldview of particular directors

Subjectivity and cinema

Film ‘theory’ as philosophy

Aesthetics and film

Political philosophy and film

Historical developments in film-philosophy

Genre and philosophy

Philosophy and film movements (German Expressionism, Soviet Montage, Italian Neorealism etc.)

Cinema as thought experiment

Morality and movies

Feminist philosophy and film practice

Film making as philosophical practice

Methodologies for philosophical film analysis

Contributions are invited for panel topics, individual papers or graduate papers. Please send a 500-word abstract by Tuesday 8 April, 2008 to:

Dr Havi Carel    Havi.Carel@uwe.ac.uk

Dr Greg Tuck    Greg.Tuck@uwe.ac.uk

University of the West of England, St Matthias Campus, Oldbury Court 

Rd, Bristol BS16 2JP, UK

Registration:      £75.00 (waged)      £45.00 (unwaged)

For information and to register:

info.uwe.ac.uk/events

 

 

NEW 31 (internet source: contact@eipcp.net)

 

The Art of Critique

Konferenz, 19./20. April 2008

 

Alex Demirović, Marina Garcés, Hakan Gürses, Maurizio Lazzarato, Isabell Lorey, Chantal Mouffe, Patricia Purtschert, Gerald Raunig, Karl Reitter, Ulf Wuggenig. Moderation: Stefan Nowotny, Alice Pechriggl

 

Was ist Kritik? Sicherlich nicht einfach eine Praxis des Urteilens, schon gar nicht des Aburteilens. Wir stellen die Frage nach der Qualität der Kritik nicht entlang der klassischen Gesten der Negation und Verwerfung der Macht und des Institutionellen einerseits sowie der „korrigierend“-neutralisierenden Wiedereingliederung von Kritik in institutionelle Apparaturen andererseits. Vielmehr geht es um eine Form der Kritik, die sich nicht primär über die Distanznahme des Urteilens vollzieht, sondern über eine Praxis, die sich ins Kritisierte immer schon involviert weiß; eine Kritik als Affirmation, die soziale Potenzen, ein differenzielles und mitunter subversives Wissen entfaltet.

 

http://transform.eipcp.net/conference

 

Ort (alle Veranstaltungen):

Kunsthalle Exnergasse / WUK, Währinger Str. 59, 1090 Wien

http://kunsthalle.wuk.at/

 

eipcp - european institute for progressive cultural policies

a-1060 vienna, gumpendorfer strasse 63b

a-4040 linz, harruckerstrasse 7

 

contact@eipcp.net

http://www.eipcp.net

 

 

NEW 32 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

2008 Henle Conference: Varieties of Perception

 

Recent developments in psychology and philosophy suggest that  perception is more widespread than previously assumed.  Some researchers claim that it is possible, quite literally, to perceive moral, aesthetic, personal and other "high-level" properties of  objects, events and persons.  This conference brings together experts in the psychology, epistemology and metaphysics of perception to 

explore the nature and scope of a variety of perceptual capacities.

 

April 4-5, 2008

 

Saint Louis University

Pius XII Memorial Library

Knight’s Room

3650 Lindell Blvd.

St. Louis, MO 63108

 

Friday, April 4

 

*1:15 p.m. Opening Remarks*

 

*1:30 p.m. Presence in Pictures*

  Alva Noe (UC Bekeley)

  Commentator: John Drummond (Fordham)

 

*3:30 p.m. On Perceiving God*

  Jerome Gellman (Ben-Gurion)

  Commentator: Howard Wettstein (UC Riverside)

 

*5:30 p.m. Perceptual Knowledge (Wade Memorial Lecture)*

  John Hawthorne (Oxford)

 

Saturday, April 5

 

*9:30 a.m. Moral Perception*

  Walter Sinnott-Armstrong (Dartmouth)

  Commentator: Michael DePaul (Notre Dame)

 

*11:30 a.m. The Skill of Perceiving Persons: Clues from Autism*

  Victoria McGeer (Princeton)

  Commentator: William Hirstein (Elmhurst

 

*2:30 p.m. Aesthetic Acquaintance*

  Dominic Lopes (British Columbia)

  Commentator: Chris Williams (Nevada, Reno)

 

*4:30 p.m. Perception of Music: Sources of Significance*

  Christopher Peacoke (Columbia)

  Commentator: José Luis Bermudez (WUSTL)

 

TALKS ARE FREE AND OPEN TO THE PUBLIC.

 

For more information, contact:

Jamie Hendrix

314-977-3149

hendrixj@slu.edu

Messages to the list are archived at http://listserv.liv.ac.uk/archives/philos-l.html

Prolonged discussions should be moved to  chora: enrol via http://listserv.liv.ac.uk/archives/chora.html

Other philosophical resources on the Web can be found at

http://www.liv.ac.uk/pal

 

 

33 NEW (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

The Theatre and Performance Research Association

 

The Theatre and Performance Research Association (TaPRA,  www.tapra.org), will hold its 4th Annual Conference at the University  of Leeds from September 3-5, 2008.

 

The TaPRA Theatre, Performance and Philosophy Working Group wouldlike to invite proposals for papers for this conference. Please send abstracts with a brief biographical note to the convenors,  Professor Daniel Meyer-Dinkgräfe dmeyerdinkgrafe@lincoln.ac.uk or Dr  Dan WattD.P.Watt@lboro.ac.uk by the deadline of 30 June 2008.

 

Theatre Performance and Philosophy: Mission Statement

 

Ever since Aristotle's Poetics in the West, and Natyashastra in what  is now South Asia, philosophy has played a major role in relation to theatre, both in explaining the phenomena associated with theatre and in influencing theatre practice and theory. Besides examining the oftenoverlooked historical links between philosophy and theatre in the worksand plays of given thinkers like Hegel and Sartre, of particularinterest to the TaPRA Theatre, Performance and Philosophy working groupwill be the use of theatrical metaphors in philosophy 

and the notion ofthe "performative" and performance, from Austin's How To Do Things withWords to Derrida's "Signature, Event, Context". The radicaltransformations of philosophy undertaken by thinkers such  as Nietzsche,Lyotard, Deleuze, Bataille, Debord, and Baudrillard  offer philosophyitself as a theatre in which its poetic aspect is  asserted asirreducible to any political or social agenda that may  seek to defineit. In examining the links between recent philosophical enquiry andtheatre and performance this working group will explore the potentialpractical and theoretical implications of such a turn.

 

Working Methods

 

The TPP working group will meet annually at TaPRA conference andmaintain a lively debate in between through an email list and  researchpaper presentations at both Lincoln and Loughborough. An  outlet forpublications exists for appropriate titles, including  conferenceproceedings, in the Rodopi series Consciousness, Literature  and theArts, for which TPP co-convenor Daniel Meyer-Dinkgräfe serves  asgeneral editor, as well as through the refereed web journal at  http://blackboard.lincoln.ac.uk/bbcswebdav/users/dmeyerdinkgrafe/index.htm

 

Dr Daniel Watt

Lecturer in English and Drama

Department of English and Drama

Loughborough University

Loughborough

Leicestershire LE11 3TU

Tel: 01509 222956

Fax: 01509 269994

D.P.Watt@lboro.ac.uk

 

Professor Daniel Meyer-Dinkgräfe

Lincoln School of Performing Arts

University of Lincoln

LPAC Building,

Brayford Pool

Lincoln LN6 7TS

Tel: 01522 837371

Email: dmeyerdinkgrafe@lincoln.ac.uk

 

 

 

NEW 34 (internet source: news@aesthetics-online.org)

 

Call for Abstracts

Final Fantasy and Philosophy

Edited by Jason P. Blahuta and Michel S. Beaulieu

The Blackwell Philosophy and PopCulture Series

To propose ideas for future volumes in the Blackwell series please

contact the Series Editor, William Irwin at wtirwin@kings.edu

<mailto:wtirwin@kings.edu>

Abstracts and subsequent essays should be philosophically substantial but accessible, written to engage the intelligent lay reader. Contributors of accepted essays will receive an honorarium.

We are interested in abstracts dealing with Final Fantasy in any media including manga. Possible themes and topics might include, but are not limited to, the following: Vivi Ornitier's Musings on the Meaning of Life; Squall, Moral Relativism, and Moral Responsibility; As Ethereal as a Cloud: Problems of Personal Identity; Is Evil Self-defeating?: What Happens after Kefka Destroys the Universe?; The Chi of Chocobos; The Not-so Eternal Return: The Multiple Incarnations of Cid; Final Fantasy or Final Reality?: Game Play as a Mirror of Modern Life; The Problems of Technology and Religion: Yevonites v. Machina; Shinra Inc., v. Avalanche (Corporatism v. Freedom);The Ethics of Harnessing Lifeforce; Flawed Heroes in the Series; The Ethics of Summoning/Summoners; The Failure of Feminism in X2; Bahamut, Shiva, and Ifrit/Efreeti: Monsters as Heroes?; Searching for Identity: Does Titus Really Discover Who He Is?; Marx and Moogles: Wage-Slavery in Final Fantasy?; The Dialectic of Deities: Demonology as Plot in Final Fantasy; Spiritus-"Anima": Jungian Archetypes in Final Fantasy; Dark Knights, "Dark Crystals", and... Light Warriors: "Color" Stereotypes as Signifiers; Al Bhed or Guado?: Repression as Plot Driver; Class Differences in the Classic Final Fantasy Games (the Fighter, the Black Belt, the Thief, the Red Mage... who's on top?); Final Freud:  Kadaj's Oedipal Transformation into Sephiroth through union with Mother (Final Fantasy: Advent Children); The Spirit Within: Gaia, Phantom Spirits, and Living with Nature (Final Fantasy: The Spirits Within)

 

Submission guidelines:

 

1. Submission deadline for abstracts (100-500 words) and cv's: June 6,

2008

 

2. Submission deadline for first drafts of accepted papers: September 1,

2008

 

Kindly submit by e-mail (with or without Word attachment) to:

Jason P. Blahuta jblahuta@lakeheadu.ca

<http://www.myspace.com/williamirwin> 

 

 

 

NEW 35 (internet source: news@aesthetics-online.org)

 

PHILOSOPHY OF LITERATURE

Ratio Conference: University of Reading

*** Saturday 12th April 2008  ***

Supported by the Mind Association and the Analysis Trust.

NB: Only a few subsidized student places still remain: £15 (instead 

of £30) inclusive of lunch and refreshments thanks to a grant from 

the Analysis Trust.

Speakers of the day will be:

* Peter KIVY (Rutgers University): Fictional Form and Symphonic 

Structure

* Peter LAMARQUE (University of York): The Elusiveness of Poetic Meaning

* M. W. ROWE (Birkbeck College, London): Literature, Truth & the

Aesthetic Attitude

* Ole Martin SKILLEAS, (University of Bergen): Autobiography and Mimesis

Conference venue: Seminar Room 1, Black Horse House University of

Reading Whiteknights Campus Reading RG6 6AA, UK

Please direct enquiries to: Dr. Severin Schroeder

s.j.schroeder@reading.ac.uk <mailto:s.j.schroeder@reading.ac.uk>

Department of Philosophy University of

Reading Whiteknights Reading RG6 6AA, UK

Registration fee £45 (£15/£30 for students) inclusive of lunch.

To register for this conference, please send a printed version of the

registration form below (also available at

http://www.rdg.ac.uk/philosophy/Conferences/Conferences.asp ) together

with a cheque for the appropriate amount BY 4th APRIL. Numbers are 

strictly limited,

so please do register early to avoid disappointment.

 

Philosophy of Literature

REGISTRATION FORM

I wish to register for the Ratio conference on the Philosophy of

Literature on 12th April 2008 and enclose my registration fee.

The registration fee of £45 (£15/£30 for students*) includes lunch on

Saturday and refreshments.

Name: ______________________________________________ Title:___________

Institution:____________________________________________________________

Address for

correspondence:_________________________________________________________

____________________________________________________________________________

_

 

Email: ___________________________________ 

Phone:_________________________

Please make cheques payable to ‘The University of Reading’ and send to

Dr. S.J. Schroeder, Department of Philosophy, University of Reading,

Whiteknights, Reading RG6 6AA.

Please advise us if you have any special dietary requirements:

___________________________

 

* Thanks to a grant from the Analysis Trust, the registration fee for

the first 30 students will be subsidized by 50%, bringing it down to

£15. Please email to check on availability.

 

NEW 36 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

Please note that the deadline for abstract submissions (500 words) for

the 2008 Generative Anthropology Summer Conference has been extended to

March 31st.

 

Esthetic History and the Knowledge of the Human

Generative Anthropology Summer Conference

Chapman University, Orange, California

Thursday 26 June Sunday

29 June 2008

 

Call for Papers

 

Chapman University is pleased to present the 2nd annual Generative

Anthropology Summer Conference, with the thematic focus "Esthetic

History and the Knowledge of the Human."

 

Generative Anthropology is an ambitious, interdisciplinary way of thinking

initiated by Eric Gans in books such as The End of Culture (1985),

Originary Thinking (1993), Signs of Paradox (1997) and The Scenic

Imagination (2007).

 

Its current vitality is indicated by the recent

publication of an anthology of pieces devoted to GA, The Originary

Hypothesis: A Minimal Proposal for Humanistic Inquiry, edited by Adam

Katz (2007); by the continuing fullness of the online journal

Anthropoetics, and by the robust success of the first GA weekend

conference held in Vancouver last July.

 

Scholars unaware of GA may visit the Anthropoetics website for

information. We emphasise that Generative Anthropology will be

of congenial interest to a wide range of workers in humanities disciplines

such as literature, literary theory, literary history, esthetic history,

philosophical anthropology, cultural politics, philosophy of mind, and the

sociology of art and religion.

 

Researchers in the social and natural sciences with an interest in human

origins, the origins of language, cultural evolution, evolutionary

psychology, cognitive psychology and other disciplines will also find its

hypotheses thoughtprovoking.

 

The organizers of GASC 2008 therefore invite interested researchers to

submit proposals for papers that explore the possibilities for analytical

interaction between Generative Anthropology and topics falling under the

umbrella formulation of "Esthetic History and the Knowledge of the

Human."

 

We welcome analyses of particular literary texts, artistic works,

esthetic trends, or crucial events in the history of an art (music,

theatre, painting, architecture, design); analyses of the contributions

made by specific philosophers, theologians, artists, and other

intellectual figures to the history of human selfknowledge

as mediated by esthetic production; studies of the competition between

popular and high art; considerations of "primitive" art and the

archaeology of early human artifacts in relation to hypothesis formation

about human origins; philosophical reflections on representation and the

sign, especially as these might sharpen the differentiation between

esthetic experience and experience of the sacred, and the differentiation

between esthetic cognition and "scientific" knowledge of the human.

 

Preference will be given to papers that explicitly engage with ideas

contained in that body of intellectual activity designated as Generative

Anthropology. However, we will also welcome submissions by scholars

new to but curious about GA who are engaged in fundamental reflection on

the human as it relates to our theme of Esthetic History and the Knowledge

of the Human.

 

All papers should be a reading time of 20/25 minutes. Proposals, 500

words maximum, should be sent by attachment in MSWord to

schneide_at_chapman.edu. Deadline: 31 MARCH 2008

 

GASC 2008's Chief organizer is Matthew Schneider, Professor of English

and Dean of Humanities at Chapman University, Orange, California. All

correspondence, questions and proposals, should be sent to Dr. Schneider

at schneide_at_chapman.edu. Canadian participants may send inquiries also

to the Canadian coorganizers, Andrew.Bartlett_at_kwantlen.ca or

IanDennis_at_uottawa.ca.

 

This conference is endorsed by Wilkinson College of Letters and Sciences

at Chapman University.

 

 

NEW 37 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

Hauntings: Spectres, Spectrality and Spectatorship

 

Philament, the peer-reviewed online journal of the arts and culture

affiliated with the University of Sydney, invites postgraduate scholars

to contribute articles, ficto-criticism, reviews, and opinions for a

special issue produced in conjunction with the convenors of UNSW’s School

of English, Media and Performing Arts Symposium. Revised papers from the

Symposium as well as new submissions are encouraged. Possible themes

include but are not limited to:

 

theories of spectatorship

intersubjectivity and affect

psychoanalysis

gender and sexuality

postmemory

nationhood/ national identity

postcolonial relations

theories of memory

representation and temporality

technology

poetics

performance

performativity

relationships between subjectivity and space

 

Academic papers: up to 8,000 words.

 

Opinion pieces: reviews (book, stage, screen, etc.), conference reports,

short essays, responses to papers previously published in Philament

issues, of up to 1000 words.

 

Creative Work: in the form of writing, images, sounds, or a mixture of

any or all three. All submissions should be limited to three pieces.

 

All submissions may be sent as email attachment in a PC-readable format

to philament_at_arts.usyd.edu.au

 

SUBMISSION DEADLINE: 30 April, 2008

For more details see www.arts.usyd.edu.au/publications/philament

 

 

NEW 38 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

Æffective Æsthetics: Representation of Emotion

 

Rice Graduate Symposium, September 26-27, 2008

Rice University, Houston, Texas

 

Affective representation in both artistic and lived experience is

frequently explained in terms of competing social, political, and

cultural systems that often nullify one another. Compounding the problem

is the tendency for affect to complicate how we think about

representation; it seems that the two are inextricable. Through

investigating representations of affect within a variety of fields, this

conference proposes to find inroads that will bring the competing claims

of various discourses together into productive dialogue.

 

This conference will focus on how certain texts and practices—religious,

literary, philosophical, scientific, or artistic—transmit and inform our

understanding of historical and contemporary affective experience. We

invite submissions that consider what work is accomplished within the

interstices of affect and representation: through what mechanics do

representations produce affect, and vice-versa; what kinds of tension

arise between affect and representation; and how do all these factors

combine to shape the perceived world of experience.

 

 Possible paper topics include but are not limited to:

 

• Social and/or psychic processing of affect.

 

• History of affect, affective histories, affect in historical

construction.

 

• Science, scientific methodologies, and representations of affect.

 

• Affect and the production(s) or representations of gender.

 

• Performativity of affect in film or theater.

 

• Spectator or audience emotive responses to material

representations or artistic works.

 

• Technology, media, and affective representations.

 

• Intercultural exchanges, globalization, (post)colonialism,

nationalism, and affect.

 

We invite both individual and panel submissions from all disciplines.

Please send abstracts of 250 words or less to rice.symposium_at_gmail.com.

Presentations should be no more than 20 minutes in length. Our submission

deadline is May 15, 2008.

 

http://rice.symposium.googlepages.com/home

 

Questions? Contact Jayme Yeo, Jill Delsigne, and Josh Kitching at

rice.symposium_at_gmail.com

 

 

NEW 39 (internet source: http://www.aesthetics-online.org/events/calls.php)

(internet source: http://estet.philos.msu.ru/news.php)

 

 

Methods, Concepts, and Communications in Contemporary Aesthetic Discourse

 

November 21 - 22, 2008, Moscow State University

 

This conference on problems of aesthetics is in memory of Professor Mikhail F. Ovsiannikov (1915 – 1987). The working languages of the Conference are English and Russian. The Organizing Committee will have published theses of official reports to OIAC III before the Conference work starts.

 

Submission deadline: May 30, 2008

 

Sergey A. Dzikevich

Scientific Secretary of the OIAC III Organizing Committee

 

aesthesis@philos.msu.ru

s.a.dzikevich@mail.ru

    

 

NEW 40 (internet source: http://hsozkult.geschichte.hu-berlin.de/termine/)

 

Symposium

 

Bild - Sprache - Kultur. Ästhetische Perspektiven kritischer Theorie

 

Informationen zu diesem Beitrag

BeiträgerSven Kramer <s.kramer@uni-lueneburg.de>

Veröffentlicht am 27.03.2008

Zitierweise

Klassifikation

Regionaler Schwerpunkt Ohne regionalen Schwerpunkt

Epochale Zuordnung Epochal übergreifend

Thematischer Schwerpunkt Theorie- und Diskursgeschichte, Kultur, Kulturgeschichte, Kunstgeschichte, Historische Bildforschung

TypSymposium

LandGermany

SpracheGerman

Veranstalter:   Zeitschrift für kritische Theorie und Prof. Dr. Sven Kramer, Leuphana Universität Lüneburg, Lüneburg

Datum, Ort:     25.04.2008-26.04.2008, Leuphana Universität Lüneburg, Hörsaal 5

 

Die Tagung analysiert neuere Perspektiven der Kritischen Theorie, wie sich sich nach dem Durchgang durch diskursanalytische und dekonstruktivistische sowie im Anschluss an hermeneutische Tendenzen der letzten Jahrzehnte in Bezug auf die Auseinandersetzung mit ästhetischen Gegenständen darstellen. Sie möchte damit einen Beitrag zur neueren Methodendiskussion leisten. Insbesondere die Reflexion auf verschiedene Dimensionen der Sprachlichkeit und der Bildlichkeit - etwa mit der Konzeptionalisierung des dialektischen Bildes durch Benjamin - stehen dabei im Mittelpunkt. Die einhergehenden Fragestellungen werden in historischer und in systematischer Perspektive entwickelt. Es handelt sich - wie bei der Kritischen Theorie überhaupt - um ein interdisziplinär ausgerichtetes Projekt.

 

Freitag, 25. April 2007, Hörsaal 5

13:00-13:45

Begrüßung.

SVEN KRAMER

Einleitende Bemerkungen.

13:45-15:15

KARL CLAUSBERG

Doppelgänger in Bildern. ... sahen sich selbst: Goya und Friedrich.

CHRISTOPH JAMME

Die Kunstreligion. Hegels Phänomenologie des Geistes als Ursprung seiner Ästhetik.

15:45-17:30

GUNZELIN SCHMID NOERR

Zur Ästhetik des Bösen.

WOLFDIETRICH SCHMIED-KOWARZIK

»Aufhebung«. Gedanken zu einer Grundkategorie dialektischer Philosophie.

18:00-18:45

CHRISTOPH TÜRCKE

Zur Rehabilitierung des Symbols.

Samstag, 26. April 2007, Hörsaal 5

09:00-10:45

JÖRG GLEITER

Auf der Suche nach dem urgeschichtlichen Index. Benjamin und die Architektur der Moderne.

HEINZ PAETZOLD

Benjamins Stadtkulturtheorie.

11:15-13:00

IRIS HARNISCHMACHER

Die Revision der Erinnerung im Denken. Hegels Theorie des Gedächtnisses – Benjamins Theorie des Eingedenkens.

WOLFGANG BOCK

Aufmerksamkeit und mediale Rettung. Sprachliche Figuren in Benjamins Einbahnstraße.

13:00-13:45 Abschlussgespräch

Organisation:

Zeitschrift für kritische Theorie

Prof. Dr. Sven Kramer: s.kramer@uni-lueneburg.de

Interessierte sind eingeladen, die Tagung zu besuchen.

Eine Gebühr wird nicht erhoben.

Kontakt:

Sven Kramer

Scharnhorststr. 1, 21335 Lüneburg

s.kramer@uni-lueneburg.de

 

 

 

NEW 41 (internet source: http://hsozkult.geschichte.hu-berlin.de/termine/)

 

Colloquium „Ist Schönheit messbar?“

 

Informationen zu diesem Beitrag

BeiträgerThomas Schmitt, Gottlieb Daimler- und Karl Benz-Stiftung <kristina.vaillant@snafu.de>

Veröffentlicht am19.03.2008

Zitierweise

Klassifikation

Regionaler Schwerpunkt Ohne regionalen Schwerpunkt

Epochale Zuordnung Epochal übergreifend

Thematischer Schwerpunkt Kultur, Kulturgeschichte, Kunstgeschichte, Historische Bildforschung

TypColloquium

LandGermany

SpracheGerman

Veranstalter:   Gottlieb Daimler- und Karl Benz-Stiftung , Ladenburg

Datum, Ort:     07.05.2008, Akademie der Konrad-Adenauer-Stiftung, Tiergartenstraße 35, 10785 Berlin

 

12. Berliner Kolloquium der Gottlieb Daimler- und Karl Benz-Stiftung

Wissenschaftlich verantwortlich: Prof. Dr. Wolfgang Klein, Max-Planck-Institut für Psycholinguistik, Nijmegen, Niederlande

 

Über Geschmack lässt sich streiten, einerseits –

andererseits gibt es universale Gestaltungsprinzipien

wie den Goldenen Schnitt, auf die wir uns verständigen

können. Warum wir aber ein Gedicht oder eine Arie, ein

Bild oder auch ein Auto als schön empfinden, darüber

können Literatur- und Kunstwissenschaft nicht viel

mehr als Vermutungen anstellen. „Was bislang fehlt,

ist eine empirische Untersuchung der ästhetischen

Eigenschaften, also die Suche nach Argumenten, die die

Ästhetik eines Objektes wissenschaftlich begründen –

genauso wie Gesetzmäßigkeiten anderer Gegebenheiten

unserer Welt “, so Professor Wolfgang Klein,

Sprachwissenschaftler und Direktor am

Max-Planck-Institut für Psycholinguistik im

niederländischen Nijmegen.

Das Gestaltungsprinzip des Goldenen Schnitts wird in

den bildenden Künsten genauso angewandt wie zum

Beispiel in der Architektur oder beim Bau von

Musikinstrumenten. Der US-Mathematiker George David

Birkhoff entwickelte 1933 eine Formel für das

ästhetische Maß, und auf dem neuen Gebiet der

Att-raktivitätsforschung wurden Hypothesen darüber

aufgestellt, warum uns welches Gesicht als schön

er-scheint. Aber „das, was bislang an universellen

ästhetischen Gestaltungskriterien gefunden wurde, ist

recht trivial“, gibt Klein zu bedenken.

Das 12. Berliner Kolloquium bringt Experten aus

Musik-, Literatur- und Kunstwissenschaft, Mathematik,

Psychologie und der Neurowissenschaft sowie dem

Produktdesign zusammen, um die vereinzelten Ansätze

einer empirischen Untersuchung ästhetischer

Gesetzmäßigkeiten zu bündeln und gemeinsam zu

diskutieren. Auch in der Medizin spielen

Forschungsergebnisse dieser Disziplinen eine wichtige

Rolle – etwa für die patientenspezifische

mathematische Operationsplanung in der Plastischen

Chirurgie. Im öffentlichen Abendvortrag geht der

Hirnforscher Manfred Spitzer, Professor am

Universitätsklinikum Ulm, der Frage nach:

„Neuroästhetik – gibt es eine Gehirnforschung zum

Wahren, Schönen, Guten?“.

 

Teilnahmegebühr: 50 € (für Studenten 25 €)

Informationen und Anmeldung:

 

www.daimler-benz-stiftung.de

 

Programm

08:30 Uhr Registrierung

09:00 Uhr Tagungsbeginn

Eröffnung

Prof. Dr. Gisbert Frhr. zu Putlitz

Vorsitzender des Vorstands

der Gottlieb Daimler- und Karl Benz-Stiftung,

Ladenburg

Was ist ein schönes Gesicht?

Auf der Suche nach Kriterien

Prof. Dr. Dr. Peter Deuflhard

Konrad-Zuse-Zentrum für Informationstechnik, Berlin

10:45-11:15 Uhr Pause

Keine Schönheit ohne Maß

Prof. Dr. Holger Höge

Universität Oldenburg, Institut für Psychologie

Von den erogenen Zonen des Gehörs, oder: Schöne Stellen in der Musik

Prof. Dr. Ulrich Konrad

Universität Würzburg, Institut für Musikwissenschaft

12:45-14:15 Uhr Mittagspause

Ein Automobil wird sinnlich wahrgenommen

Prof. Peter Pfeiffer

Daimler AG, Stuttgart

Schönheit als Gegenstand richterlicher Beurteilung

Prof. Dr. Haimo Schack

Universität Kiel, Juristisches Seminar

16:15-16:45 Uhr Pause

Vermessene Schönheit. Zur Geschichte und Zukunft eines Mythos

Prof. Dr. Gerhard Wolf

Kunsthistorisches Institut in Florenz - Max-Planck-Institut

Diskussion und Abschluss

17:30 Uhr Ausklang

19:30 Uhr Abendvortrag

Begrüßung

Prof. Dr. Gisbert Frh. zu Putlitz

Vorsitzender des Vorstands

der Gottlieb Daimler- und Karl Benz-Stiftung,

Ladenburg

Einführung

Prof. Dr. Wolfgang Klein

Max-Planck-Institut für Psycholinguistik, Nijmegen

Neuroästhetik - Gibt es eine Gehirnforschung zum Wahren, Schönen und Guten?

Prof. Dr. Dr. Manfred Spitzer

Universitätsklinikum Ulm, Klinik für Psychiatrie

und Psychotherapie III

im Anschluss: Empfang

Kontakt:          

Thomas Schmitt

Dr.-Carl-Benz-Platz 2

68526 Ladenburg

(06203)1092-13

(06203) 1092-5

schmitt@daimler-benz-stiftung.de

URL:    Weitere Informationen zum 12, Berliner Kolloquium, Programm und Anmeldung

 

 

NEW 42 (internet source: http://hsozkult.geschichte.hu-berlin.de/termine/)

 

CfP

 

Nietzsche Pop!

 

Informationen zu diesem Beitrag

BeiträgerApoDio e.V. <m-schuhmann@gmx.net>

Veröffentlicht am28.02.2008

Zitierweise

Klassifikation

Regionaler Schwerpunkt Europa

Epochale Zuordnung Ohne epochalen Schwerpunkt

Thematischer Schwerpunkt Kultur

TypCfP

LandGermany

SpracheGerman

Veranstalter:   ApoDio e.V.

Datum, Ort:     13.09.2008, Berlin

 

Der unzeitgemäße Denker Friedrich Nietzsche, der sich wiederholt damit brüstete, dass er schwer bzw. un-verständlich sei, ist mittlerweile der am häufigsten in den deutschen Feuilletons zitierte Philosoph. Sauber von diesem Diskurs der sog. Hochkultur getrennt verläuft gleichzeitig eine rege Auseinanderset-zung mit seiner Philosophie in der gegenwärtigen Popkultur. Die auf zwei Tage im September 2008 angesetzte multimediale Konferenz Nietzsche Pop!, die von der jungen literarischen Gesellschaft ApoDio e.V. organisiert wird, versucht eine Brücke zwischen diesen unterschiedlichen Kulturen zu schlagen, um einen sich gegenseitig befruchtenden, gleichberechtigten Dialog über seine Philosophie zu ermöglichen. Es geht um den Versuch, aus der seit Jahrzehnten gepflegten Selbstisolation des El-fenbeinturms der akademischen Philosophie auszubrechen, die zu einer zunehmenden Abwertung der Geisteswissenschaften in der öffentlichen Wahrnehmung geführt hat, und auf diesem Wege den beson-deren Stellenwert der Philosophie für die Kultur zu verdeutlichen.

Der Verein ApoDio e.V. – in Anlehnung an die Dichotomie der beiden Kunstprinzipien apollinisch und dionysisch, deren Zusammenspiel nach Nietzsche den kulturellen Fortschritt ausmacht – wurde im Frühjahr 2007 in Berlin von einer internationalen Gruppe junger Geisteswissenschaftler, Journalisten, Multimedia-Nerds und Kunstschaffender gegründet, um den Austausch zwischen Hoch- und Subkultur, aber auch zwischen Wissenschaft und Leben, zu fördern – getreu dem Nietzscheanischen Postulat: „Frei — sei unsre Kunst geheissen, / Fröhlich — unsre Wissenschaft!“

Die Popkultur, als eine gesellschaftlich verankerte, schichtenübergreifende Form der Kultur, bie-tet sich daher als Gesprächspartner hervorragend an, da sie eine Reihe spezifischer Anknüpfungs-punkte bietet. Die augenscheinlichen Aspekte sind dabei – neben den direkten Rückgriffen in Metapho-rik und Textpassagen innerhalb der Popkultur – die Bedeutung der Leiblichkeit, des Rausches, des Tanzes und des Gesangs, die der letzte Jünger von Dionysus dem Leben beimisst. Daher erscheint auch die Frage legitim, ob die von ihm im „Ecce Homo“ prophezeiten Lehrstühle für seinen „Zarathustra“ nicht eher in der Popkultur als an den Universitäten und akademischen Forschungseinrichtungen zu suchen sind.

Auf der anderen Seite vertritt die Konferenz den Anspruch, einen Beitrag zur Korrektur des eben-so häufig anzutreffenden karikaturhaft-verzerrten Nietzsche-Bildes in der Öffentlichkeit zu leisten. Der Austausch mit der Popkultur verspricht unter diesem Aspekt, dem wissenschaftlichen Diskurs auf un-konventionelle Weise neue Zugänge zum Verständnis des Werkes des Philosophen aufzuzeigen und zu vermitteln, und andererseits auch neue Impulse für die Popkultur zu bieten. Um diesem Anspruch ge-recht zu werden, wird sich das Konferenzprogramm, neben klassischen Vorträgen und Podiumsdiskus-sionen, vor allem aus Workshops, Filmvorführungen und Konzerten zusammensetzen.

Das alles – ob in den vier verschiedenen Sektionen (Musik, Film, Popliteratur / Comics, Multime-dia), bei den Plenumsdiskussionen oder im praktischen Teil – soll in einer für alle verständlicher Spra-che geführt werden. Ausdrücklich wünschen wir uns jargonfreie oder zumindest –arme Beiträge sowie die Möglichkeit zum angstfreien Fragen. Schließlich geht es bei Nietzsche Pop auch darum, Nietzsche in gewisser Weise zu popularisieren – d.h., ihn ohne Bildungsbarrieren für interessierte Menschen er-lebbar zu machen, aber ohne ihn dabei zu verflachen.

Für die Umsetzung dieses Konzeptes suchen wir ReferentInnen, MusikerInnen und andere Kul-turschaffende, die sich auf unterschiedliche Art und Weise mit Nietzsches Philosophie und dessen Be-deutung für die Kultur auseinandersetzen wollen.

 

Mögliche Themen für Beiträge sind u.a.:

- Wie steht es mit Nietzsches Präsenz in der heutigen Kultur fernab der Universitäten, Feuilletons und Opernhäuser?

- Wie kann die Forschung ihrem Bildungsauftrag gerecht werden und das teilweise immer noch er-schreckend verfälschte Bild des Anti-Philosophen korrigieren, das in massenhaft verbreiteten Medi-en grassiert?

- Welche Möglichkeiten bietet die Popkultur, um Nietzsches Philosophie – eine sich dem Katheder widersetzende Philosophie – erfahrbar und nachvollziehbar zu machen?

- Wie steht es mit gelebtem „Nietzscheanismus“ in Teilen der Sub- oder Jugendkultur? Ist seine Phi-losophie die Basis für einen modernen „Pop-Lifestyle“?

 

Deadline für die Einsendung von Vorschlägen für Beiträge – sei es Songs, Kurzfilme oder Vorträge – in deutscher oder englischer Sprache ist der 30. April 2008.

Kontakt:          

 

E-Mail: info@nietzschepop.org

http://www.nietzschepop.org/

 

 

NEW 43 (internet source: http://www.conferencealerts.com/philosophy.htm)

 

Art, Praxis, and Social Transformation: Radical Dreams and Visions

 

6 to 9 November 2008

 

San Francisco, California, United States

 

Website: http://www.pages.drexel.edu/~pa34/2008CALL.htm

 

Contact name: Peter Amato

 

Papers addressing issues in all areas of radical philosophy and praxis are welcome. For more information, see our website at http://www.radicalphilosophy.org/

Organized by: Radical Philosophy Association

Deadline for abstracts/proposals: 8 March 2008

 

 

 

NEW 44 (internet source: http://www.musicologie.org/Colloques/calendrier_court.html)

 

Séminaire Esthétique et Cognition

Théories de l’art et phénomènes cognitifs

Institut d'Esthétique des Arts et des Technologies (UMR 8153)

Université de Paris-1 Panthéon-Sorbonne/CNRS

Organisation : Jean-Marc Chouvel, Hugues Dufourt,

Xavier Hascher, Costin Miereanu

 

Un nombre considérable d’études ont été consacrées ces dernières années à la cognition musicale. Elles ont trop peu souvent fait état de la réflexion que l’esthétique, la philosophie ou la psychanalyse avaient déjà consacré à la question du rapport à l’œuvre, à la manière dont nous prenons conscience d’elle, dont nous la pensons avant même de penser sur elle. Il paraît donc essentiel aujourd’hui  d’instaurer un dialogue entre ces différents aspects de la réflexion sur la réception de l’art par l’individu. Ceci est d’autant plus important que les créateurs eux-mêmes, après une phase de concentration sur l’objet et la structure, s’intéressent à nouveau à la théorisation du sujet percevant. Comment s’articulent sensation et connaissance, objectivité et subjectivité, actuel et mémoriel, mais aussi création et perception, expérience du sujet et théorie de l’art ? Autant de questions et de clivages, réels ou apparents, qui interrogent les scientifiques, les philosophes et les artistes, et que ce séminaire tentera de débrouiller et, éventuellement, d’éclaircir.

 

Les séances auront lieu le samedi tous les deux mois environ à partir de la rentrée universitaire 2007. Elles seront organisées en deux temps, avec deux interventions le matin et deux l’après-midi, et un temps de discussion collective.

 

Adresse où se dérouleront les séances :

Université de Paris-1 Panthéon Sorbonne

Centre Panthéon (bât. de la faculté de Droit)

12 place du Panthéon, 75005 Paris

 

Accès

Mº Odéon, Cluny-la-Sorbonne, Cardinal-Lemoine

RER Luxembourg

Bus 84, 89, 21, 27, 38, 63, 82, 85, 86, 87

 

5. Signes, mécanismes et catégories

Samedi 5 avril 2008

10 h–12 h et 14 h–16 h

Centre Panthéon, s. 58 (entresol)

 

L’expérience de la musique est-elle fondamentalement une expérience de l’ « autre » ? Comment se manifeste cette spécificité de l’ « autre » et comment peut-on l’aborder ? Quels signes, quels mécanismes et quelles catégories sont applicables ? L’objet musical est-il auto-suffisant dans la définition des critères de son intelligibilité, ou au contraire est-il redevable d’un « code » qui lui est extérieur mais auquel il se réfère ? Dans ce cas, comment accède-t-on à la connaissance de ce code ? Quel est son degré d’universalité ? Le chercheur n’est-il pas constamment dans un conflit entre ses catégories analytiques et les mécanismes de production et de perception des œuvres dans une culture donnée ?

 

INTERVENANTS

 

Xavier HAUTBOIS (IUT de Versailles)

Le son « humainement » organisé

 

Dans son manifeste pour un nouvel enseignement de la musique qui intègrerait une dimension sociale, How musical is man ?, John Blacking tire de son expérience de la musique des Vendas une approche  anthropologique de la connaissance. La définition générale qu’il  propose de la musique, en tant que son « humainement » organisé, lui  attribue une origine à la fois sociale et biologique. Il nous dit que « Bien des processus essentiels de la musique, sinon tous, peuvent se déceler dans la constitution du corps humain et dans des structures d’échanges des corps humains en société. » En effet, si les organisations sociales engendrent des expressions musicales dont on reconnaît la singularité, on est en droit de penser que des éléments biologiques, organiques ou relevant de la psyché humaine, sont incorporées dans la musique, par delà les cultures, permettant d’envisager l’hypothèse d’une organisation en catégories. Le débat est ancien et s’est dressé dès l’origine de l’ethnomusicologie. La question se pose de savoir dans quelle mesure ces catégories sont réellement indépendantes des cultures. Les éléments de structuration du discours musical de tradition écrite peuvent-ils avoir quelque valeur dans des systèmes de tradition orale ? Si c’est le cas, il s’agit alors de catégories cognitives qui, par une approche rationnelle ou empirique, sont susceptibles de se manifester dans d’autres domaines d’expression de l’intelligence. Nous tenterons d’apporter quelques éléments de réflexion autour de ces questions.

 

Francesco GALOFARO (Universitá di Bologna)

Structures semi-symboliques et signification musicale

 

Le travaille sémiotique de A. J. Greimas et de son école a reconnu dans les sémiotiques visuelles une importante modalité de signification, appelée « semi-symbolique ». Dans cette modalité, chaque catégorie au plan de l’expression est liée à une catégorie différente au plan du contenu. Par exemple, dans le « Jugement universel » de Giotto, il y a une opposition entre la droite et la gauche au plan de l’expression, qui correspond a une opposition entre judicandi et judicati au plan du contenu. La musique a la possibilité de construire l’architecture structurale du plan de l’expression selon des oppositions catégorielles qui ressemblent à certains systèmes visuels comme la peinture ou le cinéma : les oppositions entre le haut et le bas, l’antécédent et le conséquent, aussi bien que les symétries typiques des canons font de la musique un système plastique (qui possède sa propre spécificité). L’écriture musicale, en tant  que sémie substitutive, révèle la plasticité du système entier. La disponibilité d’oppositions catégorielles au plan de l’expression mène à la possibilité de l’utiliser pour véhiculer de pareilles oppositions au plan du contenu. Par exemple, la plus part des madrigalismes dans la musique de la Renaissance utilise le même mécanisme, et aussi la rhétorique des affects.

 

La structuration semi-symbolique dans un système plastique n’implique pas un actant-foyer, un spectateur ou bien un auditeur qui connaît le code, parce que l’ouvrage pose le code chaque fois selon une articulation différente. Au contraire, un système plastique présuppose un foyer qui peut reconnaître cette structuration élémentaire et s’interroger sur les différentes possibilités d’interprétation. Cela n'implique pas la connaissance a priori d’un code, mais plutôt d’un fond culturel commun, une encyclopédie, qui nous permet de reconstruire les opérations de codage.  On peut donc parler avec Roman Ingarden d’une autonomie ontologique du texte musical, qui présuppose un auditeur phénoménologique qui remplisse les différents niveaux textuels avec les significations nécessaires. À cet égard,  mberto Eco parle d’un lecteur-modèle impliqué par le texte, lecteur qui explore les différentes interprétations permises par l’ouverture de l’œuvre artistique, en écartant celles qui sont interdites.

 

Simha AROM (CNRS)

La cognition en acte : la catégorisation des patrimoines musicaux en Afrique Centrale

 

Chez les populations d’Afrique centrale, les patrimoines musicaux sont culturellement codés. Toute musique y est associée à une circonstance donnée. La totalité des pièces exécutées au cours de celle-ci forme un ensemble, désigné par un terme vernaculaire. La musique d’une communauté ethnique constitue donc un ensemble fini de répertoires.  Or, chaque répertoire est caractérisé par un ou plusieurs traits musicaux qui le distinguent de tous les autres. Ces traits peuvent être extrinsèques (telle ou telle formation vocale ou instrumentale) et/ou intrinsèques (organisation formelle, configurations rythmiques et échelles spécifiques). En ce qu’ils s’excluent mutuellement, les répertoires peuvent donc être assimilés à autant de catégories, témoignant d’une logique implacable.

 

Kofi AGAWU (Princeton University)

Iconicity in African Musical Thought and Expression.

 

The iconic mode, one of three modes of signification isolated by C. S. Peirce and accorded a foundational status in his semiotic scheme for distributing reality into conceptual categories, signifies by direct resemblance rather than through causality and proximity (the indexical mode) or a conventional or agreed-upon affiliation (the symbolic mode). All three modes function in traditional African thought and expression, but the iconic is especially prominent. For example, the practice of talking drums normally entails an iconic transfer from the realm of spoken speech to drummed speech. Similarly, in transforming the proto-music of tone languages into melody, the iconic mode exerts a strong (but not necessarily determining) influence on melodic contour. Again, popular musical genres  ike highlife and juju often incorporate iconic effects in the interactions among players and singers. Although iconicity is often acknowledged by scholars of African music, it has yet to receive thorough and comprehensive treatment. This paper begins to redress  he balance by offering a first instalment of an on-going study. I begin by describing instances of iconicity in language, song, drum language and metalanguage. Then I suggest ways in which we might begin to theorize iconicity. I finish with a comment on the politics  of iconic usage, urging creative artists to explore alternatives to the prison-house of iconicity.

 

SÉANCES PRÉVUES EN 2008-2009

6. Structuration et perception – la forme et le timbre

7. Cognition et inconscient

8. Perception et enjeux de pouvoir

9. Écoute et signification

 

 

 

 

NEW 45 (internet source: http://www.musicologie.org/Colloques/calendrier_court.html)

 

11-13 avril 2008, Philadelphie

 

Herder, Music, and Enlightenment : An Interdisciplinary Symposium

 

University of Pennsylvania

Humanities Forum, 3619 Locust Walk,

Philadelphia, PA 19104

 

Keynote Speakers : Philip Bohlman (University of Chicago) ; Lydia Goehr (Columbia University)

 

For the program, registration, and further information, please see :

http://www.sas.upenn.edu/music/herder/

 

 

NEW 46 (internet source: http://www.musicologie.org/Colloques/calendrier_court.html)

 

22-24 mai 2008, Vandoeuvre-lès-Nancy

 

Esthétique de la danse

Ontologie, cognition, émotion

Centre Culturel André Malraux

Scène Nationale de Vandoeuvre-lès-Nancy

 

Dance vient de dancer, que lon dit en latin Saltare : Dancer c'est à dire saulter, saulteloter, caroler, baler, treper, trepiner, mouvoir & remuer les pieds, mains, & corps de certaines cadances, mesures, & mouvementz, consistans en saultz, pliement de corps, divarications, claudications, ingeniculations, elevations, jactations de pieds, permutations & aultres contenances desquelles Atheneus, Celius, Scaliger, & aultres font mention : aulcunefois on y adjouxte les masques pour monstrer les gestes d'un personnage que lon veult representer. Lucian en à faict un traicté, ou vous pourrez veoir ce qu'il en dit plus au long: Julius pollux en faict semblablement un chappitre bien ample. (Thoinot Arbeau, Orchesographie, Langres, 1589)

 

« Pourquoi les philosophes négligent-ils l’esthétique de la danse ? » est une question qui malheureusement mérite toujours d’être posée. Tandis que les esthéticiens et les philosophes de l’art se sont intéressés aux arts visuels, à la musique et à la littérature, la danse est loin d’avoir reçu la même attention. On l’a probablement dédaignée du fait de son lien intime avec le corps, et de son caractère en ce sens « trop matériel ».

 

Certains philosophes ont pensé la même chose à propos de l’architecture et de la musique. Dans leur classification des arts, la poésie et la littérature, moins matérialistes, occupent le rang le plus élevé ; l’architecture est placée au rang le plus bas ; et la danse n’est même pas mentionnée. Heureusement, pour d’autres philosophes, le caractère primitif – ou même animal – de la danse est aujourd’hui considéré comme étant sa valeur principale, surtout dans des perspectives psychanalytiques ou post-modernes. Ceci est particulièrement vrai dans la tradition philosophique continentale. Bien que la tradition analytique ait récemment développé d’intéressantes réflexions sur la danse, assez différentes de celles trouvées dans la philosophie continentale, il reste beaucoup à faire pour que la danse obtienne dans la théorie esthétique une place comparable à celle dont jouissent les autres arts. L’objectif principal de ce colloque est de développer l’étude philosophique de la danse contemporaine. Un point de départ pourrait être de réfléchir à la remarque de Nelson Goodman selon laquelle les émotions fonctionnent cognitivement.

 

Ceci suggère la nécessité de mettre en question l’opposition ordinaire entre la cognition et l’émotion, la compréhension (connaissance, rationalité) et la sensibilité (imagination, irrationalité), les problèmes scientifiques et les problèmes artistiques. La danse est incarnée dans des mouvements expressifs, chargés d’émotion. Mais ce que sont et ce que signifient les ballets et les spectacles de danse ne peut pas être réduit aux mouvements et aux gestes physiques qui les composent. La danse consiste en des actions corporelles et intentionnelles possédant des propriétés qui font d’elles des œuvres esthétiques. Le colloque sera consacré à une étude de ces propriétés. Elles pourraient éventuellement être discutées sous trois rubriques comme étant des propriétés ontologiques, cognitives et émotionnelles. Comment la danse survient-elle sur les mouvements organisés du corps ? Quel rôle jouent de telles propriétés dans la transformation des gestes et des actions en œuvres d’art ? Tel est justement le sujet de ce colloque. Même si nous sommes conscients de l’importance centrale de la créativité artistique dans cette métamorphose, nous pensons aussi que la philosophie possède des instruments conceptuels qui devraient nous permettre de répondre à ces questions, au moins en partie ; et ces réponses pourraient aider les publics, les chorégraphes et les danseurs eux-mêmes à avoir une compréhension plus claire de la danse.

 

Considérons très brièvement la façon dont la danse pourrait être discutée en prêtant notre attention à l’ontologie, à la cognition et à l’émotion. Ontologie. Un ballet ou un spectacle chorégraphique a une identité. Il commence et s’achève à un certain moment. Il peut être exécuté à plusieurs endroits, à différents moments. Il peut être identifié et ré-identifié.

 

Intuitivement, il semble clair que cette identité de la danse exécutée diffère d’autres cas, comme celui des tableaux, des gravures, des œuvres musicales ou des romans. Dans le cas des spectacles chorégraphiques,

 

comment pourrions-nous utiliser un objet, un texte, ou une partition comme un critère d’identité ? Un spectacle de danse semble être un événement.

 

Mais qu’est-ce qui fait que plusieurs événements sont attachés au même type ? Leur ressemblance ? Leur instanciation ? Leur relation historique ?

 

Leur structure commune ? Afin d’examiner les propriétés ontologiques des spectacles de danse, il est utile ou même nécessaire d’appliquer les principaux concepts de l’ontologie : des notions comme celles d’identité, de propriété, de réalité, de type et d’essence. Sans de tels outils logiques et métaphysiques, la réflexion serait confuse et vague. Même si les conditions d’identité pour une danse sont structurellement vagues – même si la danse est ontologiquement vague – nous devons trouver des façons précises de caractériser sa forme vague spécifique. Ce qui constitue l’identité d’un ballet ou d’un spectacle est si complexe et subtile que l’ontologie de la danse représente un défi très intéressant pour la métaphysique. En danse contemporaine, le statut ontologique des ballets et des spectacles de danse est particulièrement innovant et parfois surprenant. La danse pourrait probablement être à même de développer, voire de renouveler la recherche ontologique. Les questions ontologiques soulevées par la danse offrent des perspectives pour le développement de l’ontologie.

 

Cognition. Les arts fonctionnent cognitivement. Premièrement, sans une forme de compréhension, une catégorie intelligible, nous serions simplement incapables d’identifier un objet ou un événement comme étant une œuvre d’art. Deuxièmement, les œuvres d’art peuvent aussi constituer des manières de comprendre la réalité et d’appréhender certaines de ses propriétés, particulièrement ses propriétés expressives. Ceci est vrai également pour un ballet ou un spectacle de danse. Bien sûr, cela ne veut pas dire que la danse peut être assimilée à la connaissance scientifique, ou qu’elle délivre des vérités supérieures à celle de la rationalité terre-à-terre. Comme les autres arts, la danse évite souvent la dénotation, mais cela ne veut pas dire qu’elle échoue à référer, parce qu’elle peut le faire par d’autres moyens symboliques. Interpréter correctement un spectacle, c’est lui donner sa juste signification symbolique, appréhender les mouvements comme exemplifiant ou exprimant des propriétés. C’est pourquoi la danse, comme les autres arts, requiert l’intelligence et contribue à la cognition. Il nous faut comprendre comment et pourquoi la danse peut avoir cette dimension cognitive, pour le chorégraphe qui exprime par des mouvements un sens des relations spatiales, pour les danseurs dont les mouvements dépendent en partie de leur compréhension de l’intention du chorégraphe, et bien sûr pour le public qui comprend, à travers le spectacle, quelque chose qui ne pourrait vraisemblablement pas être compris d’une autre manière.

 

Emotion. La danse exprime des émotions et fait parfois ressentir à un public certaines émotions. Mais comment est-il possible pour des mouvements intentionnels d’exprimer des émotions telles que la joie ou la tristesse ? Quelle est la relation entre la dimension cognitive d’un spectacle de danse et la façon dont il stimule des émotions ? Les émotions suscitées par la danse nous apprennent-elles quelque chose ? Et à propos de quoi ? De l’espace ? Du temps ? Des relations humaines ?

 

Parce que l’on danse avec le corps, il est dit parfois que les émotions dans la danse sont non sophistiquées et principalement « physiques ». Mais est-ce que les lapins dansent ? Et pourrait-on dire que leurs mouvements expriment l’amour, ou une quête du salut éternel ? Pour bien des philosophes, la question des émotions est principalement reliée au problème traditionnel de la relation corps-esprit, et qui est désormais appelé « philosophie de l’esprit ». Nous avons assurément besoin d’appliquer les concepts de cette partie de la philosophie et de la métaphysique à la danse. Mais réciproquement, la danse peut nous apprendre quelque chose à propos des mouvements volontaires, par exemple.

 

Wittgenstein affirme : « le corps humain est la meilleure image de l’âme humaine. » L’étude philosophique sérieuse de la danse pourrait confirmer ou réfuter cette remarque.

 

Nelson Goodman a proposé un tournant épistémique en esthétique générale.

 

C’est précisément la façon dont les esthéticiens du Laboratoire d’Histoire des Sciences et de Philosophie-Archives Poincaré (Centre Nationale de la Recherche Scientifique) entendent travailler en esthétique. L’esthétique et l’étude de la compréhension humaine ne sont pas opposées. La danse est probablement le dernier art à être choisi comme un exemple pouvant mener les gens à comprendre cette thèse aristotélicienne et goodmanienne. Pour cette raison, notre colloque sera un défi intéressant. Et ce défi sera non seulement philosophique, mais aussi artistique. Durant le colloque, deux moments seront réservés à des spectacles de danse. Ainsi les lectures et les débats seront alimentés par un contact direct et immédiat avec l’objet même du colloque.

 

Centre Culturel André Malraux – Scène Nationale de Vandoeuvre- lès- Nancy. Rue de Parme – BP 126 – 54500 Vandoeuvre-lès-Nancy – CCAM@Centremalraux.com ou contacter : Roger Pouivet : Roger.pouivet@wanadoo.fr ; Julia Beauquel : 06 60 36 48 44 / juliabeauquel@mac.com

 

Jeudi 22

    * 14h30 Philosophie analytique et danse contemporaine, par Roger Pouivet, Nancy-Université, Archives Poincaré.

    * 15h40 L’exemplification et la danse, par Catherine Z. Elgin, Université Harvard

16h50 Pause

    * 17h10 La danse, art du corps engagé, et la question de l’autonomie, par Catherine Kintzler, Université de Lille III

    * 18h20 Ce qui est juste et ce qui est correct en danse contemporaine et dans les activités sportives, par Fabrice Louis, Nancy-Université

19h00 Buffet

20h30 Spectacle Song and Dance de Mark Tompkins

 

Vendredi 23

    * 11h30 L’œuvre chorégraphique : ni autographique, ni allographique, par Frédéric Pouillaude, Université Paris-IV Sorbonne

12h45 Buffet

    * 14h15 Danse, identité et représentation, par Graham Mc Fee, Université de Brighton et Université d’Etat de Californie.

    * 15h25 L’identité dans la danse : la quête chimérique de l’essentialisme et la promesse du pragmatisme, par Julie C. Van Camp, Université d’Etat de Californie.

16h35 Pause

    * 16h55 Les émotions et la danse, par Julia Beauquel, Nancy-Université, Archives Poincaré.

    * 17h35 Les lapins pourraient-ils danser ? par Mikael M. Karlsson, Université d’Islande.

19h Buffet

20h30 Spectacle Cycle des furies de Aurore Gruel

 

Samedi 24

    * 11h30 Est-ce le corps qui danse ? par Bernard Andrieu, Nancy-Université, Archives Poincaré

12h45 Buffet

    * 14h15 Rôle et interprétation dans la danse contemporaine, par Uwe Behrens, Nancy-Université, Archives Poincaré

    * 15h25 La communication kinesthésique par la danse et la musique, Noël Carroll et Margaret Moore, Université de Temple

16h35 Goûter et fin du colloque

 

Le programme incluant les résumés des communications est disponible

 

 

NEW 47 (internet source: http://www.philosophyconferences.com/)

 

7th Prague Interpretation Colloquium

0 Comments Published by Tomas Hribek November 22nd, 2007 in Philosophy Calls for Papers, Philosophy Conferences, Events

February 28, 2008

June 14, 2008            to         June 15, 2008

Interpreting Architecture

 

Theme: Philosophy of architecture

 

Begins: Sat, 14 Jun 2008

 

Ends: Mon, 15 Jun 2008

 

Location: Institute of Philosophy

Jilska 1, Prague 14000

 

Czech Republic

 

Registration fee: n/a

 

Organizer: Tomas Hribek

 

While the previous meetings of the Prague Interpretation Colloquia had as their subject literature, the topic of the 2008 meeting will be architecture. This choice is based on an assumption that every kind of artwork is an essentially interpretable entity. This opens up a number of questions: Supposing that texts are turned into literary works of art in virtue of being interpretable, are mere buildings turned into architectural works of art in virtue of their interpretability? What are the relations between interpreting literature and interpreting architecture? What is the role of the authorial intentions in architecture, compared to the role of authorial intentions in literarature? Who interprets the works of architecture, and how are these different types of architecture related to each other? Architecture is also much more unavoidable than other kinds of art, including literature, which touches on the complex issue of the political character of architecture. And what about the very assumption that architecture is an art? Perhaps we should not be seduced by parallels between architecture and, say, literature and think that architectural works should, like literary works, strive for the status of works of art. We invite the colloquium participants—philosophers, critics, as well as practicing architects—to ponder these or related questions in the as yet largely unexplored field of the philosophy of architecture.

 

 

 

NEW 48 (internet source: http://www.siestetica.it/)

(http://www.siestetica.it/convegni/2008/Programma.pdf)

 

Verità dell'Estetica

VI Convegno Nazionale

Roma

2 e 3 aprile 2008

 

2 aprile 2008

ore 16.00

Indirizzi di saluto

ore 16.30

Premio Europeo Conferimento del Premio Europeo d’Estetica a Stephen Halliwell per il volume

The Aesthetics of Mimesis: Ancient Texts and Modern Problems

ore 17.00

Lo specchio della mimesis Lectio magistralis di Stephen Halliwell

ore 18.00

Assemblea della Società Italiana d’Estetica

3 aprile 2008

ore 09.00

Riunione degli Osservatorî della Società Italiana d’Estetica

ore 10.30

Verità dell’Estetica Introduzione alla discussione di Giuseppe Pucci (Siena), Angelo Trimarco (Salerno),

Claudio Vicentini (Napoli)

Verità dell’Estetica

VI Convegno Nazionale della Società Italiana d’Estetica

2 e 3 aprile 2008 – Roma, Università di Roma Tre

Informazioni: convegnosie2008@libero.it

La parola "verità", che sembrava scomparsa dal lessico filosofico, è tornata a risuonare nel dibattito più recente. L’estetica non può rifiutare il confronto con

questo grande tema, perché il rapporto arte e verità, arte e filosofia, appartiene alla sua storia fin dalle più lontane origini del pensiero occidentale. Il sesto

Convegno Nazionale della Società Italiana di Estetica muoverà proprio dal ripensamento dell’antico concetto della mimesi, e dunque della relazione che lega la

creazione artistica alla realtà e alla verità, a partire dall’opera fondamentale di Stephen Halliwell su questo argomento, The Aesthetics of Mimesis: Ancient Texts and

Modern Problems, alla quale, a conferma dell’apertura internazionale che caratterizza l’attività della Società, verrà conferito quest’anno il Premio Europeo di

Estetica. Ma, proprio come invita a fare il titolo dell’opera premiata, l’antico sarà il punto di avvio per una discussione che intende affrontare alcuni grandi temi

della ricerca estetica contemporanea: dal rapporto dell’arte con la conoscenza alla sua relazione con la tecnica, dal ruolo della finzione nell’universo comunicativo

alle sfide della virtualità, dall’influsso delle innovazioni tecnologiche sulle pratiche artistiche, alla loro incidenza sul modo di intendere oggi l’esperienza estetica.

 

 

NEW 49 (internet source: http://www.filosofia.unibo.it/aise/Notizie.htm)

 

Ad Amman (Giordania) si svolgerà dal 22 al 25 giugno 2008 il "Quarto congresso mediterraneo di estetica", che sarà dedicato al tema Arte e tempo. Le lingue ufficiali saranno l'arabo, l'inglese e il francese. È scaricabile una  presentazione dell'iniziativa, comprensiva di indicazioni circa le modalità di partecipazione.

 

IV MEDITERRANEAN CONGRESS OF AESTHETICS

 

So far three Mediterranean Congresses for Aesthetics were held: the first in Athens (Greece) in 2000, the second in Carthage (Tunisia) in 2003, and the third in Portorz (Slovenia) in 2006. The IV Mediterranean Congress for Aesthetics will take place in Amman (Jordan), 22-25 June 2008.

In various Mediterranean countries aesthetics understood both as philosophy and theory of art, of beauty, and as a series of other theoretic discourses devoted to the study of art and the arts, culture, sensuality, creativity, and nature, has a long tradition. Arising from common roots of European culture, but developed within different cultural and philosophical traditions, aesthetics in the Mediterranean region encompasses a broad spectrum of approaches and topics. The IV Mediterranean Congress for Aesthetics will discuss the following theme:

 

Art and Time

 

We may encounter five aspects of time in relation to art. They are:

- The date of the artwork's production,

- The time taken into its realization,

- Its life span from the moment of its production until now,

- The time presented in it, and

- The time consumed in its perception.

All these aspects play different roles according to the nature of art forms and to the notion or notions of time of a given period.

 

Although from different perspectives, time has been one of the main concerns for scientists, philosophers and theologians who developed notions of time through the ages. We may assume that these notions of time colored cultures' perspectives toward many aspects of life including art in different times and spaces.

      

The aim of this congress is to bring together aestheticians, philosophers, cultural theorists, art historians, art critics, literary theorists, musicologists, theorists of visual arts, architecture, and new media, architects, and artists interested in the theme of the congress with the aim of strengthening links and contacts among theorists and philosophers of art and various realms of culture.

It seems that it is time to center on art in relation to the notion of time by investigating the following related subjects:

 

-           Which notion of time concerns contemporary artists?

-           Which are the aesthetically and philosophically relevant notions of time in the history of art?

-           Are there ways to investigate the notions of time in relation to specific art form?

-           Is the old idea of differentiating between time-based arts and space-based arts still applicable?   

-           What are the positions concerning the notion of time in modern and contemporary trends and schools of art?

-           How have artists presented time in different ages?

-           How do time of art distribution and its display duration today concern galleries, museums, and artists?

-           What is the influence of the internet on the traditional art forms and the media arts in relation to the problem of time?

 

The IV Mediterranean Congress for Aesthetics is organized by:

-           Yarmouk University (Faculty of Fine Arts, Irbid ),

-           The Jordan Journal for Arts,

-           Greater Amman Municipality (in progress), and

-           The Ministry of Culture (in progress).  

It is to be held in Amman (capital of Jordan) 22-25 June 2008. The congress will consist of plenary papers and sessions. Official languages of the congress are Arabic, English and French. During the congress various cultural events are to take place. After the congress a visit to Petra is planed.

A selection of the congress papers is to be published after the congress.

 

Registration fee: $ 250 ; $ 100 (students); $ 100  (accompanying persons).

 

Contact:

Prof. Dr. Khaled Alhamzah

Chief Ed. The Jordan Journal for Arts

Dean / College of Fine Arts

Yarmouk University

Irbid, Jordan

Aesthetics.jordan@gmail.com

http://www.conferencealerts.com/cachoose.mv

http://www.h-net.msu.edu/announce/thankyou.cgi

 

 

NEW 54 (internet source: search engine)

(internet source: http://www.uclouvain.be/cps/ucl/doc/isp/documents/080417cadres.pdf)

 

 

Cadres, seuils, limites

Colloque international et interdisciplinaire

Jeudi 17 et vendredi 18 avril 2008

Louvain-la-Neuve

SOCR-242, Institut supérieur de philosophie,

place du Cardinal Mercier, 14

Jeudi 17 avril 2008

9h30 > Accueil des participants

9h45 > Introduction par Thierry Lenain (ULB)

Présidence de séance : Thierry Lenain

10h00 > « Le pas »

Victor Stoichita (Université de Fribourg, Suisse)

11h15 > « Les limites de l’art »

Pierre Rodrigo (Université de Bourgogne, Dijon)

Présidence de séance : Danielle Lories

14h15 > Table ronde

« Cadres, seuils, limites : des arts »

M.-M. Blondin (UCL), A. Nickell (FUNDP),

R. Pirenne (UCL), A. Wiame (ULB), doctorants

15h45 > « L’histoire des images selon Warburg :

Mnemosyne et ses opérations de cadrage »

Maud Hagelstein (ULg)

Vendredi 18 avril 2008

Présidence de séance : Ralph Dekoninck

10h00 > « Jacques Derrida et l’analyse spectrale de l’oeuvre d’art »

Rudy Steinmetz (ULg)

11h15 > « Paysages de l’esthétique »

Suzanne Foisy (UQTR, Qc, Canada)

Présidence de séance : Suzanne Foisy

14h15 > « Alice au pays des mystiques. L’expérience du seuil dans

la peinture religieuse entre moyen âge et temps modernes »

Ralph Dekoninck (UCL)

15h15 > « Une catastrophe à l’origine de l’oeuvre »

Lucien Massaert (ARBA-ESA, Bruxelles)

Présidence de séance : Rudy Steinmetz

16h30 > « Cadre et organisation de l’espace figuratif dans

l’Égypte ancienne »

Valérie Angenot (University of Oxford)

Contact

danielle.lories@uclouvain.be

Or ganisé par

le Centre d’esthétique philosophique et le Groupe de contact

« Esthétique et philosophie de l’art » du FSR-FNRS

Université catholique

de Louvain UCL

 

 

 

 

LECTURES (NEW 5 + 6)

1 (internet source: http://www.musicologie.org/Colloques/calendrier_court.html)

 

Séminaire Esthétique et Cognition

Théories de l’art et phénomènes cognitifs

Institut d'Esthétique des Arts et des Technologies (UMR 8153)

Université de Paris-1 Panthéon-Sorbonne/CNRS

Organisation : Jean-Marc Chouvel, Hugues Dufourt,

Xavier Hascher, Costin Miereanu

 

Un nombre considérable d’études ont été consacrées ces dernières années à la cognition musicale. Elles ont trop peu souvent fait état de la réflexion que l’esthétique, la philosophie ou la psychanalyse avaient déjà consacré à la question du rapport à l’œuvre, à la manière dont nous prenons conscience d’elle, dont nous la pensons avant même de penser sur elle. Il paraît donc essentiel aujourd’hui  d’instaurer un dialogue entre ces différents aspects de la réflexion sur la réception de l’art par l’individu. Ceci est d’autant plus important que les créateurs eux-mêmes, après une phase de concentration sur l’objet et la structure, s’intéressent à nouveau à la théorisation du sujet percevant. Comment s’articulent sensation et connaissance, objectivité et subjectivité, actuel et mémoriel, mais aussi création et perception, expérience du sujet et théorie de l’art ? Autant de questions et de clivages, réels ou apparents, qui interrogent les scientifiques, les philosophes et les artistes, et que ce séminaire tentera de débrouiller et, éventuellement, d’éclaircir.

 

Les séances auront lieu le samedi tous les deux mois environ à partir de la rentrée universitaire 2007. Elles seront organisées en deux temps, avec deux interventions le matin et deux l’après-midi, et un temps de discussion collective.

 

Adresse où se dérouleront les séances :

Université de Paris-1 Panthéon Sorbonne

Centre Panthéon (bât. de la faculté de Droit)

12 place du Panthéon, 75005 Paris

 

Accès:

Mº Odéon, Cluny-la-Sorbonne, Cardinal-Lemoine

RER Luxembourg

Bus 84, 89, 21, 27, 38, 63, 82, 85, 86, 87

 

3. La compréhension musicale entre perception et cognition

Samedi 26 janvier 2008,

10 h–12 h et 14 h–16 h,

Centre Panthéon, s. 58 (entresol)

Le fait de comprendre une proposition est plus proche qu’on ne croirait de la compréhension d’un morceau de musique. Pourquoi doit-on jouer ces mesures exactement de cette façon ? Pourquoi vais-je faire en sorte que l’augmentation ou la diminution de la force et du tempo corresponde exactement à cette image ? — Je pourrais dire : « parce que je sais tout ce que cela signifie ». Mais qu’est- e que cela signifie ? — Je ne saurais le dire. Pour l’expliquer, je ne peux que transposer l’image musicale dans l’image d’un autre processus et laisser cette image éclairer l’autre. Ludwig WITTGENSTEIN

 

Comprendre implique à la fois de percevoir et de (re)connaître. C’est ainsi, en tout cas, que l’analyse saint Augustin lorsqu’il propose de distinguer le verbe, qui fait impression sur l’oreille, du nom, qui fait impression sur l’esprit et met en jeu la mémoire, pour expliquer comment la signification apparaît dans le langage, comment nous comprenons celui-ci. Quel équilibre nouveau entre ces catégories la musique articule-t-elle ? Peut-on séparer le comprendre du percevoir et du connaître, et quel rapport ce « comprendre » entretient-il avec le sens et la signification ?

 

INTERVENANTS

 

Alessandro ARBO (Université Marc-Bloch, Strasbourg)

La question de la compréhension, entre esthétique(s) et sémiologie(s)

Depuis quelques décennies, la question de la compréhension musicale a été mise à l’honneur surtout par deux traditions spéculatives : les sémiologies, et les esthétiques philosophiques d’orientation analytique. Les premières ont généralement lié ce thème à la question de la signification : comprendre un objet/signe musical veut dire saisir sa signification à l’intérieur d’un système de relations. Ce principe a été appliqué aux objets musicaux les plus divers — du générique des programmes de variétés télévisées, de la musique de film aux hymnes politiques, des cultures musicales populaires aux sonneries des téléphones — avec pour objectif l’examen de la signification des matériaux considérés en tant que faits symboliques, dans leur rapport aux valeurs qu’ils assument dans différents contextes communicationnels et humains. Les esthétiques post-wittgensteiniennes ont en revanche insisté sur l’indissoluble unité de la forme et du  contenu qui caractérise l’expression musicale et se sont plutôt focalisées sur des formes de saisie interne, non-référentielles, dépendant  de notre capacité à lier les éléments de l’œuvre dans une perception effective, à anticiper les événements jalonnant son déroulement temporel et à saisir les aspects expressifs distinctifs de son individualité.

À partir de remarques que nous avons formulées dans une communication précédente, nous chercherons à mettre en évidence la pertinence et les limites de ces deux conceptions de la compréhension des faits musicaux. D’un côté, l’idée d’une saisie fondée sur l’identification des relations internes, risque, lorsqu’elle est considérée comme un paradigme de la compréhension tout court, de se transformer en une vision normative qui mettra hors-jeu nombre de phénomènes musicaux du présent et du passé. D’autre part, le point faible des sémiologies nous semble être leur incapacité à renoncer à la tentation de concevoir la signification en termes de  dénotation. Les formes d’explication finissent ainsi par négliger l’émergence des aspects qui se manifestent à l’écoute en faveur d’une forme d’holisme interprétatif fondé sur l’universalité de la fonction de renvoi implicite dans la notion de signe. Une considération plus attentive des différences épistémologiques relatives à ces modèles peut, à notre avis, suggérer une critique, mais aussi une récupération  de leurs résultats, dans le cadre d’une approche « plurielle », susceptible d’aborder d’une manière plus attentive et ouverte la multiplicité d’expressions caractérisant notre horizon musical actuel.

 

Jerrold LEVINSON (University of Maryland)

Concaténationnisme, architectonisme et appréciation musicale

Cette communication a pour objet un débat existant entre Peter Kivy et moi-même autour de l’importance relative pour la compréhension auditive de la musique instrumentale classique d’une conscience explicite de la forme à grande échelle. Le point de vue  que je défends, intitulé « concaténationnisme », est que l’importance de la saisie de la forme à grande échelle, bien que non négligeable, est nettement secondaire et se trouve dépassée par celle de la saisie des relations à petite échelle, de moment à moment. Le point de vue défendu par Kivy, désigné sous le terme d’ « architectonisme », attribue au contraire à la saisie de la forme à grande échelle en musique une importance de premier ordre. Je commencerai par résumer les principaux points de mon ouvrage, Music in Moment (1998), où je présente et défends, moyennant certaines conditions, une perspective concaténationniste de la musique. J’entreprendrai alors de répondre aux critiques lancées par Kivy contre cette perspective dans un chapitre de ses New Essays on Musical Understanding (2000). J’évoquerai en conclusion un certain nombre d’études empiriques surprenantes qui étayent une tel