peter.mahr
mahr'svierteljahrsschriftfürästhetik
2001-2008
Announcements in Aesthetics
April
2009 – June 2009
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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:
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 –
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,
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,
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
Whiteknights Campus
Severin Schroeder
Department of Philosophy
Whiteknights
Reading RG6 6AA
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,
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
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,
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).
2 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)
Call for Papers
Mind, Art and Psychoanalysis: Perspectives on Richard Wollheim
The Institute of Philosophy and Heythrop College,
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
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
3 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)
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:
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.
4 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)
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
Phone: (570) 577-1708
Fax: (570) 577-1717
Office Hours: TR
5 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)
CALL FOR PAPERS
American Society for Aesthetics
Eastern Division Meeting
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:
William P. Seeley, Ph.D.
Visiting Assistant Professor
Department of Philosophy
Franklin and
http://edisk.fandm.edu/william.seeley/Seeley/index.htm
6 (internet source: http://cfp.english.upenn.edu/archive/Theory/)
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)
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
7 (internet source: http://cfp.english.upenn.edu/archive/Theory/)
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)
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
8 (internet source: http://cfp.english.upenn.edu/archive/Theory/)
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.
9 (internet source: http://cfp.english.upenn.edu/archive/Theory/)
Psychoanalysis and/as Theater
PLEASE NOTE: Deadline for submissions EXTENDED to
Call for Papers:
The interdisciplinary Psychoanalytic Studies Program at
proposes a conference entitled:
Psychoanalysis and/as Theater
Emory University,
Keynote Speaker: Dr. Eric J. Nuetzel, Washington University in
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.
10 (internet source: http://cfp.english.upenn.edu/archive/Theory/)
Placing Poesis: The Work of Art and the Future of Literary Studies
18th Annual EGSA Mardi Gras Conference
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.
11 (internet source: http://cfp.english.upenn.edu/archive/Theory/)
“The Succession of Simulacra: The Legacy of Jean Baudrillard
(1929-2007)”
An Interdisciplinary Conference
University of California,
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
The Desert and the Real: Mediating
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>
12 (internet source: http://www.aesthetics-online.org/events/calls.php)
Kant’s Critique of Judgment: Art, Science, and Religion
March 28 - 29, 2008,
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
Prof. Reinhard Brandt,
Prof. Rolf-Peter Horstmann,
Prof. Manfred Kuehn,
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:
Jennifer A. Bautz
13 (internet source: http://www.aesthetics-online.org/events/index.php)
The Synthetic Aesthetics of New Media Art
February 20 - 23, 2008,
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
14 (internet source: http://www.aesthetics-online.org/events/index.php)
(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"
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, 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
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
15 (internet source: http://hsozkult.geschichte.hu-berlin.de/termine/)
(internet source: http://hsozkult.geschichte.hu-berlin.de/termine/id=8458&count=414&recno=21&sort=datum&order=down)
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) ,
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
London WC1B 5 DN
16 (internet source: http://hsozkult.geschichte.hu-berlin.de/termine/)
(internet source: http://hsozkult.geschichte.hu-berlin.de/termine/id=8390&count=414&recno=80&sort=datum&order=down)
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
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,
- Department of Philosophy, Classics, History of Art and Ideas at the
University of
- Department of Social, Cognitive and Quantitative Science at the
University of Modena & Reggio
- Center for Computer Games Research at the IT-
- Philosophical Project Centre (FPS),
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/
17 (internet source: http://www.lse.ac.uk/collections/forumForEuropeanPhilosophy/events/conferences/Default.htm)
Forum for European Philosophy
Centre for Literature and Philosophy,
PHILOSOPHICAL POETS
A Free One-Day Conference
Saturday 9 February 2008,
Chichester Lecture Theatre University of
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
18 (internet source: http://www.conferencealerts.com/philosophy.htm)
(internet source: http://www.conferencealerts.com/seeconf.mv?q=ca1366i0)
Art, Praxis, and Social Transformation: Radical Dreams and Visions
6 to
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:
19 (internet source: http://www.crvp.org/Philosophical_Calendar/)
The Politics And Poetics Of Memory
3rd Bi-Annual Philosophy And Literature Graduate Student Conference
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
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.
NEW 20 (internet source: http://www.crvp.org/Philosophical_Calendar/)
The 9th Annual Marquette Philosophy Graduate Student Association
Conference
The Philosophy of Love and Affectivity
Hosted by the Marquette University
Philosophy Graduate Student Association
Keynote Address:
“Eros and Affectivity in Plato’s Symposium”
Burt Hopkins,
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.
21 (internet source: http://www.crvp.org/Philosophical_Calendar/)
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,
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
22 (internet source: http://www.musicologie.org/Colloques/calendrier_court.html)
(internet source: http://www.hum.uva.nl/asca/news.cfm/639C0A1A-1321-B0BE-685810D648666A62)
26-28 mars 2008,
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
23 (internet source: http://pedagogie.ac-toulouse.fr/philosophie/forma/cal.htm)
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 ».
24 (internet source: search engine)
Nordic Society of Aesthetics
The annual conference of The Nordic Society of Aesthetics will take
place at Uppsala University 29 May to
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
P.O
SE-751 26
NEW 25 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)
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
Manchester M13 9RD
T 0161 907 5380
F 0161 273 7611
E anthony dot gritten at rncm dot ac dot
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:
2. Submission deadline for first drafts of accepted papers:
3. Submission deadline for final papers
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,
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
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,
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,
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
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.
Pius XII Memorial Library
Knight’s Room
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 (
*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
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
Leicestershire LE11 3TU
Tel: 01509 222956
Fax: 01509 269994
D.P.Watt@lboro.ac.uk
Professor Daniel Meyer-Dinkgräfe
Lincoln School of Performing Arts
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:
*** 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
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
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,
Thursday 26 June Sunday
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:
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:
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,
Rice University,
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:
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
NEW 43 (internet source: http://www.conferencealerts.com/philosophy.htm)
Art, Praxis, and Social Transformation: Radical Dreams and Visions
6 to
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:
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
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
Humanities Forum, 3619 Locust Walk,
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
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
June 14, 2008 to
Interpreting Architecture
Theme: Philosophy of architecture
Begins:
Ends:
Location:
Jilska 1, Prague 14000
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 /
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
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