peter.mahr

mahr'svierteljahrsschriftfürästhetik 2001-2008

Announcements in Aesthetics

 

 

April 2009 – June 2009

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January 2009 – March 2009

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October 2008 – December 2008

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April 2008 – June 2008

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October 2001 - December 2001

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April 2009 – June 2009

 

CALLS FOR PAPERS/CONFERENCES (1)

 

 

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

 

NEOHELICON

Acta Comparationis Litterarum Universarum

CALL FOR PAPERS

SPECIAL NUMBER

POETICS OF THE PARATEXT

(No. 1, 2010)

Guest Editor:  R.-L. Etienne Barnett

 

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

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

 

Deadline for manuscript submission:  July 1, 2009.

 

 

 

 

January 2009 – March 2009

 

CALLS FOR PAPERS/CONFERENCES (2)

1 (internet source: search engine)

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

 

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

Conference:

Balliol College

Oxford 6th - 8th January 2009

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

 

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

 

CALL FOR PAPERS:

 

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

texts.

 

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

 

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

 

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

 

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

 

Here are only some of the possible topics:

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

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

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

- The variety of literary practices in the history of philosophy

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

- Canons and canonization in the history of philosophy

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

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

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

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

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

SUBMISSIONS GUIDELINES: 

Deadline for submissions: January 1, 2009

Length: 6000 words

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

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

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

Receipt of materials will be confirmed by email

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

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

 

We look forward to your submissions!

Sincerely,

 

Costica Bradatan

Guest Editor – “The European Legacy”

Assistant Professor of Honors – Texas Tech University

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

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

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

 

 

 

October 2008 – December 2008

 

 

July 2008 – September 2008

 

CALLS FOR PAPERS/CONFERENCES (1)

 

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

 

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

 

NEW 2 (internet source: private e-mail)

 

Tagung der Deutschen Gesellschaft für Ästhetik

 

Ästhetik und Alltagserfahrung

 

Jena, 29. September – 2. Oktober 2008

 

Vorläufiger Zeitplan

 

Montag, 29.9.08

13:00 Eröffnung und Einführung

Raum #

13:30 Eröffnungsvortrag

Konrad Paul Liessmann

„Die schönen Dinge. Über Ästhetik und Alltagserfahrung“

14:30 PAUSE

Sektion 1

Der präsentierte Alltagsgegenstand

Sektion 2

Schein und Alltag

Moderation 1

Eva Schürmann

Moderation 2

Hans-Christian von Herrmann

Raum # Raum #

15:00 Martina Dobbe

„Die Welt ist schön“

Wolfgang Braungart

„‚Und wenn ich hame geh / Scheint der

Mond so scheeh…‘ Kitsch, Literatur,

Lebenswelt“

15:45 PAUSE

16:15 Rüdiger Zill

„Im Schaufenster. Ephemere

Installationen im Alltag“

Gerhard Schweppenhäuser

„Kunst als Wunscherfüllung. Zur

kritischen Theorie des Kitsches“

17:00 PAUSE

17:30 Gudrun Lehnert

„Paradies der Sinne. Das Warenhaus

als ästhetisches Ereignis“

Josef Früchtl

„George Clooney, Brad Pitt und ich, oder:

Die schöne Illusion des Vertrauens“

18:15 PAUSE

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

Grußwort des Rektors

Dienstag, 30.9.08

Forum 1

Ästhetik des Films

Forum 2

Ästhetik der

Situationen

Forum 3

Form im Alltag

Forum 4

Mode und Ware

Moderation 3

Birgit Recki

Moderation 4

Klaus Sachs-

Hombach

Moderation 5

Jakob Steinbrenner

Moderation 6

Martin Seel

Raum # Raum # Raum # Raum #

2

09:00 Herbert Schwaab

„Stanley Cavell,

King of Queens und

die

Medienphilosophie

des Gewöhnlichen“

Catrin Misselhorn

„Liebe und

ästhetische

Erfahrung“

Agnes Bube

„Die Neuentdeckung

des Gewöhnlichen –

über die

lebensweltliche

Relevanz der

Kunsterfahrung“

Petra Leutner

„Leere der

Sehnsucht“

09:45 Michaela Ott

„Die Ästhetik des

zeitgenössischen

Unterhaltungsfilms“

René Seyfahrt

„Wahrnehmung im

Tourismus.

Alltägliche

Schemata und

außeralltägliche

Dimensionen einer

spezifischen

Situation“

Helmut Hartwig

„Kunst und

Normalität“

Dagmar Venohr

„Ästhetische Praxis

zwischen Bild und

Text im

Modemagazin“

10:30 PAUSE

11:00 Mirjam Schaub

„Der Horror des

Alltäglichen. Das

Spiel mit dem

Unerträglichen im

Genre Film“

Marie-Luise Raters

„Der Alltag und

das Fest“

Hermann Pfütze

„Ästhetik der

Lebenswelt –

Schönheit der Welt –

Formprinzip der

Kunst“

Julia Hasenberger

„Alltag in Weiß:

Hemden, Shirts,

Chemise“

11:45 Jörg Sternagel

„Kennen wir uns

nicht?

Filmschauspieler als

ständige Begleiter“

Joachim

Landkammer

„Schöner töten.

Zur Ästhetik der

Waffen und des

Waffengebrauchs“

Karen van den Berg /

Markus Rieger-

Ladich

„Schule der Ästhetik

– Ästhetik der

Schule“

Kathrin Busch

„Kraft der Dinge.

Design als Kunst –

Kunst als Design“

12:30 MITTAGSPAUSE

Sektion 3

Die Alltäglichkeit der Schönheit und der

Kunst

Sektion 4

Erzählte und gezeigte Alltagserfahrung

Moderation 7

Christian Bermes

Moderation 8

Josef Früchtl

Raum # Raum #

14:00 Barbara Formis

„Gestures, Bodies and Experiences“

Christiane Voss

„Anästhesierung und ästhetische

Erfahrung des Kinos“

14:45 PAUSE

15:15 Georg W. Bertram

„Die Alltäglichkeit des Lebens und die

Alltäglichkeit der Kunst“

Stephan Günzel

„‚In real life‘ – Alltagserfahrung und

Computerspiel“

15:45 PAUSE

16:30 Constanze Peres

„Schönheit und Alltagserfahrung“

Stefan Matuschek

„Der Roman als Erkenntnis der

Lebenswelt“

17:15 PAUSE

3

17:45 Ludger Schwarte

„Ästhetik als Ideologie des schönen

Alltags“

Christoph Jamme

„Prosa der Alltäglichkeit. Zu Hegels

Theorie der modernen Kunst und ihrer

Aktualität“

18:30 PAUSE

20:00 Mitgliederversammlung

Mittwoch, 1.10.08

Forum 5

Das Alltägliche in

der Kunst

Forum 6

Philosophie und

Alltagsästhetik

Forum 7

Banalität und

Alltag

Forum 8

Theorien der

Alltagserfahrung

Moderation 9

Gerd Blum

Moderation 10

Reinold Schmücker

Moderation 11

Petra Leutner

Moderation 12

Marie-Luise Raters

Raum # Raum # Raum # Raum #

09:00 Christel Fricke

„Transsubstantiation

des Alltäglichen?“

Ronny Becker

„Der Begriff der

Fragilität in der

Ästhetik Oskar

Beckers“

Marita Tatati

„Artikulation des

Alltäglichen – Das

Banale als

ästhetisches

Phänomen“

Brigitte Hilmer

„Zur Topik des

philosophischen

Alltagsbegriffs und

seiner ästhetischen

Bedeutung“

09:45 Ulrich Seeberg

„Beobachtungen zum

Verhältnis von Kunst

und Alltag in der

Moderne“

Klaus

Schwarzfischer

„Beobachtende

Systeme:

Dezentrierende

Gestalt-Integration

als Basis einer

Ästhetik des

Alltags“

Brigitte Scheer

„Zur ästhetischen

Verfasstheit

alltäglicher

Handlungsweisen

am Beispiel des

Taktes“

Anna Tuschling

„Ein derber Witz.

Freuds ästhetische

Theorie des Alltags“

10:30 PAUSE

11:00 Sigrid Franz

„Ästhetik und

Alltagserfahrung:

Kurt Schwitters’

Merz-Perspektive“

Dimitri Liebsch

„Aporien des

Alltäglichen“

Roland Haas

„Von der Ästhetik

des Alltags: Hören,

Sound-Design,

Sound-Scapes und

Field Reports“

Harry Lehmann

„Die

alltagsästhetische

Doppeldifferenz“

11:45 Bernadette

Collenberg-

Plottnikov

„Die Musealisierung

des Alltäglichen. Zur

Bedeutung der

Institution Kunst“

Annette Geiger

„Die Kulturen von

Kunst und Design.

Versuch einer

anthropologischen

Ästhetik“

Peter Rinderle

„Zur Ästhetik von

Alltagsgeräuschen

in der Musik“

Jakob Steinbrenner

„Wie kommt man zu

ästhetischen

Alltagserfahrungen?“

12:30 MITTAGSPAUSE

Sektion 5

Phänomenologie der Alltagserfahrung

Sektion 6

Ästhetische Erfahrung ohne ästhetische

Einstellung

Moderation 13

Stephan Günzel

Moderation 14

Rüdiger Zill

Raum # Raum #

4

14:00 Thomas Rolf

„Normalität als Bleibe. Zur

phänomenologischen Ästhetik des

Kontakts“

Bruce Bégout

„The discovery of the obvious. The lost

world of the everyday life“

14:45 PAUSE

15:15 Emanuel Alloa

„Was nicht ins Auge fällt. Skizzen zu

einer Phänomenologie des

Unscheinbaren“

Gottfried Gabriel

„Ästhetik und Rhetorik der Briefmarke“

16:00 PAUSE

16:30 Dieter Mersch

Ästhetik der Dinge

Ulf Poschardt

„Das Auge überholt mit: Raserei als

existenzielle Freiheitserfahrung“

17:15 PAUSE

17:45 Christian Bermes

„Die Ästhetik der Lebenswelt als

Programm der Phänomenologie“

Jörg H. Gleiter

„Architektur und die Obsession mit den

Spuren des Alltäglichen“

18:30 PAUSE

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

Donnerstag, 2.10.08

Sektion 7

Ästhetik und Lebenswelt

Moderation 15

Birgit Recki

Raum #

9:00 Martin Seel

„Schönheit – eine kleine begriffliche Reise“

9:45 PAUSE

10:15 Ruth Maria Sonderegger

„Institutionskritik? Zum politischen Alltag der Kunst und zur

alltäglichen Politik ästhetischer Praktiken“

11:00 PAUSE

11:30 Boris Groys

„Ästhetik der religiösen Fundamentalismen“

12:30 ENDE

 

 

 

April 2008 – June 2008

 

CALLS FOR PAPERS/CONFERENCES (7)

 

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

 

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

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

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

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

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

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

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

 

2 (internet source: search engine)

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

 

Colloques et conférences

 

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

 

Cadres, Seuils, Limites

 

 

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

 

Sculpture and Touch

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

16-17 May 2008

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

Goethe, Roman Elegies

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

 

 

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

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

 

Hermann Cohen und die bildende Kunst

 

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

Dr. Hartwig Wiedebach,

Martin Buber-Professur für jüdische Religionsphilosophie

J. W. Goethe-Universität

FB Ev. Theologie

Grüneburgplatz 1, Raum BL-7

60323 Frankfurt/M., Germany

wiedebach@freenet.de

Herzliche Grüße,

Ihr

Hartwig Wiedebach

Vizepräsident der

Hermann Cohen-Gesellschaft, Zürich

 

 

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

 

Philosophy of Literature: 2008 Ratio Conference

 

April 12, 2008, University of Reading

 

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

 

Seminar Room 1, Black Horse House

University of Reading

Whiteknights Campus

Reading RG6 6AA, UK

 

Severin Schroeder

Department of Philosophy

University of Reading

Whiteknights

Reading RG6 6AA UK

 

s.j.schroeder@reading.ac.uk

 

 

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

 

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

 

7 (internet source: search engine)

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

 

Cadres, Seuils, Limites

 

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

 

 

LECTURES (3)

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

 

5 avril 2008, Paris

 

Séminaire Esthétique et Cognition

Théories de l’art et phénomènes cognitifs

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

Université de Paris-1 Panthéon-Sorbonne/CNRS

Organisation : Jean-Marc Chouvel, Hugues Dufourt,

Xavier Hascher, Costin Miereanu

 

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

 

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

 

Adresse où se dérouleront les séances :

Université de Paris-1 Panthéon Sorbonne

Centre Panthéon (bât. de la faculté de Droit)

12 place du Panthéon, 75005 Paris

 

Accès:

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

RER Luxembourg

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

 

1. Variabilité du sujet esthétique, samedi 10 novembre 2007

2. Cognition et création, samedi 1er décembre 2007

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

4. Phénoménologie et esthétique, samedi 23 février 2008

5. Signes, mécanismes et catégories

Samedi 5 avril 2008

10 h–12 h et 14 h–16 h

Centre Panthéon, s. 58 (entresol)

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

 

INTERVENANTS

 

Xavier HAUTBOIS (IUT de Versailles)

 

Le son « humainement » organisé

 

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

 

Francesco GALOFARO (Universitá di Bologna)

 

Structures semi-symboliques et signification musicale

 

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

 

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

 

Simha AROM (CNRS)

 

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

 

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

 

Kofi AGAWU (Princeton University)

 

Iconicity in African Musical Thought and Expression.

 

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

 

SÉANCES PRÉVUES EN 2008-2009

6. Structuration et perception – la forme et le timbre

7. Cognition et inconscient

8. Perception et enjeux de pouvoir

9. Écoute et signification

 

 

2 (internet source: search engine)

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

 

Anne Moeglin-Delcroix

 

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

 

3 avril 2008 - 19h

 

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

 

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

 

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

 

Toutes ces conférences se déroulent au Musée National Marc Chagall -

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

 

 

3 (internet source: search engine)

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

 

CALENDARIO SEMINARIO PERMANENTE D’ESTETICA 2008

 

Venerdì 18 aprile ore 11-13

 

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

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

 

Venerdì 16 maggio:

 

Giornata di studio dedicata all'estetica analitica

           

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

 

 

EXHIBITIONS (NEW 1)

 

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

 

Pask Present

 

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

 

Atelier FÄRBERGASSE

Färbergasse 6

A-1010 Wien

 

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

Eröffnung: 25. 3.2008, 19:00

 

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

 

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

 

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

 

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

 

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

 

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

 

Die Ausstellung wird unterstützt von:

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

 

Für die Heinz von Foerster Gesellschaft

 

Dr. Albert Müller

Dr. Karl H. Müller

 

 

 

January 2008 – March 2008

 

CALLS FOR PAPERS/CONFERENCES (30 NEW + 24)

 

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

 

29 - 30 avril 2008, Angers

Appel à communications au colloque international

Musique Française, esthétique et identité en mutation 1892-1992

 

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

 

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

 

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

 

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

 

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

 

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

 

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

orchestration, instrumentation

enseignement, pédagogie, didactique

thématiques des œuvres

la forme, les technologies

les caractéristiques et l’engagement dans le modernisme

la centralisation ou la pluralisation (Paris – Provinces)

réception des œuvres

les aperçus de l’étranger

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

Présentation des propositions :

 

La procédure comporte 2 étapes :

 

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

 

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

 

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

 

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

 

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Call for Papers

 

Mind, Art and Psychoanalysis: Perspectives on Richard Wollheim

The Institute of Philosophy and Heythrop College, University of London

20 June 2008

 

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

Invited speakers:

Anthony Price

James Hopkins

Derek Matravers

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

Papers

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

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

by 15 March 2008 to

Michael Lacewing

Heythrop College

Kensington Square

London W8 5HQ

Or m.lacewing@heythrop.ac.uk.

Speakers’ travel expenses within the UK will be reimbursed.

Registration

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

Registration fees

Individual members of the Institute of Philosophy: Free

Students in an institution with membership of the Institute of 

Philosophy: £5

Staff in an institution with membership of the Institute of 

Philosophy: £15

Standard: £20

 

Dr Michael Lacewing

Senior Lecturer in Philosophy

Heythrop College

m.lacewing@heythrop.ac.uk

 

 

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

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

and opinions for Issue 12: Habits and Habitat

 

EXTENDED SUBMISSION DEADLINE: 21st December, 2007

Send to: philament_at_arts.usyd.edu.au

 

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

 

- J.E. Malpas -

 

Possible themes include, but are not limited to:

 

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

 

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

 

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

 

Philament accepts submissions in the form of:

 

Academic papers: up to 8,000 words.

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

Sheila Lintott

Assistant Professor

Department of Philosophy

Bucknell University

Lewisburg, PA 17837

Phone: (570) 577-1708

Fax: (570) 577-1717

 

Office Hours: TR 11:00-12:30

 

 

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CALL FOR PAPERS

 

American Society for Aesthetics

Eastern Division Meeting

April 4-5, 2008

Philadelphia

       

KEYNOTE SPEAKER:

Jenefer Robinson

(University of Cincinnati)

               

MONROE BEARDLEY LECTURE:

What Should We Do With Museums?

Kwame Anthony Appiah

(Princeton University)

               

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

        

Please feel free to direct questions to the Program

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

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

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

 

William P. Seeley, Ph.D.

Visiting Assistant Professor

Department of Philosophy

Franklin and Marshall College

P.O. Box 3003

Lancaster, PA, 17604-3003

pseeley@msn.com

wseeley@fandm.edu

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

 

 

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

 

The Substance of Thought: Critical and Pre-Critical

 

featuring keynote speakers Simon Critchley (The New School for Social

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

 

Cornell University

Ithaca, New York

April 10th-12th, 2008

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

 

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

 

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

 

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

 

- transcendence and immanence

- Derrida and Deleuze

- negation and affirmation

- finite and infinite

- the rebirth of rationalism

- aesthetic ideologies

- quasi-, ultra-, immanent-transcendental

- the Althusserian legacy

- the one and the multiple

- the persistence of the dialectic

- the fate of aesthetics

- the return to Kant

- the future of the linguistic turn

- the question of critique

- futures of Marxism

- philosophies of experience

- univocity, equivocity

- the limits of representation

- the historical a priori

- the genesis of subjectivity

- the possibility of materialism

- affects, passions

- the role of the negative

- the new philosophy of science

- political ontology

- the return of nature philosophy

- radical Spinoza

- rhetoric and philosophy

 

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

 

 

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

 

The Substance of Thought: Critical and Pre-Critical

 

featuring keynote speakers Simon Critchley (The New School for Social

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

 

Cornell University

Ithaca, New York

April 10th-12th, 2008

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

 

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

 

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

 

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

 

- transcendence and immanence

- Derrida and Deleuze

- negation and affirmation

- finite and infinite

- the rebirth of rationalism

- aesthetic ideologies

- quasi-, ultra-, immanent-transcendental

- the Althusserian legacy

- the one and the multiple

- the persistence of the dialectic

- the fate of aesthetics

- the return to Kant

- the future of the linguistic turn

- the question of critique

- futures of Marxism

- philosophies of experience

- univocity, equivocity

- the limits of representation

- the historical a priori

- the genesis of subjectivity

- the possibility of materialism

- affects, passions

- the role of the negative

- the new philosophy of science

- political ontology

- the return of nature philosophy

- radical Spinoza

- rhetoric and philosophy

 

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

 

 

 

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Oscar Wilde's Critical Essays

 

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

 

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

 

 

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Psychoanalysis and/as Theater

 

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

 

Call for Papers:

 

The interdisciplinary Psychoanalytic Studies Program at Emory University

proposes a conference entitled:

 

Psychoanalysis and/as Theater

 

March 28th-29th 2008

Emory University, Atlanta, GA

 

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

 

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

 

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

 

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

 

• the theatricality of the therapeutic setting

• the theatrical metaphor and psychoanalysis

• clinical and dramaturgical “practices”

• the therapeutic function of theater

• psychoanalytic readings of theatrical texts and/or performances

• literary readings of psychoanalytic theories

• psychoanalysis as a dramatic art

• clinical case studies involving theatricality

• theatrical and analytic space(s)

 

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

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

 

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

 

 

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

 

18th Annual EGSA Mardi Gras Conference

 

Louisiana State University

January 30- February 1

 

Keynote Speaker: Cathy Davidson

 

“From Classical to Contemporary Theories”

 

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

 

 

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

An Interdisciplinary Conference

April 18-19, 2008

University of California, Santa Barbara

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

 

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

 

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

 

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

 

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

 

Simulacra and Second Life

The Evil Demons of Images and the Materiality of Text

The Empire Strikes Back: American Intervention in Iraq

The Desert and the Real: Mediating Iraq

Mirror(s) of Production

Consumer Culture

Baudrillard Broadly: Influences, Allusions, Legacy

Stockpiling the Past

The Metaphysic of the Code

The Evil Genie of Passion

The Historicity of Postmodernism

Universalization, Globalization and Technological Progress

The Desert of the Matrix: Misreading Baudrillard

Advertising and the Ecology of Media

Guerrilla Graffiti Art

 

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

 

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

 

 

 

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

 

March 28 - 29, 2008, Johns Hopkins University

 

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

 

Prof. Eckart Förster, The Johns Hopkins University

Prof. Reinhard Brandt, University of Marburg

Prof. Rolf-Peter Horstmann, University of Berlin

Prof. Manfred Kuehn, Boston University

 

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

 

Submission deadline: January 15, 2008

 

Jennifer A. Bautz

105 West 39th Street, #816

Baltimore MD 21210

 

 

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The Synthetic Aesthetics of New Media Art

 

February 20 - 23, 2008, Dallas

 

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

 

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

 

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

 

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

 

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

 

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

 

Carolyn Kane clk267@nyu.edu

 

 

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

 

Call for Papers

 

International Association of Empirical Aesthetics

 

20th Biannual Congress on Empirical Aesthetics

 

"Psychology and Aesthetics into the Future"

 

August 19-22, 2008

Chicago, Illinois, USA

 

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

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

SUBMISSION INFORMATION

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

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

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

Kenneth S. Bordens, Program Moderator

International Association of Empirical Aesthetics

Department of Psychology

Indiana University Purdue University Fort Wayne

Fort Wayne, IN, USA 46805

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

CONGRESS VENUE AND FEES

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

USA:

Carleton Hotel and Motor Inn

1110 Pleasant Street

Oak Park, Illinois 60302

Phone (708) 848-5000

Fax (708) 848-0537

Reservations 1-888-CARLETON

email: info@carletonhotel.com

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

Congress Fees (All fees shown in US Dollars)

Member Non-member Student

Regular fees:

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

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

Reduced fees*:

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

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

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

(defonso@ipfw.edu)

 

 

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

 

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

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

Deadline:        31.01.2008

 

CALL FOR PAPERS (31 January 2008)

 

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

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

A selection of presented papers will be published.

 

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

 

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

 

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

 

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

 

Kontakt:          

Flo Austin

IGRS

Stewart House

32 Russell Square

London WC1B 5 DN

igrs@sas.ac.uk

 

 

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The Philosophy of Computer Games Conference 2008

 

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

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

Deadline: 15.02.2008

 

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

 

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

 

Action|Space

 

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

 

Ethics / Politics

 

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

 

The Magic Circle

 

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

 

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

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

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

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

------

Dieter Mersch

Olav Asheim

Patrick Coppock

Espen Aarseth

The conference is a collaboration between the following institutions:

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

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

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

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

- Philosophical Project Centre (FPS), Oslo, Norway

Kontakt:          

 

Dr. Stephan Günzel

Friedrich-Schiller-Universität

Ernst-Abbe-Platz 8, 07743 Jena

03941-944900

032-221071960

stephan.guenzel@uni-jena.de

http://www.gamephilosophy.org/

 

 

 

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Forum for European Philosophy

Centre for Literature and Philosophy, University of Sussex

 

PHILOSOPHICAL POETS

 

A Free One-Day Conference

 

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

Chichester Lecture Theatre University of Sussex

 

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

 

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

 

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

 

Chair, Panel Discussion and Questions: Dr. Nicholas Bunnin

 

 

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

 

6 to 9 November 2008

San Francisco, California, United States

 

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

Contact name: Peter Amato

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

Organized by: Radical Philosophy Association

Deadline for abstracts/proposals: 8 March 2008

 

 

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The Politics And Poetics Of Memory

 

3rd Bi-Annual Philosophy And Literature Graduate Student Conference

 

Purdue University

March 7-8, 2008

 

Keynote Speakers:

Leonard Lawlor (University Of Memphis)

Suzanne Guerlac (University Of California, Berkeley)

 

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

 

Topics welcome on any Continental thinker in relation to memory.

Possible topics:

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

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

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

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

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

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

 

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

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

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

 

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March 29, 2008

The 9th Annual Marquette Philosophy Graduate Student Association Conference

The Philosophy of Love and Affectivity

Hosted by the Marquette University

Philosophy Graduate Student Association

Milwaukee, Wisconsin

 

Keynote Address: 

“Eros and Affectivity in Plato’s Symposium”

Burt Hopkins, Seattle University

 

Submissions are welcome across the topics of love and affectivity.

SOME TOPICAL HINTS:

The concept of love in philosophical traditions

The relationship between reason and emotion

Philosophy as love, as encouraging love and acts of love

The role of affectivity and/or desire in philosophy

Explorations of affectivity in human life

Relationship between affectivity and desire

Other submissions within these broad bounds will be considered

 

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

 

Please limit your paper to 3000 words for review.

Submissions are due January 15th, 2008.

Decisions will be announced by February 10th, 2008.

 

 

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

 

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

 

College of the Holy Cross, Worcester, MA, USA

April 10-12. 2008

 

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

 

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

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

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

Papers should be mailed to:

Professor Predrag Cicovacki

Department of Philosophy

College of the Holy Cross

Worcester, MA 01610, USA

pcicovac@holycross.edu

 

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26-28 mars 2008, Amsterdam

 

Engaging Objects

 

ASCA International Workshop

 

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

 

These issues will be discussed in four panels:

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

These issues will be discussed in four panels:

 

Engaging theory

 

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

 

Sensory disruptions

 

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

 

Bodily interventions

 

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

 

Comparison engagée

 

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

 

Confirmed keynote lecturers are:

 

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

 

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

 

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

 

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

 

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

 

Participation

 

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

 

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

 

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

 

Source: asca-fgw@uva.nl

 

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

 

 

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

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

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

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

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

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

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

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

Pour les intervenants:

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

Les communications dureront au plus 30 minutes.

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

 

 

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Nordic Society of Aesthetics

 

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

 

AESTHETICS AND THE AESTHETIC

Historical and Contemporary Perpectives

 

Call for Papers

 

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

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

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

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

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

The enclosed form should be sent to:

Lars-Olof.Aahlberg@estetik.uu.se

Dept. of Philosophy

Uppsala University

P.O Box 627

SE-751 26 Uppsala

 

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CALL FOR PAPERS

 

"Formulate with the greatest care": Adorno and Performance

 

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

 

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

 

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

 

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

 

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

 

Organisers: Anthony Gritten and Nicholas Baragwanath.

 

Dr Anthony Gritten FRSA FRCO

Head of PG Studies and Research

RNCM

124 Oxford Road

Manchester M13 9RD

T 0161 907 5380

F 0161 273 7611

E anthony dot gritten at rncm dot ac dot uk

W www.rncm.ac.uk 

 

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

 

CALL FOR PAPERS: SCRUTON'S AESTHETICS

 

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

 

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

 

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

 

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

 

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

 

Postgraduate student bursaries will be available

 

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

Scruton Conference,

Andy Hamilton and Nick Zangwill,

Philosophy Department,

Durham University, Durham DH1 3HP

 

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

 

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

 

Publication of the submitted papers is envisaged.

 

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

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

 

Organizers: Andy Hamilton and Nick Zangwill

 

 

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

 

Call for Abstracts

 

The Hobbit and Philosophy

 

Edited by Eric Bronson and Gregory Bassham

 

The Blackwell Philosophy and PopCulture Series

 

Please circulate and post widely.

Apologies for Cross-posting.

 

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

 

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

 

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

 

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

 

Submission guidelines:

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

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

3. Submission deadline for final papers October 15, 2008

 

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

Gregory Bassham at ghbassha@kings.edu

 

 

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

 

The British Society of Aesthetics 2008 Annual Conference

 

St. Edmund Hall, Oxford

September 5-7, 2008

 

First Call for Papers: Deadline: May 12th

 

Guest Speakers

 

Alexander Nehamas (Princeton University)

Hannah Ginsborg (UC Berkeley)

Stephen Davies (University of Auckland)

Berys Gaut (University of St. Andrews)

 

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

Guardian)

 

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

 

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

 

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

 

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

 

www.british-aesthetics.org

 

Dr. Diarmuid Costello

Department of Philosophy

University of Warwick

Coventry CV4 7AL, UK

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

Diarmuid.Costello@Warwick.ac.uk

Tel +44 (0)2476 522952

Fax +44 (0)2476 523019

 

 

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

 

International colloquium: Character and Emotions

University of Geneva,  Swiss Center for Affective Sciences. Focus 

“Aesthetic Emotions”

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

 

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

 

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

 

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

 

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

 

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

 

Morning:

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

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

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

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

 

Afternoon:

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

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

16.40 – 17.00     Break

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

18.10 – 18.30    Concluding Discussion

 

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

 

Organisers:

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

Thomas Cochrane  (thomas.cochrane@gmail.com)

 

 

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

 

Philosophy and Film / Film and Philosophy: A multidisciplinary conference

4-6 July 2008, the Arnolfini, Bristol

Keynote Speakers:

Stephen Mulhall (Oxford)

Vivian Sobchack (UCLA)

Robert Sinnerbrink (Macquarie)

Catherine Constable (Warwick)

Karin Littau (Essex)

Julian Baggini (editor, The Philosophers' Magazine)

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

 

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

 

Topics include (but are not limited to):

Film as philosophy

The ontology of cinema

Film and phenomenology

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

The Epistemology of film

Film affect

The philosophical worldview of particular directors

Subjectivity and cinema

Film ‘theory’ as philosophy

Aesthetics and film

Political philosophy and film

Historical developments in film-philosophy

Genre and philosophy

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

Cinema as thought experiment

Morality and movies

Feminist philosophy and film practice

Film making as philosophical practice

Methodologies for philosophical film analysis

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

Dr Havi Carel    Havi.Carel@uwe.ac.uk

Dr Greg Tuck    Greg.Tuck@uwe.ac.uk

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

Rd, Bristol BS16 2JP, UK

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

For information and to register:

info.uwe.ac.uk/events

 

 

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

 

The Art of Critique

Konferenz, 19./20. April 2008

 

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

 

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

 

http://transform.eipcp.net/conference

 

Ort (alle Veranstaltungen):

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

http://kunsthalle.wuk.at/

 

eipcp - european institute for progressive cultural policies

a-1060 vienna, gumpendorfer strasse 63b

a-4040 linz, harruckerstrasse 7

 

contact@eipcp.net

http://www.eipcp.net

 

 

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

 

2008 Henle Conference: Varieties of Perception

 

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

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

 

April 4-5, 2008

 

Saint Louis University

Pius XII Memorial Library

Knight’s Room

3650 Lindell Blvd.

St. Louis, MO 63108

 

Friday, April 4

 

*1:15 p.m. Opening Remarks*

 

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

  Alva Noe (UC Bekeley)

  Commentator: John Drummond (Fordham)

 

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

  Jerome Gellman (Ben-Gurion)

  Commentator: Howard Wettstein (UC Riverside)

 

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

  John Hawthorne (Oxford)

 

Saturday, April 5

 

*9:30 a.m. Moral Perception*

  Walter Sinnott-Armstrong (Dartmouth)

  Commentator: Michael DePaul (Notre Dame)

 

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

  Victoria McGeer (Princeton)

  Commentator: William Hirstein (Elmhurst

 

*2:30 p.m. Aesthetic Acquaintance*

  Dominic Lopes (British Columbia)

  Commentator: Chris Williams (Nevada, Reno)

 

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

  Christopher Peacoke (Columbia)

  Commentator: José Luis Bermudez (WUSTL)

 

TALKS ARE FREE AND OPEN TO THE PUBLIC.

 

For more information, contact:

Jamie Hendrix

314-977-3149

hendrixj@slu.edu

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

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

Other philosophical resources on the Web can be found at

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

 

 

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

 

The Theatre and Performance Research Association

 

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

 

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

 

Theatre Performance and Philosophy: Mission Statement

 

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

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

 

Working Methods

 

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

 

Dr Daniel Watt

Lecturer in English and Drama

Department of English and Drama

Loughborough University

Loughborough

Leicestershire LE11 3TU

Tel: 01509 222956

Fax: 01509 269994

D.P.Watt@lboro.ac.uk

 

Professor Daniel Meyer-Dinkgräfe

Lincoln School of Performing Arts

University of Lincoln

LPAC Building,

Brayford Pool

Lincoln LN6 7TS

Tel: 01522 837371

Email: dmeyerdinkgrafe@lincoln.ac.uk

 

 

 

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

 

Call for Abstracts

Final Fantasy and Philosophy

Edited by Jason P. Blahuta and Michel S. Beaulieu

The Blackwell Philosophy and PopCulture Series

To propose ideas for future volumes in the Blackwell series please

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

<mailto:wtirwin@kings.edu>

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

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

 

Submission guidelines:

 

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

2008

 

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

2008

 

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

Jason P. Blahuta jblahuta@lakeheadu.ca

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

 

 

 

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

 

PHILOSOPHY OF LITERATURE

Ratio Conference: University of Reading

*** Saturday 12th April 2008  ***

Supported by the Mind Association and the Analysis Trust.

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

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

the Analysis Trust.

Speakers of the day will be:

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

Structure

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

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

Aesthetic Attitude

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

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

Reading Whiteknights Campus Reading RG6 6AA, UK

Please direct enquiries to: Dr. Severin Schroeder

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

Department of Philosophy University of

Reading Whiteknights Reading RG6 6AA, UK

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

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

registration form below (also available at

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

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

strictly limited,

so please do register early to avoid disappointment.

 

Philosophy of Literature

REGISTRATION FORM

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

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

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

Saturday and refreshments.

Name: ______________________________________________ Title:___________

Institution:____________________________________________________________

Address for

correspondence:_________________________________________________________

____________________________________________________________________________

_

 

Email: ___________________________________ 

Phone:_________________________

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

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

Whiteknights, Reading RG6 6AA.

Please advise us if you have any special dietary requirements:

___________________________

 

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

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

£15. Please email to check on availability.

 

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

 

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

the 2008 Generative Anthropology Summer Conference has been extended to

March 31st.

 

Esthetic History and the Knowledge of the Human

Generative Anthropology Summer Conference

Chapman University, Orange, California

Thursday 26 June Sunday

29 June 2008

 

Call for Papers

 

Chapman University is pleased to present the 2nd annual Generative

Anthropology Summer Conference, with the thematic focus "Esthetic

History and the Knowledge of the Human."

 

Generative Anthropology is an ambitious, interdisciplinary way of thinking

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

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

Imagination (2007).

 

Its current vitality is indicated by the recent

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

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

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

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

conference held in Vancouver last July.

 

Scholars unaware of GA may visit the Anthropoetics website for

information. We emphasise that Generative Anthropology will be

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

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

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

sociology of art and religion.

 

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

origins, the origins of language, cultural evolution, evolutionary

psychology, cognitive psychology and other disciplines will also find its

hypotheses thoughtprovoking.

 

The organizers of GASC 2008 therefore invite interested researchers to

submit proposals for papers that explore the possibilities for analytical

interaction between Generative Anthropology and topics falling under the

umbrella formulation of "Esthetic History and the Knowledge of the

Human."

 

We welcome analyses of particular literary texts, artistic works,

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

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

made by specific philosophers, theologians, artists, and other

intellectual figures to the history of human selfknowledge

as mediated by esthetic production; studies of the competition between

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

archaeology of early human artifacts in relation to hypothesis formation

about human origins; philosophical reflections on representation and the

sign, especially as these might sharpen the differentiation between

esthetic experience and experience of the sacred, and the differentiation

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

 

Preference will be given to papers that explicitly engage with ideas

contained in that body of intellectual activity designated as Generative

Anthropology. However, we will also welcome submissions by scholars

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

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

of the Human.

 

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

words maximum, should be sent by attachment in MSWord to

schneide_at_chapman.edu. Deadline: 31 MARCH 2008

 

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

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

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

at schneide_at_chapman.edu. Canadian participants may send inquiries also

to the Canadian coorganizers, Andrew.Bartlett_at_kwantlen.ca or

IanDennis_at_uottawa.ca.

 

This conference is endorsed by Wilkinson College of Letters and Sciences

at Chapman University.

 

 

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

 

Hauntings: Spectres, Spectrality and Spectatorship

 

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

affiliated with the University of Sydney, invites postgraduate scholars

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

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

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

Symposium as well as new submissions are encouraged. Possible themes

include but are not limited to:

 

theories of spectatorship

intersubjectivity and affect

psychoanalysis

gender and sexuality

postmemory

nationhood/ national identity

postcolonial relations

theories of memory

representation and temporality

technology

poetics

performance

performativity

relationships between subjectivity and space

 

Academic papers: up to 8,000 words.

 

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

short essays, responses to papers previously published in Philament

issues, of up to 1000 words.

 

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

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

 

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

to philament_at_arts.usyd.edu.au

 

SUBMISSION DEADLINE: 30 April, 2008

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

 

 

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

 

Æffective Æsthetics: Representation of Emotion

 

Rice Graduate Symposium, September 26-27, 2008

Rice University, Houston, Texas

 

Affective representation in both artistic and lived experience is

frequently explained in terms of competing social, political, and

cultural systems that often nullify one another. Compounding the problem

is the tendency for affect to complicate how we think about

representation; it seems that the two are inextricable. Through

investigating representations of affect within a variety of fields, this

conference proposes to find inroads that will bring the competing claims

of various discourses together into productive dialogue.

 

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

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

understanding of historical and contemporary affective experience. We

invite submissions that consider what work is accomplished within the

interstices of affect and representation: through what mechanics do

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

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

combine to shape the perceived world of experience.

 

 Possible paper topics include but are not limited to:

 

• Social and/or psychic processing of affect.

 

• History of affect, affective histories, affect in historical

construction.

 

• Science, scientific methodologies, and representations of affect.

 

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

 

• Performativity of affect in film or theater.

 

• Spectator or audience emotive responses to material

representations or artistic works.

 

• Technology, media, and affective representations.

 

• Intercultural exchanges, globalization, (post)colonialism,

nationalism, and affect.

 

We invite both individual and panel submissions from all disciplines.

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

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

deadline is May 15, 2008.

 

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

 

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

rice.symposium_at_gmail.com

 

 

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

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

 

 

Methods, Concepts, and Communications in Contemporary Aesthetic Discourse

 

November 21 - 22, 2008, Moscow State University

 

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

 

Submission deadline: May 30, 2008

 

Sergey A. Dzikevich

Scientific Secretary of the OIAC III Organizing Committee

 

aesthesis@philos.msu.ru

s.a.dzikevich@mail.ru

    

 

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

 

Symposium

 

Bild - Sprache - Kultur. Ästhetische Perspektiven kritischer Theorie

 

Informationen zu diesem Beitrag

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

Veröffentlicht am 27.03.2008

Zitierweise

Klassifikation

Regionaler Schwerpunkt Ohne regionalen Schwerpunkt

Epochale Zuordnung Epochal übergreifend

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

TypSymposium

LandGermany

SpracheGerman

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

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

 

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

 

Freitag, 25. April 2007, Hörsaal 5

13:00-13:45

Begrüßung.

SVEN KRAMER

Einleitende Bemerkungen.

13:45-15:15

KARL CLAUSBERG

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

CHRISTOPH JAMME

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

15:45-17:30

GUNZELIN SCHMID NOERR

Zur Ästhetik des Bösen.

WOLFDIETRICH SCHMIED-KOWARZIK

»Aufhebung«. Gedanken zu einer Grundkategorie dialektischer Philosophie.

18:00-18:45

CHRISTOPH TÜRCKE

Zur Rehabilitierung des Symbols.

Samstag, 26. April 2007, Hörsaal 5

09:00-10:45

JÖRG GLEITER

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

HEINZ PAETZOLD

Benjamins Stadtkulturtheorie.

11:15-13:00

IRIS HARNISCHMACHER

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

WOLFGANG BOCK

Aufmerksamkeit und mediale Rettung. Sprachliche Figuren in Benjamins Einbahnstraße.

13:00-13:45 Abschlussgespräch

Organisation:

Zeitschrift für kritische Theorie

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

Interessierte sind eingeladen, die Tagung zu besuchen.

Eine Gebühr wird nicht erhoben.

Kontakt:

Sven Kramer

Scharnhorststr. 1, 21335 Lüneburg

s.kramer@uni-lueneburg.de

 

 

 

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

 

Colloquium „Ist Schönheit messbar?“

 

Informationen zu diesem Beitrag

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

Veröffentlicht am19.03.2008

Zitierweise

Klassifikation

Regionaler Schwerpunkt Ohne regionalen Schwerpunkt

Epochale Zuordnung Epochal übergreifend

Thematischer Schwerpunkt Kultur, Kulturgeschichte, Kunstgeschichte, Historische Bildforschung

TypColloquium

LandGermany

SpracheGerman

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

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

 

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

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

 

Über Geschmack lässt sich streiten, einerseits –

andererseits gibt es universale Gestaltungsprinzipien

wie den Goldenen Schnitt, auf die wir uns verständigen

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

Bild oder auch ein Auto als schön empfinden, darüber

können Literatur- und Kunstwissenschaft nicht viel

mehr als Vermutungen anstellen. „Was bislang fehlt,

ist eine empirische Untersuchung der ästhetischen

Eigenschaften, also die Suche nach Argumenten, die die

Ästhetik eines Objektes wissenschaftlich begründen –

genauso wie Gesetzmäßigkeiten anderer Gegebenheiten

unserer Welt “, so Professor Wolfgang Klein,

Sprachwissenschaftler und Direktor am

Max-Planck-Institut für Psycholinguistik im

niederländischen Nijmegen.

Das Gestaltungsprinzip des Goldenen Schnitts wird in

den bildenden Künsten genauso angewandt wie zum

Beispiel in der Architektur oder beim Bau von

Musikinstrumenten. Der US-Mathematiker George David

Birkhoff entwickelte 1933 eine Formel für das

ästhetische Maß, und auf dem neuen Gebiet der

Att-raktivitätsforschung wurden Hypothesen darüber

aufgestellt, warum uns welches Gesicht als schön

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

ästhetischen Gestaltungskriterien gefunden wurde, ist

recht trivial“, gibt Klein zu bedenken.

Das 12. Berliner Kolloquium bringt Experten aus

Musik-, Literatur- und Kunstwissenschaft, Mathematik,

Psychologie und der Neurowissenschaft sowie dem

Produktdesign zusammen, um die vereinzelten Ansätze

einer empirischen Untersuchung ästhetischer

Gesetzmäßigkeiten zu bündeln und gemeinsam zu

diskutieren. Auch in der Medizin spielen

Forschungsergebnisse dieser Disziplinen eine wichtige

Rolle – etwa für die patientenspezifische

mathematische Operationsplanung in der Plastischen

Chirurgie. Im öffentlichen Abendvortrag geht der

Hirnforscher Manfred Spitzer, Professor am

Universitätsklinikum Ulm, der Frage nach:

„Neuroästhetik – gibt es eine Gehirnforschung zum

Wahren, Schönen, Guten?“.

 

Teilnahmegebühr: 50 € (für Studenten 25 €)

Informationen und Anmeldung:

 

www.daimler-benz-stiftung.de

 

Programm

08:30 Uhr Registrierung

09:00 Uhr Tagungsbeginn

Eröffnung

Prof. Dr. Gisbert Frhr. zu Putlitz

Vorsitzender des Vorstands

der Gottlieb Daimler- und Karl Benz-Stiftung,

Ladenburg

Was ist ein schönes Gesicht?

Auf der Suche nach Kriterien

Prof. Dr. Dr. Peter Deuflhard

Konrad-Zuse-Zentrum für Informationstechnik, Berlin

10:45-11:15 Uhr Pause

Keine Schönheit ohne Maß

Prof. Dr. Holger Höge

Universität Oldenburg, Institut für Psychologie

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

Prof. Dr. Ulrich Konrad

Universität Würzburg, Institut für Musikwissenschaft

12:45-14:15 Uhr Mittagspause

Ein Automobil wird sinnlich wahrgenommen

Prof. Peter Pfeiffer

Daimler AG, Stuttgart

Schönheit als Gegenstand richterlicher Beurteilung

Prof. Dr. Haimo Schack

Universität Kiel, Juristisches Seminar

16:15-16:45 Uhr Pause

Vermessene Schönheit. Zur Geschichte und Zukunft eines Mythos

Prof. Dr. Gerhard Wolf

Kunsthistorisches Institut in Florenz - Max-Planck-Institut

Diskussion und Abschluss

17:30 Uhr Ausklang

19:30 Uhr Abendvortrag

Begrüßung

Prof. Dr. Gisbert Frh. zu Putlitz

Vorsitzender des Vorstands

der Gottlieb Daimler- und Karl Benz-Stiftung,

Ladenburg

Einführung

Prof. Dr. Wolfgang Klein

Max-Planck-Institut für Psycholinguistik, Nijmegen

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

Prof. Dr. Dr. Manfred Spitzer

Universitätsklinikum Ulm, Klinik für Psychiatrie

und Psychotherapie III

im Anschluss: Empfang

Kontakt:          

Thomas Schmitt

Dr.-Carl-Benz-Platz 2

68526 Ladenburg

(06203)1092-13

(06203) 1092-5

schmitt@daimler-benz-stiftung.de

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

 

 

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

 

CfP

 

Nietzsche Pop!

 

Informationen zu diesem Beitrag

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

Veröffentlicht am28.02.2008

Zitierweise

Klassifikation

Regionaler Schwerpunkt Europa

Epochale Zuordnung Ohne epochalen Schwerpunkt

Thematischer Schwerpunkt Kultur

TypCfP

LandGermany

SpracheGerman

Veranstalter:   ApoDio e.V.

Datum, Ort:     13.09.2008, Berlin

 

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

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

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

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

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

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

 

Mögliche Themen für Beiträge sind u.a.:

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

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

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

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

 

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

Kontakt:          

 

E-Mail: info@nietzschepop.org

http://www.nietzschepop.org/

 

 

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

 

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

 

6 to 9 November 2008

 

San Francisco, California, United States

 

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

 

Contact name: Peter Amato

 

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

Organized by: Radical Philosophy Association

Deadline for abstracts/proposals: 8 March 2008

 

 

 

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

 

Séminaire Esthétique et Cognition

Théories de l’art et phénomènes cognitifs

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

Université de Paris-1 Panthéon-Sorbonne/CNRS

Organisation : Jean-Marc Chouvel, Hugues Dufourt,

Xavier Hascher, Costin Miereanu

 

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

 

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

 

Adresse où se dérouleront les séances :

Université de Paris-1 Panthéon Sorbonne

Centre Panthéon (bât. de la faculté de Droit)

12 place du Panthéon, 75005 Paris

 

Accès

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

RER Luxembourg

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

 

5. Signes, mécanismes et catégories

Samedi 5 avril 2008

10 h–12 h et 14 h–16 h

Centre Panthéon, s. 58 (entresol)

 

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

 

INTERVENANTS

 

Xavier HAUTBOIS (IUT de Versailles)

Le son « humainement » organisé

 

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

 

Francesco GALOFARO (Universitá di Bologna)

Structures semi-symboliques et signification musicale

 

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

 

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

 

Simha AROM (CNRS)

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

 

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

 

Kofi AGAWU (Princeton University)

Iconicity in African Musical Thought and Expression.

 

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

 

SÉANCES PRÉVUES EN 2008-2009

6. Structuration et perception – la forme et le timbre

7. Cognition et inconscient

8. Perception et enjeux de pouvoir

9. Écoute et signification

 

 

 

 

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

 

11-13 avril 2008, Philadelphie

 

Herder, Music, and Enlightenment : An Interdisciplinary Symposium

 

University of Pennsylvania

Humanities Forum, 3619 Locust Walk,

Philadelphia, PA 19104

 

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

 

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

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

 

 

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

 

22-24 mai 2008, Vandoeuvre-lès-Nancy

 

Esthétique de la danse

Ontologie, cognition, émotion

Centre Culturel André Malraux

Scène Nationale de Vandoeuvre-lès-Nancy

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Nelson Goodman a proposé un tournant épistémique en esthétique générale.

 

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

 

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

 

Jeudi 22

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

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

16h50 Pause

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

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

19h00 Buffet

20h30 Spectacle Song and Dance de Mark Tompkins

 

Vendredi 23

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

12h45 Buffet

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

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

16h35 Pause

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

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

19h Buffet

20h30 Spectacle Cycle des furies de Aurore Gruel

 

Samedi 24

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

12h45 Buffet

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

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

16h35 Goûter et fin du colloque

 

Le programme incluant les résumés des communications est disponible

 

 

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

 

7th Prague Interpretation Colloquium

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

February 28, 2008

June 14, 2008            to         June 15, 2008

Interpreting Architecture

 

Theme: Philosophy of architecture

 

Begins: Sat, 14 Jun 2008

 

Ends: Mon, 15 Jun 2008

 

Location: Institute of Philosophy

Jilska 1, Prague 14000

 

Czech Republic

 

Registration fee: n/a

 

Organizer: Tomas Hribek

 

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

 

 

 

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

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

 

Verità dell'Estetica

VI Convegno Nazionale

Roma

2 e 3 aprile 2008

 

2 aprile 2008

ore 16.00

Indirizzi di saluto

ore 16.30

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

The Aesthetics of Mimesis: Ancient Texts and Modern Problems

ore 17.00

Lo specchio della mimesis Lectio magistralis di Stephen Halliwell

ore 18.00

Assemblea della Società Italiana d’Estetica

3 aprile 2008

ore 09.00

Riunione degli Osservatorî della Società Italiana d’Estetica

ore 10.30

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

Claudio Vicentini (Napoli)

Verità dell’Estetica

VI Convegno Nazionale della Società Italiana d’Estetica

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

Informazioni: convegnosie2008@libero.it

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

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

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

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

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

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

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

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

 

 

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

 

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

 

IV MEDITERRANEAN CONGRESS OF AESTHETICS

 

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

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

 

Art and Time

 

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

- The date of the artwork's production,

- The time taken into its realization,

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

- The time presented in it, and

- The time consumed in its perception.

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

 

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

      

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

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

 

-           Which notion of time concerns contemporary artists?

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

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

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

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

-           How have artists presented time in different ages?

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

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

 

The IV Mediterranean Congress for Aesthetics is organized by:

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

-           The Jordan Journal for Arts,

-           Greater Amman Municipality (in progress), and

-           The Ministry of Culture (in progress).  

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

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

 

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

 

Contact:

Prof. Dr. Khaled Alhamzah

Chief Ed. The Jordan Journal for Arts

Dean / College of Fine Arts

Yarmouk University

Irbid, Jordan

Aesthetics.jordan@gmail.com

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

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

 

 

NEW 54 (internet source: search engine)

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

 

 

Cadres, seuils, limites

Colloque international et interdisciplinaire

Jeudi 17 et vendredi 18 avril 2008

Louvain-la-Neuve

SOCR-242, Institut supérieur de philosophie,

place du Cardinal Mercier, 14

Jeudi 17 avril 2008

9h30 > Accueil des participants

9h45 > Introduction par Thierry Lenain (ULB)

Présidence de séance : Thierry Lenain

10h00 > « Le pas »

Victor Stoichita (Université de Fribourg, Suisse)

11h15 > « Les limites de l’art »

Pierre Rodrigo (Université de Bourgogne, Dijon)

Présidence de séance : Danielle Lories

14h15 > Table ronde

« Cadres, seuils, limites : des arts »

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

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

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

Mnemosyne et ses opérations de cadrage »

Maud Hagelstein (ULg)

Vendredi 18 avril 2008

Présidence de séance : Ralph Dekoninck

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

Rudy Steinmetz (ULg)

11h15 > « Paysages de l’esthétique »

Suzanne Foisy (UQTR, Qc, Canada)

Présidence de séance : Suzanne Foisy

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

la peinture religieuse entre moyen âge et temps modernes »

Ralph Dekoninck (UCL)

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

Lucien Massaert (ARBA-ESA, Bruxelles)

Présidence de séance : Rudy Steinmetz

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

l’Égypte ancienne »

Valérie Angenot (University of Oxford)

Contact

danielle.lories@uclouvain.be

Or ganisé par

le Centre d’esthétique philosophique et le Groupe de contact

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

Université catholique

de Louvain UCL

 

 

 

 

LECTURES (NEW 5 + 6)

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

 

Séminaire Esthétique et Cognition

Théories de l’art et phénomènes cognitifs

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

Université de Paris-1 Panthéon-Sorbonne/CNRS

Organisation : Jean-Marc Chouvel, Hugues Dufourt,

Xavier Hascher, Costin Miereanu

 

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

 

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

 

Adresse où se dérouleront les séances :

Université de Paris-1 Panthéon Sorbonne

Centre Panthéon (bât. de la faculté de Droit)

12 place du Panthéon, 75005 Paris

 

Accès:

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

RER Luxembourg

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

 

3. La compréhension musicale entre perception et cognition

Samedi 26 janvier 2008,

10 h–12 h et 14 h–16 h,

Centre Panthéon, s. 58 (entresol)

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

 

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

 

INTERVENANTS

 

Alessandro ARBO (Université Marc-Bloch, Strasbourg)

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

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

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

 

Jerrold LEVINSON (University of Maryland)

Concaténationnisme, architectonisme et appréciation musicale

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

 

Luca MARCONI (Università di Bologna)

Semiotics of music and musical understanding Semiotics have offered us some hints about carrying out research on musical understanding: these hints have been given to us mostly by Umberto Eco in his theories on textual interpretation first expounded in his book Lector in Fabula  (in English The Role of the Reader) and then in his more recent books I limiti dell’interpretazione and Interpretazione e sovrainterpretazione.

As a starting point I will take two distinctions made by Eco: that between the ‘empirical author’ and the ‘model author’ and that between the ‘empirical reader’ and the ‘model reader’. These distinctions are useful for approaching the relationship between the texts  and the concept of ‘intention’. The main benefit obtainable by the application of Eco’s theories to the music can be summed up in the following terms: the limited relativism à la Eco suggests two roles of the musicologist interested in musical hermeneutics, firstly the role of the distinguishing musicologist, who considers the activities of the empirical fructifiers of a text by differentiating between what are interpretations of that text and what are free uses of it; secondly the role of the guiding musicologist, who analyzes a text by showing how to interpret it for the empirical fructifiers who intend to adopt this conduct of fruition.

 

Aaron RIDLEY (University of Southampton)

Participation à confirmer

4. Phénoménologie et esthétique, Samedi 23 février 2008, 10 h–12 h et 14 h–16 h, Centre Panthéon, s. 58 (entresol)

5. Signes, mécanismes et catégories, Samedi 5 avril 2008, 10 h–12 h et 14 h–16 h, Centre Panthéon, s. 58 (entresol)

 

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

 

 

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Trois rencontres autour de Jean-Luc Nancy et ses invités.

 

Lundi 7 janvier 2008,

à partir de 18h30.

Salon de thé du musée.

Entrée libre

dans la limite des places disponibles.

 

(3/3) Le plaisir esthétique

 

Séminaire

 

Hubert Damisch : philosophe spécialisé en esthétique et en histoire de l’art, professeur à l’École des hautes études en sciences sociales de Paris. Il écrit sur la peinture, l’architecture, la photographie, le cinéma, le théâtre. Parmi ces nombreux ouvrages : La théorie des nuages, Traité du trait, Le Jugement de Pâris.

 

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(internet source: http://www.sofrphilo.fr/?idPage=12&page=conference&numPage=1&idConference=22)

 

Baldine Saint Girons

 

L'acte esthétique

 

samedi 19 janvier 2008, à 16:00,

Sorbonne, amphi Michelet

 

Parler d'acte esthétique, c'est vouloir habiliter et rendre visible ce que nous appellerons " le travail esthétique ", plutôt que le sentiment ou la relation esthétiques. En considérant d'abord l'esthétique comme un adjectif substantivé, nous chercherons à isoler non seulement l'élément esthétique qui s'enchevêtre à la plupart des actes de pensée, mais des " moments " esthétiques qui permettent ou favorisent le surgissement de la pensée, en amont, et son transfert ou sa communication, en aval.

Première réduction abusive de l'esthétique : esthétique serait synonyme d'artistique. Soit un exemple qui éclairera d'emblée notre projet : pourquoi rendre der ästhetische Zuschauer de Nietzsche par " le spectateur artiste " ou " l'auditeur artiste " (1964 et 1977) ? " Spectateur esthétique " aurait sans doute conduit au pléonasme. Mais il est clair que ni " spectateur ", ni " auditeur " ne traduisent vraiment Zuschauer. C'est bien de témoin ou d'" acteur esthétique " qu'il s'agit ; et il n'y a aucun lieu de confondre l'acte esthétique du témoin avec l'acte artistique. Le travail du spectateur, si on veut garder ce mot, est un travail esthétique.

Deuxième réduction : on fait d'esthétique un synonyme du beau. Pourtant, non seulement l'aisthesis ne saurait se montrer toujours belle, mais il n'est pas sûr que le souci premier ou le souci unique de la sensibilité soit de trier le sensible en le pliant à des catégories, telles que le beau, le gracieux, le grotesque, etc. Si l'esthétique comme discipline se réduisait à la callistique, ainsi que le veut Baumgarten, voire même à la science des catégories esthétiques, elle ne se soucierait plus d'élaborer et de transmettre des techniques du travail esthétique, permettant de recomprendre les différents actes artistiques et d'approfondir la singularité sensible.

Pour que l'élément esthétique puisse être correctement dégagé, trois thèses philosophiques, plus ou moins explicites ou latentes, doivent être systématiquement réexaminées : la thèse de la passivité, jointe à celle de l'ignorance (point besoin d'effort ni d'apprentissage pour sentir) ; la thèse de l'instantanéité (le travail esthétique s'effectuerait toujours in praesentia et se réduirait au seul jugement) ; la thèse de l'hédonisme dans ses deux versions : morale et socio-politique (le travail esthétique ne mériterait pas ce nom, car il appartiendrait à la sphère du divertissement ; et il serait l'apanage d'une classe opulente et oisive).

L'enjeu de la présente recherche est de montrer la quadruple fonction de l'acte esthétique : réponse à la provocation du sensible, sauvegarde de l'altérité, enrichissement et production du réel, instauration d'un lien substantiel entre les hommes. J'insisterai surtout sur le troisième point, ou plutôt sur son fil conducteur : comment et pourquoi l'acte esthétique s'inspire-t-il de la pratique des différents arts pour se rapporter au monde ? Il le poétise et le musicalise, le jardine ou le paysage, le peint ou le sculpte, l'architecture ou le chorégraphie. Voila non pas des métaphores vaines, mais les noms d'opérations rigoureuses, liées à des perspectives et à des problèmes bien précis.

 

Baldine Saint Girons est professeur de philosophie des XVIIe et XVIIIe siècles à l'Université de Paris X-Nanterre

 

 

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(internet source: http://www.sofrphilo.fr/?idPage=12&page=conference&numPage=1&idConference=21)

 

Catherine Kintzler

 

La série en art et ses paradoxes

 

samedi 16 février 2008, à 16:00

Sorbonne, Amphi Michelet

 

Reprogrammation de la conférence annulée le 17 nov. 07 à cause des difficultés de transport

 

Argument

Tableaux en série, réunions de brouillons, d'études et d'esquisses, états de gravure, sérigraphies, sérialité formelle de procédures de composition, d'écriture, de versification, réorchestrations, suites, doubles et variations, répétition du copiste, du faussaire, de l'élève qui se fait la main " cent fois sur le métier ", " encore une fois " du professeur, du lecteur qui relit, de l'amateur qui se repasse le disque, revient voir le film ou l'opéra... : qu'il s'agisse d'un mode d'exposition, d'un mode de production, d'une modalité de l'expérience esthétique, les occurrences de la série couvrent tous les champs de l'art. A peine pourrait-on y trouver un objet ou une opération qui l'exclurait radicalement, qui n'en supposerait pas l'existence - qu'elle soit exhibée, masquée ou hypothétique -, même si c'est pour l'escamoter ou la désavouer.

En lui-même, l'essai de fournir une description raisonnée de ces occurrences engage un parcours philosophique qui rencontre les questions massives de l'objet, de l'imitation, du réel et de la supposition, de la constitution d'une expérience. Il faudra se demander aussi pourquoi la notion de série revêt tant d'évidence à nos yeux.

Ce parcours, nécessairement non-exhaustif, lui-même à l'état de série indéterminée, met en évidence les paradoxes constitutifs de la notion de série : présence et absence, singularité et pluralité, identité et altérité, écart et similitude, accumulation et surgissement, hétérogénéité et homogénéité, continuité et discontinuité, errance et certitude, infinitif et définitif, perfectibilité et perfection.

On tentera d'en penser quelques-uns en recourant à trois modèles qui eux-mêmes rappellent une série philosophique classique maintes fois répétée :

- Celui du jugement réfléchissant qui, en élargissant le concept de nature, propose une manière de cosmologie.

- Celui du simulacre qui, en dénonçant le mythe de l'originalité, propose une ontologie de la production où l'atelier est le lieu de la nature naturante et le schème de la connaissance : on se tournera vers Platon et Deleuze, parfois pour leur échapper.

- Celui (inspiré de Jankélévitch) de l'organe-obstacle qui, s'appuyant sur les paradoxes du temps, propose une morale oscillatoire prenant ses distances avec le désespoir et avec l'ennui.

 

Catherine Kintzler est professeur émérite à l'Université de Lille 3.

 

NB. A la suite de graves incertitudes concernant l'attribution de l'amphi Michelet pour notre saison 2007-2008, le bureau avait prudemment déprogrammé la conférence prévue le 17 novembre. La situation s'étant dénouée dans la deuxième semaine de septembre, le bureau a décidé de reprogrammer la séance du 17 novembre pour laquelle le Président B. Bourgeois a sollicité Catherine Kintzler, membre du bureau - il était en effet hors de question de solliciter un(e) invité(e) dans un délai aussi bref.

En raison de cet imprévu, deux conférences d'esthétique se succéderont en début de saison.

 

 

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

 

Bernard Vouilloux

 

Y a-t-il une correspondance des arts ?

 

17 janvier 2008 - 19h

 

L'étude des relations entre les arts est un domaine actuellement en plein essor. On ne peut, cependant, envisager dans l'absolu les relations entre les arts. Le domaine de définition des arts est en effet aussi mouvant que celui de l'art, mais pour d'autres raisons. C'est pourquoi les tentatives visant à présenter de manière systématique les relations entre les arts doivent être abordées avec circonspection. La présente conférence propose une relecture critique de ce qui aura été la dernière en date de ces tentatives, et non la moindre : l'ambitieuse synthèse proposée en 1947 par Étienne Souriau dans son ouvrage La Correspondance des arts.

 

Bernard Vouilloux est professeur de langue et littérature françaises modernes et contemporaines à l'Université Michel de Montaigne-Bordeaux III.

 

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

 

 

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

 

CALENDARIO SEMINARIO PERMANENTE D’ESTETICA 2008

 

Venerdì 25 gennaio ore 11-13

 

Apertura dei lavori del seminario.

Introduzione del prof. Desideri su Sensibilità e linguaggio e del prof. Matteucci sul tema A partire da Herder.

 

Venerdì 29 febbraio ore 11-13

 

Relazione del prof. Montani su Iper/ipo/inter-medialità: tre concetti per una bioestetica

 

Venerdì 28 marzo ore 11-13

 

Relazione del prof. Griffero su Atmosfericità e prima impressione. Per una estetica degli spazi emozionali

Riflessione su una possibile estetica e fenomenologia delle atmosfere intese come quasi-cose, come spazi emozionali "relativamente" oggettivi

           

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

 

 

NEW 7 (internet source: aesthetics-l@mh.databack.com)

 

The Indianapolis Peirce Seminar

 

Forthcoming Talks:

 

Semeiotic's Significance

 

Tom Short

Chairman PEP Board of Advisors

Wednesday April 23 at 4:00 pm, ES 0014

 

Abstract: Peirce's theory of signs applies equally to science and to art, to factual assertion and to moral imperatives, to thought and to action and to feeling. The significance of this breadth is that the theory reveals in all of these areas of human experience the same structure, one of objectivity. Within it, correction occurs and, hence, reality is distinguished from appearance. But this is not a theory that assimilates emotion to judgment or art and morality to cognition. I shall speak of art and feeling especially. Their significance depends on there being limiting cases of semeiotic: within them certain semeiotic distinctions that elsewhere obtain do not obtain. And that form of significance is essential to all other forms of significance.

 

The aim of the seminar is to enable visiting scholars to present their work to a specialized audience that has a strong interest in the work of Charles S. Peirce. It meets on an irregular basis at the offices of the Peirce Edition Project: 902 West New York Street, ES 0010, Indianapolis, IUPUI campus.

 

To receive advance notice of talks by email please contact the organizer Professor <mailto:cdwaal@iupui.edu>  Cornelis de Waal.

 

 

NEW 8 (internet source: http://www.wissenschaftskompass.at)

 

Dem Tod ins Gesicht sehen. Sarah Kofman in der Lehrstunde des Dr. Tulp

Art:      Vortrag

Ort:      IFK Internationales Forschungszentrum Kulturwissenschaften

1010 Wien, Reichsratsstraße 17

Tel: 01-504 11 26, Fax: 01-5041132

eMail:ifk@ifk.ac.at

Datum:            28.4.2008

Zeit:     18:00:00

Details:            http://www.ifk.ac.at

Veranstalter:   IFK Internationales Forschungszentrum Kulturwissenschaften

Anmeldung/

Information:    Tel: 504 11 26

Fax: 01-5041132

ifk@ifk.ac.at

VortragendeR:            Karoline Feyertag

Kosten:           keine

 

NEW 9 (internet source: http://www.wissenschaftskompass.at)

 

Die Anfänge des Ästhetikunterrichts an den wichtigsten Universitäten der Habsburgermonarchie 1763-1805: Wien, Prag, Freiburg im Breisgau

Art:      Vortrag

Ort:      Österreichische Akademie der Wissenschaften

1010 Wien, Ignaz Seipel Platz 2

Tel: +43/1/51581/3318, Fax: +43/1/51581/3311

eMail:alexander.preisinger@oeaw.ac.at

Datum:            9.6.2008

Zeit:     15:00:00 - 17:00:00

Details:            http://www.oeaw.ac.at/kkt/

Veranstalter:   Kommission für Kulturwissenschaften und Theatergeschichte der ÖAW

Anmeldung/

Information:    Tel: 51581-3318

Fax: +43/1/51581/3311

peter.stachel@oeaw.ac.at

VortragendeR:            Tomas Hlobil

Kosten:           keine

 

NEW 10 (internet source: http://www.wissenschaftskompass.at)

 

Transverbal - hörbar - spürbar. Therapeut und Patient als Elemente musiktherapeutischer Atmosphären

ÖBM Jour fixe

Art:      Vortrag

Ort:      c/o wiener arbeitskreis für psychoanalyse

1010 Wien, Salzgries 16/3a

Datum:            20.6.2008

Zeit:     19:30:00

Veranstalter:   ÖBM - Österreichischer Berufsverband der MusiktherapeutInnen

Anmeldung/

Information:   

monikageretsegger@gmx.at

VortragendeR:            Mag. Michael Stevic

Anmerkung:    Atmosphären sind nicht nur Teil des Planeten Erde, sondern im Besonderen auch Inhalt der Musiktherapie. Beginnend mit notwendigen Begriffserklärungen ("Transverbal", das "Dialogische Prinzip", das "Hier und Jetzt", "Ökologische Psychotherapie"), auf dessen Verständnis die Synthese zwischen Atmosphären und der Musiktherapie aufbaut, wird die Erdatmosphäre als Paradigma für die musiktherapeutischen Atmosphären herangezogen. Parallelen dieser Atmosphären werden dargelegt und ermöglichen es nicht nur die musiktherapeutischen Atmosphären bildhaft darzustellen (Wetter-Stimmung, Klima-Beziehung), sondern diese Momente in der Musiktherapie von der Schwierigkeit zu lösen, sie verbal zu beschreiben. Die Unterteilung in die musiktherapeutischen Atmosphären, Atmosphäre, Thermosphären und Resonanzraum, veranschaulichen ihren wechselseitigen Kreislauf, heben die dialogische Hinwendung des Therapeuten zum Patienten sowie deren gemeinsame Beziehung in den so genannten Interpausen hervor und führen schließlich zum Resonanzraum, dem Herz musiktherapeutischer Atmosphären. Hier ereignen sich die besonderen, atmosphärischen Momente emotionaler wie elementarer Resonanz. Ziel ist die "musiktherapeutische Resublimation": die Veränderung von atmosphärisch Wahrnehmbarem in körperlich Spürbares. Die Schilderung von Fallszenen aus eigener Praxis dient immer wieder dazu, Theoretisches zu veranschaulichen und atmosphärische Geschehnisse auf den Boden des Nachvollziehbaren zurückzuholen.

Kosten:           ab € 2.0

 

 

NEW 11 (internet source: search engine)

 

Zu den Referentinnen und Referenten:

Prof. Dr. Olivier Abel

Professeur de philosophie et éthique à l'Institut

protestant de théologie, Faculté libre de théologie

protestante de Paris.

Prof. Dr. Pierre Bühler

Professor für Systematische Theologie mit Schwerpunkt

Hermeneutik und Fundamentaltheologie an

der Universität Zürich.

Prof. Dr. Dorothea Erbele-Küster

Professorin für Altes Testament an der universitären

Fakultät für protestantische Theologie in Brüssel.

Dr. Daniel Frey

Maître de conférences en philosophie de la religion

et anthropologie à la Faculté de théologie protestante

de l’Université Marc Bloch de Strasbourg.

Kathrin Messner

Doktorandin am Forschungsprojekt zu Paul Ricoeurs

biblischer Hermeneutik, Zürich/ Tübingen.

Prof. Dr. Nicola Stricker

Professeur de dogmatique à l’Institut protestant de

théologie, Faculté libre de théologie protestante de

Paris.

Prof. Dr. Jean Zumstein

Professor für Neutestamentliche Theologie, Exegese

und Hermeneutik an der Universität Zürich.

Ricoeur II

Die Welt des Lesers als Herausforderung

an die theologische Hermeneutik

Le monde du lecteur – un défi lancé à

l’herméneutique théologique

Die Tagungsreihe zu Paul Ricoeurs biblischer Hermeneutik

umfasst fünf Tagungen, die abwechslungsweise

in Paris (am Fonds Ricoeur; französisch)

und in Zürich (am Institut; zweisprachig) stattfinden:

1. Die Welt des Autors: 11. Juni 2007 (Paris)

2. Die Welt des Lesers: 11.-12. April 2008 (Zürich)

3. Die Welt des Textes: 17. November 2008 (Paris)

4. Die Welt der Sache: Februar/März 2009 (Zürich)

5. Abschlusstagung: Juni 2009 (Ort noch offen)

Die Tagung ist allen Mitarbeitern und Studierenden

der Universität und der ETH Zürich sowie des

Fonds Ricoeur, Paris, kostenlos zugänglich.

Der Eintritt beträgt für alle übrigen Interessierten

CHF 50 (ermässigt CHF 25).

Schriftliche Anmeldung ist erwünscht.

Institut für Hermeneutik und Religionsphilosophie

Kirchgasse 9 8001 Zürich

hermes@theol.uzh.ch

www.uzh.ch/hermes

Universität Zürich

Institut

für Hermeneutik

und Religionsphilosophie

Ricoeur II

Die Welt des Lesers als Herausforderung

an die theologische Hermeneutik

Le monde du lecteur – un défi lancé à

l’herméneutique théologique

11./12. April 2008

Kirchgasse 9

8001 Zürich

Raum 200

 

 

 

 

 

PUBLICATIONS (NEW 6 + 8)

 

1 (internet source: private e-mail)

 

Johannes Angermüller

Nach dem Strukturalismus

Theoriediskurs und intellektuelles Feld in Frankreich

Oktober 2007, 290 Seiten, kart., 28,80 Euro

ISBN: 978-3-89942-810-0

 

Dieser Band trägt zu einer Genealogie des theoretischen Moments bei, der das intellektuelle Feld in Frankreich in der zweiten Hälfte des 20. Jahrhunderts erfasst. Mit sprachwissenschaftlichen Instrumenten der neueren französischen Diskursanalyse wird gezeigt, auf welche Weise theoretische Texte (etwa von Derrida und Foucault) auf ihre Entstehungs- und Rezeptionskontexte verweisen und das vielfältige Wissen ihrer Leser mobilisieren.

 

Anhand von ausgewählten Textausschnitten analysiert die Studie das vielschichtige Sprechgewirr eines Diskurses, in dem es nicht nur um große Ideen geht. Es entsteht die Skizze einer Wissenssoziologie nach dem Strukturalismus.

 

Johannes Angermüller (Dr. phil.) ist wissenschaftlicher Assistent am Institut für Soziologie an der Universität Magdeburg.

 

Weblink: http://www.transcript-verlag.de/ts810/ts810.htm

 

 

2 (internet source: private e-mail)

 

Harald Lemke

Die Kunst des Essens

Eine Ästhetik des kulinarischen Geschmacks

September 2007, 220 Seiten, kart., 20,80 Euro

ISBN: 978-3-89942-686-1

 

Schon vor dem spanischen Starkoch Ferran Adrià ruft die avantgardistische Künstlergruppe der italienischen Futuristen eine Revolution der Kochkunst aus und setzt damit eine neue Kunstrichtung in Gang: die Eat Art. Seitdem nimmt die künstlerische Auseinandersetzung mit dem Thema Essen und dem ganzen Spektrum der Nahrungskette auf vielfältige Weise zu. Dieses Buch behandelt einschlägige Positionen dieser Kunst des Essens und eröffnet damit der philosophischen Theorie der Gegenwartskunst ein ebenso aktuelles wie facettenreiches Forschungsfeld. Darüber hinaus dient der Entwurf einer gastrosophischen Ästhetik der programmatischen Absicht, zentrale Grundannahmen der traditionellen Ästhetik zu revidieren, indem erstmals das kulinarische Geschmacksurteil als ein philosophisches Erkenntnisvermögen gedacht wird. Alles in allem wird eine "Essthetik" kreiert, die wesentliche

Zutaten der Ethik und Politik eines besseren Welt-Essens auftischt.

 

Harald Lemke (Dr. phil. habil.) lehrt an den Universitäten Hamburg und Lüneburg. Seine Forschungsschwerpunkte sind Kritische Theorie, Philosophie der Praxis, Ethik des guten Lebens, Politische Philosophie, Ästhetik und Interkulturalität.

 

Weblink: http://www.transcript-verlag.de/ts686/ts686.htm

 

 

3 (internet source: private e-mail)

 

Judith Siegmund

Die Evidenz der Kunst

Künstlerisches Handeln als ästhetische Kommunikation

Oktober 2007, 258 Seiten, kart., 29,80 Euro

ISBN: 978-3-89942-788-2

 

Kunstwerke sind weder Träger einer historischen oder überhistorischen Wahrheit, noch sind sie unbestimmbar. Sie sind von Künstlern absichtsvoll geschaffene Gegenstände und Situationen, die als Kommunikationsträger zwischen Produzenten und Rezipienten stehen.

 

Das gelungene Kunstwerk leuchtet ein, obwohl (und indem) es fremd ist. Aus dieser Einsicht entwickelt das Buch Grundzüge einer neuen Theorie ästhetischer Kommunikation - einer Theorie, die den Gegensatz von Produktions- und Rezeptionsästhetik überwindet und zugleich der künstlerischen Praxis angemessen ist.

 

Judith Siegmund (Dr. phil.) lebt als Bildende Künstlerin und Philosophin in Berlin.

 

Weblink: http://www.transcript-verlag.de/ts788/ts788.htm

 

 

4 (internet source: private e-mail)

 

Fabian Goppelsröder

Zwischen Sagen und Zeigen

Wittgensteins Weg von der literarischen zur dichtenden Philosophie

Oktober 2007, 168 Seiten, kart., 18,80 Euro

ISBN: 978-3-89942-764-6

 

Ludwig Wittgensteins Philosophie war immer schon Philosophieren. Das "Wie", die Form, ist ihm nicht lediglich marginaler Zusatz zum eigentlich wichtigen Inhalt. Seine philosophische (Überzeugungs-)Kraft liegt nicht allein in seinen Argumenten - sie ist auch Folge des literarisch-poetischen Charakters seiner Texte. Nicht zuletzt das macht sein Õuvre zu einem über das Gesagte hinausgehenden Werk.

 

Jenseits der strikten Unterscheidung in frühe und späte Werkphase nimmt dieses Buch die Dimension eines auf Wahrnehmung mit allen Sinnen zielenden, aisthetischen Philosophierens zum Ausgangspunkt einer Rekonstruktion des Wittgenstein'schen Denkwegs.

 

Fabian Goppelsröder studierte Philosophie und Geschichte in Berlin und Paris. Seit 2005 promoviert er in Stanford (CA) zur Geste.

 

Weblink: http://www.transcript-verlag.de/ts764/ts764.htm

 

 

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

 

I am happy to announce the publication of the latest volume in The Blackwell Philosophy and PopCulture Series:

 

Lost and Philosophy: The Island Has Its Reasons

 

To propose a future volume in the Blackwell series e-mail me at wtirwin@kings.edu

 

William Irwin

Series Editor,

The Blackwell Philosophy and PopCulture Series

Associate Professor of Philosophy

King’s College

Wilkes-Barre, PA 18711

(570) 208–5900 ext. 5493

wtirwin@kings.edu

http://www.myspace.com/williamirwin

http://staff.kings.edu/wtirwin/

 

 

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

 

I am happy to announce the publication of the latest volume in The Blackwell Philosophy and PopCulture Series:

 

24 and Philosophy: The World According to Jack

 

To propose a future volume in the Blackwell series send an e-mail to wtirwin@kings.edu

 

William Irwin

Series Editor,

The Blackwell Philosophy and PopCulture Series

Associate Professor of Philosophy

King’s College

Wilkes-Barre, PA 18711

(570) 208–5900 ext. 5493

wtirwin@kings.edu

http://staff.kings.edu/wtirwin/

 

 

7 (internet source: private e-mail)

 

Christoph Hubig

Die Kunst des Möglichen II

Grundlinien einer dialektischen Philosophie der Technik

 

Band 2: Ethik der Technik als provisorische Moral

Oktober 2007, 266 Seiten, kart., 28,80 Euro

ISBN: 978-3-89942-531-4

 

Primäre Aufgabe einer Ethik der Technik ist nicht die bloße Anwendung 'allgemeiner' Ethik, sondern die Rechtfertigung spezifischer Regeln eines Handelns mit Technik, die - als Medium - Möglichkeitsräume eröffnet, verändert, verschließt. Angesichts steigender Unsicherheit, Unschärfe und Ungewissheit der Technikfolgen geht es um den Umgang mit Chancen- und Risikopotenzialen. Dabei hat sich eine Ethik der Technik dem Wertpluralismus zu stellen, angesichts dessen sie nach basalen Kriterien des Erhalts des Handelnkönnens fragt. Sie nimmt mithin die klassische Fragestellung der Klugheitsethik auf, die René Descartes zum Konzept einer provisorischen Moral geführt hat. Diese sichert Options- und Vermächtniswerte unseres Handelns jenseits des Wertpluralismus und mündet in Vorschläge zum "Dissensmanagement".

 

Christoph Hubig (Prof. Dr. phil.) lehrt Philosophie an der Universität Stuttgart. Seine Arbeitsschwerpunkte sind Technik- und Kulturphilosophie, Wissenschaftstheorie, Handlungs- und Institutionentheorie sowie anwendungsbezogene Ethik. Er war sechs Jahre Vorsitzender des Bereichs "Mensch und Technik" des Vereins Deutscher Ingenieure (VDI) und leitet als Kurator der Alcatel SEL-Stiftung das Studienzentrum Deutschland. Seit 2004 ist er Honorarprofessor an der Dalian University of Technology/VR China.

 

Weblink: http://www.transcript-verlag.de/ts531/ts531.htm

 

 

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

 

For all interested.

A rough translation of the Foreword of

Phylogenesis of beauty (book is at

http://www.lulu.com/content/1410129).

A feedback would be welcome.

Pietro Gaietto

Gaietto@fastwebnet.it

 

Pietro Gaietto

 

Phylogenesis  of beauty-Evolutionistic universal theory

 

Foreword

 

Beauty gives pleasure to the life of the people that always look for it. It is not in the intents of this book the purpose to make to increase the appreciation of I, but that to explain as it is formed of time in time and as it evolves. The analysis of the beauty, in fact, seems to furnish a conspicuous key to formulate a hypothesis that allows of again to go through the same walk of the evolution of the organic and inorganic world, on our Planet,also integrating the lacking parts or those that some authors consider real evolutionary jumps of it. In the book, this analysis is conducted through the documentation scientific, and a deepened interpretation. On our Earth, beauty is integral part of the physical form of a mineral and of an animal and vegetable kind, as also of a human product. We know that the origin of the living beings, at first microscopic, it is in the planet Earth, through modifications physical-chemical still little known, but with strong roots in the mineral Kingdom, from which are been inherited forms of the our beauty of geometric nature. But, still models of beauty were before subscribed in the same form of the celestial bodies, to start from the sphere and subsequently from the hexagon and from the pentagon. In this analysis of the beauty backward in the time, it is a great help for us to consider that the man, from a zoological point of

view, is an animal, and that his products are the products of an animal, and therefore they constitute a great source of information, as parameter, on the evolution and the formation of the beauty in the nature, from the origins to our days, in how much they exist and they are documented same ways of transformation. Through the analysis of the human products, can quickly be checked the evolution (transformation) of the beauty through the fashions that

constantly follow in the time. I want here to clarify that in this scientific analysis of mine, it is excluded quality of the beauty of the living beings and the products of the man, in how much it is always personal opinion of the observer.In the book I have put in relief the function of the beauty and the various interests of the man toward it, also in relationship to the different ages of the life, from the infancy, to the adolescence, up to the maturity. In the illustrations, integral part of the scientific analysis, I have inserted as well drawings and photos of the last two centuries, because beauty must be analyzed in relationship to the moment in which has been realized. The rule of the continuous evolution in the time and in the space, at the base of my theory, valid for the human products, is applied to the evolution of the beauty of the living beings (according to a idea of mine, new in the science), from  the origin, crossing all the geological eras until today. Transformations can be made evident only putting events in a temporal sequence, through the relationships cause-effect. In the book, the ways according to which the evolution of the beauty has happened and  happens are integrated by a review of the principal discoveries of living beings fossilized. Mine Phylogenesis of beauty is a universal evolutionistic theory in how much all-comprehending . In fact, denying, according to a personal opinion, the existence of the ugliness, as contrary of the beautiful, my theory nothing excludes, in the individualization of the most important aspects of the formation and of the evolution of the beauty.

 

 

NEW 9 (internet source: private e-mail)

 

BERND GOEBEL / FERNANDO SUÁREZ MÜLLER (HRSG.)

Kritik der postmodernen Vernunft

ÜBER DERRIDA, FOUCAULT UND ANDERE ZEITGENÖSSISCHE DENKER

Wissenschaftliche Buchgesellschaft Darmstadt 2007

 

 

NEW 10 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

JANUS HEAD: A Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenological Psychology, and the Arts

 

Volume 10.1 (Summer/Fall 2007)

 

We are very pleased to announce the new issue of "Janus Head," which is now available on-line at: http://www.janushead.org

 

Here is a list of the contents of the new issue:

JANUS HEAD (Volume 10, Issue 1)

EDITORIAL

"Celebrating Our 10th Volume"

by Brent Dean Robbins

http://www.janushead.org/10-1/Editorial.pdf

ESSAYS

"Technologies--Musics--Embodiments"

by Don Ihde

http://www.janushead.org/10-1/Ihde.pdf

"The Noise of the World"

by Michael Filimowicz

http://www.janushead.org/10-1/Filimowicz.pdf

"Agency, Identity and Technology: The Concealment of the Contingent in American Culture"

by John Pauley

http://www.janushead.org/10-1/Pauley.pdf

"A Heideggerian Reflection on the Prospects of Technology"

by Charles J. Sabatino

http://www.janushead.org/10-1/Sabatino.pdf

"Bodies in Transit: The Plastic Subject of Alphonso Lingis"

by Tom Sparrow

http://www.janushead.org/10-1/Sparrow.pdf

"Sylvia Plath and White Ignorance: Race and Gender in 'The Arrival of the Bee Box'"

by Ellen Miller

http://www.janushead.org/10-1/Miller.pdf

"Standing Unearthed: Construing a Persona Behind Plath's 'I Am Vertical'"

by Teresa Calderon Quindos

http://www.janushead.org/10-1/Quindos.pdf

"Friendship Across Differences: Heidegger and Richard Wright's 'Native Son'"

by Sharin N. Elkholy

http://www.janushead.org/10-1/Elkholy.pdf

"Recovering Play: On the Relationship Between Leisure and Authenticity in Heidegger's Thought"

by Kevin Aho

http://www.janushead.org/10-1/Aho.pdf

"'Is There a Difference?': Iconic Images of Suffering in Buddhism and Christianity"

by Alan Pope

http://www.janushead.org/10-1/Pope.pdf

"On the Central Motivation of Dostoevsky's Novels"

by Predrag Cicovacki

http://www.janushead.org/10-1/Cicovacki.pdf

"Against Violent Objects: Linguistic Theory and Practice in Novalis"

by Kate Terezakis

http://www.janushead.org/10-1/Terezakis.pdf

"The Artist's Study of Nature and its Relationship to Goethean Science"

by Daan Hoekstra

http://www.janushead.org/10-1/Hoekstra.pdf

ART

Heal Thyself

by Kate Sedgwick

http://www.janushead.org/10-1/Sedgwick.html

CREATIVE WRITING

Heights of Macchu Picchu (translated by John Felstiner)

by Pablo Neruda

http://www.janushead.org/10-1/Neruda.pdf

Fourteen poems from Breathturn (translated by John Felstiner)

by Paul Celan

http://www.janushead.org/10-1/Celan.pdf

A House on the Drim River

by Kalina Maleska-Gegaj

http://www.janushead.org/10-1/Maleska-Gegaj.pdf

Six poems

by Katia Kapovich

http://www.janushead.org/10-1/Kapovich.pdf

The Doom

by Pankaj Kurulka

http://www.janushead.org/10-1/Kurulka.pdf

Says Who

by Richard Hoffman

http://www.janushead.org/10-1/Hoffman.pdf

Six prose poems

by Robert Gibbons

http://www.janushead.org/10-1/Gibbons.pdf

BOOK REVIEWS

One-Hundred Thinkers

Review of "Great Thinkers A-Z"

Edited by Julian Braggini & Jeremy Stangroom

Reviewer: Thomas Hallinan

http://www.janushead.org/10-1/Hallinan.pdf

A Deleuzian Reading of Bergson

Review of "The Challenge of Bergsonism"

by Leonard Lawlor

Reviewer: Rune Moelbak

http://www.janushead.org/10-1/Moelbak.pdf

A Translator's Introduction to Levinas

Review of "Toward the Outside: Concepts and Themes in Emmanuel Levinas"

by Michael B. Smith

Reviewer: Wade Roberts

http://www.janushead.org/10-1/Roberts.pdf

Stories of Psychologists

Review of "Narrative Identities: Psychologists Engaged in Self-Construction"

by George Yancy & Susan Hadley

Reviewer: Kristen Hennessy

http://www.janushead.org/10-1/Hennessy.pdf

CONTRIBUTORS

http://www.janushead.org/10-1/Contributors.pdf

Information about purchasing hard copies & making subscribtions can be found here:

http://www.janushead.org/subscribe.cfm

 

Costica Bradatan,

Senior Editor

Janus Head

 

Costica Bradatan, PhD

Assistant Professor

Texas Tech University

The Honors College

PO Box 41017

Lubbock, TX 79409

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

 

 

NEW 11 (internet source: aesthetics-l-request@listserv.indiana.edu)

 

An innovative theoretical reassessment of temporality in documentary films

 

DOCUMENTARY TIME: Film and Phenomenology

Malin Wahlberg

University of Minnesota Press | 192 pages | 2008

ISBN 978-0-8166-4968-6 | hardcover | $67.50

ISBN 978-0-8166-4969-3 | paperback | $22.50

Visible Evidence Series, volume 21

 

Finding the theoretical space where cinema and philosophy meet, Malin Wahlberg’s sophisticated approach to the experience of documentary film aligns with attempts to reconsider the premises of existential phenomenology. Wahlberg discusses a corpus of classical and recent experiments in film and video in which creative approaches to the time of the image and the potential archive memory of filmic representation illuminates meanings of temporality and time experience.

 

For more information, including the table of contents, visit the book’s webpage:

http://www.upress.umn.edu/Books/W/wahlberg_documentary.html

 

For more information on the Visible Evidence Series:

http://www.upress.umn.edu/byseries/visibleevidence.html

 

Sign up to receive news on the latest releases from University of  Minnesota Press: http://www.upress.umn.edu/eform.html

 

 

 

NEW 12 (internet source: private e-mail)

 

AVIS DE PARUTION

Éditions L’HARMATTAN

 

LE JEU DES SCIENCES AVEC HEIDEGGER ET DERRIDA

 

Fernando BELO

 

Scène, retrait et régulation de l’aléatoire (vol. 1)

 

Les sciences actuelles sont désarticulées, éparpillées. Cet ouvrage se voudrait une tentative de dépasser Kuhn : trouver, au-dedans de leurs paradigmes, ce qu'il y a de commun dans les découvertes scientifiques majeures du XXè siècle - théorie de l'atome, biologie moléculaire, théorie de l'interdit de l'inceste et exogamie (Lévi-Strauss), double articulation du langage (Martinet), théorie des pulsions de Freud - pour arriver à les composer les unes avec les autres et avec la phénoménologie de ce même XXè siècle (Husserl, Heidegger, Derrida).

 

ISBN : 978-2-296-03639-0 • novembre 2007  • 468 pages

Prix éditeur : 35 €

 

La phénoménologie reformulée, en vérité (vol. 2)

 

A travers la notion de jeu, définie par Derrida comme l'unité du hasard et de la nécessité, l'auteur entend affirmer la vérité phénoménologique des découvertes scientifiques majeures, en montrant comment le champ des sciences s'unifie et s'articule selon les principes philosophiques édictés par Husserl.

 

ISBN : 978-2-296-03640-6 • novembre 2007  • 670 pages

Prix éditeur : 52 €

 

Vous trouverez ci-jointe une présentation détaillée de l’ensemble.

Bien cordialement.

 

BON DE COMMANDE

 

A retourner à L’HARMATTAN, 7 rue de l’École Polytechnique 75005 Paris

Veuillez me faire parvenir ............ exemplaire(s) du livre :

Le jeu des sciences avec Heidegger et Derrida.

au prix unitaire de 52 € (vol. 1) / 35 € (vol. 2) + 4,05 € de frais de port (+ 0,80€ de frais de port par ouvrage supplémentaire) soit un total de................€.

NOM :

ADRESSE :

Ci-joint un chèque de ............ €.                     

Pour l’étranger, vos règlements sont à effectuer: - en euros sur chèques domiciliés sur banque française. - par virement en euros sur notre CCP 23 625 44 N Paris - par carte bancaire (Visa uniquement) N°................................ date d’expiration...../...../...../ et le numéro CVx2 (les 3 derniers chiffres se trouvant au dos de votre carte, à gauche de votre signature) : …………………………..

 

Éditions L’HARMATTAN

 5-7, rue de l’École Polytechnique 75005 Paris

Tél. : 01 40 46 79 20 / Fax : 01 43 25 82 03

 

Vous pouvez aussi commander directement l’ouvrage sur notre site internet :

http://www.editions-harmattan.fr

 

 

 

NEW 13 (internet source: private e-mail)

 

Michael Lommel, Volker Roloff (Hg.)

Sartre und die Medien

März 2008, 228 Seiten, kart., 23,80 Euro

ISBN: 978-3-89942-816-2

 

Dieser Band widmet sich den Medienkonfigurationen im Werk Jean-Paul Sartres. Ausgewiesene Kenner seines Werkes und namhafte Medienwissenschaftler lesen seine Schriften neu und richten ihr Interesse auf Wechselbeziehungen zwischen Literatur, Theater und Film, auf Sartres Filmdrehbücher und Szenarien, auf Inszenierungen, Verfilmungen und Bearbeitungen seiner Werke, auf den Philosophen, der zu den Begründern einer Medientheorie des Imaginären gehört - und schließlich auf den Touristen, der mit gesteigerter Wahrnehmungsfähigkeit durch die berühmten italienischen Städte flaniert.  Mit den Medienumbrüchen des 20. Jahrhunderts ist Sartre in

Mehrfacher Hinsicht verbunden: einerseits durch die Reflexion der medienpsychologischen und intermedialen Aspekte des Films, und andererseits als Inspirator neuerer medien- und wahrnehmungstheoretischer Ansätze, die u.a. von Barthes, Foucault, Baudrillard und Deleuze weiterentwickelt wurden.

 

Michael Lommel (PD Dr. phil.) ist wissenschaftlicher Mitarbeiter im Forschungskolleg "Medienumbrüche" der Universität Siegen. Seine Forschungsschwerpunkte sind Medienästhetik, Theater- und Filmtheorie.

 

Volker Roloff (Dr. phil.) ist Professor für romanische Literaturwissenschaft

an der Universität Siegen. Seine Forschungsschwerpunkte sind

Intermedialität, europäische Avantgarden sowie französische und spanische

Theater- und Filmgeschichte.

 

Weblink: http://www.transcript-verlag.de/ts816/ts816.htm

 

 

NEW 14 (internet source: news@aesthetics-online.org)

 

VIENT DE PARAITRE aux Publications de l'Université de Pau (pup@univ-pau.fr)

 

Rhétoriques des arts, VIII: LA LIAISON, 250 pages, 28,00 Euros

 

Veuillez trouver ci-dessous la table des matières et une courte présentation du volume.

 

Ce document, ainsi que l'introduction intégrale du volume sont téléchargeables aux adresses suivantes:

 

http://master-lc.univ-pau.fr/live/digitalAssets/31201_LaLiaison.pdf

http://master-lc.univ-pau.fr/live/digitalAssets/31200_INTRO_LIAISON.pdf

 

TABLE DES MATIERES

INTRODUCTION

- Bertrand Rougé. "'Qu'est-ce que cela donneŠ à délier?' Sur la liaison et le

  mouvement"

I - "TOUT-ENSEMBLE"

- Maurice Brock. "'Du même pas que la nature': le coloris comme liaison chez

  Titien"

- Jean Arrouye. "Les douze liaisons symboliques et rhétoriques du sens au

tympan

  de Neuilly-en-Donjon"

- Ginette Lacaze. "Ce qui lie les conjurations"

- Raymond Court. "Musique et temps tressé"

- Suzanne Liandrat-Guigues. "La passion du drapé"

- Jean Lauxerois. "Pour une critique de la liaison pure"

- Isabelle Thomas-Fogiel. "La liaison comme remise en cause de la

représentation:

  la composition chez Kandinsky et la notion de système dans l'idéalisme

  allemand"

- Jacques Dürrenmatt. "Du style dé-lié (ou Rousseau peut-il s'évanouir ?)"

II - LIENS

- Jacques English. "Liaison ou absence de liaison entre les plans dans le

montage

  d'un film"

- Pierre Fresnault-Deruelle. "Le bien curieux manège d'Arlequin"

- Marie-Noëlle Moyal. "De l'hétérogénéité et de l'homogénéité en musique

  acousmatique"

- Marie-Pierre Gaviano. "Liaison du jugement, jugement de liaison: entre

  Montaigne et la Logique de Port-Royal

- Laura Weigert. "Tisser les liens: la constitution du récit par les liaisons

  picturales"

- Bertrand Rougé. "Point de décollation/point de liaison: récit pictural

minimal

  et liaison liminale de peinture (Jean-Baptiste et la voix prophétique du

  tableau)"

III - DÉLIAISONS ET RÉSEAUX

- Jean-Louis Leutrat. "Un mur d'images"

- Itzhak Goldberg. "Sac de n¦uds"

- Peter Szendy. "Bref Schoenberg (fragments d'une liaison avec Busoni)"

- Michel Costantini. "Impression d'Annemasse: lieu, lien, liant"

- Jean-Pierre Cometti. "Déliés: Esquisse d'une esthétique du vague"

- Christine Savinel. "Les liaisons critiques du Land Art: Smithson du côté de

  Duchamp"

 

Tisser, tresser, nouer, souder, émulsionner, assembler, faufiler,

jointoyer, connecterŠ De la vannerie à l'architecture, de la cuisine à la

peinture, l'action de lier-technologique, symbolique, religieuse-est sans

doute l'une des actions humaines les plus anciennes et fondatrices.

Aujourd'hui manifeste dans le développement des transports, la connexion

généralisée des réseaux ou la pratique des liens hypertexte, elle continue

l'¦uvre de l'homme: construire le cosmos, éloigner le chaos. Elle occupe, à

ce titre, une place décisive aux sources vives de la culture et au

c¦ur-même de toute création. A ce titre, elle a toujours joué un rôle

essentiel dans les pratiques et les théories artistiques.

 

La liaison manifeste la volonté de créer et d'unifier la forme, de

construire le sens, et ainsi d'¦uvrer, parfois jusqu'au "chef-d'¦uvre".

L'idée même de l'¦uvre comme objet unique constitué d'éléments, de

matériaux, de parties, que l'artiste associe et assemble, pose, au-delà des

simples contraintes techniques, la question essentielle de la composition

formelle (unité, harmonie, tout-ensembleŠ) ou de l'architecture

conceptuelle, voire de la cohérence intellectuelle et

philosophique-éventuellement idéologique-de l'ensemble.

 

S'attachant à analyser ces divers modes de liaison dans les arts-et

certains jeux sur la dé-liaison-, les auteurs ici réunis analysent les

enjeux poïétiques et esthétiques de ces pratiques souvent subtiles, tant en

peinture qu'en sculpture, en musique qu'en littérature ou au cinéma, selon

trois axes principaux où l'accent est mis succcessivement sur les modes de

composition formelle du "tout-ensemble", sur la nature et le fonctionnement

de certains liens spécifiques (plastiques, narratifs, sonores,

phénoménologiques), et enfin sur une tendance contemporaine à la

prolifération des réseaux, des liens et des n¦uds, qui semble vouloir

inquiéter l'efficacité même de la liaison à construire et pérenniser un

monde-ou une ¦uvre.

 

NEW 15 (internet source: search engine)

(internet source: http://aesthetics.ff.cuni.cz/current-issue/ )

 

Estetika: The Central European Journal of Aesthetics

 

We are pleased to announce the establishment of a new peer-reviewed journal of aesthetics. The first issue will be published on May 15, 2008. The last Czech issue of the journal was published on December 18, 2007.

 

We are also pleased to announce a contest for a new cover for the journal. For more information on the contest, please see the announcement. The deadline for submissions is February 29, 2008.

1-4/2007

 

Quarterly

Issued: 18th December 2007

Founded: 1964

ISSN: 0014 –1291

Language: Czech, English

 

The Rebirth of Natural Beauty in the Work of Ronald W. Hepburn

Ondřej Dadejík, 1-4/2007, Czech

 

Landscape as a Mask of Nature: The Aesthetics of Subversion versus the Aesthetics of Conformity

Ondřej Dadejík, Vlastimil Zuska, 1-4/2007, Czech

 

Open to (In-)Sight: The Observation Tower as a Special Aesthetic Object

Libor Drlík, 1-4/2007, Czech

 

The Bergsonism of Cazamian’s Conception of Humour

Miloš Ševčík, 1-4/2007, Czech

 

The Controversy over Dilettantism and Its Reflection in Czech Decadent Literature

Jan Staněk, 1-4/2007, Czech

 

The Power of the Image: Václav Havel's Visual Poetry

Peter Steiner, 1-4/2007, Czech

 

The Reception of Burke’s Enquiry in the German-language Area in the Second Half of the Eighteenth Century (A Regional Aspect)

Tomáš Hlobil, 1-4/2007, English

 

Is There Such a Thing as an Ontological Problem of a Work of Art?

Jens Kulenkampff, 1-4/2007, Czech

 

Aesthetic Dualism

Tomáš Kulka, 1-4/2007, Czech

 

XVIIth International Congress of Aesthetics: Aesthetics Bridging Cultures

Tereza Hadravová, Miloš Ševčík, 1-4/2007, Czech

view abstract

 

Obituary: Zdeněk Mathauser (1920–2007)

Vlastimil Zuska, 1-4/2007, Czech

 

Reviews

Nelson Goodman: Jazyky umění

Vlastimil Zuska, 1-4/2007, Czech

Tomáš Pospiszyl: Srovnávací studie

Tomáš Hříbek, 1-4/2007, Czech

Karel Stibral: Darwin & estetika

Petra Hovorková, 1-4/2007, Czech

Ivan Poledňák: Hudba jako problém estetiky

Rudolf Pečman, 1-4/2007, Czech

 

 

BEQUESTS (1)

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

 

The children of the late Robert B. Cantrick are pleased to announce a Web site describing the scholarly project Bob had been working on for many years prior to his death last year (see the ASA's on-line memorial notice). This unfinished work merits the attention of those with an interest in the intersection of music and semantics. Many of you may be roughly familiar with Bob's ideas in this regard from reading his frequent postings to the Aesthetics-L.  We invite you to take a look at the Web site:

 

http://cantrick-semantics-music.csdco.com/index.html

 

The site offers a précis of Bob's innovative theory, displays the preface and introduction to his two-volume work, and also provides background on his professional career and publications. We are particularly eager to hear from those who might want to look more deeply into Bob's scholarly papers, which can be made available upon request.  Contact information is available on the Web site.

 

Susan Cantrick

42 rue Ribéra

75016 Paris

FRANCE

semanticsandmusic@gmail.com

 

 

 

 

October 2007 – December 2007

 

 

CALLS FOR PAPERS/CONFERENCES (28)

 

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

 

The British Society of Aesthetics is pleased to announce the instigation of an essay prize open to young researchers in Aesthetics.

The regulations for the competition are as follows:

i) Aim. The aim of the prize is encourage and reward new talent in the field of philosophical aesthetics.

ii) Amount. The amount of the Prize is £500.

iii) Deadline. The deadline for submissions is December 31, 2007.

iv) Eligibility. The Prize is intended to foster the development of the field of aesthetics. The competition is open to anyone who has not been employed as lecturer (or equivalent) at a higher education institution for more than five years.  Persons in doubt about their qualifications are encouraged to consult the secretary of the British Society of Aesthetics in advance.  Entrants must include with their entry a statement indicating how they qualify.  Entry is not limited to members of the BSA nor to residents of the United Kingdom.

v) Essay Content and Length. The essay may be on any topic in aesthetics or the philosophy of art. The essay should be a maximum of 7,500 words (about 25 double-spaced typed pages).

vi) Judging. The judges for the Prize are drawn from members of the British Society of Aesthetics Executive Committee in consultation with the Editor of the British Journal of Aesthetics. There will be no appeals against any decisions and the Journal Editor?s decision on publishing the winning essay is final.  The Prize will not be awarded if, in the opinion of the judges, no entry of sufficient merit to be published in the BJA is received.  The Prize will be presented at the 2008 BSA annual conference.

vii) Presentation. The winning author will have the opportunity to read the paper at the 2008 annual conference of the Society.  If the author is an enrolled student, they will be automatically eligible for a BSA postgraduate conference subsidy.  The winning essay will be published in the British Journal of Aesthetics.  The winner?s name will be announced in the journal.

viii) Submission Requirements. Submissions should be clearly identified as entries for the BSA Essay Prize and be sent electronically to the Secretary of the BSA (Kathleen Stock,email: kathleen@british-aesthetics.org). Entries should be in English, and should not exceed 7,500 words in length (including footnotes). Each entry must be accompanied by an abstract not exceeding 250 words. Entries that are too long or without an abstract will not be considered.  Essays should be prepared for blind review and should follow guidelines for submissions to the British Journal of Aesthetics. Each entry should contain a separate title page giving the name, institution and address of the author. Candidates should supply evidence that they are eligible for the prize.  Essays will not be considered for the prize if they are currently under consideration by another journal or competition.  No non-winning essay will be considered for publication in the BJA unless it has been separately submitted to that journal.

 

Kathleen Stock,

Lecturer,

Department of Philosophy,

Arts B 235,

School of Humanities,

University of Sussex,

Falmer, Brighton,

BN1 9QN

Tel: 01273 877822

Email: K.M.Stock@sussex.ac.uk

 

 

 

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

 

South Atlantic Modern Language Association (SAMLA) Conference
November 9-11, 2007
Renaissance Atlanta Hotel Downtown
Atlanta, Georgia

SAMLA Literary Criticism Discussion Circle
"The Re-emergence of Aesthetic Approaches in Literary Criticism"

Literary critics employing ideological approaches often write from a position
that is set in opposition to aesthetic approaches. Ideological approaches have
been fairly dominant for many years in literary criticism, but recently there
appears to be a resurgence of interest in aesthetics. Does a turn toward
aesthetics suggest a shift away from ideological approaches? Does the "new
aesthetics" signal a simply a return to Frankfurt School notions of aesthetics
and politics, or something new?

The SAMLA Literary Criticism Discussion Circle invites paper proposals
that are related to this year's topic, "The Re-emergence of Aesthetic
Approaches in Literary Criticism." Proposals may address issues including,
but not limited to, the theory and practice of aesthetic approaches in
contemporary literary studies; the Frankfurt School and its relevance to
contemporary theory; the intersection of theoretical frameworks (such as
psychoanalysis, feminism, postcolonialism, ecocriticsm, ect.) with aesthetics;
and the tensions and/or possibilities generated by a convergence of ideological
and aesthetic approaches.

E-mail abstracts of approximately 250 words (inline or as an attachment)
by April 15, 2007 to session chair Kristin Girard at
kristin.girard_at_lcc.gatech.edu. All submissions will be acknowledged upon
receipt.

Kristin Girard, Ph. D.
Brittain Postdoctoral Fellow
School of Literature, Communication and Culture
Skiles Building
686 Cherry St.
Atlanta, GA 30332-0165

 

 

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

 

CFP: Altered States: On Dreaming, Fantasy, the Pharmakon, and the Real in Literature and Culture

A special session proposal for the Midwest Modern Language Association
Conference on Realisms, November 2007

Avital Ronell's study of addiction and literature, *Crack Wars*, called for an exploration of intersections among writing, dreaming, Being, and
Derrida's neo-Platonic notion of the *pharmakon*. Such an exploration and intervention has yet to be completed. This panel seeks to establish
a new dialogue that moves discussions of literature and altered states from the tendency to romanticize drug use, dreaming, fantasy, and the
fetish, to a scene of new epistemologies and ethics that allow us to approach a concept of the Real. Quite different from *realism*, the
articulation of the Real requires a particular imaginative perspective, and a particular relation between the subject, writing, and culture.

This panel seeks to open a dialogue for the expression of this limit by way of papers that address dreaming, alchemy, drug use, fantasy, and
fetishes in literature and culture. Papers that focus on Medieval and Early Modern literature and culture are especially desired, though all
time periods and geographical regions are welcome and will be given equal consideration. Please send 500 word abstracts to Erin Labbie, labbie_at_bgsu.edu by April 15, 2007

 

 

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

 

Structuralism(s) Today

"In arriving at structuralism, literary studies simply join the general tendency of contemporary thought. Throughout almost the entire realm of contemporary scholarship the discovery of the dynamic relations which pervade its material has proven to be an effective modus operandi ? for example, in the disciplines of the arts and in
general aesthetics, in psychology, sociology, linguistics, economics, and even in the natural sciences" (J. Mukarovský)

The Prague School project developed a functionalistic, semiotic approach to linguistics and literature that expanded the legacy of late Formalists such as R. Jakobson and J. Tynyanov. Despite significant contributions by J. Mukarovsk?Veltrusk?J. Vodicka, among many others, Prague semiotics is still unknown to many
scholars today. The international symposium "Structuralism(s) Today: Prague, Paris, Tartu, and Beyond" aims not only to revaluate the Prague project, but to study it in relation to French
Structuralism/Post-Structuralism and Tartu School. Scholars worldwide are encouraged to join the conferences to be held at the University of
Toronto in October 11-14, 2007. Organizers are currently accepting proposals. Suggested topics are:

- Structuralism: Poetics and/or Aesthetics? Idea of literariness, poeticity, and theatricality in 21th Century.

- Defamiliarization: from deautomatization to Verfremdung-Effekt.

- Literary History: Vodicka?s model of a history of reception; theories of immanent change vs. theories of correlation of literary and non-literary series.

- Semiotics of drama: drama vs. theatre; theatricality; drama, lyric, and epic as sources for theatrical works.

- Literary genres: the role of parody in the evolution of forms; genres and polysystems.

- The problem of verse language: semantic gesture, from the verse line to the whole poem; poem as a web of phonic, syntactic, and semantic strata.

- Culture as system: Tartu School and its expanded cultural studies; Lotman?s semiosphere; semiotic analyses of culture as text.

- Semiotics of Film and Visual Arts.

500-words abstracts must be submitted to structuralismtoday_at_gmail.com by April 15. Accepted contributors will be contacted by early May.
Please keep in mind that all participants are required to be fluent in English, since both lectures and discussion will only be given in that language.

 

5 (internet source: information philosophie, März 2007)

(internet source: http://www.phaenomenologische-forschung.de/)

(internet source: http://www.phaenomenologische-forschung.de/pdf/CFPdt.pdf)

(internet source: http://www.phaenomenologische-forschung.de/pdf/CFPeng.pdf)

 

Internationale Tagung der Deutschen Gesellschaft für phänomenologische Forschung:

 

Räume und Orte. Spannungen eines Paradigmas

Darmstadt, 03.-06. Oktober 2007.

 

→ Call for Papers (German)

 

Räume und Orte. Spannungen eines Paradigmas

Internationale Tagung der Deutschen Gesellschaft für Phänomenologische Forschung

3.-6. Oktober 2007

TU Darmstadt, Piloty-Gebäude am Herrengarten

Die Tagung hat einen doppelten Fokus – „Räume und Orte“ – und fasst damit eine für die Phänomenologie entscheidende Spannung ins Auge: Diejenige zwischen der allgemeinen Kategorie „Raum“ (unendlich, physikalisch, homogen) und der konkreten Positionsgröße „Ort“ (lokal, situiert, perspektivisch). Was sagt die Phänomenologie zum Raum? Wo liegen raumtheoretische Potentiale? Ist die Phänomenologie selbst geprägt durch räumliche Metaphern? In den Kultur- und Sozialwissenschaften hat der Raum Konjunktur: Der Globalisierungsdiskurs malt das Bild eines „Verschwindens“ der Räume, die Wissenschaftstheorie wird durch die Frage der „Situierung“ und des lokalen Charakters von Wissen bewegt – und in Geschichte und Soziologie spricht man von einem spatial turn. Ziel der Tagung ist es, das reichhaltige Archiv der Phänomenologie zur leiblichen Konstitution wie auch zur Epistemologie von Räumen zu reaktivieren.

Sechs Kolloquien sind geplant:

1. Architekturen: Anordnen und Gründen

ARCHITEKTUREN fragt nach räumlich grundierten oder tatsächlich räumlich gegründeten Ordnungen und Logiken, z. B. epistemischer, aber auch institutioneller oder urbaner Art. Gefragt sind Problemstellungen wie: Räume der Wissensorganisation; Topologien oder andere räumliche Darstellungsformen; die Aura des Ortes in Motiven wie Stiftung oder Fundierung; strukturierende Raummetaphern; „Grund“ als problematische Verbindung von Kausalität und Raum bzw. Ort. 2. Fundstellen: Lokalisieren und Situieren FUNDSTELLEN fragt nach dem Singulären, Akzidentellen, Punktuellen als Modalisierung von Raum. Gefragt sind Problemstellungen wie: der Status des Exemplarischen; Raum-Aspekte des Intentionalen: Aufsuchen, Festlegen, Sammeln, Bestimmen; räumlich indizierte Methodologien; erkenntnistheoretische Figuren wie Approximation und Exploration.

3. Machträume: Verteilen und Begrenzen

MACHTRÄUME fragt nach den topologischen und topographischen Prämissen der wirksamen (das heißt: machtgeladenen) Distribution von Objekten sowie nach Formen der räumlichen Limitierung und Ökonomie. Nahe liegend sind in Begriffen kondensierte Problemstellungen wie „Grenze“, Exklusion/Inklusion, „Zirkulation“, Verstreuung („dissémination“), Verknappung. Denkbar sind aber auch weniger anschauliche Fragen der Macht: Parzellierung, Überwachung, auf Distanztechniken beruhende Kontrolle.

4. Schauplätze: Auftreten und Verschwinden

SCHAUPLÄTZE fragt nach Orten, Formen und Praktiken der Präsentation wie auch nach dem klassisch phänomenologischen Problemfeld Wahrnehmung – Erscheinung – Evidenz. Gefragt sind Problemstellungen wie: Theatralität und Repräsentation; Raum und Bild; Vergessen, Verlust, Verdrängung; Merleau-Pontys Theorem der „Dichte“; Husserls Theorem der „Appräsentation“.

5. Hindernisse: Anhalten und Ausweichen

HINDERNISSE fragt nach dem für Räume und Orte gleichermaßen elementaren Moment des Widerstands oder auch im Plural: der Widerstände. Wo der „discours“ reibungslose Passagen findet, lässt sich der „parcours“ auf Umwege, Ablenkungen, Abwege ein. Mögliche Problemstellungen sind: Hemmung, Störung, Irritation; das Problem des Anderen und des Fremden; Perspektiven- und Ebenenwechsel; „Blinder Fleck“; Abenteuer, Spannung, Angst.

6. Ausgänge: Aufbrechen und Öffnen

AUSGÄNGE fragt nach Formen der Negativität, die sich artikulieren lassen am Leitfaden von Ort und/oder Raum. Denkbar sind alle Problemstellungen, die durch Topoi wie Utopie, Heterotopie, die für die Phänomenologie kardinalen Metaphern der „Öffnung“, des Risses, des Abgrundes, des Bruches oder auch die Metaphorik der „Leere“ vertreten werden.

Die Kolloquien sehen durchgehend Doppelpräsentationen vor (ReferentIn/RespondentIn). Die Beiträge der ReferentInnen und RespondentInnen können nahezu den gleichen zeitlichen Umfang haben (25 plus 15-20 Min.). Die Paarungen werden durch die Veranstalter – nach Rücksprache – zusammengestellt. Vorschläge und auch bereits gemeinsam eingereichte Papers sind willkommen.

Die Konferenzsprachen sind Deutsch, Englisch, Französisch. Titelvorschläge werden erbeten bis zum 15. Februar 2007

Bitte übersenden Sie einen Abstract von 20 Zeilen und die Angabe der bevorzugten Redeposition (ReferentIn oder RespondentIn).

Alle ReferentInnen werden gebeten, sich auf die Übersendung einer Schriftfassung ihres Vortrags bis zum 31. Juli 2007 einzurichten. Der Vortragstext kann dann an den/die RespondentIn weitergeleitet werden.

Kontakt: Dr. Marc Rölli

TU Darmstadt, FB 2, Institut für Philosophie

Schloss

D – 64283 Darmstadt

Tel: ++49-[0]6151-16-4627

Fax: ++49-[0]6151-16-3970

Email: generalsekretaer@phil.tu-darmstadt.de

CFP wie (ab März 2007) auch den aktuellen Stand des Tagungsprogramms finden

Interessierte unter www.phaenomenologische-forschung.de

 

→ Call for Papers (English))

 

Spaces and Places. Tensions of a Paradigm

International Conference of the Deutsche Gesellschaft für Phänomenologische Forschung

October 3-6, 2007

Technical University Darmstadt, Piloty-Gebäude am Herrengarten

The double focus of the conference – “spaces and places“ – envisages a tension that plays a decisive role within phenomenology: the tension between the general category “space“ (infinite, physical, homogeneous) and the concrete parameter of position “place” (local, situated, perspective).

What does phenomenology say about space? Where are her potentials to develop or support spatial theories? Is phenomenology itself shaped by spatial metaphors? Currently, the concept of space experiences a boom in culture studies and social sciences: While the discourse on globalization draws a picture of disappearing spaces and philosophy of science elaborates on the local character of knowledge, it has become common in history and sociology to speak of a spatial turn. The conference aims at exploiting the rich phenomenological archives on corporal constitution as well as on the epistemology of spaces.

Six colloquia are projected:

1. Architectures: Orders and foundations ARCHITECTURES investigates epistemic, institutional or urban orders and logics that are spatially grounded as well as those that are actually spatially founded. Topics of interest include spaces of knowledge organization, topologies or other spatial forms of representation, the aura of places in motives of donation, structuring metaphors of space, the problematic alliance of causality and spatiality that is at work in “foundation” as base and cause.

2. Places of discovery: Localizing and situating

PLACES OF DISCOVERY asks about singular, accidental, punctual dimensions in a modality of space. Among the topics of interest are the status of the exemplary, spatial aspects of the intentional that become manifest when we locate, arrange, assemble or determine, spatially marked methodologies, as well as epistemological figures like approximation and exploration.

3. Spaces of power: Distributing and Delimiting

SPACES OF POWER deals with topological and topographical premises of effective (i.e. power-charged) distribution of objects as well as with forms of spatial limitation and economy. Besides the obvious questions that are manifest in concepts like border, exclusion/inclusion, circulation, dissemination, and shortage, one could also think of less intuitive aspects of power like parceling, surveillance, and forms of control that rely on techniques using distance.

4. Scenes: Appearing and disappearing

SCENES inquires for places, forms and practices of presentation as well as for the traditionally phenomenological field of perception – appearance – evidence. Topics of interest include theatricality and representation; space and image; oblivion, loss, and suppression; the theorems of “density“ by Merleau-Ponty and of “appresentation” by Husserl.

5. Obstacles: Halt and evasion

OBSTACLES addresses the issue of resistance(s) that is equally elementary for spaces and places. Where “discours“ finds smooth passages, a “parcours“ ventures to undertake detours, diversions and deviations. Possible tasks include inhibition, disruption, irritation; the problem of the Other and the alien; change of perspective and alteration of level; ”blind spot”; adventure, suspense, anguish.

6. Exits: To unclench and to open

EXITS inquires about forms of negativity articulated in terms of place and/or space. This problem could be approached by the topics of utopia and heterotopia that are manifest in cardinal phenomenological metaphors like “opening“, crack, abyss, emptiness.

Throughout, the colloquia will follow an arrangement of double presentations (speaker/respondent) of almost equal length each (25 plus 15-20 minutes). The organizer will match the contributions after consultation with the participants. Suggestions as well as jointly submitted papers are welcome.

The languages of the conference are German, English, and French.

deadline for proposals:

15. Februar 2007

Please submit an abstract (20 lines) and indicate the preferred position of your contribution (speaker or respondent).

All speakers are asked to provide a written version of their talk by July 31, 2007 which then will be forwarded to the respondent.

Contact: Dr. Marc Rölli

TU Darmstadt, FB 2, Institut für Philosophie

Schloss

D – 64283 Darmstadt

Tel: ++49-[0]6151-16-4627

Fax: ++49-[0]6151-16-3970

Email: generalsekretaer@phil.tu-darmstadt.de

CFP and the current version of the conference program (from March 2007) are available under www.phaenomenologische-forschung.de

 

 

 

6 (internet source: information philosophie, März 2007)

(internet source: http://www.aisthesis-und-medium.de/)

 

Die interdisziplinäre Konferenz

 

"Aisthesis und Medium - (In-)Differenzen der Beobachtung von Kunstkommunikation?"

 

wird vom 16. bis zum 17. November 2007 an der Universität zu Köln stattfinden.

 

Die sehr gute Resonanz auf den Call for Papers und die zahlreichen Einsendungen lassen eine inspirierende Tagung erwarten.

 

Nach Sichtung und Auswertung der Themenvorschläge, werden wir in den nächsten Wochen die Referentinnen und Referenten informieren und zum Frühjahr das Tagungsprogramm hier veröffentlichen.

 

Veranstalter:

 

Dr. des. Christian Filk

 

Institut für Kommunikation und Kultur

Universität Luzern

Bruchstrasse 43/45, Postfach 7456

CH-6000 Luzern 7

 

Fon: +41 (0)41 228 77 71

Fax: +41 (0)41 228 77 85

E-Mail: christian.filk@unilu.ch

Web: www.unilu.ch/ikk

 

Dr. Holger Simon

 

Kunsthistorische Institut

Universität zu Köln

Albertus-Magnus-Platz

D-50923 Köln

 

Fon: +49 (0)221 470 35 09

Fax: +49 (0)221 470 50 44

E-Mail: holger.simon@uni-koeln.de

Web: www.h-simon.info 

 

 

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

(internet source: http://www.cipa.ulg.ac.be/colloques/detailappel.doc)

 

Détail et totalité

Colloque international organisé à l’Université de Liège (24-26 octobre 2007)

CIPA (Centre Interdisciplinaire de Poétique Appliquée)

 

Parce qu’elle a trait aux relations nouées entre les parties et l’ensemble qui les comprend, la question du détail s’investit d’enjeux considérables pour toute tentative de réflexion interdisciplinaire. En effet, dans toutes les disciplines qui s’attachent à rendre un objet visible ou lisible, les théoriciens rencontrent à l’endroit du détail des problèmes analogues que nous voudrions aborder de front, dans une perspective forcément « rapprochée » et plus que jamais attentive à des objets singuliers, que ceux-ci relèvent de la littérature, du cinéma, de la photographie, de la peinture, de la philosophie, de l’architecture, etc.

 

Qu’est-ce qu’un détail ? - A vouloir saisir le détail dans ses dimensions les plus complexes, l’on se heurte inévitablement à une difficulté première et majeure : celle de déterminer ce que la notion recouvre précisément. Le problème de la définition pourrait déjà occuper longuement le débat. Difficile, voire impossible, d’être exhaustif en la matière tant quelque chose dans le détail semble toujours échapper au souci de catégorisation. Et que dire, par-delà, des notions qui lui sont connexes, mais auxquelles il ne se laisse jamais réduire : fragment, indice, effet de réel, punctum (Barthes), pan (Didi-Huberman), parergon (Derrida), annexe (Lebensztejn) ?

 

Qui fait le détail ? – Epineux objet d’investigation, presque-rien dans lequel un je-ne-sais-quoi nous retient pourtant, le détail ne se résume pas à un état de fait dont nous serions les témoins distants. Il est au centre d’un processus, d’un mouvement qui s’effectue dans ou avec la représentation. Les développements contemporains de l’esthétique amènent à considérer le détail moins comme un objet que comme un travail (Arasse). On peut parler à cet égard d’ « opération détaillante » (notion qui n’est pas moins pertinente pour les arts plastiques que pour le cinéma par exemple). Il y aurait lieu d’insister sur l’idée d’un « événement », relatif à l’acte de vision, de réflexion et/ou de lecture. Dans la sphère artistique, le détail n’est-il pas tout simplement une condition particulière du regard ? Dans le même registre, une autre question s’impose : qu’en est-il du rapport du détail à la temporalité (au tempo, à la rythmique) et quelle est la spécificité de ce rapport pour chacune de nos disciplines ? L’idée selon laquelle le détail retient notre attention en ce qu’il choque et brusque nos attentes de lecteurs ou de spectateurs semble communément admise. La fulgurance du détail, que beaucoup ont relevée à leur manière, explique que nous soyons saisis par son apparition. Associer le détail à l’expérience oblige encore à se poser les questions suivantes : est-ce la représentation qui fait le détail ? Si oui, peut-elle faire le détail sans le concours du spectateur/lecteur ? S’il y a bel et bien collaboration entre les deux instances, suivant quels paradigmes ou schèmes intériorisés se déploie-t-elle ? Si c'est le spectateur/lecteur qui fait le détail (un détail « vu » peut ne pas avoir été « fait », comme l’a justement observé Daniel Arasse), ce que son geste isole doit-il forcément être réduit à un simple fait de subjectivité, lesté de sa part d’ineffable ? En d’autres termes, existerait-il une objectivité du détail ?

 

Que fait le détail ? – Le détail n’est rien indépendamment de l’ensemble auquel il se rapporte, dans lequel il se « découpe » (sens étymologique du détail). Le tout est de cerner la nature de leur relation. D’un côté, le détail a pu se manifester en tant que donnée intégrée, instrumentalisée par la représentation. Culturellement parlant, certaines époques ont imposé le détail - qui participait alors d’un certain académisme et d’une théorie classique de la mimesis. Dans une discipline comme l’iconologie, par exemple, le détail, en tant qu’il peut être porteur d’un sens déterminant pour le tout auquel il appartient, se présente souvent comme un indice, une clé interprétative, passage obligé pour accéder à la signification générale de l’œuvre. Une telle perspective accorde au détail une valeur symbolique qu’il serait intéressant de réévaluer.

D’un autre côté, le détail inquiète volontiers les catégories établies qui, confrontées à lui, semblent parfois vaciller sur leurs bases. C’est alors sa capacité de résistance aux méthodes traditionnelles et aux normes collectives qui se trouve mise en relief. Le détail devient, sous les yeux du théoricien, comme le grain de sable qui vient gripper la machine interprétative, participant éventuellement à la mise à nu de ses rouages. En tant qu’il se détache de l’ensemble qui le contient, le détail nous incite à interroger nos propres outils de travail, dans le but de prendre l’exacte mesure de son caractère excentrique. Par conséquent, il convient d’inscrire les multiples et diverses manifestations du détail au sein d’un large continuum, entre ressort intime de la représentation et force de résistance à son ordre, sans négliger tous les degrés intermédiaires.

 

Programme provisoire (liste des intervenants confirmés)

 

Raphaël Pirenne (Université Catholique de Louvain) : « Le détail dans le dessin. »

 

Steve McCaffery (SUNY Buffalo) : « The detail in Gilpinian Picturesque Theory »

 

Fabrice Leroy (Université of Louisiana at Lafayette) : « Le detail en bande dessinée. »

 

Anne Moignet-Gaultier (Université d’Artois) : « Le détail architectural dans la Grèce antique : apparitions, disparitions »

 

Zeila Tesoriere (Université de Palerme) : « Le détail à ossature métallique. La préfabrication en acier des années 1930 : nouvelles pratiques de conception »

 

Delphine Bellis (Université de Paris IV) : « Du détail symbolique à la réalité disséquée : la mutation du visible au XVIIe siècle »

 

Mathilde Bert (Ulg) : « La genèse de la notion de parergon et ses usages dans la littérature renaissante »

 

Maud Hagelstein (ULg): « Aby Warburg, science du détail et éléments secondaires »

 

Erika Wicky (Université de Montréal) : « Le détail pictural à l’épreuve du cadrage photographique »

 

Alain Vaillant (Université de Paris X – Nanterre) : « La poésie : un art du détail »

 

Pascal Durand (ULg) : « Faute – de tout. Mallarmé et les rêveries de la totalité »

 

Claude-Pierre Perez (Université de Provence) : « Le détail et la liste »

 

Laurence Dahan-Gaida (Université de Franche-Comté) : « Le détail dans l’œuvre de Botho Strauss. »

 

Livio Belloï (ULg) : effet de détail et effet de pan en cinéma.

 

Justine Soumastre (Université de Bordeaux) : « La découpe de l’énonciation filmique dans Pandora and the Flying Dutchman (Albert Lewin, 1951) »

 

Marc Hersant (Université de Bordeaux III) : « Une écriture myope de l'histoire: les mémorialistes et le sens du détail »

 

Marc Parayre (Université de Perpignan) : « Quand la forêt cache l’arbre : Iceberg de Fred Kassak ».

 

Jean-Luc Joly (Lycée Jeanson de Sailly) : « Détail et totalité dans l’œuvre de Georges Perec »

 

Anne Besson (Université d’Artois) : « Cohérence d’ensemble et détails discordants : l’exemple du cycle romanesque »

 

Thierry Ramais (ULg): « Détail et contagion visuelle comme motif gothique dans les premiers écrits fantastiques de H.G. Wells »

 

Patrick Suter (Université de Genève) : « Faille »

 

Karen McCormack : « Details and Implexures »

 

 

 

8 (internet source: http://www.philosophyconferences.com/)

 

CFP: Emily Dickinson and Philosophy

Cambridge UP volume

Last date for paper submission: 1 Dec 2007

 

We invite submissions for a collection of essays on Emily Dickinson’s relationship to philosophy. This book is under contract with Cambridge Scholars Press and is edited by Jed Deppman and Marianne Noble.

 

Many readers see Emily Dickinson’s writing as intriguing but inexplicable, filled with the kind of emotions and mystic ecstasy that defy thought. Yet her poems can also be seen to reflect a lifelong philosophical seriousness that can be illuminated through comparison to systematic philosophical movements, both those she knew and those she anticipated. The goal of this book is to show why and how she used certain concepts and vocabularies rather than others, where she learned them, what kinds of questions she pursued, and how attention to philosophy can improve our understanding of her writing.

 

We invite proposals in three categories:

Dickinson’s Philosophical Contexts will place Dickinson in the philosophical cultures of her time (e.g. Transcendentalism, Darwinism, Scottish Common Sense, Moral philosophy, German speculative metaphysics.)

Dickinson’s Companion Thinkers will consider her writing in relation to selected individual philosophers (e.g. Plato, Locke, Kant, Reid, Emerson, Nietzsche, Heidegger, Derrida.)

Dickinson and Contemporary Philosophy will place Dickinson in 20th and 21st-century philosophical movements or problematics (e.g. phenomonology, pragmatism, existentialism, deconstruction, virtue theory.)

 

Essays will be 5,000-6,000 words and aimed at an audience of educated readers.

Send 2-page proposals and 1-page cv via email to Jed Deppman (jdeppman@oberlin.edu) and Marianne Noble (mnoble@american.edu.) Queries welcome.

Deadline for Proposals: December 1, 2007.

Tags: Literature, Poetry, Poetics, Aesthetics, Publication

 

 

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(internet source: http://pinoyscholar.blogspot.com/2007_01_28_archive.html)

 

Award: Aesthetics Essay Prize

Summary: Essay competition in the field of philosophical aesthetics.

Award is £500.

 

Timeline: Deadline for submissions is December 31, 2007.

Eligibility: The competition is open to anyone who has not been employed as lecturer (or equivalent) at a higher education institution for more than five years. Persons in doubt about their qualifications are encouraged to consult the secretary of the British Society of Aesthetics in advance. Entrants must include with their entry a statement indicating how they qualify. Entry is not limited to members of the BSA nor to residents of the United Kingdom.

 

From the announcement:

The regulations for the competition are as follows:

i) Aim. The aim of the prize is encourage and reward new talent in the field of philosophical aesthetics.

ii) Amount. The amount of the Prize is £500.

iii) Deadline. The deadline for submissions is December 31, 2007.

iv) Eligibility. The Prize is intended to foster the development of the field of aesthetics. The competition is open to anyone who has not been employed as lecturer (or equivalent) at a higher education institution for more than five years. Persons in doubt about their qualifications are encouraged to consult the secretary of the British Society of Aesthetics in advance. Entrants must include with their entry a statement indicating how they qualify. Entry is not limited to members of the BSA nor to residents of the United Kingdom.

v) Essay Content and Length. The essay may be on any topic in aesthetics or the philosophy of art. The essay should be a maximum of 7,500 words (about 25 double-spaced typed pages).

vi) Judging. The judges for the Prize are drawn from members of the British Society of Aesthetics Executive Committee in consultation with the Editor of the British Journal of Aesthetics. There will be no appeals against any decisions and the Journal Editor’s decision on publishing the winning essay is final. The Prize will not be awarded if, in the opinion of the judges, no entry of sufficient merit to be published in the BJA is received. The Prize will be presented at the 2008 BSA annual conference.

vii) Presentation. The winning author will have the opportunity to read the paper at the 2008 annual conference of the Society. If the author is an enrolled student, they will be automatically eligible for a BSA postgraduate conference subsidy. The winning essay will be published in the British Journal of Aesthetics. The winner’s name will be announced in the journal.

viii) Submission Requirements. Submissions should be clearly identified as entries for the BSA Essay Prize and be sent electronically to the Secretary of the BSA (Kathleen Stock,email: kathleen@british-aesthetics.org).

 

Entries should be in English, and should not exceed 7,500 words in length (including footnotes). Each entry must be accompanied by an abstract not exceeding 250 words. Entries that are too long or without an abstract will not be considered. Essays should be prepared for blind review and should follow guidelines for submissions to the British Journal of Aesthetics.

 

Each entry should contain a separate title page giving the name, institution and address of the author. Candidates should supply evidence that they are eligible for the prize. Essays will not be considered for the prize if they are currently under consideration by another journal or competition. No non-winning essay will be considered for publication in the BJA unless it has been separately

Kathleen Stock,

Lecturer,

Department of Philosophy,

Arts B 235,

School of Humanities,

University of Sussex,

Falmer, Brighton,

BN1 9QN

Tel: 01273 877822

Email: K.M.Stock@sussex.ac.uk

 

 

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(internet source: http://home.uchicago.edu/~rbp1/speaking.shtml)

 

October <2007> - Italian-American Philosophy Conference, "Autonomy of Reason? Judgment in Logics, Aesthetics, Ethics, Right and Politics," "The Absence of the Problem of Aesthetic Judgment in Hegel's Lectures on Aesthetics." Villa Mondragone, Rome, Italy.

 

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

 

Call for Papers: Experimental Writing and Aesthetics

Abstract/Proposals by 1 November 2007

 

Southwest/Texas Popular & American Culture Associations 29th Annual Conference

Albuquerque, NM, February 13-16, 2008

Hyatt Regency Albuquerque

330 Tijeras

Albuquerque, NM 87102

Phone: 1.505.842.1234

Fax: 1.505.766.6710

http://albuquerque.hyatt.com

 

Panels are now forming on topics related to Experimental Writing and Aesthetics in such areas as the aesthetics of experimental writing in any genre or in multi-genre/multi-media works including digital and graphic compositions involving language, the poetics of performance of experimental compositions, critical studies of experimental writers, etc.

 

Creative writers interested in the selective creative writing readings panels should contact Jerry Bradley, Creative Writing Readings Chair, via < http://www.swtexaspca.org > in the early fall.

 

Scholars, teachers, professionals, writers not affiliated with academic institutions, and others interested in experimental writing are encouraged to participate. Graduate students are also particularly welcome with award opportunities for best graduate papers.

 

If you wish to organize your own panel, I will be happy to facilitate your scheduling needs.

 

Send abstracts, papers, or proposals for panels with your email address by 15 November 2006:

 

Hugh Tribbey, Experimental Writing and Aesthetics Chair

Email: htribbey_at_ecok.edu

Mailing Address:

Dr. Hugh Tribbey

Department of English and Languages

East Central University

1100 E. 14th St.

Ada, OK 74820

Phone: 580-559-5524; Fax: 580-436-3329

Conference Website: < http://www.h-net.org/~swpca/index.html > (updated regularly)

 

 

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

 

CALL FOR PAPERS ON MIKHAIL M. BAKHTIN FOR A SPECIAL VOLUME OF THE

CIEFL BULLETIN

 

The CIEFL Bulletin is an interdisciplinary journal related to language learning, teaching, linguistics, literary and cultural studies published by the Central Institute of English and Foreign Languages, Hyderabad, India. The articles published in the journal are abstracted in Language and Language Behaviour Abstracts (USA) and indexed in the MLA Bibliography and similar publications. From time to time the journal publishes special volumes on themes and theorists of contemporary significance. Keeping with the tradition of the journal a special volume is proposed on Mikhail M. Bakhtin.

 

Mikhail M. Bakhtin ( 1895-1975) for most part of his life lived in obscurity, but survived the oppressive regime of Stalin. Only after his death in 1975 that he drew world wide attention as a thinker and critical theorist. Bakhtin’s critical oeuvre covers a wide range of themes starting with the social context of language, to proposing a sociopetics of the novel as a genre. For him language as discourse functions within an interplay of conflicting ideologies and interests and unfolds in a heterglot, dialogic force field that undercuts the impersonal and prevocal contexts of structuralist and poststructuralist traditions. Moving from the discourse of language to the novel, Bakhtin argues that “Between any word and its object, between any word and its speaking subject, between any word and its active respondent(s)…there exists “an elastic environment of other, alien words about the same object”; and this constitutes “dialogically agitated and tension-filled environment of alien words, value judgments and accents” that in a complex manner finds its most artistic expression in the novel. Although language is central to Bakhtin’s theory of the novel, it goes beyond it. His thesis of the  novel basically relies on three concepts: Carnival that negates official culture, political oppression and totalitarian order through laughter, parody and grotesque realism; Chronotape that underlines the interconnectedness of time and space that constitutes literary genres and finally, Dialogism of Language, that signifies “intense interanimation and struggle between one’s own word and another word”. Bakhtin’s theories whether on language or the novel not only opens up new frontiers in critical theorization but also have been relevant in a significant way to the postcolonial theory and contexts.

 

The papers solicited for the volume could be on any aspect of Bakhtin’s  critical theory if possible with reference to postcolonial studies today. Although no specific length is prescribed or word limit suggested ideally an article should be between 15-20 double spaced typed pages. The latest M.LA style sheet should be followed for citations, works cited and references. Please send your article as an e-mail attachment to Kailashbaral_at_rediffmail.com or mail2 baral_at_gmail.com. A hardcopy submission should be accompanied with a soft copy in windows word format. The article should reach the Editor latest by 20th October, 2007. The Bulletin will be published by the end of December, 2007. For any other information contact:

 

Professor Kailash C. Baral

Editor, CIEFL Bulletin

Director, CIEFL NE Campus

Umshing-Mawkynroh

Shillong – 793 022, India

Phone : 91+364 -2550038, 2550065 (O), 2520850 ®

Fax: 91+364-2550038

 

 

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

 

The 18th Annual EGSA Mardi Gras Conference

January 30- February 1, 2008

Keynote Speaker: Professor Cathy Davidson

 

We are pleased to announce the 18th Annual EGSA Mardi Gras Conference, titled “Placing Poesis: The Work of Art and the Future of Literary Studies,” to be held at Louisiana State University January 30 – February 1.

 

We are seeking 15 minute papers or hour long panels that address the current state of literature and literary studies and possibilities for the futures of both. This conference will attempt to re-theorize the nature of literature and current conceptions of art and criticism, while above all paying focused attention to the art-object, its relation to literary and cultural studies, the past, present, and future of aesthetic theory, the role of the critic, and the work of the artist. We also invite literary analytical papers, especially those that provoke unique dialogues about the nature of art. The theme of this conference also holds implications for the humanities in general, especially in terms of the intersections between disciplines and the ways in which English departments often appropriate studies outside of literature. The conference will offer a wide array of panels, ranging from those focused on aesthetic, theoretical and critical reflections to those that consider the creative process itself.

 

We are very honored to announce Professor Cathy Davidson of Duke University, author of the groundbreaking Revolution and the Word: the Rise of the Novel in America, as this year’s keynote speaker. Professor Davidson’s current work combines theory, state of the art technology issues, and the role of the humanist as public intellectual and civic leader. Her keynote address will situate the study of humanities in our current digital age, pushing the boundaries of how we conceive the roles of

the artist and critic.

 

This year’s conference will inaugurate the Jim Springer Borck Essay Prize. The EGSA will award $50.00 to the author of the winning essay and make a donation of $100.00 in the author’s name to the American Diabetes Association. Details concerning the award and eligibility will be available at the conference website.

 

Those interested in presenting at the conference are invited to submit an abstract of 200-250 words no later than November 30, 2007, to the email address listed below. Please remember that papers should be 15 minutes in length.

 

James Ayers and Rich Cooper, Conference Co-Chairs

Department of English, Louisiana State University

egsaconference_at_gmail.com

http://www.lsu.edu/student_organizations/egsamardigras/

 

 

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

 

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 November 15, 2007. I will confirm receipt promptly.

 

 

15 (internet source: register@philo.at)

 

CALL FOR CONTRIBUTIONS

 

facing tragedies

International Conference for Young Academics

Salzburg, May 6-9 2008

 

Tragedies happen. They transform people's lives beyond recognition, imposing the authority of nonresolution. Tragedies as serious and irreversible events with sad outcomes, as disruptions of order and fortune, cannot be explained away. They leave open wounds and pose ongoing challenges, they change the human situation, sometimes irrevocably. World hunger and unemployment, the drama of refugees, 9/11, floods and earth quakes, the dark chapters of European history - these are tragic stories unfolding between human failure and natural catastrophes.Tragedies hit people on an individual level, but they can also transform communities and even continents. How can we cope with tragedies? How should we remember tragedies? How can we respond to tragedies that hit a whole community or even an entire nation? How can we live with the irreversiblity of non-resolution? There is a need for creativity and courage, sensitivity and prudence when facing tragedies.

 

The Center for Ethics and Poverty Research (CEPR), University of  Salzburg, invites contributions from all areas responding to these questions of facing tragedies. The conference will be organized in four clusters: (1) The concept of tragedy and an ethics of coping, (2)  unemployment and exclusion as social tragedies, (3) catastrophes and disasters, and (4) the challenge of terrorism and insecurity. Your contribution should develop one creative idea for one of these clusters. It can be a current or historical "good practice" or "best example" based on your experience or academic expertise, it can be a provocative new idea, it can be a concrete suggestion, it can be one single point you would like to make. It should be a "one point paper" of 3 - 5 pages.

 

The conference is aimed at PhDs and other researchers in the early stages of their academic career. Contributers should not be older than 40 years. The CEPR will cover your stay and provide a travel costs reimbursement up to a maximum of 350,- EURO.

 

Closing deadline: November 30th, 2007

Participants will be selected by an international committee. They will be announced by the end of december 2007.

Please send your paper together with a short CV to:

gottfried.schweiger@sbg.ac.at

 

Zentrum fuer Ethik und Armutsforschung

Center for Ethics and Poverty Research

Universitaet Salzburg

Franziskanergasse 1/IV

A-5020 Salzburg

www.uni-salzburg.at/zea

 

 

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Call for Papers

 

The Science of Sensibility

Edmund Burke's Philosophical Enquiry: 250 Years Later

 

Conference at the Institute of Philosophy (University of Leuven, 

Belgium) 17-18 December 2007

 

Attracting philosophers, politicians, artists as well as the educated reader, Edmund Burke's Philosophical Enquiry, first published in  1757, was a milestone in western thinking. This conference will take the 250th anniversary of the Philosophical Enquiry as an occasion to reassess  Burke's prominence in the history of ideas. Situated on the threshold between early modern philosophy and the Enlightenment, Burke's oeuvre combines  reflections on the arts, politics, history, emotions and the sciences.

 

The first text to bring the idea of the sublime into  philosophy, working from Locke's 'way of ideas' and expanding upon Humean  'passions', Burke built an empirico-psychological philosophy that delved into the complex mixture of pleasure and pain, delight and terror. Burke developed his thought at a time when a "science of sensibility" had firmly taken root in English culture. Physicians and natural philosophers had studied the physiology of the body and the senses, and these results had been  connected to the aesthetic sensibility of literature and art. Burke's reversal of the Enlightenment philosophy of Reason was based on this 'science of the passions' and claimed primacy for the emotions and imagination over reason.

 

Aspiring to follow the Newtonian method, Burke studied the diversity of passions and sensibilities on which to build philosophy, aesthetics and society. The connection between Burke's politics and aesthetics has been well addressed, but the extent in which Burke drew on contemporary scientific ideas goes virtually unstudied. The historical context of Burke's work will be one focus of the conference. For instance: How was the Philosophical Enquiry situated in relation to his contemporaries as well as Burke's later political thought? Besides tackling the  historical context of the Philosophical Enquiry, this conference will enquire into how his text might be re-read and used as an exemplar of 'philosophical enquiry' today.

 

Influencing and intriguing to both the left and the right, whether discussing grief, darkness, the infinite, or a non-imagistic theory of language, all within a speculative and scientifically representative core in which he famously differentiated the sublime from the beautiful, Burke shook the foundations of Enlightenment thinking, further emphasizing tradition and experience over reason and abstraction.

 

         Confirmed Speakers:

         Steffen Ducheyne (Gent)

         Luke Gibbons (Notre Dame)

         Ian Harris (Leicester)

         F.P. Lock (Queens University, Kingston)

         Herman Parret (Leuven)

         Dario Perinetti (UQAM, Montreal)

         Baldine Saint Girons (Paris)

         Bart Vandenabeele (Gent)

 

We invite papers dealing with Burke's thought in a critical or historical way. In particular, we are keen on receiving proposals for papers on situating the Philosophical Enquiry within its own immediate context, especially concerning other political, scientific, theological or literary texts written between 1690-1760 (such as those of Le Brun, Newton,  Locke, Boileau, Dennis, Le Clerc, Crousaz, Swift, Vico, Du Bos, Mandeville, Toland, Shaftesbury, Cheyne, Addison, Clarke, Bolingbroke, Young, Berkeley, Silvain, Law, Baillie, Pope, Montesquieu, Butler, Hutcheson, Voltaire, Kames, Hogarth, Warburton, Blackwell, Hartley, Harris, Johnson, Lowth, Hume, Pyra, Sulzer, Hurd, Akenside, Warton, Price, Lawson, Gerard, Mendelssohn, etc.).

 

In addition, papers concerning Burke's Vindication of Natural Society, Essay Towards a History of the Laws of England, Hints for an Essay on the Drama and Annual Register are particularly welcome.

 

Abstracts of between 300-500 words in either Microsoft Word or PDF should be sent by email to scienceofsensibility@gmail.com no later than 30 September 2007. Please include personal information (name, university, position) along with the abstract. It is foreseen that the proceedings of this conference will be published.

 

Conference Committee: Arnold Burms, Paul Cruysberghs, Michael Funk Deckard, Danielle Lories, Koen Vermeir.

 

 

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The Aesthetics Research Group at The University of Kent is pleased to announce a forthcoming symposium:

 

KENDALL WALTON AND THE AESTHETICS OF PHOTOGRAPHY AND FILM

 

November 30 - December 1, 2007

University of Kent, Canterbury, UK

The symposium aims to reassess the impact of Kendall Walton's arguments on the study of photography and film, by revisiting Walton's original interventions, responses to and extensions of his arguments by other authors, as well as Walton's own revised, current position.

 

Confirmed Speakers:

Professor Kendall WALTON (University of Michigan)

Professor Patrick MAYNARD (University of Western Ontario)

Professor Thomas WARTENBERG (Mount Holyoke College)

Professor Scott WALDEN (Nassau College & New York University)

 

The symposium is organized by Jonathan Friday, Simon Kirchin, Hans  Maes, and Murray Smith, and supported by the Mind Association, SDFVA, SECL, KIASH.

 

For more information, please visit:

http://www.kent.ac.uk/sdfva/events/waltonsymp.html

or email Hans Maes:

H.Maes@kent.ac.uk

 

 

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The University of Oslo is pleased to announce:

 

METAPHOR, POETRY AND PARAPHRASE: AN INTERNATIONAL WORKSHOP

To be held on November 22-23, 2007 at the University of Oslo.

 

The workshop aims to investigate the relationship between form and content in poetry in its various aspects, among them: metaphorical language, the possibility of paraphrase, the relationship between form and aesthetic attributions, and the expression of abstract thought.

 

Confirmed speakers:

 

Christel Fricke, University of Oslo (co-organizer): Natural language – Ready Made for Aesthetic Use

 

Christoph Harbsmeier (IKOS): Metaphor and Palindrome

 

Peter Lamarque, University of York: Poetry and Abstract Thought

 

Angela Leighton, Cambridge University: 'Nothing in the world': Reading from Content to Form

 

Ernie Lepore, Rutgers University (organizer): The Heresy of Paraphrase: When the Medium Really is the Message

 

Anders Pettersson, Umeå University: Literary Experience, Paraphrase, and The Idea of a Text

 

Anna Christina Ribeiro, Texas Tech University: Aesthetic Attributions: The Case of Poetry

 

The workshop is open to all.

 

For further information, please visit http://www.csmn.uio.no/events/2007/metaphor.xml

 

Anna Christina Ribeiro

Assistant Professor

Department of Philosophy

Affiliate Assistant Professor

College of Visual and Performing Arts

Texas Tech University

Lubbock, TX 79409-3092

Tel +1 (806) 742-3277, x337

Fax +1 (806) 742-0730

anna-christina.ribeiro@ttu.edu

www.philosophy.ttu.edu/ribeiro

http://ttuphilosophers.blogspot.com

 

 

19 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU, received Sep 25)

 

Dear Colleagues:

 

We are pleased to announce the Call for Papers and General Theme for The International Association for Philosophy and Literature 32nd annual conference to be held in Melbourne, Australia, 30 June - 6 July 2008.  The conference general theme is GLOBAL ARTS / LOCAL KNOWLEDGE.  Deadline for submissions on-line is October 1st, 2007.

 

Please distribute the call for papers (below) as widely as possible.

 

With thanks,

Jennifer Carter, Assistant to the IAPL Executive Director

 

THE INTERNATIONAL ASSOCIATION FOR PHILOSOPHY AND LITERATURE

2008 MELBOURNE CONFERENCE

30 June – 6 July 2008

 

The International Association for Philosophy and Literature will hold its annual conference in Australia for the first time in 2008.

 

The 32nd annual IAPL conference will be held in Melbourne from June 30-July 6th, and the conference theme is GLOBAL ARTS / LOCAL KNOWLEDGE. Keynote speakers will be confirmed in the coming weeks.

 

The deadline for online submission of paper abstracts and session proposals is Monday, 1st October 2007.

 

Please go to www.iapl.info for further information and online submissions.

 

Contact: Hugh J. Silverman, IAPL Executive Director and Program Coordinator: execdir@iapl.info

 

 

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

 

The Synthetic Aesthetics of New Media Art

February 20 - 23, 2008, Dallas

 

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

 

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

 

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

 

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

 

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

 

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

 

Submission deadline: October 1, 2007

 

Carolyn Kane clk267@nyu.edu

 

 

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(internet source: http://www.unifr.ch/philo/conferences/ied.html#)

 

Workshop: Imagination, Expression, and Depiction

 

The main aim of the workshop is to present and discuss current and on-going research on issues surrounding the topic of how we experience pictures and their emotional expressiveness, and whether the imagination is involved in one way or another in this experience.

 

The meeting is meant to prepare the publication of a collection of essays with the intention to set a new standard of discussion in the field of philosophy concerned, parts of which - notably the issue of pictorial expression - have unfortunately been largely neglected in contemporary aesthetics.

 

The conference constitutes the final part of a SNF-funded research project based at the Chair for Modern and Contemporary Philosophy of Prof. Gianfranco Soldati at the University of Fribourg, which has investigated the relationship between our conscious experience and the normativity of values and, in particular, has dealt with the role of imagining in the appreciation of art.

 

Time & Place: 04. - 06.10.2007, Room xxxx

 

Speakers:

- Katerina Bantinaki (Manchester)

- David Harris (Glasgow)

- Robert Hopkins (Sheffield)

- Derek Matravers (Open University)

- Patrick Maynard (Western Ontario)

- Dominic McIver Lopes (British Columbia)

- Kathleen Stock (Sussex)

- Saam Trivedi (City University New York)

- Fabian Dorsch (Fribourg)

 

 

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(internet source: http://www2.warwick.ac.uk/fac/soc/philosophy/research/phillit/poetryphil/)

 

Poetry & Philosophy Conference

[c] Poets Reading Philosophy, Philosophers Reading Poetry

University of Warwick

 

26-28 October 2007

 

This international conference will bring together poets and philosophers from the U.S., Canada, Australia, and the U.K., to explore questions of method, aim, and substance relevant to both philosophical and poetic practice. We hope the conference will provide a constructive counterweight to a tradition that has often cast philosophy and poetry too simply as representing competing norms--of reasoned argument, generality, and objectivity on the one hand, and of expression, particularity, passion, and subjectivity on the other. To this end we have invited poets who count the philosophical tradition as an inspiration and whose work offers many routes into engagement with philosophers. The philosophical substance of poets’ work will be discussed, as well as such overarching concerns as relations between imagery and abstraction, the role of emotion and personal expression in philosophical inquiry, the role of imagination in reasoning, and conceptions of poetic and philosophical achievement. The conference programme will include poetry readings as well.

 

Invited speakers:

 

Robert Bringhurst (CA)           

 

Richard Eldridge (Swarthmore College, Philosophy)

 

Jorie Graham (Harvard University, English)

 

Robert Gray (AU)

 

Kevin Hart (University of Virginia, Religious Studies)

 

Geoffrey Hill (Boston University emeritus, Literature and Religion)

 

Simon Jarvis (Cambridge University, English)

 

John Koethe (University of Milwaukee, Philosophy)

 

Peter Lamarque (University of York, Philosophy)

 

Susan Stewart (Princeton University, English)

 

Jan Zwicky (University of Victoria, Philosophy)

 

Readings at Warwick Arts Centre

 

Conference organisers:

Eileen John (Philosophy, eileen.john@warwick.ac.uk) and Michael Hulse (English and Comparative Literary Studies, M.W.Hulse@warwick.ac.uk)

 

We thank the British Society of Aesthetics, the Australia Council for the Arts, and the Warwick Humanities Research Centre for support for this event

 

Draft Programme

 

Friday 26 October

 

Session 1 (Social Studies 0.21)

15.00-16.30    Chair:  Tom Docherty

           Richard Eldridge

Expression in poetry: Goethe’s ‘Wayfarer’s Night Song II’

           Susanne Stern-Gillet

Voices without and voices within: inspiration old and new

 

16.30-17:00    Coffee and registration

 

Session 2 (Warwick Arts Centre Conference Room)

17:00-17.45    Chair: Christine Battersby

           Poets on philosophy

Geoffrey Hill

Jorie Graham

Robert Bringhurst

 

18:00-19:00    Opening reception

 

19.00-20.45    Reading (Warwick Arts Centre Conference Room)

Geoffrey Hill

Jorie Graham

Robert Bringhurst

See Warwick Arts Centre Writers Calendar http://www.warwickartscentre.co.uk/events/writers

 

Saturday 27 October

 

8.45-9.00 Coffee

 

Session 3 (Warwick Arts Centre Conference Room)

9.00-10.30      Chair: Michael Bell

           Jennifer Gosetti-Ferencei

The phenomenology of space in Rilke and Stevens

           William Melaney

Valéry’s interruptions: concerning origins and ends

           Aine Kelly

Wallace Stevens and Stanley Cavell: in quest of the ordinary

 

10.30-10.45    Coffee

 

Session 4 (Warwick Arts Centre Conference Room)

10.45-12.15    Chair: 

           John Koethe

Wittgenstein and lyric subjectivity

           Lucy Alford

Nearing humanness: poetry, proximity, and the ethics of attention

           Poets on philosophy

Susan Stewart

Jan Zwicky

 

12.15-13.00    Buffet lunch

 

13.00-14.15 Reading (Warwick Arts Centre Conference Room)

Kevin Hart

Jan Zwicky

See Warwick Arts Centre Writers Calendar http://www.warwickartscentre.co.uk/events/writers

 

Session 5 (Warwick Arts Centre Conference Room)

14.30-16.00    Chair: Michael Hulse

           Lachlan Brown

‘A name I never heard till now’: reading Kevin Hart’s ‘Peniel’

           Peter Lamarque

Title:

           Poets on philosophy

Robert Gray

Kevin Hart

 

16.00-16.15 Coffee

 

Session 6 (Warwick Arts Centre Conference Room)

16.15-17.45 Chair:

           Peter Larkin

The poetics of province and standing loss in Susan Stewart’s ‘The Forest’

           Christina Makris

Contemporary visual poetry and nonconceptual content

           Robin Purves

A note on man: how money lays waste to the Holy City in the poetry of J. H. Prynne

           

18.30  Reading (Warwick Arts Centre Conference Room)

Robert Gray

Susan Stewart

John Koethe

See Warwick Arts Centre Writers Calendar http://www.warwickartscentre.co.uk/events/writers

 

Conference Dinner (Scarman House)

 

Sunday 28 October

 

9.00 Coffee

 

Session 7 (Warwick Arts Centre Conference Room)          

9.15-10.45      Chair:

           Carole Birkan

On the persistence of a dialectic in Geoffrey Hill’s sonnets

           Alexander Pestell

The dialectics of public discourse: Geoffrey Hill and T. H. Green

           Eirik Steinhoff

Wyatt’s wagers: the quyete of mynde and the failures of technique

 

10.45-11.00 Coffee

 

Session 8 (Warwick Arts Centre Conference Room)

11.00-12.30    Chair:  Nick Lawrence           

           Mark Rowe

Larkin, Kant and the aesthetics of freedom: a reading of Larkin’s ‘Livings’

           Franklin Bruno

‘Writing through’ as philosophical critique in contemporary poetry

           Simon Jarvis

Unfree verse: John Wilkinson’s ‘The Speaking Twins’

 

12.30 Buffet lunch

 

14.00-16.30    Informal tea and conversation           (Writers’ Room, Millburn House)

 

 

23 (internet source: http://sifa.unige.it/2eve/con.htm)

(internet source: http://www.labont.it/)

 

2-4 ottobre <2007>

 

Il futuro dell'estetica

In onore di Arthur C. Danto

Martedì 2 ottobre alle ore 15, nell’Aula Magna del Rettorato dell’Università di Torino, via Po 17, sarà conferita la laurea honoris causa in filosofia e storia delle idee ad Arthur C. Danto, professore emerito alla Columbia University e massimo filosofo della Pop Art (si veda, in particolare The Transfiguration of the Commonplace, Harvard University Press, 1981). La Laudatio sarà tenuta da Maurizio Ferraris.

 

Seguirà, in onore di Danto, il 3 e 4 ottobre, nell’Aula Magna del Rettorato e alla Fondazione Merz, via Limone 24, il convegno Il futuro dell’estetica, organizzato dall’Università di Torino con il patrocinio della Società Italiana d’Estetica e della Fondazione Merz. Partecipano Tiziana Andina, Carola Barbero, Jean-Pierre Cometti, Pietro Kobau, Alessandro Lancieri, Giovanni Matteucci, Lucia Pizzo Russo, Stefano Velotti. Scopo del convegno è fare il punto sulla rinascita della filosofia dell’arte grazie alle nuove prospettive dell’estetica analitica, della estetica della percezione, e della ontologia degli oggetti sociali.

 

In questo quadro, il 3 ottobre alle 16 alla Fondazione Merz si terranno due conferenze aperte al pubblico: Arthur C. Danto, From Photography to Philosophy: Two Moments of Post-Traditional Art e Maurizio Ferraris, La Fidanzata Automatica (anticipazione del suo ultimo libro, Bompiani, 2007, dal 10 ottobre in libreria).

 

Il futuro dell’estetica

In onore di Arthur C. Danto

Torino, 2-4 ottobre 2007

 

2 ottobre

Aula Magna del Rettorato

15.00 - 17.00  Conferimento della Laurea Honoris Causa in Filosofia e Storia delle Idee ad Arthur C. Danto

 

3 ottobre

Aula Magna del Rettorato

9.30 - 10.15  Introduzione e Saluto delle Autorità

Prof. Ezio Pelizzetti, Magnifico Rettore dell’Università di Torino

Prof. Lorenzo Massobrio, Preside della Facoltà di Lettere e Filosofia

Prof. Pietro Bassiano Rossi, Direttore del Dipartimento di Filosofia

Prof. Luigi Russo, Presidente della Società Italiana d’Estetica

Presiede Luigi Russo

10.15 - 10.45  Jean-Pierre Cometti, Université de Provence

10.45 - 11.15  Lucia Pizzo Russo, Università di Palermo

11.15 - 11.30  Discussione

11.45 - 12.15  Pietro Kobau, Università di Torino 

12.15 - 12.45  Tiziana Andina, Università di Torino

12.45 - 13.00  Discussione

Fondazione Merz

Presiede Paolo D’Angelo

16.00  Arthur C. Danto, From Photography to Philosophy: Two Moments of Post-Traditional Art

16.45  Discussione

17.00  Pausa

17.15  Maurizio Ferraris, La Fidanzata Automatica

18.00  Discussione

 

4 ottobre

Aula Magna del Rettorato

Presiede Maurizio Ferraris

9.30 - 10.00  Giovanni Matteucci, Università di Bologna

10.00 - 10.30  Alessandro Lancieri, Università di Palermo

10.30 - 10.45  Discussione

10.45 - 11.00  Pausa

11.00 - 11.30  Stefano Velotti, Università di Roma “La Sapienza”

11.30 - 12.00  Carola Barbero, Università di Torino

12.00 - 13.00  Discussione generale e chiusura dei lavori

 

Supervisione scientifica: Tiziana Andina

Segreteria scientifica: Carola Barbero, Alessandro Lancieri

Università di Torino, Aula Magna del Rettorato

Via Po 17, Torino - http://www.unito.it

Fondazione Merz

Via Limone 24, Torino - http://www.fondazionemerz.org

 

 

24 (internet source: http://sifa.unige.it/2eve/con.htm)

(internet source: http://www.k-state.edu/philos/conferences.html)

 

The Art of Performance: a conference in honor of James Hamilton Invited speakers include Noël Carroll (Temple University), David Davies (McGill University), James Hamilton (Kansas State University), Sherri Irvin (University of Oklahoma), Dominic McIver Lopes (University of British Columbia), Aaron Meskin (University of Leeds), Daniel Nathan (Texas Tech University), and David Osipovich (Marist College)

December 1-2, 2007

Time TBA Location TBA

 

 

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

 

Derrida Today Conference

10 to 12 July 2008

Sydney, Australia

 

Website: http://www.ccs.mq.edu.au/derridatoday/

Contact name: Nick Mansfield/Nicole Anderson

 

Call for papers

 

Recently, Derrida studies have been dominated by the commemorative and retrospective. Derrida Today will focus on the ongoing value of Derrida's work to the political/ethical,

cultural, artistic and philosophical futures that confront us.

 

The deadline for abstracts/proposals is 15 November 2007.

 

Enquiries: dtconference@scmp.mq.edu.au

Web address: http://www.ccs.mq.edu.au/derridatoday/

Sponsored by: Department of Critical and Cultural Studies, Macquarie University

 

 

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

 

Trento 18-20 janvier 2008

Le « nouveau » en musique et en musicologie :

Esthétiques technologies langages

UNIVERSITÀ DI TRENTO

Dipartimento di Filosofia Storia e Beni Culturali

 

Le Symposium s’articule autour de communications d’intervenants invités, de démonstrations de nouvelles technologies appliquées à la musique et à la musicologie, de présentations de Posters et de matériel vidéo.

 

Comité scientifique: Annarita Addessi (annarita.addessi@unibo.it), Mario Baroni (mario.baroni@unibo.it ), Rossana Dalmonte (rossana.dalmonte@unitn.it ), Goffredo Haus (haus@dico.unimi.it), Luca Marconi (lucammarconi@libero.i t), Francesco Spampinato (francescospampinato@yahoo.it )

 

Appel à POSTERS

Les propositions de Posters pour le Symposium porteront sur les thèmes suivants :

1.Analyses sémantiques, réflexions historiques, argumentations critiques autour de l’emploi du terme « nouveau » dans la musicologie d’hier et d’aujourd’hui ;

2. Analyses et exemples musicaux de technologies appliquées à la musique ou à la musicologie

Les abstracts des Posters doivent être transmis au Comité Scientifique avant le 31 octobre 2007. L’avis d’acceptation sera envoyé aux auteurs des 20 textes choisis avant la fin du mois de novembre. Les noms des auteurs et les titres des Posters paraîtront dans le matériel d’information du Symposium. Les dîners sociaux de vendredi et samedi seront offerts aux auteurs des Posters. On leur fournira également la liste des hôtels conventionnés avec l’Université, pour qu’ils puissent bénéficier de réductions.

 

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

 

19-21 janvier 2009, Vienne (Autriche)

 

Cycle and Process. Joseph Haydn and Time

 

Interdisciplinary Symposium, January 19-21, 2009 University of Music and Performing Arts Vienna

 

In daily experience, time is perceived either as repetition of the same (cycle) or as continuous, irreversible change (process). Music has, thanks to its quality of temporal existence, always had a special relation to time in tempo, meter, and rhythm. Furthermore, since Haydn's day the perception of continuity and change, time patterns and irregular developments, has gained a sharper focus. Not incidentally, authentic titles or later added programmatic names of works by Haydn allude to time and its passing: Le matin / Le midi / Le soir / Die Uhr / Die Jahreszeiten. Therefore, our conference intends to examine applications of this sharpened perception on music. Our topic relates to recent debates in various fields and research areas such as New Musicology (e.g., narratology), Cultural Studies (significance of memory in the reception of music) and to the discussion initiated by Reinhart Kosellek regarding  the new perception of time during the 18th century (cf. the journal Das achtzehnte Jahrhundert: vol. 30/2 [2006],  "Zeitkonzepte").

 

Proposals for papers (in German or English) including an abstract of no more than 250 words are requested by Dec. 15th, 2007, to the following address:

Institut für Analyse, Theorie und Geschichte der Musik

Kennwort: Zyklus und Prozess

c/o Prof. Dr. Martin Eybl

Anton-von-Webern Platz 1

1030 Wien

 

 

28 (internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

CALL FOR PAPERS

Psychology of Aesthetics, Creativity, and the Arts

Journal of the Society for the Psychology of Aesthetics, Creativity and the Arts

 

Psychology of Aesthetics, Creativity, and the Arts is a new journal which will be published quarterly beginning in March 2007. The journal will examine the issues relevant to all aspects of creative behavior, and we encourage all individuals involved in this area to contribute manuscripts.

 

Articles to be published in the journal will include reports of original research on aesthetic perception and all facets of creative behavior, production, thought, and development, as well as essays that synthesize and evaluate extant research and papers that propose or expand on creativity or aesthetic theory. Comments on articles published in the journal will also be considered.

 

Authors should prepare manuscripts according to the Publication Manual of the American Psychological Association (5th Edition). In general, manuscripts will range from 15 to 40 double-spaced pages, and should include an abstract of 125-180 words maximum on a separate page.

 

Manuscript Submission

 

Authors should submit their manuscript electronically via the Manuscript Submission Portal, located at www.apa.org/journals/aca.

 

 

LECTURES (5)

 

1 (internet source: http://www.wissenschaftskompass.at)

 

Schöne Wirksamkeit

Zur Ästhetik wissenschaftlicher Bilder

Art: Vortrag

Ort: IFK Internationales Forschungszentrum Kulturwissenschaften

1010 Wien, Reichsratsstraße 17

Tel: 504 11 26, Fax: 01-5041132

eMail:ifk@ifk.ac.at 

Datum: 22.10.2007

c.t.

Zeit: 18:00:00

Details: http://www.ifk.ac.at

Veranstalter: IFK Internationales Forschungszentrum Kulturwissenschaften

Anmeldung/

Information:

ifk@ifk.ac.at 

VortragendeR: Dr. des. Jan Altmann

Kosten: keine

 

2 (internet source: http://www.wissenschaftskompass.at)

 

Die Metapher in Philosophie, Wissenschaft und Literatur

Forschungsergebnisse des Symposiums

Art: Buchpräsentation

Ort: Literarisches Quartier der Alten Schmiede, Kunstverein Wien

1010 Wien, Schönlaterng. 9

Tel: 512 44 46-74, Fax: 01-513 19 629

eMail:literarisches.quartier@alte-schmiede.at 

Datum: 24.10.2007

Einlass 18:30

Zeit: 19:00:00

Details: http://www.fink.de/katalog/search.html?t ...

Veranstalter: Kunstverein Wien, Alte Schmiede

Anmeldung/

Information: Tel: 512 44 46-74

Fax: 513 19 629

literarisches.quartier@alte-schmiede.at 

VortragendeR: Franz Josef Czernin

VortragendeR: Thomas Eder

Anmerkung: Vorträge und Kommentare von Franz Josef Czernin, Thomas Eder und Maria Elisabeth Reicher

Kosten: keine

 

 

3 (internet source: search engine)

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

 

Colloques et conférences

 

24 octobre 2007 à 10 h : Groupe de contact Esthétique et philosophie de l'art

 

Conférence de Jean-Luc Joly

 

La Vie mode d'emploi de Georges Perec : un roman totalisant

 

Université de Liège, place du XX août, Bât. A1, Salle Lumière

 

 

4 (internet source: search engine)

(internet source: http://diocese-rodez-formation.over-blog.com/categorie-212547.html)

 

PARCOURS PHILOSOPHIQUE

avec Yvonne SERANGE

Foyer St Pierre de 10h à 16h Samedi 6 octobre 2007

 

La philosophie comme art de vivre : sagesse et bonheur

 

Cycle proposé par l'Antenne de l'Institut Catholique de Toulouse Foyer St Pierre Rodez

 

Tarif : 20 € / journée

 

Contact Antenne Institut Catholique 05 65 68 90 98, ict.antenne12@fsp12.fr

 

 

5 (internet source: search engine)

(internet source: http://home.uchicago.edu/~bms6/cv.html#anchor29380)

 

Barbara Maria Stafford, Lecture Series as Templeton Fellow, "Crystal and Smoke: Facets of Cognitive Aesthetics," University of Southern California, Los Angeles, January 28-February 10, 2008.

 

 

 

PUBLICATIONS (1)

 

1 (internet source: private e-mail)

 

http://www.transcript-verlag.de/

Programmbereich: PHILOSOPHIE

 

Jens Szczepanski

Subjektivität und Ästhetik. Gegendiskurse zur Metaphysik des Subjekts im ästhetischen Denken bei Schlegel, Nietzsche und de Man

August 2007, 242 Seiten, kart., 27,80 Euro

ISBN: 978-3-89942-709-7

 

Das Buch widmet sich einer systematischen Rekonstruktion der ästhetisch bestimmten Subjektivität. Ausgehend von einer Analyse der neuzeitlichen (Subjekt-)Metaphysik werden dieser kritisch gegenüberstehende Theorieansätze gelesen, die unter dem Titel "Ästhetik" operieren. Damit wird versucht, konstruktiv an die Kritik der Subjektmetaphysik in den letzten Dekaden (u.a. durch Derrida) anzuschließen und ihre Ressourcen für eine zu dieser Metaphysik alternativen Theorie des Subjekts auszuloten. Die postmoderne Kritik am Subjekt führt nicht zu einer Nivellierung des Subjekts, sondern zu einer Neubeschreibung, die diese Kritik fruchtbar zu machen versucht.

 

Jens Szczepanski (Dr. phil.) lebt als freier Philosoph in Berlin. Seine Forschungsschwerpunkte sind Ästhetik, Subjektphilosophie und Philosophie der Sprache.

 

Weblink: http://www.transcript-verlag.de/ts709/ts709.htm

 

Stephan Günzel (Hg.)

Topologie. Zur Raumbeschreibung in den Kultur- und Medienwissenschaften

August 2007, 332 Seiten, kart., zahlr. Abb., 29,80 Euro

ISBN: 978-3-89942-710-3

 

Das Thema "Raum" ist äußerst populär, die Vielfalt der Methoden und Gegenstandsbereiche wird jedoch zunehmend unüberschaubar. Hier setzt der Band an: Er versammelt Beiträge verschiedener Disziplinen, die eine ausdrücklich relationale oder ortsspezifische Beschreibung von Räumlichkeit vornehmen.

 

Hierzu wird die aktuelle Raumdebatte in den Kultur- und Medienwissenschaften rekonstruiert und die Entstehung der Topologie im Kontext der Mathematik nachgezeichnet. Einzelanalysen widmen sich verschiedenen Anwendungsgebieten wie Architektur, Film- und Literaturwissenschaft, Kunst, Psychologie oder Soziologie und gehen auf die Schlüsselfunktion phänomenologischer und strukturalistischer Ansätze ein.

 

Stephan Günzel (Dr. phil.) lehrt Medienwissenschaft an der Universität Jena. Seine Forschungsschwerpunkte sind Raum-, Bild- und Medientheorie.

 

Weblink: http://www.transcript-verlag.de/ts710/ts710.htm

 

Oliver Kohns

Die Verrücktheit des Sinns. Wahnsinn und Zeichen bei Kant, E.T.A. Hoffmann und Thomas Carlyle

Juli 2007, 366 Seiten, kart., 34,80 Euro

ISBN: 978-3-89942-738-7

 

In der romantischen Literatur und Philosophie erscheint "Wahnsinn" nicht als das "Andere der Vernunft", nicht als Gegenstück zu einer selbstgewissen Rationalität, sondern als eine Verrücktheit, die in der Struktur des Zeichens und also des Sinns angelegt ist. Für Immanuel Kant ist deshalb jeder Mensch potentiell wahnsinnig. Die Erzählungen E.T.A. Hoffmanns und

Thomas Carlyles handeln von der strukturellen Verrücktheit des Sinns.

 

Entgegen althergebrachter ideen- und sozialhistorischer Behandlungen der Thematik zeigt diese Studie völlig neue Facetten des Wahnsinns in präzisen Lektüren der Texte von Kant, E.T.A. Hoffmann und Thomas Carlyle.

 

Oliver Kohns (Dr. phil.) unterrichtet zurzeit an der Universität Regensburg im Fach Germanistik. Seine Forschungsschwerpunkte sind die Literatur und Philosophie der europäischen Romantik, Literaturtheorie (besonders Poststrukturalismus) sowie Medientheorie (besonders die Philosophie der Stimme).

 

Weblink: http://www.transcript-verlag.de/ts738/ts738.htm

 

Kathrin Busch, Iris Därmann (Hg.)

"pathos". Konturen eines kulturwissenschaftlichen Grundbegriffs

August 2007, 206 Seiten, kart., 21,80 Euro

ISBN: 978-3-89942-698-4

 

Ist es heute üblich, das gesamte Spektrum menschlicher Tätigkeiten als das genuine Gegenstandsfeld der Kulturwissenschaften anzusehen, so wird damit der ganze Bereich des "pathos" im Sinne von Widerfahrnis, Leidenschaft und Passivität vernachlässigt.

 

Entgegen dieser üblichen Privilegierung der Handlungs- und Herstellungskategorien will der Band mit dem Pathischen dasjenige ins Blickfeld rücken, das nicht nur jede Tätigkeit in unterschiedlicher Weise begleitet, sondern auch Anstoß und Ermöglichungsgrund jeglicher menschlichen Praxis darstellt.

 

Kathrin Busch (Dr. phil.) ist Juniorprofessorin für Kulturtheorie an der Universität Lüneburg. Ihre Forschungsgebiete liegen in der philosophischen Ästhetik und Theorie der zeitgenössischen Künste.

 

Iris Därmann (PD Dr. phil.) ist wissenschaftliche Mitarbeiterin an der Universität Lüneburg. Ihre derzeitigen Forschungsschwerpunkte sind Theorien der Fremderfahrung und Politische Philosophie.

 

Weblink: http://www.transcript-verlag.de/ts698/ts698.htm

 

Steffen K. Herrmann, Sybille Krämer, Hannes Kuch (Hg.)

Verletzende Worte. Die Grammatik sprachlicher Missachtung

Juli 2007, 372 Seiten, kart., 30,80 Euro

ISBN: 978-3-89942-565-9

 

Worte verletzen und kränken. Woher aber kommt diese Verletzungsmacht? Während in der deutschsprachigen Philosophie Sprache meist als Gegenmittel zur Gewalt begriffen wird, hat die US-amerikanischen Debatte um 'hate speech' gezeigt, dass das Sprechen Gewalt nicht nur androhen oder verhindern, sondern selbst eine Form von Gewaltausübung sein kann. Wie nun sind sprachliche Verletzung, Ausgrenzung und Missachtung zu erklären und zu verstehen? Aus der Sicht verschiedener Disziplinen untersuchen die Beiträge dieses Bandes, welcher Logik, Grammatik und Rhetorik unser verletzendes Sprechen gehorcht.

 

Mit Beiträgen von u.a. Pierre Bourdieu, Penelope Brown/Stephen Levinson, Harold Garfinkel und Rae Langton.

 

Sybille Krämer ist Professorin für Philosophie an der FU Berlin und Permanent Fellow am Wissenschaftskolleg Berlin.

 

Hannes Kuch (M.A.) promoviert am Graduiertenkolleg "Sklaverei – Knechtschaft und Frondienste - Zwangsarbeit". Steffen K. Herrmann (M.A.) arbeitet an einem Forschungsprojekt zur "Sprache der Gewalt".

 

Weblink: http://www.transcript-verlag.de/ts565/ts565.htm

 

Ludger Schwarte (Hg.)

Auszug aus dem Lager. Zur Überwindung des modernen Raumparadigmas in der politischen Philosophie

Juli 2007, 318 Seiten, kart., zahlr. Abb., 31,80 Euro

ISBN: 978-3-89942-550-5

 

Wie läßt sich verhindern, daß je wieder Lager errichtet werden, in denen Menschen entrechtet, gequält oder gar ermordet werden? Daß diese Frage nach wie vor aktuell ist, belegen auch in heutigen Demokratien noch existierende Lager.

 

Dieses Buch untersucht die bereits von Hannah Arendt entwickelte These, das Lager sei das Paradigma des modernen Raums. Die Perspektive verschärft sich im Zusammenhang mit der Diskussion um die Entstehung der Biopolitik bei Michel Foucault, der die Lager auf Praktiken der Produktion von Leben und die politische Kontrolle von Populationen seit dem 18. Jahrhundert zurückführt. Giorgio Agamben schließlich sieht in den Lagern die Matrix des Raums, in dem wir leben.

 

Die Erörterung der vorliegenden Ansätze wird ergänzt durch Sondierungen der ästhetischen Bedingungen des Funktionierens von Lagern: Was ist ein Lager? Wie ist die Erfahrung des Lagers zu vermitteln? Was bleibt, wenn ein Lager zu funktionieren aufgehört hat?

 

Ludger Schwarte (Prof. Dr. phil.) lehrt Philosophie an der Universität Basel. Seine Forschungsschwerpunkte sind die Theorie der Bilder, politische Philosophie, Wissenschaftsgeschichte und Ästhetik.

 

http://www.transcript-verlag.de/ts550/ts550.htm

 

 

 

July 2007 – September 2007

 

 

CALLS FOR PAPERS/CONFERENCES (NEW 14 + 7)

 

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

 

10-15 juillet 2007, Zürich

18th International Congress of the International Musicological Society : Sonoristic Legacies: Toward New Paradigms in Music Theory, Aesthetics, and Composition

http://www.musik.unizh.ch/ims2007/html/programmkomitee.html

 

 

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

 

XVIIth INTERNATIOANAL CONGRESS OF AESTHETICS

9 to 13 July 2007

ANKARA, Turkey

http://www.sanart.org.tr/congresses/07ICA/index.html

Contact name: Prof.Dr. Jale ERZEN

The XVIIth International Congress of Aesthetics, taking place in Turkey, will approach art and culture in terms of historic ruptures, continuities, tensions and hybridities. With worldwide participation, it is expected that alternative dis

Organized by: SANART, Turkish Society for Aesthetics and Visual Culture.

 

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

 

Thinking through Affect

A two-day symposium on body, affect, emotion and moving images

Friday 8 – Saturday 9 September

 

Jan van Eyck Academie, Maastricht

 

Lectures by Steven Shaviro /Anna Powell /Lesley Stern /Norman Bryson /Barbara M. Kennedy /Tarja Laine /Tim Stüttgen /Monika Bakke /Erin Manning /Maaike Bleeker

 

http://affect.janvaneyck.nl

 

In Deleuze and Spinoza's view the body is not considered a substance but a kinetic and dynamic thing that is organised by "a capacity for affecting and being affected." Affect exists only as relation between two bodies and transgresses the borders between self and other, between subject and object. Affect takes place on an automatic level not consciously registered unless it is actualized into feeling or emotion. According to Brian Massumi affect operates on a 'superlinear' level that is registered by the skin and the visceral senses as 'intensity,' virtual and unqualified experience.

 

This symposium will closely draw on theories on visual media, especially cinema and media studies, since technological media confront us with forms of perception that are non-intentional and a-subjective, not subdued to the laws of representation and meaning. They can create a shortcut to sensual and bodily experiences and have the capacity to intensify, alter or distort the affective dimensions of an image, sound, voice, face or gesture. Since the meaning and intensity of an image are not necessarily congruent with each other, affect can be and is easily exploited for political or commercial use.

 

Apart from the philosophical and aesthetic discourse on affect and embodiment, recent findings in empirical psychology and neurobiology have shown that the effects of affect are real and point to an intelligence of emotions, as well as an intelligence of the body; they operate on a different level than that of the rational mind. How do non-conscious automatic reactions affect and shape the viewer's experience? How can we write and think about affect? Which concepts from philosophy and art theory but also from science can be useful? And how does this level of corporeal experience resonate with conscious emotions and with processes of recognition and interpretation?

 

Keywords:

-affect, feeling, emotion

-viscerality, tactility, synaesthesia, proprioception

-the body-mind as movement, process, becoming

-duration, intuition, memory

-affective mimicry and feedback reactions

-emotional and tactile contagion

 

Day one

10:30

registration

11:00

introduction by Ils Huygens (Theory Department, Jan Van Eyck Academie)

11:30

Barbara M. Kennedy (Film Studies School, University of Staffordshire)

Thinking ontologies of the mind/body relational: fragile faces and fugitive graces in the processuality of creativity and performativity

12:15

Monika Bakke (Adam Mickiewicz University, Poznan)

I'm too sad to tell you…the story of the Grizzly Man

13:00

Lunch break

14:00

Steven Shaviro (DeRoy Professor of English, Wayne State University, Detroit)

Emotion Capture : Affect in Digital Film and Video

14:45

Maaike Bleeker (Theater Studies, Amsterdam University)

'Hit Me, if You Can'; Martin, Massumi and The Matrix

15:30

Break

16:00

Lesley Stern (Dept of Visual Arts, University of California, San Diego)

Motility, transference and conversion: an exploration of cinematic affect as exemplified in Black Narcissus

Day two

11:00

Norman Bryson (Professor of Art History, University of California, San Diego)

Affect, Sensation, Empiricism

11:45

Tarja Laine (Media and Culture Dept, University of Amsterdam)

Eija-Liisa Ahtila's affective images in The House

12:30

Lunch break

13:30

Tim Stüttgen (Theory Dept. Jan Van Eyck)

Bodies that shatter: watching porns with Williams, Deleuze and Preciado. A reconsideration of Linda Williams´ term 'body-genre'

14:15

Anna Powell (Sr Lecturer in Film and English, Manchester Metropolitan University)

Jack the Ripper's Bodies Without Organs: affect under the scalpel in From Hell

15:00 break

15:15

Erin Manning (director of The Sense Lab, Concordia University, Montreal)

How Leni Riefenstahl moves through fascism: from biopolitics to biograms

 

Admission: free

Language: English

Organisation: Ils Huygens

ilshuygens@gmail.com

 

Advance booking and online registration are recommended.

For info and bookings please contact Madeleine Bisscheroux

madeleine.bisscheroux@janvaneyck.nl

+ 31 (0)43 350 37 29

 

or Anne Vangronsveld

anne.vangronsveld@janvaneyck.nl

 

Jan van Eyck Academie

Academieplein 1

6211 KM Maastricht

The Netherlands

http://www.janvaneyck.nl

http://affect.janvaneyck.nl

 

 

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

 

10-15 juillet 2007, Zürich

18th International Congress of the International Musicological Society : Sonoristic Legacies: Toward New Paradigms in Music Theory, Aesthetics, and Composition

 

 

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

 

Rhizomes: Cultural Studies in Emerging Knowledge

CALL FOR PAPERS
Special Issue: Rhizomes 15: Deleuze and Guattari’s Ecophilosophy

Of what critical importance is Deleuze and=20
Guattari=92s philosophy to our ability to think=20
ecologically or to address environmental=20
catastrophe effectively? What do Deleuze and=20
Guattari mean when they write that =93philosophy .=20
. . turns its back against itself so as to summon=20
forth a new earth, a new people=94? How does=20
philosophy foresee a time when the earth =93passes=20
into the pure plane of immanence of a=20
Being-thought, of a Nature-thought=94? Does=20
=93Nature-thought=94 enter philosophy only when=20
philosophy thinks geographically, that is, in=20
terms of geography=92s real (versus history=92s=20
transcendental) territoriality? How do the=20
emerging concepts as =93geophilosophy,=94 and=20
Guattari=92s =93three ecologies,=94 mesh with such=20
long-evolving Deleuzo-Guattarian concepts as=20
=93rhizome,=94 =93 becoming,=94 =93territory,=94 =93haecceity,=94=20
=93plane of immanence,=94 =93chaos,=94 =93nomadology,=94 etc?=20
Does this m=E9lange of concepts create an=20
=93Ecology-thought,=94 thought that might itself be=20
regarded as adaptive, as creative evolution=20
immanent to (an earth-based) philosophy? On a=20
more pragmatic note, what environmental ethics=20
might we derive from Deleuze and Guattari=92s=20
ecophilosophy? E.g.: How might the concept of=20
"becoming-animal" effectively challenge the idea=20
of animal rights? How might the concept of=20
deterritorialization effectively challenge the=20
idea of wilderness conservation and/or land=20
reclamation? How might the concept of nomadology=20
effectively mobilize and advance aboriginal=20
land-claim strategy? What, if any, critical case=20
studies of environmental disaster and recovery=20
have put Deleuze and Guattari=92s eco-thinking to use, and how?

You are invited to submit essays on these or=20
related topics, themes, and questions. Deadline: September 15, 2007.

Send submissions to dianne.chisholm_at_ualberta.ca

 

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

 

Call for Papers: The H. G. Wells Society Annual Conference - H. G. Wells, Science and Philosophy

Date: 2007-09-28

 

Location: Imperial College/Conway Hall, London

 

Organiser: The H. G. Wells Society

 

Call for papers submission date: 2007-06-11

 

Summary: Proposals may centre on either Wells and science or Wells and philosophy exclusively, or might examine the intersection of both science and philosophy in the author's work. Proposals might focus on, but are not limited to: Wells and evolutionary biology; Wells and Physics; Wells and Darwin/Huxley; Wells and Astronomy; Wells and Plato; Wells and Liberalism.

 

 

 

7 (internet source: information philosophie, März 2007)

(internet source: http://www.dgphil.de/Tagung.htm)

 

An der Universität Bremen findet vom 26.-28.07.2007 eine philosophische Fachtagung statt zum Thema:

Das neue Licht der Frühromantik - Innovative philosophische Leistungen der Frühromantik, ihre Folgen und ihre Aktualität

Organisation: Bärbel Frischmann (Bremen)/ Elizabeth Millán-Zaibert (Chicago).

Teilnahmegebühr: 20 Euro, Studierende 10 Euro.

Kontakt: frischm@uni-bremen.de

PD Dr. Bärbel Frischmann, Universität Bremen, Fachbereich 9 - Kulturwissenschaften, Institut für Philosophie, Enrique-Schmidt-Str. 7, 28359 Bremen, Tel. +49 (0)421 218-9319, Fax. +49 (0)421 218-9317

 

 

NEW 8 (internet source: http://aesthetics-online.org/aesthetics-l)

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

(internet source: http://www.sussex.ac.uk/clp/1-2.html)

 

 

Call for papers:

'Philosophy and Literature/Literature and Philosophy'

 

Inaugural Conference for the Centre for Literature and Philosophy at the University of Sussex

12th to 14th June 2008

 

Confirmed speakers include: Paul Davies, Alex García Düttmann, Jonathan Lear, Stephen Mulhall, Kathleen Stock, Nicholas Royle and Kendall Walton.

 

Contributions are invited for topic panels and papers. There will be a number of graduate round tables as well, so contributions are  also invited from graduate students. Please send proposals (300  words) by the 1st of November 2007 to: K. Deligiorgi, Centre for  Literature and Philosophy, University of Sussex, Falmer, Brighton  BN1 9QN

 

The Centre for Literature and Philosophy is a new research centre established at the University of Sussex, Brighton, UK. Activities include an annual conference, talks, seminars, workshops, as well as a limited number of bursaries worth £1,000 each to support students enrolled in the new MA in Literature and Philosophy for the year 2007-2008. The application deadline is 31st May 2007. Only candidates who have been accepted on the programme are eligible.

 

For information about the activities of the Centre please visit http://www.sussex.ac.uk/clp/index.php

 

Over the last few years there has been a sustained discussion of the relation between philosophy and literature, both in terms of specific questions that arise out of the philosophical study of literary study of philosophy but also in terms of the broader boundary-questions that arise at the intersection of the two disciplines.

 

In order to reflect the range concerns, approaches and ideas that characterise this trend, the topic of this first conference is deliberately broad:

'Philosophy and Literature/Literature and Philosophy'

Areas of research include:

- Cognition, emotion, imagination

- Autobiography

- Fiction and reality

- Ethics and literature

- Interpretation and psychoanalysis

- Critical theory

- Philosophy as literature/literature as philosophy

 

Contributions are invited for:

A. Panel topics (2-4 speakers)

B. Individual papers (40 minutes)

C. Graduate papers (for the graduate round tables)

 

Please send proposals (300 words) by the 1st of November 2007 to: K. Deligiorgi, Centre for Literature and Philosophy, University of Sussex, Falmer, Brighton BN1 9QN

 

 

NEW 9 (internet source: http://aesthetics-online.org/aesthetics-l)

 

A Figure of Speech: Conference on Metaphor

 

Invited speakers include:

Anne Bezuidenhout (South Carolina)

Elizabeth Camp (University of Pennsylvania)

Michael Glanzberg (UC Davis)

Sam Guttenplan (Birkbeck College)

David Hills (Stanford)

Michael Leezenberg (Amsterdam)

Ernie Lepore (Rutgers)

Douglas Patterson (Kansas State)

Esther Romero (Granada)

Marga Reimer (Arizona)

Belen Soria (Granada)

 

The symposium will take place on 17-18 December 2007 at the University of Latvia in Riga and is co-hosted by the Center for Cognitive Sciences and Semantics of the University of Latvia (http://www.lu.lv/eng/general/structure/study/ccss/) and the Department of Philosophy at Kansas State University (http://www.ksu.edu/philos/)

 

Call for Papers

 

A limited number of papers will be selected for presentation at the symposium and considered for inclusion in the proceedings in the Baltic International Yearbook of Cognition, Logic and Communication: http://cognition.lu.lv/board.html

 

Time allowed for presentations is 40 minutes including discussion.  Submitted papers should have a maximum of 3000 words and should be  accompanied by a 200 word abstract.

 

Possible topics include (but are not limited to):

Metaphor in the general theory of meaning

Interpretation of metaphorical utterances

Metaphor identification

The status – semantic, epistemological, pragmatic – of metaphors

The cognitive significance of metaphor

Metaphor and aesthetic effects

Natural language processing theories and metaphor

Cognitive linguistics and metaphor

Metaphor and rhetorical categories

 

All submissions should be prepared for blind review, and should be sent electronically to metaphor@ksu.edu

 

Deadline for submission is August 15 2007. Authors will be notified in September 2007.

 

Sandra Lapointe

Assistant Professor

Department of Philosophy

Kansas State University

201 Dickens Hall

Manhattan, KS, 66506

tel: 785 532 0356

fax: 785 532 3522

lapointe @ ksu.edu

http://www-personal.ksu.edu/~lapointe/

 

 

NEW 10 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

CFP: Psychoanalysis and Aesthetics

 

S is the new open access journal of the Jan van Eyck Circle for Lacanian  Ideology Critique. S publishes peer-reviewed essays on Lacanian and  related topics from the fields of art, film and literary criticism, political, philosophical and ideological critique. With permission, S  also re-publishes hard to obtain essays and translations from seminal  thinkers in Lacanian studies whose work deserves the worldwide dissemination free online publishing affords.

 

http://www.lineofbeauty.org

 

S 1 Call for Papers

 

In every art . . . these realistic shapes represent with a remarkable  constancy this oscillating line which is expressed in fact by the shape of this elongated S with which I designate the subject for you. Yes. Exactly for the same reason that when Monsieur Hogarth tries to designate what is involved in the structure of the beautiful, it is also exactly and specifically to this S that he refers? (Lacan, Sem. XIII, lesson of 4.5.66).

 

The inaugural issue, S1, will present texts that deal with the Imaginary in the Lacanian sense of the word, as well as essays from the broader field of (psychoanalysis and) aesthetics. Possible topics include:

 

- the return of the Imaginary in the later Lacan

- lesser-known writers in Lacan?s work (i.e. other than Sophocles, Shakespeare, Claudel, Gide and Joyce): Blanchot, Bataille, Plautus, etc.

- the unconditioned Name of the Father

- beauty beyond the phallus

- spaces of conceptual and linguistic impossibility: topology and tropology

- aesthetics and ethics are one? (Wittgenstein)

- the scansion of interpretation (Milner)

- the gaze, the look and the ?other eye?: the tableau in Lacan and Foucault

- the site or non-site of the Imaginary in Badiou

- politics and aesthetics (Rancière, Balibar, Adorno, others)

 

Please send submissions in MLA format by June 30, 2007 to  lineofbeauty_at_telenet.be

 

 

NEW 11 (internet source: http://www.aesthetics-online.org/events/calls.php)

 

A Figure of Speech: Conference on Metaphor

December 17 - 18, 2007, University of Latvia

 

Invited speakers include: Anne Bezuidenhout (South Carolina), Elizabeth Camp (University of Pennsylvania), Michael Glanzberg (UC Davis), Sam Guttenplan (Birkbeck College), David Hills (Stanford), Michael Leezenberg (Amsterdam), Ernie Lepore (Rutgers), Douglas Patterson (Kansas State), Esther Romero (Granada), Marga Reimer (Arizona), and Belen Soria (Granada).

 

A limited number of papers will be selected for presentation at the symposium and considered for inclusion in the proceedings in the Baltic International Yearbook of Cognition, Logic and Communication. Time allowed for presentations is 40 minutes including discussion. Submitted papers should have a maximum of 3000 words and should be accompanied by a 200 word abstract.

 

Possible topics include (but are not limited to): metaphor in the general theory of meaning, interpretation of metaphorical utterances, metaphor identification, the status – semantic, epistemological, pragmatic – of metaphors, the cognitive significance of metaphor, metaphor and aesthetic effects, natural language processing theories and metaphor, cognitive linguistics and metaphor, and metaphor and rhetorical categories.

 

All submissions should be prepared for blind review, and should be sent electronically to metaphor@ksu.edu.

 

Submission deadline: August 15, 2007

 

Sandra Lapointe

Department of Philosophy

Kansas State University

201 Dickens Hall

Manhattan KS 66506

fax: 785 532 3522

lapointe@ksu.edu

 

 

NEW 12 (internet source: http://www.aesthetics-online.org/events/calls.php)

(internet source: http://www-personal.k-state.edu/~perform/)

 

The Art of Performance

In Honor of James Hamilton

 

December 1-2, 2007

 

Kansas State University

 

Invited Speakers

Noël Carroll (Temple University)

David Davies (McGill University)

James Hamilton (Kansas State University)

Sherri Irvin (University of Oklahoma)

Dominic McIver Lopes (University of British Columbia)

Aaron Meskin (The University of Leeds)

Daniel Nathan (Texas Tech University)

David Osipovich (Marist College)

 

Call for Papers: A limited number of papers will be selected for presentation at the symposium and considered for inclusion in the proceedings. Time allowed for presentations is 60 minutes including discussion. Submitted papers should have a maximum of 4000 words and should be accompanied by a 200-words abstract. 

 

This symposium will focus on philosophical issues in the performing arts, with a special emphasis on theater. Possible topics include (but are not limited to):

§       The ontological status of the work for performance and of performances thereof

§       The relationship between critical interpretation and performative interpretation

§       Ontological and interpretative differences between live and recorded performances

§       The creative status of performers, as compared to the creative status of playwrights, choreographers, composers, etc.

§       Perception and audience engagement in the performing arts

§       The relationship between artworks for performance and everyday activity

§       How philosophical understanding of works for performance can enhance our understanding of works in other art forms

 

The symposium will be preceded by a round-table on James Hamilton’s The Art of Theater (Blackwell, 2007)

 

All submissions should be prepared for blind review, and should be sent electronically to: perform@ksu.edu

 

Deadline for submission is September 1st 2007. Authors will be notified in early October.

 

NEW 13 (internet source: http://www.aesthetics-online.org/events/index.php)

 

NEH Summer Seminar on Scottish Enlightenment Aesthetics

July 23 - August 10, 2007, St. Andrews University

 

This seminar is on Scottish Enlightenment Aesthetics and its German reception, and will be directed by Paul Guyer (University of Pennsylvania) and Rachel Zuckert (Northwestern University), with guest lectures by James Harris (St. Andrews), Alexander Broadie (Glasgow), and Peter Jones (University of Edinbugh, emeritus). The seminar will be held at St. Andrews University, Scotland, July 23-August 10, 2007. All those interested in aesthetics, the history of aesthetics, the Scottish and German Enlightenments, and (more broadly) the art, literary, philosophical, or intellectual history of eighteenth century Europe are encouraged to apply to participate.

 

Daniel Gross

Department of Philosophy

Northwestern University

Kresge 2-335

1880 Campus Drive

Evanston IL 60208

d-gross-1@northwestern.edu

 

 

NEW 14 (internet source: http://www.aesthetics-online.org/events/index.php)

(internet source: http://www.reseau-asie.com/cgi-bin/prog/pform.cgi?langue=en&Mcenter=colloque&TypeListe=showdoc&email=&password=&ID_document=410)

 

A-41 Philosophy and Aesthetics in China and in Japan (updated on June 07th 2007)

Author : JACYNTHE TREMBLAY

Areas of Research : Asia

 

Workshop abstract. During the second congress of the Réseau Asie (28-30 September 2005 in Paris), two workshops took place about modern Japanese philosophy. Exchanges between the lecturers and the members of the audience, just as with Véronique Alexandre-Journeau (person in charge for the theme “Arts and literature” whom these workshops were parts), showed two perspectives for the future. The first consists in an effort which aims at opening the relationship Japan-West, up to now rather restrictive, to other countries of Asia, in particular China. The second is an interest shown for aesthetics and the various artistic fields. Aesthetics is indeed one of the privileged points of contact between Chinese philosophy and Japanese philosophy. Moreover, much of philosophical issues typical of China and Japan, or of topics traditional in Western philosophy but reinterpreted when they are seen starting from the East, become much easier to understand when they are included within the framework of a reflection on aesthetics and the various artistic fields.

The present workshop will address these philosophy and aesthetics in that sense (just as the twin workshop headed “Contemporary philosophy in China, Japan and Korea. Towards the development of a pan-Asianism”). In addition to the more general perspectives comparing philosophy with aesthetics – Jia Jinli analyzes how space and time interact in Chinese aesthetics, while Marcello Ghilardi compares Nishida Kitarô and Nicolaus Cusanus – , one will find in this workshop conferences relating to painting, theatre, music and poetic narration. These artistic fields always intersect with philosophical topics. Among these, that which holds the most important place is spatio-temporality, both in China and in Japan, in link with the concepts of vacuity and absolute nothingness. Next comes the topic of relationship, extended to the relationship between the subject and the object, the human being and the world, the self and the society. To this topic of relationship or “betweeness” is intrinsically connected those of the self-identity and the transformation of subjectivity, of the status of the body, the individual and the person. On several of these levels, aesthetics join ethics.

 

Key-words : spatio-temporality - absolute nothingness – relationality - subject-object - human being-world - self-society - personal identity – body – aesthetic - comparative philosophy

 

COORDINATOR: JACYNTHE TREMBLAY

MODERATOR: KURODA AKINOBU

 

· JIA Jinli

Lecturer

Artistic Education Center, University of sciences, Beijing

v Theory of ‘Awakening’ as Transcending the Reality of Time-Space in Chinese Art

Zong Baihua passes through the conceptual level to explain the aesthetic taste and the relation with space and time so specific in Chinese art, with the “completion in time of the six positions” in Yijing (Book of change) which says the change of space in time, “yin-yang harmony” in Laozi which says the mutual breeding and dependence of space and time and “spiritual resonance” in Huapin (Evaluation of Ancient Painters) which is an interweaving of time and space. During the process of conceptualisation, the ‘Awakening’ is a very important link. The character‘’has its source in chan Buddhism and covers two kinds of awakening, progressive and sudden, both creating a substantial transcendence as regards objective things and subjective experiences, generating a time-space with a logic out of normal representation. ‘Awakening’ realizes the unification of a typical event and an environment; ‘Awakening’ generates a conception of the work of art itself in a continuous development; ‘Awakening’ creates ‘soul’ as the substantial part of art.

 

· Joël BOUDERLIQUE

Independent researcher

Bretagne

v Nothingness : power and powerless. Encounter with Mu Qi’s works

The obviousness of Mu Qi’s (Mu Ch’i) works takes its source in a lucidity of power that precedes all lucidity of knowledge. Each of his landscapes, like each of his still lifes, shows that though the being (Sein) is determined in the shape of mondeity, it can never be reduced to that which is (das Seiende). In their appearing the “Khakis” of Mu Qi recall that objectivity is not reality. The reality of these fruits becomes clear from the reality of the world. They make known to us the moment of their reality by haunting ‘this depth which makes things’ (Merleau-Ponty) in which all things communicate between them, with which I am originally ‘in a relation of embrace’ (Merleau-Ponty). The “Khakis” of Mu Qi escape from the antinomy between the foundation and the horizon from the world, because they emanate from the emptiness, which is not a foundation, and because they have as a horizon only the Open. Sensitive, they are real, but without taking part in the mondeity of the world. They are there, in the same space as we are. Space which is the “between” linking us: the union of our powerlessness to produce it with the power which produces us simultaneously.

 

· Pauline COUTEAU

Doctoral student

EHESS

v Analysis of the mask in Japanese esthetics

In this presentation, we intend to analyse the ontological role of mask in Noh theater. Besides, our purpose aims at grasping the importance of such a notion in the process of individualization. As a matter of fact, a “person” derives from the word “personna” which designates the mask. Our analysis is based upon a short essay written by Watsuji Tetsurô (1889-1960), entitled “The Mask and the Person”(Men to Perusona, 面とペルソナ). Watsuji takes in charge the relation between the face and the mask through an inquiry of japanese traditional dramas. This approach leads him to an hermeneutics of the mask, implying a deep reflection on the self. Thus, we will cross-examine the concept of self-identity through an aesthetical and ethical perspective.

 

· Jacynthe TREMBLAY

Independent researcher in Japanese philosophy

Shenzhen (China)

v Musical aesthetics in Nishida and Kimura

Nishida Kitarô established bonds between philosophy and aesthetics from the standpoints of painting, sculpture and calligraphy, without investigating particularly music. With the intention of addressing Nishida’s aesthetics in a original way, this conference will examine the philosophical possibilities concealed in the relationship between musical aesthetics and the philosophies of Nishida and Kimura Bin (psychiatrist and musician). The discussion will thus turn around important Nishida’s concepts and of their taking over by Kimura in his own vocabulary: absolute nothingness, self-awareness, absolute present, body and subject-object relationship (within this framework, the question of the “signature of Bach” will be examined”). Although these concepts are recognized as difficult even for experienced philosophers, their transposition in the field of musical aesthetics makes it possible to deepen considerably their significance.

 

· Marcello Ghilardi

Doctoral student in Aesthetics and Theory of Arts

Palermo University (Italy)

v Between aesthetics and ethics: the experience of seeing in Nicolaus Cusanus and Nishida Kitarō

Even if Middle Age’s philosophies seem so detached from the themes of XXth century Japanese philosophy, nonetheless we can find a link uniting two authors such as Nicolaus Cusanus (1401-1464) and Nishida Kitarō (1870-1945). This link may be discovered in the role of “vision” or, to say it better, of the act of seeing – given that either in Cusanus and Nishida’s thought the core of their speculation deals with a practice, an experience, a transformation of the self and its behaviour. “Seeing” is an intellectual and physical experience, very rigorous; but such a “seeing” excludes the presence of a strong, egotist subject opposed to a completely external object. At the same time, it’s from this condition that we can develop the possibility of a really ethical action. It is a no more self-centered ethics, i.e. the ethics of a “Self without form”, which is the real moral subject, according to Cusanus and Nishida’s points of view.

 

 

NEW 15 (internet source: http://www.aesthetics-online.org/events/index.php)

(internet source: http://philosophy.fas.nyu.edu/docs/IO/1227/2007announcement.pdf)

 

“Aesthetic Judgment”

The Fourth NYU Conference on Issues in Modern Philosophy

New York University, November 9-10, 2007

The New York University Department of Philosophy will host the fourth in its series of conferences on issues in the history of modern philosophy on November 9 and 10, 2007. Each conference in the series examines the development of a central philosophical problem from early modern philosophy to the present, exploring the evolution of formulations of the problem and of approaches to resolving it. By examining the work of philosophers of the past both in historical context and in relation to contemporary philosophical thinking, the conferences allow philosophy’s past and present to illuminate one another.

The topic of the 2007 conference is: the nature and significance of aesthetic judgments. There will be four sessions on historical figures—Hume, Kant, Hegel, and Nietzsche—and a fifth session on contemporary treatments of the issue. The schedule of sessions and speakers is as follows:

Friday, November 9

2:30-4:30: First session: Hume

Speaker: Peter Kivy (Rutgers University)

Commentator: Paul Guyer (University of Pennsylvania)

5:00-7:00: Second session: Kant

Speaker: Richard Moran (Harvard University)

Commentator: Rebecca Kukla (University of South Florida)

Saturday, November 10

10:00-12:00: Third session: Hegel

Speaker: Robert Pippin (University of Chicago)

Commentator: Angelica Nuzzo (Brooklyn College, CUNY)

2:00-4:00: Fourth session: Nietzsche

Speaker: Sebastian Gardner (University College, London)

Commentator: Bernard Reginster (Brown University)

4:30-6:30: Fifth session: Contemporary Philosophy

Speaker: Noël Carroll (Temple University)

Speaker: Alexander Nehamas (Princeton University)

Questions about the conference may be directed to: philo.modernconference@nyu.edu. For registration (which is required) and further information please visit the conference website: http://philosophy.fas.nyu.edu/object/philo.newsevents.modernconference

Conference Directors: Béatrice Longuenesse, John Richardson, Don Garrett

 

 

NEW 16 (internet source: http://www.epistemelinks.com/Main/MainEven.aspx)

(internet source: http://www1.uea.ac.uk/cm/home/schools/hum/philosophy/Events%2Band%2BNews/WittgensteinConference/)

 

Wittgenstein, Literature and Other Minds Conference

 

The conference aims to bring together a number of scholars whose interests relate both to Wittgenstein and to matters relating to aesthetics and literature. In addition, unlike most philosophy and literature conferences, we have chosen to prompt participants to reflect on issues relating to other minds, both the mind of the author of a work of literature, the mind of the reader or viewer of a work of art, and the question of what we understand in relating to other people and other animals, and how we relate to others through language and non-linguistic communication.

 

16 - 18 July 2007

 

The conference, including its theme, is inspired by the work of R.W. Beardsmore who died ten years ago. Because of the circumstances and timing of his death there was no opportunity then to honour his philosophical achievements. At the time of his death Beardsmore had been working around the themes that we have chosen for this conference, leaving a number of projects incomplete. The aim of this conference is to honour the memory of a philosopher who was inspirational to many colleagues and pupils around the world, and to do so by following his lead, though in ways that relate to our own current concerns. The papers will (for the most part) not be directly addressed to, or about, the work of Dick Beardsmore but will try to take up his unfinished problematic from a variety of perspectives tangential to his interests but central to our own. Many of us owe more than we realise to having listened to Beardsmore in philosophical discussion, and we anticipate that the outcome of this conference will be a kind of unacknowledged legacy of a great thinker who published rather little.  

If the conference is successful we anticipate publishing a selection of the best papers, together with those of some other contributors who have been unable to take part in the July meeting  

There will be eight sessions (50 minute paper followed by either 30 minutes or 60 minutes of discussion) over one full day and two half days. This structure allows for travel to and from Norwich (two hours from London or Stansted) without extra nights as far as possible. The conference follows directly after the National Postgraduate conference of the BPPA which is at UEA. Graduate students are very welcome to participate in this conference.  

The following papers have been arranged (brief abstracts will be added here as available):

Garry Hagberg (UEA) Wittgenstein, Literary Experience, and the Formation of the Self

Michael McGhee (Liverpool) On Marrying Other Minds: two novels of Mrs Humphry Ward

Olli Lagerspetz (Åbo Akademi)  Studying Perception

Catherine Osborne (UEA) Selves and other selves in Aristotle

This paper is on Aristotle on friendship, and the idea of knowing oneself or knowing oneself in another self (both through friends and through the characters of literature into whose selves one gets in a special way).

Carolyn Wilde (Bristol) Seeing things the same way

Drawing from R.W. Beardsmore's early work in Chapters 9 and 10 of 'Moral Reasoning'(1969) on conflict and agreement in moral values, and from the final Chapter of 'Art and Morality'(1971) on art and understanding, I aim to use his arguments to compare distinctions between subjectivity and objectivity in morality and in art, relating them to more recent discussions about art and morality.

Mike Weston (Essex) Forms of our life: 'Understanding a Primitive Society' revisited

David Cockburn (Lampeter) Language, Lions and human beings

Mario von der Ruhr (Swansea) On atheism and morality

“I shall explore a bit further the relation between religion and moral value, Dick's comments on Rai Gaita, and indeed Howard Mounce's recent broadsides against secular attempts at detaching moral value from a transcendental foundation.”

Additional papers for the published volume have been provisionally promised by Raimond Gaita and Howard Mounce.

 

We hope to be able to offer bursaries to Research students who wish to attend the conference.  Please contact Dr. Catherine Osborne for information and details (c.osborne@uea.ac.uk)

 

 

NEW 17 (internet source: http://www.epistemelinks.com/Main/MainEven.aspx)

(internet source: http://www.arts.gla.ac.uk/SESLL/EngLang/PICS08/)

 

PICS08

Monday 14th July to Thursday 17th July 2008

Departments of English Language and Psychology

University of Glasgow, Scotland

 

Conference organizers: Carole Biggam, Carole Hough, Christian Kay and David Simmons.

 

Following the success of Progress in Colour Studies 2004, we plan to hold a further conference on colour in 2008. It will take place at the University of Glasgow, Scotland, from Monday 14 July until Thursday 17 July 2008 (both dates inclusive). If there is sufficient demand, we will organise a tour to places of scenic and historic interest on Friday 18th July.

 

Our overall aim for PICS08 is to provide a multidisciplinary forum for discussion of recent and ongoing research, presented so as to be accessible to scholars in other disciplines. We therefore welcome proposals for papers from any area of interest, for example vision science, psychology, linguistics, anthropology, archaeology, biology, philosophy, cartography, art history, etc. To submit an abstract, click on the link below.

 

The conference will be held on the University of Glasgow campus, with accommodation in University residences and local hotels. The cost is likely to be around £130 for the conference fee, lunches and a reception, with a lower rate for the unwaged. Further information and a booking form will be available soon. To indicate interest meanwhile, contact Dr Carole Biggam at PICS08@arts.gla.ac.uk

 

For further information contact:

Dr C. P. Biggam

Dept of English Language,

University of Glasgow,

Glasgow G12 8QQ

United Kingdom.

Email: PICS08@arts.gla.ac.uk

 

NEW 18 (internet source: http://sifa.unige.it/2eve/con.htm)

(internet source: http://www.adamsmithreview.org/conference.html)

 

CALL FOR PAPERS

The Philosophy of Adam Smith:

A conference to commemorate the 250th anniversary of 

The Theory of Moral Sentiments

January 6-8, 2009

Balliol College, Oxford

Organised by the International Adam Smith Society and The Adam Smith Review

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.

Plenary speakers will include:

Stephen Darwall (Professor of Philosophy, University of Michigan)

Charles Griswold (Professor of Philosophy, Boston University)

Knud Haakonssen (Professor of Intellectual History, University of Sussex)

David Raphael (Professor Emeritus of Philosophy, Imperial College)

Emma Rothschild (Fellow, King’s College Cambridge;  Visiting Professor of History, Harvard)

Geoffrey Sayre-McCord (Professor of Philosophy, University of North Carolina)

Please send detailed abstracts (500-800 words) prepared for blind review by September 15, 2007 to:

Samuel Fleischacker

Philosophy Department (M/C 267)

601 South Morgan Street

University of Illinois at Chicago

Chicago, IL 60607-7114

USA

Or email them (as attachments, prepared for blind review) to: sfleisch@uic.edu

Participants will be notified that their proposals have been accepted for the conference by December 1, 2007. 

Publication

A selection of conference papers will be published in a special commemorative volume of The Adam Smith Review (Routledge), entitled The Philosophy of Adam Smith, edited by Vivienne Brown and Samuel Fleischacker. To meet the publication schedule of the volume (planned publication 2009), participants who would like their papers to be considered for it should submit complete drafts to the editors by September 15, 2008. Only new, previously unpublished work will be included in the volume.

 

 

NEW 19 (internet source: http://www.conferencealerts.com/philosophy.htm)

(internet source: http://www.arts.cornell.edu/IGCS/kant.htm)

 

The Legacy of Kant:

Classical Neo-Kantianism

 

September 7 & 8, 2007

Cornell University, at the A.D.White House

 

Friday

11:00 - 12:45

Paul Guyer University of Pennsylvania

What Happened to Kant in Neo-Kantian Aesthetics?

Commentator: Peter Gilgen

Session Chair: Peter Hohendahl

2:15 - 4:00

Rolf-Peter Horstmann Humboldt-Berlin University

Hermann Cohen on Kant's Transcendental Aesthetic

Commentator: Michelle Kosch

Session Chair: Geoffrey Waite

4:15 - 6:00

Peter Gordon Harvard University

Neo-Kantianism and the Politics of Enlightenment

Commentator: Isabel Hull

Session Chair: Michele Moody-Adams

6:00 - 7:00

Reception

open to the public

 

Sponsored by:

Cornell Humanities Council, Cognitive Science Program, Institute for German Cultural Studies,

Program in Ancient Philosophy, Sage School of Philosophy,

Society for Humanities, and the College of Arts & Sciences Dean's Office

for more information email robin fostel (rtf8@cornell.edu)

 

 

NEW 20 (internet source: http://www.dgphil.de/Tagung.htm)

(internet source: http://www.philosophie.uni-bremen.de/fileadmin/mediapool/philosophie/Veranstaltungsangkuendigungen/Tagungsprogramm_Fr_hromantik_f_Homepage_Phil_23_5_07.doc)

 

 

Das neue Licht der Frühromantik: Innovative philosophische Leistungen der Frühromantik, ihre Folgen und ihre Aktualität

 

Internationale Fachtagung

Universität Bremen

26. bis 28.07.2007

Tagungsort: Haus der Wissenschaft, Kleiner Saal, Bremen

Konferenzsprachen: Deutsch und Englisch

 

Organisatoren: PD Dr. Bärbel Frischmann (Bremen),

Prof. Dr. Elizabeth Millán-Zaibert (Chicago)

 

Vorläufiges Tagungsprogramm/ Tentative Conference Schedule

Donnerstag, 26.07.2007

10.00 Uhr: Eröffnung/ Opening Remarks

I. Aspekte frühromantischer Philosophie: Kritik, Hermeneutik, Dialektik, Ironie. Aspects of Early German Romanticism: Critique, Hermeneutics, Dialectics, Irony

11.00-12.30 Uhr

Referate:

11.00: Andreas Arndt (Freie Universität Berlin)

„Perspektiven frühromantischer Dialektik“

11.45: Violetta Waibel (Universität Wien)

„Denken, Dichten, Fühlen - Hölderlin und Hardenberg an den Grenzen des Sagbaren“

12.30: Kaffeepause/ Coffee Break

14.00: Richard Eldridge (Swarthmore College)

„Doctrine vs. Irony vs. Drama: Acknowledgments of Finitude in Hölderlin and Others“

14.45: Paul Franks (University of Toronto)

„The German Skeptics and early German Romanticism“

15.30: Kaffeepause/ Coffee Break

16.00: Jure Zovko (University of Zagreb)

„Die Aktualität der Schlegelschen Kritikkonzeption“

16.45: Guido Naschert (Universität München): Shaftesbury und Friedrich Schlegel. Enthusiastisches

Philosophieren vor und nach Kant

17.30: Kaffeepause/ Coffee Break

18.00: Eckhard Schumacher (Universität München)

„Die Zukunft der Frühromantik. Prophetie und Ironie bei Friedrich Schlegel“

18.45: Bärbel Frischmann (Universität Bremen)

„Was ist ironische Philosophie?“

Freitag, 27.07.2007

II. Naturwissenschaften/ Naturphilosophie. Natural Sciences/ Philosophy of Nature

9.00-11.45

Referate:

9.00: Kristian Köchy (Universität Kassel)

„Das naturwisssenschaftliche Forschungsprogramm der Romantik“

9.45: Elizabeth Millán-Zaibert (DePaul University, Chicago)

„On the Connection between Nature and Aesthetics: Alexander von Humboldt’s Role in the Romantic Constellation“

10.30-11.00: Kaffeepause/ Coffee Break

11.00: Robert Richards (University of Chicago)

„Goethe, Early German Romanticism, and the Development of Evolutionary Theory“

11.45-13.30: Mittagspause/ Lunch Break

III. Politische Philosophie, Sozialphilosophie, Geschichtsphilosophie, Religion. Political Philosophy, Social Philosophy, Philosophy of History, Religion

13.30-19.00 Uhr

Referate:

13.30: Walter Jaeschke (Ruhr-Universität Bochum)

„Die Geschichtsphilosophie der Frühromantik“

14.15: Jane Kneller (Colorado State University)

„Reconsidering Sociability after Kant: Novalis’ View of Community“

15.00-15.30: Kaffeepause/ Coffee Break

15.30: Jeffery Kinlaw (McMurry University Abilene, Texas)

„The Early Romantic Critique of Fichte’s Political Philosophy“

16.15: Peter Foley (University of Arizona)

„Schleiermacher’s Romantic Religious Views“

17.00-19.00: Break

19.00-22.00 Uhr:

Öffentliche Abendveranstaltung: „Zur philosophischen Bedeutung der Frühromantik“

Haus der Wissenschaft, Großer Saal

(gemeinsam mit der Philosophischen Gesellschaft in Bremen)

Eintritt: 3 Euro, ermäßigt 1,50 Euro.

19.00 Manfred Frank (Universität Tübingen): „Der schwere Gang in die Wirklichkeit“               

20.00 Frederick Beiser (Syracuse University): Response to Manfred Frank

21.00 Disputation der Referenten und Diskussion

Samstag, 28.07.2007

IV. Zur Wechselrelation zwischen Deutschem Idealismus und Frühromantik. The Relation between Classical German Idealism and Early German Romanticism

10.00-13.15 Uhr

Referate:

10.00: Karl Ameriks (University of Notre Dame)

„Kant, German Idealism, and Early German Romanticism“

10.45: Tom Rockmore (Duquesne University)

„On the Relation between German Idealism and German Romanticism“

11.15-11.45: Kaffeepause/ Coffee Break

11.45: Mildred Galland-Szymkowiak (Universität Sorbonne, Paris, z.Z. Universität Bremen)

 „Die Beziehung K.W.F. Solgers zum Idealismus und zur Frühromantik“

12.30: Pirmin Stekeler-Weithofer (Universität Leipzig)

„Hegels Beziehung zur Frühromantik“

13.15-15.00: Mittagspause/ Lunch Break

V. Ästhetik. Aesthetics

15.00-17.00 Uhr

Referate:

15.00: Andrew Bowie (Royal Holloway University of London)

„A Reassessment of the Role of Aesthetic Experience in Early German Romanticism“

15.45: Dieter Sturma (Universität Essen)

„Die Natur des Erhabenen“

16:30: Schlussworte/ Final remarks

(Änderungen vorbehalten)

Tagungsgebühr: 20 Euro; Studierende 10 Euro

Anmeldungen zur Tagung:

PD Dr. Bärbel Frischmann

frischm@uni-bremen.de

Mit folgenden Hotels sind Ermäßigungen für die Tagungsteilnehmer vereinbart:

Hotel „Bremer Haus“ (Einzelzimmer incl. Frühstück 62 Euro)

Löningstr. 16-20, D-28195 Bremen, Tel.: +49 (0) 421 / 32 94-0, bremerhaus@online.de

Hotel Heldt (Einzelzimmer incl. Frühstück 52 Euro)

Friedhofstr. 41, D-28213 Bremen, Tel.: +49 (0) 421/ 21 30 51

HotelHeldt@aol.com

(Doppelzimmer jeweils auf Anfrage.)

Bitte reservieren Sie dort Ihr Zimmer unter dem Stichwort: „Tagung Frühromantik“ möglichst rechtzeitig. Die Kontingente werden bis Mitte Juni freigehalten.

Die Tagung wird gefördert von der DFG, der Universität Bremen und der Sparkasse Bremen.

 

 

NEW 21 (internet source: search engine)

 

The Role of the Humanities in Design Creativity

International Conference, EMMTEC, University of Lincoln, UK

15-16 November 2007 

Hosted by the Faculties of Art, Architecture and Design and Media and the Humanities

 

Introduction

The theme of this conference considers the influence of the humanities on the processes of design. It explores this issue from both an historical and contemporary perspective, highlighting how the traditional inter-relationship between word and image, by which different modes of representation (in architecture, landscape architecture, gardening, furniture design, costume design, typography, sculpture and painting etc) draw upon a rich body of religious, poetic, political and philosophical references, has in more recent times become subsumed by the dominance of image as the only legitimate means of developing design ideas. 

This situation could be said to be exacerbated by what some would argue is the increasing marginalization of the humanities in higher education, brought about by the  monopoly of technological development, and its related industries such as advertising, in contemporary society. Added to this is the issue of how the traditional body of subjects that constitute the humanities has in more recent times been equated to modern developments in media. Such juxtapositions raise many questions about the relationship between information and knowledge today and how this relationship informs our visual and design culture.   

Quite how we can restore - or indeed radically transform - the traditional dialogue between intellectual enquiry in the humanities and design creativity will serve as the over-arching theme of this conference. 

 

Themes/Paper Sessions

The conference committee wishes to solicit contributions from both practitioners, in the fields of art, architecture and design, as well as academics. The conference will be organized around a series of parallel paper sessions that will focus on the following key themes:

1) Humanism and Disegno

2) Humanism, the Humanities and Technology 

3) The Humanities and Visual Culture

4) The Humanities and the Public Realm 

5) The Humanities in Design and Artistic Practice

6) The Humanities in Architectural Practice

In addition, the conference will also be open to poster contributions which will be exhibited during the two day event. The format and details of these submissions will be confirmed shortly in a separate announcement.   

 

Keynote Speakers

A number of keynote speakers, of international renown, will be participating in the conference. Their chosen topics for presentation will relate to the themes of the parallel sessions. The following is a selection of the keynote speakers:    

 

Karsten Harries (Yale University)

Karsten Harries is a renowned philosopher, authority of Martin Heidegger and author of numerous publications on the philosophy of art and architecture. These include The Meaning of Modern Art (Evanston, Northwestern, 1968); The Bavarian Rococo Church: Between Faith and Aestheticism (New Haven: Yale, 1983); The Broken Frame: Three Lectures (Washington, D.C.: CUA Press,1990); The Ethical Function of Architecture (Cambridge, Mass.: MIT, 1997) and  Infinity of Perspective (Cambridge, Mass.: MIT, 2001).  

 

Nader El-Bizri (The Institute of Ismaili Studies, London)

Author of The Phenomenological Quest between Avincenna and Heidegger (Global Publishers, 2000), Nader El-Bizri has researched extensively on historical and cultural relationships between classical and Arab scholarship, particularly as it relates to developments in optics and visual culture. El-Bizri’s extensive knowledge of Platonic, Neo-platonic and Phenomenological perspectives of vision will provide a fitting backdrop to a number of the sub-themes.      

 

Dalibor Vesely (Cambridge University)

Formerly Director of the MPhil in arhistory of architecture at the School of Architecture, Cambridge University, Dalibor Vesely is a renowned authority on the philosophy of architecture, in particular the impact of modern technology on traditional world-views, of which humanism was one of the key intellectual modes of enquiry. His recent book, Architecture in the Age of Divided Representation (MIT Press, 2004) is an insightful enquiry into historical and cultural developments in architectural representation and how the emergence of a scientific and technological age radically altered a pre-modern understanding of reality.  

 

Jonathan Sawday (University of Strathclyde)

Professor of English Studies at the University of Strathclyde, Jonathan Sawday is a noted authority on Renaissance culture having written some ground-breaking studies on the machine and human anatomy; Body Emblazoned (Rouledge, 1996); The Machine Mind (Routledge, 2006) and edited with Neil Rhodes, The Renaissance Computer (Routledge, 2000).   

 

Eric Parry (Eric Parry Architects, London) 

Having taught for a number of years at Cambridge University, and been visiting professor of architecture at Harvard University, the University of Houston and Tokyo Institute of Technology, Eric Parry has acquired an international reputation as both architectural practitioner and teacher. His work draws upon the cultural and historical contexts of the city and demonstrates how philosophical and poetic readings of urban landscapes can provide a creative framework for architectural production.   

 

 

LECTURES (1)

1 (internet source: search engine)

(internet source: http://www.univie.ac.at/ivc/)

 

15th Vienna Circle Lecture

Keith Lehrer

Consensus in Art and Science

July 24., 2007, 6 p.m.

Institut Wiener Kreis

c/o Universität Wien

Universitätscampus

Spitalgasse 2-4/Hof 1

 

PUBLICATIONS  (NEW 3)

 

NEW 1 (internet source: http://aesthetics-online.org/aesthetics-l)

 

 

JANUS HEAD: A Journal of Interdisciplinary Studies in Literature,  Continental Philosophy, Phenomenological Psychology, and the Arts

Volume 9.2 (Winter 2006/7)

 

We are very pleased to announce the new issue of "Janus Head," which is now available on-line at: http://www.janushead.org

 

Here is a list of the contents of the new issue:

JANUS HEAD (Volume 9, Issue 2)

Special Issue on The Situated Body

 

Guest Edited by Shaun Gallagher

 

EDITORIAL

"Introduction: The Arts and Sciences of the Situated Body"

by Shaun Gallagher

http://www.janushead.org/9-2/Gallagher.pdf

 

ESSAYS

"Affective Proprioception"

By Jonathan Cole & Barbara Montero

http://www.janushead.org/9-2/ColeMontero.pdf

"Controlling Gaze, Chess Play and Seduction in Dance: Phenomenological Analysis of the Natural Attitude of the Body in Modern Ballroom Dance"

By Gediminis Karoblis

http://www.janushead.org/9-2/Karoblis.pdf

"To Peform the Layered Body--A Short Exploration of the Body in Performance"

By Helena De Preester

http://www.janushead.org/9-2/DePreester.pdf

"Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and

Aesthetic Experience"

By Ingar Brinck

http://www.janushead.org/9-2/Brinck.pdf

"Situating Situatedness through Æffect and the Architectural Body of Arakawa and Gins"

By Jondi Keane

http://www.janushead.org/9-2/Keane.pdf

"The Uncanny Body: From Medical to Aesthetic Abnormality"

By Alexander Kozin

http://www.janushead.org/9-2/Kozin.pdf

"Pre-Reflective Self-Consciousness: On Being Bodily in the World"

By Dorothée Legrand

http://www.janushead.org/9-2/Legrand.pdf

"Merleau-Ponty's Phenomenological Itinerary. From Body Schema to Situated Knowledge: On How We Are and How We Are Not to "Sing the World"

By Stephen H. Watson

http://www.janushead.org/9-2/Watson.pdf

"On Naturally Embodied Cyborgs: Identities, Metaphors, and Models"

By Evan Selinger and Timothy Engström

http://www.janushead.org/9-2/SelingerEngstrom.pdf

"Negotiating Embodiment: A Reply to Selinger and Engström"

By Andy Clark

http://www.janushead.org/9-2/Clark.pdf

"Disembodied Consciousness and the Transcendence of the Limitations of the Biological Body"

By Rob Harle

http://www.janushead.org/9-2/Harle.pdf

"A Situated or a Metaphysical Body? Problematics of Body as Mediation or a  Site of Inscription"

By Andrew R. Rawnsley

http://www.janushead.org/9-2/Rawnsley.pdf

 

ART

Photography

By Syrie Kovitz

http://www.syriekovitz.com/

 

CREATIVE WRITING

"The Laundry Cycle"

By Christine Wiesenthal

http://www.janushead.org/9-2/Wiesenthal.pdf

"Sestina"

By Richard Hoffman

http://www.janushead.org/9-2/Hoffman.pdf

"Fifty-Some Bags of Garbage at the Edge of the Earth"

By Helen Krieger

http://www.janushead.org/9-2/Krieger.pdf

"Thoughts About Thoughts"

By Fanny Howe

http://www.janushead.org/9-2/Howe.pdf

"Two poems"

By Rebecca Lu Kiernan

http://www.janushead.org/9-2/LuKiernan.pdf

"Europe"

By Alex Irvine

http://www.janushead.org/9-2/Irvine.pdf

"Three poems"

By Kristina Marie Darling

http://www.janushead.org/9-2/Darling.pdf

"Tight and Low Across the Lap"

By Mary Lynn Broe

http://www.janushead.org/9-2/Broe.pdf

"Hunger at the Mountain"

By Kurt Caswell

http://www.janushead.org/9-1/Caswell.pdf

 

BOOK REVIEWS

"Celebrating Don Ihde". Review of "Postphenomenology: A Critical Companion to Ihde" Edited by Evan Selinger

Reviewer: Jan-Kyrre Berg Olsen

http://www.janushead.org/9-2/Olsen.pdf

"Textual Styles". Review of "Analyzing Prose" by Richard Lanham

Reviewer: G. Keilan Rickard

http://www.janushead.org/9-2/Rickard.pdf

"Nordic Women, Symbiotic Poetry". Review of "To Catch a Life Anew: 18 Swedish Women Poets". Translated by Eva  Claeson, Sonia Akesson, Kristina Lugn, Barbro Dahlin, & Margareta Ekstrom. Reviewer: Hakan Sandgren

http://www.janushead.org/9-2/Sandgren.pdf

"The Complexities of Cixious and Ecriture Feminine". Review of "Helene Cixious: Live Theory" by Ian Blyth & Susan Sellers. Reviewer: Kristen Hennessy

http://www.janushead.org/9-2/Hennessy.pdf

 

CONTRIBUTORS

http://www.janushead.org/9-2/Contributors.pdf

 

Information about purchasing hard copies & making subscribtions can be found  here:

http://www.janushead.org/subscribe.cfm

 

Costica Bradatan,

Senior Editor

Janus Head

***************************************

Costica Bradatan, PhD

Assistant Professor

Texas Tech University

The Honors College

PO Box 41017

Lubbock, TX 79409

 

 

NEW 2 (internet source: http://aesthetics-online.org/aesthetics-l)

 

POSTGRADUATE JOURNAL OF AESTHETICS

The postgraduate journal of the British Society of Aesthetics

 

The latest issue of the PJA is now available online at:

http://www.british-aesthetics.org/page.aspx?tabid=63

 

This issue includes three papers from the graduate conference 'Artist  and Object', held at the University of Nottingham in February 2007. The conference was organised by Daniel Barnes at Nottingham, with the  support of the Analysis Trust and the British Society of Aesthetics.

 

Neil Dillon

Editor, Postgraduate Journal of Aesthetics

http://www.british-aesthetics.org

neil.dillon @ kcl.ac.uk

 

 

 

NEW 3 (internet source: http://aesthetics-online.org/aesthetics-l)

 

Advertisement of the May 2007 Edition of the

JBSP: Journal of the British Society for Phenomenology

Volume 38 – No 2 – May 2007

 

Music, Number & Nature

 

Including the following articles:

DORION CAIRNS

Husserlian Phenomenology and Objectivism

CHRISTOPHER NORRIS

Phenomenology, Structuralism and Philosophy of Music: a Qualified Platonist Approach

DAVID M. A. CAMPBELL

Nietzsche and Kierkegaard: Integrity and Impartiality

TRISTAN MOYLE

Re-Enchanting Nature: Human and Animal Life in Later Merleau-Ponty

AGATA BIELIK-ROBSON

Promises and Excuses: Derrida and the Aporia of Narcissism

JOSHUA SOFFER

What is a Number? Re-Thinking Derrida’s Concept of Infinity

 

Subscriptions: The JBSP is published three times a year, in January, May and October. Three such issues will constitute one volume: each issue will contain approximately 112 pages. Orders for the JBSP should be sent to the publisher, Jackson Publishing and Distribution, 3 Gibsons Road, Heaton Moor, Stockport, Cheshire, SK4 4JX, England, or at your local bookseller. The cumulative index is available from the publisher either in electronic form or in hard copy for £10.00

 

Notes for Contributors: The JBSP is an internationally refereed journal. All submissions are sent to two referees for blind peer-reviewing. The JBSP publishes papers on phenomenology and existential philosophy as well as contributions from other fields of philosophy. Papers from researchers in the humanities and the human sciences interested in the philosophy of their subject will be welcome too. Space will be given to research in progress, to

interdisciplinary discussion, and to book reviews. Intending contributors are asked to submit papers and correspondence for inclusion in the journal to the Editor, Dr. Ullrich Haase, Dept. of Politics and Philosophy, Manton Building, Manchester Metropolitan University, Rosamund St. West, Manchester M15 6LL, UK. Tel.: 0044 (0)161 247 3438; Fax.: 0044 (0)161 247 6312. Email: u.haase@mmu.ac.uk

 

Preparation of Manuscripts: Articles should normally be about 8000 words in length, with footnotes not exceeding ca. 10% of the text. Book reviews should not exceed 1,000 words. Manuscripts should be typewritten, on one side of the sheet only, double spaced and with a wide margin. References are to be given in endnotes. The titles of quoted journal papers should be in quotation marks, whilst titles of quoted journals or books should appear in italics. Journal papers should be quoted as follows: name(s) and initial(s) of author(s), full title of paper, journal abbreviation, volume and year, page numbers. Books should be quoted by name(s) and initial(s) of author(s), title, edition, place, publisher and year. Long quotations are inset and printed in smaller type without quotations marks. One copy of the manuscript should be sent together with a copy on disk or CD (MS Word readable), and be accompanied by a 250 word summary. Electronic submission by email only is encouraged. Please send email and attachment to: u.haase@mmu.ac.uk

 

Advertising: Particulars of advertising in the JBSP may be obtained from the publisher, Jackson Publishing and Distribution, 3 Gibsons Road, Heaton Moor, Stockport, Cheshire, SK4 4JX, England.

 

Dr. Ullrich M. Haase

Editor of the Journal of the British Society for Phenomenology

Manchester Metropolitan University

Faculty of Humanities, Law and Social Sciences

Dept. of Politics and Philosophy

Geoffrey Manton Building

Rosamund Street West

Manchester M15 6LL

United Kingdom

Tel: 0044 (0)161 2473452

Fax: 0044 (0)161 2476312

Email: u.haase@mmu.ac.uk

 

 

 

April 2007 – June 2007

 

CALLS FOR PAPERS/CONFERENCES (NEW 17 + 6)

 

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

 

Call for Papers: Conference on Depiction, The University of Manchester, May 18-19, 2007.

 

Recent decades have seen philosophers devote considerable attention to depiction, that form of representation characteristic of figurative paintings, drawings and photographs. Despite this attention, there is as yet little agreement about what depiction involves.  This conference aims to help remedy this situation by bringing together philosophers working in this area to discuss topics central to an adequate philosophical understanding of depiction. Such topics include: the nature and scope of depiction; its cognitive and aesthetic value; the relations between depiction and other forms of representation; the phenomenology of picture experience; the process of picture production; and the mechanics of picture interpretation.

 

Invited speakers:

Robert Hopkins, The University of Sheffield

http://www.shef.ac.uk/philosophy/staff/profiles/hopkins.html

John Hyman, Oxford University

http://www.queens.ox.ac.uk/academics/hyman/

Dominic Lopes, The University of British Columbia

http://www.philosophy.ubc.ca/faculty/lopes/

John Kulvicki, Dartmouth College

https://www.dartmouth.edu/~phil/faculty/kulvicki.html

<file://localhost/~phil/faculty/kulvicki.html>

 

In addition, the conference organisers will accept a limited number of submitted papers. These papers should be philosophical in content, address one or more of the topics identified above, be formatted for blind refereeing, and be no more than 5000 words long. The deadline for submission of papers is the 31st December 2006. Decisions to accept or reject papers will be made by the end of February, 2007.

 

Papers should be sent to: Catharine.Abell@manchester.ac.uk

 

Enquiries can be directed to either Catharine Abell or Katerina Bantinaki

(Katerina.Bantinaki@manchester.ac.uk).

 

 

2 (internet source: search engine)

(internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

RESEARCH PROGRAM AND COLLOQUIUM

Ecology, aesthetic engagement and public sphere

Ecologie, engagement esthétique et espace public

May 9-11, 2007

Ministry of Ecology and Sustainable Development

Paris, France

 

This English/French colloquium aims at questioning the aesthetic components of ecological mobilizations and policies/politics, as well as those of ecological art and landscape design. Does landscape encompass the whole value of the aesthetic relation? Does it include all the dimensions of the problematics of ecology? Does it evade its invisible dimension, such as pollution? For the artistic side, our interrogation will question ecological art, a label that is specifically American and that has been mixing ecological ethics, science and public art since the late sixties. We will particularly focus on local mobilizations involving artists and opposing extensive urban or non-urban town planning projects.

The papers will attempt to orient their reflections around three axes more specifically:

1. How do these propositions, whether they be political demands or requirements, or artistic ones, take the common world into consideration: specifically a public space that translates the design for a common world into action?

2. How do these propositions express the indissoluble aspects of subjects and their living territories (home, living environment, landscape, worlds, etc.).

3. Lastly, how do these propositions include action that is constitutive of the subject and that is a source of a renovation of the public space, an aesthetic action that participates in molding, giving meaning to, and making a presentation of coexistence in the world ?

Speakers include:

Aesthetic engagement and environment: Yves Luginbuhl (geographer), Emily Brady (philosopher) (Assessors) and: Augustin Berque (geographer), Arnold Berleant (philosopher), Jean-Louis Cometti (philosopher), Michel Gariepy (urbanist), Gerard Monediaire (lawyer), Jessica Makowiak (lawyer), Marie-Vic Ozouf-Marignier (geographer);

Ecological art: Paul Ardenne (critic), Stephanie Smith (curator) (Assessors) and American and European artists : Tilmann Latz (landscape designer), Noelle Pujol (artist), Hermann Prigann (artist), Benedicte Ramade (critic ), Jeroe van Westen (artist);

Aesthetic components of ecological mobilizations: Cyria Emelianoff (geographer), Phil Macnaghten, John Urry (sociologist) (Assessors) and: Clare Palmer (philosopher), Baird Callicott (philosopher), Local NGOs, Greenpeace, and protection of biodiversity NGOs.

Contact:

nathali.blanc@wanadoo.fr

 

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

 

cfp

 

Psychoanalysis and Critical Theory

 

Postmodern Culture invites submissions for a special issue on "Critical  Theory and the Legacy of Psychoanalysis." We are interested in studies of the changing aesthetic and political significance of psychoanalytic thought over the last thirty years. Accepted articles will be due by June 15, 2007. Direct inquiries to Jan Mieszkowski (mieszkow_at_reed.edu)  or to pmc_at_jefferson.village.virginia.edu.

Contributions might consider:

How is the Frankfurt School's interpretation of psychoanalysis relevant today? In what respects are Adorno's positions on the politics of  psychoanalysis more important than Marcuse's (or Benjamin's)? What is the current status of poststructuralist critiques of Freud (e.g., in Deleuze and Guattari or de Man)? Are efforts to unite Freudian and Marxist categories most productive when (and if) they reveal such a synthesis to be impossible? Has the success of phenomenology served to displace philosophical psychology in ideology critique, and to what extent can this be attributed to the influence of Levinas or Derrida?

Are structuralist-Lacanian ideologies of religion, sacrifice, or abjection of less political value than their proponents suggest? Postmodern Culture is a peer-reviewed electronic journal published by Johns Hopkins University Press (http://muse.jhu.edu/journals/postmodern_culture).

 

 

4 (internet source: http://www.phenomenology.org/conferences.html)

 

12th Annual Meeting of the International Society

for Phenomenology, Aesthetics, and Fine Arts

Harvard University, Cambridge MA

May 18-19, 2007

 

Topic: The Artist's Account and Philosopher's Interpretation

 

Contact:

 

Professor Anna-Teresa Tymieniecka

The World Phenomenology Institute

1 Ivy Pointe Way, Hanover NH 03755, USA

Fax: 802-295-5963

 

 

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

 

21 avril 2007, New York, City University of New York,

Graduate Students in Music

Tenth Annual Conference:

Theorizing Performance / Performing Scholarship

 

 

6 (internet source: search engine)

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

 

Colloques et conférences

 

Conférence de

 

Dario Gamboni (Université de Genève),

 

collaboration du Groupe de contact FNRS et de Jeunesse et Arts Plastiques

 

20 avril 2007, ULB, Solbosch (local et heure à préciser)

 

Université catholique de Louvain

Faculté des sciences philosophiques

Centre d'esthétique philosophique

place du Cardinal Mercier 14

1348 Louvain-la-Neuve

Belgique

Tél. : (32 10) 47 48 12

Fax : (32 10) 47 82 93

Courriel : lories@risp.ucl.ac.be

 

 

 

NEW 7  (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

XVII. Congress of Aesthetics - Abstract Deadline Change
 
Deadline for abstract submissions has been extended to 30th of April.
Please check our web www.sanart.org.tr again for new info.
 
SANART (TURKISH ASSOCIATION FOR AESTHETICS)
XVIIth INTERNATIONAL CONGRESS OF AESTHETICS
ORGANISATION COMMITTEE

 

 

 

NEW 8 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

(internet source: http://www.usask.ca/philosophy/modernism/)

 

In 1962, Clement Greenberg – arguably the most influential art critic of the late 20th century – became the first art critic to lead the Emma Lake Artists' Workshop.

 

Greenberg’s visit proved to be a watershed in the history of Canadian art and art criticism, helping to forge a unique (and in some respects improbable) connection between a generation of Western Canadian artists and the New York art scene and helping also to establish Greenberg’s views as a dominant paradigm in Canadian art criticism in the 1960s and 70s.

 

Famously, Greenberg’s views on art are largely based on a somewhat idiosyncratic (and, for some, controversial) interpretation of Kant’s Critique of Judgment. Like Kantian critical philosophy, Greenberg argued, distinctively modern art explores the conditions of its own production and the conditions under which we experience and understand the world. Kant, says Greenberg, was the first modernist.

 

On the 45th anniversary of Greenberg’s visit, this workshop aims both to evaluate Greenberg’s legacy and to explore new work in aesthetics and art criticism, especially as related to Kant and modernism.

 

The workshop has been timed to follow immediately after the meetings of the Canadian Society for Aesthetics and the Canadian Philosophical Association at the 2007 Congress of the Social Sciences and Humanities. The idea being that workshop participants will have opportunities not only for the usual edifying discussion, but also for a sort of working vacation following the Congress. The workshop will be held at the historic and (literally, over the years) picturesque U of S Emma Lake Kenderdine Campus.

 

Selected papers from the workshop will be published in a special issue of the refereed journal AE: The Canadian Aesthetics Journal devoted to the workshop proceedings.

 

Keynote Presenters

Confirmed keynote speakers for the workshop include:

Prof. John O’Brian

(Art History and Theory, UBC)

Prof. Jeanette Bicknell

(Philosophy, Carleton University)

Terry Fenton

Painter and art writer

 

Emma Lake, photo by Mary Moody The Location

Emma Lake Kenderdine Campus is located approximately 50 kilometers north of Prince Albert, Saskatchewan on a small isolated peninsula in a lake-resort area. The Campus has a communal dining lodge overlooking the lake, a variety of private and shared cabins in both rustic and modern architectural styles (all with attached washrooms), as well as classrooms and studio space, including covered outdoor work areas. The campus is about a ten minute walk from Murray Point Provincial Camp Ground, where tent camping is available (reservations advised, 306 982-4741).

 

Each year the Emma Lake campus is the site of a number of programs in the arts, including serveral artist-in-residence programs. All of these programs are enhanced by the communal living environment. Stimulating conversation over meals and late night discussions are part of the experience. Accordingly, workshop participants are encouraged to stay on site and to take their meals with their fellow participnts.

 

Call for Abstracts

Abstracts of 100 - 350 words are invited on topics related to the workshop theme, broadly construed. Submissions exploring the theme from a philosophical, critical, or art historical perspective (or some combination of these) are all welcome.

 

Full length papers (of about 4000 words; 25-35 minutes reading time) may also be submitted.

 

E-mail submissions (as MS Word, rtf or pdf attachments) to: modernism.workshop@usask.ca

 

Submissions must be received by May 20, 2007

 

Please include your name, e-mail address and instructional affiliation (if any) with your submission.

 

Selected papers from the workshop will be published in a special issue of the refereed journal AE: The Canadian Aesthetics Journal devoted to the workshop proceedings. Participants wishing to have their work considered for publication should send full papers to the workshop organizers <modernism.workshop@usask.ca> by June 30, 2007.

 

Symposia and Book Sessions

Proposals for symposia and book sessions are also welcome. Include an outline of the topic or the book title, as well as the names and e-mail addresses of participants.

 

E-mail proposals to modernism.workshop@usask.ca by May 20, 2007

 

Graduate Students: A limited number of grants may be available to cover registration and accommodation fees for graduate students. Please contact the organizers for more information.

 

 

 

NEW 9 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

(internet source: http://www.um.es/logica/expresionsubjetividad/ivammeng.htm)

 

IV INTER-UNIVERSITY WORKSHOP ON MIND, ART AND MORALITY

The Philosophy of Music: Meaning, Emotion and Value

 

Murcia (Spain), April 19 - 21, 2007

 

Invited SpeakerS:

Peter Kivy (Rutgers University, USA): “Musical Morality”

Derek Matravers (Open University, UK): “Expression as a way that music appears to us”

 

The Inter-University Workshop on Mind, Art and Morality promotes the relation among different areas of philosophy. In particular the workshop aims at working in a point where ethical, aesthetical and the philosophy of mind’s discussion topics converge and interweave.

 

In the former editions the workshop has been dedicated to the work of the philosophers Richard Wollheim, Jonathan Dancy, and Kristine Koorsgard. In this occasion, however, the workshop will focus on a theme, the philosophy of music. We invite philosophers wanting to reflect on the topic to join the seminar, and hope the occasion makes possible the interchange and discussion of ideas in this flourishing area of aesthetics.

 

The Workshop will take place in Centro Cultural “Las Claras”.

 

(NEW): A selection of the papers presented at the Workshop will be published.

 

PROGRAMME

CORRESPONDENCE AND SUBMISSIONS

 

Francisca Pérez Carreño (fpc@um.es), Mª José Alcaraz (mariajo@um.es)

Universidad de Murcia

Departamento de Filosofía

30071 Murcia (Spain)

Tel. +34 968 36 34 65 / 4109

Fax. +34 968 36 42 66

 

TRAVEL AND ACCOMMODATION

 

(NEW) Accepted papers will be covered accommodation expenses

 

Organizing Committee:

Mª José Alcaraz León (Universidad de Murcia)

Francisca Pérez Carreño (Universidad de Murcia)

Jesús Vega Encabo (Universidad Autónoma de Madrid)

 

Scientific Committee:

Cristina Corredor (Universidad de Valladolid)

Angel García (Universidad de Murcia)

Manuel García Carpintero (Universitat de Barcelona)

Salvador Rubio (Universidad de Murcia)

Marcelo Sabatés (Kansas State University)

Josep Corbí (Universitat de València)

Carlos Thiebaut (Universidad Carlos III, Madrid)

Agustín Vicente (Universidad de Valladolid)

José Luis Zalabardo (University College London)

 

The workshop is hosted by Phrónesis. Analytic Philosophy Group, Department of Philosophy (Universidad de Murcia).  It is organized under the auspices of SEFA. Sociedad Española de Filosofía Analítica.

 

Spanish version

 

 

NEW 10 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

CALL FOR PAPERS with EXTENDED DEADLINE
 
Graduate Conference on
Aesthetics and its history
 
Saturday 21 April 2007
University of Southampton,
Southampton, UK
 
Keynote Speakers:
 
Alex Neill, ‘Schopenhauer and the foundations of the idea of  
aesthetic experience’
 
Aaron Ridley, ‘Musical Unities’
 
 
Papers are invited from graduate students on any aspects of  
aesthetics and its history.
 
Deadline for submission of papers: 19 March 2007 [EXTENDED DEADLINE]
 
Papers should be not more that 3,000 words in length, suitable for a  
20 minute presentation followed by discussion.  Please submit papers  
to Professor Christopher Janaway at the address below, or preferably  
by email to:  cjanaway@soton.ac.uk
 
For enquiries and registration, please contact:
Adam Dunn,  agd83@msn.com
or Allison Merrick,  amm@soton.ac.uk
 
Philosophy, School of Humanities, Avenue Campus, University of  
Southampton,
Southampton SO17 1BF, UK
 

 

 

NEW 11 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

Call for Papers: Upcoming Special Issue of Modern Fiction Studies
--------------------------------------------------------------------------------
Levinas and Narrative

Guest Editors: Sandor Goodhart and Monica Osborne

Deadline for Submissions: 30 March, 2007

To date, there have been two major ways of understanding the work of Emmanuel  Levinas. In the philosophical tradition, Levinas first attracted the attention  of Jean-Paul Sartre as a reader of Husserl and the phenomenological tradition; later, thanks to the work of Jacques Derrida and other poststucturalists,
Levinas acquired cach
or his work on ethics and his critique of Heidegger.

In the 1980s, a second way of understanding emerged out of Jewish Studies. In this context, Levinas's reading of Buber and Rosenzwieg came to the foreground. At this same time, an interest in the theoretical uses of midrash
developed in Jewish Studies. Geoffrey Hartman, Gerald Bruns, Sanford Budick,
Susan Handelman and others in English departments, and David Stern, Michael
Fishbane, Daniel Boyarin and others in Jewish Studies programs, expanded our
conception of this ancient scriptural exegetical mode.

Now a third way of understanding Levinas presents itself, one in which both his
work in philosophy and his work in Jewish studies is above all and primarily
literary. In the first decade of the new millennium, the coming together of the
midrashic mode and the recognition that Levinas's project is a "translation"
from the "Greek to Hebrew" has enabled an understanding of Levinas as an
exegete of the scriptural tradition who understands that tradition as itself
already a version of literary reading, one perhaps shared by the greatest
writers of our tradition?from Sophocles and Shakespeare to Faulkner and
Morrison.

It is in this new, third context that we invite papers on Levinas and modern
narrative (fiction, drama, and film). Essays may focus on particular works read
in conjunction with Levinas, on Levinas's interpretative approach in
contemporary philosophy or Jewish Studies as a way of reading narrative, or on
any other way that Levinas might inform an engagement with modern narrative.

Essays should range in length from 6,000 to 9,000 words (excluding notes and
works cited) and should follow the current edition of the MLA Style Manual.
Please submit two copies of the essay along with a cover sheet that lists the
author?s name, essay title, mailing address, telephone number, and email
address. Mfs does not accept electronic submissions. Please mail essays and
cover letters to:

Editors, Modern Fiction Studies
Purdue University
Department of English
500 Oval Drive
West Lafayette, IN 47907-2038

Queries regarding this issue should be directed to Sandor Goodhart
(goodhart_at_purdue.edu) and Monica Osborne (mrosborn_at_purdue.edu)

Monica Osborne
PhD Candidate, English
Jewish Literature and Thought
Purdue University
Editorial Assistant, Modern Fiction Studies

 

 

 

NEW 12 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

We invite abstracts for a collection of essays on male beauty to be
published by Cambridge Scholarly Publishing. Save for the Greeks, Romans and
the contemporary art historian, very little has been said about beauty and
its relationship to men and masculinities. To its credit, masculinity
studies itself has surely emerged as a field of study and has covered much
ground in the last thirty years: we have understood masculinity as a
category for analysis and, like femininity, as a social construction; we
have supported and also challenged the "crisis" in masculinity; we have
studied it both with and without "men"; we have considered masculinity's
intersection with and its divergence from other social and cultural fields
of inquiry, including feminist, queer and most recently, postcolonial
studies. According to Tim Edwards, we have arrived at the "third wave" of
masculinity studies with its "questions of normativity, performativity and
sexuality." Our collection of essays argues, however, that our work here is
far from over; more to the point, studies of masculine "beauty" continue to
be overlooked. In what ways does male beauty inform, shape, define and
redefine our definition of masculinity itself? What does the concept of male
beauty do to gender?

We are then interested in contemporary critical treatments of "masculine"
beauty (twentieth to twenty-first century) in literature, film, television,
advertising and art. Following Bryce Traister, we do not hope to return to
"heteromasculinity" or "representations of [white, heterosexual]
men-produced by men and analyzed for the most part by men-to the center of
academic cultural criticism." To this end, we invite essays that extend
beyond thinking of masculinities and its relationship to beauty in terms of
a white, middle-class, heterosexual paradigm only and will instead look to
feminist, queer, postcolonial, and/or multicultural critiques of the
category. Topics might include but are not limited to: women performing
masculinity, transvestitism, androgyny, racialized representations of male
beauty, etc.

We will accept one-page abstracts (and/or full-length essay, if available)
until April 15, 2007. Please direct submissions and/or questions to both
Steven Davis (Indiana University) at stevdavi_at_indiana.edu and Maglina
Lubovich (University of St. Thomas) at mlubovich_at_stthomas.edu

 

 

NEW 13 (internet source: http://sifa.unige.it/2eve/con.htm)

 

WORKSHOP  ON MIND, ART AND MORALITY

The Philosophy of Music: Meaning, Emotion and Value

Murcia (Spain), April 19 - 21, 2007

Invited SpeakerS:

Peter Kivy (Rutgers University, USA): “Musical Morality”

Derek Matravers (Open University, UK): “Expression as a way that music appears to us”

The Inter-University Workshop on Mind, Art and Morality promotes the relation among different areas of philosophy. In particular the workshop aims at working in a point where ethical, aesthetical and the philosophy of mind’s discussion topics converge and interweave.

In the former editions the workshop has been dedicated to the work of the philosophers Richard Wollheim, Jonathan Dancy, and Kristine Koorsgard. In this occasion, however, the workshop will focus on a theme, the philosophy of music. We invite philosophers wanting to reflect on the topic to join the seminar, and hope the occasion makes possible the interchange and discussion of ideas in this flourishing area of aesthetics.

The Workshop will take place in Centro Cultural “Las Claras”.

(NEW): A selection of the papers presented at the Workshop will be published.

Francisca Pérez Carreño (fpc@um.es), Mª José Alcaraz (mariajo@um.es)

Universidad de Murcia

Departamento de Filosofía

30071 Murcia (Spain)

Tel. +34 968 36 34 65 / 4109

Fax. +34 968 36 42 66

TRAVEL AND ACCOMMODATION

Organizing Committee:

Mª José Alcaraz León (Universidad de Murcia)

Francisca Pérez Carreño (Universidad de Murcia)

Jesús Vega Encabo (Universidad Autónoma de Madrid)

Scientific Committee:

Cristina Corredor (Universidad de Valladolid)

Angel García (Universidad de Murcia)

Manuel García Carpintero (Universitat de Barcelona)

Salvador Rubio (Universidad de Murcia)

Marcelo Sabatés (Kansas State University)

Josep Corbí (Universitat de València)

Carlos Thiebaut (Universidad Carlos III, Madrid)

Agustín Vicente (Universidad de Valladolid)

José Luis Zalabardo (University College London)

The workshop is hosted by Phrónesis. Analytic Philosophy Group, Department of Philosophy (Universidad de Murcia).  It is organized under the auspices of SEFA. Sociedad Española de Filosofía Analítica.

Spanish version: http://www.um.es/logica/expresionsubjetividad/ivamm.htm

 

 

 

NEW 14 (internet source: http://www.conferencealerts.com/philosophy.htm)

 

conference

architecture in the space of flows: buildings - spaces - cultures

21 - 24 June 2007

Culture Lab

Newcastle University

UK

 

Flows of energy, libido, capital, water and information make our lives possible. The buildings and spaces that support our activities inflect the flows; we tap into them, surf them, block them at our peril, or we may be excluded from them. Flows are global, but have local effects. Buildings are local, but their embodied energies flow from great distances, and their embodiments can cause local or distant turbulences. Everything is moving, intensifying, dispersing; growing, decaying, proliferating, networking, sedimenting, eroding.

 

Understanding ourselves, our buildings, our cities as modulators of flows represents a fundamental shift in sensibility away from the perfect Euclidian geometries of Vitruvian man, to the productive consumer, the desiring subject. Cultures and spaces are fluid and relational, and designers are searching for ways to give expression to these telluric undercurrents that are shaping and re-shaping our worlds. New sensibilities are taking shape, and it is the aim of this conference to explore and gain understanding of emergent possibilities.

 

The conference, or confluence, will be transdisciplinary, bringing together people who are developing ways of thinking about places and our responses to them, making use of ideas of flux.

 

Convenors:

Andrew Ballantyne, Jean Hillier, Sally Jane Norman and Chris L. Smith

 

Hosted by Tectonic Cultures Research Group, School of Architecture, Planning & Landscape and Culture Lab

 

Contact

Karen Ritchie

Tectonic Cultures Research Group

SAPL

Claremont Tower

Newcastle University

Newcastle upon Tyne

NE1 7RU

UK

e-mail k.i.ritchie@ncl.ac.uk

 

key dates

22 January 2007

Deadline for receipt of abstracts. No longer accepting abstracts.

19 February 2007

Notification of accepted abstracts. No longer accepting abstracts.

23 April 2007 Deadline for author and early-bird registration

21-24 June 2007 architecture in the space of flows conference

15 September 2007 Deadline for publication-ready papers for potential inclusion in an edited text.

 

Registering Interest. To obtain further information on call for papers, poster submissions, sponsorship and conference registration please send an e-mail to Karen Ritchie at k.i.ritchie@ncl.ac.uk

 

The subject line of the e-mail should read: flows interest

 

We will establish an e-mail database for the distribution of further information as it becomes available.

 

Conference registration includes attendance at all events listed on the program (including lunches, morning and afternoon teas, conference dinner and performances). There is no day-only or event-only registration.

 

The conference registration is set at:

 

£120 for author and early-bird registration due 23 April 2007.

 

£85 for postgraduate student registration due 23 April 2007. (Proof of student status required.)

 

£145 for registration after 23 April.

 

To register for the conference please send an e-mail to Karen Ritchie at k.i.ritchie@ncl.ac.uk Karen will let you know preferred methods of payment, the refund policy, etc.

 

The subject line of the e-mail should read: flows registration

 

Call for Papers

The aim will be to select a wide variety of papers (and other acts of imagination) which could include contributions from architects, urbanists, ethologists, acousticians, artists, mathematicians, athletes, musicologists, sociologists, biorheologists, choreographers, philosophers, free spirits and interlopers.

 

300-word self-contained abstracts are invited, proposing a 20-minute academic paper or other acts of the imagination that shed light on a pertinent issue: phenomena of transition, dynamic cultural appropriations, the body in movement through space, expression, topologies of flux, explorations of possible worlds. The abstract should outline your intentions, scope, and conclusions.

 

Abstracts will be peer-reviewed blind. To submit an abstract for consideration we request that you send 2 e-mails to Karen Ritchie k.i.ritchie@ncl.ac.uk

 

The first e-mail should contain contact and biographical information. You should include: your name, institutional affiliation, contact details, the title of the paper and a 200 word bio. The subject line of the e-mail should read: flows bio

 

The second e-mail should contain the title of the proposed paper and the abstract itself. The body of this e-mail should not include your name or contact details. The subject line of the e-mail should read: flows abstract

 

All abstracts and contact information should occur in the body of the e-mail (no attachments please).

 

We intend to publish a number of papers of approximately 4000 words based on the themes of the conference in an edited text.

 

Program

 

Thursday 21 June

15:00-17:00 Registration. Speaker Preparation where participants can check their presentations and have them pre-loaded (where necessary) by a technician.

17:00-17:30 Welcome

17:30-18:00 Keynote address A

18:00 Drinks

 

Friday 22 June

09:00-09:30 Coffee/tea/pastries

09:30-11:00 Parallel sessions

11:00-11:30 Morning tea

11:30-13:00 Parallel sessions

13:00-14:30 Lunch and performance A

14:30-16:00 Parallel sessions

16:00-17:00 Keynote B

19:00 Conference Dinner

 

Saturday 23 June

09:00-09:30 Coffee/tea/pastries

09:30-11:00 Parallel sessions

11:00-11:30 Morning tea

11:30-13:00 Parallel sessions

13:00-14:30 Lunch and performance B

14:30-15:30 Keynote C

15:30 Coffee/tea / Newcastle Explorations/ On-site performances (C and D)

 

Sunday 24 June

09:00-09:30 Coffee/tea/pastries

09:30-11:00 Parallel sessions

11:00-11:30 Morning tea

11:30-13:00 Keynote D

13:00-14:30 Lunch and performance E

14:30-15:30 Concluding remarks/ Concluding drinks

 

Welcome

17:00 Thursday 21 June

Culture Lab - Newcastle

 

Culture Lab is a flagship for Newcastle University's interdisciplinary research-creation and focus for a dynamic hub of networks that works to engage and extend artists, researchers and scientists in dynamic collaborations.

http://www.ncl.ac.uk/culturelab/

 

Conference Dinner

19:00 Friday 22 June

BALTIC: Riverside Restaurant

 

Housed in an award winning industrial conversion on the south bank of the River Tyne, BALTIC is a cutting-edge contemporary art gallery/art producer - presenting and generating a dynamic, diverse and international programme of contemporary visual art.

http://www.balticmill.com/index.php

 

Newcastle Explorations

15:30+ Saturday 23 June

Meeting under the University Arches

More information on its way.

 

Site-specific performances

15:30+ Saturday 23 June

Meeting under the University Arches

More information on its way.

 

Lunches

13:00-14:30 Friday 22 June

13:00-14:30 Saturday 23 June

13:00-14:00 Sunday 24 June

McKenna's @ Northern Stage

 

Northern Stage is the largest producing theatre company in the North East of England, with a reputation for visually driven, multi-media productions that attract new, young audiences.

 

Keynotes:

Brian Massumi, Université de Montréal

Erin Manning, Sense Lab, Concordia University

Anthony Vidler, Cooper Union

Emily Apter, New York University

Andrew Ballantyne, Newcastle University

 

Venues

Culture Lab

Newcastle University

Grand Assembly Rooms

King's Walk

Newcastle upon Tyne

NE1 7RU

 

Closest Metro Station: Haymarket Metro

 

About Newcastle

Visiting Newcastle

http://www.visitnewcastlegateshead.com/

 

Travel to Newcastle

http://www.ncl.ac.uk/travel/info/index.php

 

City Map

http://www.ncl.ac.uk/travel/maps/navigator.php

 

City and Approaches

http://www.ncl.ac.uk/travel/maps/citymap.php

 

Metro Map

http://www.ncl.ac.uk/travel/maps/metro.php

 

Accommodation

There are a great number of hotels and B&Bs in the Newcastle City centre area within walking distance of the Conference venues.

 

Grey Street Hotel

Grey Street

Newcastle-Upon-Tyne

NE1 6EE

http://www.greystreethotel.com/

 

http://web.mac.com/asquins2002/iWeb/Site%204/flows%20news.html

 

This page will be used to post fresh information in the run-up to the conference.

 

The call for papers is now closed. It produced an excellent response, bringing a large number of high quality proposals from all over the world. The abstracts have been reviewed and notifications are being sent out by e-mail.

 

The conference fee has been kept as low as possible in order that it should not be a barrier to participation. We will need participants to pay the conference fee and will not be entering into negotiations to reduce it further. However if we have prosperous participants who are happy to contribute above the asking-price, then we will be grateful for the help, which we will find an unembarrassing way to acknowledge.

 

We are unable to provide bursaries for travel to support participants.

 

All papers presented at the conference can be considered for publication afterwards. If you wish your paper to be considered then a copy of it must be deposited with the organizers immediately after the conference. This will be considered as a draft. A selection will be made, and then a completed text of those chosen will be needed by 21 September 2007.

 

 

 

NEW 15 (internet source: http://www.crvp.org/Philosophical_Calendar/)

 

June 12-14

Aristotle's De Anima and Its Interpreters

Second Annual Marquette Summer Seminar in Ancient and Medieval Philosophy

Presented by the Midwest Seminar in Ancient and Medieval Philosophy and the Aquinas and the Arabs Project with the support of the Helen Way Klinger

College of Arts and Sciences at Marquette

Marquette University

Department of Philosophy

Milwaukee, Wisconsin,

12-14 June 2006

This Conference is intended to provide a formal occasion and central location for philosophers and scholars of the Midwest region (and elsewhere) to present and discuss their current work on Aristotle's DE ANIMA and its Interpreters in ancient and medieval philosophy.

PRESENTERS: Established Scholars: send a title and tentative abstract; Graduate Students: send a title, abstract and a supporting letter from your faculty advisor or dissertation director. Send applications to:

Richard.Taylor@Marquette.edu.

OPENING DATE FOR SUBMISSIONS: March 5, 2007 The Selection Committee will select presenters on the basis of quality of proposals (title and abstract) and scholarly record as the primary criteria.

PROGRAM ANNOUNCED: May 1 or earlier if filled.

ATTENDING ONLY: Send Registration check with name, address, academic affiliation.

CONFERENCE REGISTRATION FOR ALL PRESENTERS AND ATTENDEES (to cover

breakfasts, refreshments, dinner first night) Advance Registration by June

1: $35, At the Door: $45.

Send your check made out to "Marquette University" to:

Richard Taylor

Philosophy Department

Marquette University

P.O. Box 1880

Milwaukee, WI 53201-1881

 

 

 

NEW 16 (internet source: http://www.siestetica.it/)

 

Il gusto dell'estetica

 

V Convegno Nazionale della Società Italiana d’Estetica

 

12 e 13 aprile 2007

 

Pollenzo, Università di Scienze Gastronomiche

 

Informazioni: n.perullo@unisg.it

 

Nel suo quinto Convegno Nazionale la Società Italiana d’Estetica crea un nesso con la sua storia recente e apre nuove prospettive

di ricerca. Verrà infatti consegnata a José Jimenez l'edizione italiana della Teoria dell’arte con cui ha vinto lo scorso anno il

Premio Europeo, segno concreto dell'apertura internazionale che la SIE da sempre persegue. Nel Convegno si indagherà inoltre,

attraverso lezioni magistrali e dibattiti tra i soci, il "gusto" che l'estetica genera in innumerevoli e stratificati orizzonti della nostra

contemporaneità. Gusto che è dunque sia una forma di sapere sensibile sia il segno di un interesse che apre la disciplina a nuove

dimensioni di cultura e conoscenza. Al tempo stesso, nella sua assise annuale la Società esplorerà ruoli e funzioni che

l'insegnamento dell'Estetica potrà assumere nelle complesse revisioni normative che attraversano oggi l'Università italiana.

12 aprile 2007

ore 16.00

Indirizzi di saluto

ore 16.30

Modelli del gusto Introduzione alla discussione di Alberto Capatti (Milano), José Jiménez (Madrid),

Baldine Saint Girons (Paris)

13 aprile 2007

ore 09.00

Il gusto in Italia Introduzione alla discussione di Fulvio Carmagnola (Milano), Gillo Dorfles (Milano),

Carlo Petrini (Bra)

ore 12.00

Premio Europeo Consegna dell'edizione italiana della Teoria dell'arte (Premio Europeo d'Estetica)

a José Jiménez

ore 16.30

Assemblea della Società Italiana d’Estetica

 

 

 

NEW 17 (internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

for Conference

“Aesthetics of Displacement”

Belo Horisonte

Brazil

May 15-17, 2007

go to  http://www.fafich.ufmg.br/esteticasdodeslocamento/

 

 

 

NEW 18 (internet source: http://pedagogie.ac-toulouse.fr/philosophie/forma/cal.htm)

 

Toulouse Colloque - Ateliers sur « L’évolution créatrice » de Bergson : 19, 20 et 21 avril 2007 (http://w3.univ-tlse2.fr/philo/rubrique.php3?id_rubrique=44&recalcul=oui)

 

Dans le cadre de la commémoration du centenaire de L’évolution créatrice. En collaboration avec la Société Japonaise d’Etudes Bergsoniennes. Lieu : Université de Toulouse Le Mirail. Organisateurs : Arnaud François, Pierre Montebello, Jean-Christophe Goddard, Hisashi Fujita. Partenaires : CREPHINAT-Université de Bordeaux, Société des amis de Bergson, Centre de Recherches Internationales sur la Philosophie Française Contemporaine, Ministère de la Culture. Thèmes des ateliers :

  1. Intelligence, vie, matière

  2. l’Un et le Tout (néoplatonisme, univocité...)

  3. durée et vie (la transformation de la notion de durée dans L’évolution créatrice)

  4. Histoire de la philosophie et problème de la vérité (le chapitre 4 de L’évolution créatrice).

  Participants : Shin Abiko (Tokyo), Arnaud Bouaniche (Lille), Giuseppe Bianco (Lille), Florence Caeymaex (Liège), Julie Casteigt (Toulouse), Emmanuel Cattin (Clermont), Nicolas Cornibert (Toulouse), Arnaud François (Lille), Hisashi Fujita, Jean-Christophe Goddard (Toulouse), Osamu Kanamori (Tokyo), Pierre-Antoine Miquel (Nice), Alain Petit (Clermont), Camille Riquier (Paris), Sylvain Roux (Clermont), Anne Sauvagnargues (Lyon), Guillaume Sibertin-Blanc (Lille), Naoki Sugiyama (Tokyo), Frédéric Worms (Lille).

 

 

 

NEW 19 (internet source: http://pedagogie.ac-toulouse.fr/philosophie/forma/cal.htm)

 

Une journée d'étude consacrée à Maurice Blanchot. aura lieu à *l'Université Paris X Nanterre, le 27 avril 2007*. IMAGE / IMAGINAIRE DANS L'OEUVRE DE MAURICE BLANCHOT* Dans l’œuvre de Blanchot, l’image est toujours sujette à caution, elle ne se donne à lire que comme étrangeté, inquiétude du visible. Les descriptions fantastiques d’/Aminadab/ ou de /Thomas l’Obscur/, les rencontres surprenantes dans certaines fictions ou encore les contemplations quasi mystiques de la fin des derniers récits, l’image chez Blanchot est une présence qui se dérobe, elle questionne davantage qu’elle n’affirme son évidence. Qu’il s’agisse de l’interdit de la représentation du visage de l’auteur, de l’image terrifiante parce qu’elle fascine et capture le sujet, ou de l’image cadavérique comme ressemblance absolue ( « l’homme est défait selon son image »), l’image est toujours double, ambiguë. Les deux versions de l’imaginaire sont les deux faces de l’image, toujours dialectique, elle rend visible l’invisible, mais en même temps elle nous confronte à la présence de l’absence. Cette journée, au-delà de l’hommage à l’oeuvre, cherchera à interroger le statut complexe de l’image et de l’imaginaire dans l’œuvre fictive et critique de Maurice Blanchot. *Université de Nanterre, 200 av de la République 92000 Nanterre (RER Nanterre-Université). Bâtiment B, Salle du conseil, Rez-de-Chaussée.*

 

 

NEW 20 (internet source: information philosophie, März 2007)

(internet source: http://www.gnp-online.de/Jahrestagung.12.0.html)

 

XV. Symposion

 

Die Stadt als Wohnraum

Vom 20. bis 22. April 2007 findet an der Universität Hamburg das jährliche Symposion der Gesellschaft für Neue Phänomenologie statt. Hier finden Sie das Programm zum Download.

 

Informationstext zum Tagungsthema

Wohnen ist "Kultur der Gefühle im umfriedeten Raum" (Hermann Schmitz). Die Umfriedung durch die Stadtmauer konstituierte die traditionelle Stadt. Sie gab nicht nur Sicherheit gegenüber Bedrohungen von außen, sie schuf auch einen sicheren Raum gefühlter und ständig gegenwärtiger Gemeinsamkeit.

 

Der Wegfall der Umfriedung, das Zerlaufen der Städte in endlosen Straßenzügen, deren Verkehr der Einwohner oft eher bedroht als verbindet oder schützt, lässt sich durch nur formal geregelte Systeme und eine Vielzahl abstrakter Institutionen nicht ersetzen. Auch heute erwächst das Gefühl unbedohter Sicherheit im Raum der Stadt nur dort, wo der Einzelne sich in nachbarschaftlicher Umgebung wohlfühlen kann. Alle Versuche, die Stadt wieder zum Wohnraum zu machen, die "Unwirtlichkeit unserer Städt" (Alexander Mitscherlich) zu überwinden, bestehen darin, auf neue Weise umfriedete Räume zu schaffen, Stätten der Erledigung, zwischen denen die Menschen beruhigt hin und her gehen können. So umfriedete Bezirke gefühlter Gemeinsamkeit lassen sich nicht beliebig ausdehnen und auch nicht verordnen; es sind Stadt- oder Ortsteile heimatlichen Charakters, die eine gewisse Übersichtlichkeit bewahren und nicht den Unsicherheiten der durch Medien angeheizten Fan - oder Mode-Kulturen unterliegen. Sie sind Inseln in den "weißen Räumen" jener nackten Funktionalität, die sich in und zwischen den globalisierten Städten und Megastädten wuchernd ausbreiten. Erst die "Kultur der Gefühle" macht einen beliebigen Ort auf eine für jeden spürbare Weise zu einem bewohnbaren Raum, dessen Atmosphäre das Leben, das "immer lebensgefährlich ist" (Erich Kästner), so einhegt, dass es lebenswert bleibt. Die erstrebte Wohnlichkeit der Städte appeliert an Strukturen des Raumes, des Leibes und des Gefühls, die als Bedürfnis allen, mehr oder weniger dunkelt, noch ohne Begriffe vorschweben.

 

Die Neue Phänomenologie hat solche Begriffe. Die Tagung soll zeigen, wie sie auf die Stadt als Wohnraum angewendet werden können.

 

Tagungsort

Universität Hamburg

Hörsaal 221, Flügelbau West,

Edmund-Siemers-Allee 1, 20146 Hamburg

 

Tagungsgebühr

15,00 € für die gesamte Tagung (3 Tage)

8,00 € für eine Tageskarte (Samstag oder Sonntag)

für Studierende (mit Nachweis) Eintritt frei

 

Die Eintrittskarten können auf der Tagung erworben werden. Eine vorherige Anmeldung ist nicht nötig.

 

Tagungsprogramm

 

Freitag, 20. April 2007

 

20.00 Uhr

 

Podiumsdiskussion

"Wohnen in der globalisierten Welt?"

Teilnehmer:

Prof. Dr. h.c. Thomas Albrecht (Architekt)

Dr. Dieter Bartetzko (Architekturkritiker)

Prof. Dr. Jürgen Hasse (Humangeograph)

Prof. Dr. Hermann Schmitz (Philosoph)

Moderation:

Dr. Christoph Bungartz (NDR)

 

Samstag, 21. April 2007

 

9.30 - 10.00 Uhr

 

Eröffnung der Tagung durch Prof. Dr. phil. Dr. h.c. mult. Hans Jürgen Wendel (Präsident der GNP)

Einführung in das Tagungsthema durch Dr. Hans Werhahn (Vizepräsident der GNP)

 

10.00 - 11.00 Uhr

 

Prof. Dr. Hermann Schmitz

"Heimisch sein"

 

11.00 - 11.30 Uhr

 

Pause

 

11.30 - 12.30 Uhr

 

Prof. Dipl.-Ing. Eckhard Gerber

"Raum, ein Urbedürnis des Menschen"

 

12.30 - 14.30 Uhr

 

Mittagspause

 

14.30 - 15.30 Uhr

 

Prof. Dr. Ludwig Fromm

"Raumgestaltung zwischen Ästhetik und Lebensbedeutsamkeit"

 

15.30 - 16.30 Uhr

 

Prof. Dr. Jürgen Hasse

"Schöner Wohnen? Zur Bedeutungen von Ästhetisierungen im Stadtraum"

 

16.30 - 17.00 Uhr

 

Pause

 

17.00 - 18.00 Uhr

 

Prof. Dr. Achim Hahn

"Das Wohnen im Raum der Zwischenstadt"

 

18.00 - 19.00 Uhr

 

Dr. Dieter Bartetzko

"Das Bau-Aus für das Bauhaus?"

 

 

Sonntag, 22. April 2007

 

9.30 - 10.30 Uhr

 

Dr. Sonia Schoon

"'Zwei Punkte - eine Linie' - Umfriedung und Draußen in der dichotomen Lebenswelt Shanghai

 

10.30 - 11.30 Uhr

 

Prof. Dr. Dr. Eduard Führ

"Drinnen + Draußen. Zur Phänomenologie des Raums"

 

11.30 - 12.30 Uhr

 

Prof. Dr. h.c. Thomas Albrecht

"Wohnen im umfriedeten Raum - Drei aktuelle Beiträge"

 

12.30 - 13.30 Uhr

 

Mittagspause

 

13.30 - 14.30 Uhr

 

Prof. Dr. Wolfgang Meisenheimer

"Die Konstruktion von Innenraumgefühlen durch Architektur"

 

14.30 - 15.30 Uhr

 

Jörg Plickat

"Die Stadt als Kulturraum"

 

15.30 - 16.30 Uhr

 

Dr. phil. Dipl.-Ing. Thorsten Bürklin

"Sitte 'reloaded'. Wohnen in der Stadt, die es nicht mehr gibt"

 

16.30 - 17.00 Uhr

 

Pause

 

ab 17.00 Uhr

Werkstattgespräch mit Hermann Schmitz

 

 

NEW 21 (internet source: information philosophie, März 2007)

(internet source: http://www.arsimitaturnaturam.de/)

 

 

ARS IMITATUR NATURAM

 

Konzeptionen menschlicher Kreativität im Übergang vom Mittelalter zur Neuzeit

 

3. Tagung junger Cusanusforscher/-innen, 27.-29. April 2007

 

Martin-Luther-Universität Halle, Löwengebäude, Universitätsplatz, HS XIII

 

Veranstalter: Arne Moritz (Seminar für Philosophie, Martin-Luther-Universität Halle-Wittenberg) , Franz-Bernhard Stammkötter (Institut für Cusanus-Forschung, Universität Trier)

 

email info@arsimitaturnaturam.de

 

Die Tagung ARS IMITATUR NATURAM befasst sich mit der von Aristoteles grundgelegten Formel, dass Kunst (im weiten Sinne diverser Formen menschlichen Hervorbringens) Natur nachahme. Die Tagungsbeiträge untersuchen, welche Bedeutung dieser Formulierung im Übergang vom Mittelalter zur Neuzeit für ein sich wandelndes Verständnis menschlicher Kreativität zukam. Ein inhaltlicher Schwerpunkt liegt dabei auf der Frage danach, wie sich die Gewichtung der Fremd- bzw. Selbstbestimmtheit der mimetischen Grundkonzeption von Kunst   gewandelt hat. Dies wird unter besonderer Berücksichtigung der Person des Nikolaus von Kues (1401-1464) als einer zentralen Gestalt des Übergangs vom Mittelalter zur Neuzeit untersucht. Die Tagungsbeiträge beziehen sich auf eine Vielfalt von Themenfeldern, die bei Cusanus und in seiner historischen Umgebung mit dem Begriff der Kunst (ars) verbunden wurden, sodass neben ästhetischen Fragestellungen auch solche der Wissenschaftstheorie, Wissenschaftsgeschichte und Epistemologie, der Anthropologie, Religion und Politik aufgegriffen werden.

 

Ars Imitatur Naturam wird ermöglicht durch großzügige Förderung der Cusanusgesellschaft, Vereinigung zur Förderung der Cusanus-Forschung e.V., der Martin-Luther-Universität Halle-Wittenberg sowie der Vereinigung der Freunde und Förderer der Martin-Luther-Universität e.V. Die Tagung ist Teil des Veranstaltungsprogramms zum Kulturellen Themenjahr in Halle 2007 mitteilenswert - ein Jahr der Kommunikation

 

Programm

 

Freitag, 27.4.2007

 

15.00 Begrüßung, Einführung

 

I HISTORISCHE BEZÜGE

 

15.20 Alexander Aichele (Halle-Wittenberg)

Finalursache und Vollkommenheit

Warum nach Aristoteles die Kunst die Natur nachahmen muss

 

15.50 Diskussion

 

16.10 Andrej Krause (Halle-Wittenberg)

Ahmt die Kunst die Natur nach oder vervoll-kommnet sie diese?

Grundgedanken des Thomas von Aquin zum Verhältnis von Kunst und Natur

 

16.30 Matthias Kaufmann (Halle-Wittenberg)

Das Problemder ontologischen Eigenständigkeit des Kunstproduktes bei Wilhelm von Ockham

 

16.50 Diskussion

 

17.20 Pause

 

II – ERKENNTNISTHEORIE

 

17.40 Maria Cecilia Rusconi (Buenos Aires)

Natur, Kunst und Form bei Thierry von Chartres und Nikolaus von Kues

 

18.00 Matthias Vollet (Mainz)

Stufen der Kunst und der imitatio in De venatione sapientiae und De mente

 

18.20 Diskussion

 

18.50 Ende

 

Samstag, 28.4.2007

 

III KUNST

 

9.30 Markus Riedenauer      (Bamberg)

Perspektive in der Malerei als Nachahmung natürlichen Sehens und ihre philosophische Reflexion

 

9.50 Elena Filippi (München)

Imitatio naturae und imitatio Christi

Die coincidentia oppositorum in der viva imago Albrecht Dürers von 1500

 

10.10 Diskussion

 

10.40 Pause

 

11.00 Gianluca Cuozzo (Turin)

Visio Circularis

Das Bild des göttlichen ‚vultus trifrons’ in der Kirche von Santa Giuliana in Vigo di Fassa

 

11.20 Franz-Bernhard Stammkötter (Trier)

WelcheNatur imitiert die Musik?

Naturnachahmung als Problem der cusanischen Musikphilosophie

 

11.40 Diskussion

 

12.10 Pause

 

14.30 Sylvie Tritz (Bamberg)

Ars imitatur naturam / Ars imitatur artem

Die Darstellungsmodi im römischen Grabaltar des Nikolaus von Kues

 

14.50 Anke Naujokat (Aachen)

Pax et concordia fidei

Das heilige Grab von Leon Battista Alberti als Memorialbau des Florentiner Unionskonzils (1439-1443)

 

15.10 Diskussion

 

15.40 Pause

 

IV ANTHROPOLOGIE,RELIGION, POLITIK

 

16.00 Philipp David (Kiel)

Ist der Mensch von Natur aus religiös?

Mit Nikolaus Cusanus vor der Gretchenfrage

 

16.20 Arne Moritz (Halle-Wittenberg)

Natur und Kunst in der politischen Philosophie von De concordantia catholica

 

16.40 Diskussion

 

17.10 Pause

 

17.30 Isabelle Mandrella (Bonn)

Natura intellectualis imitatur artem divinam

Der Mensch und Christus als ars Dei

 

17.50 Frédéric Vengeon (Paris)

L´autonomie de l´esprit au miroir del´infinité divine

Eckhart – Nicolas de Cues – Descartes

 

18.10 Diskussion

 

18.40 Ende

 

Sonntag, 29.4.2007

 

V WELTBILD UND WISSENSCHAFT IM UMBRUCH

 

10.00 Marco Böhlandt (München)

Imago mundi

Spätmittelalterliche Konzeptionen von ars und scientia in ihrer Bedeutung für die Genese des frühneuzeitlichen Naturverständnisses in bildender Kunst und Wissenschaft

 

10.20 Tom Müller (Trier)

Stadt, Land, Ozean

Zur Kartografie bei Alberti, Cusanus und Toscanelli

 

10.40 Diskussion

 

11.10 Pause

 

11.30 Kirstin Zeyer (Trier)

Grundlagen und Formen der Naturerkenntnis bei Cusanus und Descartes

 

11.50 Detlef Thiel (Wiesbaden)

… et natura imitatur artem

Die Figur des Zwillingsblicks bei Nicolaus Cusanus und Salomo Friedlaender/Mynona

 

12.10 Diskussion

 

12.40 Abschluss / Ende gg. 13 Uhr

 

 

 

NEW 22 (internet source: information philosophie, März 2007)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/kant.html)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/kant_tn.html)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/kant_programm.html)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/InhaltsverzeichnisdesBandes.pdf)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/RichtlinienAutoren.pdf)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/Siglen.pdf)

 

Philosophisches Seminar

Fakultät für Philosophie und Geschichte

 

Immanuel Kant. Kritik der Urteilskraft

Internationales Symposion, 28.–30. Juni 2007,

Schloß Hohentübingen, Fürstenzimmer

 

Organisation: Prof. Dr. Dr. h.c. Otfried Höffe, Dr. des. Ina Goy

Konferenzsprachen: deutsch, englisch

Das Projekt wird durch die freundliche Unterstützung der Fritz–Thyssen–Stiftung gefördert.

 

In der Kritik der Urteilskraft (1790) entwickelt Kant eine philosophische Ästhetik und eine Theorie der organischen Natur. Die beiden scheinbar heterogenen Gegenstandsbereiche sind durch das Prinzip der Urteilskraft, die Idee der Zweckmäßigkeit, verbunden, die der Mensch sowohl bei der Reflexion über die schönen Gegenstände der Natur und der Kunst als auch bei seiner Erforschung der organischen Natur zugrunde legt. Da sich alle Zwecke zuletzt auf den Endzweck des Menschen als moralisches Wesen beziehen, übersteigt die dritte Kritik schließlich die Bereiche von Kunst und Natur und berührt Fragen der Moralphilosophie und der Moraltheologie.

Zusätzlich glaubt Kant, mit dem subjektiven Vermögen der Urteilskraft jenes Bindeglied unter den menschlichen Gemütskräften gefunden zu haben, das einen architektonischen Übergang zwischen den Naturbegriffen des Verstandes in der ersten und dem Freiheitsbegriff der Vernunft in der zweiten Kritik ermöglicht, durch den sich die theoretische und die praktische Philosophie in einem einzigen philosophischen System vereinigen lassen.

Ein dreitägiges Diskussionsforum international renommierter, auch jüngerer Kantforscher soll eines der anspruchsvollsten und themenreichsten Werke der Kantischen Philosophie durch eine genaue Exegese zum Sprechen bringen. Aus dem Symposion geht ein kooperativer Kommentar hervor, der in der Reihe „Klassiker Auslegen“ im Akademie-Verlag erscheinen wird. Der Teilnehmerkreis des Symposions ist geschlossen.

 

Kontakt:

Prof. Dr. Dr. h.c. Otfried Höffe

Dr. des. Ina Goy

projekte.hoeffe@uni-tuebingen.de

 

Teilnehmer

 

Karl Ameriks (Notre Dame)

Jochen Bojanowski (Pittsburgh)

Reinhard Brandt (Marburg)

Gerardo Cunico (Genova)

Michaël Foessel (Dijon)

Eckart Förster (Baltimore)

Christel Fricke (Oslo)

Hannah Ginsborg (Berkeley)

Piero Giordanetti (Milano)

Ina Goy (Tübingen)

Otfried Höffe (Tübingen)

Andreas Kablitz (Köln)

Georg Kohler (Zürich)

Steinar Mathisen (Oslo)

Birgit Recki (Hamburg)

Jacinto Rivera de Rosales (Madrid)

Siegfried Roth (Köln)

Eric Watkins (San Diego)

 

Programm

 

Donnerstag, den 28. Juni 2007

 

14.00   Begrüßung

14.15   Jochen Bojanowski:   Vorrede, Einleitung I.-V.

15.00   Reinhard Brandt:   Einleitung VI.-IX., Einteilung

15.45   Kaffeepause

16.05   Hannah Ginsborg:   §§ 1 – 9

16.50   Jacinto Rivera de Rosales:   §§ 10 – 22

17.35   Kaffeepause

17.55   Michaël Foessel:   §§ 23 – 29

19.15   Abendessen in einem Restaurant

 

Freitag, den 29. Juni 2007

 

09.00   Christel Fricke:   §§ 30 – 38

09.45   Georg Kohler:   §§ 39 – 42

10.30   Kaffeepause

10.50   Andreas Kablitz:   §§ 43 – 50

11.35   Steinar Mathisen:   §§ 51 – 54

12.30   Mittagessen

14.00   Birgit Recki:   §§ 55 – 60

14.45   Piero Giordanetti:   §§ 61 – 63

15.30   Kaffeepause

15.50   Ina Goy:   §§ 64 – 68

16.35   Eric Watkins:   §§ 69 – 73

17.20   Kaffeepause

17.40   Eckart Förster:   §§ 74 – 78

19.00   Abendessen in einem Restaurant

 

Samstag, den 30. Juni 2007

 

09.00   Siegfried Roth:   §§ 79 – 81

09.45   Otfried Höffe:   §§ 82 – 84

10.30   Kaffeepause

10.50   Gerardo Cunico:   §§ 85 – 89

11.35   Karl Ameriks:   §§ 90 – 91

12.30   Mittagessen

 

Hinweise zur Gestaltung der Abhandlungen im Kommentar-Band

 

Bitte senden Sie Ihre Abhandlungen für den Kommentar-Band

bis zum 15. August 2007 an die Adresse: projekte.hoeffe@uni-tuebingen.de 

 

Otfried Höffe (Hg.): Klassiker Auslegen

Immanuel Kant. Kritik der Urteilskraft

Inhalt

Zitierweise und Siglen

Vorwort

1. Einführung Otfried Höffe C

2. Vorrede, Einleitung (I.-V.) Jochen Bojanowski B

3. Einleitung (VI.-IX.), Einteilung Reinhard Brandt B

4. §§ 1 – 9 Hannah Ginsborg C

5. §§ 10 – 22 Jacinto Rivera de Rosales C

6. §§ 23 – 29 Michaël Foessel C

7. §§ 30 – 38 Christel Fricke B

8. §§ 39 – 42 Georg Kohler A

9. §§ 43 – 50 Andreas Kablitz C

10. §§ 51 – 54 Steinar Mathisen B

11. §§ 55 – 60 Birgit Recki C

12. §§ 61 – 63 Piero Girodanetti A

13. §§ 64 – 68 Ina Goy B

14. §§ 69 – 73 Eric Watkins B

15. §§ 74 –78 Eckart Förster B

16. §§ 79 – 81 Siegfried Roth A

17. §§ 82 – 84 Otfried Höffe B

18. §§ 85 – 89 Gerardo Cunico C

19. §§ 90, 91 Karl Ameriks C

20. Ein Ausblick Otfried Höffe C

Auswahlbibliographie

Personenregister

Sachregister

Autorenhinweise

A = 16 Manuskriptseiten

B = 20 Manuskriptseiten jeweils à 2 000 Zeichen mit Leerzeichen

C = 25 Manuskriptseiten

 

Richtlinien für die Autoren

 

Bitte beachten Sie beim Abfassen Ihrer Abhandlungen die folgenden formalen Vorgaben für die Gestaltung der Texte:

– es gibt keine Fuß– oder Endnoten

– alle Zitate aus der Fremdliteratur werden mit der Angabe des Nachnamens des Autors, des Erscheinungsjahres und der Seite direkt in den Text hineingearbeitet, z.B.:

Haupttext: „...........Zitat..........“ (Allison 2001, 23) Haupttext

– die Kantischen Schriften werden nach der Ausgabe der Preußischen Akademie der Wissenschaften zitiert, z.B. 5: 242 (=Band 5, Seite 242); ausgenommen von dieser Regel ist die erste Kritik, für die wie üblich zwischen der AAuflage und der B-Auflage unterschieden wird, z.B. CPR B 20 = Seite 20 nach der Originalpaginierung der B-Auflage, erste Kritik A xx = Seite 20 der Vorrede der A-Auflage

– auf die Werke Kants wird kursiv unter Siglen Bezug genommen (s. Siglenliste)

– am Ende des Textes werden die vollständigen bibliographischen Angaben zur zitierten Literatur in einem kurzen Verzeichnis aufgezählt, man verwende bitte folgendes Schema:

Literatur/notes

Allison, Henry E. 2001: Kant’s Theory of Taste, New York.

Tonelli, Giorgio 1957: „Von den verschiedenen Bedeutungen des Wortes Zweckmäßigkeit in der Kritik der Urteilskraft“, in: Kant–Studien 49, 154–

166.

Brandt, Reinhard 1998: „Zur Logik des ästhetischen Urteils“, in: H. Parret (Hg.), Kants Ästhetik/Kant’s Aesthetics/L’esthétique de Kant, Berlin/New

York, 229–245.

– bitte schreiben Sie im Literaturverzeichnis die Titel der Namen von Zeitschriften aus

 

Siglenverzeichnis

 

Den Titeln von Kants Schriften in chronologischer Reihenfolge sind kursiviert die deutschen und die entsprechenden englischen Titel-Abkürzungen (Siglen) vorangestellt.

 

1746-47

Wahre Schätzung True Estimation

Gedanken von der wahren Schätzung der lebendigen Kräfte und Beurteilung der Beweise derer sich Herr von Leibniz und andere Mechaniker in dieser Streitsache bedienet haben, nebst einigen vorhergehenden Betrachtungen welche die Kraft der Körper überhaupt betreffen. (Der Druck beginnt 1746, 1747 schiebt Kant noch §§ 107 bis 113A und 151 bis 156 nach. Die Ausgabe des Buches erfolgt erst 1749. Vgl. die Einleitung von Kurd Laßwitz in AA I, S. 521.)

 

1754

Umdrehung der Erde Rotation of the Earth

Untersuchung der Frage, ob die Erde in ihrer Umdrehung um die Achse, wodurch sie die Abwechselung des Tages und der Nacht hervorbringt, einige Veränderung seit den ersten Zeiten ihres Ursprungs erlitten habe und woraus man sich ihrer versichern könne, welche von der Königlichen Akademie der Wissenschaften zu Berlin zum Preise für das jetztlaufende Jahr <sc. 1754> aufgegeben worden

Ob die Erde veralte Whether the Earth is Aging

Die Frage, ob die Erde veralte, physikalisch erwogen

 

1755

Theorie des Himmels Theory of Heavens

Allgemeine Naturgeschichte und Theorie des Himmels, oder Versuch von der Verfassung und dem mechanischen Ursprunge des ganzen Weltgebäudes, nach Newtonischen Grundsätzen abgehandelt

De igne On Fire

Meditationum quarundam de igne succincta delineatio – Knappe Darstellung einiger Gedanken über das Feuer. (Am 17. April 1755 der Königsberger Philosophischen Fakultät zur Promotion vorgelegt; erst 1839 postum veröffentlicht)

Nova dilucidatio New Elucidation

Principiorum primorum cognitionis metaphysicae nova dilucidatio – Neue Erhellung der ersten Prinzipien metaphysischer Erkenntnis. Am 27. September 1755 der Königsberger Philosophischen Fakultät als Habilitationsschrift vorgelegt; erschienen 1755 bei Johann Heinrich Hartung in Königsberg

 

1756

Erdbeben Terrestrial Convulsions

Von den Ursachen der Erderschütterungen bei Gelegenheit des Unglücks, welches die westliche Länder von Europa gegen das Ende des vorigen Jahres betroffen hat

Geschichte des Erdbebens History of the Earthquake

Geschichte und Naturbeschreibung der merkwürdigsten Vorfälle des Erdbebens, welches an dem Ende des 1755sten Jahres einen großen Teil der Erde erschüttert hat

Betrachtung Observation

Fortgesetzte Betrachtung der seit einiger Zeit wahrgenommenen Erderschütterungen

Monadologia physica Physical Monadology

Metaphysicae cum geometrica iunctae usus in philosophia naturali, cuius specimen I. continet monadologiam physicam – Der Gebrauch der Metaphysik, sofern sie mit der Geometrie verbunden ist, in der Naturphilosophie, dessen erste Probe die physische Monadologie enthält. (Am 23. März 1756 der Königsberger Philosophischen Fakultät vorgelegte Disputationsschrift zwecks Bewerbung um eine außerordentliche Professur)

Theorie der Winde Theory of Winds

Neue Anmerkungen zur Erläuterung der Theorie der Winde

 

1757

Entwurf der Geographie Outline of Physical Geography

Entwurf und Ankündigung eines Collegii der physischen Geographie nebst dem Anhange einer kurzen Betrachtung über die Frage: Ob die Westwinde in unsern Gegenden darum feucht seien, weil sie über ein großes Meer streichen

 

1758

Lehrbegriff Motion and Rest

Neuer Lehrbegriff der Bewegung und Ruhe und der damit verknüpften Folgerungen in den ersten Gründen der Naturwissenschaft

 

1759

Optimismus Optimism

Versuch einiger Betrachtungen über den Optimismus

 

1760

Ableben Funk Funk

Gedanken bei dem frühzeitigen Ableben des Herrn Johann Friedrich von Funk

 

1762

Spitzfindigkeit Sublety

Die falsche Spitzfindigkeit der vier syllogistischen Figuren erwiesen

 

1763

Beweisgrund Argument

Der einzig mögliche Beweisgrund zu einer Demonstration des Daseins Gottes (datiert 1763, erscheint aber bereits im Dezember 1762)

Negative Größen Negative Magnitudes

Versuch den Begriff der negativen Größen in die Weltweisheit einzuführen

1764

Beobachtungen Beautiful and Sublime

Beobachtungen über das Gefühl des Schönen und Erhabenen (1764; abgeschlossen im Oktober 1763)

Krankheiten Maladies

Versuch über die Krankheiten des Kopfes

Rezension Silberschlag Review of Silberschlag

Rezension von Silberschlags Schrift: Theorie der am 23. Juli 1762 erschienenen Feuerkugel

Deutlichkeit Distinctness

Untersuchung über die Deutlichkeit der Grundsätze der natürlichen Theologie und der Moral

 

1765

Nachricht Announcement

Nachricht von der Einrichtung seiner Vorlesungen in dem Winterhalbjahre von 1765-1766.

 

1766

Träume Dreams

Träume eines Geistersehers, erläutert durch Träume der Metaphysik

 

1768

Gegenden Directions

Von dem ersten Grunde des Unterschieds der Gegenden im Raume

 

1770

De mundi Inaugural Dissertation

De mundi sensibilis atque intelligibilis forma et principiis – Über die Form und die Prinzipien der Sinnen- und Verstandeswelt

 

1771

Rezension Moscati Review of Moscati

Rezension von Moscatis Schrift: Von dem körperlichen wesentlichen Unterschiede zwischen der Struktur der Tiere und Menschen

 

1775

Racen Races

Von den verschiedenen Racen der Menschen (Programm für das Sommersemester 1775)

 

1776-77

Philanthropin Philanthropin

Zwei Aufsätze, betreffend das Basedow'sche “Philanthropin”

 

1781

KrV A, erste Kritik A CPR A, first Critique A

Kritik der reinen Vernunft, 1. Auflage

 

1782

Anzeige Notice

Anzeige des Lambertischen Briefwechsels

Nachricht Report

Nachricht an Ärzte

 

1783

Prolegomena Prolegomena

Prolegomena zu einer jeden künftigen Metaphysik, die als Wissenschaft wird auftreten können

Rezension Schulz Review of Schulz

Rezension von Schulz: Versuch einer Anleitung zur Sittenlehre für alle Menschen, ohne Unterschied der Religion, nebst einem Anhange von den Todesstrafen

 

1784

Geschichte Universal History

Idee zu einer allgemeinen Geschichte in weltbürgerlicher Absicht

Aufklärung Enlightenment

Beantwortung der Frage: Was ist Aufklärung?

 

1785

Rezension Herder Review of Herder

Rezensionen von Johann Gottfried Herder: Ideen zu einer Philosophie der

Geschichte der Menschheit

Vulkane Volcanoes

Über die Vulkane im Monde

GMS Groundwork, GMM

Grundlegung zur Metaphysik der Sitten

Büchernachdruck Counterfeiting Books

Von der Unrechtmäßigkeit des Büchernachdrucks

Menschenrace Human Race

Bestimmung des Begriffs einer Menschenrace

 

1786

Mutmaßlicher Anfang Conjectural Beginning

Mutmaßlicher Anfang der Menschengeschichte

MAN Metaphysical Foundations

Metaphysische Anfangsgründe der Naturwissenschaft

Rezension Hufeland Review of Hufeland

Rezension von Gottlieb Hufeland: Versuch über den Grundsatz des Naturrechts

Jakob/Mendelssohn Remarks on Jacob

Einige Bemerkungen zu Ludwig Heinrich Jakobs Prüfung der Mendelssohnschen

“Morgenstunden”

Orientieren Orientation

Was heißt: sich im Denken orientieren?

 

1787

KrV B, erste Kritik B CPR B, first Critique B

Kritik der reinen Vernunft, 2. Auflage

 

1788

KpV, zweite Kritik CprR, second Critique

Kritik der praktischen Vernunft

Teleologische Prinzipien Teleological Principles

Über den Gebrauch teleologischer Prinzipien in der Philosophie

Rezension Ulrich Review of Ulrich

Kraus´ Recension von Ulrich’s Eleutheriologie

 

1790

1. Einleitung KU First Introduction

Erste Einleitung in die Kritik der Urteilskraft

KU, dritte Kritik CPJ, third Critique

Kritik der Urteilskraft

Entdeckung Discovery

Über eine Entdeckung, nach der alle neue Kritik der reinen Vernunft durch eine ältere entbehrlich gemacht werden soll. (häufig auch Eberhard-Streitschrift genannt)

Schwärmerei Fanaticism

Über Schwärmerei und die Mittel dagegen

 

1791

Theodizee Theodicy

Über das Mißlingen aller philosophischen Versuche in der Theodizee

 

1792

Radikal Böse Radical Evil

Über das radikale Böse in der menschlichen Natur

 

1793

Religion Religion

Die Religion innerhalb der Grenzen der bloßen Vernunft

Fortschritte Progress

Welches sind die wirklichen Fortschritte, die die Metaphysik seit Leibnizens und Wolffs Zeiten in Deutschland gemacht hat? (Akademie-Preisfrage; verfaßt 1793;

erst 1804 postum veröffentlicht)

Gemeinspruch On the Common Saying

Über den Gemeinspruch: Das mag in der Theorie richtig sein, taugt aber nicht für die Praxis

 

1794

Einfluß des Mondes Influence of the Moon

Etwas über den Einfluß des Mondes auf die Witterung

Ende aller Dinge End of All Things

Das Ende aller Dinge

 

1795

Frieden Peace

Zum ewigen Frieden

 

1796

Sömmering Soemmering

Anhang zu Sömmering: Über das Organ der Seele

Vornehmer Ton New Tone

Von einem neuerdings erhobenen vornehmen Ton in der Philosophie Ausgleichung Mathematical Conflict

Ausgleichung eines auf Mißverstand beruhenden mathematischen Streits Verkündigung New Treaty

Verkündigung des nahen Abschlusses eines Traktats zum ewigen Frieden in der Philosophie

 

1797

RL MMR

Die Metaphysik der Sitten, Rechtslehre

TL MMV

Die Metaphysik der Sitten, Tugendlehre

Vermeintes Recht Right to Lie

Über ein vermeintes Recht, aus Menschenliebe zu lügen

 

1798

Fakultäten Faculties

Der Streit der Fakultäten

Anthropologie Anthropology

Anthropologie in pragmatischer Hinsicht

Buchmalerei Making Books

Über die Buchmacherei

Erklärung Schlettwein Schlettwein

Erklärung gegen Schlettwein

 

1799

Erklärung Fichte Against Fichte

Erklärung gegen Fichte

 

1800

Vorrede Jachmann Preface to Jachmann

Vorrede zu Reinhold Bernhard Jachmann: Prüfung der Kantischen

Religionsphilosophie

Nachschrift Mielcke Afterword to Mielcke

Nachschrift zu Christian Gottlieb Mielckes Littauisch-deutschem und deutschlittauischem Wörterbuch

Logik Logic

Logik. Ein Handbuch zu Vorlesungen, hg. von Gottlieb Benjamin Jäsche

 

1802

Physische Geographie Physical Geography

Physische Geographie, hg. von Friedrich Theodor Rink

 

1803

Pädagogik On Education

Über Pädagogik, hg. von Friedrich Theodor Rink

Handschriftlicher Nachlaß

Reflexionen Reflections

Handschriftliche Notizen (Reflexionen) aus dem Zeitraum 1765-1800, in: AA XIVXIX und XXIII

OP OP

Opus postumum: Entwürfe aus dem Zeitraum 1796-1803 zu einer Theorie des Übergangs von der Transzendentalphilosophie bzw. den Metaphysischen Anfangsgründen der Naturwissenschaft zur Physik, in: AA XXI-XXII

 

 

NEW 23 (internet source: search engine)

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

 

Call for Papers: The Politics, Poetics and Philosophy of Battlestar Galactica: A One Day Symposium

Symposium: Buckingham Chilterns University College, High Wycombe 28th July 2007

Organiser: Buckingham Chilterns University College

Contact: Ewan Kirkland

Since its return, the re-imagined Battlestar Galactica has emerged as the most politically, philosophically and artistically compelling television series of recent years. Opening with the near-obliteration of mankind by a race of cyborgs evolved from human technologies, BSG's survivors - including a war-weary military commander, a minor cabinet member suddenly elevated to President, a scientific genius harbouring a secret and hallucinating his duplicitous girlfriend - variously struggle to reconcile the grief and guilt of survival, their own personal and psychological flaws, and the demands of fighting an enemy uncannily close to themselves. Remaking the cult 1970s original as a morally challenging, psychologically complex and politically controversial science fiction series, the show combines thriller, space opera, war film and docu-drama, while meditating on the nature of humanity, governance, desire, technology and religion. Conflicted characterisations, ethical irresolvable scenarios, ambiguous storylines, an often-uncomfortable resonance with contemporary international events, and a filming style more cinéma vérité than Star Trek, combine in a text which demands serious academic attention. This one day event affords academics, fans and fan-academics the opportunity to consider the social, political, philosophical and artistic significance of Battlestar Galactica. Contributions are invited from researchers working in a wide range of disciplines, including film and television, fantasy, fandom, philosophy, psychoanalysis, drama, documentary and media production.

Call for papers submission date: 2007-06-01

http://www.bcuc.ac.uk/faculties/creativity__culture/faculty_news__events/conferences.aspx

 

 

 

 

LECTURES (NEW 1)

(internet source: search engine)

(internet source: http://iri-web.centrepompidou.fr/seminaires/pratiquejugement.php)

 

Sous la direction de Catherine Perret, Paris 10 Nanterre

 

« L’articulation du jugement et de la pratique est au coeur de l’expérience artistique moderne, qu’on la considère du point de vue de la réception ou de la production. Elle pourrait être définie par le mot de « justesse » qui ajoute aux deux premières, jugement et pratique, la notion fondamentale de « balance » ou de critique. La justesse désigne la manière dont la transmission artistique de l’expérience peut transformer les données esthétiques de cette expérience. Le séminaire à venir partira de ces formulations et reformulations de la modernité et les reprendra à la lumière du discours philosophique de Michel Foucault et de son analyse de la modernité comme « réflexion du présent » telle qu’elle est proposée dans les différentes versions de l’essai de 1984 Was ist Aufklärung. Foucault relance dans ce texte le projet kantien de modernité critique, à ceci près que le sujet de la réflexion n’est pas le sujet de l’entendement et ses capacités de schématisation mais ce qu’il appelle les savoirs, c’est-à-dire les formules épistémologiques qui en s’effectuant sous la forme de techniques opérent, sans l’intervention précisément d’aucun jugement, le contrôle des modes d’individuation. Comment dénouer le lien fatal entre maîtrise technologique et domination bio-politique ? ou encore comment déconnecter la « croissance des capacités et l’intensification des relations de pouvoir » ? Telle est la question à laquelle se trouvent confrontées les Lumières contemporaines. »

 

« Dans ce contexte, Michel Foucault réintroduit la fonction du « jugement » à partir de l’expérimentation des pouvoirs conférés aux savoirs par les techniques. L’expérimentation par exemple des pouvoirs sur les corps conférés aux théories sociales occidentales par les techniques d’administration de la vie et de la mort. Conduite dans un esprit de transgression méthodique, cette expérimentation des moyens non plus en vue de leurs fins « propres » mais indépendamment de ces fins, voire contre elles, « autorise » une réflexion de ces moyens, et, avec elle, l’invention de formules épistémologiques neuves. Le jugement désigne dans ce contexte la « conduite » de la transgression. Pour que la transgression puisse donner lieu à des modes d’individuation qui excèdent les « programmes de contrôle » sans pour autant sortir du terrain de l’expérimentation partageable, voire universalisable, -ce en quoi Foucault demeure un Aufklärer- elle doit en effet être dirigée. Cette conduite, direction ou pratique relève d’un art du jugement ou ethos que Michel Foucault réfère aux techniques de soi antiques et chrétiennes. Et tout particulièrement aux arts de la mémoire. Le jugement devient dans sa pensée « souci de soi ».

 

Qu’en est-il aujourd’hui de cet art du jugement, autrement dit de la possibilité de conduire l’expérimentation des modes de contrôle impliqués par les technologies contemporaines dans le sens de la transgression de telle manière qu’elle puissent servir de nouvelles formules épistémologiques et des modes d’individuation inédits ? »

 

ici, renvoi au texte entier  Accès Sur invitation

 

Dates : à partir du mois de mars

 

Lieux: Salle du collège

 

Dates et horaires : de 14h30 à 17h30, les vendredi suivants de 2007:

 

9 mars

16 mars

23 mars

30 mars

6 avril

27 avril

4 mai

11 mai

18 mai

25 mai

8 juin

15 juin

 

 

 

 

PUBLICATIONS (NEW 3)

 

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

 

 

I'm Paul Dry of Paul Dry Books, and I have just published a book by one of the most prolific members of the ASA online forum.  You know him as Cheerskep. We know him as Thomas McCormack, author of THE FICTION EDITOR, THE NOVEL, AND THE NOVELIST.

The book's announced topic is the planning, writing, and revising of a novel, but Tom, probably influenced by his years on your forum, has throughout the book provided numerous riffs about the philosophy of art - including an innovative analysis of the four steps in any act of art, an explanation of the role of craft in art, and an energetic condemnation of “theme” as a conceptual tool in either the reading or writing of fiction.

Tom tells me the members of the forum are mostly in visual art, but I believe his insights apply to all the arts, and I have borrowed Cheerskep's portal to recommend Tom's book to you.
pdry@pauldrybooks.com  

 

 

NEW 2 (internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

International Yearbook of Aesthetics 2005:

Ontology, Art, and Experience: Perspectives from West and East

http://www2.eur.nl/fw/hyper/IAA/Yearbook/iaa9/Yearbook9.pdf

 

 

NEW 3 (internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

International Yearbook of Aesthetics 2006, Volume 10, 2006

Edited by Vrasidas Karalis (International Association for Aesthetics)

Department of Modern Greek Studies

School of Languages and Cultures

University of Sydney NSW 2006 Australia

Telephone: (+61 2) 9351-7252

Fax: (+61 2) 9351-3543

Email: Vrasidas.Karalis@arts.usyd.edu.au

For online access go to http://www2.eur.nl/fw/hyper/IAA/

 

 

 

 

JOB OFFERINGS (NEW 1)

 

 

NEW 1 (internet source: register@philo.at)

(internet source: http://tfm.univie.ac.at/index.php?id=initiativkolleg)

 

CALL FOR APPLICATIONS

Universität Wien, Philologisch-Kulturwissenschaftliche Fakultät

 

in Zusammenarbeit mit der historisch-kulturwissenschaftlichen Fakultät, der Fakultät für Philosophie und Bildungswissenschaft und der sozialwissenschaftlichen Fakultät.

 

Das Initiativkolleg (IK)

 

„SINNE – TECHNIK – INSZENIERUNG: MEDIEN UND WAHRNEHMUNG“

 

vergibt zum 1. Oktober 2007 für die Dauer von drei Jahren insgesamt zehn DoktorandInnenstellen (Kollegiatsstellen).

 

Die Universität Wien bietet erstmals ein strukturiertes Doktoratsstudium für die Dauer von sechs Semestern in diesem Forschungsfeld an. Das internationale und fächerübergreifende Initiativkolleg fördert Dissertationsvorhaben, die sich mit dem Verhältnis von Sinneswahrnehmung, Technik und medialer Inszenierung befassen. Drei Themenfelder schaffen den interdisziplinären Rahmen für die Untersuchung inszenierter Wahrnehmung: (1) Transformation der Sinne, (2) Die Technik und die Künste, (3) Inszenierte Wahrnehmung. Die Betreuung der Dissertationen wird von Mitgliedern der Faculty des Kollegs übernommen.

 

http://forschung.univie.ac.at/de/portal/initiativkollegs/i036/ —:

 

(1) Transformation der Sinne: Wahrnehmung als kognitiver Prozess steht in engem Zusammenhang sowohl mit dem spezifischen situativen Kontext des Wahrgenommenen, als auch mit den physiologischen Voraussetzungen, dem Erfahrungshorizont, der biographischen, historischen und kulturellen Situierung und der emotionalen Verfasstheit des Wahrnehmenden. Indem die Sinne als Ausgangspunkt der Analyse von Wahrnehmungsmodi einbezogen werden, steht das Verhältnis von Körperlichkeit, Kognition und Technik in Bezug auf die historische Einbettung kulturellen Handelns und künstlerischer Produktion und Rezeption im Mittelpunkt. Parallelitäten zwischen medialen Innovationen und Transformationen der Sinne sollen in historischer und theoretischer Hinsicht untersucht werden – ebenso wie jene zwischen technischem Apparat und sinnlicher Erfahrung. Besonders die Dynamik von Kulturen der Wahrnehmung und Kulturen der Erinnerung erfordert neue interdisziplinäre Forschungsperspektiven.

(2) Die Technik und die Künste: Die Entwicklung technischer Mittel zur Schärfung der Wahrnehmung bzw. zur Produktion künstlicher Sinneseindrücke lässt sich historisch weit zurückverfolgen, ist aber in ihrer engen Verknüpfung mit gesellschaftlichen Modernisierungsprozessen vor allem im 20. und 21. Jahrhundert von großer Bedeutung. Die Ästhetik selbst ist eng mit den zur Verfügung stehenden und gewählten Techniken der Produktion und Reproduktion verbunden. Die historische und aktuelle Interdependenz von technischer Innovation und künstlerischer Darstellung, die Charakteristika medienvermittelter Wahrnehmung, die Verschiebung der Grenzen zwischen Mensch und Maschine, sollen im Rahmen des Kollegs einer umfassenden Analysen unterzogen werden, die sowohl kultur- und kunstwissenschaftliche, als auch kognitionstheoretische, technikhistorische und medienphilosophische Herangehensweisen berücksichtigen.

(3) Inszenierte Wahrnehmung: Medien sind ohne die Wahrnehmung des Publikums, ohne dessen unmittelbare oder virtuelle Gegenwart, nicht denk- und beschreibbar. Diese Wahrnehmung wird medial gelenkt, in einen Rahmen gesetzt, inszeniert. Künstlerische und mediale Kommunikation kann Alltagswahrnehmungen verfremden, öffnen, schärfen und so einen Überschuss an Sinn produzieren. Die spannungsreichen Wechselverhältnisse von Automatisierung und Entautomatisierung, von maschineller und körperlicher Sinnlichkeit, von gesellschaftlicher Dynamik und Wahrnehmungsbrüchen, von politischer Inszenierung und künstlerischer Verfremdung sind zentrale Herausforderungen, die nur in einer integrativen Perspektive und mithilfe des innovativen Potentials junger ForscherInnen bewältigt werden können. Wesentlich hierbei ist die Fassung ästhetischer Kommunikation als Betrachtung der Wahrnehmung von Inszenierung, und in diesem Sinne als Wahrnehmung zweiter Ordnung.

 

Die durchgehende Teilnahme am Studienprogramm (IK-Curriculum) ist verpflichtend; deshalb müssen die KollegiatInnen während der gesamten Laufzeit des IK ihren Wohnsitz in Wien haben und anwesend sein. Arbeitssprache ist Deutsch.

 

Der Förderungszeitraum beträgt drei Jahre. KollegiatInnen erhalten eine Anstellung an der Universität Wien im Ausmaß von 20 Wochenstunden; darin sind bis zu 10 Stunden Mitarbeit in Forschung und Lehre inbegriffen. Das Jahresbruttogehalt von insgesamt 14.000 Euro jährlich wird in 14 Monatsraten ausbezahlt. Eine Befreiung von den Studiengebühren, eine zusätzliche Unterstützung für KollegiatInnen im Falle von Kinderbetreuungspflichten, sowie Reisekostenbeiträge für evtl. notwendige Forschungs- oder Tagungsreisen sind vorgesehen.

 

Bewerbungsvoraussetzungen:

Erwartet werden:

Abgeschlossenes Hochschulstudium (Magister/Diplom/Master) in einem geistes-, kultur- oder sozialwissenschaftlichen Fach

Diplom- bzw. Magisterarbeit, Forschungsprojekt etc. im Forschungsfeld des IK

Dissertationsvorhaben, das im Bereich der Themen des IK angesiedelt ist

Deutschkenntnisse in Wort und Schrift.

Für eine Bewerbung um die Aufnahme in das IK „Sinne – Technik – Inszenierung. Medien und Wahrnehmung“ sind folgende Unterlagen einzureichen:

ein persönliches Bewerbungsschreiben (max. 1 Seite)

ein tabellarischer Lebenslauf (CV) mit Foto

eine Dokumentation des bisherigen Studiengangs und Kopien der erlangten Hochschulabschlüsse

ein Exposé des Dissertationsprojekts von maximal vier Seiten (10.000 Zeichen) mit Literaturangaben (max. 1 Seite)

ein Abstract der letzten im Forschungsfeld des IK angesiedelten wissenschaftlichen Arbeit (Diplom- bzw. Magisterarbeit, Projektarbeit) (max. 1.500 Zeichen)

Nennung von 2 Referenzen (jeweils mit Name, Funktion und Adresse).

Bewerbungen sind bis zum

 

06.04.2007 (Datum des Poststempels, gleichzeitige Email-Bewerbung verpflichtend)

 

zu richten an die Koordinationsstelle des IK:

IK „Sinne – Technik – Inszenierung: Medien und Wahrnehmung“

z.H. Mag.a Eva Krivanec

Institut f. Theater-, Film- und Medienwissenschaft

Hofburg, Batthyanystiege,

A-1010 Wien

E-mail: eva.krivanec@univie.ac.at

 

BewerberInnen, die in die engere Wahl kommen, werden zu einem Bewerbungs-gespräch, das voraussichtlich zwischen 25. und 29. Juni stattfinden wird, geladen.

 

Die Zulassung durch die Faculty erfolgt in der ersten Juliwoche 2007.

 

Studienbeginn ist am 1. Oktober 2007.

 

Die Universität Wien strebt eine Erhöhung des Frauenanteils insbesondere in Leitungsfunktionen und beim wissenschaftlichen Personal an und fordert deshalb qualifizierte Frauen ausdrücklich zur Bewerbung auf. Frauen werden bei gleicher Qualifikation vorrangig aufgenommen.

 

Kontakte für Rückfragen:

 

Mag.a Eva Krivanec, e-mail: eva.krivanec@univie.ac.at; Tel.: +43 1 4277 48461 (Mo, Di, Mi 14h-17h)

 

Initiativkolleg „Sinne, Technik, Inszenierung: Medien und Wahrnehmung“

(ab WS 2007/08)

 

Sprecher: Ao. Univ.-Prof. Dr. Klemens Gruber

Bewilligung: 10 KollegassistentInnen

Laufzeit: 1. Oktober 2007 - 30. Juni 2010

Kurzfassung: Das projektierte Initiativkolleg "Sinne, Technik, Inszenierung: Medien und Wahrnehmung" soll Dissertationsvorhaben fördern, die sich mit dem Verhältnis von Sinneswahrnehmung, Technik und medialer Inszenierung befassen. Drei Forschungsfelder schaffen den interdisziplinären Rahmen für die Untersuchung inszenierter Wahrnehmung in theoretischer, historischer oder aktueller Perspektive: (1) Transformation der Sinne, (2) Die Technik und die Künste, (3) Inszenierte Wahrnehmung.

Faculty des IK:

o. Univ.-Prof. Dr. Thomas Bauer (Institut für Publizistik und Kommunikationswissenschaft)

Ao. Univ.-Prof. Dr. Klemes Gruber (TFM; Sprecher des IK)

Ao. Univ.-Prof. Dr. Monika Meister (TFM)

Univ.-Prof. Mag. Dr. Claus Pias (Institut für Philosophie)

Univ.-Prof. Dr. Frank Stern (Institut für Zeitgeschichte)

Koordination:

Mag. Eva Krivanec, Mag. Dr. Andrea B. Braidt

 

 

January 2007 – March 2007

 

CALLS FOR PAPERS/CONFERENCES (27)

 

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

 

Consciousness, Theatre, Literature, and the Arts

May 5 - 8, 2007, Aberystwyth, Wales

 

The Department of Theatre, Film and Television Studies at the University of Wales Aberystwyth, UK, is pleased to host the Second International Conference on Consciousness, Theatre, Literature, and the Arts. The conference will be held in Aberystwyth, Wales, UK, from Saturday 5 to Monday 7 May 2007. Abstracts (up to 1 page) are invited for papers relating any aspect of consciousness (as defined in a range of disciplines involved with consciousness studies) to any aspect of theatre, performance, literature, music, fine arts, media arts and any sub-genre of those.

 

Submission deadline: March 1, 2007

 

Daniel Meyer-Dinkgräfe

dam@aber.ac.uk

 

 

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

 

Mimesis, Metaphysics, and Make-Believe: A Conference in Honour of Kendall Walton

June 21 - 23, 2007, University of Leeds

 

The Department of Philosophy and the Centre for Metaphysics and Mind are pleased to announce the upcoming Mimesis, Metaphysics and Make-Believe conference to take place June 21-23 at the University of Leeds. Confirmed conference speakers are Kendall Walton (Michigan), Berys Gaut (St. Andrews), Shaun Nichols (Arizona), and Stephen Yablo (MIT).

 

We welcome submissions of papers on any theme related to the work of Kendall Walton. Papers that actively engage with Professor Walton’s work will be strongly preferred.

 

Up to two places have been reserved for submitted papers. One place has been reserved for a young researcher (i.e., Ph.D. within the last five years or not yet received). Authors submitting in the ‘young researcher’ category should include a separate note explaining how they qualify.

 

Papers of no longer than 8,000 words should be prepared for blind review and sent by email in pdf, word or rtf format.

 

The conference is sponsored by the British Society of Aesthetics, the University of Leeds Department of Philosophy, the Centre for Metaphysics and Mind, and the Leeds Humanities Research Institute.

 

Submission deadline: March 1, 2007

 

Aaron Meskin

phlaesth@leeds.ac.uk

 

 

 

3 (internet source: http://www.sif-isp.org/?eng_actividades_filo3.htm)

(internet source: http://lacoue-labarthe.cjb.cc/)

 

27-28 Jan 2007

International Colloquium Philippe Lacoue-Labarthe: “Deconstructing Mimesis” 

Finlander Institute; Sorbonne 

Paris, France 

 

Vendredi 27 janvier (à l'Institut Finlandais)

Matinée

9h30 Présentation 

10h00 Thomas Dommange (Montréal, Canada) Wagner : la fiction du culte

11h00 Paola Marrati (Baltimore, États-Unis) Entre mythe et expérience

12h00 Susanna Lindberg (Helsinki, Finlande) Ontorythmie

Après-midi

14h30 Fabien Chambon (Helsinki, Finlande) Délecture de Nietzsche

15h30 Leonid Kharlamov (Paris, France) Le propre (n')est (pas) le proche

16h30 Jean-Luc Nancy (Strasbourg, France) Portrait de Lacoue en Labarthe

Samedi 28 janvier

Matinée (en Sorbonne)

9h30 Denis Guénoun (Paris, France) La scène est-elle primitive ?

10h30 Magali Guiet (Strasbourg, France) Scènes de la représentation du mime

11h30 Philippe Lacoue-Labarthe (Paris, France) Mime de rien

Après-midi (à l'Institut Finlandais)

14h30 Maud Meyzaud (Francfort, Allemagne) Langue révolutionnaire

15h30 Artemy Magun (St Petersbourg, Russie) Révolution et mimesis

16h30 Esa Kirkkopelto (Helsinki, Finlande) Comparatifs de Hölderlin

17h30 Jonathan Rousseau (Strasbourg, France) La mort du sacrifice

 

Lieux

 

Institut Finlandais de Paris

Auditorium

60, rue des Écoles

75005 Paris

tel. +33 (0)1 40 51 89 09

fax +33 (0)1 40 46 09 33

Métro:

Cluny-La Sorbonne, Saint-Michel, Odéon

RER B & C: Saint-Michel-Notre-Dame

Autobus: 27, 38, 63, 86, 87

 

Sorbonne

Salle des Actes

Université Paris-Sorbonne (Paris IV)

1, rue Victor Cousin

75005 Paris

Tel. : 01 40 46 22 11 (standard)

Métro:

Cluny-La Sorbonne, Saint-Michel, Odéon

RER : Saint-Michel, Luxembourg 

Autobus: 27, 38, 63, 86, 87

 

Fabien Chambon (Helsinki, Finlande)

Délecture de Nietzsche 

Comment lire Nietzsche « lui-même » ? La difficulté de la lecture, ou de « l’illisibilité » de Nietzsche, se pose avec Philippe Lacoue-Labarthe notamment dans « L’Oblitération » (l’effacement des noms). Heidegger, que Ph. Lacoue-Labarthe crédite du seul « Nietzsche », est incontournable. Tout en accordant tout à Heidegger, Lacoue-Labarthe déplace l’accent de la problématique de l’aletheia vers une logique de la mimesis. Un tel déplacement a l’avantage de pointer le « sujet de la philosophie ». Pour Heidegger, Nietzsche résume le point culminant de la métaphysique, en tant qu’il est sa « dernière victime » (Platon inversé). Pour Lacoue-Labarthe, et bien que la question du Sujet soit plus précisément posée dans la modernité avec l’assomption du romantisme, Platon et Nietzsche, en un sens, se rejoignent sur la question de la mimesis – celle du retrait de l’auteur. Comment lire une thèse sur l’être, quand l’auteur – « Nietzsche » – en tant que sujet propre, s’absente ou « s’opère vivant de la philosophie » ?

Thomas Dommange (Montréal, Canada)

Wagner : La fiction du culte

À partir principalement de la lecture de La fiction du politique et de Musica ficta, on montrera que le spectacle wagnérien reprend fantasmatiquement certains éléments de la liturgie chrétienne. Mettre au jour un tel fantasme permettrait de montrer, d’une part, que le concept de mimesis, tel que le travaille Lacoue-Labarthe, peut être pensé comme le redoublement esthétique du problème théologique de la présence réelle ; et d’autre part, que ce qui fait politiquement problème, ce n’est peut-être pas la production effective du corps de la communauté, mais l’oubli de sa dimension fictive – c’est-à-dire, justement, de sa provenance spectaculaire. La référence wagnérienne à la liturgie donnerait à voir le fantasme d’un corps politique produit par un spectacle confondu avec le culte : l’oeuvre d’art devenant le nom du rêve de cette coïncidence monstrueuse.

Denis Guénoun (Paris, France)

La scène est-elle primitive?

Certains écrits de Lacoue-Labarthe sollicitent attentivement une notion, restreinte ou élargie, de la scène : par exemple « La scène est primitive », « Scène », « La scène de l’origine ». On essaiera moins de restituer ou de discuter ces analyses que d’interroger le concept, ou la métaphore, ou le schème de la scène dont elles font usage. Car la langue française entend sous un même mot deux acceptions que d’autres langues distinguent : le sens spatial ou architectural, et le sens dramatique, chacun d’eux déployant son étoilement. Et pourtant les philosophies récentes, souvent friandes du terme, ont rarement voulu rendre compte de son articulation interne, de la structure de sa compréhension ou du régime de son transfert. On supposera ici que son emploi chez Lacoue-Labarthe est affecté d’une certaine rigueur, et riche de quelques surprises.

Magali Guiet (Strasbourg, France)

Scènes de la représentation du mime

La scène du fou, du roi, du juif, d’Œdipe, du courtisan, du comédien, de la femme... est jouée chaque fois que sont dénoncés l’hystérie, la comédie, le faux-semblant, le futile, l’artifice –tout le théâtre du monde ; et qu’est annoncée la valeur opposée. Inéluctables scènes du philosophe et du mimos. La question politique se joue essentiellement dans le refus de la mimesis, dans l’élection et l’expulsion corrélatives de ses représentants. Mais – parodie ou non – au nom de quoi refuser ? Qui refuse qui, ou quoi ? Mimesis de la mimesis, son représentant est a priori victime de l’identification de la (sans-)figure à mille visages, confuse et paradoxalement inidentifiable : « la victime est toujours un mimos » (Ph. L.-L.) Mais l’essentiel de la question ne se joue pas moins inéluctablement dans la valeur de la mimesis. Il faut justement faire avec notre hantise de l’abysse de la mimesis, notre mépris et notre attrait pour le faiseur de paradoxe, pour le pseudo-sujet en général, mais sans la valeur (double-bind) : « Obligation nous est faite de penser ou de repenser la mimesis (ou, si tu préfères, d’un mot que je ne crois pas le moins du monde “usé”, d’en déconstruire toute l’interprétation), notre tâche est de nous en prendre au semblant de monde qu’on nous a légué et qu’on nous fait » (idem).

Leonid Kharlamov (Paris, France)

Le propre (n')est (pas) le proche

La déconstruction de la métaphysique du propre et de l’essence ouvre la question d’une proximité étrange et inquiétante, marquée d’Unheimlichkeit. Elle dévoile cette même ambivalence monstrueuse que Freud aura soulignée quelques années avant Heidegger, celle d’un propre qui est en même temps ce qu’il y a de plus étranger. Il reste ici encore et toujours à « reconnaître qu’il est arrivé, et ne cesse d’arriver, quelque chose qui contraint à la dessaisie » (La fiction du politique). À partir de la discussion de Lacoue-Labarthe et Derrida autour des « Fins de l’homme », il s’agira d’explorer les enjeux de la déconstruction heideggérienne du propre entre son « hyperbologique » hölderlinienne et ses effets spectaculaires de réappropriation.

Esa Kirkkopelto (Helsinki, Finlande)

Comparatifs de Hölderlin

La lecture proposée revient aux Remarques sur Antigone – où Hölderlin articule le plus explicitement son idée de « tournant natal » (vaterländische Umkehr) – et se demande comment le tournant que Hölderlin cherche manifestement à prendre simultanément, s’inscrit dans son propre discours. L’attention se porte donc particulièrement sur les comparatifs qui foisonnent de façon caractéristique dans l’écriture du poète. Comme Lacoue-Labarthe l’a remarqué dans le même contexte, « la mania méta-physique » d’Antigone consiste dans la « comparaison » (avec les divinités). Mais la même « hyperbologique » revoit également le jour sous la forme d’une logique comparative qui ne cesse de déjouer les oppositions spéculativement relevables d’une part, et qui d’autre part, établit entre les époques, les expériences et les choses, une continuité relative, au-delà de tout « relativisme ». Cette dialectique finie, suivant laquelle se déterminent historialement les relations entre les formes de la représentation, entre la langue et le corps, trouve sa loi dans sa propre dynamique et l’exprime sous forme de superlatifs (« Le plus Haut » de Pindare). S’articule en eux la souveraineté de cette « médiateté rigoureuse » qui règne dans toutes ces relations.

Philippe Lacoue-Labarthe (Paris, France)

Mime de rien

C’est parce que le Neveu (de Rameau) ou le Comédien de Diderot n’ont rien en propre qu’ils peuvent mimer toutes les « parties » ou jouer tous les « rôles ». De même, et contrairement sans doute à ce qu’ils ont pensé l’un de l’autre, c’est parce que l’homme originel de Rousseau est le plus faible et le plus « dépourvu », le plus « nul » aussi bien de tous les êtres, qu’il est le plus « ingénieux », et le mieux disposé à tout (re)produire et à s’inventer, par une opération prodigieuse, comme l’humanité elle-même.

Cette réélaboration et cette réévaluation fondamentales de la mimétologie classique, seule la grande métaphysique allemande, délibérément, ou à son insu ou même dans la dénégation, a su en recueillir, en mode ontologique, l’héritage. Dans son être ou son essence, l’homme y est devenu pure potentialité – faculté ou capacité : par exemple du jeu ou de la mise en oeuvre (de l’energeia), de la négation à même de « convertir le négatif en être », de la transformation par le travail du vide (de la kenosis) de toute humanité en souveraineté, de la puissance artiste et de la volonté du vouloir de cette puissance, de la construction et de l’installation d’une surnature technique, etc.

On peut assurément montrer – telle fut la tâche de la déconstruction des années trente et suivantes – que le déploiement de cette tradition reste surdéterminé par ladite « métaphysique de la subjectité ». Sauf, peut-être, à y reconnaître, affleurant dans les moments de plus grand risque ou de plus haute exigence :

1. La présence et le tracé, précisément, d’une ontomimétologie et d’une véritable question de la mimesis ;

2. Le fondement continûment tragique, et donc abyssal, de cette mimétologie (dont seul Hölderlin, probablement, a eu l’intuition la plus nette) ;

3. La compréhension du né-ant, et par conséquent de la mort, comme l’impossible même, à partir duquel se met en jeu l’activité mimétique.

Ces trois restrictions, ces trois réserves feraient appel à une autre « déconstruction » (s’il s’agit encore d’une déconstruction et si elle est elle-même possible), qui procéderait de la contestation (Bataille, Blanchot) de la dernière des figures de la subjectité – la déconstructrice, en effet, et celle dont les conséquences furent à bien des égards désastreuses : celle du Dasein exposé à la mort comme à « sa possibilité la plus propre ». Telle est du moins l’hypothèse.

Susanna Lindberg (Helsinki, Finlande)

Ontorythmie

Dans « Typographie », l’analyse magistrale du Ge-stell heideggérien montre son appartenance à ce que Lacoue-Labarthe appelle l’« onto-typo-logie ». Dans ses travaux ultérieurs, la spatialité du ”type” s’associe à la temporalité du ”rythme”. J’examinerai l’entrelacement de ces deux figures de la figuration en soumettant des textes de Heidegger à une approche s’inspirant de celle de Lacoue-Labarthe. Quel serait le rapport, chez Heidegger, entre Gestalt (Jünger, Nietzsche) et Geschlecht (Trakl) ? Gestalt (figure déjà recouverte) pourrait être le redoublement mimétique de Geschlecht (figure à l’instant de sa figuration). Quel serait alors l’effet de destruction d’un tel rapport sur le Ge-stell ?

Artemy Magun (St Petersbourg, Russie)

Révolution et mimesis

Une lecture lacoue-labarthienne de l’Essai sur la révolution de Hannah Arendt. Dans ce livre, l’échec des révolutionnaires français est expliqué par leur participation au cercle « illimité » de la pitié et de la violence. Arendt montre dans le même temps un complexe anti-mimétique chez les Jacobins. L’ambivalence vis-à-vis de la mimesis réunit ainsi Arendt et ces personnages. Mais elle essaie en revanche de montrer comment les révolutionnaires américains ont échappé à l’ambivalence mimétique, à cause de, ou grâce à leur tradition de vie sociale. Mais tout à coup, dans la partie poétique, non-thématique de son texte, elle mentionne brusquement la peur réciproque des premiers colons américains, qui est au fondement de leur sociabilité salutaire. Ainsi, l’argument d’Arendt ne tiendrait pas, mais ce faisant, elle reconstruit bien la structure tragique de l’événement historique, où se réunissent étroitement « mimesis » et « tournant temporel ».

Paola Marrati (Baltimore, États-Unis)

Entre mythe et expérience

Loin de tout empirisme, la pensée de Philippe Lacoue-Labarthe se tient néanmoins dans la possibilité d’une pure expérience. Expérience serait le nom – et le seul nom – d’une mise à l’épreuve qui traverse, pour les déposer, toutes les figures du mythe. Elle serait ainsi la condition, transcendantale, d’une éthique et d’une politique sans figure. On voudrait s’interroger sur ce qui protège cette possibilité d’une expérience pure du danger de se retourner dans la figure, mythique, d’une traversée du néant.

Maud Meyzaud (Francfort, Allemagne)

Langue révolutionnaire

La citation est le principe formel de l’écriture büchnérienne. C’est suivant cette idée que Helmut Müller-Sievers relit dans La mort de Danton le « vive le roi » de Lucile, décisif à la fois pour la lecture que Celan fait de Büchner – pour la manière dont Le Méridien détermine la poésie par rapport à l’art – et pour celle de Ph. Lacoue-Labarthe dans La poésie comme expérience. Le cri de Lucile est « citation de citation » : d’après ses lectures sur la période révolutionnaire, Büchner emprunte la formule qui décida des femmes à rejoindre ceux qu’elles aimaient dans la mort (communauté des amants). Le plus propre de l’existence, la possibilité de la mort, doit ainsi en passer par la dépropriation redoublée du contenu de cette formule (royaliste). Dans cet « événement de la poésie », on est à première vue très loin de la « langue neuve » (neue Sprache) ou de la « poésie » (Poesie) qui devait accompagner, pour Marx, l’advenue des révolutions prolétariennes du xixe s. Mais peut-être en est-on hyperbologiquement au plus près, puisque c’est par un processus mimétique d’appropriation puis de désappropriation (d’oubli) que doit être rendue possible la « production » libre dans la langue révolutionnaire (« produzieren », Derrida le rappelle, est le verbe de Marx pour dire ce que le sujet parlant fera dans ou avec cette langue).

Jean-Luc Nancy (Strasbourg, France)

Portrait de Lacoue en Labarthe

La scène Lacoue-Labarthe. Tout est à jouer. Le rideau n’est pas levé. « D’ailleurs les voix tremblent ou s’exaltent curieusement, les gestes se précipitent ou sont brutalement suspendus, on voit les corps tressaillir. » Les trois coups du brigadier ne sont pas encore frappés.

Jonathan Rousseau (Strasbourg, France)

La mort du sacrifice 

Lorsque celle-ci est récapitulée dans La fiction du politique, quatre noms de massacres disparaissent de « la liste de dix modèles historiques de l’extermination » : à la différence des juifs qui ne menaçaient pas l’Allemagne, « les Méliens menaçaient la Confédération athénienne, les hérétiques la Chrétienté, les Protestants l’État de droit divin, les Girondins la Révolution ou les koulaks l’établissement du socialisme ». Mais qu’en est-il des quatre noms disparus ? « La destruction de Carthage », la « Traite des noirs et les massacres coloniaux », et « l’ethnocide américain » ont-ils disparu par souci d’abréviation, ou ont-ils été oubliés ? On ne sortira pas de cet embarras en sachant si – à la différence des juifs – les carthaginois, les noirs et les colonisés, et les indiens disparus représentaient eux aussi une menace. La question est plutôt celle de la représentation et de la réalité de la menace. À la croisée de « Typographie » et de La fiction du politique, cette question est reposée sans oublier cette disparition, pour essayer de suivre la pensée de la victime et du sacrifice qui commande la différence symbolique de l’extermination des juifs d’Europe par le nazisme, laquelle aura conduit Ph. Lacoue-Labarthe à « l’aveu d’un pur et simple embarras – que je laisse donc tel ».

 

 

4 (internet source: search engine)

 

TRINITY UNIVERSITY

DEPARTMENT OF PHILOSOPHY

The Inaugural Lennox Seminar:

Aesthetics and the Philosophy of Music

 

In Spring 2007, the Philosophy Department will be hosting Trinity University’s first  ever Lennox Seminar. Five prominent philosophers of art will be visiting Trinity University. In addition to presenting a public lecture on a current topic in philosophical aesthetics, each visiting scholar will give a colloquium presentation of his current research in the ontology of music – the study of the nature of, and relationships between, musical items such as works, performances, and recordings. These colloquium presentations will form the basis of a seminar in musical ontology (PHIL3358/MUSC3358: Philosophy of Music), led by Dr. Andrew Kania.

 

We are pleased to announce that the following scholars will be participating in the project:

Lee B. Brown (Ohio State University)

David Davies (McGill University, Canada)

Stephen Davies (University of Auckland, New Zealand)

Theodore Gracyk (Minnesota State University)

Jerrold Levinson (University of Maryland)

The public lectures will take place on Tuesdays at 8pm, in a venue to be announced. Each talk with be followed by a reception, to which all are invited.

Feb 20 David Davies, ‘Telling Pictures: The Place of Narrative in the Visual Arts’

Mar 6 Lee Brown, 'Is Live Music Dead?'

Mar 26 Stephen Davies, ‘Photographic Representation’

The colloquium presentations will be held on Mondays, 4:30-7:30pm, in Chapman Graduate Center, Room 045. They are open to all interested parties.

Feb 19 David Davies, ‘Why Simplicity Isn’t Always a Virtue: On Dodd’s “Simple View” of Musical Ontology’

Mar 5 Lee Brown, 'The Ontology of Popular Music: A Philosophical Snipe Hunt?'

Mar 26 Stephen Davies, ‘Musical Works and Ontological Issues’

 

Department of Philosophy

Trinity University

One Trinity Place

San Antonio, TX 78212-7200

Phone: 210.999.8305

Fax: 210.999.8353

 

 

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

 

Heidegger and Joyce: Call for Contributors to an upcoming Anthology

 

We are seeking to round out a collection with a few essays connecting the thinking of Heidegger to the works of James Joyce. The underlying goal of this collection will be to open up avenues for thinking of Joyce as an equally valid instantiation of the "poetizing-thinking" tradition which Heidegger located in Holderlin among others.

 

Possible topics and approaches are very open-ended and might include, for instance, Joyce and Heidegger's interests in a phenomenology of everydayness, the relationship of temporality and spatiality in both, the role of history in both, their differing responses to various kinds of

essentialism, their treatment of the relationship of silence to language, their similar uses (and abuses) of etymology and philology; also the common philosophical terrain of both writers, i.e. Aristotelianism, Scholasticism, etc.

 

We are hoping to avoid simply restaging the encounter that took place between Continental thought and Joyce some years back, and as such, the main requirement would be that both Joyce and Heidegger are taken up rigorously.

 

Please email abstracts between 200 and 500 words, along with a CV, to Chris Eagle (eagle_at_berkeley.edu) and Michael Jonik (mj636318_at_albany.edu) by January 1st, 2007.

 

 

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

 

FACS Literary Journal

Florida Atlantic University

CALL FOR PAPERS

 

Remaking reality: Eroding the Palimpsest

 

In the context of modern poetics, Charles Baudelaire seizes upon the complexity of palimpsest as critical paradigm not simply for the human brain as physical structure, but also for the referential status of  poetry itself: "What is the human brain, if not an immense and natural palimpsest?" he asks. "My brain is a palimpsest, and yours too, reader. Innumerable layers of ideas, images, and sentiments fall upon your brain, as softly as light. It seems that each [new layer] buries the previous one. But no layer has perished." Paradis artificiels [Artificial Paradises]

 

Baudelaire draws the metaphor of palimpsest from specific material conditions present in the ancient and medieval worlds in which valuable parchments were often scraped down to enable new text to be written over the old. This overlaying technique of palimpsest masked the original texts but never truly effaced them, and modern technology is now capable of exposing these earlier layers of text. Similarly, contemporary theory, academic discourses, and new media forms find themselves imposing modern directions over earlier ones, overwriting the "original." Past models appear effaced while simultaneously serving as the foundation for innovative thought.

 

The editors of the interdisciplinary journal Florida Atlantic Comparative Studies invite submissions on any aspect of this topic for its Volume #10. The deadline is March 1, 2007. FACS is an interdisciplinary journal providing a forum for comparative study in the arts, humanities, language, culture and social sciences. Submissions in English, French, German, Italian, and Spanish are welcome. Graphic submissions are also welcome.

 

Possible topics on the exploration of notions of palimpsest include, but are not limited to, the following:

a.. Electronic communication

b.. Memory and disease

c.. Ecology

d.. Identity (gender, race, religion, class)

e.. History

f.. Revisiting genres

g.. Media art

h.. Critical theory

i.. Displacing colonial agency

j.. Transglobal economy

k.. Translation studies

 

Papers should be no more than 25 pages or approximately 7,000 words, and should follow the most recent MLA guidelines. A separate title page should include the author's name and address. The author's name should not appear on the manuscript pages to allow for blind review.

 

Send two hard copies and a CD of the manuscript to:

 

FACS Editor

Department of Languages and Linguistics

Florida Atlantic University

777 Glades Road

P.O. Box 3091

Boca Raton, FL 33341-0991

 

E-mail submissions should be sent to facs_at_fau.edu. All electronic versions should be submitted in Microsoft Word.

 

 

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For a collection of essays on the topic of

 

'Intermediality,'

 

we are still looking for essays, in particular on theoretical explorations of the concept

of 'Intermediality' itself, and on the intermedial aspects of comics/graphic novels. Some publishers have already expressed interest in this collection, so, if  you would like to be on board, please contact

brundlefly_at_web.de

abstracts and finished papers [or drafts] welcome!

The deadline for finished papers is Jan 30.

 

 

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Spring Cleaning: Rediscovering and Revitalizing the Artifact

University of Calgary Free Exchange Graduate Conference

16-18 March 2007

Free Exchange at www.english.ucalgary.ca

 

History is of the essence, true, but she can also be a bully.

                                -Noah Richler

                                This is my Country, What’s Yours?

 

The Mole had been working very hard all the morning, spring-cleaning his little home?K. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing.

                                -Kenneth Grahame

                                The Wind in the Willows.

 

The study of the artifact should not remain inextricably linked to history. We are asking potential participants to search in familiar as well as new locations for objects previously lost or forgotten. Search in Jacques Derrida’s archive or Robert Kroetsch’s Canada. Items may be

found between the layers of Michel Foucault’s archaeology or Peggy Phelan’s cultural memory. We can’t remember where or how we left them; they could be anywhere, doing anything. We only ask that you re-envision these relics and breathe new life into them.

 

Suggested topics for panels or papers include, but are not limited to, the following:

artifact as metaphor/metonym

the rhetoric of artifact

embodying the artifact

the absence of the artifact

object(ing) to the artifact

the digital artifact

the manuscript or text as artifact

the history or theory of artifact/the artifact as history or theory

the (en)graven artifact

variations on ‘artifact’ (art(i)fact; art/fact; the art of fact)

 

Please send your 500 word proposals for panels or papers in electronic format (Word documents and Rich Text Files only) to one of the conference chairs. The deadline for panels is December 6, 2006. The deadline for papers for the general call is January 12, 2006. A call for papers for established panels will be forthcoming. Early submission is encouraged.

 

Owen Percy PhD Student

Robyn Read PhD Student

Department of English Department of English

University of Calgary University of Calgary

odfpercy_at_ucalgary.ca rjread_at_ucalgary.ca

 

 

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Proposals for twenty-minute presentations or panels of three to four presenters are invited for conference

 

REAL THINGS: MATTER, MATERIALITY, REPRESENTATION 1880 TO THE PRESENT

 

5-8 July 2007

 

at the University of York, England and co-sponsored by the University of Sussex.

 

Keynote speakers:

Bill Brown

Mary Ann Doane

Hal Foster

Patrick Keiller

Hermione Lee

Edmund White

 

This conference proposes a re-engagement with representational realism and its objects and effects across a wide range of aesthetic, critical and theoretical practices, from 1880 to the present day. We seek to engage cutting-edge work that raises new questions about the status of the object of representation; representations as archives of material history; the shifts in representational practices associated with modernism and postmodernism; the changing status of real bodies and lives (as opposed to their representations) as objects of analysis in the humanities; and the politics of these transitions. Topics of interest include but are not limited to the following:

--Realism as modernism/modernism as realism

--Rethinking photographic indexicality; cinema and/as archive

--Paintings, documents, realism: literary and visual representation

--The turn to science

--Postmodernism, realism and the real

--Representation and the psychoanalytic Real

--Evidence, document and representation

--New philosophies of nature

--Documentary film practices

--Biopolitics, biopower, bodies

--Forensics, indices and popular culture

--Performance, theatricality and materiality

--Success and/or failure of representation

--Presentation vs. representation

--New technologies, representation and embodiment

--Anti-sublimation and resistance to metaphor

 

Please send 250-word paper abstracts and 1000-word panel abstracts to realthings_at_events.york.ac.uk by 1 Febraury 2007. For more information, please contact realthings_at_events.york.ac.uk.

 

Co-organizers

Victoria Coulson, University of York

Jane Elliott, University of York

John David Rhodes, University of Sussex

 

 

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CFP: Figures of the In-Between

 

Panel

 

moderated by Stathis Gourgouris for

 

“Figures of Comparison in the Humanities and the Social Sciences”

Second annual graduate student conference of

The Center for Comparative Literature and Society (CCLS)

 

March 2nd-3rd, 2007/ Columbia University, New York

 

Various tropes of hybridity (Bhabha), metissage (Lionnet), mestizaje (Anzaldua), creolite (Bernabe, Confiant, Chamoiseau), or antillanite (Glissant), for example have featured prominently in the scholarship and aesthetic practices of the last thirty years to figure modes of cultural mixing. Others?trans- or cross-sexuality, the androgyne, and forms of sexual indeterminacy have been used critically in gender, feminist, and queer studies. This panel proposes to examine figures or tropes of the in-between that simultaneously call for a comparative (interdisciplinary, cross-cultural, multilingual, etc.) approach, and figure the

comparative itself. What are the political, social and economic implications of such figures of hybridity? To what political uses can (or should) they be put? How does the history of these terms affect their deployment, or shore up their limits? Because these figures point to the intersectionality of analytic categories (class, race, gender) and to the meeting of cultures, languages, and histories, we are particularly interested in cross-disciplinary and intercultural approaches: how do these comparative figures test the boundaries of disciplinary fields and cultural or linguistic formations? Conversely, how do disciplines, languages or fields shape tropes of the in-between, or point to their limitations?

 

The conference will be introduced by the director of CCLS, Gayatri Chakravorty Spivak. All panels will be moderated by Columbia University faculty members. The conference will close with a roundtable discussion in which the panel moderators will present their concluding thoughts and open the discussion to the public. You can visit the following website for more information on the conference:

http://www.columbia.edu/cu/ccls/lists/rce/ance.html

or

http://www.columbia.edu/cu/ccls/events/main/intro/index.html

 

Please send a 300-500 word abstract to the following e-mail address no later than December 31st, 2006: figures_of_comparison_at_columbia.edu.

 

 

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CALL FOR PAPERS

 

Deleuze and Guattari

 

This is an open, English-language session on the collaborative and independent work of Gilles Deleuze and Felix Guattari at the 2007 RMMLA conference, to be held in Calgary, Alberta, Canada. The conference will run from 4 October to 6 October 2007.

 

Send a 200 word abstract to Daniel Gustav Anderson at andersdg at uidaho.edu by 1 March 2007 for consideration.

 

Hard copies of submissions may be sent to:

 

Anderson

Dept. of English 1102

University of Idaho

Moscow, ID 83844-1102

 

Details can be found at www.rmmla.org

 

 

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Deadline Extended to January 15, 2007!

 

What's Avant-Garde About the Avant-Garde?

The Fourth Annual Interdisciplinary Jazz Studies Colloquium

University of Kansas

March 30-31, 2007

 

Since the late 1990s, after being marginalized and ignored by college and university jazz curricula (if not faculty), the avant-garde has apparently come to acquire a privileged place as a significant site of inquiry in academic jazz studies. Recent books and articles have explored avant-garde collectives such as the Arkestras of Sun Ra and Horace Tapscott and the Chicago-based Association for the Advancement of Creative Musicians (AACM). Other scholarship has focused on analyses of the political implications of improvisation and dissonance.

 

If the avant-garde has historically been associated with the daring, the new and that which deviates from the mainstream, what does it mean for it to become institutionalized in jazz studies? What does it mean to privilege musical culture of the 1960s and 1970s as the "avant garde" of the new Millennium?

 

This year's conference will feature talks by Fred Ho and Kevin Whitehead. Ho, composer, performer, author, and activist, and founder of the Afro-Asian Ensemble (1982) will deliver the keynote address, as well as a solo baritone saxophone concert and post-concert dialogue. For Ho, musical practices are "about the present . . . and the future," remain "highly and inescapably political" and "must be understood both sociologically and musicologically" ("What Makes 'Jazz' the Revolutionary Music of the 20th Century, and Will it be for the 21st Century?" African American Review, 1995).

 

Whitehead, jazz critic for NPR's "Fresh Air," author of 1998's "New Dutch Swing," and lecturer who teaches jazz-related courses in American Studies and English at the University of Kansas, will deliver a talk based on the viability of the avant-garde as a category. He has declared that "any label which defines an artistic movement according to its newness. . . inevitably becomes obsolete." ("Death to 'the Avant-Garde,'" The Voice, 1994).

 

For the Fourth Annual KU Interdisciplinary Jazz Studies Colloquium, we seek presentations on the theme of the avant-garde. Such papers would address a variety of themes related to the avant-garde as it is understood today as well as in its historical manifestations, including, but not limited to:

What does it mean when institutions embrace the avant garde?

What does it mean to periodize the avant garde in the 1960s? Or to use a term associated with the 1960s to new music in 2006?

Interrogations of definitions such as "avant garde," "jazz," "new music," "improvisation..."

Presentations of research on major figures and ideas related to the avant-garde, including musical cooperatives and collectives

Ethnic cultures and the avant-garde

An avant-garde of the avant-garde or experimental movements within experimental movements

Avant-garde movements of various periods/comparisons of avant-garde movements from various periods

Manifestations of the avant-garde all aspects of jazz studies, including music, visual culture, literary production

Critical reception and audience consumption of the avant-garde

Marketing of the avant-garde

Dynamic between the avant-garde and the "mainstream;" avant-garde and popularity (what happens when the avant-garde sells?), avant-garde and "hipness"

Relationship between the aesthetic and the political in the avant-garde

Limits of language in describing the avant-garde

 

DEADLINE: JANUARY 15, 2007

SEND 300-WORD ABSTRACTS FOR INDIVIDUAL PAPERS OR PANELS, ELECTRONICALLY, OR BY MAIL, TO:

 

Paper Coordinator:

Dr. Chuck Berg

Professor of Film/Media Studies

Department of Theatre and Film

University of Kansas

356 Murphy Hall

1530 Naismith Drive

Lawrence, KS 66045-3102

email: cberg_at_ku.edu <mailto:cberg_at_ku.edu>

office phone: (785) 864-1344

http://www2.ku.edu/~kuijsg/

 

 

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Paper/Presentation Topic:

Any aspect of literature as it relates to other arts, in practice or in theory

 

The Literature and Other Arts Panel of the Rocky Mountain MLA invites the submission of papers/presentations for its session at the 61st annual convention, this year held in Calgary, Alberta, Canada on October 4-6, 2007

 

Topics may include, but are not limited to:

Literature and Music

Literature and Visual Arts

Literature and Dance

Literature and Architecture

Literature and Film

Literature and Digital Media

Adaptations of Works between Art Forms

Comparative Aspects

Ekphrasis

Crossing/Blurring Artistic Boundaries

Theoretical Critiques

Pedagogical Applications

Creative Applications

Studies of Techniques

Historical Studies

Cultural Contextualization

Author Interaction with/Inspiration from/Influence by Arts other than Literature

 

Submission Requirements: 300-word abstract and a 50-word description.

Submissions must be received by March 1, 2007.

Send electronic submissions as a Word attachment to: albin_at_brandeis.edu

Address print submissions to:

Andrew Albin

MS 023

Brandeis University

415 South St.

Waltham, MA 02454

 

Panelists will be notified by March 15, 2007 and must secure or renew RMMLA membership by April 1, 2007. For more information, please see the RMMLA website, http://rmmla.wsu.edu or email Andrew Albin, Panel Chair, at albin@brandeis.edu.

 

 

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NEH Summer Seminar on Scottish Enlightenment Aesthetics

July 23 - August 10, 2007, St. Andrews University

 

This seminar is on Scottish Enlightenment Aesthetics and its German reception, and will be directed by Paul Guyer (University of Pennsylvania) and Rachel Zuckert (Northwestern University), with guest lectures by James Harris (St. Andrews), Alexander Broadie (Glasgow), and Peter Jones (University of Edinbugh, emeritus). The seminar will be held at St. Andrews University, Scotland, July 23-August 10, 2007. All those interested in aesthetics, the history of aesthetics, the Scottish and German Enlightenments, and (more broadly) the art, literary, philosophical, or intellectual history of eighteenth century Europe are encouraged to apply to participate.

 

Submission deadline: March 1, 2007

 

Daniel Gross

Department of Philosophy

Northwestern University

Kresge 2-335

1880 Campus Drive

Evanston IL 60208

d-gross-1 @ northwestern.edu

 

 

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Philosophia, Philosophical Quarterly of Israel, published by Springer, seeks submissions for the forthcoming

 

special issue on

Ethics and Literature.

 

We are interested in articles on issues such as: relationships between moral philosophy and literature, literature as a mode of moral investigation, moral ‘effectiveness’ in literature, the practice of ethical criticism, and similar ones.

 

Submission deadline: March 1, 2007

 

Adia Mendelson-Maoz

Adiamm1@hotmail.com

 

 

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Aesthetics and Its History

April 21, 2007, University of Southampton

 

The University of Southampton's annual one-day Graduate Conference in Philosophy will this year be devoted to issues in the philosophy of art, aesthetics, and their history. Academic staff working in these fields at Southampton include Christopher Janaway, Alex Neill, and Aaron Ridley, who will all participate in the conference, and there is a lively interest among current graduate students.

 

We are hoping to attract a wide external audience, and papers are invited from graduate students on any aspects of aesthetics and its history.

 

Papers should be not more that 3,000 words in length, suitable for a 20 minute presentation followed by discussion.

 

Submission deadline: March 5, 2007

 

Christopher Janaway

Philosophy

School of Humanities

Avenue Campus

University of Southampton

Southampton SO17 1BF UK

Cjanaway @ soton.ac.uk

 

 

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(internet source: http://www.hope.ac.uk/research/aesthetics/)

 

The Turn to Aesthetics

 

June 5-8, 2007

Liverpool Hope University

 

Recent years have seen a growing interest in the study of aesthetics. This wide-ranging inter-disciplinary conference encourages submissions from three strands: those subjects which have enjoyed a substantial history of involvement in the field (eg.Theology & Religious Studies, Philosophy), those relatively new to the study (eg. Sports Studies, Management), and those which focus on applied dimensions (eg. The Arts, Education). The overall aim of the conference is to learn from interdisciplinary debate and to encourage research of the highest quality.

 

Keynote Speakers:

Professor Michael Balfour (Drama, Brisbane, Australia

Professor Heather Höpfl (Management, Essex, UK)

Professor Peter Lamarque (Philosophy, York, UK)

Professor Graham McFee (Philosophy, Brighton, UK & California State University, Fullerton, USA)

Dr. Mark Wynn (Theology, Exeter, UK)

 

 

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24th Annual Meeting of the Canadian Society for Aesthetics

 

24th Annual Meeting of the Canadian Society for Aesthetics 76th Congress of the Humanities and Social Sciences, May 27-29, 2007, University of Saskatchewan, Saskatoon, Saskatchewan, Canada

 

"Bridging Communities: Making public knowledge /Making knowledge public."

 

Papers on any topic in aesthetics, especially those that relate to the theme of the congress (Bridging Communities: Making public knowledge/Making knowledge public)are invited. Completed papers of 10-12 standard pages, accompanied by a 150-word abstract and suitable for presentation in fewer than 25 minutes, should be sent to: Daniel B. Gallagher, Sacred Heart Major Seminary, 2701 Chicago Blvd., Detroit, MI, 48206, USA ( gallagher.dan@shms.edu ).

 

Submission deadline: 15 January 2007.

 

 

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Volcanic Lines: Deleuzian Research Group Winter/Spring Sessions

 

12 January 2007

Greenwich, London, United Kingdom

 

Contact name: Edward Willatt

 

12 Jan 1-3pm COLLOQUIUM: Darren Ambrose (Warwick) 'On The Diagram in Deleuze'. Mondays 7- 9pm (starts 15 Jan) READING GROUP WORKSHOPS on the Essays of Gilles Deleuze. For locations & to REGISTER go to www.deleuzeatgreenwich.blogspot.com

Organized by: Greenwich University Philosophy Department

 

 

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

 

For or Against Metaphor? Power, History, Knowledge and Aesthetics

 

24 to 25 May 2007

Kingston, Ontario, Canada

 

Website: http://www.sociocritique.mcgill.ca/col/2007/metaphore1.php

Contact name: Dr. François-Emmanuël Boucher

 

Social science researchers are invited to analyze the ambiguous function of metaphor in non-literary fields, with a view to uncover elements which would constitute a “poetics” of everyday language as opposed to the language of aesthetics

 

Organized by: Royal Military College of Canada, Centre for Security, Armed Forces and Society

 

 

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architecture in the space of flows: buildings - spaces - cultures

 

21 to 24 June 2007

Newcastle-Upon-Tyne, United Kingdom

 

http://www.apl.ncl.ac.uk/flows/

Contact name: Karen Ritchie

 

Exploring ourselves, our buildings, our cities and our cultures as modulators of flows: desiring subjects, fluid and relational.

 

Organized by: Tectonic Cultures Research Group, School of Architecture, Planning & Landscape and Culture Lab

 

Deadline for abstracts/proposals: 22 January 2007 

 

 

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(internet source: http://www.cipa.ulg.ac.be/colloques/detailappel.doc)

 

Détail et totalité

Colloque international organisé à l’Université de Liège (24-26 octobre 2007)

CIPA (Centre Interdisciplinaire de Poétique Appliquée)

 

24 to 26 October 2007

Liège, Belgium

 

http://www.cipa.ulg.ac.be

Contact name: Livio Belloï / Maud Hagelstein

 

Organized by: CIPA - Université de Liège

Deadline for abstracts/proposals: 15 January 2007 

 

Appel à communications

 

Parce qu’elle a trait aux relations nouées entre les parties et l’ensemble qui les comprend, la question du détail s’investit d’enjeux considérables pour toute tentative de réflexion interdisciplinaire. En effet, dans toutes les disciplines qui s’attachent à rendre un objet visible ou lisible, les théoriciens rencontrent à l’endroit du détail des problèmes analogues que nous voudrions aborder de front, dans une perspective forcément « rapprochée » et plus que jamais attentive à des objets singuliers, que ceux-ci relèvent de la littérature, du cinéma, de la photographie, de la peinture, de la philosophie, de l’architecture, etc.

 

Qu’est-ce qu’un détail ? - A vouloir saisir le détail dans ses dimensions les plus complexes, l’on se heurte inévitablement à une difficulté première et majeure : celle de déterminer ce que la notion recouvre précisément. Le problème de la définition pourrait déjà occuper longuement le débat. Difficile, voire impossible, d’être exhaustif en la matière tant quelque chose dans le détail semble toujours échapper au souci de catégorisation. Et que dire, par-delà, des notions qui lui sont connexes, mais auxquelles il ne se laisse jamais réduire : fragment, indice, effet de réel, punctum (Barthes), pan (Didi-Huberman), parergon (Derrida), annexe (Lebensztejn) ?

 

Qui fait le détail ? – Epineux objet d’investigation, presque-rien dans lequel un je-ne-sais-quoi nous retient pourtant, le détail ne se résume pas à un état de fait dont nous serions les témoins distants. Il est au centre d’un processus, d’un mouvement qui s’effectue dans ou avec la représentation. Les développements contemporains de l’esthétique amènent à considérer le détail moins comme un objet que comme un travail (Arasse). On peut parler à cet égard d’ « opération détaillante » (notion qui n’est pas moins pertinente pour les arts plastiques que pour le cinéma par exemple). Il y aurait lieu d’insister sur l’idée d’un « événement », relatif à l’acte de vision, de réflexion et/ou de lecture. Dans la sphère artistique, le détail n’est-il pas tout simplement une condition particulière du regard ? Dans le même registre, une autre question s’impose : qu’en est-il du rapport du détail à la temporalité (au tempo, à la rythmique) et quelle est la spécificité de ce rapport pour chacune de nos disciplines ? L’idée selon laquelle le détail retient notre attention en ce qu’il choque et brusque nos attentes de lecteurs ou de spectateurs semble communément admise. La fulgurance du détail, que beaucoup ont relevée à leur manière, explique que nous soyons saisis par son apparition. Associer le détail à l’expérience oblige encore à se poser les questions suivantes : est-ce la représentation qui fait le détail ? Si oui, peut-elle faire le détail sans le concours du spectateur/lecteur ? S’il y a bel et bien collaboration entre les deux instances, suivant quels paradigmes ou schèmes intériorisés se déploie-t-elle ? Si c'est le spectateur/lecteur qui fait le détail (un détail « vu » peut ne pas avoir été « fait », comme l’a justement observé Daniel Arasse), ce que son geste isole doit-il forcément être réduit à un simple fait de subjectivité, lesté de sa part d’ineffable ? En d’autres termes, existerait-il une objectivité du détail ?

 

Que fait le détail ? – Le détail n’est rien indépendamment de l’ensemble auquel il se rapporte, dans lequel il se « découpe » (sens étymologique du détail). Le tout est de cerner la nature de leur relation. D’un côté, le détail a pu se manifester en tant que donnée intégrée, instrumentalisée par la représentation. Culturellement parlant, certaines époques ont imposé le détail - qui participait alors d’un certain académisme et d’une théorie classique de la mimesis. Dans une discipline comme l’iconologie, par exemple, le détail, en tant qu’il peut être porteur d’un sens déterminant pour le tout auquel il appartient, se présente souvent comme un indice, une clé interprétative, passage obligé pour accéder à la signification générale de l’œuvre. Une telle perspective accorde au détail une valeur symbolique qu’il serait intéressant de réévaluer.

 

D’un autre côté, le détail inquiète volontiers les catégories établies qui, confrontées à lui, semblent parfois vaciller sur leurs bases. C’est alors sa capacité de résistance aux méthodes traditionnelles et aux normes collectives qui se trouve mise en relief. Le détail devient, sous les yeux du théoricien, comme le grain de sable qui vient gripper la machine interprétative, participant éventuellement à la mise à nu de ses rouages. En tant qu’il se détache de l’ensemble qui le contient, le détail nous incite à interroger nos propres outils de travail, dans le but de prendre l’exacte mesure de son caractère excentrique. Par conséquent, il convient d’inscrire les multiples et diverses manifestations du détail au sein d’un large continuum, entre ressort intime de la représentation et force de résistance à son ordre, sans négliger tous les degrés intermédiaires.

 

Veuillez faire parvenir vos propositions à Livio Belloï (Livio.Belloi@ulg.ac.be), Rudy Steinmetz (R.Steinmetz@ulg.ac.be) et Maud Hagelstein (Maud.Hagelstein@ulg.ac.be)

 

 

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Colloque. Les transformateurs Lyotard. 25 janvier et 26 janvier 2007 (9h30-18h30). Amphi Poincaré, Carré des Sciences, 1 rue Descartes, 75005 Paris. 27 janvier 2007 (9h30-18h30). Salle des Actes, École Normale Supérieure, 45 rue d'Ulm, 75005 Paris. Sous la responsabilité de Corinne ENAUDEAU, Jean-François NORDMANN, Jean-Michel SALANSKIS et Frédéric WORMS. Colloque organisé en collaboration avec le Centre international d'étude de la philosophie française contemporaine (ENS-Ulm) et avec son soutien. «Jean-François Lyotard est devenu célèbre à la faveur de deux livres: Economie libidinale (1974) et La Condition postmoderne (1979) dont l'invention lexicale s'est imposée, sans garder trace de l'analyse qui lui donnait sens. Le renom acquis n'a pas ensuite dissipé les malentendus qui ont gêné la réception de son œuvre. Sans préjuger des raisons de l'équivoque, on constate en tout cas que les champs de réflexion de Lyotard ont été multiples et croisés (citons entre autres Discours, figure, Le Différend, Heidegger et «les juifs», Signé Malraux) et surtout que leur traitement a connu de notables révisions. Le questionnement politique initial a été si intransigeant que, pour comprendre l'histoire bouleversée du vingtième siècle, Lyotard a dû procéder à des deuils et des refontes drastiques, où le nihilisme semblait le disputer au souci d'une résistance critique. Les« jeux de langage » d'un côté et « l'affect » de l'autre lui ont ainsi servi d'axes pour remodeler – et ce, à plusieurs reprises – le tableau de la condition humaine. Entre l'incohérence supposée de ses résultats et la ténacité présumée de son dessein, l'œuvre de Lyotard prête à confusion et s'entoure aujourd'hui d'ombre. D'un usage malcommode, sa pensée est le plus souvent rabattue sur celle de ses voisins de « la pensée française » : Deleuze et Derrida. Confusion où s'oublie la place si singulière que Lyotard accorde au sujet entre la décision exigée par le jugement et l'intensité anonyme où se donne l'« événement ». Presque dix ans après sa mort, il manque une compréhension propre de la voix qui fut la sienne dans le débat philo-sophique de la fin du siècle dernier. Cette compréhension demande de reformuler le contexte du travail de Jean-François Lyotard, de distinguer son entreprise de celles avec lesquelles elle a peu à faire, de la rattacher au contraire à celles qui ont une profonde résonance avec elle ; mais aussi d'outrepasser le privilège qu'on accorde à certains thèmes de sa pensée (comme l’esthétique et le relativisme sophistique) pour en affirmer d’autres qui comptent aussi de façon permanente et structurante (comme celle du juste). Sans ignorer le chassé-croisé des registres dont chaque livre de Lyotard témoigne fortement, citons quelques lieux distincts autour desquels le questionnement pourra prendre forme : la philosophie politique, la question du désir et l'esthétique, le judaïsme, l’histoire de la philosophie.» - Intervenants : Barbara Cassin (CNRS), Bruno Clément (Université de Paris VIII et CIPh), Françoise Coblence (Université de Picardie, Société Psychanalytique de Paris), Marc Crépon (CNRS Archives Husserl), Olivier Dekens (Lycée de Gennevilliers), Corinne Enaudeau (CIPh), Élisabeth de Fontenay (Honoraire Université de Paris 1), Alberto Gualandi (Université de Bologne et d'Urbino, Italie), Clemens-Carl Härle (Université de Sienne, Italie), Laurence Kahn (Association Psychanalytique de France), Patrice Loraux (Université de Paris 1), Catherine Malabou (Université de Paris 10), Michel Olivier (Université de Paris 10), Jean-François Nordmann (CIPh), Jacques Rancière (Honoraire Université de Paris 8), Jean-Michel Salanskis (Université de Paris 10 et CIPh), Dominique Scarfone (Université de Montréal, Société et Institut psychanalytique de Montréal, Canada), Anne Tomiche (Université de Paris 13), James Williams (University of Dundee, Écosse), Frédéric Worms (Université de Lille III et ENS Ulm), Pierre Zaoui (CIPh).

 

 

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

 

Colloques et conférences

 

Dans le cadre du DEA en esthétique et philosophie de l'art et du Groupe de contact en esthétique et philosophie de l'art

 

Conférences de

 

Jean-Claude Lebensztejn,

 

en collaboration avec la Faculté de philosophie et lettres de l'ULB, de « Jeunesse et Arts Plastiques », et de l'Académie ARBA-ESA

 

5 février 2007, de 20 à 22 h, ULB Solbosch, AZ1.101

Titre à préciser

 

6 février 2007, de 14 à 16 h, ULB Solbosch, UB2.147

Titre à préciser

 

Université catholique de Louvain

Faculté des sciences philosophiques

Centre d'esthétique philosophique

place du Cardinal Mercier 14

1348 Louvain-la-Neuve

Belgique

Tél. : (32 10) 47 48 12

Fax : (32 10) 47 82 93

Courriel : lories@risp.ucl.ac.be

 

 

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(internet source: http://www.centrepompidou.fr/Pompidou/Manifs.nsf/AvenirCategorie?ReadForm&RestrictToCategory=Categorie2&count=999&sessionM=2.6.3&L=1)

 

Centre Pompidou

Place Georges Pompidou

75004 Paris

 

Samedis d'Entretemps

 

L'Esthétique musicale de Nietzsche,

de Eric Dufour

 

Conférence

 

Autour du livre de Eric Dufour : L'Esthétique musicale de Nietzsche (Villeneuve d'Asq, Presses universitaires du Septentrion)

 

31 mars 2007

10h00 - 12h30

Ircam - Salle Igor Stravinsky

 

 

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(internet source: http://www-umb.u-strasbg.fr/agenda2/actu.php?page=4)

 

11-01-2007 UMB Esthétique et philosophie du corps chez les Beti du Cameroun

 

Une conférence de Charles-Robert Dimi, Philosophe, Doyen de la Faculté des Lettres et sciences Humaines de l’Université de Dschang, Cameroun. Cet évènement a lieu dans le cadre du séminaire «Corps noirs dans l’espace temps» organisé par l’équipe d’accueil en sciences du sport (1342).

 

De 17h à 19h30

 

Au Portique (salle 301 ou 211), 14 rue René Descartes à Strasbourg

 

Contact : lomo@umb.u-strasbg.fr

 

 

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(internet source: http://www.aestetik.au.dk/cfp_eng)

 

CALL FOR PAPERS AND PARTICIPANTS

 

The Limits of Aesthetics

 

NOS-H in cooperation with Nordic Society for Aesthetics is hosting a conference from May 31 through June 3, 2007 Aarhus. The topic of the conference is “The Limits of Aesthetics”, also being a research programme under the Nordic Research Councils’ Cooperation (NOS-H).

 

Intensive discussions on the extension of the field of aesthetics have been going on during the historical lifetime of its concept. The very relation to art is but one example: In some traditions, aesthetics is simply philosophy of art (for instance in Hegel and on) whereas in others, the problems of art are merely a subordinate part of the sphere of action of aesthetics. However, aesthetics’ boundaries with art philosophy are far from being the only ones to be open. Aesthetics’ relations to ethics, to the political, to epistemology, to the social (cf. socialization) are other threshold problematics. Furthermore new disciplines and branches emerge under designations such as en­vironmental aesthetics, empirical aesthetics, somaesthetics, to mention a few.

 

On the whole, aesthetics holds intensive and often fruitful borderline problematics to philosophy generally speaking, to art theory, to psychology, and of course to the artforms’ single disciplines (literature, drama, music, arthistory etc.). Ways of different nature, evaluative and descriptive, of approaching problems of aesthetics’ own position between philosophy and science are other examples of topics under heavy discussion.

 

In different contributions, a number of invited key-note speakers will review these problems of borderland. Invited speakers include Martin Seel (Frankfurt), Hans-Ulrich Gumbrecht (Stanford), Richard Shusterman (Florida), Andrea Kern (Berlin) and Jean-Marie Schaeffer (Paris).

 

Furthermore the conference here calls for papers wishing to discuss the problems in their very widest sense, directly or indirectly. It may be in terms of overall surveys on the history of science or on conceptualization within the field of problems of the borderland of aesthetics. But we also welcome contributions that on a basis of a specific empirical research project, for instance within an aesthetic single discipline, may enlighten the problematics of borderland relations indirectly.

 

We warmly welcome contributions from PhD students.

 

Please send your abstracts of proposals for presentations along with a brief presentation of yourself (1-5 lines) to the address at the bottom of this page. Deadline is on 15th February 2007 and should be sent preferably by e-mail as attachment in Word or compatible. Proposers will be notified around March 1st 2007 whether papers are accepted or not.

 

It is possible though to participate in the conference without a paper. Deadline for registration is February 15th 2007 accompanied by a short presentation of 1-5 lines.

 

Main language of the conference is English, but papers in Scandinavian languages are accepted. Please inform language on registration.

 

The Nordic Society of Aesthetics will hold its annual meeting in connection with the conference, but membership is not required for participating in the conference.

 

The research programme will host the conference, and participation is free of charge. This includes reception on the evening of opening, light lunches, coffee etc. during the three days of the conference. For participation in the conference dinner, we charge DKK 250 (€ 30). Participants will pay themselves for board and lodging as well as travelling expenses. As of January 1st 2007, a website http://www.aestetik.au.dk/gr will render details on different prices levels of hotels available in connection with the conference.

 

Contact address:

Aarhus Universitet

Institute of Aesthetic Studies

Langelandsgade 139

DK-8000 Århus C

Denmark

aekag@hum.au.dk

(Annette Gregersen, conference secretary)

Responsible for the Conference is prof. Morten Kyndrup (e-mail kyndrup@hum.au.dk)

 

 

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(internet source: http://www.apa.udel.edu/apa/cfp/cfpbrowsecallforpaper.asp)

 

conference/book to be published: Feminism and Aesthetics/Philosophy of Art

 

Description: This book is to be published by Kluwer Academic Publishing as part of a series on Feminist Philosophy. The series will include five separate books on: Feminism and Aesthetics/Philosophy of Art; Feminist Philosophy of Religion; Feminist Epistemology and Philosophy of Science; Feminist History of Philosophy; and Feminist Ethics and Social and Political Philosophy. Series Editor: Elizabeth Potter Volume Editor: L. Ryan Musgrave Since the “where are the great women artists” volley of feminist questions that arose in the middle of the twentieth century, feminist work in aesthetics and philosophy of art has grown exponentially—in terms of institutional critiques, theoretical inquiry, activism, and artistic and creative practices. The aim of this volume is to continue and extend feminist work done in the area of aesthetics and philosophy of art, broadly construed. The volume welcomes (among other possible approaches!) work that aims to - revisit original questions in the field for new insights; - include new and interesting work on women and the arts; - thematize feminist perspectives on embodiment, power, visual, musical, literary or other forms of representation; - evaluate successes and ‘next steps’ for feminist aims involving art and democracy or pluralism; - consider feminist perspectives beyond the Western lens; - consider connections between feminist approaches in the arts and other spheres of value (ethical, political, social, scientific, legal, religious); - consider feminist epistemological insights about the arts related to truth, reality, and knowledge; - reconsider what count as feminist practices and theory in the arts - or related projects. EXTENDED DEADLINE For those interested, please send a 200-word abstract no later than Monday, Dec. 18. Preliminary drafts will then need to be submitted by February 28, 2007; acceptance decisions will be based on these. Authors whose submissions are accepted on the basis of the original draft will need to have final papers/essays completed by approximately September 2007 (maximum 8500 words). All inquiries, abstracts, submissions may be sent electronically to Ryan Musgrave at rmusgrave@rollins.edu.

 

Contact Information:

Ryan Musgrave

rmusgrave@rollins.edu.

Deadline for Submission: 2/28/2007

 

 

October 2006 – December 2006

 

CALLS FOR PAPERS/CONFERENCES (27)

 

 

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

 

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

 

Nietzsche-Seminar XXII, Chimeras of Philosophy

17 to 20 November 2006

Sanct-Petersburg, Russian Federation

Contact name: Vyacheslav Y. Sukhachev

E-mail: anthrop_AT_philosophy.pu.ru (to e-mail the conference organizers, please replace _AT_ with @)

Organized by: Sanct-Petersburg State University (Russia)

Deadline for abstracts/proposals: 1 June 2006

 

 

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Informes: 2º Congresso de Estética e História da Arte 

A segunda edição do Congresso de Estética e História da Arte ocorre de 23 a 26 de novembro, no Museu de Arte Contemporânea (MAC), na capital paulista, visando promover reflexões sobre a trajetória do conhecimento estético na Universidade de São Paulo (USP).

Com o tema central "Estética USP - 70 Anos", a idéia é estimular a pesquisa e a execução de projetos artísticos no âmbito acadêmico.

Durante o evento, promovido pelo Programa Interunidades de Pós-Graduação em Estética e História da Arte da USP, serão realizadas uma série de palestras, mesas-redondas e sessões de comunicações de pesquisadores, professores e alunos.

Mais informações: http://www.mac.usp.pmstudium.com

http://www6.ufrgs.br/idea/modules.php?op=modload&name=News&file=article&sid=234

 

 

 

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Gilles Deleuze: Texts and Images

 

The 9th Annual University of South Carolina Comparative Literature Conference, An International Conference

 

5th - 8th April, 2007

 

Over the past two decades, readers of the works of Gilles Deleuze have had several opportunities to participate in international conferences held at Trent University and organized by Constantin V. Boundas. In that tradition, we  announce the organization of a conference to take place on the campus of the University of South Carolina(Columbia, SC, USA), between April 5 and 8, 2007, sponsored by the Program in Comparative Literature , the English Department, and the College of Arts and Sciences.

 

The conference theme, "Gilles Deleuze: texts and images," is meant to be understood inclusively rather than exclusively. That is, while recognizing the conference's focus on the work of Gilles Deleuze, the organizers encourage broad and comparative interpretations and commentaries from Deleuzian perspectives on subjects such as literature, philosophy, painting and film, as well as exegeses of Deleuze's body of work that engage with ontological and epistemological concepts and problems. Presentations by the invited plenary speakers - Eric Alliez, Ronald Bogue, Constantin V. Boundas, and Elizabeth Grosz - will be supplemented by speakers in parallel sessions.

 

The conference will be held on the historic campus of the University of South Carolina (http://president.sc.edu/history.html). The weather in April will be mild, and the campus will be in bloom. Columbia is mid-sized city with a major airport and is easily accessible. It is the capital of South Carolina and has many fine restaurants. Conference participants will be lodged on campus at the new Inn at USC (http://www.innatusc.com/); rooms have been reserved at a special conference rate of $116.00 for those making their reservations by February 20, 2007. There are also other hotels nearby.

 

Those interested in speaking at the conference should send a title, a 750-word abstract, and a 250-word bibliographical biography to delcon2k7_at_yahoo.com as a Word or RTF attachment no later than October 1, 2006. Additional details will be available at http://www.cas.sc.edu/DLLC/CPLT/activities/9thannucon.html.

 

Organizing Committee:

Eugene W. Holland, Ohio State University

Paul Allen Miller, University of South Carolina

Daniel W. Smith, Purdue University

Charles J. Stivale, Wayne State University

 

 

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SPSCVA at the APA Central Division Meeting

April 18 - 21, 2007, Chicago

 

The Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA) invites papers to be presented at its divisional meetings held in conjunction with the divisional meetings of the American Philosophical Association. Papers may address any topic that involves the connection between philosophy and the visual arts: film, photography, video, or other aesthetic media. The Society also welcomes proposals for panels, author-meets-critics, or other special sessions, as well as volunteers to serve as panel chairs and commentators. Presentations should be 20-25 minutes (10-12 pages in length; 2500-3000 words). Participants must be currently paid members of the SPSCVA. Submission as an e-mail attachment is preferred.

 

Submission deadline: October 1, 2006

 

Sander Lee

Department of Philosophy

Keene State University

229 Main St.

Keene NH 03435

slee@keene.edu

 

 

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

 

SPSCVA at the APA Pacific Division Meeting

April 3 - 8, 2007, San Francisco

 

The Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA) invites papers to be presented at its divisional meetings held in conjunction with the divisional meetings of the American Philosophical Association. Papers may address any topic that involves the connection between philosophy and the visual arts: film, photography, video, or other aesthetic media. The Society also welcomes proposals for panels, author-meets-critics, or other special sessions, as well as volunteers to serve as panel chairs and commentators. Presentations should be 20-25 minutes (10-12 pages in length; 2500-3000 words). Participants must be currently paid members of the SPSCVA. Submission as an e-mail attachment is preferred.

 

Submission deadline: October 1, 2006

 

Julie Van Camp

Department of Philosophy

California State University, Long Beach

1250 Bellflower Boulevard

Long Beach CA 90840-2408

jvancamp@csulb.edu

 

 

 

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CALL FOR PAPERS

 

http://www.erp-review.org/cfp7.php

Objects and Sound Perception

European Review of Philosophy, 7 (2007)

Nicolas J. Bullot & Paul Egré, editors.

Deadline for submission: 1 December 2006

In recent years, research on perceptual cognition directed at physical objects has been dominated by the studies of visual abilities. However, it is reasonable to consider that interacting with, and acquiring perceptual knowledge about physical objects depends on the relations between distinct perceptual modalities (or possibly, on a single multimodal perceptual system). Research on multimodal perceptual abilities may thus provide a key to the understanding of object-based cognition. In this context, this special issue intends to investigate the specific contribution of audition and sound perception to the knowledge about objects. Submissions are encouraged especially on the following problems: • While a number of theories of visual cognition seem to admit that the ontology of vision is object-based, the relevant ontology of auditory perception has sometimes been alleged to correspond to events. Are there two different ontologies for vision and audition? • One could assume that, as well for any other sensory capability, auditory perception provides information for singular representations and knowledge about objective particulars or individuals. How should one analyze the contribution of sound perception from such an epistemic point of view? • How should one provide a coherent analysis of complex phenomena such as voice and language perception, wherein multiple levels of information may be relevant for the perceiver (e.g., timbre and tonal information, phonemes, words, melodies, speaker's identity)? • What is the status of deictic or demonstrative reference directed at a particular sound source? • What are the respective features of visual and auditory identification? • Are inferences based on vision typically distinct from inferences based on audition?

 

Guest authors

Stephen Davies, University of Auckland

Michael Kubovy, University of Virginia

Mohan Matthen, University of Toronto

 

Submissions should be addressed electronically to: sound@erp-review.org. The deadline for submission is 1 December 2006.

 

Instructions for authors. Papers should describe original and previously unpublished work. Submissions must be in English and should not exceed 8000 words, with an abstract of up to 200 words. The following formats are accepted for submission: RTF, PDF, DOC, LATEX. Authors are invited to follow the stylistic guidelines, templates and detailed instructions available here.

 

Submitted papers will be reviewed by the Editors and blind-reviewed by two anonymous referees. For the purpose of blind refereeing, authors are requested not to include their name or affiliation in their submitted papers, but in a separate file. Each submission should consist of two distinct files:

 

A frontpage containing the title of the paper, the name and affiliation of the author(s), as well as any acknowledgment.

The manuscript of the paper (containing only the title, the abstract and the body of the article).

 

About the Review. Established in Geneva in 1989, the European Review of Philosophy is a peer-reviewed journal edited yearly at the Jean Nicod Institute, Paris. It publishes thematic volumes on philosophical and foundational issues in cognitive science.

 

Contact. Intending authors should make direct contact with the guest editors of the relevant issue by writing to: sound@erp-review.org

 

All other editorial correspondence should be addressed to:

European Review of Philosophy

Dario Taraborelli, editor

Institut Jean Nicod

1bis, avenue de Lowendal

F-75007 Paris

email: editor@erp-review.org

fax: (+33) 1 53 59 32 99

 

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Call for Abstracts

 

24 and Philosophy

 

Richard Davis, Jennifer Hart Weed and Ronald Weed, Editors

William Irwin, General Editor

 

The Blackwell Philosophy and PopCulture Series

 

To propose ideas for future volumes in the Blackwell series please contact William Irwin, 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.

 

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

 

Just War Theory and National Security in 24; “That’s the Wrong Call”: The Role of Practical Rationality in 24; Conflicts of Interest and Moral Particularism: Sex and the CTU; Conspiracy Theories and 24: The Epistemology of Suspicion; Patriotism and Conflicts of Authority or Why the Boss Must be Tasered to Get a Job Done; The Ambiguities of Betrayal in 24; The Dangers of Truth-telling in 24: Why No One Can be Trusted with the Truth; Prisoner’s Dilemmas and Security in 24; Femme Fatal-ity in 24:  The Moral Psychology of Female Power; Torture and Consequentialism in 24: Do the Ends ever NOT justify the Means?; Beyond Good and Evil in 24: What Distinguishes a Hero from a Villain?; The Phenomenology of Self Deception in 24; The Metaphysics of Action in Real Time in 24; Saving a Spy or Saving your Mother?  The Ethics of Choosing Whom to Save: Trolley Case Dilemmas in 24

 

Contributor guidelines:

1. Abstract of paper (100-500 words).

2. CV or resume for each author and co-author.

3. Submission deadline for abstracts: September 12, 2006

4. Submission deadline for first drafts of accepted papers:  February 10, 2007

5. Submission deadline for final papers:  April 2, 2007

6. Submissions should be sent by e-mail, with or without Word attachment to:  Richard Davis, rdavis@tyndale.ca

 

 

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Art & Authenticity, an interdisciplinary conference to be hosted by the School of Humanities, Faculty of Arts, at the Australian National University, November 2 and 3, 2006.

Abstracts of approximately 250 words should be sent to Jan.Lloyd-Jones@anu.edu.au by Friday 8th September 2006.

Website: http://arts.anu.edu.au/humanities/authenticity

 

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2nd Global Conference

Future Literature, Future Art: Probing the Boundaries of Criticism

Thursday 30th November - Saturday 2nd December 2006

Cracow, Poland

 

Call for Papers

 

This conference aims to take stock of the genealogy of current  literary and artistic practices and their critical adjuncts with a  view to speculating on future developments in both literature, art  and criticism. An inter-disciplinary approach will be adopted so as  to provide the basis for dialogue between the various disciplines  currently inputting into literary, artistic and critical production. With respect to literature, the relationship between literature and criticism has undergone radicalisation in the last century. The  very clarity of the distinction between the two has become  problematic, with various kinds of fusions and blurrings between  the two coming to the fore.  While many cite the crucial juncture  as the Surrealists’ transdisciplinary aesthetic, it is possible to trace the source of the revolution in literature and criticism back  to key texts such Lautréamont’s Maldoror and to the Symbolist  emphasis on a more conceptual approach to literary production.  While, in Germany, Heidegger developed an enigmatic aesthetic  through oblique readings of Trakl and Hölderlin amongst others, in  France this radicalisation of literary and critical practice was  intensified through movements such as Dada, Oulipo and figures such  as Bataille, Blanchot, Leiris and Roussel. In the ‘70s, this  tendency was developed through the work of Tel Quel. Many of the  figures associated with Tel Quel, such as Derrida and Kristeva,  have maintained this influence to the present. Meanwhile, the more  recent upsurge of interest in Deleuze’s critical work on literature  has opened up this problematic to English language texts, such as  those of Melville, Lewis Carroll and Scott-Fitzgerald. This also  reveals the possibility of reading a different Anglo-American  genealogy for our problematic, through figures such as the Beats,  De Lillo, Pynchon, Amis and Roth. With respect to art, similar questions of the status of the art work and conflicting fundamental paradigms apply as in the case of  literature. Since Duchamp, the question ‘what is art?’ has become  constitutive of art practice in an unprecedented way, linking the  diverse movements of Dada, Pop, Fluxus, Minimalism and Conceptual  art amongst others.  Some see recent art practice as a return to  more empirical concerns while others see it as an extension and  intensification of the question ‘what is art?’ What links, for  example, the work of a Paul McCarthy to a Tracey Emin, if anything?  Or Balthus and Bruce Nauman? Can we place under one genre  performance art, video art, figurative painting, abstract painting,  photography, digital art? Central here are the questions of the  relation between postmodern art and modernism and the issue of the  lingering influence of Romantic paradigms on art in a supposedly  post-Romantic age. This conference attempts to address such  questions through a focus on the concept of ‘future art’ and papers  are welcome on these and related themes. As Hans Richter said of  Dada, ‘our real motive force was not rowdiness for its own sake, or  contradiction or revolt in themselves, but the question (basic  then, as it is now), ‘where next?’

Papers, workshops, reports, and presentations are invited on any of  these other related themes. 300 word abstracts should be submitted  by Friday 22nd September 2006. Full draft papers should be  submitted by Friday 17th November 2006. All papers accepted for and presented at this conference will be  published in an ISBN eBook. Selected papers accepted for and presented at the conference will be published in a themed hard copy volume.

Papers should be submitted to the organising committee as an email  attachment in Word or WordPerfect; abstracts can also be submitted  in the body of the email text rather than as an attachment.

Dr Jones Irwin

St Patrick's College

Dublin

Ireland

Email: Jones.Irwin@spd.dcu.ie

Dr Rob Fisher

Inter-Disciplinary.Net

Freeland, Oxfordshire OX29 8HR

United Kingdom

Email: flfa@inter-disciplinary.net

The conference is part of the ‘Probing the Boundaries’ programme of 

research projects. It aims to bring together people from different 

areas and interests to share ideas and explore various discussions 

which are innovative and exciting.

 

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An international conference in the framework of the celebrations of Emmanuel Levinas Centennial (2006) and in anticipation of Maurice Blanchot Centennial (2007).

 

November 13-16, 2006

International Conference – Palais de l'UNESCO, Paris, France

 

“A Century with Levinas: Levinas – Blanchot, Thinking the Difference”

 

*Important: pre-registration (required) by sending an e-mail with name and postal address to: info@levinas100.org

 

*Organizing Committee:* Eric Hoppenot (Paris), Arthur Cools (Antwerpen), Jean-Francois Patricola (Metz), David Uhrig (Paris)

 

*In Partnerships with:* UNESCO and World Philosophy Day,the Levinas Ethical Legacy Foundation (LELF, New York) and Association pour la Celebration du Centenaire d'Emmanuel Levinas (ACCEL, Paris)

 

*Supported by:* Ministère de l'Éducation Nationale, Ministère de l'Enseignement Supérieur et de la Recherche, Ministère des Affaires Étrangères, Région Ile de France, Haut Comité des Célébrations Nationales, Fondation Ostad Elahi. Editions Flammarion.

 

*Under the high patronage of* the International Organization of Francophony and *the auspices of* the Ministère de l'Éducation Nationale and the City of Paris*

 

More information

www.levinas100.org

www.mauriceblanchot.net

info@levinas100.org

 

 

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

 

Literature, Aesthetics and Philosophies of History, 1860-1940

 

The University of Birmingham

 

To be held at the Birmingham and Midland Institute, Birmingham

 

18th-19th January 2007

        

In his seminal Metahistory (1973), Hayden White describes a later-nineteenth century separation between the realms of ?true? history and ?philosophical? history and a renewed interest in the implicit assumptions inherent within constructions of the past. The resultant ?crisis in historicism,? particularly within German historiographical and philosophical thought, had important consequences for the claims made to knowledge, truth and transparency by the historian. The aesthetic correlatives of this crisis are to be found throughout the Europe of the time ? literature, criticism and art that spans the period, from Baudelaire and Pater through to Benjamin and Heidegger, from Impressionism to Surrealism, concerns itself not only with knowledge per se, but how understanding of the past has profound implications for living within the present.

 

This conference starts with the premise that the writers, artists and critics of the later-nineteenth and early-twentieth centuries were working with a well-defined historical sense. Many were historians, historicists, antiquarians and philosophers of history, consistently engaging with models of history and historical process, and interrogating the past and its construction in the present in cogent and philosophically-assured ways. It also begins by saying that

comparisons of the literature and the visual arts with the historiography and the philosophy of history of the period have so far been under-theorised, due at least in part to the perceived discordance of the practices employed by these different disciplines and the desire to read the arts and literatures of Aestheticism, Decadence and Modernism through their own, often acute, anti-historicism. As a

result, the depth of the connection remains unplumbed. There remain gaps, holes and silences: How precisely is the past and historical modelling used in the text and image of the period? What attempts are there at ?modernist? or ?aestheticist? history and historiography and how do these attempts ground themselves epistemologically? How might the methods of our own present thinking help us in re-conceptualising more fruitfully the relationships between the art and philosophy of history within this period?

 

We are seeking academics and postgraduates working within literary studies, history and the philosophy of history or in art and cultural history, to contribute to an interdisciplinary forum on these and any other points of crossover between literature, art, history and historiography and to challenge some of the ways in which these disciplines have conceptualised the period 1860-1940. The proceedings of this conference will be published as an appendix to a special issue of the e-journal Modernist Cultures (www.modernist.bham.ac.uk), devoted to the topic of Literature, Art, Historiography and the Philosophy of History, to be published in December 2007.

 

Papers should be 15-20 minutes long. For further details, or to submit a proposal of between 200-300 words, contact Daniel Moore at DTMoore726659371_at_aol.com. The deadline for proposals is 30th November

2006.

 

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

 

UPDATED CFP: Change of Conference DATE and Submission Deadline Extension

 

CALL FOR PAPERS

DaVinci to Derrida: Breaking Codes Across Disciplines ***Open to faculty,  graduates, and undergraduates

 

Texas A&M University - Commerce will hold the 15th Annual English Graduates for Academic Development (EGAD) conference on October 20, 2006. Submissions should be made by September 22, 2006. Registration materials will be sent upon acceptance to the conference.

 

This year's keynote speaker is George Getschow, Mayborn, Writer-in-Residence at the University of North Texas. He is also former bureau chief of the Wall Street Journal for Dallas and Houston. In 1983, he was runner-up for the Pulitzer Prize in the national reporting category for a series of stories about labor camps of the Southwest.

 

Now accepting proposals for papers and panels dealing with contemporary issues in academia. We welcome submissions from all areas of academic discourse including, but not limited to: English, History, Journalism, Political Science, Education, Psychology, and Sociology.

 

Suggested areas of interest: Panels will be organized by topic.

 

Critical Theory

Academia/Professional Issues

Pedagogy

Graduate Student Issues

Technology in the Classroom

Foreign Language Studies

Composition & Rhetoric

Pop Culture

Creative Writing

Film Studies

Science Fiction

Linguistics/ESL

Writing Center Theory & Practice

Literary Studies

 

To apply, send an abstract of 250-500 words. Electronic submissions encouraged. Panel proposals and workshops are welcome. Notification of acceptance and conference registration materials will be mailed electronically upon acceptance. Conference registration is $20. If you wish to attend the conference luncheon, the cost is an additional $15.

 

Please send inquiries and abstracts to:

EGAD

c/o Andrea Miller

Department of Literature and Languages

PO Box 3011

Texas A&M University-Commerce

Commerce, TX 75429-3011

egad06_at_yahoo.com

 

 

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

 

CFP: HBO and Lacan (10/10/06; Narrative '07)

 

Papers are invited for a proposed panel on HBO and Lacan for the 2007 Society for the Study of Narrative Literature conference (March 15-18). Lacanian readings are sought that engage and illuminate such programs as Deadwood, Big Love, Rome, Carnivale, Epitafos, The Sopranos, Oz, Six Feet Under, Sex and the City, Entourage, and Curb Your Enthusiasm; particularly welcome are papers that represent innovative encounters with Lacanian thought as well.

 

(Queries are welcome regarding programs other than those listed above, or papers taking an alternative approach to that suggested here.)

 

Please send 300-400 word abstract and brief vita to aworth_at_brandeis.edu by October 10.

 

Dr. Aaron Worth

Department of English and American Literature

Brandeis University

 

 

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

 

Southwest/Texas Popular & American Culture Associations 28th Annual Conference

Albuquerque, NM, February 14-17, 2007

Hyatt Regency Albuquerque

330 Tijeras

Albuquerque, NM 87102

Phone: 1.505.842.1234

Fax: 1.505.766.6710

 

Panels are now forming on topics related to Experimental Writing and Aesthetics in such areas as the aesthetics of experimental writing in any genre or in multi-genre/multi-media works including digital and graphic compositions involving language, the poetics of performance of experimental compositions, critical studies of experimental writers, etc.

 

Creative writers interested in the selective creative writing readings panels should contact Jerry Bradley, Creative Writing Readings Chair, via <http://www.swtexaspca.org> in the early fall.

 

Scholars, teachers, professionals, writers not affiliated with academic institutions, and others interested in experimental writing are encouraged to participate. Graduate students are also particularly welcome with award opportunities for best graduate papers.

 

If you wish to organize your own panel, I will be happy to facilitate your scheduling needs.

 

Send abstracts, papers, or proposals for panels with your email address by 1 December 2006:

 

Hugh Tribbey, Experimental Writing and Aesthetics Chair

Email: htribbey_at_ecok.edu

(Note the change of the email address.)

Mailing Address:

Dr. Hugh Tribbey

Department of English and Languages

East Central University

1100 E. 14th St.

Ada, OK 74820

Phone: 580-310-5524; Fax: 580-436-3329

Conference Website: < http://www.h-net.org/~swpca/ > (updated regularly)

 

 

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

 

Conference on Depiction

May 18 - 19, 2007, University of Manchester

 

Recent decades have seen philosophers devote considerable attention to depiction, that form of representation characteristic of figurative paintings, drawings and photographs. Despite this attention, there is as yet little agreement about what depiction involves. This conference aims to help remedy this situation by bringing together philosophers working in this area to discuss topics central to an adequate philosophical understanding of depiction. Such topics include: the nature and scope of depiction; its cognitive and aesthetic value; the relations between depiction and other forms of representation; the phenomenology of picture experience; the process of picture production; and the mechanics of picture interpretation.

 

Invited speakers are Robert Hopkins, The University of Sheffield; John Hyman, Oxford University; Dominic Lopes, The University of British Columbia; and John Kulvicki, Dartmouth College.

 

In addition, the conference organisers will accept a limited number of submitted papers. These papers should be philosophical in content, address one or more of the topics identified above, be formatted for blind refereeing, and be no more than 5000 words long. The deadline for submission of papers is the 31st December 2006. Decisions to accept or reject papers will be made by the end of February, 2007.

 

Submission deadline: December 31, 2006

 

Catharine Abell: Catharine.Abell@manchester.ac.uk

 

 

 

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

(internet source: http://www.gla.ac.uk/Acad/Philosophy/CSPE/art/art.html)

 

Workshop: Art and the Senses

Saturday 7 October 2006

University of Sheffield

Venue: 

Club 197

Brook Hill,

University of Sheffield

Map (in pdf format)

Organisers: Rob Hopkins and Fiona Macpherson

 

Conference Programme: 

10.00 - 11.30

Fiona Macpherson (University of Glasgow)

"Synaesthesia and Art: Scope and Limitations"

11.45 - 1.15

Andrew McGonigal (University of Leeds)

"Art and Discernibility"

1.15 - 2.15

Lunch

2.15 - 3.45

Catharine Abell (University of Manchester/Macquarie University)

"The Perceptuality of Pictures"

4.00 - 5.30

Robert Hopkins (University of Sheffield)

"Sculpture and Visual Perspective"

 

Registration: 

Attendance is free but if you expect to attend please email Rob Hopkins: r.hopkins@sheffield.ac.uk stating whether you would also like to attend the dinner that we are organising after the workshop. Lunch will be available for sale on the day in the venue.

Student Bursaries: 

There may be bursaries available to help graduate students with travel and other costs associated with attending the workshop. Please e-mail Rob Hopkins if you would like details.

Sponsors: 

Department of Philosophy, University of Sheffield

Centre for the Study of Perceptual Experience, University of Glasgow

 

Centre for the Study of Perceptual Experience

Department of Philosophy

67 - 69 Oakfield Avenue

University of Glasgow

Glasgow G12 8LT

Tel: +44 (0)141 330 5692

Fax: +44 (0)141 330 4112

Director: Dr. F. E. Macpherson

E-mail: f.macpherson@philosophy.arts.gla.ac.uk

 

 

17 (internet source: http://www.british-aesthetics.org/page.aspx?tabid=15)

(internet source: http://www.erp-review.org/cfp7.php)

 

CALL FOR PAPERS

 

Objects and Sound Perception

European Review of Philosophy, 7 (2007)

Nicolas J. Bullot & Paul Egré, editors.

Deadline for submission: 1 December 2006

In recent years, research on perceptual cognition directed at physical objects has been dominated by the studies of visual abilities. However, it is reasonable to consider that interacting with, and acquiring perceptual knowledge about physical objects depends on the relations between distinct perceptual modalities (or possibly, on a single multimodal perceptual system). Research on multimodal perceptual abilities may thus provide a key to the understanding of object-based cognition. In this context, this special issue intends to investigate the specific contribution of audition and sound perception to the knowledge about objects. Submissions are encouraged especially on the following problems: • While a number of theories of visual cognition seem to admit that the ontology of vision is object-based, the relevant ontology of auditory perception has sometimes been alleged to correspond to events. Are there two different ontologies for vision and audition? • One could assume that, as well for any other sensory capability, auditory perception provides information for singular representations and knowledge about objective particulars or individuals. How should one analyze the contribution of sound perception from such an epistemic point of view? • How should one provide a coherent analysis of complex phenomena such as voice and language perception, wherein multiple levels of information may be relevant for the perceiver (e.g., timbre and tonal information, phonemes, words, melodies, speaker's identity)? • What is the status of deictic or demonstrative reference directed at a particular sound source? • What are the respective features of visual and auditory identification? • Are inferences based on vision typically distinct from inferences based on audition?

 

Guest authors

Stephen Davies, University of Auckland

Michael Kubovy, University of Virginia

Mohan Matthen, University of Toronto

 

Submissions should be addressed electronically to: sound@erp-review.org. The deadline for submission is 1 December 2006.

 

Instructions for authors

Papers should describe original and previously unpublished work. Submissions must be in English and should not exceed 8000 words, with an abstract of up to 200 words. The following formats are accepted for submission: RTF, PDF, DOC, LATEX. Authors are invited to follow the stylistic guidelines, templates and detailed instructions available here.

 

Submitted papers will be reviewed by the Editors and blind-reviewed by two anonymous referees. For the purpose of blind refereeing, authors are requested not to include their name or affiliation in their submitted papers, but in a separate file. Each submission should consist of two distinct files:

 

A frontpage containing the title of the paper, the name and affiliation of the author(s), as well as any acknowledgment. The manuscript of the paper (containing only the title, the abstract and the body of the article).

 

Established in Geneva in 1989, the European Review of Philosophy is a peer-reviewed journal edited yearly at the Jean Nicod Institute, Paris. It publishes thematic volumes on philosophical and foundational issues in cognitive science.

 

Intending authors should make direct contact with the guest editors of the relevant issue by writing to: sound@erp-review.org

 

All other editorial correspondence should be addressed to:

European Review of Philosophy

Dario Taraborelli, editor

Institut Jean Nicod

1bis, avenue de Lowendal

F-75007 Paris

email: editor@erp-review.org

fax: (+33) 1 53 59 32 99

 

 

18 (internet source: http://www.british-aesthetics.org/page.aspx?tabid=15)

 

Aesthetics and Finitude.

Interdisciplinary journal seeks submissions for its 2006 issue (#11) on the theme of Aesthetics and Finitude.  We welcome all papers that articulate the relationship between aesthetics and finitude in the fields of art, film, visual studies, literature and philosophy. Possible topics might include: the relationship of death to Being, the death of art or the relationship of art to death, the role of finitude in modern/postmodern thought, the Kantian inheritance of postmodern aesthetics, the finitude of an aesthetic or artistic work, the position of art and aesthetics in the philosophical realm (specific philosophical perspectives could come from Hegel, Heidegger, Foucault, Deleuze, Lyotard, Baudrillard and Kristeva among numerous others), and the relationship between nontranscendence and finite aesthetics.

 

Please send the paper as a MS Word attachment to jrestes@buffalo.edu, or nmjowsey@buffalo.edu

 

19 (internet source: http://www.information-philosophie.de/)

 

2. bis 7. Oktober 2006

Esthétique dans la philosophie contemporaine

Aesthetics in Contemporary Philosophy

Ort  Tokyo

Veranstalter  Institut International de Philosophie

Inhalt  wissenschaftliche Jahrestagung

Kosten  

Call for papers  

Kontakt Hans Lenk: sekretariat@philosophie.uni-karlsruhe.de

 

 

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

 

Taste, Vision, Transcendence: Sublimity 1700-1900.

 5 January 2007

Brighton, Sussex, United Kingdom

 

Contact name: Christopher Stokes

E-mail: c.r.stokes_AT_sussex.ac.uk (to e-mail the conference organizers, please replace _AT_ with @)

One-day conference. Papers invited on any aspect of the sublime in literature and related fields. Send 250 word abstracts to c.r.stokes … by 17th Nov 2006. Plenaries: Andrew Bennett (Bristol), Philip Shaw (Leicester)

Organized by: REVELS (University of Sussex Romantic, 18th Century and Victorian English Literature Seminar)

Deadline for abstracts/proposals: 17 November 2006 

 

 

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

(internet source: http://www.unm.edu/~mdomski/philculture.html)

 

Philosophy and (Popular) Culture

Saturday 17 February 2007

University of New Mexico

Albuquerque, NM

A Conference for Graduate and Undergraduate Students

 

Featuring Keynote Speaker:

Professor Arindam Chakrabarti

University of Hawaii at Manoa

 

http://www.unm.edu/~mdomski/philculture.html

Contact name: David Burns

 

We welcome papers from all philosophical traditions that address relationships between philosophy and culture.

 

Deadline for abstracts/proposals: 1 December 2006

We welcome papers from all philosophical traditions that address relationships between philosophy and culture. 

 

Papers might consider themes such as: 

   Is liberation from culture the genuine mark of doing philosophy or is philosophy simply part of its larger culture?

   Are questions a philosopher engages limited – or even determined – by her culture? 

   Is the culture of academic philosophy in the United States compatible with genuine contemplation? 

   Should philosophers strive to be cultural critics? 

   Can philosophers of different cultures engage in meaningful dialogue? 

   Should philosophy be multicultural, monocultural or metacultural? 

   What is the distinction between high culture and popular culture? 

   Does popular culture raise questions that merit philosophical attention? 

   Can popular culture be used to teach philosophy? 

   Is popular culture a legitimate source of philosophical inspiration?   

 

Essays selected for presentation at the conference will be considered for publication in the conference proceedings.

 

All undergraduate and graduate students are invited to make a submission. Papers must 1) be no longer than 3,000 words, 2) be prepared for blind-review, and 3) include a 200 word abstract. Please email your submission in Microsoft Word (doc.) or Adobe (.pdf) format to David Burns at dburns3@unm.edu no later than 1 December 2006.

 

The program for the conference, along with information about travel and accommodations, will be made available by early January.  Please continue to visit this web site for further updates.

 

If you have any questions about the conference, feel free to contact David Burns at dburns3@unm.edu.

 

This conference is being made possible by the generous support of the University of New Mexico College of Arts and Sciences, the Philosophy Graduate Student Association, the undergraduate Phil Club, and the local chapter of Phi Sigma Tau.

 

 

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

(internet source: http://www.new-arts-frontiers.eu/)

 

Call for Papers       

New Frontiers in Arts Sociology:

Creativity, Support and Sustainability

4th Interim Conference of the ESA Research Network Sociology for the Arts

Lueneburg and Hamburg (Germany), March 28-April 1, 2007

 

The ESA Research Network Sociology for the Arts is organizing its 8th meeting at the end of March 2007 in Lueneburg (Germany), with additional events in near-by Hamburg. The main conference venue will be at the University of Lueneburg, close to the medieval old town.The conference will feature keynote lectures, plenary discussions, paper sessions, workshops, and round tables. Following the triad theme of the conference, "Creativity, Support, and Sustainability" , we will put an emphasis on those issues that are of sociological interest within arts worlds but also relate to those powerful developments in economy, ecology and ethic contexts on the macro level that influence, manipulate or determine production, content and forms, distribution and reception of the arts.

 

The deadline for proposals is October 15, 2006. Acceptance will be notified by December 01, 2006.

 

 

23 (internet source: http://www.philosophie.de/)

(internet source: http://www.benjamin-festival-berlin.de/http://www.benjamin-festival-berlin.de/german/tagung.htm)

 

17. - 12. Oktober 2006

NOW - Das Jetzt der Erkennbarkeit

Orte Walter Benjamins in Kultur, Kunst und Wissenschaft

 

Veranstalter: Zentrum für Literatur- und Kulturforschung (ZfL) in Kooperation mit dem Archiv der Akademie der Künste, Kino Arsenal, Hamburger Bahnhof – Museum für Gegenwart und Staatsoper Unter den Linden

 

Vortragende: Giorgio Agamben, Georges Didi-Huberman, Stéphane Mosès, Bernd Witte u.v.a.

 

Kurzinfo: Jede Generation und jede Kultur scheint sich ihren Benjamin aufs Neue anzueignen. Trotz der bestehenden Fülle an Werken, die seinem Denken gewidmet sind, zieht die Auseinandersetzung mit dem deutsch-jüdischen Kulturphilosophen immer weitere Kreise. Durch Übersetzungen in andere Sprachen und Übertragungen in andere Ausdrucksformen und Medien erweitert sich ständig der Kreis derjenigen, die Walter Benjamins Überlegungen als Grundlage ihres eigenen Denken setzen. Ausgangspunkt des Festivals ist die Beobachtung, dass Benjamins Schriften oftmals auf Fragen zu antworten scheinen, die zu formulieren uns überhaupt erst angesichts von gegenwärtig drängenden Herausforderungen möglich ist. Aktuelle Themen, für die Benjamins Denken jenseits der Grenzen einzelner Gebiete, Nationen und Disziplinen heute bedeutsam ist:

 *die Perspektiven europäischer Kultur im Horizont globaler

Entwicklungen,

 *die Bedeutung der Religion(en), die Kritik der Gewalt und die

 internationalen Verhandlungen über 'Gerechtigkeit',

 *das Auseinanderdriften von Naturwissenschaften und Kunst/Kultur,

 *die Entwicklung einer globalen Medienkultur.

 

Konzeption und Organisation: Prof. Dr. Sigrid Weigel und Dr. Sabine

Flach.

Gefördert durch die Kulturstiftung des Bundes.

 

TAGUNG

 

Die wissenschaftliche Tagung wurde von Sigrid Weigel, Mitglied des Executive Boards der International Walter Benjamin Association (IWBA), initiiert und wird vom Zentrum für Literatur- und Kulturforschung durchgeführt. Sie umfasst 6 Key-note-Lectures sowie 12 Sektionen, die von Mitarbeitern des ZfL in Kooperation mit Kollegen aus der internationalen Walter Benjamin-Forschung konzipiert wurden. In die Sektionsleitung sind Mitglieder der IWBA und der Internationalen Walter Benjamin Gesellschaft (IWBG) eingebunden. Die Sektionen umfassen jeweils drei zweistündige Arbeitssitzungen. Für jede Arbeitssitzung sind drei 20minütige Vorträge vorgesehen, d.h. insgesamt neun Vorträge pro Sektion. Tagungssprachen sind Deutsch und Englisch, d.h. Key-note-Lectures werden simultan gedolmetscht, die Vorträge in den Sektionen werden entweder deutsch oder englisch gehalten.

 

Key-note-Lectures

18.10., 10 Uhr, Sigrid Weigel (ZfL Berlin)

"Jene schnöde säkularisierten Gewitter". Zum Verhältnis von Kreatur und Schöpfung in Benjamins Schriften

18.10., 15 Uhr, Samuel Weber (Evanston, Ill., USA)

Benjamin's Abilities: Mediality and Concept Formation in Benjamin's Early Writings

19.10., 10 Uhr, Bernd Witte (Düsseldorf)

Die Krise der Tradierbarkeit. Stadt Schrift Gedächtnis

20.10., 10 Uhr, Detlev Schöttker (Dresden)

"Das Bild ist eine Tatsache". Benjamin liest Wittgenstein

20.10., 15 Uhr, Uwe Steiner (Houston, Tx., USA)

Walter Benjamins Moderne

21.10., 10 Uhr, Anselm Haverkamp (Frankfurt/Oder)

Melencolia illa heroica: Die Sackgasse der Benjamin-Kritik

 

Sektionen (Sektionsleiter)

1. Archiv und Edition (Erdmut Wizisla, AdK Berlin / Martin Treml, ZfL) - alle Abstracts als PDF

2. "Revueformen der Philosophie" - jenseits der Systeme (Ashraf Noor, Jerusalem / Erik Porath, ZfL) - alle Abstracts als PDF

3. Profane Erleuchtungen / Illuminations (Willem van Reijen, Utrecht / Karlheinz Barck, ZfL) - alle Abstracts als PDF

4. Dialektik der Säkularisierung (Uwe Steiner, Houston / Daniel Weidner, ZfL) - alle Abstracts als PDF

5. Das Optisch-Unbewußte - Mediengeschichtliche Konstellationen (Mike Jennings, Princeton / Inge Münz-Koenen, ZfL) - alle Abstracts als PDF

6. Benjamins Topographien - Orte, Nicht-Orte (Bernd Witte, Düsseldorf / Franziska Thun-Hohenstein, ZfL) - alle Abstracts als PDF

7. Benjamin on/in translation - Differenzen und Ungleichzeitigkeiten (Willi Bolle, Sao Paulo/ Robert Stockhammer, ZfL) - alle Abstracts als PDF

8. "Premier critique de la littérature allemande" - Benjamin als Philologe und Praeceptor (Alexander Honold, Basel / Justus Fetscher, ZfL) - alle Abstracts als PDF

9. Akustische Figuren: Stimmen und Geräusche (Bettine Menke, Erfurt / Uwe Wirth, ZfL) - alle Abstracts als PDF

10. Das natürliche und das übernatürliche Leben - Benjamins Konzept des bloßen Lebens (Eric Santner, Chicago / Sigrid Weigel, ZfL) - alle Abstracts als PDF

11. "Durchdringung von Kunst und Wissenschaft" (Peter Weibel, ZKM / Sabine Flach, ZfL) - alle Abstracts als PDF

12. Benjamins Kommunismus: Der Linksintellektuelle und die Sowjetunion (Chryssoula Kambas, Osnabrück / Ernst Müller, ZfL) - alle Abstracts als PDF

 

1. Archiv und Edition (Erdmut Wizisla, AdK Berlin / Martin Treml, ZfL)

Benjamins Arbeitsweise ist eine Herausforderung für jede Edition. An seinen Aufzeichnungen und Manuskripten verstärkt sich das Phänomen, dass Drucke den Mitteilungscharakter von Handschriften verdecken, sie sind eine Stillstellung der Originale. Das Panel widmet sich der visuellen Qualität von Benjamins Handschriften, den Differenzen von Hinterlassenschaften und Editionen und der Frage, wie mit der Existenz der in diversen Nachlässen zerstreuten Korrespondenzen Benjamins umgegangen werden kann. Es soll Werkstattcharakter haben.

2. "Revueformen der Philosophie" - jenseits der Systeme (Ashraf Noor, Jerusalem / Erik Porath, ZfL)

Benjamins Einbahnstraße ist als Umschlagplatz philosophischer Fragestellungen aufgefaßt worden (E. Bloch), ein Verfahren, dessen Maxime im Wahlverwandtschaften-Aufsatz formuliert ist: "alle echten Werke haben ihre Geschwister im Bereiche der Philosophie." Solche Verwandtschaft suchte Benjamin an den verschiedensten Orten von Kultur, Technik und Gesellschaft auf. Konfrontiert mit der Versuchung des Synkretismus, hielt er am systematischen Charakter einer Philosophie fest, welche die Gemeinsamkeit von Problemstellungen betont, die an zerstreuten Phänomenen auftreten. Insofern soll es um die Transformationsgestalten der Philosophie in seinen Schriften gehen. Dabei interessieren sowohl die Bezugnahmen auf andere Denkansätze als auch die jeweiligen kulturell-medialen Konstellationen, in welchen die Philosophie auf den Plan tritt, um die epistemischen Figuren zu befragen, die den geschichtlichen Ort - und damit immer auch den der Gegenwart - bestimmen.

3. Profane Erleuchtungen / Illuminations (Willem van Reijen, Utrecht / Karlheinz Barck, ZfL)

Benjamins Denken kreist von Anfang an um eine Theorie der Erfahrung. Profane Erleuchtung wird dabei seit Ende der 20er Jahre zu einer an der Lektüre der Pariser Surrealisten (Aragon, Breton) gewonnenen chiliastischen Denkfigur, die, als Umschlagspunkt von Extremen, neue Horizonte konfiguriert und definiert. Dabei geht es um einen mehrfachen Umschlag: von einer messianischen Option in die des historischen Materialismus, vom Ästhetischen in die "Zerschlagung des Ästhetischen", von revolutionären Energie in das Veraltete usw. Auf diese Weise konfrontiert Benjamin das Geschichtliche mit dem Primat des Politischen, den Historismus mit dem Erwachen. Als Denkfigur lenkt die "profane Erleuchtung" die Aufmerksamkeit auf den Surrealismus als "Keimzelle einer neuen politischen Theorie der Erfahrung", auf den "anthropologischen Materialismus", auf die Extreme des "Rausches der Zeugung" und des "Taumels der Vernichtung". Für Benjamin sind die gängigen Theorien der Erfahrung (Kant als Musterbeispiel) obsolet, weil sie sich einseitig auf eine Seite, das Materialistische oder das Theologische, festlegen, während 'Wahrheit' nur im flüchtigen Umschlagspunkt der Gegensätze aufblitzt.

4. Dialektik der Säkularisierung (Uwe Steiner, Houston / Daniel Weidner, ZfL)

In der ersten seiner Thesen Über den Begriff der Geschichte exponiert Benjamin das Verhältnis von Theologie und 'historischem Materialismus' in einem philosophischen Denkbild. Hier wie an anderen Orten seines Werkes läßt sich beobachten, wie er theologische Motive in profane Kontexte einbringt, indem er Religion und Moderne nicht miteinander vermittelt, sondern als spannungsreiche Konfigurationen gegenstrebiger Kräfte dem Denken überantwortet. Mit Blick auf die Dialektik der Säkularisierung soll in der Sektion untersucht werden, wie Benjamin Religion und Politik, Theologie und Moderne in ihren jeweils unterschiedlichen Spielformen und historischen Erscheinungsweisen zu komplexen Konstellationen zusammenfügt. Neben der Frage nach seiner Stellung in der Säkularisierungsdebatte sollen dabei Benjamins Darstellungsstrategien angemessen berücksichtigt werden.

5. Das Optisch-Unbewußte - Mediengeschichtliche Konstellationen (Mike Jennings, Princeton / Inge Münz-Koenen, ZfL)

Im Zentrum steht hier die historische und kulturbedingte Wandelbarkeit "von Daseinsweise und Sinneswahrnehmungen" (Benjamin 1935). Benjamins Beobachtung, daß die Filmkamera beim Betrachter einen latenten Subtext unterhalb der bewußten Apperzeption erzeugt, kann 2006 auf die nachfolgenden Medienumbrüche hin aktualisiert werden. So z.B. auf die Wirklichkeitskonstruktion durch digitale Medien und daraus folgende komplexe 'Verschiebungen' in der apparategestützten visuellen Wahrnehmung - zwischen Auge und Blick, Blick und Körper, Blick und Raum. Zu fragen ist, ob die noch ausstehende 'Geschichte des Blicks' als Aufgabe der Kulturforschung sich auch auf die kommunikativen Implikationen der Benjaminschen Medientheorie beziehen kann. Was hieße z.B. Des- und Reorientierung, Des- und Reorganisation der 'menschlichen Kollektiva' unter den Bedingungen von Computeranimation, Cyberspace und World Wide Web?

6. Benjamins Topographien - Orte, Nicht-Orte (Bernd Witte, Düsseldorf / Franziska Thun-Hohenstein, ZfL)

Mit dem Stichwort von Benjamins Topographien sind verschiedene Aspekte aufgerufen, deren Zusammenspiel in Benjamins Werk den zentralen Focus der Sektion bildet: 1) Zum einen soll den Spuren nachgegangen werden, die Benjamins rastlose Reisen quer durch Europa in seinen Schriften hinterlassen haben, was auch die Frage nach dem Ausgeblendeten, nach seinen Nicht-Orten einschließt. 2) Zum anderen bildet Benjamins Begrifflichkeit ein wichtiges Untersuchungsfeld, sind doch zahlreiche Schlüsselbegriffe den Kategorien eines sich auf die Topographie stützenden kulturellen Gedächtnisses entnommen (Schwelle, Grenze, Übergang, Schauplatz, Passagen usw.). 3) Schließlich erfolgt die Analyse der konkreten Topographie eines Paris des 19. Jahrhunderts, wie diese sich in den späten Schriften Benjamins abzeichnet.

7. Benjamin on/in translation - Differenzen und Ungleichzeitigkeiten (Willi Bolle, Sao Paulo/ Robert Stockhammer, ZfL)

Übersetzungen von Benjamins Texten beeinflussen deren Rezeption in nicht unerheblichem Maße. Die Verfügbarkeit von Editionen in verschiedenen Sprachen ist dafür mitverantwortlich, daß in unterschiedlichen Ländern zur gleichen Zeit verschiedene Aspekte und Teile von Benjamins Werk in der Diskussion dominieren. Auf welche regionalen und nationalen Entwicklungen ist es zurückzuführen, daß bestimmte Teile von Benjamins Werk in manche Sprachen noch gar nicht, in andere bereits mehrfach übersetzt wurden? Welche Wirkungen haben diese Übersetzungen selbst, die Benjamins Aussagen meistens eindeutiger, manchmal auch weniger klar erscheinen lassen als die Originale? Welche spezifischen Probleme und Möglichkeiten ergeben sich bei der Übersetzung in Sprachen, die in nicht-alphabetischen Schriften notiert werden? Ist Benjamins eigene Theorie der Übersetzung geeignet, um solche Prozesse zu beschreiben? Steht sie im Einklang mit einer gestiegenen Aufmerksamkeit auf den Eigenwert von Übersetzungen? Kann sie für aktuelle Diskussionen um 'kulturelle Übersetzung' produktiv gemacht werden?

8. "Premier critique de la littérature allemande" - Benjamin als Philologe und Praeceptor (Alexander Honold, Basel / Justus Fetscher, ZfL)

Mit seiner Dissertation stellte sich Benjamin in die Nachfolge Friedrich Schlegels, der mit seinen Schriften den doppelten Anspruch angemeldet hatte, das Amt Lessings als des ersten deutschen Kritikers zu übernehmen und das von Goethe im Meister-Roman bewiesene Dichtertum der (frühromantischen) Kritik zuerkannt zu erhalten. Nach dem Scheitern seines Habilitationsverfahrens positionierte Benjamin sich und sein kritisches Amt im Feld der literarischen Publizistik. Er bündelt dabei die Rolle des Kommentators, der einem heiligen Text mit äußerster Ehrfurcht und äußerstem Mißtrauen begegnet, mit der des unnachgiebigen Kannibalen, der seine Zeit im Medium ihrer publizistischen Neuerscheinungen strafend herbeizitiert. Neben Schlegel tritt Karl Kraus, neben die potenzierend-erkenntnisstiftende die destruktive Seite der Kritik. Unermüdliche Liebe zu den Texten, enzyklopädisches Wissen um ihre Sachgehalte steht allemal im Dienst einer Prüfung, die, Adorno zufolge, schon in der Dissertation ein ironisches Verhältnis zur philologischen Methode hatte. Zu fragen ist nach den Akzentverschiebungen in Benjamins Theorie, nach seiner Praxis von Kritik und nach den Grenzen, an die dieser Benjaminsche Schlüsselbegriff im Zuge seiner Verwandlungen und Erweiterungen stoßen mochte.

9. Akustische Figuren: Stimmen und Geräusche (Bettine Menke, Erfurt / Uwe Wirth, ZfL)

Das Akustische spielt in der wissenschaftlichen Auseinandersetzung mit Benjamin bislang eine untergeordnete Rolle - kein Wunder, angesichts von Benjamins Interesse an Bildlichkeit und Schriftlichkeit. Dieser 'blinde Fleck' eröffnet indes die Möglichkeit zu erkunden, welche Funktion der Stimme und dem "Nachhall der Geräusche" in Benjamins Schriften zukommt. Was bedeutet es, wenn es einerseits im Kraus-Essay heißt, daß die "bloße kreatürliche Stimme sich auflöst" und zum "Summen" wird, während andererseits in der Berliner Kindheit das "Nachtgeräusch" des Telefons eine Neugeburt der Stimme anzukündigen scheint, "die in den Apparaten schlummerte". So soll es nicht nur um Funktion von Stimme und Geräusch in den Hörmodellen und den Rundfunkgeschichten gehen, sondern auch um die Frage nach einer spezifisch 'akustische Phantasie' Benjamins.

10. Das natürliche und das übernatürliche Leben - Benjamins Konzept des bloßen Lebens (Eric Santner, Chicago / Sigrid Weigel, ZfL)

Benjamins Kritik am Dogma von der Heiligkeit des bloßen Lebens (Kritik der Gewalt) ist Teil seiner andauernden Reflexion über das Verhältnis zwischen 'natürlichem' und 'übernatürlichem' Leben: vom Motiv der 'Vergeistigung des Sexuellen' in den Frühschriften über die Auseinandersetzung mit den 'heiligen Menschenrechten' in Kritik der Gewalt und die Diskussion über den 'Schuldzusammenhang des natürlichen Lebens' im Goethe-Essay bis zur Bachofen-Rezeption und der Deutung des Kreatürlichen im Kafka-Essay und zur Analyse des Verhältnisses von Sexus und Geist im Kraus-Essay. Benjamins Überlegungen sollen untersucht werden im Hinblick auf ihren Beitrag zur aktuellen Diskussion über den Lebensbegriff im Zusammenhang von politischer Theologie, staatlicher Gewalt und Terrorismus, Biowissenschaft und Menschenrechten.

11. "Durchdringung von Kunst und Wissenschaft" (Peter Weibel, Karlsruhe/ Sabine Flach, ZfL)

Gegenstand der Forschung sind die Ideen, schreibt Benjamin in der erkenntniskritischen Vorrede zum Ursprung des deutschen Trauerspiels, und Darstellung der Inbegriff der Methode. In seinen frühen Fragmenten zur Erkenntnistheorie folgt Benjamin dem einschlägigen Diktum Goethes, daß "wir uns die Wissenschaft notwendig als Kunst denken, wenn wir von ihr eine Art Ganzheit erwarten". Dieser Rekurs auf Goethes Naturwissenschaften gilt dem Bestreben, den "Gebietscharakter", die Grenzen zwischen Wissenschaft und Kunst zu unterlaufen. Das Panel widmet sich dieser Perspektive von Benjamins Arbeit in der Diskussion: seiner Vorstellung der Kristallisation, der These vom Gebietscharakters, der Parallelisierung von Urphänomen und Symbol und der Rolle der Anschauung für die Erkenntnis.

12. Benjamins Kommunismus: Der Linksintellektuelle und die Sowjetunion (Chryssoula Kambas, Osnabrück / Ernst Müller, ZfL)

Gegen die scheinbare Erledigung des Themas "Literatur und Politik" soll ein Satz aus Benjamins Brief an Max Rychner zu neuer Lektüre anregen: "Hierarchien des Sinns hat meiner Erfahrung nach die abgegriffenste kommunistische Platitüde mehr als der heutige bürgerliche Tiefsinn, der immer nur den einen der Apologetik besitzt." Will man Benjamin nicht selektiv rezipieren, muß man sich mit seiner von 1924-1938 kenntlichen Option für die Sowjetunion und mit seiner dezidierten Kritik an deren Kulturpolitik auseinandersetzen. Einer Relektüre bedürfen biographisch-intellektuelle Konstellationen wie die Beziehung zu Asja Lacis, zu Brecht, Bloch, zum Institut für Sozialforschung, seine Sicht auf Intellektuelle im kommunistischen Apparat, ebenso die Publikationen zum sowjetischen Film, zu Agitprop und Kindertheater wie zur Intellektuellen-Problematik in der Gesellschaft. Das Moskauer Tagebuch, Dokument der Ernüchterung, evoziert den Vergleich mit anderen Moskau-Berichten der Zeit. Und auch in den Pariser Passagen spielen Kommunismus, Aufhebung des Privateigentums, klassenlosen Gesellschaft und Marx' Politische Ökonomie eine wichtige Rolle ebenso wie geistige Vorläufer wie Fourier, Saint-Simon und die Kommune von 1871. Wie er Technik, Architektur und Geschlechterfrage ins Zentrum rückt, zeigt, wie sehr seine Kulturgeschichte Gesellschaftstheorie als konstruktive Armatur benötigt.

 

 

24 (internet source: http://www.sif-isp.org/?eng_actividades_filo3.htm)

 

28-30 de novembro de 2006

National Colloquium: “The comic and the tragic. Aesthetical Reflections”

Ouro Preto Federal University, Ouro Preto, Brazil

http://www.comicotragico.rg.com.br/

 

 

25 (internet source: http://www.siestetica.it/)

 

06/10/2006 - Estetica e comunicazione 

Firenze. Promosso dall'Osservatorio di Comunicazione e spettacolo della Società Italiana d'Estetica il 6 ottobre 2006 (dalle 10.00 alle 18.00) si terrà a Firenze presso la Facoltà di Scienze della Formazione (Via del Parione 7, Aula Klimt) il Seminario dal titolo Estetica e comunicazione: riflessioni teoriche e questioni istituzionali, introdotto da F. Desideri, G. Bechelloni, M. Buonanno, L. Toschi, R. Diodato, A. Somaini, G. Matteucci, M. Mazzocut-Mis, P. Pellegrino, F. Scrivano. 

 

 

26 (internet source: search engine)

(internet source: http://www.philosophyconferences.com/call-for-abstracts-first-online-conference-in-aesthetics/)

 

Call for Abstracts: First Online Conference in Aesthetics

Published by Becky Vartabedian August 1st, 2006 in Events

October 1, 2006

6:21 pm to 9:21 pm

First Online Conference in Aesthetics

Theme: Arthur Danto’s Transfiguration of the Commonplace—25 Years Later

Begins: Jan 2007

Last date for paper submission: Sun, 01 Oct 2006

Organizer: Michalle Gal (Tel Aviv University)

Organizer: Jonathan Neufeld (Vanderbilt University)

Organizer: Brian Soucek (University of Chicago)

The organizers of the First Online Conference in Aesthetics seek submissions for an interdisciplinary conference on Arthur Danto’s Transfiguration of the Commonplace, which this year celebrates its 25th anniversary. Most recent discussions of Danto’s work have focused either on his art criticism or his historical claims about the end of art. This conference aims to focus instead on topics raised by Danto’s earlier work. Papers might take several approaches, including:

1. Critical discussion of Danto’s arguments in Transfiguration.

2. Comparisons of Danto’s philosophy of art to that of others, whether within or outside the analytic or Western traditions.

3. Explorations of questions raised or left open by Danto’s book.

4. Specific discussions of the Transfiguration’s continued relevance within aesthetics or its application to particular arts (painting, music, literature, dance, etc.).

The conference, to be presented online in January 2007, will feature papers from scholars in philosophy, art history, and other fields impacted by Danto’s work. Keynote papers will be offered by Richard Shusterman (Philosophy, Florida Atlantic) and David Carrier (Art History, Case Western). Professor Danto will close the conference with a response to the papers presented.

To be considered for the conference, please submit an abstract (no longer than 300 words) to soucek@uchicago.edu by October 1, 2006. Authors of accepted abstracts will then be asked to provide a full paper (of approximately 2500 words) by December 15, 2006.

A prize of $250 will be given for the best paper written by a graduate student. Support for this and other conference expenses comes from Vanderbilt University’s Robert Penn Warren Center for the Humanities, the Franke Institute for the Humanities at the University of Chicago, and the Philosophy Departments at Vanderbilt and Tel Aviv University.

First Online Conference in Aesthetics

Arthur Danto’s Transfiguration of the Commonplace—25 Years Later

Michalle Gal (Tel Aviv University)

Jonathan Neufeld (Vanderbilt University)

Brian Soucek (University of Chicago)The organizers of the First Online Conference in Aesthetics seek submissions for an interdisciplinary conference on Arthur Danto’s Transfiguration of the Commonplace, which this year celebrates its 25th anniversary. Most recent discussions of Danto’s work have focused either on his art criticism or his historical claims about the end of art. This conference aims to focus instead on topics raised by Danto’s earlier work. Papers might take several approaches, including:

1. Critical discussion of Danto’s arguments in Transfiguration.

2. Comparisons of Danto’s philosophy of art to that of others, whether within or outside the analytic or Western traditions.

3. Explorations of questions raised or left open by Danto’s book.

4. Specific discussions of the Transfiguration’s continued relevance within aesthetics or its application to particular arts (painting, music, literature, dance, etc.).

The conference, to be presented online in January 2007, will feature papers from scholars in philosophy, art history, and other fields impacted by Danto’s work. Keynote papers will be offered by Richard Shusterman (Philosophy, Florida Atlantic) and David Carrier (Art History, Case Western). Professor Danto will close the conference with a response to the papers presented.

To be considered for the conference, please submit an abstract (no longer than 300 words) to soucek@uchicago.edu by October 1, 2006. Authors of accepted abstracts will then be asked to provide a full paper (of approximately 2500 words) by December 15, 2006.

A prize of $250 will be given for the best paper written by a graduate student. Support for this and other conference expenses comes from Vanderbilt University’s Robert Penn Warren Center for the Humanities, the Franke Institute for the Humanities at the University of Chicago, and the Philosophy Departments at Vanderbilt and Tel Aviv University.2006-10-012007-01-012007-01-01

 

 

 

27 (internet source: search engine)

(internet source: http://info.interactivist.net/article.pl?sid=06/09/06/1845228)

 

CALL FOR PAPERS, COLLABORATIONS AND INTERVENTIONS: AESTHETICS AND RADICAL POLITICS

Fri 2nd Feb 2007, University of Manchester

 

There has always been a strong connection historically between aesthetics and radical politics, and this is no less true for the global justice movement's current preoccupation with cultural approaches to political action. This conference seeks to bring radical artists, activists, theorists and academics together to discuss past and present convergences between the theories and practices of artists and writers and the theories and practices of movements for radical social change.

There is already a massive amount of literature on Marxist approaches to aesthetics, art and literature, and whilst we welcome papers engaging with such approaches, we would also encourage presentations and discussions that address these issues from other radical critical positions - whether they be anarchist, autonomist, ecological or otherwise. Such perspectives have often been overlooked historically, but it is arguable that they now more centrally influence the activities of radical artists and activists.

The event will be defined by those who participate. What would you like to see happen? What kind of discussions do you think are important? Would you like to present a paper, facilitate a discussion, propose a panel presentation, organise a workshop or contribute in other ways? 

We imagine papers, discussions & workshops about things like:

Carnivalesque protest and theatrical interventions

Affect and political action

Art-activism

Anarchist literary criticism

Situationism and its reception by contemporary activists

'Second wave' anarchism and culture - John Moore, Hakim Bey etc.

Anarchism and Modernism

Cultural production and immaterial labour

Anarchism and poststructuralism

The politics of the avant-garde

Anarchist fiction, biographies and autobiographies

ACADEMIC PAPERS: Please submit an abstract of no more than 500 words, along with a brief biographical introduction. Papers from all perspectives will be considered. Papers should aim to be accessible and to encourage discussion. We are also considering publishing selected papers in a special issue of Anarchist Studies.

WORKSHOPS & FACILITATED DISCUSSIONS: Please send us a proposal (1 page at most) which addresses the following questions:

* how long would you want for your session (e.g., 1 or 2 hours)?

* do you want to limit the number of participants? If so, how many?

* what are the aims of the session? What do you envision coming out of it?

* how does the session work toward those aims? * what experience would you bring to the session?

DEADLINE: December 15th 2006.

REGISTRATION: Costs of participation have yet to be determined but will be kept to an absolute minimum and on a sliding scale. If possible, we also aim to provide a small number of travel grants. Please contact us to be kept up to date on these details.

GROUPS: We welcome groups interested in aesthetics and radical politics to participate by organising workshops, sending folk along or providing materials for distribution (whole info stalls or bunches of leaflets, flyers, etc).

ARTS & ENTERTAINMENTS: Proposals toward evening entertainments, artistic interventions, etc very welcome!

CONTACT for submissions, proposals, registration, etc : Gavin Grindon Gavin@cyber-rights.net Gavin Grindon

Department of English and American Studies

University of Manchester

Oxford Road

Manchester

M13 9PL

United Kingdom

 

 

 

 

 

LECTURES (4)

 

1 (internet source: http://www.wissenschaftskompass.at)

 

Egon Friedell und und der Unernst des Lebens

Vortrag

Ort: HS 14 TU (Technische Universität), 3. Obergeschoß

1040 Wien, Karlsplatz 13

Tel: 0650 51 00 44 2

eMail: stefan.lakonig@karlskirche.at

Datum: 18.10.2006

Zeit: 19:00:00

Veranstalter: KHG

Anmeldung/Information: Tel: 0650/510 04 42 

VortragendeR: Mag. Stefan Lakonig

 

2 (internet source: http://www.wissenschaftskompass.at)

 

Die schönste Formel

i – die Ebene

Art: Vortrag

Ort: Auditorium des MUMOK

1070 Wien, Museumsplatz 1

 Datum: 18.10.2006

Zeit: 19:00:00 - 20:00:00

Details: http://math.space.or.at/veranst3/formel

Veranstalter: math.space

Anmeldung/

Information: Tel: 58801-11924

Fax: 58801-11999

mehlmann@math.space.or.at

VortragendeR: Prof. Dr. Rudolf Taschner

 

3 (internet source: http://www.wissenschaftskompass.at)

 

Die neue Philosophie der Lebenskunst

Ort: Volkshochschule Brigittenau

1200 Wien, Raffaelgasse 11-13

Tel: 330 41 95, Fax: 330 41 95 / 26

eMail: anmeldung@brigittenau.vhs.at

Datum: 19.10.2006

Zeit: 18:00:00 - 19:30:00

Anmeldung/

Information: Tel: 330 41 95/46

Fax: 330 41 95-26

sg@brigittenau.vhs.at

VortragendeR: Dr. Markus Riedenauer

Anmerkung: Veranstaltung im Rahmen von "university meets public"

Kosten: € 5.0

 

4 (internet source: http://www.wissenschaftskompass.at)

 

Gerald Siegmund (D/CH) "Aufmerksamkeit, oder Die Ekstase der Dinge"

Aufmerksamkeit - Eine Vortragsreihe zur Ästhetik der Hin- und Abwendung in Bezug zu Tanz und Performance

Art: Vortrag

Ort: Tanzquartier Wien / Studios

1070 Wien, Museumsplatz 1

Tel: 581 35 91, Fax: 581 35 91-12

eMail: tanzquartier@tqw.at

Datum: 21.10.2006

Neue Vortragsreihe - monatlich ab Oktober

Zeit: 18:30:00

Details: http://www.tqw.at

Veranstalter: Tanzquartier Wien

VortragendeR: Dr. Gerald Siegmund

Anmerkung: Die neue Vortagsreihe Aufmerksamkeit setzt sich mit der Ästhetik der Hin- und Abwendung in Bezug zu Tanz und Performance auseinander. Sind Automatismus und Rastlosigkeit Krankheiten unserer atemlosen Zeit, so bietet die Aufmerksamkeit einen Ausnahmezustand suspendierter Zeitlichkeit. Sie schwebt zwischen Versenkung und Versäumnis, zwischen Hin- und Abwendung. Worauf die schwebende Aufmerksamkeit sich einlässt – auch im zeitgenössischen Tanz und in Performance –, ist nichts Fixes und Festes, sondern eine Bewegung, ein höchst instabiler Stillstand. So findet sie sich immer wieder in dem ihr Entgegengesetzten, in der Zerstreuung – sie lässt immer etwas anderes außer Acht, indem sie Acht gibt. Aufmerksamkeit ist immer eine Gabe des Anderen. 

Kosten: freiwillige Spende

 

5 (internet source: http://www.filosofia.unibo.it/convegni-conferenze/conferenze_conferenze.htm)

 

Estetica (Prof. Carlo Gentili)

 

Prof.ssa Giovanna Pinna (Università del Molise):

Fondazione estetica e conoscenza filosofica.

Le "Lettere sull'educazione estetica dell'uomo" di Friedrich Schiller

 

Giovedì 3 novembre, Aula III

Orario: 11-13

 

 

6 (internet source: search engine)

(internet source: http://philosophy.berkeley.edu/events/upcoming)

 

Tue Oct 24, 2006

306 Wheeler Hall — 6:30 pm

Interdisciplinary Marxism Working Group

Marxism & Aesthetics

Department of Philosophy

314 Moses Hall #2390

University of California

Berkeley, CA 94720-2390

tel: 510-642-2722

fax: 510-642-4164

e-mail: phildept@berkeley.edu

 

 

 

PUBLICATIONS (1)

 

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

 

Since I last reported, in February 2006, the website at   http://www.earlymoderntexts.com has acquired the following texts:

 

1. Reid’s Essays on the Intellectual Powers of Man, all except Essay 8, “On Taste”.

 

2. The Objections to Descartes’s Meditations (except for the long, bad seventh set), and Descartes’s Replies to them.

 

3. Four essays by Hume: Standard of taste, Tragedy, Suicide, and Immortality of the soul.

 

I have started work on Jonathan Edwards, Freedom of the Will and expect to start soon on Kant’s Doctrine of Virtue.

 

Jonathan Bennett

 

 

 

July 2007 – September 2007

 

CALLS FOR PAPERS/CONFERENCES (NEW 14 + 7)

 

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

 

10-15 juillet 2007, Zürich

18th International Congress of the International Musicological Society : Sonoristic Legacies: Toward New Paradigms in Music Theory, Aesthetics, and Composition

http://www.musik.unizh.ch/ims2007/html/programmkomitee.html

 

 

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

 

XVIIth INTERNATIOANAL CONGRESS OF AESTHETICS

9 to 13 July 2007

ANKARA, Turkey

http://www.sanart.org.tr/congresses/07ICA/index.html

Contact name: Prof.Dr. Jale ERZEN

The XVIIth International Congress of Aesthetics, taking place in Turkey, will approach art and culture in terms of historic ruptures, continuities, tensions and hybridities. With worldwide participation, it is expected that alternative dis

Organized by: SANART, Turkish Society for Aesthetics and Visual Culture.

 

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

 

Thinking through Affect

A two-day symposium on body, affect, emotion and moving images

Friday 8 – Saturday 9 September

 

Jan van Eyck Academie, Maastricht

 

Lectures by Steven Shaviro /Anna Powell /Lesley Stern /Norman Bryson /Barbara M. Kennedy /Tarja Laine /Tim Stüttgen /Monika Bakke /Erin Manning /Maaike Bleeker

 

http://affect.janvaneyck.nl

 

In Deleuze and Spinoza's view the body is not considered a substance but a kinetic and dynamic thing that is organised by "a capacity for affecting and being affected." Affect exists only as relation between two bodies and transgresses the borders between self and other, between subject and object. Affect takes place on an automatic level not consciously registered unless it is actualized into feeling or emotion. According to Brian Massumi affect operates on a 'superlinear' level that is registered by the skin and the visceral senses as 'intensity,' virtual and unqualified experience.

 

This symposium will closely draw on theories on visual media, especially cinema and media studies, since technological media confront us with forms of perception that are non-intentional and a-subjective, not subdued to the laws of representation and meaning. They can create a shortcut to sensual and bodily experiences and have the capacity to intensify, alter or distort the affective dimensions of an image, sound, voice, face or gesture. Since the meaning and intensity of an image are not necessarily congruent with each other, affect can be and is easily exploited for political or commercial use.

 

Apart from the philosophical and aesthetic discourse on affect and embodiment, recent findings in empirical psychology and neurobiology have shown that the effects of affect are real and point to an intelligence of emotions, as well as an intelligence of the body; they operate on a different level than that of the rational mind. How do non-conscious automatic reactions affect and shape the viewer's experience? How can we write and think about affect? Which concepts from philosophy and art theory but also from science can be useful? And how does this level of corporeal experience resonate with conscious emotions and with processes of recognition and interpretation?

 

Keywords:

-affect, feeling, emotion

-viscerality, tactility, synaesthesia, proprioception

-the body-mind as movement, process, becoming

-duration, intuition, memory

-affective mimicry and feedback reactions

-emotional and tactile contagion

 

Day one

10:30

registration

11:00

introduction by Ils Huygens (Theory Department, Jan Van Eyck Academie)

11:30

Barbara M. Kennedy (Film Studies School, University of Staffordshire)

Thinking ontologies of the mind/body relational: fragile faces and fugitive graces in the processuality of creativity and performativity

12:15

Monika Bakke (Adam Mickiewicz University, Poznan)

I'm too sad to tell you…the story of the Grizzly Man

13:00

Lunch break

14:00

Steven Shaviro (DeRoy Professor of English, Wayne State University, Detroit)

Emotion Capture : Affect in Digital Film and Video

14:45

Maaike Bleeker (Theater Studies, Amsterdam University)

'Hit Me, if You Can'; Martin, Massumi and The Matrix

15:30

Break

16:00

Lesley Stern (Dept of Visual Arts, University of California, San Diego)

Motility, transference and conversion: an exploration of cinematic affect as exemplified in Black Narcissus

Day two

11:00

Norman Bryson (Professor of Art History, University of California, San Diego)

Affect, Sensation, Empiricism

11:45

Tarja Laine (Media and Culture Dept, University of Amsterdam)

Eija-Liisa Ahtila's affective images in The House

12:30

Lunch break

13:30

Tim Stüttgen (Theory Dept. Jan Van Eyck)

Bodies that shatter: watching porns with Williams, Deleuze and Preciado. A reconsideration of Linda Williams´ term 'body-genre'

14:15

Anna Powell (Sr Lecturer in Film and English, Manchester Metropolitan University)

Jack the Ripper's Bodies Without Organs: affect under the scalpel in From Hell

15:00 break

15:15

Erin Manning (director of The Sense Lab, Concordia University, Montreal)

How Leni Riefenstahl moves through fascism: from biopolitics to biograms

 

Admission: free

Language: English

Organisation: Ils Huygens

ilshuygens@gmail.com

 

Advance booking and online registration are recommended.

For info and bookings please contact Madeleine Bisscheroux

madeleine.bisscheroux@janvaneyck.nl

+ 31 (0)43 350 37 29

 

or Anne Vangronsveld

anne.vangronsveld@janvaneyck.nl

 

Jan van Eyck Academie

Academieplein 1

6211 KM Maastricht

The Netherlands

http://www.janvaneyck.nl

http://affect.janvaneyck.nl

 

 

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

 

10-15 juillet 2007, Zürich

18th International Congress of the International Musicological Society : Sonoristic Legacies: Toward New Paradigms in Music Theory, Aesthetics, and Composition

 

 

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

 

Rhizomes: Cultural Studies in Emerging Knowledge

CALL FOR PAPERS
Special Issue: Rhizomes 15: Deleuze and Guattari’s Ecophilosophy

Of what critical importance is Deleuze and=20
Guattari=92s philosophy to our ability to think=20
ecologically or to address environmental=20
catastrophe effectively? What do Deleuze and=20
Guattari mean when they write that =93philosophy .=20
. . turns its back against itself so as to summon=20
forth a new earth, a new people=94? How does=20
philosophy foresee a time when the earth =93passes=20
into the pure plane of immanence of a=20
Being-thought, of a Nature-thought=94? Does=20
=93Nature-thought=94 enter philosophy only when=20
philosophy thinks geographically, that is, in=20
terms of geography=92s real (versus history=92s=20
transcendental) territoriality? How do the=20
emerging concepts as =93geophilosophy,=94 and=20
Guattari=92s =93three ecologies,=94 mesh with such=20
long-evolving Deleuzo-Guattarian concepts as=20
=93rhizome,=94 =93 becoming,=94 =93territory,=94 =93haecceity,=94=20
=93plane of immanence,=94 =93chaos,=94 =93nomadology,=94 etc?=20
Does this m=E9lange of concepts create an=20
=93Ecology-thought,=94 thought that might itself be=20
regarded as adaptive, as creative evolution=20
immanent to (an earth-based) philosophy? On a=20
more pragmatic note, what environmental ethics=20
might we derive from Deleuze and Guattari=92s=20
ecophilosophy? E.g.: How might the concept of=20
"becoming-animal" effectively challenge the idea=20
of animal rights? How might the concept of=20
deterritorialization effectively challenge the=20
idea of wilderness conservation and/or land=20
reclamation? How might the concept of nomadology=20
effectively mobilize and advance aboriginal=20
land-claim strategy? What, if any, critical case=20
studies of environmental disaster and recovery=20
have put Deleuze and Guattari=92s eco-thinking to use, and how?

You are invited to submit essays on these or=20
related topics, themes, and questions. Deadline: September 15, 2007.

Send submissions to dianne.chisholm_at_ualberta.ca

 

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

 

Call for Papers: The H. G. Wells Society Annual Conference - H. G. Wells, Science and Philosophy

Date: 2007-09-28

 

Location: Imperial College/Conway Hall, London

 

Organiser: The H. G. Wells Society

 

Call for papers submission date: 2007-06-11

 

Summary: Proposals may centre on either Wells and science or Wells and philosophy exclusively, or might examine the intersection of both science and philosophy in the author's work. Proposals might focus on, but are not limited to: Wells and evolutionary biology; Wells and Physics; Wells and Darwin/Huxley; Wells and Astronomy; Wells and Plato; Wells and Liberalism.

 

 

 

7 (internet source: information philosophie, März 2007)

(internet source: http://www.dgphil.de/Tagung.htm)

 

An der Universität Bremen findet vom 26.-28.07.2007 eine philosophische Fachtagung statt zum Thema:

Das neue Licht der Frühromantik - Innovative philosophische Leistungen der Frühromantik, ihre Folgen und ihre Aktualität

Organisation: Bärbel Frischmann (Bremen)/ Elizabeth Millán-Zaibert (Chicago).

Teilnahmegebühr: 20 Euro, Studierende 10 Euro.

Kontakt: frischm@uni-bremen.de

PD Dr. Bärbel Frischmann, Universität Bremen, Fachbereich 9 - Kulturwissenschaften, Institut für Philosophie, Enrique-Schmidt-Str. 7, 28359 Bremen, Tel. +49 (0)421 218-9319, Fax. +49 (0)421 218-9317

 

 

NEW 8 (internet source: http://aesthetics-online.org/aesthetics-l)

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

(internet source: http://www.sussex.ac.uk/clp/1-2.html)

 

 

Call for papers:

'Philosophy and Literature/Literature and Philosophy'

 

Inaugural Conference for the Centre for Literature and Philosophy at the University of Sussex

12th to 14th June 2008

 

Confirmed speakers include: Paul Davies, Alex García Düttmann, Jonathan Lear, Stephen Mulhall, Kathleen Stock, Nicholas Royle and Kendall Walton.

 

Contributions are invited for topic panels and papers. There will be a number of graduate round tables as well, so contributions are  also invited from graduate students. Please send proposals (300  words) by the 1st of November 2007 to: K. Deligiorgi, Centre for  Literature and Philosophy, University of Sussex, Falmer, Brighton  BN1 9QN

 

The Centre for Literature and Philosophy is a new research centre established at the University of Sussex, Brighton, UK. Activities include an annual conference, talks, seminars, workshops, as well as a limited number of bursaries worth £1,000 each to support students enrolled in the new MA in Literature and Philosophy for the year 2007-2008. The application deadline is 31st May 2007. Only candidates who have been accepted on the programme are eligible.

 

For information about the activities of the Centre please visit http://www.sussex.ac.uk/clp/index.php

 

Over the last few years there has been a sustained discussion of the relation between philosophy and literature, both in terms of specific questions that arise out of the philosophical study of literary study of philosophy but also in terms of the broader boundary-questions that arise at the intersection of the two disciplines.

 

In order to reflect the range concerns, approaches and ideas that characterise this trend, the topic of this first conference is deliberately broad:

'Philosophy and Literature/Literature and Philosophy'

Areas of research include:

- Cognition, emotion, imagination

- Autobiography

- Fiction and reality

- Ethics and literature

- Interpretation and psychoanalysis

- Critical theory

- Philosophy as literature/literature as philosophy

 

Contributions are invited for:

A. Panel topics (2-4 speakers)

B. Individual papers (40 minutes)

C. Graduate papers (for the graduate round tables)

 

Please send proposals (300 words) by the 1st of November 2007 to: K. Deligiorgi, Centre for Literature and Philosophy, University of Sussex, Falmer, Brighton BN1 9QN

 

 

NEW 9 (internet source: http://aesthetics-online.org/aesthetics-l)

 

A Figure of Speech: Conference on Metaphor

 

Invited speakers include:

Anne Bezuidenhout (South Carolina)

Elizabeth Camp (University of Pennsylvania)

Michael Glanzberg (UC Davis)

Sam Guttenplan (Birkbeck College)

David Hills (Stanford)

Michael Leezenberg (Amsterdam)

Ernie Lepore (Rutgers)

Douglas Patterson (Kansas State)

Esther Romero (Granada)

Marga Reimer (Arizona)

Belen Soria (Granada)

 

The symposium will take place on 17-18 December 2007 at the University of Latvia in Riga and is co-hosted by the Center for Cognitive Sciences and Semantics of the University of Latvia (http://www.lu.lv/eng/general/structure/study/ccss/) and the Department of Philosophy at Kansas State University (http://www.ksu.edu/philos/)

 

Call for Papers

 

A limited number of papers will be selected for presentation at the symposium and considered for inclusion in the proceedings in the Baltic International Yearbook of Cognition, Logic and Communication: http://cognition.lu.lv/board.html

 

Time allowed for presentations is 40 minutes including discussion.  Submitted papers should have a maximum of 3000 words and should be  accompanied by a 200 word abstract.

 

Possible topics include (but are not limited to):

Metaphor in the general theory of meaning

Interpretation of metaphorical utterances

Metaphor identification

The status – semantic, epistemological, pragmatic – of metaphors

The cognitive significance of metaphor

Metaphor and aesthetic effects

Natural language processing theories and metaphor

Cognitive linguistics and metaphor

Metaphor and rhetorical categories

 

All submissions should be prepared for blind review, and should be sent electronically to metaphor@ksu.edu

 

Deadline for submission is August 15 2007. Authors will be notified in September 2007.

 

Sandra Lapointe

Assistant Professor

Department of Philosophy

Kansas State University

201 Dickens Hall

Manhattan, KS, 66506

tel: 785 532 0356

fax: 785 532 3522

lapointe @ ksu.edu

http://www-personal.ksu.edu/~lapointe/

 

 

NEW 10 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

CFP: Psychoanalysis and Aesthetics

 

S is the new open access journal of the Jan van Eyck Circle for Lacanian  Ideology Critique. S publishes peer-reviewed essays on Lacanian and  related topics from the fields of art, film and literary criticism, political, philosophical and ideological critique. With permission, S  also re-publishes hard to obtain essays and translations from seminal  thinkers in Lacanian studies whose work deserves the worldwide dissemination free online publishing affords.

 

http://www.lineofbeauty.org

 

S 1 Call for Papers

 

In every art . . . these realistic shapes represent with a remarkable  constancy this oscillating line which is expressed in fact by the shape of this elongated S with which I designate the subject for you. Yes. Exactly for the same reason that when Monsieur Hogarth tries to designate what is involved in the structure of the beautiful, it is also exactly and specifically to this S that he refers? (Lacan, Sem. XIII, lesson of 4.5.66).

 

The inaugural issue, S1, will present texts that deal with the Imaginary in the Lacanian sense of the word, as well as essays from the broader field of (psychoanalysis and) aesthetics. Possible topics include:

 

- the return of the Imaginary in the later Lacan

- lesser-known writers in Lacan?s work (i.e. other than Sophocles, Shakespeare, Claudel, Gide and Joyce): Blanchot, Bataille, Plautus, etc.

- the unconditioned Name of the Father

- beauty beyond the phallus

- spaces of conceptual and linguistic impossibility: topology and tropology

- aesthetics and ethics are one? (Wittgenstein)

- the scansion of interpretation (Milner)

- the gaze, the look and the ?other eye?: the tableau in Lacan and Foucault

- the site or non-site of the Imaginary in Badiou

- politics and aesthetics (Rancière, Balibar, Adorno, others)

 

Please send submissions in MLA format by June 30, 2007 to  lineofbeauty_at_telenet.be

 

 

NEW 11 (internet source: http://www.aesthetics-online.org/events/calls.php)

 

A Figure of Speech: Conference on Metaphor

December 17 - 18, 2007, University of Latvia

 

Invited speakers include: Anne Bezuidenhout (South Carolina), Elizabeth Camp (University of Pennsylvania), Michael Glanzberg (UC Davis), Sam Guttenplan (Birkbeck College), David Hills (Stanford), Michael Leezenberg (Amsterdam), Ernie Lepore (Rutgers), Douglas Patterson (Kansas State), Esther Romero (Granada), Marga Reimer (Arizona), and Belen Soria (Granada).

 

A limited number of papers will be selected for presentation at the symposium and considered for inclusion in the proceedings in the Baltic International Yearbook of Cognition, Logic and Communication. Time allowed for presentations is 40 minutes including discussion. Submitted papers should have a maximum of 3000 words and should be accompanied by a 200 word abstract.

 

Possible topics include (but are not limited to): metaphor in the general theory of meaning, interpretation of metaphorical utterances, metaphor identification, the status – semantic, epistemological, pragmatic – of metaphors, the cognitive significance of metaphor, metaphor and aesthetic effects, natural language processing theories and metaphor, cognitive linguistics and metaphor, and metaphor and rhetorical categories.

 

All submissions should be prepared for blind review, and should be sent electronically to metaphor@ksu.edu.

 

Submission deadline: August 15, 2007

 

Sandra Lapointe

Department of Philosophy

Kansas State University

201 Dickens Hall

Manhattan KS 66506

fax: 785 532 3522

lapointe@ksu.edu

 

 

NEW 12 (internet source: http://www.aesthetics-online.org/events/calls.php)

(internet source: http://www-personal.k-state.edu/~perform/)

 

The Art of Performance

In Honor of James Hamilton

 

December 1-2, 2007

 

Kansas State University

 

Invited Speakers

Noël Carroll (Temple University)

David Davies (McGill University)

James Hamilton (Kansas State University)

Sherri Irvin (University of Oklahoma)

Dominic McIver Lopes (University of British Columbia)

Aaron Meskin (The University of Leeds)

Daniel Nathan (Texas Tech University)

David Osipovich (Marist College)

 

Call for Papers: A limited number of papers will be selected for presentation at the symposium and considered for inclusion in the proceedings. Time allowed for presentations is 60 minutes including discussion. Submitted papers should have a maximum of 4000 words and should be accompanied by a 200-words abstract. 

 

This symposium will focus on philosophical issues in the performing arts, with a special emphasis on theater. Possible topics include (but are not limited to):

§       The ontological status of the work for performance and of performances thereof

§       The relationship between critical interpretation and performative interpretation

§       Ontological and interpretative differences between live and recorded performances

§       The creative status of performers, as compared to the creative status of playwrights, choreographers, composers, etc.

§       Perception and audience engagement in the performing arts

§       The relationship between artworks for performance and everyday activity

§       How philosophical understanding of works for performance can enhance our understanding of works in other art forms

 

The symposium will be preceded by a round-table on James Hamilton’s The Art of Theater (Blackwell, 2007)

 

All submissions should be prepared for blind review, and should be sent electronically to: perform@ksu.edu

 

Deadline for submission is September 1st 2007. Authors will be notified in early October.

 

NEW 13 (internet source: http://www.aesthetics-online.org/events/index.php)

 

NEH Summer Seminar on Scottish Enlightenment Aesthetics

July 23 - August 10, 2007, St. Andrews University

 

This seminar is on Scottish Enlightenment Aesthetics and its German reception, and will be directed by Paul Guyer (University of Pennsylvania) and Rachel Zuckert (Northwestern University), with guest lectures by James Harris (St. Andrews), Alexander Broadie (Glasgow), and Peter Jones (University of Edinbugh, emeritus). The seminar will be held at St. Andrews University, Scotland, July 23-August 10, 2007. All those interested in aesthetics, the history of aesthetics, the Scottish and German Enlightenments, and (more broadly) the art, literary, philosophical, or intellectual history of eighteenth century Europe are encouraged to apply to participate.

 

Daniel Gross

Department of Philosophy

Northwestern University

Kresge 2-335

1880 Campus Drive

Evanston IL 60208

d-gross-1@northwestern.edu

 

 

NEW 14 (internet source: http://www.aesthetics-online.org/events/index.php)

(internet source: http://www.reseau-asie.com/cgi-bin/prog/pform.cgi?langue=en&Mcenter=colloque&TypeListe=showdoc&email=&password=&ID_document=410)

 

A-41 Philosophy and Aesthetics in China and in Japan (updated on June 07th 2007)

Author : JACYNTHE TREMBLAY

Areas of Research : Asia

 

Workshop abstract. During the second congress of the Réseau Asie (28-30 September 2005 in Paris), two workshops took place about modern Japanese philosophy. Exchanges between the lecturers and the members of the audience, just as with Véronique Alexandre-Journeau (person in charge for the theme “Arts and literature” whom these workshops were parts), showed two perspectives for the future. The first consists in an effort which aims at opening the relationship Japan-West, up to now rather restrictive, to other countries of Asia, in particular China. The second is an interest shown for aesthetics and the various artistic fields. Aesthetics is indeed one of the privileged points of contact between Chinese philosophy and Japanese philosophy. Moreover, much of philosophical issues typical of China and Japan, or of topics traditional in Western philosophy but reinterpreted when they are seen starting from the East, become much easier to understand when they are included within the framework of a reflection on aesthetics and the various artistic fields.

The present workshop will address these philosophy and aesthetics in that sense (just as the twin workshop headed “Contemporary philosophy in China, Japan and Korea. Towards the development of a pan-Asianism”). In addition to the more general perspectives comparing philosophy with aesthetics – Jia Jinli analyzes how space and time interact in Chinese aesthetics, while Marcello Ghilardi compares Nishida Kitarô and Nicolaus Cusanus – , one will find in this workshop conferences relating to painting, theatre, music and poetic narration. These artistic fields always intersect with philosophical topics. Among these, that which holds the most important place is spatio-temporality, both in China and in Japan, in link with the concepts of vacuity and absolute nothingness. Next comes the topic of relationship, extended to the relationship between the subject and the object, the human being and the world, the self and the society. To this topic of relationship or “betweeness” is intrinsically connected those of the self-identity and the transformation of subjectivity, of the status of the body, the individual and the person. On several of these levels, aesthetics join ethics.

 

Key-words : spatio-temporality - absolute nothingness – relationality - subject-object - human being-world - self-society - personal identity – body – aesthetic - comparative philosophy

 

COORDINATOR: JACYNTHE TREMBLAY

MODERATOR: KURODA AKINOBU

 

· JIA Jinli

Lecturer

Artistic Education Center, University of sciences, Beijing

v Theory of ‘Awakening’ as Transcending the Reality of Time-Space in Chinese Art

Zong Baihua passes through the conceptual level to explain the aesthetic taste and the relation with space and time so specific in Chinese art, with the “completion in time of the six positions” in Yijing (Book of change) which says the change of space in time, “yin-yang harmony” in Laozi which says the mutual breeding and dependence of space and time and “spiritual resonance” in Huapin (Evaluation of Ancient Painters) which is an interweaving of time and space. During the process of conceptualisation, the ‘Awakening’ is a very important link. The character‘’has its source in chan Buddhism and covers two kinds of awakening, progressive and sudden, both creating a substantial transcendence as regards objective things and subjective experiences, generating a time-space with a logic out of normal representation. ‘Awakening’ realizes the unification of a typical event and an environment; ‘Awakening’ generates a conception of the work of art itself in a continuous development; ‘Awakening’ creates ‘soul’ as the substantial part of art.

 

· Joël BOUDERLIQUE

Independent researcher

Bretagne

v Nothingness : power and powerless. Encounter with Mu Qi’s works

The obviousness of Mu Qi’s (Mu Ch’i) works takes its source in a lucidity of power that precedes all lucidity of knowledge. Each of his landscapes, like each of his still lifes, shows that though the being (Sein) is determined in the shape of mondeity, it can never be reduced to that which is (das Seiende). In their appearing the “Khakis” of Mu Qi recall that objectivity is not reality. The reality of these fruits becomes clear from the reality of the world. They make known to us the moment of their reality by haunting ‘this depth which makes things’ (Merleau-Ponty) in which all things communicate between them, with which I am originally ‘in a relation of embrace’ (Merleau-Ponty). The “Khakis” of Mu Qi escape from the antinomy between the foundation and the horizon from the world, because they emanate from the emptiness, which is not a foundation, and because they have as a horizon only the Open. Sensitive, they are real, but without taking part in the mondeity of the world. They are there, in the same space as we are. Space which is the “between” linking us: the union of our powerlessness to produce it with the power which produces us simultaneously.

 

· Pauline COUTEAU

Doctoral student

EHESS

v Analysis of the mask in Japanese esthetics

In this presentation, we intend to analyse the ontological role of mask in Noh theater. Besides, our purpose aims at grasping the importance of such a notion in the process of individualization. As a matter of fact, a “person” derives from the word “personna” which designates the mask. Our analysis is based upon a short essay written by Watsuji Tetsurô (1889-1960), entitled “The Mask and the Person”(Men to Perusona, 面とペルソナ). Watsuji takes in charge the relation between the face and the mask through an inquiry of japanese traditional dramas. This approach leads him to an hermeneutics of the mask, implying a deep reflection on the self. Thus, we will cross-examine the concept of self-identity through an aesthetical and ethical perspective.

 

· Jacynthe TREMBLAY

Independent researcher in Japanese philosophy

Shenzhen (China)

v Musical aesthetics in Nishida and Kimura

Nishida Kitarô established bonds between philosophy and aesthetics from the standpoints of painting, sculpture and calligraphy, without investigating particularly music. With the intention of addressing Nishida’s aesthetics in a original way, this conference will examine the philosophical possibilities concealed in the relationship between musical aesthetics and the philosophies of Nishida and Kimura Bin (psychiatrist and musician). The discussion will thus turn around important Nishida’s concepts and of their taking over by Kimura in his own vocabulary: absolute nothingness, self-awareness, absolute present, body and subject-object relationship (within this framework, the question of the “signature of Bach” will be examined”). Although these concepts are recognized as difficult even for experienced philosophers, their transposition in the field of musical aesthetics makes it possible to deepen considerably their significance.

 

· Marcello Ghilardi

Doctoral student in Aesthetics and Theory of Arts

Palermo University (Italy)

v Between aesthetics and ethics: the experience of seeing in Nicolaus Cusanus and Nishida Kitarō

Even if Middle Age’s philosophies seem so detached from the themes of XXth century Japanese philosophy, nonetheless we can find a link uniting two authors such as Nicolaus Cusanus (1401-1464) and Nishida Kitarō (1870-1945). This link may be discovered in the role of “vision” or, to say it better, of the act of seeing – given that either in Cusanus and Nishida’s thought the core of their speculation deals with a practice, an experience, a transformation of the self and its behaviour. “Seeing” is an intellectual and physical experience, very rigorous; but such a “seeing” excludes the presence of a strong, egotist subject opposed to a completely external object. At the same time, it’s from this condition that we can develop the possibility of a really ethical action. It is a no more self-centered ethics, i.e. the ethics of a “Self without form”, which is the real moral subject, according to Cusanus and Nishida’s points of view.

 

 

NEW 15 (internet source: http://www.aesthetics-online.org/events/index.php)

(internet source: http://philosophy.fas.nyu.edu/docs/IO/1227/2007announcement.pdf)

 

“Aesthetic Judgment”

The Fourth NYU Conference on Issues in Modern Philosophy

New York University, November 9-10, 2007

The New York University Department of Philosophy will host the fourth in its series of conferences on issues in the history of modern philosophy on November 9 and 10, 2007. Each conference in the series examines the development of a central philosophical problem from early modern philosophy to the present, exploring the evolution of formulations of the problem and of approaches to resolving it. By examining the work of philosophers of the past both in historical context and in relation to contemporary philosophical thinking, the conferences allow philosophy’s past and present to illuminate one another.

The topic of the 2007 conference is: the nature and significance of aesthetic judgments. There will be four sessions on historical figures—Hume, Kant, Hegel, and Nietzsche—and a fifth session on contemporary treatments of the issue. The schedule of sessions and speakers is as follows:

Friday, November 9

2:30-4:30: First session: Hume

Speaker: Peter Kivy (Rutgers University)

Commentator: Paul Guyer (University of Pennsylvania)

5:00-7:00: Second session: Kant

Speaker: Richard Moran (Harvard University)

Commentator: Rebecca Kukla (University of South Florida)

Saturday, November 10

10:00-12:00: Third session: Hegel

Speaker: Robert Pippin (University of Chicago)

Commentator: Angelica Nuzzo (Brooklyn College, CUNY)

2:00-4:00: Fourth session: Nietzsche

Speaker: Sebastian Gardner (University College, London)

Commentator: Bernard Reginster (Brown University)

4:30-6:30: Fifth session: Contemporary Philosophy

Speaker: Noël Carroll (Temple University)

Speaker: Alexander Nehamas (Princeton University)

Questions about the conference may be directed to: philo.modernconference@nyu.edu. For registration (which is required) and further information please visit the conference website: http://philosophy.fas.nyu.edu/object/philo.newsevents.modernconference

Conference Directors: Béatrice Longuenesse, John Richardson, Don Garrett

 

 

NEW 16 (internet source: http://www.epistemelinks.com/Main/MainEven.aspx)

(internet source: http://www1.uea.ac.uk/cm/home/schools/hum/philosophy/Events%2Band%2BNews/WittgensteinConference/)

 

Wittgenstein, Literature and Other Minds Conference

 

The conference aims to bring together a number of scholars whose interests relate both to Wittgenstein and to matters relating to aesthetics and literature. In addition, unlike most philosophy and literature conferences, we have chosen to prompt participants to reflect on issues relating to other minds, both the mind of the author of a work of literature, the mind of the reader or viewer of a work of art, and the question of what we understand in relating to other people and other animals, and how we relate to others through language and non-linguistic communication.

 

16 - 18 July 2007

 

The conference, including its theme, is inspired by the work of R.W. Beardsmore who died ten years ago. Because of the circumstances and timing of his death there was no opportunity then to honour his philosophical achievements. At the time of his death Beardsmore had been working around the themes that we have chosen for this conference, leaving a number of projects incomplete. The aim of this conference is to honour the memory of a philosopher who was inspirational to many colleagues and pupils around the world, and to do so by following his lead, though in ways that relate to our own current concerns. The papers will (for the most part) not be directly addressed to, or about, the work of Dick Beardsmore but will try to take up his unfinished problematic from a variety of perspectives tangential to his interests but central to our own. Many of us owe more than we realise to having listened to Beardsmore in philosophical discussion, and we anticipate that the outcome of this conference will be a kind of unacknowledged legacy of a great thinker who published rather little.  

If the conference is successful we anticipate publishing a selection of the best papers, together with those of some other contributors who have been unable to take part in the July meeting  

There will be eight sessions (50 minute paper followed by either 30 minutes or 60 minutes of discussion) over one full day and two half days. This structure allows for travel to and from Norwich (two hours from London or Stansted) without extra nights as far as possible. The conference follows directly after the National Postgraduate conference of the BPPA which is at UEA. Graduate students are very welcome to participate in this conference.  

The following papers have been arranged (brief abstracts will be added here as available):

Garry Hagberg (UEA) Wittgenstein, Literary Experience, and the Formation of the Self

Michael McGhee (Liverpool) On Marrying Other Minds: two novels of Mrs Humphry Ward

Olli Lagerspetz (Åbo Akademi)  Studying Perception

Catherine Osborne (UEA) Selves and other selves in Aristotle

This paper is on Aristotle on friendship, and the idea of knowing oneself or knowing oneself in another self (both through friends and through the characters of literature into whose selves one gets in a special way).

Carolyn Wilde (Bristol) Seeing things the same way

Drawing from R.W. Beardsmore's early work in Chapters 9 and 10 of 'Moral Reasoning'(1969) on conflict and agreement in moral values, and from the final Chapter of 'Art and Morality'(1971) on art and understanding, I aim to use his arguments to compare distinctions between subjectivity and objectivity in morality and in art, relating them to more recent discussions about art and morality.

Mike Weston (Essex) Forms of our life: 'Understanding a Primitive Society' revisited

David Cockburn (Lampeter) Language, Lions and human beings

Mario von der Ruhr (Swansea) On atheism and morality

“I shall explore a bit further the relation between religion and moral value, Dick's comments on Rai Gaita, and indeed Howard Mounce's recent broadsides against secular attempts at detaching moral value from a transcendental foundation.”

Additional papers for the published volume have been provisionally promised by Raimond Gaita and Howard Mounce.

 

We hope to be able to offer bursaries to Research students who wish to attend the conference.  Please contact Dr. Catherine Osborne for information and details (c.osborne@uea.ac.uk)

 

 

NEW 17 (internet source: http://www.epistemelinks.com/Main/MainEven.aspx)

(internet source: http://www.arts.gla.ac.uk/SESLL/EngLang/PICS08/)

 

PICS08

Monday 14th July to Thursday 17th July 2008

Departments of English Language and Psychology

University of Glasgow, Scotland

 

Conference organizers: Carole Biggam, Carole Hough, Christian Kay and David Simmons.

 

Following the success of Progress in Colour Studies 2004, we plan to hold a further conference on colour in 2008. It will take place at the University of Glasgow, Scotland, from Monday 14 July until Thursday 17 July 2008 (both dates inclusive). If there is sufficient demand, we will organise a tour to places of scenic and historic interest on Friday 18th July.

 

Our overall aim for PICS08 is to provide a multidisciplinary forum for discussion of recent and ongoing research, presented so as to be accessible to scholars in other disciplines. We therefore welcome proposals for papers from any area of interest, for example vision science, psychology, linguistics, anthropology, archaeology, biology, philosophy, cartography, art history, etc. To submit an abstract, click on the link below.

 

The conference will be held on the University of Glasgow campus, with accommodation in University residences and local hotels. The cost is likely to be around £130 for the conference fee, lunches and a reception, with a lower rate for the unwaged. Further information and a booking form will be available soon. To indicate interest meanwhile, contact Dr Carole Biggam at PICS08@arts.gla.ac.uk

 

For further information contact:

Dr C. P. Biggam

Dept of English Language,

University of Glasgow,

Glasgow G12 8QQ

United Kingdom.

Email: PICS08@arts.gla.ac.uk

 

NEW 18 (internet source: http://sifa.unige.it/2eve/con.htm)

(internet source: http://www.adamsmithreview.org/conference.html)

 

CALL FOR PAPERS

The Philosophy of Adam Smith:

A conference to commemorate the 250th anniversary of 

The Theory of Moral Sentiments

January 6-8, 2009

Balliol College, Oxford

Organised by the International Adam Smith Society and The Adam Smith Review

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.

Plenary speakers will include:

Stephen Darwall (Professor of Philosophy, University of Michigan)

Charles Griswold (Professor of Philosophy, Boston University)

Knud Haakonssen (Professor of Intellectual History, University of Sussex)

David Raphael (Professor Emeritus of Philosophy, Imperial College)

Emma Rothschild (Fellow, King’s College Cambridge;  Visiting Professor of History, Harvard)

Geoffrey Sayre-McCord (Professor of Philosophy, University of North Carolina)

Please send detailed abstracts (500-800 words) prepared for blind review by September 15, 2007 to:

Samuel Fleischacker

Philosophy Department (M/C 267)

601 South Morgan Street

University of Illinois at Chicago

Chicago, IL 60607-7114

USA

Or email them (as attachments, prepared for blind review) to: sfleisch@uic.edu

Participants will be notified that their proposals have been accepted for the conference by December 1, 2007. 

Publication

A selection of conference papers will be published in a special commemorative volume of The Adam Smith Review (Routledge), entitled The Philosophy of Adam Smith, edited by Vivienne Brown and Samuel Fleischacker. To meet the publication schedule of the volume (planned publication 2009), participants who would like their papers to be considered for it should submit complete drafts to the editors by September 15, 2008. Only new, previously unpublished work will be included in the volume.

 

 

NEW 19 (internet source: http://www.conferencealerts.com/philosophy.htm)

(internet source: http://www.arts.cornell.edu/IGCS/kant.htm)

 

The Legacy of Kant:

Classical Neo-Kantianism

 

September 7 & 8, 2007

Cornell University, at the A.D.White House

 

Friday

11:00 - 12:45

Paul Guyer University of Pennsylvania

What Happened to Kant in Neo-Kantian Aesthetics?

Commentator: Peter Gilgen

Session Chair: Peter Hohendahl

2:15 - 4:00

Rolf-Peter Horstmann Humboldt-Berlin University

Hermann Cohen on Kant's Transcendental Aesthetic

Commentator: Michelle Kosch

Session Chair: Geoffrey Waite

4:15 - 6:00

Peter Gordon Harvard University

Neo-Kantianism and the Politics of Enlightenment

Commentator: Isabel Hull

Session Chair: Michele Moody-Adams

6:00 - 7:00

Reception

open to the public

 

Sponsored by:

Cornell Humanities Council, Cognitive Science Program, Institute for German Cultural Studies,

Program in Ancient Philosophy, Sage School of Philosophy,

Society for Humanities, and the College of Arts & Sciences Dean's Office

for more information email robin fostel (rtf8@cornell.edu)

 

 

NEW 20 (internet source: http://www.dgphil.de/Tagung.htm)

(internet source: http://www.philosophie.uni-bremen.de/fileadmin/mediapool/philosophie/Veranstaltungsangkuendigungen/Tagungsprogramm_Fr_hromantik_f_Homepage_Phil_23_5_07.doc)

 

 

Das neue Licht der Frühromantik: Innovative philosophische Leistungen der Frühromantik, ihre Folgen und ihre Aktualität

 

Internationale Fachtagung

Universität Bremen

26. bis 28.07.2007

Tagungsort: Haus der Wissenschaft, Kleiner Saal, Bremen

Konferenzsprachen: Deutsch und Englisch

 

Organisatoren: PD Dr. Bärbel Frischmann (Bremen),

Prof. Dr. Elizabeth Millán-Zaibert (Chicago)

 

Vorläufiges Tagungsprogramm/ Tentative Conference Schedule

Donnerstag, 26.07.2007

10.00 Uhr: Eröffnung/ Opening Remarks

I. Aspekte frühromantischer Philosophie: Kritik, Hermeneutik, Dialektik, Ironie. Aspects of Early German Romanticism: Critique, Hermeneutics, Dialectics, Irony

11.00-12.30 Uhr

Referate:

11.00: Andreas Arndt (Freie Universität Berlin)

„Perspektiven frühromantischer Dialektik“

11.45: Violetta Waibel (Universität Wien)

„Denken, Dichten, Fühlen - Hölderlin und Hardenberg an den Grenzen des Sagbaren“

12.30: Kaffeepause/ Coffee Break

14.00: Richard Eldridge (Swarthmore College)

„Doctrine vs. Irony vs. Drama: Acknowledgments of Finitude in Hölderlin and Others“

14.45: Paul Franks (University of Toronto)

„The German Skeptics and early German Romanticism“

15.30: Kaffeepause/ Coffee Break

16.00: Jure Zovko (University of Zagreb)

„Die Aktualität der Schlegelschen Kritikkonzeption“

16.45: Guido Naschert (Universität München): Shaftesbury und Friedrich Schlegel. Enthusiastisches

Philosophieren vor und nach Kant

17.30: Kaffeepause/ Coffee Break

18.00: Eckhard Schumacher (Universität München)

„Die Zukunft der Frühromantik. Prophetie und Ironie bei Friedrich Schlegel“

18.45: Bärbel Frischmann (Universität Bremen)

„Was ist ironische Philosophie?“

Freitag, 27.07.2007

II. Naturwissenschaften/ Naturphilosophie. Natural Sciences/ Philosophy of Nature

9.00-11.45

Referate:

9.00: Kristian Köchy (Universität Kassel)

„Das naturwisssenschaftliche Forschungsprogramm der Romantik“

9.45: Elizabeth Millán-Zaibert (DePaul University, Chicago)

„On the Connection between Nature and Aesthetics: Alexander von Humboldt’s Role in the Romantic Constellation“

10.30-11.00: Kaffeepause/ Coffee Break

11.00: Robert Richards (University of Chicago)

„Goethe, Early German Romanticism, and the Development of Evolutionary Theory“

11.45-13.30: Mittagspause/ Lunch Break

III. Politische Philosophie, Sozialphilosophie, Geschichtsphilosophie, Religion. Political Philosophy, Social Philosophy, Philosophy of History, Religion

13.30-19.00 Uhr

Referate:

13.30: Walter Jaeschke (Ruhr-Universität Bochum)

„Die Geschichtsphilosophie der Frühromantik“

14.15: Jane Kneller (Colorado State University)

„Reconsidering Sociability after Kant: Novalis’ View of Community“

15.00-15.30: Kaffeepause/ Coffee Break

15.30: Jeffery Kinlaw (McMurry University Abilene, Texas)

„The Early Romantic Critique of Fichte’s Political Philosophy“

16.15: Peter Foley (University of Arizona)

„Schleiermacher’s Romantic Religious Views“

17.00-19.00: Break

19.00-22.00 Uhr:

Öffentliche Abendveranstaltung: „Zur philosophischen Bedeutung der Frühromantik“

Haus der Wissenschaft, Großer Saal

(gemeinsam mit der Philosophischen Gesellschaft in Bremen)

Eintritt: 3 Euro, ermäßigt 1,50 Euro.

19.00 Manfred Frank (Universität Tübingen): „Der schwere Gang in die Wirklichkeit“               

20.00 Frederick Beiser (Syracuse University): Response to Manfred Frank

21.00 Disputation der Referenten und Diskussion

Samstag, 28.07.2007

IV. Zur Wechselrelation zwischen Deutschem Idealismus und Frühromantik. The Relation between Classical German Idealism and Early German Romanticism

10.00-13.15 Uhr

Referate:

10.00: Karl Ameriks (University of Notre Dame)

„Kant, German Idealism, and Early German Romanticism“

10.45: Tom Rockmore (Duquesne University)

„On the Relation between German Idealism and German Romanticism“

11.15-11.45: Kaffeepause/ Coffee Break

11.45: Mildred Galland-Szymkowiak (Universität Sorbonne, Paris, z.Z. Universität Bremen)

 „Die Beziehung K.W.F. Solgers zum Idealismus und zur Frühromantik“

12.30: Pirmin Stekeler-Weithofer (Universität Leipzig)

„Hegels Beziehung zur Frühromantik“

13.15-15.00: Mittagspause/ Lunch Break

V. Ästhetik. Aesthetics

15.00-17.00 Uhr

Referate:

15.00: Andrew Bowie (Royal Holloway University of London)

„A Reassessment of the Role of Aesthetic Experience in Early German Romanticism“

15.45: Dieter Sturma (Universität Essen)

„Die Natur des Erhabenen“

16:30: Schlussworte/ Final remarks

(Änderungen vorbehalten)

Tagungsgebühr: 20 Euro; Studierende 10 Euro

Anmeldungen zur Tagung:

PD Dr. Bärbel Frischmann

frischm@uni-bremen.de

Mit folgenden Hotels sind Ermäßigungen für die Tagungsteilnehmer vereinbart:

Hotel „Bremer Haus“ (Einzelzimmer incl. Frühstück 62 Euro)

Löningstr. 16-20, D-28195 Bremen, Tel.: +49 (0) 421 / 32 94-0, bremerhaus@online.de

Hotel Heldt (Einzelzimmer incl. Frühstück 52 Euro)

Friedhofstr. 41, D-28213 Bremen, Tel.: +49 (0) 421/ 21 30 51

HotelHeldt@aol.com

(Doppelzimmer jeweils auf Anfrage.)

Bitte reservieren Sie dort Ihr Zimmer unter dem Stichwort: „Tagung Frühromantik“ möglichst rechtzeitig. Die Kontingente werden bis Mitte Juni freigehalten.

Die Tagung wird gefördert von der DFG, der Universität Bremen und der Sparkasse Bremen.

 

 

NEW 21 (internet source: search engine)

 

The Role of the Humanities in Design Creativity

International Conference, EMMTEC, University of Lincoln, UK

15-16 November 2007 

Hosted by the Faculties of Art, Architecture and Design and Media and the Humanities

 

Introduction

The theme of this conference considers the influence of the humanities on the processes of design. It explores this issue from both an historical and contemporary perspective, highlighting how the traditional inter-relationship between word and image, by which different modes of representation (in architecture, landscape architecture, gardening, furniture design, costume design, typography, sculpture and painting etc) draw upon a rich body of religious, poetic, political and philosophical references, has in more recent times become subsumed by the dominance of image as the only legitimate means of developing design ideas. 

This situation could be said to be exacerbated by what some would argue is the increasing marginalization of the humanities in higher education, brought about by the  monopoly of technological development, and its related industries such as advertising, in contemporary society. Added to this is the issue of how the traditional body of subjects that constitute the humanities has in more recent times been equated to modern developments in media. Such juxtapositions raise many questions about the relationship between information and knowledge today and how this relationship informs our visual and design culture.   

Quite how we can restore - or indeed radically transform - the traditional dialogue between intellectual enquiry in the humanities and design creativity will serve as the over-arching theme of this conference. 

 

Themes/Paper Sessions

The conference committee wishes to solicit contributions from both practitioners, in the fields of art, architecture and design, as well as academics. The conference will be organized around a series of parallel paper sessions that will focus on the following key themes:

1) Humanism and Disegno

2) Humanism, the Humanities and Technology 

3) The Humanities and Visual Culture

4) The Humanities and the Public Realm 

5) The Humanities in Design and Artistic Practice

6) The Humanities in Architectural Practice

In addition, the conference will also be open to poster contributions which will be exhibited during the two day event. The format and details of these submissions will be confirmed shortly in a separate announcement.   

 

Keynote Speakers

A number of keynote speakers, of international renown, will be participating in the conference. Their chosen topics for presentation will relate to the themes of the parallel sessions. The following is a selection of the keynote speakers:    

 

Karsten Harries (Yale University)

Karsten Harries is a renowned philosopher, authority of Martin Heidegger and author of numerous publications on the philosophy of art and architecture. These include The Meaning of Modern Art (Evanston, Northwestern, 1968); The Bavarian Rococo Church: Between Faith and Aestheticism (New Haven: Yale, 1983); The Broken Frame: Three Lectures (Washington, D.C.: CUA Press,1990); The Ethical Function of Architecture (Cambridge, Mass.: MIT, 1997) and  Infinity of Perspective (Cambridge, Mass.: MIT, 2001).  

 

Nader El-Bizri (The Institute of Ismaili Studies, London)

Author of The Phenomenological Quest between Avincenna and Heidegger (Global Publishers, 2000), Nader El-Bizri has researched extensively on historical and cultural relationships between classical and Arab scholarship, particularly as it relates to developments in optics and visual culture. El-Bizri’s extensive knowledge of Platonic, Neo-platonic and Phenomenological perspectives of vision will provide a fitting backdrop to a number of the sub-themes.       

 

Dalibor Vesely (Cambridge University)

Formerly Director of the MPhil in arhistory of architecture at the School of Architecture, Cambridge University, Dalibor Vesely is a renowned authority on the philosophy of architecture, in particular the impact of modern technology on traditional world-views, of which humanism was one of the key intellectual modes of enquiry. His recent book, Architecture in the Age of Divided Representation (MIT Press, 2004) is an insightful enquiry into historical and cultural developments in architectural representation and how the emergence of a scientific and technological age radically altered a pre-modern understanding of reality.  

 

Jonathan Sawday (University of Strathclyde)

Professor of English Studies at the University of Strathclyde, Jonathan Sawday is a noted authority on Renaissance culture having written some ground-breaking studies on the machine and human anatomy; Body Emblazoned (Rouledge, 1996); The Machine Mind (Routledge, 2006) and edited with Neil Rhodes, The Renaissance Computer (Routledge, 2000).   

 

Eric Parry (Eric Parry Architects, London) 

Having taught for a number of years at Cambridge University, and been visiting professor of architecture at Harvard University, the University of Houston and Tokyo Institute of Technology, Eric Parry has acquired an international reputation as both architectural practitioner and teacher. His work draws upon the cultural and historical contexts of the city and demonstrates how philosophical and poetic readings of urban landscapes can provide a creative framework for architectural production.   

 

 

LECTURES (1)

1 (internet source: search engine)

(internet source: http://www.univie.ac.at/ivc/)

 

15th Vienna Circle Lecture

Keith Lehrer

Consensus in Art and Science

July 24., 2007, 6 p.m.

Institut Wiener Kreis

c/o Universität Wien

Universitätscampus

Spitalgasse 2-4/Hof 1

 

PUBLICATIONS  (NEW 3)

 

NEW 1 (internet source: http://aesthetics-online.org/aesthetics-l)

 

 

JANUS HEAD: A Journal of Interdisciplinary Studies in Literature,  Continental Philosophy, Phenomenological Psychology, and the Arts

Volume 9.2 (Winter 2006/7)

 

We are very pleased to announce the new issue of "Janus Head," which is now available on-line at: http://www.janushead.org

 

Here is a list of the contents of the new issue:

JANUS HEAD (Volume 9, Issue 2)

Special Issue on The Situated Body

 

Guest Edited by Shaun Gallagher

 

EDITORIAL

"Introduction: The Arts and Sciences of the Situated Body"

by Shaun Gallagher

http://www.janushead.org/9-2/Gallagher.pdf

 

ESSAYS

"Affective Proprioception"

By Jonathan Cole & Barbara Montero

http://www.janushead.org/9-2/ColeMontero.pdf

"Controlling Gaze, Chess Play and Seduction in Dance: Phenomenological Analysis of the Natural Attitude of the Body in Modern Ballroom Dance"

By Gediminis Karoblis

http://www.janushead.org/9-2/Karoblis.pdf

"To Peform the Layered Body--A Short Exploration of the Body in Performance"

By Helena De Preester

http://www.janushead.org/9-2/DePreester.pdf

"Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and

Aesthetic Experience"

By Ingar Brinck

http://www.janushead.org/9-2/Brinck.pdf

"Situating Situatedness through Æffect and the Architectural Body of Arakawa and Gins"

By Jondi Keane

http://www.janushead.org/9-2/Keane.pdf

"The Uncanny Body: From Medical to Aesthetic Abnormality"

By Alexander Kozin

http://www.janushead.org/9-2/Kozin.pdf

"Pre-Reflective Self-Consciousness: On Being Bodily in the World"

By Dorothée Legrand

http://www.janushead.org/9-2/Legrand.pdf

"Merleau-Ponty's Phenomenological Itinerary. From Body Schema to Situated Knowledge: On How We Are and How We Are Not to "Sing the World"

By Stephen H. Watson

http://www.janushead.org/9-2/Watson.pdf

"On Naturally Embodied Cyborgs: Identities, Metaphors, and Models"

By Evan Selinger and Timothy Engström

http://www.janushead.org/9-2/SelingerEngstrom.pdf

"Negotiating Embodiment: A Reply to Selinger and Engström"

By Andy Clark

http://www.janushead.org/9-2/Clark.pdf

"Disembodied Consciousness and the Transcendence of the Limitations of the Biological Body"

By Rob Harle

http://www.janushead.org/9-2/Harle.pdf

"A Situated or a Metaphysical Body? Problematics of Body as Mediation or a  Site of Inscription"

By Andrew R. Rawnsley

http://www.janushead.org/9-2/Rawnsley.pdf

 

ART

Photography

By Syrie Kovitz

http://www.syriekovitz.com/

 

CREATIVE WRITING

"The Laundry Cycle"

By Christine Wiesenthal

http://www.janushead.org/9-2/Wiesenthal.pdf

"Sestina"

By Richard Hoffman

http://www.janushead.org/9-2/Hoffman.pdf

"Fifty-Some Bags of Garbage at the Edge of the Earth"

By Helen Krieger

http://www.janushead.org/9-2/Krieger.pdf

"Thoughts About Thoughts"

By Fanny Howe

http://www.janushead.org/9-2/Howe.pdf

"Two poems"

By Rebecca Lu Kiernan

http://www.janushead.org/9-2/LuKiernan.pdf

"Europe"

By Alex Irvine

http://www.janushead.org/9-2/Irvine.pdf

"Three poems"

By Kristina Marie Darling

http://www.janushead.org/9-2/Darling.pdf

"Tight and Low Across the Lap"

By Mary Lynn Broe

http://www.janushead.org/9-2/Broe.pdf

"Hunger at the Mountain"

By Kurt Caswell

http://www.janushead.org/9-1/Caswell.pdf

 

BOOK REVIEWS

"Celebrating Don Ihde". Review of "Postphenomenology: A Critical Companion to Ihde" Edited by Evan Selinger

Reviewer: Jan-Kyrre Berg Olsen

http://www.janushead.org/9-2/Olsen.pdf

"Textual Styles". Review of "Analyzing Prose" by Richard Lanham

Reviewer: G. Keilan Rickard

http://www.janushead.org/9-2/Rickard.pdf

"Nordic Women, Symbiotic Poetry". Review of "To Catch a Life Anew: 18 Swedish Women Poets". Translated by Eva  Claeson, Sonia Akesson, Kristina Lugn, Barbro Dahlin, & Margareta Ekstrom. Reviewer: Hakan Sandgren

http://www.janushead.org/9-2/Sandgren.pdf

"The Complexities of Cixious and Ecriture Feminine". Review of "Helene Cixious: Live Theory" by Ian Blyth & Susan Sellers. Reviewer: Kristen Hennessy

http://www.janushead.org/9-2/Hennessy.pdf

 

CONTRIBUTORS

http://www.janushead.org/9-2/Contributors.pdf

 

Information about purchasing hard copies & making subscribtions can be found  here:

http://www.janushead.org/subscribe.cfm

 

Costica Bradatan,

Senior Editor

Janus Head

***************************************

Costica Bradatan, PhD

Assistant Professor

Texas Tech University

The Honors College

PO Box 41017

Lubbock, TX 79409

 

 

NEW 2 (internet source: http://aesthetics-online.org/aesthetics-l)

 

POSTGRADUATE JOURNAL OF AESTHETICS

The postgraduate journal of the British Society of Aesthetics

 

The latest issue of the PJA is now available online at:

http://www.british-aesthetics.org/page.aspx?tabid=63

 

This issue includes three papers from the graduate conference 'Artist  and Object', held at the University of Nottingham in February 2007. The conference was organised by Daniel Barnes at Nottingham, with the  support of the Analysis Trust and the British Society of Aesthetics.

 

Neil Dillon

Editor, Postgraduate Journal of Aesthetics

http://www.british-aesthetics.org

neil.dillon @ kcl.ac.uk

 

 

 

NEW 3 (internet source: http://aesthetics-online.org/aesthetics-l)

 

Advertisement of the May 2007 Edition of the

JBSP: Journal of the British Society for Phenomenology

Volume 38 – No 2 – May 2007

 

Music, Number & Nature

 

Including the following articles:

DORION CAIRNS

Husserlian Phenomenology and Objectivism

CHRISTOPHER NORRIS

Phenomenology, Structuralism and Philosophy of Music: a Qualified Platonist Approach

DAVID M. A. CAMPBELL

Nietzsche and Kierkegaard: Integrity and Impartiality

TRISTAN MOYLE

Re-Enchanting Nature: Human and Animal Life in Later Merleau-Ponty

AGATA BIELIK-ROBSON

Promises and Excuses: Derrida and the Aporia of Narcissism

JOSHUA SOFFER

What is a Number? Re-Thinking Derrida’s Concept of Infinity

 

Subscriptions: The JBSP is published three times a year, in January, May and October. Three such issues will constitute one volume: each issue will contain approximately 112 pages. Orders for the JBSP should be sent to the publisher, Jackson Publishing and Distribution, 3 Gibsons Road, Heaton Moor, Stockport, Cheshire, SK4 4JX, England, or at your local bookseller. The cumulative index is available from the publisher either in electronic form or in hard copy for £10.00

 

Notes for Contributors: The JBSP is an internationally refereed journal. All submissions are sent to two referees for blind peer-reviewing. The JBSP publishes papers on phenomenology and existential philosophy as well as contributions from other fields of philosophy. Papers from researchers in the humanities and the human sciences interested in the philosophy of their subject will be welcome too. Space will be given to research in progress, to

interdisciplinary discussion, and to book reviews. Intending contributors are asked to submit papers and correspondence for inclusion in the journal to the Editor, Dr. Ullrich Haase, Dept. of Politics and Philosophy, Manton Building, Manchester Metropolitan University, Rosamund St. West, Manchester M15 6LL, UK. Tel.: 0044 (0)161 247 3438; Fax.: 0044 (0)161 247 6312. Email: u.haase@mmu.ac.uk

 

Preparation of Manuscripts: Articles should normally be about 8000 words in length, with footnotes not exceeding ca. 10% of the text. Book reviews should not exceed 1,000 words. Manuscripts should be typewritten, on one side of the sheet only, double spaced and with a wide margin. References are to be given in endnotes. The titles of quoted journal papers should be in quotation marks, whilst titles of quoted journals or books should appear in italics. Journal papers should be quoted as follows: name(s) and initial(s) of author(s), full title of paper, journal abbreviation, volume and year, page numbers. Books should be quoted by name(s) and initial(s) of author(s), title, edition, place, publisher and year. Long quotations are inset and printed in smaller type without quotations marks. One copy of the manuscript should be sent together with a copy on disk or CD (MS Word readable), and be accompanied by a 250 word summary. Electronic submission by email only is encouraged. Please send email and attachment to: u.haase@mmu.ac.uk

 

Advertising: Particulars of advertising in the JBSP may be obtained from the publisher, Jackson Publishing and Distribution, 3 Gibsons Road, Heaton Moor, Stockport, Cheshire, SK4 4JX, England.

 

Dr. Ullrich M. Haase

Editor of the Journal of the British Society for Phenomenology

Manchester Metropolitan University

Faculty of Humanities, Law and Social Sciences

Dept. of Politics and Philosophy

Geoffrey Manton Building

Rosamund Street West

Manchester M15 6LL

United Kingdom

Tel: 0044 (0)161 2473452

Fax: 0044 (0)161 2476312

Email: u.haase@mmu.ac.uk

 

 

April 2007 – June 2007

 

CALLS FOR PAPERS/CONFERENCES (NEW 17 + 6)

 

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

 

Call for Papers: Conference on Depiction, The University of Manchester, May 18-19, 2007.

 

Recent decades have seen philosophers devote considerable attention to depiction, that form of representation characteristic of figurative paintings, drawings and photographs. Despite this attention, there is as yet little agreement about what depiction involves.  This conference aims to help remedy this situation by bringing together philosophers working in this area to discuss topics central to an adequate philosophical understanding of depiction. Such topics include: the nature and scope of depiction; its cognitive and aesthetic value; the relations between depiction and other forms of representation; the phenomenology of picture experience; the process of picture production; and the mechanics of picture interpretation.

 

Invited speakers:

Robert Hopkins, The University of Sheffield

http://www.shef.ac.uk/philosophy/staff/profiles/hopkins.html

John Hyman, Oxford University

http://www.queens.ox.ac.uk/academics/hyman/

Dominic Lopes, The University of British Columbia

http://www.philosophy.ubc.ca/faculty/lopes/

John Kulvicki, Dartmouth College

https://www.dartmouth.edu/~phil/faculty/kulvicki.html

<file://localhost/~phil/faculty/kulvicki.html>

 

In addition, the conference organisers will accept a limited number of submitted papers. These papers should be philosophical in content, address one or more of the topics identified above, be formatted for blind refereeing, and be no more than 5000 words long. The deadline for submission of papers is the 31st December 2006. Decisions to accept or reject papers will be made by the end of February, 2007.

 

Papers should be sent to: Catharine.Abell@manchester.ac.uk

 

Enquiries can be directed to either Catharine Abell or Katerina Bantinaki

(Katerina.Bantinaki@manchester.ac.uk).

 

 

2 (internet source: search engine)

(internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

RESEARCH PROGRAM AND COLLOQUIUM

Ecology, aesthetic engagement and public sphere

Ecologie, engagement esthétique et espace public

May 9-11, 2007

Ministry of Ecology and Sustainable Development

Paris, France

 

This English/French colloquium aims at questioning the aesthetic components of ecological mobilizations and policies/politics, as well as those of ecological art and landscape design. Does landscape encompass the whole value of the aesthetic relation? Does it include all the dimensions of the problematics of ecology? Does it evade its invisible dimension, such as pollution? For the artistic side, our interrogation will question ecological art, a label that is specifically American and that has been mixing ecological ethics, science and public art since the late sixties. We will particularly focus on local mobilizations involving artists and opposing extensive urban or non-urban town planning projects.

The papers will attempt to orient their reflections around three axes more specifically:

1. How do these propositions, whether they be political demands or requirements, or artistic ones, take the common world into consideration: specifically a public space that translates the design for a common world into action?

2. How do these propositions express the indissoluble aspects of subjects and their living territories (home, living environment, landscape, worlds, etc.).

3. Lastly, how do these propositions include action that is constitutive of the subject and that is a source of a renovation of the public space, an aesthetic action that participates in molding, giving meaning to, and making a presentation of coexistence in the world ?

Speakers include:

Aesthetic engagement and environment: Yves Luginbuhl (geographer), Emily Brady (philosopher) (Assessors) and: Augustin Berque (geographer), Arnold Berleant (philosopher), Jean-Louis Cometti (philosopher), Michel Gariepy (urbanist), Gerard Monediaire (lawyer), Jessica Makowiak (lawyer), Marie-Vic Ozouf-Marignier (geographer);

Ecological art: Paul Ardenne (critic), Stephanie Smith (curator) (Assessors) and American and European artists : Tilmann Latz (landscape designer), Noelle Pujol (artist), Hermann Prigann (artist), Benedicte Ramade (critic ), Jeroe van Westen (artist);

Aesthetic components of ecological mobilizations: Cyria Emelianoff (geographer), Phil Macnaghten, John Urry (sociologist) (Assessors) and: Clare Palmer (philosopher), Baird Callicott (philosopher), Local NGOs, Greenpeace, and protection of biodiversity NGOs.

Contact:

nathali.blanc@wanadoo.fr

 

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

 

cfp

 

Psychoanalysis and Critical Theory

 

Postmodern Culture invites submissions for a special issue on "Critical  Theory and the Legacy of Psychoanalysis." We are interested in studies of the changing aesthetic and political significance of psychoanalytic thought over the last thirty years. Accepted articles will be due by June 15, 2007. Direct inquiries to Jan Mieszkowski (mieszkow_at_reed.edu)  or to pmc_at_jefferson.village.virginia.edu.

Contributions might consider:

How is the Frankfurt School's interpretation of psychoanalysis relevant today? In what respects are Adorno's positions on the politics of  psychoanalysis more important than Marcuse's (or Benjamin's)? What is the current status of poststructuralist critiques of Freud (e.g., in Deleuze and Guattari or de Man)? Are efforts to unite Freudian and Marxist categories most productive when (and if) they reveal such a synthesis to be impossible? Has the success of phenomenology served to displace philosophical psychology in ideology critique, and to what extent can this be attributed to the influence of Levinas or Derrida?

Are structuralist-Lacanian ideologies of religion, sacrifice, or abjection of less political value than their proponents suggest? Postmodern Culture is a peer-reviewed electronic journal published by Johns Hopkins University Press (http://muse.jhu.edu/journals/postmodern_culture).

 

 

4 (internet source: http://www.phenomenology.org/conferences.html)

 

12th Annual Meeting of the International Society

for Phenomenology, Aesthetics, and Fine Arts

Harvard University, Cambridge MA

May 18-19, 2007

 

Topic: The Artist's Account and Philosopher's Interpretation

 

Contact:

 

Professor Anna-Teresa Tymieniecka

The World Phenomenology Institute

1 Ivy Pointe Way, Hanover NH 03755, USA

Fax: 802-295-5963

 

 

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

 

21 avril 2007, New York, City University of New York,

Graduate Students in Music

Tenth Annual Conference:

Theorizing Performance / Performing Scholarship

 

 

6 (internet source: search engine)

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

 

Colloques et conférences

 

Conférence de

 

Dario Gamboni (Université de Genève),

 

collaboration du Groupe de contact FNRS et de Jeunesse et Arts Plastiques

 

20 avril 2007, ULB, Solbosch (local et heure à préciser)

 

Université catholique de Louvain

Faculté des sciences philosophiques

Centre d'esthétique philosophique

place du Cardinal Mercier 14

1348 Louvain-la-Neuve

Belgique

Tél. : (32 10) 47 48 12

Fax : (32 10) 47 82 93

Courriel : lories@risp.ucl.ac.be

 

 

 

NEW 7  (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

XVII. Congress of Aesthetics - Abstract Deadline Change
 
Deadline for abstract submissions has been extended to 30th of April.
Please check our web www.sanart.org.tr again for new info.
 
SANART (TURKISH ASSOCIATION FOR AESTHETICS)
XVIIth INTERNATIONAL CONGRESS OF AESTHETICS
ORGANISATION COMMITTEE

 

 

 

NEW 8 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

(internet source: http://www.usask.ca/philosophy/modernism/)

 

In 1962, Clement Greenberg – arguably the most influential art critic of the late 20th century – became the first art critic to lead the Emma Lake Artists' Workshop.

 

Greenberg’s visit proved to be a watershed in the history of Canadian art and art criticism, helping to forge a unique (and in some respects improbable) connection between a generation of Western Canadian artists and the New York art scene and helping also to establish Greenberg’s views as a dominant paradigm in Canadian art criticism in the 1960s and 70s.

 

Famously, Greenberg’s views on art are largely based on a somewhat idiosyncratic (and, for some, controversial) interpretation of Kant’s Critique of Judgment. Like Kantian critical philosophy, Greenberg argued, distinctively modern art explores the conditions of its own production and the conditions under which we experience and understand the world. Kant, says Greenberg, was the first modernist.

 

On the 45th anniversary of Greenberg’s visit, this workshop aims both to evaluate Greenberg’s legacy and to explore new work in aesthetics and art criticism, especially as related to Kant and modernism.

 

The workshop has been timed to follow immediately after the meetings of the Canadian Society for Aesthetics and the Canadian Philosophical Association at the 2007 Congress of the Social Sciences and Humanities. The idea being that workshop participants will have opportunities not only for the usual edifying discussion, but also for a sort of working vacation following the Congress. The workshop will be held at the historic and (literally, over the years) picturesque U of S Emma Lake Kenderdine Campus.

 

Selected papers from the workshop will be published in a special issue of the refereed journal AE: The Canadian Aesthetics Journal devoted to the workshop proceedings.

 

Keynote Presenters

Confirmed keynote speakers for the workshop include:

Prof. John O’Brian

(Art History and Theory, UBC)

Prof. Jeanette Bicknell

(Philosophy, Carleton University)

Terry Fenton

Painter and art writer

 

Emma Lake, photo by Mary Moody The Location

Emma Lake Kenderdine Campus is located approximately 50 kilometers north of Prince Albert, Saskatchewan on a small isolated peninsula in a lake-resort area. The Campus has a communal dining lodge overlooking the lake, a variety of private and shared cabins in both rustic and modern architectural styles (all with attached washrooms), as well as classrooms and studio space, including covered outdoor work areas. The campus is about a ten minute walk from Murray Point Provincial Camp Ground, where tent camping is available (reservations advised, 306 982-4741).

 

Each year the Emma Lake campus is the site of a number of programs in the arts, including serveral artist-in-residence programs. All of these programs are enhanced by the communal living environment. Stimulating conversation over meals and late night discussions are part of the experience. Accordingly, workshop participants are encouraged to stay on site and to take their meals with their fellow participnts.

 

Call for Abstracts

Abstracts of 100 - 350 words are invited on topics related to the workshop theme, broadly construed. Submissions exploring the theme from a philosophical, critical, or art historical perspective (or some combination of these) are all welcome.

 

Full length papers (of about 4000 words; 25-35 minutes reading time) may also be submitted.

 

E-mail submissions (as MS Word, rtf or pdf attachments) to: modernism.workshop@usask.ca

 

Submissions must be received by May 20, 2007

 

Please include your name, e-mail address and instructional affiliation (if any) with your submission.

 

Selected papers from the workshop will be published in a special issue of the refereed journal AE: The Canadian Aesthetics Journal devoted to the workshop proceedings. Participants wishing to have their work considered for publication should send full papers to the workshop organizers <modernism.workshop@usask.ca> by June 30, 2007.

 

Symposia and Book Sessions

Proposals for symposia and book sessions are also welcome. Include an outline of the topic or the book title, as well as the names and e-mail addresses of participants.

 

E-mail proposals to modernism.workshop@usask.ca by May 20, 2007

 

Graduate Students: A limited number of grants may be available to cover registration and accommodation fees for graduate students. Please contact the organizers for more information.

 

 

 

NEW 9 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

(internet source: http://www.um.es/logica/expresionsubjetividad/ivammeng.htm)

 

IV INTER-UNIVERSITY WORKSHOP ON MIND, ART AND MORALITY

The Philosophy of Music: Meaning, Emotion and Value

 

Murcia (Spain), April 19 - 21, 2007

 

Invited SpeakerS:

Peter Kivy (Rutgers University, USA): “Musical Morality”

Derek Matravers (Open University, UK): “Expression as a way that music appears to us”

 

The Inter-University Workshop on Mind, Art and Morality promotes the relation among different areas of philosophy. In particular the workshop aims at working in a point where ethical, aesthetical and the philosophy of mind’s discussion topics converge and interweave.

 

In the former editions the workshop has been dedicated to the work of the philosophers Richard Wollheim, Jonathan Dancy, and Kristine Koorsgard. In this occasion, however, the workshop will focus on a theme, the philosophy of music. We invite philosophers wanting to reflect on the topic to join the seminar, and hope the occasion makes possible the interchange and discussion of ideas in this flourishing area of aesthetics.

 

The Workshop will take place in Centro Cultural “Las Claras”.

 

(NEW): A selection of the papers presented at the Workshop will be published.

 

PROGRAMME

CORRESPONDENCE AND SUBMISSIONS

 

Francisca Pérez Carreño (fpc@um.es), Mª José Alcaraz (mariajo@um.es)

Universidad de Murcia

Departamento de Filosofía

30071 Murcia (Spain)

Tel. +34 968 36 34 65 / 4109

Fax. +34 968 36 42 66

 

TRAVEL AND ACCOMMODATION

 

(NEW) Accepted papers will be covered accommodation expenses

 

Organizing Committee:

Mª José Alcaraz León (Universidad de Murcia)

Francisca Pérez Carreño (Universidad de Murcia)

Jesús Vega Encabo (Universidad Autónoma de Madrid)

 

Scientific Committee:

Cristina Corredor (Universidad de Valladolid)

Angel García (Universidad de Murcia)

Manuel García Carpintero (Universitat de Barcelona)

Salvador Rubio (Universidad de Murcia)

Marcelo Sabatés (Kansas State University)

Josep Corbí (Universitat de València)

Carlos Thiebaut (Universidad Carlos III, Madrid)

Agustín Vicente (Universidad de Valladolid)

José Luis Zalabardo (University College London)

 

The workshop is hosted by Phrónesis. Analytic Philosophy Group, Department of Philosophy (Universidad de Murcia).  It is organized under the auspices of SEFA. Sociedad Española de Filosofía Analítica.

 

Spanish version

 

 

NEW 10 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

CALL FOR PAPERS with EXTENDED DEADLINE
 
Graduate Conference on
Aesthetics and its history
 
Saturday 21 April 2007
University of Southampton,
Southampton, UK
 
Keynote Speakers:
 
Alex Neill, ‘Schopenhauer and the foundations of the idea of  
aesthetic experience’
 
Aaron Ridley, ‘Musical Unities’
 
 
Papers are invited from graduate students on any aspects of  
aesthetics and its history.
 
Deadline for submission of papers: 19 March 2007 [EXTENDED DEADLINE]
 
Papers should be not more that 3,000 words in length, suitable for a  
20 minute presentation followed by discussion.  Please submit papers  
to Professor Christopher Janaway at the address below, or preferably  
by email to:  cjanaway@soton.ac.uk
 
For enquiries and registration, please contact:
Adam Dunn,  agd83@msn.com
or Allison Merrick,  amm@soton.ac.uk
 
Philosophy, School of Humanities, Avenue Campus, University of  
Southampton,
Southampton SO17 1BF, UK
 

 

 

NEW 11 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

Call for Papers: Upcoming Special Issue of Modern Fiction Studies
--------------------------------------------------------------------------------
Levinas and Narrative

Guest Editors: Sandor Goodhart and Monica Osborne

Deadline for Submissions: 30 March, 2007

To date, there have been two major ways of understanding the work of Emmanuel  Levinas. In the philosophical tradition, Levinas first attracted the attention  of Jean-Paul Sartre as a reader of Husserl and the phenomenological tradition; later, thanks to the work of Jacques Derrida and other poststucturalists,
Levinas acquired cach
or his work on ethics and his critique of Heidegger.

In the 1980s, a second way of understanding emerged out of Jewish Studies. In this context, Levinas's reading of Buber and Rosenzwieg came to the foreground. At this same time, an interest in the theoretical uses of midrash
developed in Jewish Studies. Geoffrey Hartman, Gerald Bruns, Sanford Budick,
Susan Handelman and others in English departments, and David Stern, Michael
Fishbane, Daniel Boyarin and others in Jewish Studies programs, expanded our
conception of this ancient scriptural exegetical mode.

Now a third way of understanding Levinas presents itself, one in which both his
work in philosophy and his work in Jewish studies is above all and primarily
literary. In the first decade of the new millennium, the coming together of the
midrashic mode and the recognition that Levinas's project is a "translation"
from the "Greek to Hebrew" has enabled an understanding of Levinas as an
exegete of the scriptural tradition who understands that tradition as itself
already a version of literary reading, one perhaps shared by the greatest
writers of our tradition?from Sophocles and Shakespeare to Faulkner and
Morrison.

It is in this new, third context that we invite papers on Levinas and modern
narrative (fiction, drama, and film). Essays may focus on particular works read
in conjunction with Levinas, on Levinas's interpretative approach in
contemporary philosophy or Jewish Studies as a way of reading narrative, or on
any other way that Levinas might inform an engagement with modern narrative.

Essays should range in length from 6,000 to 9,000 words (excluding notes and
works cited) and should follow the current edition of the MLA Style Manual.
Please submit two copies of the essay along with a cover sheet that lists the
author?s name, essay title, mailing address, telephone number, and email
address. Mfs does not accept electronic submissions. Please mail essays and
cover letters to:

Editors, Modern Fiction Studies
Purdue University
Department of English
500 Oval Drive
West Lafayette, IN 47907-2038

Queries regarding this issue should be directed to Sandor Goodhart
(goodhart_at_purdue.edu) and Monica Osborne (mrosborn_at_purdue.edu)

Monica Osborne
PhD Candidate, English
Jewish Literature and Thought
Purdue University
Editorial Assistant, Modern Fiction Studies

 

 

 

NEW 12 (internet source: http://cfp.english.upenn.edu/archive/Theory/)

 

We invite abstracts for a collection of essays on male beauty to be
published by Cambridge Scholarly Publishing. Save for the Greeks, Romans and
the contemporary art historian, very little has been said about beauty and
its relationship to men and masculinities. To its credit, masculinity
studies itself has surely emerged as a field of study and has covered much
ground in the last thirty years: we have understood masculinity as a
category for analysis and, like femininity, as a social construction; we
have supported and also challenged the "crisis" in masculinity; we have
studied it both with and without "men"; we have considered masculinity's
intersection with and its divergence from other social and cultural fields
of inquiry, including feminist, queer and most recently, postcolonial
studies. According to Tim Edwards, we have arrived at the "third wave" of
masculinity studies with its "questions of normativity, performativity and
sexuality." Our collection of essays argues, however, that our work here is
far from over; more to the point, studies of masculine "beauty" continue to
be overlooked. In what ways does male beauty inform, shape, define and
redefine our definition of masculinity itself? What does the concept of male
beauty do to gender?

We are then interested in contemporary critical treatments of "masculine"
beauty (twentieth to twenty-first century) in literature, film, television,
advertising and art. Following Bryce Traister, we do not hope to return to
"heteromasculinity" or "representations of [white, heterosexual]
men-produced by men and analyzed for the most part by men-to the center of
academic cultural criticism." To this end, we invite essays that extend
beyond thinking of masculinities and its relationship to beauty in terms of
a white, middle-class, heterosexual paradigm only and will instead look to
feminist, queer, postcolonial, and/or multicultural critiques of the
category. Topics might include but are not limited to: women performing
masculinity, transvestitism, androgyny, racialized representations of male
beauty, etc.

We will accept one-page abstracts (and/or full-length essay, if available)
until April 15, 2007. Please direct submissions and/or questions to both
Steven Davis (Indiana University) at stevdavi_at_indiana.edu and Maglina
Lubovich (University of St. Thomas) at mlubovich_at_stthomas.edu

 

 

NEW 13 (internet source: http://sifa.unige.it/2eve/con.htm)

 

WORKSHOP  ON MIND, ART AND MORALITY

The Philosophy of Music: Meaning, Emotion and Value

Murcia (Spain), April 19 - 21, 2007

Invited SpeakerS:

Peter Kivy (Rutgers University, USA): “Musical Morality”

Derek Matravers (Open University, UK): “Expression as a way that music appears to us”

The Inter-University Workshop on Mind, Art and Morality promotes the relation among different areas of philosophy. In particular the workshop aims at working in a point where ethical, aesthetical and the philosophy of mind’s discussion topics converge and interweave.

In the former editions the workshop has been dedicated to the work of the philosophers Richard Wollheim, Jonathan Dancy, and Kristine Koorsgard. In this occasion, however, the workshop will focus on a theme, the philosophy of music. We invite philosophers wanting to reflect on the topic to join the seminar, and hope the occasion makes possible the interchange and discussion of ideas in this flourishing area of aesthetics.

The Workshop will take place in Centro Cultural “Las Claras”.

(NEW): A selection of the papers presented at the Workshop will be published.

Francisca Pérez Carreño (fpc@um.es), Mª José Alcaraz (mariajo@um.es)

Universidad de Murcia

Departamento de Filosofía

30071 Murcia (Spain)

Tel. +34 968 36 34 65 / 4109

Fax. +34 968 36 42 66

TRAVEL AND ACCOMMODATION

Organizing Committee:

Mª José Alcaraz León (Universidad de Murcia)

Francisca Pérez Carreño (Universidad de Murcia)

Jesús Vega Encabo (Universidad Autónoma de Madrid)

Scientific Committee:

Cristina Corredor (Universidad de Valladolid)

Angel García (Universidad de Murcia)

Manuel García Carpintero (Universitat de Barcelona)

Salvador Rubio (Universidad de Murcia)

Marcelo Sabatés (Kansas State University)

Josep Corbí (Universitat de València)

Carlos Thiebaut (Universidad Carlos III, Madrid)

Agustín Vicente (Universidad de Valladolid)

José Luis Zalabardo (University College London)

The workshop is hosted by Phrónesis. Analytic Philosophy Group, Department of Philosophy (Universidad de Murcia).  It is organized under the auspices of SEFA. Sociedad Española de Filosofía Analítica.

Spanish version: http://www.um.es/logica/expresionsubjetividad/ivamm.htm

 

 

 

NEW 14 (internet source: http://www.conferencealerts.com/philosophy.htm)

 

conference

architecture in the space of flows: buildings - spaces - cultures

21 - 24 June 2007

Culture Lab

Newcastle University

UK

 

Flows of energy, libido, capital, water and information make our lives possible. The buildings and spaces that support our activities inflect the flows; we tap into them, surf them, block them at our peril, or we may be excluded from them. Flows are global, but have local effects. Buildings are local, but their embodied energies flow from great distances, and their embodiments can cause local or distant turbulences. Everything is moving, intensifying, dispersing; growing, decaying, proliferating, networking, sedimenting, eroding.

 

Understanding ourselves, our buildings, our cities as modulators of flows represents a fundamental shift in sensibility away from the perfect Euclidian geometries of Vitruvian man, to the productive consumer, the desiring subject. Cultures and spaces are fluid and relational, and designers are searching for ways to give expression to these telluric undercurrents that are shaping and re-shaping our worlds. New sensibilities are taking shape, and it is the aim of this conference to explore and gain understanding of emergent possibilities.

 

The conference, or confluence, will be transdisciplinary, bringing together people who are developing ways of thinking about places and our responses to them, making use of ideas of flux.

 

Convenors:

Andrew Ballantyne, Jean Hillier, Sally Jane Norman and Chris L. Smith

 

Hosted by Tectonic Cultures Research Group, School of Architecture, Planning & Landscape and Culture Lab

 

Contact

Karen Ritchie

Tectonic Cultures Research Group

SAPL

Claremont Tower

Newcastle University

Newcastle upon Tyne

NE1 7RU

UK

e-mail k.i.ritchie@ncl.ac.uk

 

key dates

22 January 2007

Deadline for receipt of abstracts. No longer accepting abstracts.

19 February 2007

Notification of accepted abstracts. No longer accepting abstracts.

23 April 2007 Deadline for author and early-bird registration

21-24 June 2007 architecture in the space of flows conference

15 September 2007 Deadline for publication-ready papers for potential inclusion in an edited text.

 

Registering Interest. To obtain further information on call for papers, poster submissions, sponsorship and conference registration please send an e-mail to Karen Ritchie at k.i.ritchie@ncl.ac.uk

 

The subject line of the e-mail should read: flows interest

 

We will establish an e-mail database for the distribution of further information as it becomes available.

 

Conference registration includes attendance at all events listed on the program (including lunches, morning and afternoon teas, conference dinner and performances). There is no day-only or event-only registration.

 

The conference registration is set at:

 

£120 for author and early-bird registration due 23 April 2007.

 

£85 for postgraduate student registration due 23 April 2007. (Proof of student status required.)

 

£145 for registration after 23 April.

 

To register for the conference please send an e-mail to Karen Ritchie at k.i.ritchie@ncl.ac.uk Karen will let you know preferred methods of payment, the refund policy, etc.

 

The subject line of the e-mail should read: flows registration

 

Call for Papers

The aim will be to select a wide variety of papers (and other acts of imagination) which could include contributions from architects, urbanists, ethologists, acousticians, artists, mathematicians, athletes, musicologists, sociologists, biorheologists, choreographers, philosophers, free spirits and interlopers.

 

300-word self-contained abstracts are invited, proposing a 20-minute academic paper or other acts of the imagination that shed light on a pertinent issue: phenomena of transition, dynamic cultural appropriations, the body in movement through space, expression, topologies of flux, explorations of possible worlds. The abstract should outline your intentions, scope, and conclusions.

 

Abstracts will be peer-reviewed blind. To submit an abstract for consideration we request that you send 2 e-mails to Karen Ritchie k.i.ritchie@ncl.ac.uk

 

The first e-mail should contain contact and biographical information. You should include: your name, institutional affiliation, contact details, the title of the paper and a 200 word bio. The subject line of the e-mail should read: flows bio

 

The second e-mail should contain the title of the proposed paper and the abstract itself. The body of this e-mail should not include your name or contact details. The subject line of the e-mail should read: flows abstract

 

All abstracts and contact information should occur in the body of the e-mail (no attachments please).

 

We intend to publish a number of papers of approximately 4000 words based on the themes of the conference in an edited text.

 

Program

 

Thursday 21 June

15:00-17:00 Registration. Speaker Preparation where participants can check their presentations and have them pre-loaded (where necessary) by a technician.

17:00-17:30 Welcome

17:30-18:00 Keynote address A

18:00 Drinks

 

Friday 22 June

09:00-09:30 Coffee/tea/pastries

09:30-11:00 Parallel sessions

11:00-11:30 Morning tea

11:30-13:00 Parallel sessions

13:00-14:30 Lunch and performance A

14:30-16:00 Parallel sessions

16:00-17:00 Keynote B

19:00 Conference Dinner

 

Saturday 23 June

09:00-09:30 Coffee/tea/pastries

09:30-11:00 Parallel sessions

11:00-11:30 Morning tea

11:30-13:00 Parallel sessions

13:00-14:30 Lunch and performance B

14:30-15:30 Keynote C

15:30 Coffee/tea / Newcastle Explorations/ On-site performances (C and D)

 

Sunday 24 June

09:00-09:30 Coffee/tea/pastries

09:30-11:00 Parallel sessions

11:00-11:30 Morning tea

11:30-13:00 Keynote D

13:00-14:30 Lunch and performance E

14:30-15:30 Concluding remarks/ Concluding drinks

 

Welcome

17:00 Thursday 21 June

Culture Lab - Newcastle

 

Culture Lab is a flagship for Newcastle University's interdisciplinary research-creation and focus for a dynamic hub of networks that works to engage and extend artists, researchers and scientists in dynamic collaborations.

http://www.ncl.ac.uk/culturelab/

 

Conference Dinner

19:00 Friday 22 June

BALTIC: Riverside Restaurant

 

Housed in an award winning industrial conversion on the south bank of the River Tyne, BALTIC is a cutting-edge contemporary art gallery/art producer - presenting and generating a dynamic, diverse and international programme of contemporary visual art.

http://www.balticmill.com/index.php

 

Newcastle Explorations

15:30+ Saturday 23 June

Meeting under the University Arches

More information on its way.

 

Site-specific performances

15:30+ Saturday 23 June

Meeting under the University Arches

More information on its way.

 

Lunches

13:00-14:30 Friday 22 June

13:00-14:30 Saturday 23 June

13:00-14:00 Sunday 24 June

McKenna's @ Northern Stage

 

Northern Stage is the largest producing theatre company in the North East of England, with a reputation for visually driven, multi-media productions that attract new, young audiences.

 

Keynotes:

Brian Massumi, Université de Montréal

Erin Manning, Sense Lab, Concordia University

Anthony Vidler, Cooper Union

Emily Apter, New York University

Andrew Ballantyne, Newcastle University

 

Venues

Culture Lab

Newcastle University

Grand Assembly Rooms

King's Walk

Newcastle upon Tyne

NE1 7RU

 

Closest Metro Station: Haymarket Metro

 

About Newcastle

Visiting Newcastle

http://www.visitnewcastlegateshead.com/

 

Travel to Newcastle

http://www.ncl.ac.uk/travel/info/index.php

 

City Map

http://www.ncl.ac.uk/travel/maps/navigator.php

 

City and Approaches

http://www.ncl.ac.uk/travel/maps/citymap.php

 

Metro Map

http://www.ncl.ac.uk/travel/maps/metro.php

 

Accommodation

There are a great number of hotels and B&Bs in the Newcastle City centre area within walking distance of the Conference venues.

 

Grey Street Hotel

Grey Street

Newcastle-Upon-Tyne

NE1 6EE

http://www.greystreethotel.com/

 

http://web.mac.com/asquins2002/iWeb/Site%204/flows%20news.html

 

This page will be used to post fresh information in the run-up to the conference.

 

The call for papers is now closed. It produced an excellent response, bringing a large number of high quality proposals from all over the world. The abstracts have been reviewed and notifications are being sent out by e-mail.

 

The conference fee has been kept as low as possible in order that it should not be a barrier to participation. We will need participants to pay the conference fee and will not be entering into negotiations to reduce it further. However if we have prosperous participants who are happy to contribute above the asking-price, then we will be grateful for the help, which we will find an unembarrassing way to acknowledge.

 

We are unable to provide bursaries for travel to support participants.

 

All papers presented at the conference can be considered for publication afterwards. If you wish your paper to be considered then a copy of it must be deposited with the organizers immediately after the conference. This will be considered as a draft. A selection will be made, and then a completed text of those chosen will be needed by 21 September 2007.

 

 

 

NEW 15 (internet source: http://www.crvp.org/Philosophical_Calendar/)

 

June 12-14

Aristotle's De Anima and Its Interpreters

Second Annual Marquette Summer Seminar in Ancient and Medieval Philosophy

Presented by the Midwest Seminar in Ancient and Medieval Philosophy and the Aquinas and the Arabs Project with the support of the Helen Way Klinger

College of Arts and Sciences at Marquette

Marquette University

Department of Philosophy

Milwaukee, Wisconsin,

12-14 June 2006

This Conference is intended to provide a formal occasion and central location for philosophers and scholars of the Midwest region (and elsewhere) to present and discuss their current work on Aristotle's DE ANIMA and its Interpreters in ancient and medieval philosophy.

PRESENTERS: Established Scholars: send a title and tentative abstract; Graduate Students: send a title, abstract and a supporting letter from your faculty advisor or dissertation director. Send applications to:

Richard.Taylor@Marquette.edu.

OPENING DATE FOR SUBMISSIONS: March 5, 2007 The Selection Committee will select presenters on the basis of quality of proposals (title and abstract) and scholarly record as the primary criteria.

PROGRAM ANNOUNCED: May 1 or earlier if filled.

ATTENDING ONLY: Send Registration check with name, address, academic affiliation.

CONFERENCE REGISTRATION FOR ALL PRESENTERS AND ATTENDEES (to cover

breakfasts, refreshments, dinner first night) Advance Registration by June

1: $35, At the Door: $45.

Send your check made out to "Marquette University" to:

Richard Taylor

Philosophy Department

Marquette University

P.O. Box 1880

Milwaukee, WI 53201-1881

 

 

 

NEW 16 (internet source: http://www.siestetica.it/)

 

Il gusto dell'estetica

 

V Convegno Nazionale della Società Italiana d’Estetica

 

12 e 13 aprile 2007

 

Pollenzo, Università di Scienze Gastronomiche

 

Informazioni: n.perullo@unisg.it

 

Nel suo quinto Convegno Nazionale la Società Italiana d’Estetica crea un nesso con la sua storia recente e apre nuove prospettive

di ricerca. Verrà infatti consegnata a José Jimenez l'edizione italiana della Teoria dell’arte con cui ha vinto lo scorso anno il

Premio Europeo, segno concreto dell'apertura internazionale che la SIE da sempre persegue. Nel Convegno si indagherà inoltre,

attraverso lezioni magistrali e dibattiti tra i soci, il "gusto" che l'estetica genera in innumerevoli e stratificati orizzonti della nostra

contemporaneità. Gusto che è dunque sia una forma di sapere sensibile sia il segno di un interesse che apre la disciplina a nuove

dimensioni di cultura e conoscenza. Al tempo stesso, nella sua assise annuale la Società esplorerà ruoli e funzioni che

l'insegnamento dell'Estetica potrà assumere nelle complesse revisioni normative che attraversano oggi l'Università italiana.

12 aprile 2007

ore 16.00

Indirizzi di saluto

ore 16.30

Modelli del gusto Introduzione alla discussione di Alberto Capatti (Milano), José Jiménez (Madrid),

Baldine Saint Girons (Paris)

13 aprile 2007

ore 09.00

Il gusto in Italia Introduzione alla discussione di Fulvio Carmagnola (Milano), Gillo Dorfles (Milano),

Carlo Petrini (Bra)

ore 12.00

Premio Europeo Consegna dell'edizione italiana della Teoria dell'arte (Premio Europeo d'Estetica)

a José Jiménez

ore 16.30

Assemblea della Società Italiana d’Estetica

 

 

 

NEW 17 (internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

for Conference

“Aesthetics of Displacement”

Belo Horisonte

Brazil

May 15-17, 2007

go to  http://www.fafich.ufmg.br/esteticasdodeslocamento/

 

 

 

NEW 18 (internet source: http://pedagogie.ac-toulouse.fr/philosophie/forma/cal.htm)

 

Toulouse Colloque - Ateliers sur « L’évolution créatrice » de Bergson : 19, 20 et 21 avril 2007 (http://w3.univ-tlse2.fr/philo/rubrique.php3?id_rubrique=44&recalcul=oui)

 

Dans le cadre de la commémoration du centenaire de L’évolution créatrice. En collaboration avec la Société Japonaise d’Etudes Bergsoniennes. Lieu : Université de Toulouse Le Mirail. Organisateurs : Arnaud François, Pierre Montebello, Jean-Christophe Goddard, Hisashi Fujita. Partenaires : CREPHINAT-Université de Bordeaux, Société des amis de Bergson, Centre de Recherches Internationales sur la Philosophie Française Contemporaine, Ministère de la Culture. Thèmes des ateliers :

  1. Intelligence, vie, matière

  2. l’Un et le Tout (néoplatonisme, univocité...)

  3. durée et vie (la transformation de la notion de durée dans L’évolution créatrice)

  4. Histoire de la philosophie et problème de la vérité (le chapitre 4 de L’évolution créatrice).

  Participants : Shin Abiko (Tokyo), Arnaud Bouaniche (Lille), Giuseppe Bianco (Lille), Florence Caeymaex (Liège), Julie Casteigt (Toulouse), Emmanuel Cattin (Clermont), Nicolas Cornibert (Toulouse), Arnaud François (Lille), Hisashi Fujita, Jean-Christophe Goddard (Toulouse), Osamu Kanamori (Tokyo), Pierre-Antoine Miquel (Nice), Alain Petit (Clermont), Camille Riquier (Paris), Sylvain Roux (Clermont), Anne Sauvagnargues (Lyon), Guillaume Sibertin-Blanc (Lille), Naoki Sugiyama (Tokyo), Frédéric Worms (Lille).

 

 

 

NEW 19 (internet source: http://pedagogie.ac-toulouse.fr/philosophie/forma/cal.htm)

 

Une journée d'étude consacrée à Maurice Blanchot. aura lieu à *l'Université Paris X Nanterre, le 27 avril 2007*. IMAGE / IMAGINAIRE DANS L'OEUVRE DE MAURICE BLANCHOT* Dans l’œuvre de Blanchot, l’image est toujours sujette à caution, elle ne se donne à lire que comme étrangeté, inquiétude du visible. Les descriptions fantastiques d’/Aminadab/ ou de /Thomas l’Obscur/, les rencontres surprenantes dans certaines fictions ou encore les contemplations quasi mystiques de la fin des derniers récits, l’image chez Blanchot est une présence qui se dérobe, elle questionne davantage qu’elle n’affirme son évidence. Qu’il s’agisse de l’interdit de la représentation du visage de l’auteur, de l’image terrifiante parce qu’elle fascine et capture le sujet, ou de l’image cadavérique comme ressemblance absolue ( « l’homme est défait selon son image »), l’image est toujours double, ambiguë. Les deux versions de l’imaginaire sont les deux faces de l’image, toujours dialectique, elle rend visible l’invisible, mais en même temps elle nous confronte à la présence de l’absence. Cette journée, au-delà de l’hommage à l’oeuvre, cherchera à interroger le statut complexe de l’image et de l’imaginaire dans l’œuvre fictive et critique de Maurice Blanchot. *Université de Nanterre, 200 av de la République 92000 Nanterre (RER Nanterre-Université). Bâtiment B, Salle du conseil, Rez-de-Chaussée.*

 

 

NEW 20 (internet source: information philosophie, März 2007)

(internet source: http://www.gnp-online.de/Jahrestagung.12.0.html)

 

XV. Symposion

 

Die Stadt als Wohnraum

Vom 20. bis 22. April 2007 findet an der Universität Hamburg das jährliche Symposion der Gesellschaft für Neue Phänomenologie statt. Hier finden Sie das Programm zum Download.

 

Informationstext zum Tagungsthema

Wohnen ist "Kultur der Gefühle im umfriedeten Raum" (Hermann Schmitz). Die Umfriedung durch die Stadtmauer konstituierte die traditionelle Stadt. Sie gab nicht nur Sicherheit gegenüber Bedrohungen von außen, sie schuf auch einen sicheren Raum gefühlter und ständig gegenwärtiger Gemeinsamkeit.

 

Der Wegfall der Umfriedung, das Zerlaufen der Städte in endlosen Straßenzügen, deren Verkehr der Einwohner oft eher bedroht als verbindet oder schützt, lässt sich durch nur formal geregelte Systeme und eine Vielzahl abstrakter Institutionen nicht ersetzen. Auch heute erwächst das Gefühl unbedohter Sicherheit im Raum der Stadt nur dort, wo der Einzelne sich in nachbarschaftlicher Umgebung wohlfühlen kann. Alle Versuche, die Stadt wieder zum Wohnraum zu machen, die "Unwirtlichkeit unserer Städt" (Alexander Mitscherlich) zu überwinden, bestehen darin, auf neue Weise umfriedete Räume zu schaffen, Stätten der Erledigung, zwischen denen die Menschen beruhigt hin und her gehen können. So umfriedete Bezirke gefühlter Gemeinsamkeit lassen sich nicht beliebig ausdehnen und auch nicht verordnen; es sind Stadt- oder Ortsteile heimatlichen Charakters, die eine gewisse Übersichtlichkeit bewahren und nicht den Unsicherheiten der durch Medien angeheizten Fan - oder Mode-Kulturen unterliegen. Sie sind Inseln in den "weißen Räumen" jener nackten Funktionalität, die sich in und zwischen den globalisierten Städten und Megastädten wuchernd ausbreiten. Erst die "Kultur der Gefühle" macht einen beliebigen Ort auf eine für jeden spürbare Weise zu einem bewohnbaren Raum, dessen Atmosphäre das Leben, das "immer lebensgefährlich ist" (Erich Kästner), so einhegt, dass es lebenswert bleibt. Die erstrebte Wohnlichkeit der Städte appeliert an Strukturen des Raumes, des Leibes und des Gefühls, die als Bedürfnis allen, mehr oder weniger dunkelt, noch ohne Begriffe vorschweben.

 

Die Neue Phänomenologie hat solche Begriffe. Die Tagung soll zeigen, wie sie auf die Stadt als Wohnraum angewendet werden können.

 

Tagungsort

Universität Hamburg

Hörsaal 221, Flügelbau West,

Edmund-Siemers-Allee 1, 20146 Hamburg

 

Tagungsgebühr

15,00 € für die gesamte Tagung (3 Tage)

8,00 € für eine Tageskarte (Samstag oder Sonntag)

für Studierende (mit Nachweis) Eintritt frei

 

Die Eintrittskarten können auf der Tagung erworben werden. Eine vorherige Anmeldung ist nicht nötig.

 

Tagungsprogramm

 

Freitag, 20. April 2007

 

20.00 Uhr

 

Podiumsdiskussion

"Wohnen in der globalisierten Welt?"

Teilnehmer:

Prof. Dr. h.c. Thomas Albrecht (Architekt)

Dr. Dieter Bartetzko (Architekturkritiker)

Prof. Dr. Jürgen Hasse (Humangeograph)

Prof. Dr. Hermann Schmitz (Philosoph)

Moderation:

Dr. Christoph Bungartz (NDR)

 

Samstag, 21. April 2007

 

9.30 - 10.00 Uhr

 

Eröffnung der Tagung durch Prof. Dr. phil. Dr. h.c. mult. Hans Jürgen Wendel (Präsident der GNP)

Einführung in das Tagungsthema durch Dr. Hans Werhahn (Vizepräsident der GNP)

 

10.00 - 11.00 Uhr

 

Prof. Dr. Hermann Schmitz

"Heimisch sein"

 

11.00 - 11.30 Uhr

 

Pause

 

11.30 - 12.30 Uhr

 

Prof. Dipl.-Ing. Eckhard Gerber

"Raum, ein Urbedürnis des Menschen"

 

12.30 - 14.30 Uhr

 

Mittagspause

 

14.30 - 15.30 Uhr

 

Prof. Dr. Ludwig Fromm

"Raumgestaltung zwischen Ästhetik und Lebensbedeutsamkeit"

 

15.30 - 16.30 Uhr

 

Prof. Dr. Jürgen Hasse

"Schöner Wohnen? Zur Bedeutungen von Ästhetisierungen im Stadtraum"

 

16.30 - 17.00 Uhr

 

Pause

 

17.00 - 18.00 Uhr

 

Prof. Dr. Achim Hahn

"Das Wohnen im Raum der Zwischenstadt"

 

18.00 - 19.00 Uhr

 

Dr. Dieter Bartetzko

"Das Bau-Aus für das Bauhaus?"

 

 

Sonntag, 22. April 2007

 

9.30 - 10.30 Uhr

 

Dr. Sonia Schoon

"'Zwei Punkte - eine Linie' - Umfriedung und Draußen in der dichotomen Lebenswelt Shanghai

 

10.30 - 11.30 Uhr

 

Prof. Dr. Dr. Eduard Führ

"Drinnen + Draußen. Zur Phänomenologie des Raums"

 

11.30 - 12.30 Uhr

 

Prof. Dr. h.c. Thomas Albrecht

"Wohnen im umfriedeten Raum - Drei aktuelle Beiträge"

 

12.30 - 13.30 Uhr

 

Mittagspause

 

13.30 - 14.30 Uhr

 

Prof. Dr. Wolfgang Meisenheimer

"Die Konstruktion von Innenraumgefühlen durch Architektur"

 

14.30 - 15.30 Uhr

 

Jörg Plickat

"Die Stadt als Kulturraum"

 

15.30 - 16.30 Uhr

 

Dr. phil. Dipl.-Ing. Thorsten Bürklin

"Sitte 'reloaded'. Wohnen in der Stadt, die es nicht mehr gibt"

 

16.30 - 17.00 Uhr

 

Pause

 

ab 17.00 Uhr

Werkstattgespräch mit Hermann Schmitz

 

 

NEW 21 (internet source: information philosophie, März 2007)

(internet source: http://www.arsimitaturnaturam.de/)

 

 

ARS IMITATUR NATURAM

 

Konzeptionen menschlicher Kreativität im Übergang vom Mittelalter zur Neuzeit

 

3. Tagung junger Cusanusforscher/-innen, 27.-29. April 2007

 

Martin-Luther-Universität Halle, Löwengebäude, Universitätsplatz, HS XIII

 

Veranstalter: Arne Moritz (Seminar für Philosophie, Martin-Luther-Universität Halle-Wittenberg) , Franz-Bernhard Stammkötter (Institut für Cusanus-Forschung, Universität Trier)

 

email info@arsimitaturnaturam.de

 

Die Tagung ARS IMITATUR NATURAM befasst sich mit der von Aristoteles grundgelegten Formel, dass Kunst (im weiten Sinne diverser Formen menschlichen Hervorbringens) Natur nachahme. Die Tagungsbeiträge untersuchen, welche Bedeutung dieser Formulierung im Übergang vom Mittelalter zur Neuzeit für ein sich wandelndes Verständnis menschlicher Kreativität zukam. Ein inhaltlicher Schwerpunkt liegt dabei auf der Frage danach, wie sich die Gewichtung der Fremd- bzw. Selbstbestimmtheit der mimetischen Grundkonzeption von Kunst   gewandelt hat. Dies wird unter besonderer Berücksichtigung der Person des Nikolaus von Kues (1401-1464) als einer zentralen Gestalt des Übergangs vom Mittelalter zur Neuzeit untersucht. Die Tagungsbeiträge beziehen sich auf eine Vielfalt von Themenfeldern, die bei Cusanus und in seiner historischen Umgebung mit dem Begriff der Kunst (ars) verbunden wurden, sodass neben ästhetischen Fragestellungen auch solche der Wissenschaftstheorie, Wissenschaftsgeschichte und Epistemologie, der Anthropologie, Religion und Politik aufgegriffen werden.

 

Ars Imitatur Naturam wird ermöglicht durch großzügige Förderung der Cusanusgesellschaft, Vereinigung zur Förderung der Cusanus-Forschung e.V., der Martin-Luther-Universität Halle-Wittenberg sowie der Vereinigung der Freunde und Förderer der Martin-Luther-Universität e.V. Die Tagung ist Teil des Veranstaltungsprogramms zum Kulturellen Themenjahr in Halle 2007 mitteilenswert - ein Jahr der Kommunikation

 

Programm

 

Freitag, 27.4.2007

 

15.00 Begrüßung, Einführung

 

I HISTORISCHE BEZÜGE

 

15.20 Alexander Aichele (Halle-Wittenberg)

Finalursache und Vollkommenheit

Warum nach Aristoteles die Kunst die Natur nachahmen muss

 

15.50 Diskussion

 

16.10 Andrej Krause (Halle-Wittenberg)

Ahmt die Kunst die Natur nach oder vervoll-kommnet sie diese?

Grundgedanken des Thomas von Aquin zum Verhältnis von Kunst und Natur

 

16.30 Matthias Kaufmann (Halle-Wittenberg)

Das Problemder ontologischen Eigenständigkeit des Kunstproduktes bei Wilhelm von Ockham

 

16.50 Diskussion

 

17.20 Pause

 

II – ERKENNTNISTHEORIE

 

17.40 Maria Cecilia Rusconi (Buenos Aires)

Natur, Kunst und Form bei Thierry von Chartres und Nikolaus von Kues

 

18.00 Matthias Vollet (Mainz)

Stufen der Kunst und der imitatio in De venatione sapientiae und De mente

 

18.20 Diskussion

 

18.50 Ende

 

Samstag, 28.4.2007

 

III KUNST

 

9.30 Markus Riedenauer      (Bamberg)

Perspektive in der Malerei als Nachahmung natürlichen Sehens und ihre philosophische Reflexion

 

9.50 Elena Filippi (München)

Imitatio naturae und imitatio Christi

Die coincidentia oppositorum in der viva imago Albrecht Dürers von 1500

 

10.10 Diskussion

 

10.40 Pause

 

11.00 Gianluca Cuozzo (Turin)

Visio Circularis

Das Bild des göttlichen ‚vultus trifrons’ in der Kirche von Santa Giuliana in Vigo di Fassa

 

11.20 Franz-Bernhard Stammkötter (Trier)

WelcheNatur imitiert die Musik?

Naturnachahmung als Problem der cusanischen Musikphilosophie

 

11.40 Diskussion

 

12.10 Pause

 

14.30 Sylvie Tritz (Bamberg)

Ars imitatur naturam / Ars imitatur artem

Die Darstellungsmodi im römischen Grabaltar des Nikolaus von Kues

 

14.50 Anke Naujokat (Aachen)

Pax et concordia fidei

Das heilige Grab von Leon Battista Alberti als Memorialbau des Florentiner Unionskonzils (1439-1443)

 

15.10 Diskussion

 

15.40 Pause

 

IV ANTHROPOLOGIE,RELIGION, POLITIK

 

16.00 Philipp David (Kiel)

Ist der Mensch von Natur aus religiös?

Mit Nikolaus Cusanus vor der Gretchenfrage

 

16.20 Arne Moritz (Halle-Wittenberg)

Natur und Kunst in der politischen Philosophie von De concordantia catholica

 

16.40 Diskussion

 

17.10 Pause

 

17.30 Isabelle Mandrella (Bonn)

Natura intellectualis imitatur artem divinam

Der Mensch und Christus als ars Dei

 

17.50 Frédéric Vengeon (Paris)

L´autonomie de l´esprit au miroir del´infinité divine

Eckhart – Nicolas de Cues – Descartes

 

18.10 Diskussion

 

18.40 Ende

 

Sonntag, 29.4.2007

 

V WELTBILD UND WISSENSCHAFT IM UMBRUCH

 

10.00 Marco Böhlandt (München)

Imago mundi

Spätmittelalterliche Konzeptionen von ars und scientia in ihrer Bedeutung für die Genese des frühneuzeitlichen Naturverständnisses in bildender Kunst und Wissenschaft

 

10.20 Tom Müller (Trier)

Stadt, Land, Ozean

Zur Kartografie bei Alberti, Cusanus und Toscanelli

 

10.40 Diskussion

 

11.10 Pause

 

11.30 Kirstin Zeyer (Trier)

Grundlagen und Formen der Naturerkenntnis bei Cusanus und Descartes

 

11.50 Detlef Thiel (Wiesbaden)

… et natura imitatur artem

Die Figur des Zwillingsblicks bei Nicolaus Cusanus und Salomo Friedlaender/Mynona

 

12.10 Diskussion

 

12.40 Abschluss / Ende gg. 13 Uhr

 

 

 

NEW 22 (internet source: information philosophie, März 2007)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/kant.html)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/kant_tn.html)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/kant_programm.html)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/InhaltsverzeichnisdesBandes.pdf)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/RichtlinienAutoren.pdf)

(internet source: http://www.uni-tuebingen.de/philosophie/konferenzen/Siglen.pdf)

 

Philosophisches Seminar

Fakultät für Philosophie und Geschichte

 

Immanuel Kant. Kritik der Urteilskraft

Internationales Symposion, 28.–30. Juni 2007,

Schloß Hohentübingen, Fürstenzimmer

 

Organisation: Prof. Dr. Dr. h.c. Otfried Höffe, Dr. des. Ina Goy

Konferenzsprachen: deutsch, englisch

Das Projekt wird durch die freundliche Unterstützung der Fritz–Thyssen–Stiftung gefördert.

 

In der Kritik der Urteilskraft (1790) entwickelt Kant eine philosophische Ästhetik und eine Theorie der organischen Natur. Die beiden scheinbar heterogenen Gegenstandsbereiche sind durch das Prinzip der Urteilskraft, die Idee der Zweckmäßigkeit, verbunden, die der Mensch sowohl bei der Reflexion über die schönen Gegenstände der Natur und der Kunst als auch bei seiner Erforschung der organischen Natur zugrunde legt. Da sich alle Zwecke zuletzt auf den Endzweck des Menschen als moralisches Wesen beziehen, übersteigt die dritte Kritik schließlich die Bereiche von Kunst und Natur und berührt Fragen der Moralphilosophie und der Moraltheologie.

Zusätzlich glaubt Kant, mit dem subjektiven Vermögen der Urteilskraft jenes Bindeglied unter den menschlichen Gemütskräften gefunden zu haben, das einen architektonischen Übergang zwischen den Naturbegriffen des Verstandes in der ersten und dem Freiheitsbegriff der Vernunft in der zweiten Kritik ermöglicht, durch den sich die theoretische und die praktische Philosophie in einem einzigen philosophischen System vereinigen lassen.

Ein dreitägiges Diskussionsforum international renommierter, auch jüngerer Kantforscher soll eines der anspruchsvollsten und themenreichsten Werke der Kantischen Philosophie durch eine genaue Exegese zum Sprechen bringen. Aus dem Symposion geht ein kooperativer Kommentar hervor, der in der Reihe „Klassiker Auslegen“ im Akademie-Verlag erscheinen wird. Der Teilnehmerkreis des Symposions ist geschlossen.

 

Kontakt:

Prof. Dr. Dr. h.c. Otfried Höffe

Dr. des. Ina Goy

projekte.hoeffe@uni-tuebingen.de

 

Teilnehmer

 

Karl Ameriks (Notre Dame)

Jochen Bojanowski (Pittsburgh)

Reinhard Brandt (Marburg)

Gerardo Cunico (Genova)

Michaël Foessel (Dijon)

Eckart Förster (Baltimore)

Christel Fricke (Oslo)

Hannah Ginsborg (Berkeley)

Piero Giordanetti (Milano)

Ina Goy (Tübingen)

Otfried Höffe (Tübingen)

Andreas Kablitz (Köln)

Georg Kohler (Zürich)

Steinar Mathisen (Oslo)

Birgit Recki (Hamburg)

Jacinto Rivera de Rosales (Madrid)

Siegfried Roth (Köln)

Eric Watkins (San Diego)

 

Programm

 

Donnerstag, den 28. Juni 2007

 

14.00   Begrüßung

14.15   Jochen Bojanowski:   Vorrede, Einleitung I.-V.

15.00   Reinhard Brandt:   Einleitung VI.-IX., Einteilung

15.45   Kaffeepause

16.05   Hannah Ginsborg:   §§ 1 – 9

16.50   Jacinto Rivera de Rosales:   §§ 10 – 22

17.35   Kaffeepause

17.55   Michaël Foessel:   §§ 23 – 29

19.15   Abendessen in einem Restaurant

 

Freitag, den 29. Juni 2007

 

09.00   Christel Fricke:   §§ 30 – 38

09.45   Georg Kohler:   §§ 39 – 42

10.30   Kaffeepause

10.50   Andreas Kablitz:   §§ 43 – 50

11.35   Steinar Mathisen:   §§ 51 – 54

12.30   Mittagessen

14.00   Birgit Recki:   §§ 55 – 60

14.45   Piero Giordanetti:   §§ 61 – 63

15.30   Kaffeepause

15.50   Ina Goy:   §§ 64 – 68

16.35   Eric Watkins:   §§ 69 – 73

17.20   Kaffeepause

17.40   Eckart Förster:   §§ 74 – 78

19.00   Abendessen in einem Restaurant

 

Samstag, den 30. Juni 2007

 

09.00   Siegfried Roth:   §§ 79 – 81

09.45   Otfried Höffe:   §§ 82 – 84

10.30   Kaffeepause

10.50   Gerardo Cunico:   §§ 85 – 89

11.35   Karl Ameriks:   §§ 90 – 91

12.30   Mittagessen

 

Hinweise zur Gestaltung der Abhandlungen im Kommentar-Band

 

Bitte senden Sie Ihre Abhandlungen für den Kommentar-Band

bis zum 15. August 2007 an die Adresse: projekte.hoeffe@uni-tuebingen.de 

 

Otfried Höffe (Hg.): Klassiker Auslegen

Immanuel Kant. Kritik der Urteilskraft

Inhalt

Zitierweise und Siglen

Vorwort

1. Einführung Otfried Höffe C

2. Vorrede, Einleitung (I.-V.) Jochen Bojanowski B

3. Einleitung (VI.-IX.), Einteilung Reinhard Brandt B

4. §§ 1 – 9 Hannah Ginsborg C

5. §§ 10 – 22 Jacinto Rivera de Rosales C

6. §§ 23 – 29 Michaël Foessel C

7. §§ 30 – 38 Christel Fricke B

8. §§ 39 – 42 Georg Kohler A

9. §§ 43 – 50 Andreas Kablitz C

10. §§ 51 – 54 Steinar Mathisen B

11. §§ 55 – 60 Birgit Recki C

12. §§ 61 – 63 Piero Girodanetti A

13. §§ 64 – 68 Ina Goy B

14. §§ 69 – 73 Eric Watkins B

15. §§ 74 –78 Eckart Förster B

16. §§ 79 – 81 Siegfried Roth A

17. §§ 82 – 84 Otfried Höffe B

18. §§ 85 – 89 Gerardo Cunico C

19. §§ 90, 91 Karl Ameriks C

20. Ein Ausblick Otfried Höffe C

Auswahlbibliographie

Personenregister

Sachregister

Autorenhinweise

A = 16 Manuskriptseiten

B = 20 Manuskriptseiten jeweils à 2 000 Zeichen mit Leerzeichen

C = 25 Manuskriptseiten

 

Richtlinien für die Autoren

 

Bitte beachten Sie beim Abfassen Ihrer Abhandlungen die folgenden formalen Vorgaben für die Gestaltung der Texte:

– es gibt keine Fuß– oder Endnoten

– alle Zitate aus der Fremdliteratur werden mit der Angabe des Nachnamens des Autors, des Erscheinungsjahres und der Seite direkt in den Text hineingearbeitet, z.B.:

Haupttext: „...........Zitat..........“ (Allison 2001, 23) Haupttext

– die Kantischen Schriften werden nach der Ausgabe der Preußischen Akademie der Wissenschaften zitiert, z.B. 5: 242 (=Band 5, Seite 242); ausgenommen von dieser Regel ist die erste Kritik, für die wie üblich zwischen der AAuflage und der B-Auflage unterschieden wird, z.B. CPR B 20 = Seite 20 nach der Originalpaginierung der B-Auflage, erste Kritik A xx = Seite 20 der Vorrede der A-Auflage

– auf die Werke Kants wird kursiv unter Siglen Bezug genommen (s. Siglenliste)

– am Ende des Textes werden die vollständigen bibliographischen Angaben zur zitierten Literatur in einem kurzen Verzeichnis aufgezählt, man verwende bitte folgendes Schema:

Literatur/notes

Allison, Henry E. 2001: Kant’s Theory of Taste, New York.

Tonelli, Giorgio 1957: „Von den verschiedenen Bedeutungen des Wortes Zweckmäßigkeit in der Kritik der Urteilskraft“, in: Kant–Studien 49, 154–

166.

Brandt, Reinhard 1998: „Zur Logik des ästhetischen Urteils“, in: H. Parret (Hg.), Kants Ästhetik/Kant’s Aesthetics/L’esthétique de Kant, Berlin/New

York, 229–245.

– bitte schreiben Sie im Literaturverzeichnis die Titel der Namen von Zeitschriften aus

 

Siglenverzeichnis

 

Den Titeln von Kants Schriften in chronologischer Reihenfolge sind kursiviert die deutschen und die entsprechenden englischen Titel-Abkürzungen (Siglen) vorangestellt.

 

1746-47

Wahre Schätzung True Estimation

Gedanken von der wahren Schätzung der lebendigen Kräfte und Beurteilung der Beweise derer sich Herr von Leibniz und andere Mechaniker in dieser Streitsache bedienet haben, nebst einigen vorhergehenden Betrachtungen welche die Kraft der Körper überhaupt betreffen. (Der Druck beginnt 1746, 1747 schiebt Kant noch §§ 107 bis 113A und 151 bis 156 nach. Die Ausgabe des Buches erfolgt erst 1749. Vgl. die Einleitung von Kurd Laßwitz in AA I, S. 521.)

 

1754

Umdrehung der Erde Rotation of the Earth

Untersuchung der Frage, ob die Erde in ihrer Umdrehung um die Achse, wodurch sie die Abwechselung des Tages und der Nacht hervorbringt, einige Veränderung seit den ersten Zeiten ihres Ursprungs erlitten habe und woraus man sich ihrer versichern könne, welche von der Königlichen Akademie der Wissenschaften zu Berlin zum Preise für das jetztlaufende Jahr <sc. 1754> aufgegeben worden

Ob die Erde veralte Whether the Earth is Aging

Die Frage, ob die Erde veralte, physikalisch erwogen

 

1755

Theorie des Himmels Theory of Heavens

Allgemeine Naturgeschichte und Theorie des Himmels, oder Versuch von der Verfassung und dem mechanischen Ursprunge des ganzen Weltgebäudes, nach Newtonischen Grundsätzen abgehandelt

De igne On Fire

Meditationum quarundam de igne succincta delineatio – Knappe Darstellung einiger Gedanken über das Feuer. (Am 17. April 1755 der Königsberger Philosophischen Fakultät zur Promotion vorgelegt; erst 1839 postum veröffentlicht)

Nova dilucidatio New Elucidation

Principiorum primorum cognitionis metaphysicae nova dilucidatio – Neue Erhellung der ersten Prinzipien metaphysischer Erkenntnis. Am 27. September 1755 der Königsberger Philosophischen Fakultät als Habilitationsschrift vorgelegt; erschienen 1755 bei Johann Heinrich Hartung in Königsberg

 

1756

Erdbeben Terrestrial Convulsions

Von den Ursachen der Erderschütterungen bei Gelegenheit des Unglücks, welches die westliche Länder von Europa gegen das Ende des vorigen Jahres betroffen hat

Geschichte des Erdbebens History of the Earthquake

Geschichte und Naturbeschreibung der merkwürdigsten Vorfälle des Erdbebens, welches an dem Ende des 1755sten Jahres einen großen Teil der Erde erschüttert hat

Betrachtung Observation

Fortgesetzte Betrachtung der seit einiger Zeit wahrgenommenen Erderschütterungen

Monadologia physica Physical Monadology

Metaphysicae cum geometrica iunctae usus in philosophia naturali, cuius specimen I. continet monadologiam physicam – Der Gebrauch der Metaphysik, sofern sie mit der Geometrie verbunden ist, in der Naturphilosophie, dessen erste Probe die physische Monadologie enthält. (Am 23. März 1756 der Königsberger Philosophischen Fakultät vorgelegte Disputationsschrift zwecks Bewerbung um eine außerordentliche Professur)

Theorie der Winde Theory of Winds

Neue Anmerkungen zur Erläuterung der Theorie der Winde

 

1757

Entwurf der Geographie Outline of Physical Geography

Entwurf und Ankündigung eines Collegii der physischen Geographie nebst dem Anhange einer kurzen Betrachtung über die Frage: Ob die Westwinde in unsern Gegenden darum feucht seien, weil sie über ein großes Meer streichen

 

1758

Lehrbegriff Motion and Rest

Neuer Lehrbegriff der Bewegung und Ruhe und der damit verknüpften Folgerungen in den ersten Gründen der Naturwissenschaft

 

1759

Optimismus Optimism

Versuch einiger Betrachtungen über den Optimismus

 

1760

Ableben Funk Funk

Gedanken bei dem frühzeitigen Ableben des Herrn Johann Friedrich von Funk

 

1762

Spitzfindigkeit Sublety

Die falsche Spitzfindigkeit der vier syllogistischen Figuren erwiesen

 

1763

Beweisgrund Argument

Der einzig mögliche Beweisgrund zu einer Demonstration des Daseins Gottes (datiert 1763, erscheint aber bereits im Dezember 1762)

Negative Größen Negative Magnitudes

Versuch den Begriff der negativen Größen in die Weltweisheit einzuführen

1764

Beobachtungen Beautiful and Sublime

Beobachtungen über das Gefühl des Schönen und Erhabenen (1764; abgeschlossen im Oktober 1763)

Krankheiten Maladies

Versuch über die Krankheiten des Kopfes

Rezension Silberschlag Review of Silberschlag

Rezension von Silberschlags Schrift: Theorie der am 23. Juli 1762 erschienenen Feuerkugel

Deutlichkeit Distinctness

Untersuchung über die Deutlichkeit der Grundsätze der natürlichen Theologie und der Moral

 

1765

Nachricht Announcement

Nachricht von der Einrichtung seiner Vorlesungen in dem Winterhalbjahre von 1765-1766.

 

1766

Träume Dreams

Träume eines Geistersehers, erläutert durch Träume der Metaphysik

 

1768

Gegenden Directions

Von dem ersten Grunde des Unterschieds der Gegenden im Raume

 

1770

De mundi Inaugural Dissertation

De mundi sensibilis atque intelligibilis forma et principiis – Über die Form und die Prinzipien der Sinnen- und Verstandeswelt

 

1771

Rezension Moscati Review of Moscati

Rezension von Moscatis Schrift: Von dem körperlichen wesentlichen Unterschiede zwischen der Struktur der Tiere und Menschen

 

1775

Racen Races

Von den verschiedenen Racen der Menschen (Programm für das Sommersemester 1775)

 

1776-77

Philanthropin Philanthropin

Zwei Aufsätze, betreffend das Basedow'sche “Philanthropin”

 

1781

KrV A, erste Kritik A CPR A, first Critique A

Kritik der reinen Vernunft, 1. Auflage

 

1782

Anzeige Notice

Anzeige des Lambertischen Briefwechsels

Nachricht Report

Nachricht an Ärzte

 

1783

Prolegomena Prolegomena

Prolegomena zu einer jeden künftigen Metaphysik, die als Wissenschaft wird auftreten können

Rezension Schulz Review of Schulz

Rezension von Schulz: Versuch einer Anleitung zur Sittenlehre für alle Menschen, ohne Unterschied der Religion, nebst einem Anhange von den Todesstrafen

 

1784

Geschichte Universal History

Idee zu einer allgemeinen Geschichte in weltbürgerlicher Absicht

Aufklärung Enlightenment

Beantwortung der Frage: Was ist Aufklärung?

 

1785

Rezension Herder Review of Herder

Rezensionen von Johann Gottfried Herder: Ideen zu einer Philosophie der

Geschichte der Menschheit

Vulkane Volcanoes

Über die Vulkane im Monde

GMS Groundwork, GMM

Grundlegung zur Metaphysik der Sitten

Büchernachdruck Counterfeiting Books

Von der Unrechtmäßigkeit des Büchernachdrucks

Menschenrace Human Race

Bestimmung des Begriffs einer Menschenrace

 

1786

Mutmaßlicher Anfang Conjectural Beginning

Mutmaßlicher Anfang der Menschengeschichte

MAN Metaphysical Foundations

Metaphysische Anfangsgründe der Naturwissenschaft

Rezension Hufeland Review of Hufeland

Rezension von Gottlieb Hufeland: Versuch über den Grundsatz des Naturrechts

Jakob/Mendelssohn Remarks on Jacob

Einige Bemerkungen zu Ludwig Heinrich Jakobs Prüfung der Mendelssohnschen

“Morgenstunden”

Orientieren Orientation

Was heißt: sich im Denken orientieren?

 

1787

KrV B, erste Kritik B CPR B, first Critique B

Kritik der reinen Vernunft, 2. Auflage

 

1788

KpV, zweite Kritik CprR, second Critique

Kritik der praktischen Vernunft

Teleologische Prinzipien Teleological Principles

Über den Gebrauch teleologischer Prinzipien in der Philosophie

Rezension Ulrich Review of Ulrich

Kraus´ Recension von Ulrich’s Eleutheriologie

 

1790

1. Einleitung KU First Introduction

Erste Einleitung in die Kritik der Urteilskraft

KU, dritte Kritik CPJ, third Critique

Kritik der Urteilskraft

Entdeckung Discovery

Über eine Entdeckung, nach der alle neue Kritik der reinen Vernunft durch eine ältere entbehrlich gemacht werden soll. (häufig auch Eberhard-Streitschrift genannt)

Schwärmerei Fanaticism

Über Schwärmerei und die Mittel dagegen

 

1791

Theodizee Theodicy

Über das Mißlingen aller philosophischen Versuche in der Theodizee

 

1792

Radikal Böse Radical Evil

Über das radikale Böse in der menschlichen Natur

 

1793

Religion Religion

Die Religion innerhalb der Grenzen der bloßen Vernunft

Fortschritte Progress

Welches sind die wirklichen Fortschritte, die die Metaphysik seit Leibnizens und Wolffs Zeiten in Deutschland gemacht hat? (Akademie-Preisfrage; verfaßt 1793;

erst 1804 postum veröffentlicht)

Gemeinspruch On the Common Saying

Über den Gemeinspruch: Das mag in der Theorie richtig sein, taugt aber nicht für die Praxis

 

1794

Einfluß des Mondes Influence of the Moon

Etwas über den Einfluß des Mondes auf die Witterung

Ende aller Dinge End of All Things

Das Ende aller Dinge

 

1795

Frieden Peace

Zum ewigen Frieden

 

1796

Sömmering Soemmering

Anhang zu Sömmering: Über das Organ der Seele

Vornehmer Ton New Tone

Von einem neuerdings erhobenen vornehmen Ton in der Philosophie Ausgleichung Mathematical Conflict

Ausgleichung eines auf Mißverstand beruhenden mathematischen Streits Verkündigung New Treaty

Verkündigung des nahen Abschlusses eines Traktats zum ewigen Frieden in der Philosophie

 

1797

RL MMR

Die Metaphysik der Sitten, Rechtslehre

TL MMV

Die Metaphysik der Sitten, Tugendlehre

Vermeintes Recht Right to Lie

Über ein vermeintes Recht, aus Menschenliebe zu lügen

 

1798

Fakultäten Faculties

Der Streit der Fakultäten

Anthropologie Anthropology

Anthropologie in pragmatischer Hinsicht

Buchmalerei Making Books

Über die Buchmacherei

Erklärung Schlettwein Schlettwein

Erklärung gegen Schlettwein

 

1799

Erklärung Fichte Against Fichte

Erklärung gegen Fichte

 

1800

Vorrede Jachmann Preface to Jachmann

Vorrede zu Reinhold Bernhard Jachmann: Prüfung der Kantischen

Religionsphilosophie

Nachschrift Mielcke Afterword to Mielcke

Nachschrift zu Christian Gottlieb Mielckes Littauisch-deutschem und deutschlittauischem Wörterbuch

Logik Logic

Logik. Ein Handbuch zu Vorlesungen, hg. von Gottlieb Benjamin Jäsche

 

1802

Physische Geographie Physical Geography

Physische Geographie, hg. von Friedrich Theodor Rink

 

1803

Pädagogik On Education

Über Pädagogik, hg. von Friedrich Theodor Rink

Handschriftlicher Nachlaß

Reflexionen Reflections

Handschriftliche Notizen (Reflexionen) aus dem Zeitraum 1765-1800, in: AA XIVXIX und XXIII

OP OP

Opus postumum: Entwürfe aus dem Zeitraum 1796-1803 zu einer Theorie des Übergangs von der Transzendentalphilosophie bzw. den Metaphysischen Anfangsgründen der Naturwissenschaft zur Physik, in: AA XXI-XXII

 

 

NEW 23 (internet source: search engine)

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

 

Call for Papers: The Politics, Poetics and Philosophy of Battlestar Galactica: A One Day Symposium

Symposium: Buckingham Chilterns University College, High Wycombe 28th July 2007

Organiser: Buckingham Chilterns University College

Contact: Ewan Kirkland

Since its return, the re-imagined Battlestar Galactica has emerged as the most politically, philosophically and artistically compelling television series of recent years. Opening with the near-obliteration of mankind by a race of cyborgs evolved from human technologies, BSG's survivors - including a war-weary military commander, a minor cabinet member suddenly elevated to President, a scientific genius harbouring a secret and hallucinating his duplicitous girlfriend - variously struggle to reconcile the grief and guilt of survival, their own personal and psychological flaws, and the demands of fighting an enemy uncannily close to themselves. Remaking the cult 1970s original as a morally challenging, psychologically complex and politically controversial science fiction series, the show combines thriller, space opera, war film and docu-drama, while meditating on the nature of humanity, governance, desire, technology and religion. Conflicted characterisations, ethical irresolvable scenarios, ambiguous storylines, an often-uncomfortable resonance with contemporary international events, and a filming style more cinéma vérité than Star Trek, combine in a text which demands serious academic attention. This one day event affords academics, fans and fan-academics the opportunity to consider the social, political, philosophical and artistic significance of Battlestar Galactica. Contributions are invited from researchers working in a wide range of disciplines, including film and television, fantasy, fandom, philosophy, psychoanalysis, drama, documentary and media production.

Call for papers submission date: 2007-06-01

http://www.bcuc.ac.uk/faculties/creativity__culture/faculty_news__events/conferences.aspx

 

 

 

 

LECTURES (NEW 1)

(internet source: search engine)

(internet source: http://iri-web.centrepompidou.fr/seminaires/pratiquejugement.php)

 

Sous la direction de Catherine Perret, Paris 10 Nanterre

 

« L’articulation du jugement et de la pratique est au coeur de l’expérience artistique moderne, qu’on la considère du point de vue de la réception ou de la production. Elle pourrait être définie par le mot de « justesse » qui ajoute aux deux premières, jugement et pratique, la notion fondamentale de « balance » ou de critique. La justesse désigne la manière dont la transmission artistique de l’expérience peut transformer les données esthétiques de cette expérience. Le séminaire à venir partira de ces formulations et reformulations de la modernité et les reprendra à la lumière du discours philosophique de Michel Foucault et de son analyse de la modernité comme « réflexion du présent » telle qu’elle est proposée dans les différentes versions de l’essai de 1984 Was ist Aufklärung. Foucault relance dans ce texte le projet kantien de modernité critique, à ceci près que le sujet de la réflexion n’est pas le sujet de l’entendement et ses capacités de schématisation mais ce qu’il appelle les savoirs, c’est-à-dire les formules épistémologiques qui en s’effectuant sous la forme de techniques opérent, sans l’intervention précisément d’aucun jugement, le contrôle des modes d’individuation. Comment dénouer le lien fatal entre maîtrise technologique et domination bio-politique ? ou encore comment déconnecter la « croissance des capacités et l’intensification des relations de pouvoir » ? Telle est la question à laquelle se trouvent confrontées les Lumières contemporaines. »

 

« Dans ce contexte, Michel Foucault réintroduit la fonction du « jugement » à partir de l’expérimentation des pouvoirs conférés aux savoirs par les techniques. L’expérimentation par exemple des pouvoirs sur les corps conférés aux théories sociales occidentales par les techniques d’administration de la vie et de la mort. Conduite dans un esprit de transgression méthodique, cette expérimentation des moyens non plus en vue de leurs fins « propres » mais indépendamment de ces fins, voire contre elles, « autorise » une réflexion de ces moyens, et, avec elle, l’invention de formules épistémologiques neuves. Le jugement désigne dans ce contexte la « conduite » de la transgression. Pour que la transgression puisse donner lieu à des modes d’individuation qui excèdent les « programmes de contrôle » sans pour autant sortir du terrain de l’expérimentation partageable, voire universalisable, -ce en quoi Foucault demeure un Aufklärer- elle doit en effet être dirigée. Cette conduite, direction ou pratique relève d’un art du jugement ou ethos que Michel Foucault réfère aux techniques de soi antiques et chrétiennes. Et tout particulièrement aux arts de la mémoire. Le jugement devient dans sa pensée « souci de soi ».

 

Qu’en est-il aujourd’hui de cet art du jugement, autrement dit de la possibilité de conduire l’expérimentation des modes de contrôle impliqués par les technologies contemporaines dans le sens de la transgression de telle manière qu’elle puissent servir de nouvelles formules épistémologiques et des modes d’individuation inédits ? »

 

ici, renvoi au texte entier  Accès Sur invitation

 

Dates : à partir du mois de mars

 

Lieux: Salle du collège

 

Dates et horaires : de 14h30 à 17h30, les vendredi suivants de 2007:

 

9 mars

16 mars

23 mars

30 mars

6 avril

27 avril

4 mai

11 mai

18 mai

25 mai

8 juin

15 juin

 

 

 

 

PUBLICATIONS (NEW 3)

 

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

 

 

I'm Paul Dry of Paul Dry Books, and I have just published a book by one of the most prolific members of the ASA online forum.  You know him as Cheerskep. We know him as Thomas McCormack, author of THE FICTION EDITOR, THE NOVEL, AND THE NOVELIST.

The book's announced topic is the planning, writing, and revising of a novel, but Tom, probably influenced by his years on your forum, has throughout the book provided numerous riffs about the philosophy of art - including an innovative analysis of the four steps in any act of art, an explanation of the role of craft in art, and an energetic condemnation of “theme” as a conceptual tool in either the reading or writing of fiction.

Tom tells me the members of the forum are mostly in visual art, but I believe his insights apply to all the arts, and I have borrowed Cheerskep's portal to recommend Tom's book to you.
pdry@pauldrybooks.com  

 

 

NEW 2 (internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

International Yearbook of Aesthetics 2005:

Ontology, Art, and Experience: Perspectives from West and East

http://www2.eur.nl/fw/hyper/IAA/Yearbook/iaa9/Yearbook9.pdf

 

 

NEW 3 (internet source: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=370)

 

International Yearbook of Aesthetics 2006, Volume 10, 2006

Edited by Vrasidas Karalis (International Association for Aesthetics)

Department of Modern Greek Studies

School of Languages and Cultures

University of Sydney NSW 2006 Australia

Telephone: (+61 2) 9351-7252

Fax: (+61 2) 9351-3543

Email: Vrasidas.Karalis@arts.usyd.edu.au

For online access go to http://www2.eur.nl/fw/hyper/IAA/

 

 

 

 

JOB OFFERINGS (NEW 1)

 

 

NEW 1 (internet source: register@philo.at)

(internet source: http://tfm.univie.ac.at/index.php?id=initiativkolleg)

 

CALL FOR APPLICATIONS

Universität Wien, Philologisch-Kulturwissenschaftliche Fakultät

 

in Zusammenarbeit mit der historisch-kulturwissenschaftlichen Fakultät, der Fakultät für Philosophie und Bildungswissenschaft und der sozialwissenschaftlichen Fakultät.

 

Das Initiativkolleg (IK)

 

„SINNE – TECHNIK – INSZENIERUNG: MEDIEN UND WAHRNEHMUNG“

 

vergibt zum 1. Oktober 2007 für die Dauer von drei Jahren insgesamt zehn DoktorandInnenstellen (Kollegiatsstellen).

 

Die Universität Wien bietet erstmals ein strukturiertes Doktoratsstudium für die Dauer von sechs Semestern in diesem Forschungsfeld an. Das internationale und fächerübergreifende Initiativkolleg fördert Dissertationsvorhaben, die sich mit dem Verhältnis von Sinneswahrnehmung, Technik und medialer Inszenierung befassen. Drei Themenfelder schaffen den interdisziplinären Rahmen für die Untersuchung inszenierter Wahrnehmung: (1) Transformation der Sinne, (2) Die Technik und die Künste, (3) Inszenierte Wahrnehmung. Die Betreuung der Dissertationen wird von Mitgliedern der Faculty des Kollegs übernommen.

 

http://forschung.univie.ac.at/de/portal/initiativkollegs/i036/ —:

 

(1) Transformation der Sinne: Wahrnehmung als kognitiver Prozess steht in engem Zusammenhang sowohl mit dem spezifischen situativen Kontext des Wahrgenommenen, als auch mit den physiologischen Voraussetzungen, dem Erfahrungshorizont, der biographischen, historischen und kulturellen Situierung und der emotionalen Verfasstheit des Wahrnehmenden. Indem die Sinne als Ausgangspunkt der Analyse von Wahrnehmungsmodi einbezogen werden, steht das Verhältnis von Körperlichkeit, Kognition und Technik in Bezug auf die historische Einbettung kulturellen Handelns und künstlerischer Produktion und Rezeption im Mittelpunkt. Parallelitäten zwischen medialen Innovationen und Transformationen der Sinne sollen in historischer und theoretischer Hinsicht untersucht werden – ebenso wie jene zwischen technischem Apparat und sinnlicher Erfahrung. Besonders die Dynamik von Kulturen der Wahrnehmung und Kulturen der Erinnerung erfordert neue interdisziplinäre Forschungsperspektiven.

(2) Die Technik und die Künste: Die Entwicklung technischer Mittel zur Schärfung der Wahrnehmung bzw. zur Produktion künstlicher Sinneseindrücke lässt sich historisch weit zurückverfolgen, ist aber in ihrer engen Verknüpfung mit gesellschaftlichen Modernisierungsprozessen vor allem im 20. und 21. Jahrhundert von großer Bedeutung. Die Ästhetik selbst ist eng mit den zur Verfügung stehenden und gewählten Techniken der Produktion und Reproduktion verbunden. Die historische und aktuelle Interdependenz von technischer Innovation und künstlerischer Darstellung, die Charakteristika medienvermittelter Wahrnehmung, die Verschiebung der Grenzen zwischen Mensch und Maschine, sollen im Rahmen des Kollegs einer umfassenden Analysen unterzogen werden, die sowohl kultur- und kunstwissenschaftliche, als auch kognitionstheoretische, technikhistorische und medienphilosophische Herangehensweisen berücksichtigen.

(3) Inszenierte Wahrnehmung: Medien sind ohne die Wahrnehmung des Publikums, ohne dessen unmittelbare oder virtuelle Gegenwart, nicht denk- und beschreibbar. Diese Wahrnehmung wird medial gelenkt, in einen Rahmen gesetzt, inszeniert. Künstlerische und mediale Kommunikation kann Alltagswahrnehmungen verfremden, öffnen, schärfen und so einen Überschuss an Sinn produzieren. Die spannungsreichen Wechselverhältnisse von Automatisierung und Entautomatisierung, von maschineller und körperlicher Sinnlichkeit, von gesellschaftlicher Dynamik und Wahrnehmungsbrüchen, von politischer Inszenierung und künstlerischer Verfremdung sind zentrale Herausforderungen, die nur in einer integrativen Perspektive und mithilfe des innovativen Potentials junger ForscherInnen bewältigt werden können. Wesentlich hierbei ist die Fassung ästhetischer Kommunikation als Betrachtung der Wahrnehmung von Inszenierung, und in diesem Sinne als Wahrnehmung zweiter Ordnung.

 

Die durchgehende Teilnahme am Studienprogramm (IK-Curriculum) ist verpflichtend; deshalb müssen die KollegiatInnen während der gesamten Laufzeit des IK ihren Wohnsitz in Wien haben und anwesend sein. Arbeitssprache ist Deutsch.

 

Der Förderungszeitraum beträgt drei Jahre. KollegiatInnen erhalten eine Anstellung an der Universität Wien im Ausmaß von 20 Wochenstunden; darin sind bis zu 10 Stunden Mitarbeit in Forschung und Lehre inbegriffen. Das Jahresbruttogehalt von insgesamt 14.000 Euro jährlich wird in 14 Monatsraten ausbezahlt. Eine Befreiung von den Studiengebühren, eine zusätzliche Unterstützung für KollegiatInnen im Falle von Kinderbetreuungspflichten, sowie Reisekostenbeiträge für evtl. notwendige Forschungs- oder Tagungsreisen sind vorgesehen.

 

Bewerbungsvoraussetzungen:

Erwartet werden:

Abgeschlossenes Hochschulstudium (Magister/Diplom/Master) in einem geistes-, kultur- oder sozialwissenschaftlichen Fach

Diplom- bzw. Magisterarbeit, Forschungsprojekt etc. im Forschungsfeld des IK

Dissertationsvorhaben, das im Bereich der Themen des IK angesiedelt ist

Deutschkenntnisse in Wort und Schrift.

Für eine Bewerbung um die Aufnahme in das IK „Sinne – Technik – Inszenierung. Medien und Wahrnehmung“ sind folgende Unterlagen einzureichen:

ein persönliches Bewerbungsschreiben (max. 1 Seite)

ein tabellarischer Lebenslauf (CV) mit Foto

eine Dokumentation des bisherigen Studiengangs und Kopien der erlangten Hochschulabschlüsse

ein Exposé des Dissertationsprojekts von maximal vier Seiten (10.000 Zeichen) mit Literaturangaben (max. 1 Seite)

ein Abstract der letzten im Forschungsfeld des IK angesiedelten wissenschaftlichen Arbeit (Diplom- bzw. Magisterarbeit, Projektarbeit) (max. 1.500 Zeichen)

Nennung von 2 Referenzen (jeweils mit Name, Funktion und Adresse).

Bewerbungen sind bis zum

 

06.04.2007 (Datum des Poststempels, gleichzeitige Email-Bewerbung verpflichtend)

 

zu richten an die Koordinationsstelle des IK:

IK „Sinne – Technik – Inszenierung: Medien und Wahrnehmung“

z.H. Mag.a Eva Krivanec

Institut f. Theater-, Film- und Medienwissenschaft

Hofburg, Batthyanystiege,

A-1010 Wien

E-mail: eva.krivanec@univie.ac.at

 

BewerberInnen, die in die engere Wahl kommen, werden zu einem Bewerbungs-gespräch, das voraussichtlich zwischen 25. und 29. Juni stattfinden wird, geladen.

 

Die Zulassung durch die Faculty erfolgt in der ersten Juliwoche 2007.

 

Studienbeginn ist am 1. Oktober 2007.

 

Die Universität Wien strebt eine Erhöhung des Frauenanteils insbesondere in Leitungsfunktionen und beim wissenschaftlichen Personal an und fordert deshalb qualifizierte Frauen ausdrücklich zur Bewerbung auf. Frauen werden bei gleicher Qualifikation vorrangig aufgenommen.

 

Kontakte für Rückfragen:

 

Mag.a Eva Krivanec, e-mail: eva.krivanec@univie.ac.at; Tel.: +43 1 4277 48461 (Mo, Di, Mi 14h-17h)

 

Initiativkolleg „Sinne, Technik, Inszenierung: Medien und Wahrnehmung“

(ab WS 2007/08)

 

Sprecher: Ao. Univ.-Prof. Dr. Klemens Gruber

Bewilligung: 10 KollegassistentInnen

Laufzeit: 1. Oktober 2007 - 30. Juni 2010

Kurzfassung: Das projektierte Initiativkolleg "Sinne, Technik, Inszenierung: Medien und Wahrnehmung" soll Dissertationsvorhaben fördern, die sich mit dem Verhältnis von Sinneswahrnehmung, Technik und medialer Inszenierung befassen. Drei Forschungsfelder schaffen den interdisziplinären Rahmen für die Untersuchung inszenierter Wahrnehmung in theoretischer, historischer oder aktueller Perspektive: (1) Transformation der Sinne, (2) Die Technik und die Künste, (3) Inszenierte Wahrnehmung.

Faculty des IK:

o. Univ.-Prof. Dr. Thomas Bauer (Institut für Publizistik und Kommunikationswissenschaft)

Ao. Univ.-Prof. Dr. Klemes Gruber (TFM; Sprecher des IK)

Ao. Univ.-Prof. Dr. Monika Meister (TFM)

Univ.-Prof. Mag. Dr. Claus Pias (Institut für Philosophie)

Univ.-Prof. Dr. Frank Stern (Institut für Zeitgeschichte)

Koordination:

Mag. Eva Krivanec, Mag. Dr. Andrea B. Braidt

 

January 2007 – March 2007

 

CALLS FOR PAPERS/CONFERENCES (27)

 

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

 

Consciousness, Theatre, Literature, and the Arts

May 5 - 8, 2007, Aberystwyth, Wales

 

The Department of Theatre, Film and Television Studies at the University of Wales Aberystwyth, UK, is pleased to host the Second International Conference on Consciousness, Theatre, Literature, and the Arts. The conference will be held in Aberystwyth, Wales, UK, from Saturday 5 to Monday 7 May 2007. Abstracts (up to 1 page) are invited for papers relating any aspect of consciousness (as defined in a range of disciplines involved with consciousness studies) to any aspect of theatre, performance, literature, music, fine arts, media arts and any sub-genre of those.

 

Submission deadline: March 1, 2007

 

Daniel Meyer-Dinkgräfe

dam@aber.ac.uk

 

 

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

 

Mimesis, Metaphysics, and Make-Believe: A Conference in Honour of Kendall Walton

June 21 - 23, 2007, University of Leeds

 

The Department of Philosophy and the Centre for Metaphysics and Mind are pleased to announce the upcoming Mimesis, Metaphysics and Make-Believe conference to take place June 21-23 at the University of Leeds. Confirmed conference speakers are Kendall Walton (Michigan), Berys Gaut (St. Andrews), Shaun Nichols (Arizona), and Stephen Yablo (MIT).

 

We welcome submissions of papers on any theme related to the work of Kendall Walton. Papers that actively engage with Professor Walton’s work will be strongly preferred.

 

Up to two places have been reserved for submitted papers. One place has been reserved for a young researcher (i.e., Ph.D. within the last five years or not yet received). Authors submitting in the ‘young researcher’ category should include a separate note explaining how they qualify.

 

Papers of no longer than 8,000 words should be prepared for blind review and sent by email in pdf, word or rtf format.

 

The conference is sponsored by the British Society of Aesthetics, the University of Leeds Department of Philosophy, the Centre for Metaphysics and Mind, and the Leeds Humanities Research Institute.

 

Submission deadline: March 1, 2007

 

Aaron Meskin

phlaesth@leeds.ac.uk

 

 

 

3 (internet source: http://www.sif-isp.org/?eng_actividades_filo3.htm)

(internet source: http://lacoue-labarthe.cjb.cc/)

 

27-28 Jan 2007

International Colloquium Philippe Lacoue-Labarthe: “Deconstructing Mimesis” 

Finlander Institute; Sorbonne 

Paris, France 

 

Vendredi 27 janvier (à l'Institut Finlandais)

Matinée

9h30 Présentation 

10h00 Thomas Dommange (Montréal, Canada) Wagner : la fiction du culte

11h00 Paola Marrati (Baltimore, États-Unis) Entre mythe et expérience

12h00 Susanna Lindberg (Helsinki, Finlande) Ontorythmie

Après-midi

14h30 Fabien Chambon (Helsinki, Finlande) Délecture de Nietzsche

15h30 Leonid Kharlamov (Paris, France) Le propre (n')est (pas) le proche

16h30 Jean-Luc Nancy (Strasbourg, France) Portrait de Lacoue en Labarthe

Samedi 28 janvier

Matinée (en Sorbonne)

9h30 Denis Guénoun (Paris, France) La scène est-elle primitive ?

10h30 Magali Guiet (Strasbourg, France) Scènes de la représentation du mime

11h30 Philippe Lacoue-Labarthe (Paris, France) Mime de rien

Après-midi (à l'Institut Finlandais)

14h30 Maud Meyzaud (Francfort, Allemagne) Langue révolutionnaire

15h30 Artemy Magun (St Petersbourg, Russie) Révolution et mimesis

16h30 Esa Kirkkopelto (Helsinki, Finlande) Comparatifs de Hölderlin

17h30 Jonathan Rousseau (Strasbourg, France) La mort du sacrifice

 

Lieux

 

Institut Finlandais de Paris

Auditorium

60, rue des Écoles

75005 Paris

tel. +33 (0)1 40 51 89 09

fax +33 (0)1 40 46 09 33

Métro:

Cluny-La Sorbonne, Saint-Michel, Odéon

RER B & C: Saint-Michel-Notre-Dame

Autobus: 27, 38, 63, 86, 87

 

Sorbonne

Salle des Actes

Université Paris-Sorbonne (Paris IV)

1, rue Victor Cousin

75005 Paris

Tel. : 01 40 46 22 11 (standard)

Métro:

Cluny-La Sorbonne, Saint-Michel, Odéon

RER : Saint-Michel, Luxembourg 

Autobus: 27, 38, 63, 86, 87

 

Fabien Chambon (Helsinki, Finlande)

Délecture de Nietzsche 

Comment lire Nietzsche « lui-même » ? La difficulté de la lecture, ou de « l’illisibilité » de Nietzsche, se pose avec Philippe Lacoue-Labarthe notamment dans « L’Oblitération » (l’effacement des noms). Heidegger, que Ph. Lacoue-Labarthe crédite du seul « Nietzsche », est incontournable. Tout en accordant tout à Heidegger, Lacoue-Labarthe déplace l’accent de la problématique de l’aletheia vers une logique de la mimesis. Un tel déplacement a l’avantage de pointer le « sujet de la philosophie ». Pour Heidegger, Nietzsche résume le point culminant de la métaphysique, en tant qu’il est sa « dernière victime » (Platon inversé). Pour Lacoue-Labarthe, et bien que la question du Sujet soit plus précisément posée dans la modernité avec l’assomption du romantisme, Platon et Nietzsche, en un sens, se rejoignent sur la question de la mimesis – celle du retrait de l’auteur. Comment lire une thèse sur l’être, quand l’auteur – « Nietzsche » – en tant que sujet propre, s’absente ou « s’opère vivant de la philosophie » ?

Thomas Dommange (Montréal, Canada)

Wagner : La fiction du culte

À partir principalement de la lecture de La fiction du politique et de Musica ficta, on montrera que le spectacle wagnérien reprend fantasmatiquement certains éléments de la liturgie chrétienne. Mettre au jour un tel fantasme permettrait de montrer, d’une part, que le concept de mimesis, tel que le travaille Lacoue-Labarthe, peut être pensé comme le redoublement esthétique du problème théologique de la présence réelle ; et d’autre part, que ce qui fait politiquement problème, ce n’est peut-être pas la production effective du corps de la communauté, mais l’oubli de sa dimension fictive – c’est-à-dire, justement, de sa provenance spectaculaire. La référence wagnérienne à la liturgie donnerait à voir le fantasme d’un corps politique produit par un spectacle confondu avec le culte : l’oeuvre d’art devenant le nom du rêve de cette coïncidence monstrueuse.

Denis Guénoun (Paris, France)

La scène est-elle primitive?

Certains écrits de Lacoue-Labarthe sollicitent attentivement une notion, restreinte ou élargie, de la scène : par exemple « La scène est primitive », « Scène », « La scène de l’origine ». On essaiera moins de restituer ou de discuter ces analyses que d’interroger le concept, ou la métaphore, ou le schème de la scène dont elles font usage. Car la langue française entend sous un même mot deux acceptions que d’autres langues distinguent : le sens spatial ou architectural, et le sens dramatique, chacun d’eux déployant son étoilement. Et pourtant les philosophies récentes, souvent friandes du terme, ont rarement voulu rendre compte de son articulation interne, de la structure de sa compréhension ou du régime de son transfert. On supposera ici que son emploi chez Lacoue-Labarthe est affecté d’une certaine rigueur, et riche de quelques surprises.

Magali Guiet (Strasbourg, France)

Scènes de la représentation du mime

La scène du fou, du roi, du juif, d’Œdipe, du courtisan, du comédien, de la femme... est jouée chaque fois que sont dénoncés l’hystérie, la comédie, le faux-semblant, le futile, l’artifice –tout le théâtre du monde ; et qu’est annoncée la valeur opposée. Inéluctables scènes du philosophe et du mimos. La question politique se joue essentiellement dans le refus de la mimesis, dans l’élection et l’expulsion corrélatives de ses représentants. Mais – parodie ou non – au nom de quoi refuser ? Qui refuse qui, ou quoi ? Mimesis de la mimesis, son représentant est a priori victime de l’identification de la (sans-)figure à mille visages, confuse et paradoxalement inidentifiable : « la victime est toujours un mimos » (Ph. L.-L.) Mais l’essentiel de la question ne se joue pas moins inéluctablement dans la valeur de la mimesis. Il faut justement faire avec notre hantise de l’abysse de la mimesis, notre mépris et notre attrait pour le faiseur de paradoxe, pour le pseudo-sujet en général, mais sans la valeur (double-bind) : « Obligation nous est faite de penser ou de repenser la mimesis (ou, si tu préfères, d’un mot que je ne crois pas le moins du monde “usé”, d’en déconstruire toute l’interprétation), notre tâche est de nous en prendre au semblant de monde qu’on nous a légué et qu’on nous fait » (idem).

Leonid Kharlamov (Paris, France)

Le propre (n')est (pas) le proche

La déconstruction de la métaphysique du propre et de l’essence ouvre la question d’une proximité étrange et inquiétante, marquée d’Unheimlichkeit. Elle dévoile cette même ambivalence monstrueuse que Freud aura soulignée quelques années avant Heidegger, celle d’un propre qui est en même temps ce qu’il y a de plus étranger. Il reste ici encore et toujours à « reconnaître qu’il est arrivé, et ne cesse d’arriver, quelque chose qui contraint à la dessaisie » (La fiction du politique). À partir de la discussion de Lacoue-Labarthe et Derrida autour des « Fins de l’homme », il s’agira d’explorer les enjeux de la déconstruction heideggérienne du propre entre son « hyperbologique » hölderlinienne et ses effets spectaculaires de réappropriation.

Esa Kirkkopelto (Helsinki, Finlande)

Comparatifs de Hölderlin

La lecture proposée revient aux Remarques sur Antigone – où Hölderlin articule le plus explicitement son idée de « tournant natal » (vaterländische Umkehr) – et se demande comment le tournant que Hölderlin cherche manifestement à prendre simultanément, s’inscrit dans son propre discours. L’attention se porte donc particulièrement sur les comparatifs qui foisonnent de façon caractéristique dans l’écriture du poète. Comme Lacoue-Labarthe l’a remarqué dans le même contexte, « la mania méta-physique » d’Antigone consiste dans la « comparaison » (avec les divinités). Mais la même « hyperbologique » revoit également le jour sous la forme d’une logique comparative qui ne cesse de déjouer les oppositions spéculativement relevables d’une part, et qui d’autre part, établit entre les époques, les expériences et les choses, une continuité relative, au-delà de tout « relativisme ». Cette dialectique finie, suivant laquelle se déterminent historialement les relations entre les formes de la représentation, entre la langue et le corps, trouve sa loi dans sa propre dynamique et l’exprime sous forme de superlatifs (« Le plus Haut » de Pindare). S’articule en eux la souveraineté de cette « médiateté rigoureuse » qui règne dans toutes ces relations.

Philippe Lacoue-Labarthe (Paris, France)

Mime de rien

C’est parce que le Neveu (de Rameau) ou le Comédien de Diderot n’ont rien en propre qu’ils peuvent mimer toutes les « parties » ou jouer tous les « rôles ». De même, et contrairement sans doute à ce qu’ils ont pensé l’un de l’autre, c’est parce que l’homme originel de Rousseau est le plus faible et le plus « dépourvu », le plus « nul » aussi bien de tous les êtres, qu’il est le plus « ingénieux », et le mieux disposé à tout (re)produire et à s’inventer, par une opération prodigieuse, comme l’humanité elle-même.

Cette réélaboration et cette réévaluation fondamentales de la mimétologie classique, seule la grande métaphysique allemande, délibérément, ou à son insu ou même dans la dénégation, a su en recueillir, en mode ontologique, l’héritage. Dans son être ou son essence, l’homme y est devenu pure potentialité – faculté ou capacité : par exemple du jeu ou de la mise en oeuvre (de l’energeia), de la négation à même de « convertir le négatif en être », de la transformation par le travail du vide (de la kenosis) de toute humanité en souveraineté, de la puissance artiste et de la volonté du vouloir de cette puissance, de la construction et de l’installation d’une surnature technique, etc.

On peut assurément montrer – telle fut la tâche de la déconstruction des années trente et suivantes – que le déploiement de cette tradition reste surdéterminé par ladite « métaphysique de la subjectité ». Sauf, peut-être, à y reconnaître, affleurant dans les moments de plus grand risque ou de plus haute exigence :

1. La présence et le tracé, précisément, d’une ontomimétologie et d’une véritable question de la mimesis ;

2. Le fondement continûment tragique, et donc abyssal, de cette mimétologie (dont seul Hölderlin, probablement, a eu l’intuition la plus nette) ;

3. La compréhension du né-ant, et par conséquent de la mort, comme l’impossible même, à partir duquel se met en jeu l’activité mimétique.

Ces trois restrictions, ces trois réserves feraient appel à une autre « déconstruction » (s’il s’agit encore d’une déconstruction et si elle est elle-même possible), qui procéderait de la contestation (Bataille, Blanchot) de la dernière des figures de la subjectité – la déconstructrice, en effet, et celle dont les conséquences furent à bien des égards désastreuses : celle du Dasein exposé à la mort comme à « sa possibilité la plus propre ». Telle est du moins l’hypothèse.

Susanna Lindberg (Helsinki, Finlande)

Ontorythmie

Dans « Typographie », l’analyse magistrale du Ge-stell heideggérien montre son appartenance à ce que Lacoue-Labarthe appelle l’« onto-typo-logie ». Dans ses travaux ultérieurs, la spatialité du ”type” s’associe à la temporalité du ”rythme”. J’examinerai l’entrelacement de ces deux figures de la figuration en soumettant des textes de Heidegger à une approche s’inspirant de celle de Lacoue-Labarthe. Quel serait le rapport, chez Heidegger, entre Gestalt (Jünger, Nietzsche) et Geschlecht (Trakl) ? Gestalt (figure déjà recouverte) pourrait être le redoublement mimétique de Geschlecht (figure à l’instant de sa figuration). Quel serait alors l’effet de destruction d’un tel rapport sur le Ge-stell ?

Artemy Magun (St Petersbourg, Russie)

Révolution et mimesis

Une lecture lacoue-labarthienne de l’Essai sur la révolution de Hannah Arendt. Dans ce livre, l’échec des révolutionnaires français est expliqué par leur participation au cercle « illimité » de la pitié et de la violence. Arendt montre dans le même temps un complexe anti-mimétique chez les Jacobins. L’ambivalence vis-à-vis de la mimesis réunit ainsi Arendt et ces personnages. Mais elle essaie en revanche de montrer comment les révolutionnaires américains ont échappé à l’ambivalence mimétique, à cause de, ou grâce à leur tradition de vie sociale. Mais tout à coup, dans la partie poétique, non-thématique de son texte, elle mentionne brusquement la peur réciproque des premiers colons américains, qui est au fondement de leur sociabilité salutaire. Ainsi, l’argument d’Arendt ne tiendrait pas, mais ce faisant, elle reconstruit bien la structure tragique de l’événement historique, où se réunissent étroitement « mimesis » et « tournant temporel ».

Paola Marrati (Baltimore, États-Unis)

Entre mythe et expérience

Loin de tout empirisme, la pensée de Philippe Lacoue-Labarthe se tient néanmoins dans la possibilité d’une pure expérience. Expérience serait le nom – et le seul nom – d’une mise à l’épreuve qui traverse, pour les déposer, toutes les figures du mythe. Elle serait ainsi la condition, transcendantale, d’une éthique et d’une politique sans figure. On voudrait s’interroger sur ce qui protège cette possibilité d’une expérience pure du danger de se retourner dans la figure, mythique, d’une traversée du néant.

Maud Meyzaud (Francfort, Allemagne)

Langue révolutionnaire

La citation est le principe formel de l’écriture büchnérienne. C’est suivant cette idée que Helmut Müller-Sievers relit dans La mort de Danton le « vive le roi » de Lucile, décisif à la fois pour la lecture que Celan fait de Büchner – pour la manière dont Le Méridien détermine la poésie par rapport à l’art – et pour celle de Ph. Lacoue-Labarthe dans La poésie comme expérience. Le cri de Lucile est « citation de citation » : d’après ses lectures sur la période révolutionnaire, Büchner emprunte la formule qui décida des femmes à rejoindre ceux qu’elles aimaient dans la mort (communauté des amants). Le plus propre de l’existence, la possibilité de la mort, doit ainsi en passer par la dépropriation redoublée du contenu de cette formule (royaliste). Dans cet « événement de la poésie », on est à première vue très loin de la « langue neuve » (neue Sprache) ou de la « poésie » (Poesie) qui devait accompagner, pour Marx, l’advenue des révolutions prolétariennes du xixe s. Mais peut-être en est-on hyperbologiquement au plus près, puisque c’est par un processus mimétique d’appropriation puis de désappropriation (d’oubli) que doit être rendue possible la « production » libre dans la langue révolutionnaire (« produzieren », Derrida le rappelle, est le verbe de Marx pour dire ce que le sujet parlant fera dans ou avec cette langue).

Jean-Luc Nancy (Strasbourg, France)

Portrait de Lacoue en Labarthe

La scène Lacoue-Labarthe. Tout est à jouer. Le rideau n’est pas levé. « D’ailleurs les voix tremblent ou s’exaltent curieusement, les gestes se précipitent ou sont brutalement suspendus, on voit les corps tressaillir. » Les trois coups du brigadier ne sont pas encore frappés.

Jonathan Rousseau (Strasbourg, France)

La mort du sacrifice 

Lorsque celle-ci est récapitulée dans La fiction du politique, quatre noms de massacres disparaissent de « la liste de dix modèles historiques de l’extermination » : à la différence des juifs qui ne menaçaient pas l’Allemagne, « les Méliens menaçaient la Confédération athénienne, les hérétiques la Chrétienté, les Protestants l’État de droit divin, les Girondins la Révolution ou les koulaks l’établissement du socialisme ». Mais qu’en est-il des quatre noms disparus ? « La destruction de Carthage », la « Traite des noirs et les massacres coloniaux », et « l’ethnocide américain » ont-ils disparu par souci d’abréviation, ou ont-ils été oubliés ? On ne sortira pas de cet embarras en sachant si – à la différence des juifs – les carthaginois, les noirs et les colonisés, et les indiens disparus représentaient eux aussi une menace. La question est plutôt celle de la représentation et de la réalité de la menace. À la croisée de « Typographie » et de La fiction du politique, cette question est reposée sans oublier cette disparition, pour essayer de suivre la pensée de la victime et du sacrifice qui commande la différence symbolique de l’extermination des juifs d’Europe par le nazisme, laquelle aura conduit Ph. Lacoue-Labarthe à « l’aveu d’un pur et simple embarras – que je laisse donc tel ».

 

 

4 (internet source: search engine)

 

TRINITY UNIVERSITY

DEPARTMENT OF PHILOSOPHY

The Inaugural Lennox Seminar:

Aesthetics and the Philosophy of Music

 

In Spring 2007, the Philosophy Department will be hosting Trinity University’s first  ever Lennox Seminar. Five prominent philosophers of art will be visiting Trinity University. In addition to presenting a public lecture on a current topic in philosophical aesthetics, each visiting scholar will give a colloquium presentation of his current research in the ontology of music – the study of the nature of, and relationships between, musical items such as works, performances, and recordings. These colloquium presentations will form the basis of a seminar in musical ontology (PHIL3358/MUSC3358: Philosophy of Music), led by Dr. Andrew Kania.

 

We are pleased to announce that the following scholars will be participating in the project:

Lee B. Brown (Ohio State University)

David Davies (McGill University, Canada)

Stephen Davies (University of Auckland, New Zealand)

Theodore Gracyk (Minnesota State University)

Jerrold Levinson (University of Maryland)

The public lectures will take place on Tuesdays at 8pm, in a venue to be announced. Each talk with be followed by a reception, to which all are invited.

Feb 20 David Davies, ‘Telling Pictures: The Place of Narrative in the Visual Arts’

Mar 6 Lee Brown, 'Is Live Music Dead?'

Mar 26 Stephen Davies, ‘Photographic Representation’

The colloquium presentations will be held on Mondays, 4:30-7:30pm, in Chapman Graduate Center, Room 045. They are open to all interested parties.

Feb 19 David Davies, ‘Why Simplicity Isn’t Always a Virtue: On Dodd’s “Simple View” of Musical Ontology’

Mar 5 Lee Brown, 'The Ontology of Popular Music: A Philosophical Snipe Hunt?'

Mar 26 Stephen Davies, ‘Musical Works and Ontological Issues’

 

Department of Philosophy

Trinity University

One Trinity Place

San Antonio, TX 78212-7200

Phone: 210.999.8305

Fax: 210.999.8353

 

 

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

 

Heidegger and Joyce: Call for Contributors to an upcoming Anthology

 

We are seeking to round out a collection with a few essays connecting the thinking of Heidegger to the works of James Joyce. The underlying goal of this collection will be to open up avenues for thinking of Joyce as an equally valid instantiation of the "poetizing-thinking" tradition which Heidegger located in Holderlin among others.

 

Possible topics and approaches are very open-ended and might include, for instance, Joyce and Heidegger's interests in a phenomenology of everydayness, the relationship of temporality and spatiality in both, the role of history in both, their differing responses to various kinds of

essentialism, their treatment of the relationship of silence to language, their similar uses (and abuses) of etymology and philology; also the common philosophical terrain of both writers, i.e. Aristotelianism, Scholasticism, etc.

 

We are hoping to avoid simply restaging the encounter that took place between Continental thought and Joyce some years back, and as such, the main requirement would be that both Joyce and Heidegger are taken up rigorously.

 

Please email abstracts between 200 and 500 words, along with a CV, to Chris Eagle (eagle_at_berkeley.edu) and Michael Jonik (mj636318_at_albany.edu) by January 1st, 2007.

 

 

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

 

FACS Literary Journal

Florida Atlantic University

CALL FOR PAPERS

 

Remaking reality: Eroding the Palimpsest

 

In the context of modern poetics, Charles Baudelaire seizes upon the complexity of palimpsest as critical paradigm not simply for the human brain as physical structure, but also for the referential status of  poetry itself: "What is the human brain, if not an immense and natural palimpsest?" he asks. "My brain is a palimpsest, and yours too, reader. Innumerable layers of ideas, images, and sentiments fall upon your brain, as softly as light. It seems that each [new layer] buries the previous one. But no layer has perished." Paradis artificiels [Artificial Paradises]

 

Baudelaire draws the metaphor of palimpsest from specific material conditions present in the ancient and medieval worlds in which valuable parchments were often scraped down to enable new text to be written over the old. This overlaying technique of palimpsest masked the original texts but never truly effaced them, and modern technology is now capable of exposing these earlier layers of text. Similarly, contemporary theory, academic discourses, and new media forms find themselves imposing modern directions over earlier ones, overwriting the "original." Past models appear effaced while simultaneously serving as the foundation for innovative thought.

 

The editors of the interdisciplinary journal Florida Atlantic Comparative Studies invite submissions on any aspect of this topic for its Volume #10. The deadline is March 1, 2007. FACS is an interdisciplinary journal providing a forum for comparative study in the arts, humanities, language, culture and social sciences. Submissions in English, French, German, Italian, and Spanish are welcome. Graphic submissions are also welcome.

 

Possible topics on the exploration of notions of palimpsest include, but are not limited to, the following:

a.. Electronic communication

b.. Memory and disease

c.. Ecology

d.. Identity (gender, race, religion, class)

e.. History

f.. Revisiting genres

g.. Media art

h.. Critical theory

i.. Displacing colonial agency

j.. Transglobal economy

k.. Translation studies

 

Papers should be no more than 25 pages or approximately 7,000 words, and should follow the most recent MLA guidelines. A separate title page should include the author's name and address. The author's name should not appear on the manuscript pages to allow for blind review.

 

Send two hard copies and a CD of the manuscript to:

 

FACS Editor

Department of Languages and Linguistics

Florida Atlantic University

777 Glades Road

P.O. Box 3091

Boca Raton, FL 33341-0991

 

E-mail submissions should be sent to facs_at_fau.edu. All electronic versions should be submitted in Microsoft Word.

 

 

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For a collection of essays on the topic of

 

'Intermediality,'

 

we are still looking for essays, in particular on theoretical explorations of the concept

of 'Intermediality' itself, and on the intermedial aspects of comics/graphic novels. Some publishers have already expressed interest in this collection, so, if  you would like to be on board, please contact

brundlefly_at_web.de

abstracts and finished papers [or drafts] welcome!

The deadline for finished papers is Jan 30.

 

 

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Spring Cleaning: Rediscovering and Revitalizing the Artifact

University of Calgary Free Exchange Graduate Conference

16-18 March 2007

Free Exchange at www.english.ucalgary.ca

 

History is of the essence, true, but she can also be a bully.

                                -Noah Richler

                                This is my Country, What’s Yours?

 

The Mole had been working very hard all the morning, spring-cleaning his little home?K. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing.

                                -Kenneth Grahame

                                The Wind in the Willows.

 

The study of the artifact should not remain inextricably linked to history. We are asking potential participants to search in familiar as well as new locations for objects previously lost or forgotten. Search in Jacques Derrida’s archive or Robert Kroetsch’s Canada. Items may be

found between the layers of Michel Foucault’s archaeology or Peggy Phelan’s cultural memory. We can’t remember where or how we left them; they could be anywhere, doing anything. We only ask that you re-envision these relics and breathe new life into them.

 

Suggested topics for panels or papers include, but are not limited to, the following:

artifact as metaphor/metonym

the rhetoric of artifact

embodying the artifact

the absence of the artifact

object(ing) to the artifact

the digital artifact

the manuscript or text as artifact

the history or theory of artifact/the artifact as history or theory

the (en)graven artifact

variations on ‘artifact’ (art(i)fact; art/fact; the art of fact)

 

Please send your 500 word proposals for panels or papers in electronic format (Word documents and Rich Text Files only) to one of the conference chairs. The deadline for panels is December 6, 2006. The deadline for papers for the general call is January 12, 2006. A call for papers for established panels will be forthcoming. Early submission is encouraged.

 

Owen Percy PhD Student

Robyn Read PhD Student

Department of English Department of English

University of Calgary University of Calgary

odfpercy_at_ucalgary.ca rjread_at_ucalgary.ca

 

 

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Proposals for twenty-minute presentations or panels of three to four presenters are invited for conference

 

REAL THINGS: MATTER, MATERIALITY, REPRESENTATION 1880 TO THE PRESENT

 

5-8 July 2007

 

at the University of York, England and co-sponsored by the University of Sussex.

 

Keynote speakers:

Bill Brown

Mary Ann Doane

Hal Foster

Patrick Keiller

Hermione Lee

Edmund White

 

This conference proposes a re-engagement with representational realism and its objects and effects across a wide range of aesthetic, critical and theoretical practices, from 1880 to the present day. We seek to engage cutting-edge work that raises new questions about the status of the object of representation; representations as archives of material history; the shifts in representational practices associated with modernism and postmodernism; the changing status of real bodies and lives (as opposed to their representations) as objects of analysis in the humanities; and the politics of these transitions. Topics of interest include but are not limited to the following:

--Realism as modernism/modernism as realism

--Rethinking photographic indexicality; cinema and/as archive

--Paintings, documents, realism: literary and visual representation

--The turn to science

--Postmodernism, realism and the real

--Representation and the psychoanalytic Real

--Evidence, document and representation

--New philosophies of nature

--Documentary film practices

--Biopolitics, biopower, bodies

--Forensics, indices and popular culture

--Performance, theatricality and materiality

--Success and/or failure of representation

--Presentation vs. representation

--New technologies, representation and embodiment

--Anti-sublimation and resistance to metaphor

 

Please send 250-word paper abstracts and 1000-word panel abstracts to realthings_at_events.york.ac.uk by 1 Febraury 2007. For more information, please contact realthings_at_events.york.ac.uk.

 

Co-organizers

Victoria Coulson, University of York

Jane Elliott, University of York

John David Rhodes, University of Sussex

 

 

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CFP: Figures of the In-Between

 

Panel

 

moderated by Stathis Gourgouris for

 

“Figures of Comparison in the Humanities and the Social Sciences”

Second annual graduate student conference of

The Center for Comparative Literature and Society (CCLS)

 

March 2nd-3rd, 2007/ Columbia University, New York

 

Various tropes of hybridity (Bhabha), metissage (Lionnet), mestizaje (Anzaldua), creolite (Bernabe, Confiant, Chamoiseau), or antillanite (Glissant), for example have featured prominently in the scholarship and aesthetic practices of the last thirty years to figure modes of cultural mixing. Others?trans- or cross-sexuality, the androgyne, and forms of sexual indeterminacy have been used critically in gender, feminist, and queer studies. This panel proposes to examine figures or tropes of the in-between that simultaneously call for a comparative (interdisciplinary, cross-cultural, multilingual, etc.) approach, and figure the

comparative itself. What are the political, social and economic implications of such figures of hybridity? To what political uses can (or should) they be put? How does the history of these terms affect their deployment, or shore up their limits? Because these figures point to the intersectionality of analytic categories (class, race, gender) and to the meeting of cultures, languages, and histories, we are particularly interested in cross-disciplinary and intercultural approaches: how do these comparative figures test the boundaries of disciplinary fields and cultural or linguistic formations? Conversely, how do disciplines, languages or fields shape tropes of the in-between, or point to their limitations?

 

The conference will be introduced by the director of CCLS, Gayatri Chakravorty Spivak. All panels will be moderated by Columbia University faculty members. The conference will close with a roundtable discussion in which the panel moderators will present their concluding thoughts and open the discussion to the public. You can visit the following website for more information on the conference:

http://www.columbia.edu/cu/ccls/lists/rce/ance.html

or

http://www.columbia.edu/cu/ccls/events/main/intro/index.html

 

Please send a 300-500 word abstract to the following e-mail address no later than December 31st, 2006: figures_of_comparison_at_columbia.edu.

 

 

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CALL FOR PAPERS

 

Deleuze and Guattari

 

This is an open, English-language session on the collaborative and independent work of Gilles Deleuze and Felix Guattari at the 2007 RMMLA conference, to be held in Calgary, Alberta, Canada. The conference will run from 4 October to 6 October 2007.

 

Send a 200 word abstract to Daniel Gustav Anderson at andersdg at uidaho.edu by 1 March 2007 for consideration.

 

Hard copies of submissions may be sent to:

 

Anderson

Dept. of English 1102

University of Idaho

Moscow, ID 83844-1102

 

Details can be found at www.rmmla.org

 

 

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Deadline Extended to January 15, 2007!

 

What's Avant-Garde About the Avant-Garde?

The Fourth Annual Interdisciplinary Jazz Studies Colloquium

University of Kansas

March 30-31, 2007

 

Since the late 1990s, after being marginalized and ignored by college and university jazz curricula (if not faculty), the avant-garde has apparently come to acquire a privileged place as a significant site of inquiry in academic jazz studies. Recent books and articles have explored avant-garde collectives such as the Arkestras of Sun Ra and Horace Tapscott and the Chicago-based Association for the Advancement of Creative Musicians (AACM). Other scholarship has focused on analyses of the political implications of improvisation and dissonance.

 

If the avant-garde has historically been associated with the daring, the new and that which deviates from the mainstream, what does it mean for it to become institutionalized in jazz studies? What does it mean to privilege musical culture of the 1960s and 1970s as the "avant garde" of the new Millennium?

 

This year's conference will feature talks by Fred Ho and Kevin Whitehead. Ho, composer, performer, author, and activist, and founder of the Afro-Asian Ensemble (1982) will deliver the keynote address, as well as a solo baritone saxophone concert and post-concert dialogue. For Ho, musical practices are "about the present . . . and the future," remain "highly and inescapably political" and "must be understood both sociologically and musicologically" ("What Makes 'Jazz' the Revolutionary Music of the 20th Century, and Will it be for the 21st Century?" African American Review, 1995).

 

Whitehead, jazz critic for NPR's "Fresh Air," author of 1998's "New Dutch Swing," and lecturer who teaches jazz-related courses in American Studies and English at the University of Kansas, will deliver a talk based on the viability of the avant-garde as a category. He has declared that "any label which defines an artistic movement according to its newness. . . inevitably becomes obsolete." ("Death to 'the Avant-Garde,'" The Voice, 1994).

 

For the Fourth Annual KU Interdisciplinary Jazz Studies Colloquium, we seek presentations on the theme of the avant-garde. Such papers would address a variety of themes related to the avant-garde as it is understood today as well as in its historical manifestations, including, but not limited to:

What does it mean when institutions embrace the avant garde?

What does it mean to periodize the avant garde in the 1960s? Or to use a term associated with the 1960s to new music in 2006?

Interrogations of definitions such as "avant garde," "jazz," "new music," "improvisation..."

Presentations of research on major figures and ideas related to the avant-garde, including musical cooperatives and collectives

Ethnic cultures and the avant-garde

An avant-garde of the avant-garde or experimental movements within experimental movements

Avant-garde movements of various periods/comparisons of avant-garde movements from various periods

Manifestations of the avant-garde all aspects of jazz studies, including music, visual culture, literary production

Critical reception and audience consumption of the avant-garde

Marketing of the avant-garde

Dynamic between the avant-garde and the "mainstream;" avant-garde and popularity (what happens when the avant-garde sells?), avant-garde and "hipness"

Relationship between the aesthetic and the political in the avant-garde

Limits of language in describing the avant-garde

 

DEADLINE: JANUARY 15, 2007

SEND 300-WORD ABSTRACTS FOR INDIVIDUAL PAPERS OR PANELS, ELECTRONICALLY, OR BY MAIL, TO:

 

Paper Coordinator:

Dr. Chuck Berg

Professor of Film/Media Studies

Department of Theatre and Film

University of Kansas

356 Murphy Hall

1530 Naismith Drive

Lawrence, KS 66045-3102

email: cberg_at_ku.edu <mailto:cberg_at_ku.edu>

office phone: (785) 864-1344

http://www2.ku.edu/~kuijsg/

 

 

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Paper/Presentation Topic:

Any aspect of literature as it relates to other arts, in practice or in theory

 

The Literature and Other Arts Panel of the Rocky Mountain MLA invites the submission of papers/presentations for its session at the 61st annual convention, this year held in Calgary, Alberta, Canada on October 4-6, 2007

 

Topics may include, but are not limited to:

Literature and Music

Literature and Visual Arts

Literature and Dance

Literature and Architecture

Literature and Film

Literature and Digital Media

Adaptations of Works between Art Forms

Comparative Aspects

Ekphrasis

Crossing/Blurring Artistic Boundaries

Theoretical Critiques

Pedagogical Applications

Creative Applications

Studies of Techniques

Historical Studies

Cultural Contextualization

Author Interaction with/Inspiration from/Influence by Arts other than Literature

 

Submission Requirements: 300-word abstract and a 50-word description.

Submissions must be received by March 1, 2007.

Send electronic submissions as a Word attachment to: albin_at_brandeis.edu

Address print submissions to:

Andrew Albin

MS 023

Brandeis University

415 South St.

Waltham, MA 02454

 

Panelists will be notified by March 15, 2007 and must secure or renew RMMLA membership by April 1, 2007. For more information, please see the RMMLA website, http://rmmla.wsu.edu or email Andrew Albin, Panel Chair, at albin@brandeis.edu.

 

 

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NEH Summer Seminar on Scottish Enlightenment Aesthetics

July 23 - August 10, 2007, St. Andrews University

 

This seminar is on Scottish Enlightenment Aesthetics and its German reception, and will be directed by Paul Guyer (University of Pennsylvania) and Rachel Zuckert (Northwestern University), with guest lectures by James Harris (St. Andrews), Alexander Broadie (Glasgow), and Peter Jones (University of Edinbugh, emeritus). The seminar will be held at St. Andrews University, Scotland, July 23-August 10, 2007. All those interested in aesthetics, the history of aesthetics, the Scottish and German Enlightenments, and (more broadly) the art, literary, philosophical, or intellectual history of eighteenth century Europe are encouraged to apply to participate.

 

Submission deadline: March 1, 2007

 

Daniel Gross

Department of Philosophy

Northwestern University

Kresge 2-335

1880 Campus Drive

Evanston IL 60208

d-gross-1 @ northwestern.edu

 

 

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Philosophia, Philosophical Quarterly of Israel, published by Springer, seeks submissions for the forthcoming

 

special issue on

Ethics and Literature.

 

We are interested in articles on issues such as: relationships between moral philosophy and literature, literature as a mode of moral investigation, moral ‘effectiveness’ in literature, the practice of ethical criticism, and similar ones.

 

Submission deadline: March 1, 2007

 

Adia Mendelson-Maoz

Adiamm1@hotmail.com

 

 

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Aesthetics and Its History

April 21, 2007, University of Southampton

 

The University of Southampton's annual one-day Graduate Conference in Philosophy will this year be devoted to issues in the philosophy of art, aesthetics, and their history. Academic staff working in these fields at Southampton include Christopher Janaway, Alex Neill, and Aaron Ridley, who will all participate in the conference, and there is a lively interest among current graduate students.

 

We are hoping to attract a wide external audience, and papers are invited from graduate students on any aspects of aesthetics and its history.

 

Papers should be not more that 3,000 words in length, suitable for a 20 minute presentation followed by discussion.

 

Submission deadline: March 5, 2007

 

Christopher Janaway

Philosophy

School of Humanities

Avenue Campus

University of Southampton

Southampton SO17 1BF UK

Cjanaway @ soton.ac.uk

 

 

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(internet source: http://www.hope.ac.uk/research/aesthetics/)

 

The Turn to Aesthetics

 

June 5-8, 2007

Liverpool Hope University

 

Recent years have seen a growing interest in the study of aesthetics. This wide-ranging inter-disciplinary conference encourages submissions from three strands: those subjects which have enjoyed a substantial history of involvement in the field (eg.Theology & Religious Studies, Philosophy), those relatively new to the study (eg. Sports Studies, Management), and those which focus on applied dimensions (eg. The Arts, Education). The overall aim of the conference is to learn from interdisciplinary debate and to encourage research of the highest quality.

 

Keynote Speakers:

Professor Michael Balfour (Drama, Brisbane, Australia

Professor Heather Höpfl (Management, Essex, UK)

Professor Peter Lamarque (Philosophy, York, UK)

Professor Graham McFee (Philosophy, Brighton, UK & California State University, Fullerton, USA)

Dr. Mark Wynn (Theology, Exeter, UK)

 

 

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24th Annual Meeting of the Canadian Society for Aesthetics

 

24th Annual Meeting of the Canadian Society for Aesthetics 76th Congress of the Humanities and Social Sciences, May 27-29, 2007, University of Saskatchewan, Saskatoon, Saskatchewan, Canada

 

"Bridging Communities: Making public knowledge /Making knowledge public."

 

Papers on any topic in aesthetics, especially those that relate to the theme of the congress (Bridging Communities: Making public knowledge/Making knowledge public)are invited. Completed papers of 10-12 standard pages, accompanied by a 150-word abstract and suitable for presentation in fewer than 25 minutes, should be sent to: Daniel B. Gallagher, Sacred Heart Major Seminary, 2701 Chicago Blvd., Detroit, MI, 48206, USA ( gallagher.dan@shms.edu ).

 

Submission deadline: 15 January 2007.

 

 

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Volcanic Lines: Deleuzian Research Group Winter/Spring Sessions

 

12 January 2007

Greenwich, London, United Kingdom

 

Contact name: Edward Willatt

 

12 Jan 1-3pm COLLOQUIUM: Darren Ambrose (Warwick) 'On The Diagram in Deleuze'. Mondays 7- 9pm (starts 15 Jan) READING GROUP WORKSHOPS on the Essays of Gilles Deleuze. For locations & to REGISTER go to www.deleuzeatgreenwich.blogspot.com

Organized by: Greenwich University Philosophy Department

 

 

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

 

For or Against Metaphor? Power, History, Knowledge and Aesthetics

 

24 to 25 May 2007

Kingston, Ontario, Canada

 

Website: http://www.sociocritique.mcgill.ca/col/2007/metaphore1.php

Contact name: Dr. François-Emmanuël Boucher

 

Social science researchers are invited to analyze the ambiguous function of metaphor in non-literary fields, with a view to uncover elements which would constitute a “poetics” of everyday language as opposed to the language of aesthetics

 

Organized by: Royal Military College of Canada, Centre for Security, Armed Forces and Society

 

 

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architecture in the space of flows: buildings - spaces - cultures

 

21 to 24 June 2007

Newcastle-Upon-Tyne, United Kingdom

 

http://www.apl.ncl.ac.uk/flows/

Contact name: Karen Ritchie

 

Exploring ourselves, our buildings, our cities and our cultures as modulators of flows: desiring subjects, fluid and relational.

 

Organized by: Tectonic Cultures Research Group, School of Architecture, Planning & Landscape and Culture Lab

 

Deadline for abstracts/proposals: 22 January 2007 

 

 

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(internet source: http://www.cipa.ulg.ac.be/colloques/detailappel.doc)

 

Détail et totalité

Colloque international organisé à l’Université de Liège (24-26 octobre 2007)

CIPA (Centre Interdisciplinaire de Poétique Appliquée)

 

24 to 26 October 2007

Liège, Belgium

 

http://www.cipa.ulg.ac.be

Contact name: Livio Belloï / Maud Hagelstein

 

Organized by: CIPA - Université de Liège

Deadline for abstracts/proposals: 15 January 2007 

 

Appel à communications

 

Parce qu’elle a trait aux relations nouées entre les parties et l’ensemble qui les comprend, la question du détail s’investit d’enjeux considérables pour toute tentative de réflexion interdisciplinaire. En effet, dans toutes les disciplines qui s’attachent à rendre un objet visible ou lisible, les théoriciens rencontrent à l’endroit du détail des problèmes analogues que nous voudrions aborder de front, dans une perspective forcément « rapprochée » et plus que jamais attentive à des objets singuliers, que ceux-ci relèvent de la littérature, du cinéma, de la photographie, de la peinture, de la philosophie, de l’architecture, etc.

 

Qu’est-ce qu’un détail ? - A vouloir saisir le détail dans ses dimensions les plus complexes, l’on se heurte inévitablement à une difficulté première et majeure : celle de déterminer ce que la notion recouvre précisément. Le problème de la définition pourrait déjà occuper longuement le débat. Difficile, voire impossible, d’être exhaustif en la matière tant quelque chose dans le détail semble toujours échapper au souci de catégorisation. Et que dire, par-delà, des notions qui lui sont connexes, mais auxquelles il ne se laisse jamais réduire : fragment, indice, effet de réel, punctum (Barthes), pan (Didi-Huberman), parergon (Derrida), annexe (Lebensztejn) ?

 

Qui fait le détail ? – Epineux objet d’investigation, presque-rien dans lequel un je-ne-sais-quoi nous retient pourtant, le détail ne se résume pas à un état de fait dont nous serions les témoins distants. Il est au centre d’un processus, d’un mouvement qui s’effectue dans ou avec la représentation. Les développements contemporains de l’esthétique amènent à considérer le détail moins comme un objet que comme un travail (Arasse). On peut parler à cet égard d’ « opération détaillante » (notion qui n’est pas moins pertinente pour les arts plastiques que pour le cinéma par exemple). Il y aurait lieu d’insister sur l’idée d’un « événement », relatif à l’acte de vision, de réflexion et/ou de lecture. Dans la sphère artistique, le détail n’est-il pas tout simplement une condition particulière du regard ? Dans le même registre, une autre question s’impose : qu’en est-il du rapport du détail à la temporalité (au tempo, à la rythmique) et quelle est la spécificité de ce rapport pour chacune de nos disciplines ? L’idée selon laquelle le détail retient notre attention en ce qu’il choque et brusque nos attentes de lecteurs ou de spectateurs semble communément admise. La fulgurance du détail, que beaucoup ont relevée à leur manière, explique que nous soyons saisis par son apparition. Associer le détail à l’expérience oblige encore à se poser les questions suivantes : est-ce la représentation qui fait le détail ? Si oui, peut-elle faire le détail sans le concours du spectateur/lecteur ? S’il y a bel et bien collaboration entre les deux instances, suivant quels paradigmes ou schèmes intériorisés se déploie-t-elle ? Si c'est le spectateur/lecteur qui fait le détail (un détail « vu » peut ne pas avoir été « fait », comme l’a justement observé Daniel Arasse), ce que son geste isole doit-il forcément être réduit à un simple fait de subjectivité, lesté de sa part d’ineffable ? En d’autres termes, existerait-il une objectivité du détail ?

 

Que fait le détail ? – Le détail n’est rien indépendamment de l’ensemble auquel il se rapporte, dans lequel il se « découpe » (sens étymologique du détail). Le tout est de cerner la nature de leur relation. D’un côté, le détail a pu se manifester en tant que donnée intégrée, instrumentalisée par la représentation. Culturellement parlant, certaines époques ont imposé le détail - qui participait alors d’un certain académisme et d’une théorie classique de la mimesis. Dans une discipline comme l’iconologie, par exemple, le détail, en tant qu’il peut être porteur d’un sens déterminant pour le tout auquel il appartient, se présente souvent comme un indice, une clé interprétative, passage obligé pour accéder à la signification générale de l’œuvre. Une telle perspective accorde au détail une valeur symbolique qu’il serait intéressant de réévaluer.

 

D’un autre côté, le détail inquiète volontiers les catégories établies qui, confrontées à lui, semblent parfois vaciller sur leurs bases. C’est alors sa capacité de résistance aux méthodes traditionnelles et aux normes collectives qui se trouve mise en relief. Le détail devient, sous les yeux du théoricien, comme le grain de sable qui vient gripper la machine interprétative, participant éventuellement à la mise à nu de ses rouages. En tant qu’il se détache de l’ensemble qui le contient, le détail nous incite à interroger nos propres outils de travail, dans le but de prendre l’exacte mesure de son caractère excentrique. Par conséquent, il convient d’inscrire les multiples et diverses manifestations du détail au sein d’un large continuum, entre ressort intime de la représentation et force de résistance à son ordre, sans négliger tous les degrés intermédiaires.

 

Veuillez faire parvenir vos propositions à Livio Belloï (Livio.Belloi@ulg.ac.be), Rudy Steinmetz (R.Steinmetz@ulg.ac.be) et Maud Hagelstein (Maud.Hagelstein@ulg.ac.be)

 

 

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Colloque. Les transformateurs Lyotard. 25 janvier et 26 janvier 2007 (9h30-18h30). Amphi Poincaré, Carré des Sciences, 1 rue Descartes, 75005 Paris. 27 janvier 2007 (9h30-18h30). Salle des Actes, École Normale Supérieure, 45 rue d'Ulm, 75005 Paris. Sous la responsabilité de Corinne ENAUDEAU, Jean-François NORDMANN, Jean-Michel SALANSKIS et Frédéric WORMS. Colloque organisé en collaboration avec le Centre international d'étude de la philosophie française contemporaine (ENS-Ulm) et avec son soutien. «Jean-François Lyotard est devenu célèbre à la faveur de deux livres: Economie libidinale (1974) et La Condition postmoderne (1979) dont l'invention lexicale s'est imposée, sans garder trace de l'analyse qui lui donnait sens. Le renom acquis n'a pas ensuite dissipé les malentendus qui ont gêné la réception de son œuvre. Sans préjuger des raisons de l'équivoque, on constate en tout cas que les champs de réflexion de Lyotard ont été multiples et croisés (citons entre autres Discours, figure, Le Différend, Heidegger et «les juifs», Signé Malraux) et surtout que leur traitement a connu de notables révisions. Le questionnement politique initial a été si intransigeant que, pour comprendre l'histoire bouleversée du vingtième siècle, Lyotard a dû procéder à des deuils et des refontes drastiques, où le nihilisme semblait le disputer au souci d'une résistance critique. Les« jeux de langage » d'un côté et « l'affect » de l'autre lui ont ainsi servi d'axes pour remodeler – et ce, à plusieurs reprises – le tableau de la condition humaine. Entre l'incohérence supposée de ses résultats et la ténacité présumée de son dessein, l'œuvre de Lyotard prête à confusion et s'entoure aujourd'hui d'ombre. D'un usage malcommode, sa pensée est le plus souvent rabattue sur celle de ses voisins de « la pensée française » : Deleuze et Derrida. Confusion où s'oublie la place si singulière que Lyotard accorde au sujet entre la décision exigée par le jugement et l'intensité anonyme où se donne l'« événement ». Presque dix ans après sa mort, il manque une compréhension propre de la voix qui fut la sienne dans le débat philo-sophique de la fin du siècle dernier. Cette compréhension demande de reformuler le contexte du travail de Jean-François Lyotard, de distinguer son entreprise de celles avec lesquelles elle a peu à faire, de la rattacher au contraire à celles qui ont une profonde résonance avec elle ; mais aussi d'outrepasser le privilège qu'on accorde à certains thèmes de sa pensée (comme l’esthétique et le relativisme sophistique) pour en affirmer d’autres qui comptent aussi de façon permanente et structurante (comme celle du juste). Sans ignorer le chassé-croisé des registres dont chaque livre de Lyotard témoigne fortement, citons quelques lieux distincts autour desquels le questionnement pourra prendre forme : la philosophie politique, la question du désir et l'esthétique, le judaïsme, l’histoire de la philosophie.» - Intervenants : Barbara Cassin (CNRS), Bruno Clément (Université de Paris VIII et CIPh), Françoise Coblence (Université de Picardie, Société Psychanalytique de Paris), Marc Crépon (CNRS Archives Husserl), Olivier Dekens (Lycée de Gennevilliers), Corinne Enaudeau (CIPh), Élisabeth de Fontenay (Honoraire Université de Paris 1), Alberto Gualandi (Université de Bologne et d'Urbino, Italie), Clemens-Carl Härle (Université de Sienne, Italie), Laurence Kahn (Association Psychanalytique de France), Patrice Loraux (Université de Paris 1), Catherine Malabou (Université de Paris 10), Michel Olivier (Université de Paris 10), Jean-François Nordmann (CIPh), Jacques Rancière (Honoraire Université de Paris 8), Jean-Michel Salanskis (Université de Paris 10 et CIPh), Dominique Scarfone (Université de Montréal, Société et Institut psychanalytique de Montréal, Canada), Anne Tomiche (Université de Paris 13), James Williams (University of Dundee, Écosse), Frédéric Worms (Université de Lille III et ENS Ulm), Pierre Zaoui (CIPh).

 

 

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

 

Colloques et conférences

 

Dans le cadre du DEA en esthétique et philosophie de l'art et du Groupe de contact en esthétique et philosophie de l'art

 

Conférences de

 

Jean-Claude Lebensztejn,

 

en collaboration avec la Faculté de philosophie et lettres de l'ULB, de « Jeunesse et Arts Plastiques », et de l'Académie ARBA-ESA

 

5 février 2007, de 20 à 22 h, ULB Solbosch, AZ1.101

Titre à préciser

 

6 février 2007, de 14 à 16 h, ULB Solbosch, UB2.147

Titre à préciser

 

Université catholique de Louvain

Faculté des sciences philosophiques

Centre d'esthétique philosophique

place du Cardinal Mercier 14

1348 Louvain-la-Neuve

Belgique

Tél. : (32 10) 47 48 12

Fax : (32 10) 47 82 93

Courriel : lories@risp.ucl.ac.be

 

 

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(internet source: http://www.centrepompidou.fr/Pompidou/Manifs.nsf/AvenirCategorie?ReadForm&RestrictToCategory=Categorie2&count=999&sessionM=2.6.3&L=1)

 

Centre Pompidou

Place Georges Pompidou

75004 Paris

 

Samedis d'Entretemps

 

L'Esthétique musicale de Nietzsche,

de Eric Dufour

 

Conférence

 

Autour du livre de Eric Dufour : L'Esthétique musicale de Nietzsche (Villeneuve d'Asq, Presses universitaires du Septentrion)

 

31 mars 2007

10h00 - 12h30

Ircam - Salle Igor Stravinsky

 

 

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(internet source: http://www-umb.u-strasbg.fr/agenda2/actu.php?page=4)

 

11-01-2007 UMB Esthétique et philosophie du corps chez les Beti du Cameroun

 

Une conférence de Charles-Robert Dimi, Philosophe, Doyen de la Faculté des Lettres et sciences Humaines de l’Université de Dschang, Cameroun. Cet évènement a lieu dans le cadre du séminaire «Corps noirs dans l’espace temps» organisé par l’équipe d’accueil en sciences du sport (1342).

 

De 17h à 19h30

 

Au Portique (salle 301 ou 211), 14 rue René Descartes à Strasbourg

 

Contact : lomo@umb.u-strasbg.fr

 

 

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(internet source: http://www.aestetik.au.dk/cfp_eng)

 

CALL FOR PAPERS AND PARTICIPANTS

 

The Limits of Aesthetics

 

NOS-H in cooperation with Nordic Society for Aesthetics is hosting a conference from May 31 through June 3, 2007 Aarhus. The topic of the conference is “The Limits of Aesthetics”, also being a research programme under the Nordic Research Councils’ Cooperation (NOS-H).

 

Intensive discussions on the extension of the field of aesthetics have been going on during the historical lifetime of its concept. The very relation to art is but one example: In some traditions, aesthetics is simply philosophy of art (for instance in Hegel and on) whereas in others, the problems of art are merely a subordinate part of the sphere of action of aesthetics. However, aesthetics’ boundaries with art philosophy are far from being the only ones to be open. Aesthetics’ relations to ethics, to the political, to epistemology, to the social (cf. socialization) are other threshold problematics. Furthermore new disciplines and branches emerge under designations such as en­vironmental aesthetics, empirical aesthetics, somaesthetics, to mention a few.

 

On the whole, aesthetics holds intensive and often fruitful borderline problematics to philosophy generally speaking, to art theory, to psychology, and of course to the artforms’ single disciplines (literature, drama, music, arthistory etc.). Ways of different nature, evaluative and descriptive, of approaching problems of aesthetics’ own position between philosophy and science are other examples of topics under heavy discussion.

 

In different contributions, a number of invited key-note speakers will review these problems of borderland. Invited speakers include Martin Seel (Frankfurt), Hans-Ulrich Gumbrecht (Stanford), Richard Shusterman (Florida), Andrea Kern (Berlin) and Jean-Marie Schaeffer (Paris).

 

Furthermore the conference here calls for papers wishing to discuss the problems in their very widest sense, directly or indirectly. It may be in terms of overall surveys on the history of science or on conceptualization within the field of problems of the borderland of aesthetics. But we also welcome contributions that on a basis of a specific empirical research project, for instance within an aesthetic single discipline, may enlighten the problematics of borderland relations indirectly.

 

We warmly welcome contributions from PhD students.

 

Please send your abstracts of proposals for presentations along with a brief presentation of yourself (1-5 lines) to the address at the bottom of this page. Deadline is on 15th February 2007 and should be sent preferably by e-mail as attachment in Word or compatible. Proposers will be notified around March 1st 2007 whether papers are accepted or not.

 

It is possible though to participate in the conference without a paper. Deadline for registration is February 15th 2007 accompanied by a short presentation of 1-5 lines.

 

Main language of the conference is English, but papers in Scandinavian languages are accepted. Please inform language on registration.

 

The Nordic Society of Aesthetics will hold its annual meeting in connection with the conference, but membership is not required for participating in the conference.

 

The research programme will host the conference, and participation is free of charge. This includes reception on the evening of opening, light lunches, coffee etc. during the three days of the conference. For participation in the conference dinner, we charge DKK 250 (€ 30). Participants will pay themselves for board and lodging as well as travelling expenses. As of January 1st 2007, a website http://www.aestetik.au.dk/gr will render details on different prices levels of hotels available in connection with the conference.

 

Contact address:

Aarhus Universitet

Institute of Aesthetic Studies

Langelandsgade 139

DK-8000 Århus C

Denmark

aekag@hum.au.dk

(Annette Gregersen, conference secretary)

Responsible for the Conference is prof. Morten Kyndrup (e-mail kyndrup@hum.au.dk)

 

 

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(internet source: http://www.apa.udel.edu/apa/cfp/cfpbrowsecallforpaper.asp)

 

conference/book to be published: Feminism and Aesthetics/Philosophy of Art

 

Description: This book is to be published by Kluwer Academic Publishing as part of a series on Feminist Philosophy. The series will include five separate books on: Feminism and Aesthetics/Philosophy of Art; Feminist Philosophy of Religion; Feminist Epistemology and Philosophy of Science; Feminist History of Philosophy; and Feminist Ethics and Social and Political Philosophy. Series Editor: Elizabeth Potter Volume Editor: L. Ryan Musgrave Since the “where are the great women artists” volley of feminist questions that arose in the middle of the twentieth century, feminist work in aesthetics and philosophy of art has grown exponentially—in terms of institutional critiques, theoretical inquiry, activism, and artistic and creative practices. The aim of this volume is to continue and extend feminist work done in the area of aesthetics and philosophy of art, broadly construed. The volume welcomes (among other possible approaches!) work that aims to - revisit original questions in the field for new insights; - include new and interesting work on women and the arts; - thematize feminist perspectives on embodiment, power, visual, musical, literary or other forms of representation; - evaluate successes and ‘next steps’ for feminist aims involving art and democracy or pluralism; - consider feminist perspectives beyond the Western lens; - consider connections between feminist approaches in the arts and other spheres of value (ethical, political, social, scientific, legal, religious); - consider feminist epistemological insights about the arts related to truth, reality, and knowledge; - reconsider what count as feminist practices and theory in the arts - or related projects. EXTENDED DEADLINE For those interested, please send a 200-word abstract no later than Monday, Dec. 18. Preliminary drafts will then need to be submitted by February 28, 2007; acceptance decisions will be based on these. Authors whose submissions are accepted on the basis of the original draft will need to have final papers/essays completed by approximately September 2007 (maximum 8500 words). All inquiries, abstracts, submissions may be sent electronically to Ryan Musgrave at rmusgrave@rollins.edu.

 

Contact Information:

Ryan Musgrave

rmusgrave@rollins.edu.

Deadline for Submission: 2/28/2007

 

October 2006 – December 2006

 

CALLS FOR PAPERS/CONFERENCES (27)

 

 

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

 

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

 

Nietzsche-Seminar XXII, Chimeras of Philosophy

17 to 20 November 2006

Sanct-Petersburg, Russian Federation

Contact name: Vyacheslav Y. Sukhachev

E-mail: anthrop_AT_philosophy.pu.ru (to e-mail the conference organizers, please replace _AT_ with @)

Organized by: Sanct-Petersburg State University (Russia)

Deadline for abstracts/proposals: 1 June 2006

 

 

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Informes: 2º Congresso de Estética e História da Arte 

A segunda edição do Congresso de Estética e História da Arte ocorre de 23 a 26 de novembro, no Museu de Arte Contemporânea (MAC), na capital paulista, visando promover reflexões sobre a trajetória do conhecimento estético na Universidade de São Paulo (USP).

Com o tema central "Estética USP - 70 Anos", a idéia é estimular a pesquisa e a execução de projetos artísticos no âmbito acadêmico.

Durante o evento, promovido pelo Programa Interunidades de Pós-Graduação em Estética e História da Arte da USP, serão realizadas uma série de palestras, mesas-redondas e sessões de comunicações de pesquisadores, professores e alunos.

Mais informações: http://www.mac.usp.pmstudium.com

http://www6.ufrgs.br/idea/modules.php?op=modload&name=News&file=article&sid=234

 

 

 

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Gilles Deleuze: Texts and Images

 

The 9th Annual University of South Carolina Comparative Literature Conference, An International Conference

 

5th - 8th April, 2007

 

Over the past two decades, readers of the works of Gilles Deleuze have had several opportunities to participate in international conferences held at Trent University and organized by Constantin V. Boundas. In that tradition, we  announce the organization of a conference to take place on the campus of the University of South Carolina(Columbia, SC, USA), between April 5 and 8, 2007, sponsored by the Program in Comparative Literature , the English Department, and the College of Arts and Sciences.

 

The conference theme, "Gilles Deleuze: texts and images," is meant to be understood inclusively rather than exclusively. That is, while recognizing the conference's focus on the work of Gilles Deleuze, the organizers encourage broad and comparative interpretations and commentaries from Deleuzian perspectives on subjects such as literature, philosophy, painting and film, as well as exegeses of Deleuze's body of work that engage with ontological and epistemological concepts and problems. Presentations by the invited plenary speakers - Eric Alliez, Ronald Bogue, Constantin V. Boundas, and Elizabeth Grosz - will be supplemented by speakers in parallel sessions.

 

The conference will be held on the historic campus of the University of South Carolina (http://president.sc.edu/history.html). The weather in April will be mild, and the campus will be in bloom. Columbia is mid-sized city with a major airport and is easily accessible. It is the capital of South Carolina and has many fine restaurants. Conference participants will be lodged on campus at the new Inn at USC (http://www.innatusc.com/); rooms have been reserved at a special conference rate of $116.00 for those making their reservations by February 20, 2007. There are also other hotels nearby.

 

Those interested in speaking at the conference should send a title, a 750-word abstract, and a 250-word bibliographical biography to delcon2k7_at_yahoo.com as a Word or RTF attachment no later than October 1, 2006. Additional details will be available at http://www.cas.sc.edu/DLLC/CPLT/activities/9thannucon.html.

 

Organizing Committee:

Eugene W. Holland, Ohio State University

Paul Allen Miller, University of South Carolina

Daniel W. Smith, Purdue University

Charles J. Stivale, Wayne State University

 

 

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SPSCVA at the APA Central Division Meeting

April 18 - 21, 2007, Chicago

 

The Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA) invites papers to be presented at its divisional meetings held in conjunction with the divisional meetings of the American Philosophical Association. Papers may address any topic that involves the connection between philosophy and the visual arts: film, photography, video, or other aesthetic media. The Society also welcomes proposals for panels, author-meets-critics, or other special sessions, as well as volunteers to serve as panel chairs and commentators. Presentations should be 20-25 minutes (10-12 pages in length; 2500-3000 words). Participants must be currently paid members of the SPSCVA. Submission as an e-mail attachment is preferred.

 

Submission deadline: October 1, 2006

 

Sander Lee

Department of Philosophy

Keene State University

229 Main St.

Keene NH 03435

slee@keene.edu

 

 

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

 

SPSCVA at the APA Pacific Division Meeting

April 3 - 8, 2007, San Francisco

 

The Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA) invites papers to be presented at its divisional meetings held in conjunction with the divisional meetings of the American Philosophical Association. Papers may address any topic that involves the connection between philosophy and the visual arts: film, photography, video, or other aesthetic media. The Society also welcomes proposals for panels, author-meets-critics, or other special sessions, as well as volunteers to serve as panel chairs and commentators. Presentations should be 20-25 minutes (10-12 pages in length; 2500-3000 words). Participants must be currently paid members of the SPSCVA. Submission as an e-mail attachment is preferred.

 

Submission deadline: October 1, 2006

 

Julie Van Camp

Department of Philosophy

California State University, Long Beach

1250 Bellflower Boulevard

Long Beach CA 90840-2408

jvancamp@csulb.edu

 

 

 

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CALL FOR PAPERS

 

http://www.erp-review.org/cfp7.php

Objects and Sound Perception

European Review of Philosophy, 7 (2007)

Nicolas J. Bullot & Paul Egré, editors.

Deadline for submission: 1 December 2006

In recent years, research on perceptual cognition directed at physical objects has been dominated by the studies of visual abilities. However, it is reasonable to consider that interacting with, and acquiring perceptual knowledge about physical objects depends on the relations between distinct perceptual modalities (or possibly, on a single multimodal perceptual system). Research on multimodal perceptual abilities may thus provide a key to the understanding of object-based cognition. In this context, this special issue intends to investigate the specific contribution of audition and sound perception to the knowledge about objects. Submissions are encouraged especially on the following problems: • While a number of theories of visual cognition seem to admit that the ontology of vision is object-based, the relevant ontology of auditory perception has sometimes been alleged to correspond to events. Are there two different ontologies for vision and audition? • One could assume that, as well for any other sensory capability, auditory perception provides information for singular representations and knowledge about objective particulars or individuals. How should one analyze the contribution of sound perception from such an epistemic point of view? • How should one provide a coherent analysis of complex phenomena such as voice and language perception, wherein multiple levels of information may be relevant for the perceiver (e.g., timbre and tonal information, phonemes, words, melodies, speaker's identity)? • What is the status of deictic or demonstrative reference directed at a particular sound source? • What are the respective features of visual and auditory identification? • Are inferences based on vision typically distinct from inferences based on audition?

 

Guest authors

Stephen Davies, University of Auckland

Michael Kubovy, University of Virginia

Mohan Matthen, University of Toronto

 

Submissions should be addressed electronically to: sound@erp-review.org. The deadline for submission is 1 December 2006.

 

Instructions for authors. Papers should describe original and previously unpublished work. Submissions must be in English and should not exceed 8000 words, with an abstract of up to 200 words. The following formats are accepted for submission: RTF, PDF, DOC, LATEX. Authors are invited to follow the stylistic guidelines, templates and detailed instructions available here.

 

Submitted papers will be reviewed by the Editors and blind-reviewed by two anonymous referees. For the purpose of blind refereeing, authors are requested not to include their name or affiliation in their submitted papers, but in a separate file. Each submission should consist of two distinct files:

 

A frontpage containing the title of the paper, the name and affiliation of the author(s), as well as any acknowledgment.

The manuscript of the paper (containing only the title, the abstract and the body of the article).

 

About the Review. Established in Geneva in 1989, the European Review of Philosophy is a peer-reviewed journal edited yearly at the Jean Nicod Institute, Paris. It publishes thematic volumes on philosophical and foundational issues in cognitive science.

 

Contact. Intending authors should make direct contact with the guest editors of the relevant issue by writing to: sound@erp-review.org

 

All other editorial correspondence should be addressed to:

European Review of Philosophy

Dario Taraborelli, editor

Institut Jean Nicod

1bis, avenue de Lowendal

F-75007 Paris

email: editor@erp-review.org

fax: (+33) 1 53 59 32 99

 

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Call for Abstracts

 

24 and Philosophy

 

Richard Davis, Jennifer Hart Weed and Ronald Weed, Editors

William Irwin, General Editor

 

The Blackwell Philosophy and PopCulture Series

 

To propose ideas for future volumes in the Blackwell series please contact William Irwin, 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.

 

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

 

Just War Theory and National Security in 24; “That’s the Wrong Call”: The Role of Practical Rationality in 24; Conflicts of Interest and Moral Particularism: Sex and the CTU; Conspiracy Theories and 24: The Epistemology of Suspicion; Patriotism and Conflicts of Authority or Why the Boss Must be Tasered to Get a Job Done; The Ambiguities of Betrayal in 24; The Dangers of Truth-telling in 24: Why No One Can be Trusted with the Truth; Prisoner’s Dilemmas and Security in 24; Femme Fatal-ity in 24:  The Moral Psychology of Female Power; Torture and Consequentialism in 24: Do the Ends ever NOT justify the Means?; Beyond Good and Evil in 24: What Distinguishes a Hero from a Villain?; The Phenomenology of Self Deception in 24; The Metaphysics of Action in Real Time in 24; Saving a Spy or Saving your Mother?  The Ethics of Choosing Whom to Save: Trolley Case Dilemmas in 24

 

Contributor guidelines:

1. Abstract of paper (100-500 words).

2. CV or resume for each author and co-author.

3. Submission deadline for abstracts: September 12, 2006

4. Submission deadline for first drafts of accepted papers:  February 10, 2007

5. Submission deadline for final papers:  April 2, 2007

6. Submissions should be sent by e-mail, with or without Word attachment to:  Richard Davis, rdavis@tyndale.ca

 

 

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Art & Authenticity, an interdisciplinary conference to be hosted by the School of Humanities, Faculty of Arts, at the Australian National University, November 2 and 3, 2006.

Abstracts of approximately 250 words should be sent to Jan.Lloyd-Jones@anu.edu.au by Friday 8th September 2006.

Website: http://arts.anu.edu.au/humanities/authenticity

 

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2nd Global Conference

Future Literature, Future Art: Probing the Boundaries of Criticism

Thursday 30th November - Saturday 2nd December 2006

Cracow, Poland

 

Call for Papers

 

This conference aims to take stock of the genealogy of current  literary and artistic practices and their critical adjuncts with a  view to speculating on future developments in both literature, art  and criticism. An inter-disciplinary approach will be adopted so as  to provide the basis for dialogue between the various disciplines  currently inputting into literary, artistic and critical production. With respect to literature, the relationship between literature and criticism has undergone radicalisation in the last century. The  very clarity of the distinction between the two has become  problematic, with various kinds of fusions and blurrings between  the two coming to the fore.  While many cite the crucial juncture  as the Surrealists’ transdisciplinary aesthetic, it is possible to trace the source of the revolution in literature and criticism back  to key texts such Lautréamont’s Maldoror and to the Symbolist  emphasis on a more conceptual approach to literary production.  While, in Germany, Heidegger developed an enigmatic aesthetic  through oblique readings of Trakl and Hölderlin amongst others, in  France this radicalisation of literary and critical practice was  intensified through movements such as Dada, Oulipo and figures such  as Bataille, Blanchot, Leiris and Roussel. In the ‘70s, this  tendency was developed through the work of Tel Quel. Many of the  figures associated with Tel Quel, such as Derrida and Kristeva,  have maintained this influence to the present. Meanwhile, the more  recent upsurge of interest in Deleuze’s critical work on literature  has opened up this problematic to English language texts, such as  those of Melville, Lewis Carroll and Scott-Fitzgerald. This also  reveals the possibility of reading a different Anglo-American  genealogy for our problematic, through figures such as the Beats,  De Lillo, Pynchon, Amis and Roth. With respect to art, similar questions of the status of the art work and conflicting fundamental paradigms apply as in the case of  literature. Since Duchamp, the question ‘what is art?’ has become  constitutive of art practice in an unprecedented way, linking the  diverse movements of Dada, Pop, Fluxus, Minimalism and Conceptual  art amongst others.  Some see recent art practice as a return to  more empirical concerns while others see it as an extension and  intensification of the question ‘what is art?’ What links, for  example, the work of a Paul McCarthy to a Tracey Emin, if anything?  Or Balthus and Bruce Nauman? Can we place under one genre  performance art, video art, figurative painting, abstract painting,  photography, digital art? Central here are the questions of the  relation between postmodern art and modernism and the issue of the  lingering influence of Romantic paradigms on art in a supposedly  post-Romantic age. This conference attempts to address such  questions through a focus on the concept of ‘future art’ and papers  are welcome on these and related themes. As Hans Richter said of  Dada, ‘our real motive force was not rowdiness for its own sake, or  contradiction or revolt in themselves, but the question (basic  then, as it is now), ‘where next?’

Papers, workshops, reports, and presentations are invited on any of  these other related themes. 300 word abstracts should be submitted  by Friday 22nd September 2006. Full draft papers should be  submitted by Friday 17th November 2006. All papers accepted for and presented at this conference will be  published in an ISBN eBook. Selected papers accepted for and presented at the conference will be published in a themed hard copy volume.

Papers should be submitted to the organising committee as an email  attachment in Word or WordPerfect; abstracts can also be submitted  in the body of the email text rather than as an attachment.

Dr Jones Irwin

St Patrick's College

Dublin

Ireland

Email: Jones.Irwin@spd.dcu.ie

Dr Rob Fisher

Inter-Disciplinary.Net

Freeland, Oxfordshire OX29 8HR

United Kingdom

Email: flfa@inter-disciplinary.net

The conference is part of the ‘Probing the Boundaries’ programme of 

research projects. It aims to bring together people from different 

areas and interests to share ideas and explore various discussions 

which are innovative and exciting.

 

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An international conference in the framework of the celebrations of Emmanuel Levinas Centennial (2006) and in anticipation of Maurice Blanchot Centennial (2007).

 

November 13-16, 2006

International Conference – Palais de l'UNESCO, Paris, France

 

“A Century with Levinas: Levinas – Blanchot, Thinking the Difference”

 

*Important: pre-registration (required) by sending an e-mail with name and postal address to: info@levinas100.org

 

*Organizing Committee:* Eric Hoppenot (Paris), Arthur Cools (Antwerpen), Jean-Francois Patricola (Metz), David Uhrig (Paris)

 

*In Partnerships with:* UNESCO and World Philosophy Day,the Levinas Ethical Legacy Foundation (LELF, New York) and Association pour la Celebration du Centenaire d'Emmanuel Levinas (ACCEL, Paris)

 

*Supported by:* Ministère de l'Éducation Nationale, Ministère de l'Enseignement Supérieur et de la Recherche, Ministère des Affaires Étrangères, Région Ile de France, Haut Comité des Célébrations Nationales, Fondation Ostad Elahi. Editions Flammarion.

 

*Under the high patronage of* the International Organization of Francophony and *the auspices of* the Ministère de l'Éducation Nationale and the City of Paris*

 

More information

www.levinas100.org

www.mauriceblanchot.net

info@levinas100.org

 

 

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

 

Literature, Aesthetics and Philosophies of History, 1860-1940

 

The University of Birmingham

 

To be held at the Birmingham and Midland Institute, Birmingham

 

18th-19th January 2007

        

In his seminal Metahistory (1973), Hayden White describes a later-nineteenth century separation between the realms of ?true? history and ?philosophical? history and a renewed interest in the implicit assumptions inherent within constructions of the past. The resultant ?crisis in historicism,? particularly within German historiographical and philosophical thought, had important consequences for the claims made to knowledge, truth and transparency by the historian. The aesthetic correlatives of this crisis are to be found throughout the Europe of the time ? literature, criticism and art that spans the period, from Baudelaire and Pater through to Benjamin and Heidegger, from Impressionism to Surrealism, concerns itself not only with knowledge per se, but how understanding of the past has profound implications for living within the present.

 

This conference starts with the premise that the writers, artists and critics of the later-nineteenth and early-twentieth centuries were working with a well-defined historical sense. Many were historians, historicists, antiquarians and philosophers of history, consistently engaging with models of history and historical process, and interrogating the past and its construction in the present in cogent and philosophically-assured ways. It also begins by saying that

comparisons of the literature and the visual arts with the historiography and the philosophy of history of the period have so far been under-theorised, due at least in part to the perceived discordance of the practices employed by these different disciplines and the desire to read the arts and literatures of Aestheticism, Decadence and Modernism through their own, often acute, anti-historicism. As a

result, the depth of the connection remains unplumbed. There remain gaps, holes and silences: How precisely is the past and historical modelling used in the text and image of the period? What attempts are there at ?modernist? or ?aestheticist? history and historiography and how do these attempts ground themselves epistemologically? How might the methods of our own present thinking help us in re-conceptualising more fruitfully the relationships between the art and philosophy of history within this period?

 

We are seeking academics and postgraduates working within literary studies, history and the philosophy of history or in art and cultural history, to contribute to an interdisciplinary forum on these and any other points of crossover between literature, art, history and historiography and to challenge some of the ways in which these disciplines have conceptualised the period 1860-1940. The proceedings of this conference will be published as an appendix to a special issue of the e-journal Modernist Cultures (www.modernist.bham.ac.uk), devoted to the topic of Literature, Art, Historiography and the Philosophy of History, to be published in December 2007.

 

Papers should be 15-20 minutes long. For further details, or to submit a proposal of between 200-300 words, contact Daniel Moore at DTMoore726659371_at_aol.com. The deadline for proposals is 30th November

2006.

 

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

 

UPDATED CFP: Change of Conference DATE and Submission Deadline Extension

 

CALL FOR PAPERS

DaVinci to Derrida: Breaking Codes Across Disciplines ***Open to faculty,  graduates, and undergraduates

 

Texas A&M University - Commerce will hold the 15th Annual English Graduates for Academic Development (EGAD) conference on October 20, 2006. Submissions should be made by September 22, 2006. Registration materials will be sent upon acceptance to the conference.

 

This year's keynote speaker is George Getschow, Mayborn, Writer-in-Residence at the University of North Texas. He is also former bureau chief of the Wall Street Journal for Dallas and Houston. In 1983, he was runner-up for the Pulitzer Prize in the national reporting category for a series of stories about labor camps of the Southwest.

 

Now accepting proposals for papers and panels dealing with contemporary issues in academia. We welcome submissions from all areas of academic discourse including, but not limited to: English, History, Journalism, Political Science, Education, Psychology, and Sociology.

 

Suggested areas of interest: Panels will be organized by topic.

 

Critical Theory

Academia/Professional Issues

Pedagogy

Graduate Student Issues

Technology in the Classroom

Foreign Language Studies

Composition & Rhetoric

Pop Culture

Creative Writing

Film Studies

Science Fiction

Linguistics/ESL

Writing Center Theory & Practice

Literary Studies

 

To apply, send an abstract of 250-500 words. Electronic submissions encouraged. Panel proposals and workshops are welcome. Notification of acceptance and conference registration materials will be mailed electronically upon acceptance. Conference registration is $20. If you wish to attend the conference luncheon, the cost is an additional $15.

 

Please send inquiries and abstracts to:

EGAD

c/o Andrea Miller

Department of Literature and Languages

PO Box 3011

Texas A&M University-Commerce

Commerce, TX 75429-3011

egad06_at_yahoo.com

 

 

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

 

CFP: HBO and Lacan (10/10/06; Narrative '07)

 

Papers are invited for a proposed panel on HBO and Lacan for the 2007 Society for the Study of Narrative Literature conference (March 15-18). Lacanian readings are sought that engage and illuminate such programs as Deadwood, Big Love, Rome, Carnivale, Epitafos, The Sopranos, Oz, Six Feet Under, Sex and the City, Entourage, and Curb Your Enthusiasm; particularly welcome are papers that represent innovative encounters with Lacanian thought as well.

 

(Queries are welcome regarding programs other than those listed above, or papers taking an alternative approach to that suggested here.)

 

Please send 300-400 word abstract and brief vita to aworth_at_brandeis.edu by October 10.

 

Dr. Aaron Worth

Department of English and American Literature

Brandeis University

 

 

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

 

Southwest/Texas Popular & American Culture Associations 28th Annual Conference

Albuquerque, NM, February 14-17, 2007

Hyatt Regency Albuquerque

330 Tijeras

Albuquerque, NM 87102

Phone: 1.505.842.1234

Fax: 1.505.766.6710

 

Panels are now forming on topics related to Experimental Writing and Aesthetics in such areas as the aesthetics of experimental writing in any genre or in multi-genre/multi-media works including digital and graphic compositions involving language, the poetics of performance of experimental compositions, critical studies of experimental writers, etc.

 

Creative writers interested in the selective creative writing readings panels should contact Jerry Bradley, Creative Writing Readings Chair, via <http://www.swtexaspca.org> in the early fall.

 

Scholars, teachers, professionals, writers not affiliated with academic institutions, and others interested in experimental writing are encouraged to participate. Graduate students are also particularly welcome with award opportunities for best graduate papers.

 

If you wish to organize your own panel, I will be happy to facilitate your scheduling needs.

 

Send abstracts, papers, or proposals for panels with your email address by 1 December 2006:

 

Hugh Tribbey, Experimental Writing and Aesthetics Chair

Email: htribbey_at_ecok.edu

(Note the change of the email address.)

Mailing Address:

Dr. Hugh Tribbey

Department of English and Languages

East Central University

1100 E. 14th St.

Ada, OK 74820

Phone: 580-310-5524; Fax: 580-436-3329

Conference Website: < http://www.h-net.org/~swpca/ > (updated regularly)

 

 

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

 

Conference on Depiction

May 18 - 19, 2007, University of Manchester

 

Recent decades have seen philosophers devote considerable attention to depiction, that form of representation characteristic of figurative paintings, drawings and photographs. Despite this attention, there is as yet little agreement about what depiction involves. This conference aims to help remedy this situation by bringing together philosophers working in this area to discuss topics central to an adequate philosophical understanding of depiction. Such topics include: the nature and scope of depiction; its cognitive and aesthetic value; the relations between depiction and other forms of representation; the phenomenology of picture experience; the process of picture production; and the mechanics of picture interpretation.

 

Invited speakers are Robert Hopkins, The University of Sheffield; John Hyman, Oxford University; Dominic Lopes, The University of British Columbia; and John Kulvicki, Dartmouth College.

 

In addition, the conference organisers will accept a limited number of submitted papers. These papers should be philosophical in content, address one or more of the topics identified above, be formatted for blind refereeing, and be no more than 5000 words long. The deadline for submission of papers is the 31st December 2006. Decisions to accept or reject papers will be made by the end of February, 2007.

 

Submission deadline: December 31, 2006

 

Catharine Abell: Catharine.Abell@manchester.ac.uk

 

 

 

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

(internet source: http://www.gla.ac.uk/Acad/Philosophy/CSPE/art/art.html)

 

Workshop: Art and the Senses

Saturday 7 October 2006

University of Sheffield

Venue: 

Club 197

Brook Hill,

University of Sheffield

Map (in pdf format)

Organisers: Rob Hopkins and Fiona Macpherson

 

Conference Programme: 

10.00 - 11.30

Fiona Macpherson (University of Glasgow)

"Synaesthesia and Art: Scope and Limitations"

11.45 - 1.15

Andrew McGonigal (University of Leeds)

"Art and Discernibility"

1.15 - 2.15

Lunch

2.15 - 3.45

Catharine Abell (University of Manchester/Macquarie University)

"The Perceptuality of Pictures"

4.00 - 5.30

Robert Hopkins (University of Sheffield)

"Sculpture and Visual Perspective"

 

Registration: 

Attendance is free but if you expect to attend please email Rob Hopkins: r.hopkins@sheffield.ac.uk stating whether you would also like to attend the dinner that we are organising after the workshop. Lunch will be available for sale on the day in the venue.

Student Bursaries: 

There may be bursaries available to help graduate students with travel and other costs associated with attending the workshop. Please e-mail Rob Hopkins if you would like details.

Sponsors: 

Department of Philosophy, University of Sheffield

Centre for the Study of Perceptual Experience, University of Glasgow

 

Centre for the Study of Perceptual Experience

Department of Philosophy

67 - 69 Oakfield Avenue

University of Glasgow

Glasgow G12 8LT

Tel: +44 (0)141 330 5692

Fax: +44 (0)141 330 4112

Director: Dr. F. E. Macpherson

E-mail: f.macpherson@philosophy.arts.gla.ac.uk

 

 

17 (internet source: http://www.british-aesthetics.org/page.aspx?tabid=15)

(internet source: http://www.erp-review.org/cfp7.php)

 

CALL FOR PAPERS

 

Objects and Sound Perception

European Review of Philosophy, 7 (2007)

Nicolas J. Bullot & Paul Egré, editors.

Deadline for submission: 1 December 2006

In recent years, research on perceptual cognition directed at physical objects has been dominated by the studies of visual abilities. However, it is reasonable to consider that interacting with, and acquiring perceptual knowledge about physical objects depends on the relations between distinct perceptual modalities (or possibly, on a single multimodal perceptual system). Research on multimodal perceptual abilities may thus provide a key to the understanding of object-based cognition. In this context, this special issue intends to investigate the specific contribution of audition and sound perception to the knowledge about objects. Submissions are encouraged especially on the following problems: • While a number of theories of visual cognition seem to admit that the ontology of vision is object-based, the relevant ontology of auditory perception has sometimes been alleged to correspond to events. Are there two different ontologies for vision and audition? • One could assume that, as well for any other sensory capability, auditory perception provides information for singular representations and knowledge about objective particulars or individuals. How should one analyze the contribution of sound perception from such an epistemic point of view? • How should one provide a coherent analysis of complex phenomena such as voice and language perception, wherein multiple levels of information may be relevant for the perceiver (e.g., timbre and tonal information, phonemes, words, melodies, speaker's identity)? • What is the status of deictic or demonstrative reference directed at a particular sound source? • What are the respective features of visual and auditory identification? • Are inferences based on vision typically distinct from inferences based on audition?

 

Guest authors

Stephen Davies, University of Auckland

Michael Kubovy, University of Virginia

Mohan Matthen, University of Toronto

 

Submissions should be addressed electronically to: sound@erp-review.org. The deadline for submission is 1 December 2006.

 

Instructions for authors

Papers should describe original and previously unpublished work. Submissions must be in English and should not exceed 8000 words, with an abstract of up to 200 words. The following formats are accepted for submission: RTF, PDF, DOC, LATEX. Authors are invited to follow the stylistic guidelines, templates and detailed instructions available here.

 

Submitted papers will be reviewed by the Editors and blind-reviewed by two anonymous referees. For the purpose of blind refereeing, authors are requested not to include their name or affiliation in their submitted papers, but in a separate file. Each submission should consist of two distinct files:

 

A frontpage containing the title of the paper, the name and affiliation of the author(s), as well as any acknowledgment. The manuscript of the paper (containing only the title, the abstract and the body of the article).

 

Established in Geneva in 1989, the European Review of Philosophy is a peer-reviewed journal edited yearly at the Jean Nicod Institute, Paris. It publishes thematic volumes on philosophical and foundational issues in cognitive science.

 

Intending authors should make direct contact with the guest editors of the relevant issue by writing to: sound@erp-review.org

 

All other editorial correspondence should be addressed to:

European Review of Philosophy

Dario Taraborelli, editor

Institut Jean Nicod

1bis, avenue de Lowendal

F-75007 Paris

email: editor@erp-review.org

fax: (+33) 1 53 59 32 99

 

 

18 (internet source: http://www.british-aesthetics.org/page.aspx?tabid=15)

 

Aesthetics and Finitude.

Interdisciplinary journal seeks submissions for its 2006 issue (#11) on the theme of Aesthetics and Finitude.  We welcome all papers that articulate the relationship between aesthetics and finitude in the fields of art, film, visual studies, literature and philosophy. Possible topics might include: the relationship of death to Being, the death of art or the relationship of art to death, the role of finitude in modern/postmodern thought, the Kantian inheritance of postmodern aesthetics, the finitude of an aesthetic or artistic work, the position of art and aesthetics in the philosophical realm (specific philosophical perspectives could come from Hegel, Heidegger, Foucault, Deleuze, Lyotard, Baudrillard and Kristeva among numerous others), and the relationship between nontranscendence and finite aesthetics.

 

Please send the paper as a MS Word attachment to jrestes@buffalo.edu, or nmjowsey@buffalo.edu

 

19 (internet source: http://www.information-philosophie.de/)

 

2. bis 7. Oktober 2006

Esthétique dans la philosophie contemporaine

Aesthetics in Contemporary Philosophy

Ort  Tokyo

Veranstalter  Institut International de Philosophie

Inhalt  wissenschaftliche Jahrestagung

Kosten  

Call for papers  

Kontakt Hans Lenk: sekretariat@philosophie.uni-karlsruhe.de

 

 

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

 

Taste, Vision, Transcendence: Sublimity 1700-1900.

 5 January 2007

Brighton, Sussex, United Kingdom

 

Contact name: Christopher Stokes

E-mail: c.r.stokes_AT_sussex.ac.uk (to e-mail the conference organizers, please replace _AT_ with @)

One-day conference. Papers invited on any aspect of the sublime in literature and related fields. Send 250 word abstracts to c.r.stokes … by 17th Nov 2006. Plenaries: Andrew Bennett (Bristol), Philip Shaw (Leicester)

Organized by: REVELS (University of Sussex Romantic, 18th Century and Victorian English Literature Seminar)

Deadline for abstracts/proposals: 17 November 2006 

 

 

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

(internet source: http://www.unm.edu/~mdomski/philculture.html)

 

Philosophy and (Popular) Culture

Saturday 17 February 2007

University of New Mexico

Albuquerque, NM

A Conference for Graduate and Undergraduate Students

 

Featuring Keynote Speaker:

Professor Arindam Chakrabarti

University of Hawaii at Manoa

 

http://www.unm.edu/~mdomski/philculture.html

Contact name: David Burns

 

We welcome papers from all philosophical traditions that address relationships between philosophy and culture.

 

Deadline for abstracts/proposals: 1 December 2006

We welcome papers from all philosophical traditions that address relationships between philosophy and culture. 

 

Papers might consider themes such as: 

   Is liberation from culture the genuine mark of doing philosophy or is philosophy simply part of its larger culture?

   Are questions a philosopher engages limited – or even determined – by her culture? 

   Is the culture of academic philosophy in the United States compatible with genuine contemplation? 

   Should philosophers strive to be cultural critics? 

   Can philosophers of different cultures engage in meaningful dialogue? 

   Should philosophy be multicultural, monocultural or metacultural?  

   What is the distinction between high culture and popular culture? 

   Does popular culture raise questions that merit philosophical attention? 

   Can popular culture be used to teach philosophy? 

   Is popular culture a legitimate source of philosophical inspiration?   

 

Essays selected for presentation at the conference will be considered for publication in the conference proceedings.

 

All undergraduate and graduate students are invited to make a submission. Papers must 1) be no longer than 3,000 words, 2) be prepared for blind-review, and 3) include a 200 word abstract. Please email your submission in Microsoft Word (doc.) or Adobe (.pdf) format to David Burns at dburns3@unm.edu no later than 1 December 2006.

 

The program for the conference, along with information about travel and accommodations, will be made available by early January.  Please continue to visit this web site for further updates.

 

If you have any questions about the conference, feel free to contact David Burns at dburns3@unm.edu.

 

This conference is being made possible by the generous support of the University of New Mexico College of Arts and Sciences, the Philosophy Graduate Student Association, the undergraduate Phil Club, and the local chapter of Phi Sigma Tau.

 

 

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

(internet source: http://www.new-arts-frontiers.eu/)

 

Call for Papers       

New Frontiers in Arts Sociology:

Creativity, Support and Sustainability

4th Interim Conference of the ESA Research Network Sociology for the Arts

Lueneburg and Hamburg (Germany), March 28-April 1, 2007

 

The ESA Research Network Sociology for the Arts is organizing its 8th meeting at the end of March 2007 in Lueneburg (Germany), with additional events in near-by Hamburg. The main conference venue will be at the University of Lueneburg, close to the medieval old town.The conference will feature keynote lectures, plenary discussions, paper sessions, workshops, and round tables. Following the triad theme of the conference, "Creativity, Support, and Sustainability" , we will put an emphasis on those issues that are of sociological interest within arts worlds but also relate to those powerful developments in economy, ecology and ethic contexts on the macro level that influence, manipulate or determine production, content and forms, distribution and reception of the arts.

 

The deadline for proposals is October 15, 2006. Acceptance will be notified by December 01, 2006.

 

 

23 (internet source: http://www.philosophie.de/)

(internet source: http://www.benjamin-festival-berlin.de/http://www.benjamin-festival-berlin.de/german/tagung.htm)

 

17. - 12. Oktober 2006

NOW - Das Jetzt der Erkennbarkeit

Orte Walter Benjamins in Kultur, Kunst und Wissenschaft

 

Veranstalter: Zentrum für Literatur- und Kulturforschung (ZfL) in Kooperation mit dem Archiv der Akademie der Künste, Kino Arsenal, Hamburger Bahnhof – Museum für Gegenwart und Staatsoper Unter den Linden

 

Vortragende: Giorgio Agamben, Georges Didi-Huberman, Stéphane Mosès, Bernd Witte u.v.a.

 

Kurzinfo: Jede Generation und jede Kultur scheint sich ihren Benjamin aufs Neue anzueignen. Trotz der bestehenden Fülle an Werken, die seinem Denken gewidmet sind, zieht die Auseinandersetzung mit dem deutsch-jüdischen Kulturphilosophen immer weitere Kreise. Durch Übersetzungen in andere Sprachen und Übertragungen in andere Ausdrucksformen und Medien erweitert sich ständig der Kreis derjenigen, die Walter Benjamins Überlegungen als Grundlage ihres eigenen Denken setzen. Ausgangspunkt des Festivals ist die Beobachtung, dass Benjamins Schriften oftmals auf Fragen zu antworten scheinen, die zu formulieren uns überhaupt erst angesichts von gegenwärtig drängenden Herausforderungen möglich ist. Aktuelle Themen, für die Benjamins Denken jenseits der Grenzen einzelner Gebiete, Nationen und Disziplinen heute bedeutsam ist:

 *die Perspektiven europäischer Kultur im Horizont globaler

Entwicklungen,

 *die Bedeutung der Religion(en), die Kritik der Gewalt und die

 internationalen Verhandlungen über 'Gerechtigkeit',

 *das Auseinanderdriften von Naturwissenschaften und Kunst/Kultur,

 *die Entwicklung einer globalen Medienkultur.

 

Konzeption und Organisation: Prof. Dr. Sigrid Weigel und Dr. Sabine

Flach.

Gefördert durch die Kulturstiftung des Bundes.

 

TAGUNG

 

Die wissenschaftliche Tagung wurde von Sigrid Weigel, Mitglied des Executive Boards der International Walter Benjamin Association (IWBA), initiiert und wird vom Zentrum für Literatur- und Kulturforschung durchgeführt. Sie umfasst 6 Key-note-Lectures sowie 12 Sektionen, die von Mitarbeitern des ZfL in Kooperation mit Kollegen aus der internationalen Walter Benjamin-Forschung konzipiert wurden. In die Sektionsleitung sind Mitglieder der IWBA und der Internationalen Walter Benjamin Gesellschaft (IWBG) eingebunden. Die Sektionen umfassen jeweils drei zweistündige Arbeitssitzungen. Für jede Arbeitssitzung sind drei 20minütige Vorträge vorgesehen, d.h. insgesamt neun Vorträge pro Sektion. Tagungssprachen sind Deutsch und Englisch, d.h. Key-note-Lectures werden simultan gedolmetscht, die Vorträge in den Sektionen werden entweder deutsch oder englisch gehalten.

 

Key-note-Lectures

18.10., 10 Uhr, Sigrid Weigel (ZfL Berlin)

"Jene schnöde säkularisierten Gewitter". Zum Verhältnis von Kreatur und Schöpfung in Benjamins Schriften

18.10., 15 Uhr, Samuel Weber (Evanston, Ill., USA)

Benjamin's Abilities: Mediality and Concept Formation in Benjamin's Early Writings

19.10., 10 Uhr, Bernd Witte (Düsseldorf)

Die Krise der Tradierbarkeit. Stadt Schrift Gedächtnis

20.10., 10 Uhr, Detlev Schöttker (Dresden)

"Das Bild ist eine Tatsache". Benjamin liest Wittgenstein

20.10., 15 Uhr, Uwe Steiner (Houston, Tx., USA)

Walter Benjamins Moderne

21.10., 10 Uhr, Anselm Haverkamp (Frankfurt/Oder)

Melencolia illa heroica: Die Sackgasse der Benjamin-Kritik

 

Sektionen (Sektionsleiter)

1. Archiv und Edition (Erdmut Wizisla, AdK Berlin / Martin Treml, ZfL) - alle Abstracts als PDF

2. "Revueformen der Philosophie" - jenseits der Systeme (Ashraf Noor, Jerusalem / Erik Porath, ZfL) - alle Abstracts als PDF

3. Profane Erleuchtungen / Illuminations (Willem van Reijen, Utrecht / Karlheinz Barck, ZfL) - alle Abstracts als PDF

4. Dialektik der Säkularisierung (Uwe Steiner, Houston / Daniel Weidner, ZfL) - alle Abstracts als PDF

5. Das Optisch-Unbewußte - Mediengeschichtliche Konstellationen (Mike Jennings, Princeton / Inge Münz-Koenen, ZfL) - alle Abstracts als PDF

6. Benjamins Topographien - Orte, Nicht-Orte (Bernd Witte, Düsseldorf / Franziska Thun-Hohenstein, ZfL) - alle Abstracts als PDF

7. Benjamin on/in translation - Differenzen und Ungleichzeitigkeiten (Willi Bolle, Sao Paulo/ Robert Stockhammer, ZfL) - alle Abstracts als PDF

8. "Premier critique de la littérature allemande" - Benjamin als Philologe und Praeceptor (Alexander Honold, Basel / Justus Fetscher, ZfL) - alle Abstracts als PDF

9. Akustische Figuren: Stimmen und Geräusche (Bettine Menke, Erfurt / Uwe Wirth, ZfL) - alle Abstracts als PDF

10. Das natürliche und das übernatürliche Leben - Benjamins Konzept des bloßen Lebens (Eric Santner, Chicago / Sigrid Weigel, ZfL) - alle Abstracts als PDF

11. "Durchdringung von Kunst und Wissenschaft" (Peter Weibel, ZKM / Sabine Flach, ZfL) - alle Abstracts als PDF

12. Benjamins Kommunismus: Der Linksintellektuelle und die Sowjetunion (Chryssoula Kambas, Osnabrück / Ernst Müller, ZfL) - alle Abstracts als PDF

 

1. Archiv und Edition (Erdmut Wizisla, AdK Berlin / Martin Treml, ZfL)

Benjamins Arbeitsweise ist eine Herausforderung für jede Edition. An seinen Aufzeichnungen und Manuskripten verstärkt sich das Phänomen, dass Drucke den Mitteilungscharakter von Handschriften verdecken, sie sind eine Stillstellung der Originale. Das Panel widmet sich der visuellen Qualität von Benjamins Handschriften, den Differenzen von Hinterlassenschaften und Editionen und der Frage, wie mit der Existenz der in diversen Nachlässen zerstreuten Korrespondenzen Benjamins umgegangen werden kann. Es soll Werkstattcharakter haben.

2. "Revueformen der Philosophie" - jenseits der Systeme (Ashraf Noor, Jerusalem / Erik Porath, ZfL)

Benjamins Einbahnstraße ist als Umschlagplatz philosophischer Fragestellungen aufgefaßt worden (E. Bloch), ein Verfahren, dessen Maxime im Wahlverwandtschaften-Aufsatz formuliert ist: "alle echten Werke haben ihre Geschwister im Bereiche der Philosophie." Solche Verwandtschaft suchte Benjamin an den verschiedensten Orten von Kultur, Technik und Gesellschaft auf. Konfrontiert mit der Versuchung des Synkretismus, hielt er am systematischen Charakter einer Philosophie fest, welche die Gemeinsamkeit von Problemstellungen betont, die an zerstreuten Phänomenen auftreten. Insofern soll es um die Transformationsgestalten der Philosophie in seinen Schriften gehen. Dabei interessieren sowohl die Bezugnahmen auf andere Denkansätze als auch die jeweiligen kulturell-medialen Konstellationen, in welchen die Philosophie auf den Plan tritt, um die epistemischen Figuren zu befragen, die den geschichtlichen Ort - und damit immer auch den der Gegenwart - bestimmen.

3. Profane Erleuchtungen / Illuminations (Willem van Reijen, Utrecht / Karlheinz Barck, ZfL)

Benjamins Denken kreist von Anfang an um eine Theorie der Erfahrung. Profane Erleuchtung wird dabei seit Ende der 20er Jahre zu einer an der Lektüre der Pariser Surrealisten (Aragon, Breton) gewonnenen chiliastischen Denkfigur, die, als Umschlagspunkt von Extremen, neue Horizonte konfiguriert und definiert. Dabei geht es um einen mehrfachen Umschlag: von einer messianischen Option in die des historischen Materialismus, vom Ästhetischen in die "Zerschlagung des Ästhetischen", von revolutionären Energie in das Veraltete usw. Auf diese Weise konfrontiert Benjamin das Geschichtliche mit dem Primat des Politischen, den Historismus mit dem Erwachen. Als Denkfigur lenkt die "profane Erleuchtung" die Aufmerksamkeit auf den Surrealismus als "Keimzelle einer neuen politischen Theorie der Erfahrung", auf den "anthropologischen Materialismus", auf die Extreme des "Rausches der Zeugung" und des "Taumels der Vernichtung". Für Benjamin sind die gängigen Theorien der Erfahrung (Kant als Musterbeispiel) obsolet, weil sie sich einseitig auf eine Seite, das Materialistische oder das Theologische, festlegen, während 'Wahrheit' nur im flüchtigen Umschlagspunkt der Gegensätze aufblitzt.

4. Dialektik der Säkularisierung (Uwe Steiner, Houston / Daniel Weidner, ZfL)

In der ersten seiner Thesen Über den Begriff der Geschichte exponiert Benjamin das Verhältnis von Theologie und 'historischem Materialismus' in einem philosophischen Denkbild. Hier wie an anderen Orten seines Werkes läßt sich beobachten, wie er theologische Motive in profane Kontexte einbringt, indem er Religion und Moderne nicht miteinander vermittelt, sondern als spannungsreiche Konfigurationen gegenstrebiger Kräfte dem Denken überantwortet. Mit Blick auf die Dialektik der Säkularisierung soll in der Sektion untersucht werden, wie Benjamin Religion und Politik, Theologie und Moderne in ihren jeweils unterschiedlichen Spielformen und historischen Erscheinungsweisen zu komplexen Konstellationen zusammenfügt. Neben der Frage nach seiner Stellung in der Säkularisierungsdebatte sollen dabei Benjamins Darstellungsstrategien angemessen berücksichtigt werden.

5. Das Optisch-Unbewußte - Mediengeschichtliche Konstellationen (Mike Jennings, Princeton / Inge Münz-Koenen, ZfL)

Im Zentrum steht hier die historische und kulturbedingte Wandelbarkeit "von Daseinsweise und Sinneswahrnehmungen" (Benjamin 1935). Benjamins Beobachtung, daß die Filmkamera beim Betrachter einen latenten Subtext unterhalb der bewußten Apperzeption erzeugt, kann 2006 auf die nachfolgenden Medienumbrüche hin aktualisiert werden. So z.B. auf die Wirklichkeitskonstruktion durch digitale Medien und daraus folgende komplexe 'Verschiebungen' in der apparategestützten visuellen Wahrnehmung - zwischen Auge und Blick, Blick und Körper, Blick und Raum. Zu fragen ist, ob die noch ausstehende 'Geschichte des Blicks' als Aufgabe der Kulturforschung sich auch auf die kommunikativen Implikationen der Benjaminschen Medientheorie beziehen kann. Was hieße z.B. Des- und Reorientierung, Des- und Reorganisation der 'menschlichen Kollektiva' unter den Bedingungen von Computeranimation, Cyberspace und World Wide Web?

6. Benjamins Topographien - Orte, Nicht-Orte (Bernd Witte, Düsseldorf / Franziska Thun-Hohenstein, ZfL)

Mit dem Stichwort von Benjamins Topographien sind verschiedene Aspekte aufgerufen, deren Zusammenspiel in Benjamins Werk den zentralen Focus der Sektion bildet: 1) Zum einen soll den Spuren nachgegangen werden, die Benjamins rastlose Reisen quer durch Europa in seinen Schriften hinterlassen haben, was auch die Frage nach dem Ausgeblendeten, nach seinen Nicht-Orten einschließt. 2) Zum anderen bildet Benjamins Begrifflichkeit ein wichtiges Untersuchungsfeld, sind doch zahlreiche Schlüsselbegriffe den Kategorien eines sich auf die Topographie stützenden kulturellen Gedächtnisses entnommen (Schwelle, Grenze, Übergang, Schauplatz, Passagen usw.). 3) Schließlich erfolgt die Analyse der konkreten Topographie eines Paris des 19. Jahrhunderts, wie diese sich in den späten Schriften Benjamins abzeichnet.

7. Benjamin on/in translation - Differenzen und Ungleichzeitigkeiten (Willi Bolle, Sao Paulo/ Robert Stockhammer, ZfL)

Übersetzungen von Benjamins Texten beeinflussen deren Rezeption in nicht unerheblichem Maße. Die Verfügbarkeit von Editionen in verschiedenen Sprachen ist dafür mitverantwortlich, daß in unterschiedlichen Ländern zur gleichen Zeit verschiedene Aspekte und Teile von Benjamins Werk in der Diskussion dominieren. Auf welche regionalen und nationalen Entwicklungen ist es zurückzuführen, daß bestimmte Teile von Benjamins Werk in manche Sprachen noch gar nicht, in andere bereits mehrfach übersetzt wurden? Welche Wirkungen haben diese Übersetzungen selbst, die Benjamins Aussagen meistens eindeutiger, manchmal auch weniger klar erscheinen lassen als die Originale? Welche spezifischen Probleme und Möglichkeiten ergeben sich bei der Übersetzung in Sprachen, die in nicht-alphabetischen Schriften notiert werden? Ist Benjamins eigene Theorie der Übersetzung geeignet, um solche Prozesse zu beschreiben? Steht sie im Einklang mit einer gestiegenen Aufmerksamkeit auf den Eigenwert von Übersetzungen? Kann sie für aktuelle Diskussionen um 'kulturelle Übersetzung' produktiv gemacht werden?

8. "Premier critique de la littérature allemande" - Benjamin als Philologe und Praeceptor (Alexander Honold, Basel / Justus Fetscher, ZfL)

Mit seiner Dissertation stellte sich Benjamin in die Nachfolge Friedrich Schlegels, der mit seinen Schriften den doppelten Anspruch angemeldet hatte, das Amt Lessings als des ersten deutschen Kritikers zu übernehmen und das von Goethe im Meister-Roman bewiesene Dichtertum der (frühromantischen) Kritik zuerkannt zu erhalten. Nach dem Scheitern seines Habilitationsverfahrens positionierte Benjamin sich und sein kritisches Amt im Feld der literarischen Publizistik. Er bündelt dabei die Rolle des Kommentators, der einem heiligen Text mit äußerster Ehrfurcht und äußerstem Mißtrauen begegnet, mit der des unnachgiebigen Kannibalen, der seine Zeit im Medium ihrer publizistischen Neuerscheinungen strafend herbeizitiert. Neben Schlegel tritt Karl Kraus, neben die potenzierend-erkenntnisstiftende die destruktive Seite der Kritik. Unermüdliche Liebe zu den Texten, enzyklopädisches Wissen um ihre Sachgehalte steht allemal im Dienst einer Prüfung, die, Adorno zufolge, schon in der Dissertation ein ironisches Verhältnis zur philologischen Methode hatte. Zu fragen ist nach den Akzentverschiebungen in Benjamins Theorie, nach seiner Praxis von Kritik und nach den Grenzen, an die dieser Benjaminsche Schlüsselbegriff im Zuge seiner Verwandlungen und Erweiterungen stoßen mochte.

9. Akustische Figuren: Stimmen und Geräusche (Bettine Menke, Erfurt / Uwe Wirth, ZfL)

Das Akustische spielt in der wissenschaftlichen Auseinandersetzung mit Benjamin bislang eine untergeordnete Rolle - kein Wunder, angesichts von Benjamins Interesse an Bildlichkeit und Schriftlichkeit. Dieser 'blinde Fleck' eröffnet indes die Möglichkeit zu erkunden, welche Funktion der Stimme und dem "Nachhall der Geräusche" in Benjamins Schriften zukommt. Was bedeutet es, wenn es einerseits im Kraus-Essay heißt, daß die "bloße kreatürliche Stimme sich auflöst" und zum "Summen" wird, während andererseits in der Berliner Kindheit das "Nachtgeräusch" des Telefons eine Neugeburt der Stimme anzukündigen scheint, "die in den Apparaten schlummerte". So soll es nicht nur um Funktion von Stimme und Geräusch in den Hörmodellen und den Rundfunkgeschichten gehen, sondern auch um die Frage nach einer spezifisch 'akustische Phantasie' Benjamins.

10. Das natürliche und das übernatürliche Leben - Benjamins Konzept des bloßen Lebens (Eric Santner, Chicago / Sigrid Weigel, ZfL)

Benjamins Kritik am Dogma von der Heiligkeit des bloßen Lebens (Kritik der Gewalt) ist Teil seiner andauernden Reflexion über das Verhältnis zwischen 'natürlichem' und 'übernatürlichem' Leben: vom Motiv der 'Vergeistigung des Sexuellen' in den Frühschriften über die Auseinandersetzung mit den 'heiligen Menschenrechten' in Kritik der Gewalt und die Diskussion über den 'Schuldzusammenhang des natürlichen Lebens' im Goethe-Essay bis zur Bachofen-Rezeption und der Deutung des Kreatürlichen im Kafka-Essay und zur Analyse des Verhältnisses von Sexus und Geist im Kraus-Essay. Benjamins Überlegungen sollen untersucht werden im Hinblick auf ihren Beitrag zur aktuellen Diskussion über den Lebensbegriff im Zusammenhang von politischer Theologie, staatlicher Gewalt und Terrorismus, Biowissenschaft und Menschenrechten.

11. "Durchdringung von Kunst und Wissenschaft" (Peter Weibel, Karlsruhe/ Sabine Flach, ZfL)

Gegenstand der Forschung sind die Ideen, schreibt Benjamin in der erkenntniskritischen Vorrede zum Ursprung des deutschen Trauerspiels, und Darstellung der Inbegriff der Methode. In seinen frühen Fragmenten zur Erkenntnistheorie folgt Benjamin dem einschlägigen Diktum Goethes, daß "wir uns die Wissenschaft notwendig als Kunst denken, wenn wir von ihr eine Art Ganzheit erwarten". Dieser Rekurs auf Goethes Naturwissenschaften gilt dem Bestreben, den "Gebietscharakter", die Grenzen zwischen Wissenschaft und Kunst zu unterlaufen. Das Panel widmet sich dieser Perspektive von Benjamins Arbeit in der Diskussion: seiner Vorstellung der Kristallisation, der These vom Gebietscharakters, der Parallelisierung von Urphänomen und Symbol und der Rolle der Anschauung für die Erkenntnis.

12. Benjamins Kommunismus: Der Linksintellektuelle und die Sowjetunion (Chryssoula Kambas, Osnabrück / Ernst Müller, ZfL)

Gegen die scheinbare Erledigung des Themas "Literatur und Politik" soll ein Satz aus Benjamins Brief an Max Rychner zu neuer Lektüre anregen: "Hierarchien des Sinns hat meiner Erfahrung nach die abgegriffenste kommunistische Platitüde mehr als der heutige bürgerliche Tiefsinn, der immer nur den einen der Apologetik besitzt." Will man Benjamin nicht selektiv rezipieren, muß man sich mit seiner von 1924-1938 kenntlichen Option für die Sowjetunion und mit seiner dezidierten Kritik an deren Kulturpolitik auseinandersetzen. Einer Relektüre bedürfen biographisch-intellektuelle Konstellationen wie die Beziehung zu Asja Lacis, zu Brecht, Bloch, zum Institut für Sozialforschung, seine Sicht auf Intellektuelle im kommunistischen Apparat, ebenso die Publikationen zum sowjetischen Film, zu Agitprop und Kindertheater wie zur Intellektuellen-Problematik in der Gesellschaft. Das Moskauer Tagebuch, Dokument der Ernüchterung, evoziert den Vergleich mit anderen Moskau-Berichten der Zeit. Und auch in den Pariser Passagen spielen Kommunismus, Aufhebung des Privateigentums, klassenlosen Gesellschaft und Marx' Politische Ökonomie eine wichtige Rolle ebenso wie geistige Vorläufer wie Fourier, Saint-Simon und die Kommune von 1871. Wie er Technik, Architektur und Geschlechterfrage ins Zentrum rückt, zeigt, wie sehr seine Kulturgeschichte Gesellschaftstheorie als konstruktive Armatur benötigt.

 

 

24 (internet source: http://www.sif-isp.org/?eng_actividades_filo3.htm)

 

28-30 de novembro de 2006

National Colloquium: “The comic and the tragic. Aesthetical Reflections”

Ouro Preto Federal University, Ouro Preto, Brazil

http://www.comicotragico.rg.com.br/

 

 

25 (internet source: http://www.siestetica.it/)

 

06/10/2006 - Estetica e comunicazione 

Firenze. Promosso dall'Osservatorio di Comunicazione e spettacolo della Società Italiana d'Estetica il 6 ottobre 2006 (dalle 10.00 alle 18.00) si terrà a Firenze presso la Facoltà di Scienze della Formazione (Via del Parione 7, Aula Klimt) il Seminario dal titolo Estetica e comunicazione: riflessioni teoriche e questioni istituzionali, introdotto da F. Desideri, G. Bechelloni, M. Buonanno, L. Toschi, R. Diodato, A. Somaini, G. Matteucci, M. Mazzocut-Mis, P. Pellegrino, F. Scrivano. 

 

 

26 (internet source: search engine)

(internet source: http://www.philosophyconferences.com/call-for-abstracts-first-online-conference-in-aesthetics/)

 

Call for Abstracts: First Online Conference in Aesthetics

Published by Becky Vartabedian August 1st, 2006 in Events

October 1, 2006

6:21 pm to 9:21 pm

First Online Conference in Aesthetics

Theme: Arthur Danto’s Transfiguration of the Commonplace—25 Years Later

Begins: Jan 2007

Last date for paper submission: Sun, 01 Oct 2006

Organizer: Michalle Gal (Tel Aviv University)

Organizer: Jonathan Neufeld (Vanderbilt University)

Organizer: Brian Soucek (University of Chicago)

The organizers of the First Online Conference in Aesthetics seek submissions for an interdisciplinary conference on Arthur Danto’s Transfiguration of the Commonplace, which this year celebrates its 25th anniversary. Most recent discussions of Danto’s work have focused either on his art criticism or his historical claims about the end of art. This conference aims to focus instead on topics raised by Danto’s earlier work. Papers might take several approaches, including:

1. Critical discussion of Danto’s arguments in Transfiguration.

2. Comparisons of Danto’s philosophy of art to that of others, whether within or outside the analytic or Western traditions.

3. Explorations of questions raised or left open by Danto’s book.

4. Specific discussions of the Transfiguration’s continued relevance within aesthetics or its application to particular arts (painting, music, literature, dance, etc.).

The conference, to be presented online in January 2007, will feature papers from scholars in philosophy, art history, and other fields impacted by Danto’s work. Keynote papers will be offered by Richard Shusterman (Philosophy, Florida Atlantic) and David Carrier (Art History, Case Western). Professor Danto will close the conference with a response to the papers presented.

To be considered for the conference, please submit an abstract (no longer than 300 words) to soucek@uchicago.edu by October 1, 2006. Authors of accepted abstracts will then be asked to provide a full paper (of approximately 2500 words) by December 15, 2006.

A prize of $250 will be given for the best paper written by a graduate student. Support for this and other conference expenses comes from Vanderbilt University’s Robert Penn Warren Center for the Humanities, the Franke Institute for the Humanities at the University of Chicago, and the Philosophy Departments at Vanderbilt and Tel Aviv University.

First Online Conference in Aesthetics

Arthur Danto’s Transfiguration of the Commonplace—25 Years Later

Michalle Gal (Tel Aviv University)

Jonathan Neufeld (Vanderbilt University)

Brian Soucek (University of Chicago)The organizers of the First Online Conference in Aesthetics seek submissions for an interdisciplinary conference on Arthur Danto’s Transfiguration of the Commonplace, which this year celebrates its 25th anniversary. Most recent discussions of Danto’s work have focused either on his art criticism or his historical claims about the end of art. This conference aims to focus instead on topics raised by Danto’s earlier work. Papers might take several approaches, including:

1. Critical discussion of Danto’s arguments in Transfiguration.

2. Comparisons of Danto’s philosophy of art to that of others, whether within or outside the analytic or Western traditions.

3. Explorations of questions raised or left open by Danto’s book.

4. Specific discussions of the Transfiguration’s continued relevance within aesthetics or its application to particular arts (painting, music, literature, dance, etc.).

The conference, to be presented online in January 2007, will feature papers from scholars in philosophy, art history, and other fields impacted by Danto’s work. Keynote papers will be offered by Richard Shusterman (Philosophy, Florida Atlantic) and David Carrier (Art History, Case Western). Professor Danto will close the conference with a response to the papers presented.

To be considered for the conference, please submit an abstract (no longer than 300 words) to soucek@uchicago.edu by October 1, 2006. Authors of accepted abstracts will then be asked to provide a full paper (of approximately 2500 words) by December 15, 2006.

A prize of $250 will be given for the best paper written by a graduate student. Support for this and other conference expenses comes from Vanderbilt University’s Robert Penn Warren Center for the Humanities, the Franke Institute for the Humanities at the University of Chicago, and the Philosophy Departments at Vanderbilt and Tel Aviv University.2006-10-012007-01-012007-01-01

 

 

 

27 (internet source: search engine)

(internet source: http://info.interactivist.net/article.pl?sid=06/09/06/1845228)

 

CALL FOR PAPERS, COLLABORATIONS AND INTERVENTIONS: AESTHETICS AND RADICAL POLITICS

Fri 2nd Feb 2007, University of Manchester

 

There has always been a strong connection historically between aesthetics and radical politics, and this is no less true for the global justice movement's current preoccupation with cultural approaches to political action. This conference seeks to bring radical artists, activists, theorists and academics together to discuss past and present convergences between the theories and practices of artists and writers and the theories and practices of movements for radical social change.

There is already a massive amount of literature on Marxist approaches to aesthetics, art and literature, and whilst we welcome papers engaging with such approaches, we would also encourage presentations and discussions that address these issues from other radical critical positions - whether they be anarchist, autonomist, ecological or otherwise. Such perspectives have often been overlooked historically, but it is arguable that they now more centrally influence the activities of radical artists and activists.

The event will be defined by those who participate. What would you like to see happen? What kind of discussions do you think are important? Would you like to present a paper, facilitate a discussion, propose a panel presentation, organise a workshop or contribute in other ways? 

We imagine papers, discussions & workshops about things like:

Carnivalesque protest and theatrical interventions

Affect and political action

Art-activism

Anarchist literary criticism

Situationism and its reception by contemporary activists

'Second wave' anarchism and culture - John Moore, Hakim Bey etc.

Anarchism and Modernism

Cultural production and immaterial labour

Anarchism and poststructuralism

The politics of the avant-garde

Anarchist fiction, biographies and autobiographies

ACADEMIC PAPERS: Please submit an abstract of no more than 500 words, along with a brief biographical introduction. Papers from all perspectives will be considered. Papers should aim to be accessible and to encourage discussion. We are also considering publishing selected papers in a special issue of Anarchist Studies.

WORKSHOPS & FACILITATED DISCUSSIONS: Please send us a proposal (1 page at most) which addresses the following questions:

* how long would you want for your session (e.g., 1 or 2 hours)?

* do you want to limit the number of participants? If so, how many?

* what are the aims of the session? What do you envision coming out of it?

* how does the session work toward those aims? * what experience would you bring to the session?

DEADLINE: December 15th 2006.

REGISTRATION: Costs of participation have yet to be determined but will be kept to an absolute minimum and on a sliding scale. If possible, we also aim to provide a small number of travel grants. Please contact us to be kept up to date on these details.

GROUPS: We welcome groups interested in aesthetics and radical politics to participate by organising workshops, sending folk along or providing materials for distribution (whole info stalls or bunches of leaflets, flyers, etc).

ARTS & ENTERTAINMENTS: Proposals toward evening entertainments, artistic interventions, etc very welcome!

CONTACT for submissions, proposals, registration, etc : Gavin Grindon Gavin@cyber-rights.net Gavin Grindon

Department of English and American Studies

University of Manchester

Oxford Road

Manchester

M13 9PL

United Kingdom

 

 

 

 

 

LECTURES (4)

 

1 (internet source: http://www.wissenschaftskompass.at)

 

Egon Friedell und und der Unernst des Lebens

Vortrag

Ort: HS 14 TU (Technische Universität), 3. Obergeschoß

1040 Wien, Karlsplatz 13

Tel: 0650 51 00 44 2

eMail: stefan.lakonig@karlskirche.at

Datum: 18.10.2006

Zeit: 19:00:00

Veranstalter: KHG

Anmeldung/Information: Tel: 0650/510 04 42 

VortragendeR: Mag. Stefan Lakonig

 

2 (internet source: http://www.wissenschaftskompass.at)

 

Die schönste Formel

i – die Ebene

Art: Vortrag

Ort: Auditorium des MUMOK

1070 Wien, Museumsplatz 1

 Datum: 18.10.2006

Zeit: 19:00:00 - 20:00:00

Details: http://math.space.or.at/veranst3/formel

Veranstalter: math.space

Anmeldung/

Information: Tel: 58801-11924

Fax: 58801-11999

mehlmann@math.space.or.at

VortragendeR: Prof. Dr. Rudolf Taschner

 

3 (internet source: http://www.wissenschaftskompass.at)

 

Die neue Philosophie der Lebenskunst

Ort: Volkshochschule Brigittenau

1200 Wien, Raffaelgasse 11-13

Tel: 330 41 95, Fax: 330 41 95 / 26

eMail: anmeldung@brigittenau.vhs.at

Datum: 19.10.2006

Zeit: 18:00:00 - 19:30:00

Anmeldung/

Information: Tel: 330 41 95/46

Fax: 330 41 95-26

sg@brigittenau.vhs.at

VortragendeR: Dr. Markus Riedenauer

Anmerkung: Veranstaltung im Rahmen von "university meets public"

Kosten: € 5.0

 

4 (internet source: http://www.wissenschaftskompass.at)

 

Gerald Siegmund (D/CH) "Aufmerksamkeit, oder Die Ekstase der Dinge"

Aufmerksamkeit - Eine Vortragsreihe zur Ästhetik der Hin- und Abwendung in Bezug zu Tanz und Performance

Art: Vortrag

Ort: Tanzquartier Wien / Studios

1070 Wien, Museumsplatz 1

Tel: 581 35 91, Fax: 581 35 91-12

eMail: tanzquartier@tqw.at

Datum: 21.10.2006

Neue Vortragsreihe - monatlich ab Oktober

Zeit: 18:30:00

Details: http://www.tqw.at

Veranstalter: Tanzquartier Wien

VortragendeR: Dr. Gerald Siegmund

Anmerkung: Die neue Vortagsreihe Aufmerksamkeit setzt sich mit der Ästhetik der Hin- und Abwendung in Bezug zu Tanz und Performance auseinander. Sind Automatismus und Rastlosigkeit Krankheiten unserer atemlosen Zeit, so bietet die Aufmerksamkeit einen Ausnahmezustand suspendierter Zeitlichkeit. Sie schwebt zwischen Versenkung und Versäumnis, zwischen Hin- und Abwendung. Worauf die schwebende Aufmerksamkeit sich einlässt – auch im zeitgenössischen Tanz und in Performance –, ist nichts Fixes und Festes, sondern eine Bewegung, ein höchst instabiler Stillstand. So findet sie sich immer wieder in dem ihr Entgegengesetzten, in der Zerstreuung – sie lässt immer etwas anderes außer Acht, indem sie Acht gibt. Aufmerksamkeit ist immer eine Gabe des Anderen. 

Kosten: freiwillige Spende

 

5 (internet source: http://www.filosofia.unibo.it/convegni-conferenze/conferenze_conferenze.htm)

 

Estetica (Prof. Carlo Gentili)

 

Prof.ssa Giovanna Pinna (Università del Molise):

Fondazione estetica e conoscenza filosofica.

Le "Lettere sull'educazione estetica dell'uomo" di Friedrich Schiller

 

Giovedì 3 novembre, Aula III

Orario: 11-13

 

 

6 (internet source: search engine)

(internet source: http://philosophy.berkeley.edu/events/upcoming)

 

Tue Oct 24, 2006

306 Wheeler Hall — 6:30 pm

Interdisciplinary Marxism Working Group

Marxism & Aesthetics

Department of Philosophy

314 Moses Hall #2390

University of California

Berkeley, CA 94720-2390

tel: 510-642-2722

fax: 510-642-4164

e-mail: phildept@berkeley.edu

 

 

 

PUBLICATIONS (1)

 

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

 

Since I last reported, in February 2006, the website at   http://www.earlymoderntexts.com has acquired the following texts:

 

1. Reid’s Essays on the Intellectual Powers of Man, all except Essay 8, “On Taste”.

 

2. The Objections to Descartes’s Meditations (except for the long, bad seventh set), and Descartes’s Replies to them.

 

3. Four essays by Hume: Standard of taste, Tragedy, Suicide, and Immortality of the soul.

 

I have started work on Jonathan Edwards, Freedom of the Will and expect to start soon on Kant’s Doctrine of Virtue.

 

Jonathan Bennett

 

 

 

July 2006 – September 2006

 

CALLS FOR PAPERS/CONFERENCES (31)

 

 

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

 

TOURISM & POSTMODERNITY

 

16th ISA World Congress of Sociology

Research Committee 50 (International Tourism)

Durban, South-Africa, 23-29 July 2006

Panel directed by David Picard (Sheffield Hallam, UK) and Stephanie Hom Cary (UC Berkeley, USA)

This is the second call for papers for the RC 50 TOURISM AND POSTMODERNITY panel as part of the 16th ISA World Congress of  Sociology which will take place in Durban, South-Africa, from 23rd to 29th July 2006. The aim of this panel is to critically  re-discuss and, possibly, to overcome the notion of 'postmodernity' as a way to theorise social contexts and/or conditions in which tourism practice emerges.

Influential writers like Jean-François Lyotard (1982), David Harvey (1990), and Frederic Jameson (1991) have defined postmodernity or postmodernism by the disarticulation - or 'liquidification' - of established and socially recognised systems of signifiers and signified, and the implosion of meaningful webs of relationships, which subtended collective understandings of "reality" "truth", nature" and "being". In this sense, the important structural changes of emographic, economic and political environments in the second part of the 20th century were calling into question both emic and etic categories with which to think social reality, including nation-state, society, ethnicity, family, gender, race, kin, time and space. At the same time, this moment appeared to have enabled individuals to playfully create and experiment with new semiotic compositions; compositions that inspire novel ways of relating to the world at large. In the context of tourism, 'post-modern' tourists were said to embrace the ludic as they participate and immerse in various sign-worlds. This supposedly new form of tourist was said to be informed of the constructed - or "artificial" - nature of the worlds touristically encountered. Academic discourse implicitly often opposed these so-called "post-tourists" to earlier forms of "modern" tourists seeking "authenticity," in or beyond a particular, then 'solid' tourism

setting.

Typically, two different critical perspectives theorise the relationship between post-modernity and post-tourism. The first holds that changes in the production and consumption of tourism have actually taken place during the past thirty years, with tourism becoming a manifestation of and metaphor for the disappearance of absolute values, beliefs and structures as well as the postmodern fluidity of social life. The second contends that tourism as a social practice has not fundamentally changed since the Grand Tour, but that its underlying cultural structures and collective imaginaries have simply transformed into new contexts and recreated systems of meaning by adopting new themes and aesthetic references. In this sense, one could ask who or what, exactly, is being 'liquidified': is it the conditions of social life, or is it the systems of symbolic continuity underlying the academic approach, or is it both?

The aim of papers to be presented during this panel is to address the tension between these two theoretical poles, in particular by approaching three sets of central questions:

(a) How pertinent is 'postmodernism' or the post-modern perspective to theorise tourism practice? Beyond conceptualisations of post-modernity, which alternative approaches have been brought forward to generate a deeper understanding of tourism?

(b) Which methodological frameworks and approaches have proven to be pertinent in making sense of tourism and its collective nature?

(c) Seen as a form of narrative, to what extent can academic discourse in tourism studies escape intellectual fashions and metaphorical images (borrowed from other disciplines or fields)?

Dr David Picard

Senior Research Fellow

Centre for Tourism and Cultural Change

Sheffield Hallam University

Owen Building, Howard Street

Sheffield S1 1WB

United Kingdom

Phone: +44 (0) 114 225 3973

E-mail: d.picard@shu.ac.uk

Web: www.tourism-culture.com

 

 

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

 

Conference on Music and Consciousness at Sheffield: Revised dates

 

The international conference on Music and Consciousness, previously scheduled for February 24th-26th 2006, will now take place in Sheffield on July 17th-19th 2006. Current information is available at: http://www.shef.ac.uk/music/staff/academic/eric-clarke/escom

A full programme, and registration and accommodation details will be posted on the site early in the New Year.

Many thanks

Eric

*****************************

Professor Eric Clarke,

Deputy Director of Research,

Arts and Humanities Division,

Head of Department,

Music Department,

University of Sheffield,

38 Taptonville Road,

Sheffield S10 5BR, UK

Tel.: +44 (0) 114 222 0472

Fax: +44 (0) 114 222 0469

http://www.shef.ac.uk/music/staff/eric-clarke/index.html

 

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

 

Turkish Congress of Aesthetics

“Aesthetics in Turkey”

November 22-24, 2006

Middle East Technical University (Orta Dogu Teknik Üniversitesi, ODTÜ) Ankara

 

There have been significant advances in art and aesthetics in Turkey. However, discussions, criticisms and views could not be brought to a common ground; the assets could not be made thoroughly accessible for all potential contributors. Turkish Congress of Aesthetics aims to discover these assets, to constitute a platform for communication among artists and scholars, and hence to contribute to our esthetical knowledge.

We welcome all contributions from fields such as aesthetics, philosophy, criticism of culture and art, and research concerning all arts and artistic forms.

Turkish Congress of Aesthetics will also be an occasion to prepare philosophers, researchers and artists from Turkey and abroad for the XVII. International Congress of Aesthetics, to be held in the Middle East Technical University, Ankara, 9-13 July, 2007.

Organized by SANART, METU Department of Philosophy, METU Faculty of Architecture, and METU Department of Music and Fine Arts with the support of the METU President’s Office.

SESSIONS

Aesthetic Sensibility and Practices

Art; Photography; Music; Literature; Theatre; Cinema; Architecture and Urban Design; Everyday Life and Aesthetics; Industry; Media; Fashion; Aesthetics and Science, ...

Aesthetics and Discourse

Historical Perspectives; History of Aesthetics in Turkey; Teaching Aesthetics and Aesthetical Consciousness; Philosophy and Art; Ethics and Aesthetics; Cultural Criticism; Culture and Politics; Local and Global; The Classic; Modern and Post-modern; ...

CONTRIBUTIONS

Contributors are asked to send their abstracts and a short CV to the congress organization by mail or e-mail until September 1, 2006. Abstracts will be screened by referees.

Congress Fees

100 USD; student 30 USD. The fee will cover the Book of Abstracts and the Book of Contributed Papers. Participants must send the receipt to the congress organization until September 1, 2006.

Details of payment will be announced.

Language

Turkish and English. There will be no translations.

Cultural Tour

On Saturday 21, there will be a cultural tour organized to a nearby town for those interested.

Details of registration will be announced.

Dr. Halil Turan

Turkish Congress of Aesthetics

METU/ODTÜ Department of Philosophy

06531, Balgat Ankara , TURKEY

estetik@metu.edu.tr

* Contributors can indicate the session of their contributed papers or propose a different topic.

 

 

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III MEDITERRANEAN CONGRESS OF AESTHETICS

Imagination, Sensuality, Art  /  L'imagination, la sensualité, l'art / Imaginacija, čutnost in umetnost

FIRST ANNOUNCEMENT

Portorož (Slovenia), 20-23 September 2006

First Mediterranean Congress of Aesthetics took place in Athens (Greece) in 2000; the second was held in Carthage (Tunisia) in 2003. The Third Mediterranean Congress of Aesthetics will be in Portorož (Portorose), Slovenia.

 

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 aim of the Third Mediterranean Congress of Aesthetics is to bring together aestheticians, philosophers, cultural theorists, architects, artists, and critics interested in the theme of the congress and in strengthening links and contacts among theorists and philosophers of art and various realms of culture; living in this area.

 

The III Mediterranean Congress of Aesthetics is organized by the Slovenian Society of Aesthetics and the University of Primorska (Faculty of Humanities, Koper). It is to be held in the tourist resort of Portorož (see www.hoteli.morje.si) which is located on the Adriatic Coast, a short distance from Ljubljana, Trieste, and Venice. The congress will consist of plenary papers, sessions, and round tables. Official languages of the congress are English and French. During the congress various cultural events are to take place.

 

Registration fee: Euros 100.00; Euros 50.00 (students); Euros 25.00 (accompanying persons).

Accomodation (single room, with breakfast): Euros 89.00 – 200.00 (hotel); Euros 22.00 (student hostel).

Participants from non-Mediterranean countries are also warmly welcome. The organizers welcome suggestions for cultural events from the tentative congress participants.

 

If you wish to receive further information about the Third Mediterranean Congress of Aesthetics, please send us your name as well as your postal and email addresses to: < estetika@fhs-kp.si >.

 

Aleš Erjavec

President of the Slovenian Society of Aesthetics

Lucija Čok,

Rector of the University of Primorska

Koper, 22 June 2005

http://www.filosofia.unibo.it/aise/Notizie/3SKE-IIIMCA.doc

 

 

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German Studies Association (GSA)

Panel Topic: Peter Szondi and the Task of Reading

September 28-October 1, 2006

Pittsburgh, PA

Submission Deadline: February 18, 2006

Peter Szondi is the most important literary theorist in the German language after Walter Benjamin, yet little effort has been made to assess the significance of his intellectual legacy for literary theory. In order to address this shortcoming in scholarship, papers are sought for a panel on the place of Szondi’s writings in the context of contemporary literary studies. Papers are welcome that discuss such themes as Szondi’s notion of literary hermeneutics; his readings of individual authors (Hölderlin, Hofmannsthal, Celan, and others); his preoccupation with specific genres such as lyric poetry and genre; and the relationship of his writings to other theorists and theoretical developments, including psychoanalysis and deconstruction. By including papers on a range of topics, this panel will consider the continuing relevance of his writings for criticism. Send a 250-word proposal to Joshua Robert Gold at jgold8_at_jhu.edu.

 

 

 

 

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British Society of Aesthetics Annual Conference

The British Society of Aesthetics Annual Conference St. Edmund Hall, Oxford September 8-10, 2006

Call for Papers: Deadline: April 29th

Papers in philosophical aesthetics should be submitted with a 100 word abstract and formatted for blind review (author¹s name on separate cover page). Papers should not exceed 12 pages (25 minutes reading time). Abstracts cannot be considered in lieu of papers. There are up to 3 slots reserved for graduate papers (to be marked as such when submitted).

Submissions should be in Word format or rtf and emailed to Derek Matravers: D.C.Matravers@open.ac.uk

Programme Chair: Matthew Kieran Programme Committee: Ian Ground, Derek Matravers, Carolyn Wilde.

 

 

 

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Third Iris Murdoch Conference

International Conference Faculty of Arts and Social Sciences Kingston University LONDON September 15 &16 2006

PROVISIONAL CALL FOR PAPERS

Kingston University is pleased to announce the third Iris Murdoch Conference, to be held at Kingston University in 2006. The Conference will focus on Murdoch's relevance to contemporary debates on morality and literature, and will investigate the ways her moral philosophy manifests itself in her novels. We also welcome philosophical and theological papers on any aspect of Murdoch's moral philosophy. In addition, we shall consider papers for panels on specific topics or aspects of individual novels. Organizer: Dr Anne Rowe, Kingston University, Tel: +44 (0)208 547 2000 E-mail: a.rowe@kingston.ac.uk

Abstracts of up to 300 words to be sent by 30th May 2006 to: Penny Tribe, Iris Murdoch Conference Administrator, Kingston University, Faculty of Arts and Social Sciences, Penrhyn Road, Kingston, Surrey, KT1 2 EE Tel =44(0) 208 547 2000 E-Mail: p.tribe@kingston.ac.uk

 

 

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33RD INTERNATIONAL HUME CONFERENCE

August 7 – 10, 2006

Universität Koblenz-Landau, Koblenz Campus

Koblenz, Federal Republic of Germany

Conference Themes:

Hume and Culture

Hume and German Philosophy

Hume's Aesthetics

Participants:

John Cooper

Stephen Darwall

Roger Emerson

Paul Guyer

Manfred Kuehn

Donald Livingston

Jane McIntyre

Mary Mothersill

Claudia Schmidt

Christine Swanton

Frits van Holthoon      Adrian Bardon

Donald Baxter

Francis Dauer

Rolf George

Peter Millican

Fred Rauscher

Todd Ryan

Karl Schafer

Eric Schliesser

Peter Thielke

Anik Waldow

Lili Alanen

Georges Dicker

Graciela DePierris

Karann Durland

Marina Frasca-Spada

Thomas Lennon

Peter Loptson

David Raynor

Ruth Spiertz

Christian Tewes

John Wright    Nathan Brett

Eva Dadlez

Esther Kroeker

Marc Hanvelt

Karl Hepfer

André Klaudat

Katharina Paxman

Andrew Sabl

Geoffrey Sayre-McCord

Ryu Susato

Jacqueline Taylor

Christopher Williams

Kate Abramson

Angela Calvo de Saavedra

John Corvino

Livia Guimaraes

Jani Hakkarainen

Mikael Karlsson

Willem Lemmens

Michelle Mason

Herlinde Pauer-Studer

Wade Robison

Corliss Swain

Local Organizer: Rudolf Lüthe (Universität Koblenz-Landau)

Rachel Cohon (The University of Albany, State University of New York),

Lorne Falkenstein (The University of Western Ontario): Co-organizers

http://publish.uwo.ca/~lfalkens/EnglishHome.htm

 

 

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Second International Conference on Music and Gesture

Royal Northern College of Music

Manchester (UK)

20-23 July 2006

CALL FOR PAPERS

The study of music and gesture has matured over the past few decades: our understanding of the ways in which gestures function in and in relation to our musical lives has developed, and our awareness of different types of gestures (including physical, cognitive, psychological, expressive, emotional and analytical) has increased. Following the success of the First International Conference on Music and Gesture in August 2003, the time is ripe for extended inquiry. This conference seeks to explore further the relationships between music and gesture in performance, listening, composition and other activities.

Keynote addresses will be given by Stephanie Jordan (UK), Elisabeth LeGuin (US), John Rink (UK), Colwyn Trevarthen (UK) and Luke Windsor (UK). The programme will also include a special workshop with Robert Hatten (US). The programme committee invites proposals for papers of 20 minutes duration in all areas, including the following:

General Thematic Areas

- Performance Practice

- Chamber Music

- Conducting

- Theory & Analysis

- Psychology of Music

- Popular Music & Film

- Emotion

- Rhetoric

- Music and Dance

- 20th Century Music

- Semiotics

Special Thematic Areas

- Models and Modelling: examining the role of models and modelling in practice and theory, from compositional parody, pastiche and quotation to computer-aided models of performing and perception

- Gesture and Intention: addressing, in various ways, the question of whether gestures can be understood without concepts like consciousness, subjectivity, causality, action, and intention

- Gesture and Musical Development: exploring gestures in musical development from infanthood to adulthood, including issues of pedagogy, educational practice and physiology

- Mozart's Gestures: studying music by Mozart, especially the piano concertos and string quartets, in his anniversary year

- Stravinsky's Gestures: examining music by Stravinsky in the light of issues such as discontinuity, collage, and fragmentation

Workshop

Papers devoted to close study of Robert Hatten's book Interpreting Musical Gestures, Topics and Tropes: Mozart, Beethoven, Schubert (Indiana UP, 2004). The author will respond to papers on his text.

Postgraduate students are encouraged to submit proposals. Proposals for poster sessions and roundtables are welcome (roundtable proposals must include topics and participants). Abstracts of 500 words (max.) should be sent (preferably by email) to Anthony Gritten, Head of Postgraduate Studies and Research, Royal Northern College of Music, Manchester M13 9RD, UK [email: anthony.gritten@rncm.ac.uk]. Deadline for receipt of proposals: 31 January 2006. Programme and booking information announced: March 2006. The proceedings will be available at the conference on a CD-ROM. All information is available on the research events pages of the RNCM website.

Conference Organisers: Anthony Gritten (RNCM), Elaine King (Hull).

Programme Committee: Jane Ginsborg (RNCM), Anthony Gritten, Elaine King, Nicholas Reyland (Keele).

Dr Anthony Gritten FRCO

Head of Postgraduate Studies and Research

Royal Northern College of Music

124 Oxford Road

Manchester M13 9RD

UK

Tel: (44)(0)161-907-5380

Email: anthony [dot] gritten [at] rncm [dot] ac [dot] uk

http://www.rncm.ac.uk

 

 

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Inaugural English Literature Conference:

IRRESPONSIBILITY

Division of English, NTU, Singapore, 28-30 September

2006

Literature tells us—before psychoanalysis, before deconstruction—that our crimes are overdetermined, our ethical concepts unstable.  Yet the facile deployment of the rhetoric of responsibility and irresponsibility, in all manner of debate, indicates the widespread abuse of the concept of responsibility,

if not its bankruptcy. With our title “Irresponsibility,” we hope to provoke a conversation aimed at assessing both the contribution of literature

to our understanding of the concept of responsibility and its vicissitudes, and the possible resistance within literature and literary studies to cheap distinctions between responsibility and irresponsibility.  We hope also to provide a forum for

those interested in determining the responsibility of literary studies today, both within its own domain, and in its relation to other disciplines. We welcome

a wide variety of approaches to our theme, and encourage a broad understanding of its scope.

Opening address by Professor Shirley Chew; Plenary address by Professor J. Hillis Miller; keynote address by Professor Eugene O’Brien.

We invite papers and proposals for panels (of 3-4 papers). Suggested topics include, but are not restricted to, the following:

Representations of irresponsibility in the literature of any period or nationality

Irresponsible characters, narrators, authors, or literary critics

Responsibility after Freud (or Kierkegaard, or Sade, or Marx, or Nietzsche, or Derrida)

Interdisciplinary irresponsibility: Literature and Philosophy, Literature and Science, Literature and Law, Literature and Film Studies, Literature and

Cultural studies

The pleasure of irresponsibility: Libertinism; Sadism; Pornography; Trash         Cinema

Irresponsibility and Postmodernism, Postcolonialism, Poststructuralism

Irish Literature and Irresponsibility, or Subversion in the Anti-Realist tradition

Moral didacticism, moral dilemmas, moral anxieties in Literature or Film

Primal guilt: Adam, Eve, Oedipus, Antigone

Victorianism and the rhetoric of responsibility

Irresponsibility and Insanity, Dilettantism, Hypocrisy, Scepticism, Faith, the Sacred, Violence, Polemics, Politics, War

Irresponsibility in responsible Singapore: Singapore literature, the arts, and culture

Responsibility in the age of terror

Culpatory and exculpatory rhetoric

Irresponsibility as resistance

The ethics of reading

Please send abstracts of 300 words either by email to

irresponsibility@ntu.edu.sg or by mail to Conference Committee, English Division, School of Humanities and Social Sciences, NTU, Nanyang

Avenue, Singapore 639798.

Further information will soon be available at our conference website:

http://www.hss.ntu.edu.sg/english/eng_conference.asp

Deadline: 10 April 2006

 

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Centre for Social Theory and Design

Conference

Walter Benjamin and the Architecture of Modernity

August 17-19 2006

Call for Papers

Walter Benjamin’s work remains central to discussions of modernity within the Humanities, Visual Arts, Design and Architecture. This conference will bring together scholars working on all aspects of Benjamin’s work as well as those who deploy the insights of that work in developing projects of their own. Abstracts, which will be subject to a refereeing process, should be sent to walterbenjamin_at_uts.edu.au by April 30 2006.

Confirmed Key Note Speakers:

Carol Jacobs (Yale University)

Gyorgy Markus (University of Sydney)

Winfried Menninghaus (Freie Universit=E4t)

Henry Sussman (Yale University)

Organizing Committee: Professor Andrew Benjamin, Dr Tara Forrest, Dr Charles Rice (Centre for Social Theory and Design. University of  Technology Sydney.)

 

 

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Dear Colleagues,

 

The Theatre and Performance Research Association (TaPRA, www.tapra.org), will hold its 2nd Annual Conference at the Central School of Speech and Drama, London, from September 7-9, 2006.

 

The TaPRA Theatre, Performance and Philosophy working group would like to invite proposals for papers for this conference. Please send abstracts with a brief biographical note to the convenors, Dr Daniel Meyer-Dinkgräfe dam@aber.ac.uk  or Dr Dan Watt D.P.Watt@lboro.ac.uk  by the deadline of 30 June 2006. For details on the working group's remit, see below and at TaPRA website: www.tapra.org

 

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 often overlooked historical links between philosophy and theatre in the works and plays of given thinkers like Hegel and Sartre, of particular interest to the TaPRA Theatre, Performance and Philosophy working group will be the use of theatrical metaphors in philosophy and the notion of the "performative" and performance, from Austin's How To Do Things with Words to Derrida's "Signature, Event, Context".  The radical transformations of philosophy undertaken by thinkers such as Nietzsche, Lyotard, Deleuze, Bataille, Debord, and Baudrillard offer philosophy itself as a theatre in which its poetic aspect is asserted as irreducible to any political or social agenda that may seek to define it.  In examining the links between recent philosophical enquiry and theatre and performance this working group will explore the potential practical and theoretical implications of such a turn.

 

Working Methods

 

The TPP working group will meet annually at TaPRA conference and maintain a lively debate in between through an email list and research paper presentations at both Aberystwyth and Loughborough. An outlet for publications exists for appropriate titles, including conference proceedings, in the Rodopi series Consciousness, Literature and the Arts, for which TPP co-convenor Daniel Meyer-Dinkgräfe serves as general editor, as well as through the refereed web journal at www.aber.ac.uk/cla

 

We look forward to receiving your proposals.

 

Dr Daniel Watt

Lecturer in English and Drama

Department of English and Drama

Loughborough University

Loughborough

Leicestershire

LE11 3TU

Tel: 01509 222956

Fax: 01509 269994

D.P.Watt@lboro.ac.uk

 

Dr Daniel Meyer-Dinkgräfe

Department of Theatre, Film and Television Studies

University of Wales Aberystwyth

Parry Williams Building

Penglais Campus

Aberystwyth, Ceredigion SY23 3AJ

Wales, UK

Tel. 01970 622835

Fax 01970 622831

Email: dam@aber.ac.uk

 

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Dear list,

The Second International Conference on Music and Gesture, taking place at the Royal Northern College of Music (UK) from Thursday 20th to Sunday 23rd July 2006, draws closer. If you're thinking of booking, there is still time to reserve a place: the programme of events and registration / accommodation form can be downloaded from the RNCM website (see 'Research Events').

Best wishes,

Anthony.

 

Dr Anthony Gritten FRCO

Head of Postgraduate Studies and Research

Royal Northern College of Music

124 Oxford Road

Manchester M13 9RD

UK

Tel: (44)(0)161-907-5380

Email: anthony [dot] gritten [at] rncm [dot] ac [dot] uk

Web: http://www.rncm.ac.uk

 

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The British Society of Aesthetics is offering a limited number of subsidised places for postgraduate students to attend its 2006 Annual conference, to be held at St. Edmund Hall, Oxford, from 8th-10th September.

 

Applicants for subsidies should be working in aesthetics or in a related area. Applications should take the form of a letter, including a description of the academic situation of the student and a justification of his/her claim to the subsidy. They should be sent to: Kathleen Stock, Dept. of Philosophy, Arts B, School of Humanities, University of Sussex, Falmer, Brighton, BN1 9QN (kathleen@british-aesthetics.org) before July 1st, 2006.

 

For more information on the conference as it appears, including on guest speakers, please consult http://www.british-aesthetics.org

 

Kathleen Stock,

Lecturer,

Department of Philosophy,

Arts B 235,

School of Humanities,

University of Sussex,

Falmer, Brighton,

BN1 9QN

Tel: 01273 877822

Email: K.M.Stock@sussex.ac.uk

 

 

 

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(internet source: http://www.dgae.de/veranstaltungen.html)

 

DISPLAY

Die kulturelle Entfaltung digitaler Bilder

Tagung – 14./15. Juli 2006

Dornburg/Saale, Altes Schloß

Konzeption: Hans-Christian von Herrmann

Veranstaltet in Zusammenarbeit mit der Deutschen Gesellschaft für Ästhetik

Finanziert mit Mitteln der Fritz Thyssen Stiftung

 

 

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****ANNOUNCEMENT****

2006 C.S. Peirce Essay Contest

Sponsored by

The Charles S. Peirce Society

http://www.peircesociety.org/

Topic: Any topic on or related to the work of Charles Sanders Peirce. Length: Papers should not exceed the length of an average journal article. The presentation of the winning submission at the annual meeting cannot exceed 30

minutes reading time.

Open to: Graduate students and persons who have held a Ph.D. or its equivalent

for no more than seven years.

Awards: $500 cash prize; presentation at the Society's annual meeting (held in

conjunction with the Eastern APA); possible publication in the Society's Transactions.

Advice to Essay Contest Entrants: Winning entries must make a genuine contribution to the literature on Peirce. Entrants are therefore advised to become familiar with the major currents of work on Peirce to date, and to take care in their submissions to locate their views in relation to published material that bears directly on their topic. Very often, the development of Peirce's philosophical positions will need to be mentioned explicitly; as even submissions which focus on a single stage in that development can benefit from noting the stage on which they are focusing in reference to other phases of Peirce's treatment of the topic under consideration. This does not express a bias toward chronological studies of Peirce's thought, only an insistence on a chronologically informed understanding of whatever topic is explored. Moreover, contestants are encouraged to relate, even if only summarily or briefly, Peirce's treatment of a topic with contemporary discussions of the matter being considered. Establishing the relevance of Peirce's thought to the ongoing debates in contemporary philosophy and indeed other disciplines is here a desideratum. We do not require but strongly encourage, where appropriate, citation of The Writings of Charles S. Peirce: A Chronological Edition. Ideally, citation of texts found in both the Collected Papers and The Writings should be to both CP and W.

Deadline: 30 September 2006

Submissions should be prepared for blind evaluation.

Send:

Electronic copies (Word for Windows or RTF files preferred) to:

Prof. Mark Migotti -- Migotti@ucalgary.ca

Print copies to:

The Charles S. Peirce Society

Department of Philosophy

Park Hall

Buffalo, New York 14260

 

 

NEW 17 (internet source: http://www.aesthetics-online.org/events/calls.php)

 

'Wandering with Spinoza'

 

The event will be held at the Victorian College of the Arts, Melbourne, Australia from 13 – 15 September 2006

 

Keynote speakers

 

Alain Badiou - Professor of Philosophy at the European Graduate School in Saas-Fee, Switzerland

Mieke Bal - Professor of Theory of Literature at University of Amsterdam

Thomas Hirschhorn - Swiss Installation Artist

Genevieve Lloyd - Emeritus Professor in Philosophy at Macquarie University; and

Christopher Norris - Distinguished Research Professor in Philosophy at Cardiff University, Wales.

Alexander Garcia Dûttmann - Goldsmiths College, London

Andrew Benjamin - University of Technology, Sydney

 

Other speakers

 

Paul Carter - University of Melbourne

Simon Duffy - University of Sydney

Eleanor Kaufman - UCLA

Bruce McKellar - University of Melbourne

Michael Mack - University of Sydney

Heidi Ravven - Hamilton College, NY

 

((Call for Papers:))

 

There are at least two senses in which “wandering” can be taken as a productive category to approach Spinoza’s thought.  First, it could designate Spinoza’s image of the human as the “little worm in the blood” which wanders around the cosmic circulation system.  To follow this “worm” is to follow Spinoza’s thought, from the impassioned geometrical writings to the personal epistolary exchanges.  But, like the “worm” that the human is, one’s thought will not be allowed to rest at one particular point, instead one wanders on with Spinoza.  The second meaning of the “wandering” could refer to the divergent routes and detours that the explications of Spinoza’s work has taken.  From materialist to rationalist, from political philosopher to metaphysician, from heretic to theologian – the import of Spinoza’s thinking also eludes a single trajectory.

 

At the same time, if both of the above senses are retained, then a third one will also come into light. Namely, that as one confronts Spinoza’s thought and its reception, then that confrontation itself will become nomadic, passing on and through various spheres.  A wandering that goes from the purity and eternality of philosophical thinking to the particularity and heterogeneity of art and politics – and then back again.  Thus, Spinoza raises a challenge to the disciplines that approach questions of what it means to be human.

 

The conference “Wandering with Spinoza” will respond to those movements, not by remaining faithful to Spinoza himself.  Rather, the conference calls on the responsibility to “wander with” as an enterprise which can be reduced neither to an individual, nor to determinate boundaries.  This call for papers is extended to everyone who likes to take on this responsibility.

 

Abstracts of around 100 words should be sent by 30 June 2006 to dimitrios.vardoulakis@arts.monash.edu.au

 

 

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Call for papers

Re-materialising Colour

 

a two day interdisciplinary symposium

Thursday 7- Friday 8 September 2006

The Centre for Cross-Cultural Research

The Australian National University

 

Convenors: Dr Diana Young (CCR, ANU)

 

The experience that we call Colour is multi-faceted, appearing in manifold guises across many disciplines. Yet colour remains almost totally neglected as a concrete aspect of objects and of visual material in cross cultural analyses.

 

Unlike form, colour in conventional western terms is constructed as an ambiguous and subjective component of the world. In order to quantify colour as a ?stimulus? cognitive science and psychology has calibrated colours as measurable wavelengths of light, yet in other arenas colours are considered as extravagantly expressive and intuitive. Colour is on the one hand construed as merely decorative, trivial, feminine, and on the other taken as a foundational aspect of the Enlightenment. The social sciences have, for the most part, contrued colour as a serious subject in two ways: as a matter of classification linked to language and as symbolic. Both of these approaches, while productive in many ways, serve to de -materialise colours making them stand for something beyond their surface presence. While colour as an aspect of identity has been a part of the fast moving critical debate on cultural difference and globalism, there remains an often naive and colonial stance towards the colours of material objects produced in such a climate.

 

How can we expand what we know about ?colour?. Is it socially constructed or all in the mind?

 

What do colours make possible? What does colour do?

 

Might we profitably consider colours as integral to cultural expression and social change?

 

Papers are invited that address the complexity of colour.

 

Instructions for abstract submission. Please submit an abstract of about 200 words (for a 20 minutes paper), outlining your proposed topic, your approach, and the forms/media in which you intend to present your work. Include a brief description of yourself, outlining your affiliations and your key publications, exhibits, and/or performances. Send your abstract (preferably in WORD or PDF) to diana.young@anu.edu.au. Abstract submission deadline: 19 May, 2006.

 

Dr. Maria-Suzette Fernandes-Dias

Centre for Cross-Cultural Research

The Australian National University

ACTON ACT - 0200

Tel:    + 61 2  6125 9879

Fax:    + 61 2 62480054

 

 

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CALL FOR PAPERS: LITTERARIA PRAGENSIA SPECIAL ISSUE

 

Towards a New Aesthetics: Technology, Intensity, Heterogeneity

eds. Martin Procházka, Brian Rosebury & Louis Armand

 

„If man is ever to solve that problem of politics in practice, he will have to approach it through the problem of the aesthetic, because it is only through beauty that man makes his way to Freedom.” (Schiller)

 

Following Schiller´s Letters on Aesthetic Education, aesthetics came for a time to be seen as a political instrument, and identified as a means of improving and even perfecting society. In the last century, its public status began to be seen more negatively, as in its deconstruction by Paul de Man as aesthetic ideology, based upon progressivist notions of „technology” and „systems of formalization”. Aesthetics lost some of its confidence and authority, and often found itself on the defensive as an academic discipline.

 

A number of recent attempts have been made, however, to reassert its importance for the present. The claims of „aesthetic specificity” are argued in John Joughin and Simon Malpas (eds.), The New Aestheticism (2003). Other approaches, such as those of Vílem Flusser and Friedrich Kittler, have focused upon the importance of the link between modern communication technologies and artistic creation, and the impact of contemporary media and mass culture on the transformation of aesthetics. Such approaches proceed radically beyond such earlier preoccupations as the aesthetics of representation, romantic notions of irony and the fragment, and Adorno´s negative aesthetics.

 

A special issue of Litteraria Pragensia will attempt to explore and assess aspects of the contemporary ferment in aesthetics, and its relation to and significance for contemporary society, culture and politics. Proposals are welcomed on any topic within this broadly defined field; we particularly invite submissions on such topics as the following.

 

1. transformation of traditional aesthetics by mass culture (kitsch, schlock, etc.)

2. interaction of aesthetics and communication technologies

3. prevalence of the aesthetics of intensity and heterogeneity (from the eighteenth-century notions of the picturesque to Deleuzean machines and rhizomes).

 

Abstracts (up to 300 words) should be submitted by 31 May 2006. Papers, of up to 7000 words, should be submitted by 30 September 2006. Please address all correspondence to:

 

Professor Martin Procházka

Department of English and American Studies

Charles University

Jana Palacha 2, 116 38 Prague 1

Czech Republic

martin.prochazka@ff.cuni.cz

 

 

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

 

Call Of papers

 

Our next issue of the Protocols: History and Theory is dedicated to the Shock of the Beautiful.

 

Papers of all sorts are welcomed - academic papers, reviews of exhibitions, books etc.

 

Protocols is a peered reviewed Hebrew-English e-journal.

 

Attached a link to our journal. Press English to get into English papers.

 

http://bezalel.secured.co.il/zope/home/he/1143538156

 

Ben baruch blich, ph.d.

Chief Editor

baruchbl@013.net.il

 

bezalel

academy of arts and design jerusalem

mount-scopus p.o.b. 24046 jerusalem 91240 israel

telephone 972-2-5893333 fax 972-2-5823094

 

 

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

 

Interdisciplinary journal seeks submissions for its 2006 issue (#11) on the theme of Aesthetics and Finitude.

 

The rise of modern aesthetics in the eighteenth century is well known, as is its inherently contradictory character:a philosophical category concerned with the articulation of the supersensible in the sensory world, aesthetics is at once grounded in the realm of sensuous life in the particular and concrete while simultaneously gesturing toward the universal and transcendent. With the continued erosion in the West of metaphysical/teleological narratives of transcendence, however, there has been an increased philosophical occupation with the problem of finitude, concomitant with a heightened awareness of the relation between art, aesthetics, and death. Our question then, is this: how has the nature of art and aesthetics changed in the wake of the losses and de-centerings brought about in modern philosophical thought? What is the future of aesthetics in a postmodern world?

 

We welcome all papers that articulate the relationship between aesthetics and finitude in the fields of art, film, visual studies, literature and philosophy. Possible topics might include: the relationship of death to Being, the death of art or the relationship of art to death, the role of finitude in modern/postmodern thought, the Kantian inheritance of postmodern aesthetics, the finitude of an aesthetic or artistic work, the position of art and aesthetics in the philosophical realm (specific philosophical perspectives could come from Hegel, Heidegger, Foucault, Deleuze, Lyotard, Baudrillard and Kristeva among numerous others), and the relationship between nontranscendence and finite aesthetics.

 

Submissions from any disciplinary field will be considered: social theory, literary studies, political theory, philosophy, cultural studies, media studies, etc.

 

Theory_at_buffalo also accepts book reviews. These can be on any topic and must be 1200 words or less. All other submissions should be 10,000 words maximum. Please send two blind copies with a cover page and disk to the address below.

 

Alternatively, you may send the paper as a MS Word attachment to jrestes_at_buffalo.edu, or nmjowsey_at_buffalo.edu

 

theory_at_buffalo

Department of Comparative Literature

638 Clemens Hall

University at Buffalo

Buffalo, New York, 14260

USA

 

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

 

CALL FOR PAPERS

DaVinci to Derrida: Breaking Codes Across Disciplines

Open to faculty, graduates, and undergraduates

 

Texas A&M University - Commerce will hold the 15th Annual English Graduates for Academic Development (EGAD) conference on October 27, 2006. Submissions should be made by August 16, 2006.

 

This year's keynote speaker is George Getschow, Mayborn Writer-in-Residence at the University of North Texas. He is also former bureau chief of the Wall Street Journal for Dallas and Houston. In 1983, he was runner-up for the Pulitzer Prize in the national reporting category for a series of stories about labor camps of the Southwest.

 

Now accepting proposals for papers and panels dealing with contemporary issues in academia. We welcome submissions from all areas of academic discourse including, but not limited to: English, History, Journalism, Political Science, Education, Psychology, and Sociology.

 

Suggested areas of interest: Panels will be organized by topic.

 

Critical Theory

Academia/Professional Issues

Pedagogy

Graduate Student Issues

Technology in the Classroom

Foreign Language Studies

Composition & Rhetoric

Pop Culture

Creative Writing

Film Studies

Science Fiction

Linguistics/ESL

Writing Center Theory & Practice

Literary Studies

 

To apply, send an abstract of 250-500 words. Electronic submissions encouraged. Panel proposals and workshops are welcome. Notification of acceptance and conference registration materials will be mailed electronically by September 8, 2006. Conference registration is $20. If you wish to attend the conference luncheon, the cost is an additional $15.

 

Please send inquiries and abstracts to:

EGAD

c/o Andrea Miller

Department of Literature and Languages

PO Box 3011

Texas A&M University-Commerce

Commerce, TX 75429-3011

egad06_at_yahoo.com

 

 

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

 

Call for Papers for a volume on

“Theory After Derrida”

 

Jacques Derrida died on 8 October 2004. Controversies embraced him while alive even followed him after his death. An obituary of Derrida by Jonathan Kandell in the New York Times titled “Jacques Derrida, Abstruse Theorist, Dies at“ (10 October 2004) provoked unprecedented response from academia across the USA. If controversies have a way of signifying something besides arguments and counter-arguments they certainly underline the importance of the person about whom they are made. With or without controversies, Derrida is certainly an extraordinary thinker, philosopher and theorist. His method of critical engagement called “deconstruction” declared many times dead by his critics, is alive and challenges us as it denaturalizes many of the hierarchies that Western philosophy and culture conceived as natural. Derrida defines deconstruction as “something which happens” in an attempt to understand the slipperiness of any system, whether linguistic or cultural. As Terry Eagleton in his work Literary Theory maintains: “deconstruction is for him (Derrida) an ultimately political

practice, an attempt to dismantle the logic by which a particular system of

thought, and behind that a whole system of political structures and social

institutions, maintains its force.” Not only Derrida challenges our ways of thinking but also our hitherto methods of critical inquiry. In doing so he exposes the lie behind binaries such as speech/writing, nature/culture, male/female, black/white, literature/criticism and so on that have shaped our world views in that a hegemonic centre is always already in place dominating/marginalizing

the “other”. Although Derrida’s influence on literary criticism is well known and many have practised his method of deconstruction; the roots of his thought are more philosophical than literary. Derrida’s examination of philosophical foundations of human sciences both conceptual and historical is an important aspect of his thought. Heidegger among others has influenced him the most in his attempt to renovate philosophy that allowed him to examine fundamental matters of critical concern. However he has moved beyond Heidegger.

 

A year after his death it is pertinent to explore not only the status of Derrida’s contribution as a thinker but also the status of critical theory as such. Should we dismiss Derrida as a thinker who espoused an extreme form of relativism bordering on nihilism or has he something fundamental to contribute to the future of theory? This question also underlines the future of theory in a significant way. If we consider theory as an endless problematizing of our beliefs and practices, of our suspicion and mistrust then one may legitimately ask what is then its future? Could we say that our mistrust and suspicion possibly would cohabit with faith in visualizing a future? Could we suggest that deconstruction is not destruction but a possibility that doubts the present having faith in the future? As John D. Caputo maintains: “If there were no theory, there would be no future, just the endless repetition of the same.What deconstruction will have done, and the way that it will live on, after Derrida, after deconstruction itself, lies in its insistence on the future, on what is coming, and on the courage it takes to keep the future open.”

 

It is time that we ponder over and reflect on Derrida’s legacy and the future of theory. Having in mind all these we propose to bring out a volume titled Theory After Derrida. We have not consciously prepared any thematic division for the volume, allowing the contributors the freedom the way they think of/about Derrida as a critical thinker, a philosopher and a theorist predicating their thoughts to the future of critical theory. We expect the volume to be out by March 2007.

 

Last date for submission of articles: July 31st 2006. The articles should be sent through E-mail. If a hard copy is submitted a soft copy in Windows Word 98 or 2000 format should accompany it. Queries on the volume can be made from the editors.

 

Editors:

Kailash C. Baral

R.Radhakrishnan

Bichitrananda Ray

 

Contact Addresses:

 

Kailash C. Baral R.Radhakrishnan

Professor of English Professor of English

 and Director Chair Asian-American Studies

CIEFL, NE Campus University of California, Irvine

NEHU Permanent Complex 300H,Krieger Hall

Shillong;793022,India Mail Code:6900

Phone:91+364-2550065(O) Irvine,CA 92697

0919436117351(M)

E-Mail:

kailashbaral_at_rediffmail.com

rradhakr_at_uci.edu

baral_at_ciefl.ac.in

 

And

Dr. B.N.Ray

Reader, Department of Political Science

Ramjas College

University of Delhi, Maurice Nagar

Delhi- 110007, India

 

About the editors:

Kaialsh C. Baral teaches English literature and is the Director of the Northeast Campus of the Central Institute of English and Foreign Languages (CIEFL) at Shillong. He has authored Sigmund Freud: A Study of His Theory of Art and Literature (1994) and edited Humanities and Pedagogy: Teaching of Humanities Today (2002), Interpretation of Texts: text, meaning and interpretation (2002) and Earth Songs: Stories from Northeast India (2005). He has co-edited Theory and Praxis: Curriculum, Culture and English Studies (2003), Reflections on Literature, Criticism and Theory (2004), U.R.Anantha Murthy&#8217;s Samskara: A Critical Reader (2005). His articles on critical theory, cultural studies and postcolonial literatures are published in India and abroad and also included in many anthologies.

R. Radhakrishnan is Professor of English and Comparative Literature, and Chair of the Department of Asian American Studies at the University of California, Irvine. Author of Diasporic Meditations: Between Home and Location (University of Minnesota Press, 1996), Theory in an Uneven World (Blackwell, 2003), and History, the Human, and the World Between (Forthcoming: Duke University Press, 2007), he is also the author of a volume of Tamil poems and translator of contemporary Tamil fiction into English besides having a number of publications in journals on critical theory, postcolonial and Asian-American studies.

Bichitrananada Ray teaches Political Science at Ramjas College, University of Delhi. He studied at the Universities of Delhi and Toronto, Canada. He has authored Tradition and Innovation in Indian Political Thought (1998), Critical Theory: The Marx-Marcuse Encounter (1999), Liberalism and the Communitarian Challenge (1999), edited John Rawls and the Agenda of Social Justice (2000), C.B. Macpherson and Liberalism (2004) and co-edited Nietzsche After Hundred Years (2006). He works in the area of critical theory and is widely published.

 

 

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

 

CFP: Rethinking the Theory Course (9/15/06; NEMLA; 3/1-4/07 in Baltimore)

 

The Northeast Modern Language Association's 38th annual convention will be held in Baltimore, Maryland from March 1-4, 2007.

 

This panel will explore innovative ways to teach critical theory at the undergraduate level. How can instructors present difficult theory in a way that is accessible to students? What supplementary texts can instructors use to complement the theory? What writing assignments can help students practice applying theory without encouraging them to think formulaically? How can theory courses be reinforced in other areas of the English curriculum? What is the relationship of the theory course to the changing field of "English," including to new media and cultural studies? Should the way we deliver our theory courses shift to accommodate new ways of thinking about English as a discipline? And finally, what should the curriculum of a good theory course include?

 

Given that the purpose of much contemporary theory has been to open texts to multiple readings and question both canonical readings and univocal methodologies, this panel seeks to explore alternative and innovative ways to teach the standard undergraduate course in theory. This panel is designed for instructors and curriculum planners who want to rethink the perameters and possibilities of this ubiquitous course. Papers that blend a discussion of the philosophical issues involved with "teaching theory" with practical ideas for revisioning the "formula" are especially welcomed.

 

Abstracts should be sent electronically to Robin DeRosa at rderosa_at_plymouth.edu. Deadline for abstracts: September 15, 2006. Please include with your abstract: Name and Affiliation; Email address; Postal address; Telephone number; A/V requirements (if any).

 

All panelists must be or become NEMLA members. Visit

http://www.nemla.org/index.html for more information on NEMLA.

 

Dr. Robin DeRosa

Assistant Professor of English

Department of English - MSC 40

Plymouth State University

Plymouth, NH 03264

(603) 535-3147

 

 

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

 

Aesthetics of Government

Deadline: July 15, 2006

http://www.helsinki.fi/jarj/iiaa/halduskultuur.pdf

 

 

 

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Mind, Art, and Beauty

August 24 - 25, 2006, University of Leeds

 

The Department of Philosophy and the Centre for Metaphysics and Mind are pleased to announce a special post-graduate session at the upcoming Mind, Art, and Beauty conference to take place at the University of Leeds. Confirmed conference speakers are Robert Hopkins (Sheffield), Jonathan Weinberg (Indiana), and Anthony Everett (Bristol).

 

We welcome submissions of papers from post-graduates on any topic relating to the intersections of philosophical aesthetics and philosophy of mind, philosophical psychology or cognitive science. Appropriate topics might include: art and the imagination, art and the emotions, aesthetic experience, creativity, metaphor, concepts and defintion, evolutionary accounts of beauty, the nature of recording and sound, pictures and depiction, moral and aesthetic psychology, intuitions and the philosophy of art, aesthetics and perception.

 

Up to two places have been reserved for post-graduate papers.

 

Papers of no longer than 5,000 words should be submitted by email in pdf, word or rtf format .

 

Submission deadline: July 15, 2006

 

Aaron Meskin

Department of Philosophy

University of Leeds

phlaesth@leeds.ac.uk

 

 

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

 

Mediterranean Congress of Aesthetics

September 20 - 23, 2006, Portorož, Slovenia

http://www.drustvo-za-estetiko.si/MCA3/an2x_en.htm

 

 

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

 

Greenaway: Aesthetics, Theory of Art, and Art Criticism

cfp: September 1, 2006

November 6 - 6, 2025, Murcia, Spain

http://www.cendeac.net/paginaseditables/pagina-editable.php?id=61

 

 

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

 

http://www.leeds.ac.uk/fine_art/events/2006/0914/index.html

Touching On: Derrida and Nancy

A Critical Consciousness conference at the University of Leeds

Date: 14-15 September 2006

 

Keynote Speaker:

Jean-Luc Nancy

 

Speakers:

Geoffrey Bennington (Emory), Tom Cohen (Albany, NY), Marc Froment-Meurice (Vanderbilt), Peggy Kamuf (USC, LA)

 

Guest Participant:

Christine Irizarry

 

Outline. The translation into English by Christine Irizarry of Jacques Derrida’s On-Touching—Jean Luc Nancy is a momentous event in the arts and humanities.  Of interest to scholars across a span of disciplines this book takes on the immense task of the deconstruction of the phenomenology of intuitionism and the philosophy of the sense of touch.  It reads a history of philosophy including Plato, Aristotle, Levinas, Merleau-Ponty, Husserl, Heidegger, Descartes, Diderot, Kant, and Freud, taking as an anchoring point the work of Derrida’s friend and colleague Jean-Luc Nancy.  The book pays particular attention to Nancy’s on-going deconstruction of Christianity and devotes a section to the sense of touch in the Gospels.

 

This two-day event seeks to begin the task of opening the critical commentary on this book with contributions from four distinguished readers of Derrida.  Jean-Luc Nancy will respond to each of these participants before giving his own response to the book in his keynote address.  The symposium will conclude with a round-table of all the speakers who will be joined by Christine Irizarry.

 

The Critical Consciousness series promotes critical thinking as a key skill across the arts, humanities and cognate disciplines.

 

Conference Organiser: Martin McQuillan (Leeds)

 

 

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Appel à contributions

 

Éthique, droit et musique. Penser le bien, penser le juste en musique

 

Université de Montréal - lundi 31 juillet au mardi 1er août 2006

 

Colloque multidisciplinaire organisé par la Société québécoise de recherche en musique (SQRM), le Centre de recherche en éthique de l’Université de Montréal (CREUM) et l’Université du Québec à Montréal (UQÀM), qui aura lieu du 18 au 20 octobre 2007.

 

Le colloque Éthique, droit et musique est une exploration des questions morales, éthiques et juridiques liées à la musique. Il vise autant l’ensemble des traditions, des cultures, et des pratiques musicales que celui des différents secteurs de la recherche et des professions associés à la musique. Il a pour but de rassembler les intervenants autour de trois axes principaux : L’éthique fondamentale, qui pose la question de la finalité de la musique, de ses valeurs et des aspects moraux qui lui sont rattachés ; l’éthique appliquée, qui touche aux aspects normatifs et à la régulation des conduites dans divers domaines de la musique (recherche, enseignement, production et diffusion, critique et journalisme, politiques culturelles, etc.) ; le droit, qui concerne plus spécifiquement les questions de protection et de propriété intellectuelle.

 

Nous invitons professeurs, chercheurs et étudiants à soumettre leur proposition avant le 1er août 2006 à l’adresse suivante : b.desrosiers@vif.com

 

Les propositions et les conférences pourront être faites en français et en anglais

 

Chaque proposition (500 mots au maximum) doit être accompagnée : 1. d’un bref résumé de celle-ci (entre 100 et 150 mots) 2. d’une courte biographie de l’auteur (nom et coordonnées, affiliation universitaire, principales activités et réalisations et, s’il y a lieu, activités et réalisations liées au thème spécifique du colloque.

 

 

 

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(internet source: search engine)

 

Changing Perceptions of the Public Sphere

 

International interdisciplinary conference examining the notion of the 'public sphere', as originally proposed by Jürgen Habermas

 

This international interdisciplinary conference will examine the notion of the 'public sphere', as originally proposed by Jürgen Habermas, as asociological concept, as a historical phenomenon, and as a practical experience in the western world, from the early modern period until the present day.

 

Registration details can be found on the following website www.crassh.cam.ac.uk/events/2005-6/publicsphere.html or by contacting Gemma Tyler < gft21@cam.ac.uk  >.

 

 “Changing Perceptions of the Public Sphere”Cambridge, England, 10-12 July 2006

Venue: Adrian House Seminar Room, Trinity College, Cambridge and CRASSH, 17 Mill Lane, Cambridge

Monday 10 July

2.30-3pm Registration at Adrian House Seminar Room

3-3.30pm Introduction

3.30-5.00 Nicholas Boyle (Cambridge), Private, Public, and Structural Change: The German Problem in 'Strukturwandel der Öffentlichkeit' Habermas seeks the roots of the C19 and early C20 'politically functioning public sphere' in the C18 'bourgeois reading public'. However, his account of the C18 reading public is fundamentally flawed by his neglect of the special structural features of the German middle class, from the literature of which much of his evidence is drawn. The dialectic through which his 'politicallyfunctioning public sphere' is said to emerge operated neither in the German nor in the non-German world,and the 'politically functioning public sphere' is itself probably a chimera. Gary Wihl (Rice University), Liberalism and the Public SphereThis paper will examine Habermas's criticism of the liberal transformation of the public sphere in the writings of Tocqueville and Mill. Liberalism, in its effort to accommodate diversity of opinion in a neutralmedium of public deliberation, weakens the original impulse behind collective expression of political will inthe writings of Kant and Hegel. My paper argues that Tocqueville and Mill are responding to the rise of majoritarian politics and that their views must be given rather more careful consideration as an integral phase of the development of the modern public sphere.

5-5.30pmTea & Coffee

5.30-6.30pm Keynote Address Peter Burke (Cambridge), Publishing the private in early modern Europe: the rise of secret history. The later 17thcentury was the time of the rise of a new historical genre, the ‘secret history’. The prototype of the genre was the Anekdota of the 6thcentury Byzantine historian Procopius, whose workwas first published in 1623. Histories with the term ‘secret’ in the title became common from the1690s onwards, whether they were factual, fictional, or a mixture. The authors were often anonymous orpseudonymous but it is known that they included a number of women.The term ‘secret history' acquired associations much like that of ‘private eye' or the ‘gossip column' today.The authors made use of the idiom of intimacy and made private information public. Their claim toauthority was based on their supposed ability to go behind the scenes of the theatre of public life,undermining the elaborate self-presentations of important people. They took a particular interest in the history of plots and conspiracies. One might even say that in the pages of the secret histories, the actions of governments were presented in a ‘paranoid style’ as a succession of plots and ‘intrigues’. To assess the significance of the rise of the genre at this particular time I shall end by discussing the relation of secrethistories to official history, to newspapers and to novels.

Tuesday 11 July

9-10.30am Sarah Westphal (Rice University), Public Persons, Private Lives: Duchess Kunigunde of Bavaria(1465-1520) in Early Modern Historiography- This paper will discuss several Early Modern lives of Duchess Kunigunde, the sister of Emperor MaximilianI. These are found in a range of source types including ballads, chronicles, and genealogical works sponsored by the House of Hapsburg. My focus will be on how Kunigunde's life was “privatized” and “romanticized”as it was recast in genres intended for an ever broader readership.

Joachim Whaley (Cambridge), A Public Sphere before Kant? Habermas and the Historians of Early Modern Germany. In 1962 Habermas argued that the emergence of the public sphere in the eighteenth century was preceded byan era in which increasingly absolute nation states represented their power to their powerless and passivesubjects symbolically through insignia, clothing, gesture and rhetoric. In fact, however, early modernsociety was characterised by a rich variety of modes of communication, both vertical (up as well as down) and horizontal. Rulers were dependent upon public opinion and during the sixteenth and seventeenth centuries many rulers developed increasingly sophisticated and sensitive methods of communication. This paper uses the example of the Holy Roman Empire and its territories to illustrate the development of multiple public spheres during the early modern period. It suggests that Habermas’s dialectical view of the emergence of the modern public sphere must be replaced by an evolutionary view that places Kant’s vision of a single reasoning public in the context of the political culture of early modern Germany.

10.30-11am Tea & Coffee

11am-12.30pm John Zammito (Rice University), What is the Current Status of the Concept of the Public Sphere in Enlightenment Historiography? Part Two in my paper for the first conference, I considered the ideological and theoretical contexts of the excited reception of the English translation of Habermas’s Structural Transformation of the Public Sphere in 1989 and noted the dramatic shifts in the orientation of the human sciences since then. This paper will consider more concretely the varying applications of the concept of the public sphere in national historiographies, considering some salient recent work in British, French, German and American eighteenth-century studies.

Ludmilla Jordanova (KCL), Public history and aesthetic education. As historians of art have become more interested in collecting, exhibition and display, they have paid increasing attention to 'the public' in its many senses. This has involved the study of both the aesthetics of displays and the aesthetic responses of viewers. At the same time, a distinct field of history, 'public history' has been emerging. This covers many phenomena through which information and ideas about the past are brought to wide audiences, such as exhibitions in museums, country houses, heritage sites and so on. Those who practice and think about public history, however, have generally paid scant attention to aesthetic issues. This paper seeks to do remedy this, and to use conjunctions of 'art' and'history' to consider the fraught issues around ideas of the public, which are, in fact, not at all new. They go back to the eighteenth century at least, and may be neatly focussed by the history of portraiture.

12.30-2.30pm Lunch

2.30-4pm Georgina Born (Cambridge), Digitisation and Pluralism: Public Media and the Politics of Complex Cultural Dialogue.Habermas’s concept of the public sphere has been influential in debates over the democratic functions of the media. Public service broadcasting, in particular, is often thought to represent an imperfect realisation of the public sphere ideal. In this paper I consider the public sphere potential of digital media in light of the growing awareness of the pressures posed by cultural pluralism and social inequalities. I ground my discussion in theorists concerned with the politics of difference, identifying a series of principles – such as the importance of presence, voice, and the social imaginary – in fostering a politics of ‘complex cultural dialogue’ and ‘mutual cultural recognition’. In illustration, I draw on recent developments around the BBC.

Uta Staiger (Cambridge), Contested sites: Berlin’s Palace of the Republic as place and object of public discourse. The notion of Öffentlichkeit has always had a spatial dimension. It has been described (and translated) as a sphere, space, agora, assembly or, more recently, as a network. Similarly, urbanity itself (‘the public space ofa civilised society as such’; Habermas) has often been taken to provide citizens with concrete sites of public engagement. With the increasing ‘unbundling of the nation-state’s exclusive authority over its territory’ (Saskia Sassen), the city has grown even further in importance as a strategic site for the negotiation of sovereignty and normativity. At the same time, public urban spaces remain contested by regulations of access and participation, and are invested in affectively by the citizenry. Urban sites thus often become the place, but also the object, of public discourses and will-formation. The paper will seek to discuss this withreference to a particular urban site in Germany: Berlin’s Palace of the Republic. The former GDR parliament building was closed after reunification, dismantled, argued over across all media, used temporarily for creative purposes, and is now being demolished. Over 15 years, it has become a trope and symbol of contemporary discourses addressing urban, cultural and identity politics in Germany, and may thus be read as a topical topos of the contemporary public sphere.

4-4.30pm Tea & Coffee

4.30-6pm Anne Hardy (UCL), The Public in Public Health. The concept of public health emerged in the early 19th century to describe the activity of managing and improving the health of populations – a novel interest which at state level had previously existed chiefly inepidemic emergencies. Promoted by liberal politicians, doctors, social reformers and private individuals, and rapidly accepted as a legitimate principle of modern society, public health activity was and still is frequently contested both within the promoting groups and outside them. There has been a constant tension between population and private interest in which the rational has been a central issue. The concept of public health can be seen to have arisen in the process of the destruction of ‘the public sphere’, commanding, as it does ‘the mutual infiltration of the state and civil society’. The public in public health carries a range of implications beyond population health. Associated initially in Britain with the Benthamite principle of the greatest good for the greatest number, it has also involved, implicitly or explicitly, ideas of social and civilresponsibility, citizenship, and community. This paper seeks to explore the various aspects of the public subsumed in public  health during the 19th and 20th centuries.

Christian Emden (Rice University), Things, Zones, and Constellations: Interfaces between Science and the Public Sphere. This paper deals with the question: How does science imperceptibly become public, that is, how do itsinstruments, techniques, images, and phenomena gain a presence that shapes the social imaginary of publics in a way that is not always entirely obvious? Drawing on the work of Bruno Latour, Peter Galison, and Joseph Rouse, I argue that the relationship between science and public is marked by “epistemic constellations,” which are made up of five different categories: actors, techniques, instruments, images, and material presence.

Wednesday 12 July

9-10.30am Martina Lauster (Exeter), Re-enacting the golden age of public discourse: Edward Lytton Bulwer’s Devereux (1829) and Karl Gutzkow’s Richard Savage (1839) Edward Lytton Bulwer later became Sir Edward Bulwer Lytton – by which name is is usually known today – and eventually Lord Lytton. His fictional autobiography Devereux and Gutzkow’s historical drama Richard Savage are both set in the London of the early eighteenth century, precisely the locus that served Habermas to develop his model of bürgerliche Öffentlichkeit. As proto-sociological studies in their own right, bothworks concern themselves with this ‘golden age’ in the evolution of the public sphere, i.e. with the nexus between witty conversation, criticism, publishing, the theatre and parliamentary politics. Although works of literature, they display a ‘discursive’ slant which blurs the distinctions between historiography, fiction and drama in favour of reasoning. This tendency has to be seen in connection with the journalistic activities of both writers in the 1830s, the period of the Reform Bill and ‘constitutionalism’ when Öffentlichkeit was a prime political concern in Europe. The aim of this paper is to show that the discourse of eighteenth-century‘letters’ informs the very style of two ephemeral nineteenth-century works which seek to establish a critical meta-language, mediating not only between genres and forms of knowledge, but also between centuries and cultures.

David Midgley (Cambridge), Probing the Limits: The Contribution of Literary Writing to Defining the Public Sphere. A key feature of the social group that Habermas envisages coming together historically to form a ‘public’ is that they are, from the outset, a reading public. While this phenomenon can be seen to play an important part in the definition of cultural attitudes in a variety of history circumstances, Habermas’s conception of it owes a great deal to what literary scholarship had established about the rise of the novel in eighteenth-century Europe and its impact on public life. This paper will examine the justification for assuming such a role for literature in the formation of a ‘public sphere’, considering in particular what cases of literaryscandal might show us about the actual constitution of a ‘public sphere’ at particular times, where its limits were presumed to lie, and what social forces determined those limits.

10.30-11am Tea & Coffee

11am-12.30pm Edward Timms (Sussex), Karl Kraus's Media Criticism and the Construction of Virtual Reality. Kraus’s critique of the press began when Die Fackel was founded – in April 1899. A number of studies, including the book by Jacques Bouveresse, have focused on the early phases of his campaign, while my own recent book concentrates on the second half of Kraus’s career, stressing the paradigmatic value of his critique of militarism and the media. The issues he raised about the control of public space have an enduring significance, not least his analysis of ‘counterfeit’ or (as we would now say) ‘virtual reality’. The paper will focus on a series of key categories, starting with the First World War and ending with the invasion of Iraq: 1. The telegram as a weapon: lies, rumours and myths 2. Clichés and slogans: ‘shoulder to shoulder ... with God on our side’ 3. Falsified memories, soundbites and spin 4. Weapons of mass deception: from Heinrich Friedjung to Colin Powell 5. Conclusion: propaganda and the rule of law

Richard Wilson (Cambridge), Public Sphere and Political Experience. This paper will review practical experience over the past forty years or so in British politics of differing conceptions of the public sphere and the role of the State. It will range from the National Plan of 1965 to‘rolling back the frontiers of the public sector’ under Mrs. Thatcher and the policy of simultaneous centralisation and decentralisation of the Blair governments. It will conclude that there are profound contradictions underlying the swings in unspoken philosophy which characterise the period. In any rational world these ought to culminate in some sort of crisis but they are likely in practice to be calmly ignored unless and until they manifest themselves in a manner which engages the interest – and interests – of the public.

12.30-1.30pm Lunch

Proceedings continue at CRASSH

1.30-3pm Steven Crowell (Rice University), Critique of Public Reason: Rationalist. Assumptions in the Ontology of Discourse-Ethics. Habermas's original notion of the public sphere was later functionalized into the concept of a discursive grounding of ethics in the pragmatics of argumentation. While providing a powerful new impulse to a classical transcendental strategy of legitimation, this "linguistic turn" carried with it some unexamined ontological assumptions about the persons who engage in rational argumentation and the world in which those arguments are carried out. These assumptions, which make Habermas's defense of a kind of universalprinciple in ethics more plausible, have been called into question by thinkers such as Bernhard Waldenfels (from the side of existential phenomenology), David Hoy (from the side of hermeneutics), and Frederick Olafson (from the side of Heideggerian ontology). My contribution will examine and assess some of these criticisms and will argue for a modified Habermasian rationalism.

Gordon Graham (Princeton Theological Seminary), Public Opinion versus the Public Sphere. What is the relation between and public opinion and political decision making, and what ought it to be? A model we might call "republican" is one in which public opinion is the consensus that follows uponengagement in informed debate among citizens. On this conception, the opinions of only some individuals will count as constituent elements of public opinion, since only some individuals will have been informed and taken part in the debate, and accordingly only some opinions will have a call upon political decision makers. An alternative conception is one we might call "democratic" where public opinion is the consensus that is actually held by the majority of citizens, all of whose views should be reflected in political decisions as far as this is practicable. These are importantly contrasting conceptions and the purpose of this paper is to explore these differences and trace their implications both for the idea of a public sphere and for contemporary political culture.

3-4pm Keynote Address. Albrecht Wellmer (Berlin), Art in the Public Sphere. I wish to discuss the connection between the autonomy of art and what it may be said to ‘contain’ or show of the world. That is to say, I wish to address the question of how far the notion of truth is applicable to art, and to that extent I shall be offering variations on a theme of Adorno’s. But I shall then also try to show in what sense art, in its contents, arises from a public domain, to what extent it needs a public domain of criticism, and to what extent it is capable of having an effect on a public domain (and not only that of aesthetic discourse) in its turn. I intend to develop the argument in such a way that it will not be as abstract and ahistorical in practice as it might appear here. It is precisely the challenge of finding an appropriate connection with the present that makes it difficult for me to summarise my arguments before I have written my paper.

4-4.30pm Drinks

4.30-5.30 Concluding discussion

 

 

31 (internet source: http://www.sif-isp.org/?eng_actividades_filo3.htm)

 

http://www.uc.cl/estetica/

Instituto de Estética

Pontificia Universidad Católica de Chile

Santiago de Chile

Chile

 

SIMPOSIO INTERNACIONAL DE ESTETICA Y FILOSOFÍA

 

Presentación y fundamentación

 

La Estética surge en los albores de la sociedad industrial europea estableciendo, al interior de la tradición filosófica, una distancia crítica ante las teorías clásicas normativas de "lo bello" y las reglas del arte. Pero su relación misma con la filosofía, que la provee de gran parte de sus fundamentos epistemológicos, se vuelve a su vez, desde entonces, errática y difusa. Y aunque la filosofía siga siendo su principal referente genealógico, hoy sus desplazamientos hacia otras disciplinas cubren todo el espectro de las ciencias humanas y gran parte de las ciencias sociales, como la antropología, la psicología, la teoría de medios. Teoría Estética, de Theodor Adorno, quizás el último gran tratado moderno de la disciplina en Occidente, publicado en 1970 de manera póstuma, debía comenzar con una cita a Schlegel, según la cual cuando se hace filosofía del arte falta siempre uno de los dos: o bien el arte, o bien la filosofía. Epígrafe para una obra que busca resolver esta situación aporética con una escritura en el límite de sus posibilidades, que sustituye la taxinomia por constelaciones cíclicas de afirmaciones particulares (parataxis) que deben ser capaces de procurar el sentido deseado.

 

Su gesto remite además al punto de partida, enunciado 220 años antes por Baumgarten. La verdad estética cuya identidad reside no en lo real sino en lo posible, tiene por contenido la cosa singular, la naturaleza individual del objeto y de la persona. Su concepto de "claridad extensiva" se dilucida así en el concepto de "perfección material de la verdad": el conocimiento intelectual es distinto (formalmente perfecto), pero abstracto y pobre; el conocimiento sensible es confuso, pero determinado y rico (materialmente perfecto). Sólo la percepción sensible puede entonces presentar al individuo en su individualidad; y es esta "individualidad" la que la verdad estética pone al día. Ésta es siempre singular (el arte no enuncia nunca proposiciones generales, presenta ejemplos; no expone argumentaciones lógicas, describe casos particulares). Baumgarten evita así una doble reducción (la de la belleza a una forma sin contenido; la del arte a la de un mensaje reformulable) que los grandes sistemas filosóficos inmediatamente posteriores eludirán o recusarán: resituando a la Estética en la búsqueda de los a priori de la intuición asociados al juicio de gusto, Kant privilegiará lo bello natural por sobre lo bello artístico; definiendo al arte como una forma evolutiva superada de lo absoluto, Hegel hará de la Estética el síntoma mismo del fin del arte, sustituido en su contenido de verdad por la filosofía misma. Con excepción de Nietzsche y, antes, de las "filosofías informales" (Jean Paul, Kierkegaard, Baudelaire), la gran tradición filosófica no volverá a asumir el problema del arte contemporáneo hasta los grandes ensayistas críticos del siglo XX, Benjamin, Adorno, Merleau-Ponty, Bachelard, Barthes, por citar algunos nombres. Con ellos, la estética no sólo adquiere una nueva importancia sino que, como en la tradición de la Teoría Crítica, el discurso estético se vuelve el único y último discurso filosófico y, por lo tanto, la única filosofía posible. Así se trate del carácter monádico que el arte de las vanguardias adquiere para la estética adorniana, o de la aparente dispersión de objetos y sistemas de apariencia en la escritura de Walter Benjamin, en ambos casos la aprehensión filosófica de lo radicalmente particular, de lo que resiste al principio de identidad (das ganz andere) se vuelve el único acceso posible al contenido de verdad de lo real, de la totalidad y, en el caso de las sociedades capitalistas avanzadas, de lo moderno. Sabemos, no obstante, que en las sociedades iberoamericanas, allí donde la modernidad ha sido sustituida por un proceso permanente de modernización, vale decir, de adhesión a la modernidad sin participar sincrónicamente en ella, y de consumo y administración del excedente tecnológico de la modernidad, sin tener la capacidad de producirlo verdaderamente, lo moderno ha sido objeto de una reflexión propia. Ello incide tanto en el carácter específico de lo real como en la definición misma del método filosófico y estético que podría adecuarse a su condición. Es por ello que un simposio de estética y filosofía realizado en Chile, no puede remitirse al comentario pasivo del pensamiento occidental. Su tiempo y su lugar, su condición de actor históricamente marginal debe volverse el objeto mismo de una reflexión activa, capaz de sustentar una teoría territorial, participante, dialogante. El Instituto de Estética de la Pontificia Universidad Católica de Chile, propone la realización de un Simposio Internacional de Estética y Filosofía entre el 13 y el 15 de septiembre del 2006, que establezca una instancia de debate y reflexión que resitúe estas interrogantes desde los problemas, contribuciones y préstamos que comporta la relación entre ambas disciplinas, pero también desde la necesaria especificidad de su campo territorial de objetos. Se convoca a participar en él, de preferencia, a estetas y filósofos de Chile y el extranjero que aludan, en su trayectoria intelectual, desde las perspectivas más diversas, a los ámbitos teóricos mencionados.

 

Temáticas de Ponencia

 

Aunque el ámbito de propuestas temáticas aceptables es vasto y flexible, se han establecido dos grandes áreas dentro de las cuales los ponencistas podrán situar su intervención. Estos ámbitos son:

 

HISTORIA Y SISTEMAS DE PENSAMIENTO ESTÉTICO :

Aquí caben las ponencias que aborden, siempre desde su relación con la contemporaneidad, los problemas relativos genéricamente al estatuto de un pensamiento "estético" histórico. Este puede referirse a la estética: antes de su aparición como disciplina autónoma a mediados del siglo XVIII, en su vínculo, por ejemplo, con la filosofía antigua, medieval y renacentista; durante su proceso de autonomía, desde sus antecedentes inmediatos en la tradición poscartesiana hasta sus consecuencias inmediatas en los grandes sistemas filosóficos ilustrados, particularmente Kant y Hegel; después de ella, en lo que podríamos considerar la "dispersión" teórica de la Estética en los siglos XIX y XX asociada, por una parte, a los grandes metarrelatos modernos, el marxismo, la conciencia trágica, el psicoanálisis, el existencialismo, la fenomenología y, por otra, a las contribuciones y préstamos de las ciencias sociales como la antropología cultural, la lingüística, la sociología o la teoría de medios.

 

LA ESTÉTICA COMO SABER CONTEMPORÁNEO:

Comporta aquellas ponencias que problematicen la situación actual de la Estética en su relación con la filosofía, al menos desde la llamada era "postindustrial" en Occidente, y revelen su aporte y originalidad como discurso o saber de su tiempo. Caben aquí, por ejemplo, las ponencias relativas a la filosofía analítica en la tradición anglosajona, al discurso postnietzscheano en Francia (Deleuze, Foucault), a la nueva estética en Peter Sloterdijk, pero también el vasto caudal reflexivo que incorpora y sitúa a la estética como potencial filosofía territorial, como metarelato de la cultura periférica, de Chile y América hoy.

 

Programa 1er Simposio Internacional de Estética y Filosofía

MIERCOLES 13 DE SEPTIEMBRE

8.00 a 9.00

Inscripciones

9.00 a 10.00

Inauguración

10.00 a 10.40

Formas Barrocas latinoamericanas y Neo-Barroco

Natalia Calderón Martínez, Pontificia Universidad Católica de Valparaíso, Chile.

Estética de género en Chile: desde las suturas y los desbordes visuales,

Gonzalo Leiva, Instituto de Estética UC y Patricia Aravena, Universidad Alberto Hurtado, Chile.

10.40 a 11.10

Preguntas

11.10 a 11.30

café

11.30 a 12.30

Retórica de los Stencil,

Víctor Bravari, Instituto de FilosofíaUC., Chile.

Ropa usada y estéticas de resistencia juveniles

María José del Piano y Natalia Jara, Licenciadas en Estética UC., Chile.

Fragmentos de sangre y poses mediáticas: una estética de la desmesura en la Trilogía Pública de la Compañía de Teatro La María,

Fernanda Carvajal y Camila Van Diese, Instituto de Estética UC, Chile

12.30 a 13.00

Preguntas

13.00 a 15.00

Almuerzo

15.00 a 16.00

Aisthesis y los tránsitos intersticiales. Los lugares de la(s) estética(s)

Daneo Flores, Instituto de Estética UC., Chile.

La filosofía chilena en el refranero,

Fidel Sepúlveda Ll., Instituto de Estética UC., Chile.

16.00 a 16.30

Preguntas

16.30 a 16.45

café

16.45 a 17.45

La crítica literaria en América Latina,

Patricia Espinosa, Instituto de Estética UC., Chile.

Estética y tecnología: una mirada latinoamericana,

Valeria de los Ríos E., Chile.

17.45 a 18.15

Preguntas

JUEVES 14 DE SEPTIEMBRE

8.30 a 10.00

Censura, arte y filosofía en la República de Platón,

Víctor Hugo Méndez Aguirre, Universidad Nacional Autonoma de México, México.

La caricatura realista del ideal romántico

Camila Bejarano, Universidad Nacinal de la Plata-Instituto Universitario Nacional de Arte, Argentina.

La época de la música. Hegel y la sonoridad del espíritu

Cristóbal Durán R, Escuela de Filosofía, Universidad Arcis, Chile.

La estética y la diferencia en el S.XX

Germán Soto D., Instituto de Estética UC., Chile.

10.00 a 10.30

Preguntas

10.30 a 10.45

Café

10.45 a 11.45

Sobre el concepto de creación: sus antecedentes y su injerencia en las vanguardias artísticas del S.XX,

Ismael Gavilán, Escuela de Educación y Humanidades, Universidad de Viña del Mar, Chile.

Aproximaciones de una estética de lo performativo,

Andrés Grumann, Instituto de Filosofía UC., Chile.

La estética como filosofía de la metacomunicación,

Joseph Gómez, Universidad Internacional SEK, Chile.

11.45 a 12.15

Preguntas

12.15 a 13.15

El método iconológico de Panofsky como una manifestación de la muerte del arte,

Cristina Arranz, Universidad Nacional de Cuyo, Argentina.

Escuela estética de la fenomenología francesa,

Luz María Sánchez, Universidad de Concepción y Universidad Católica de la Sma. Concepción, Chile.

El estatuto ontológico de las proposiciones en la obra de arte literaria,

Mariano Crespo, Instituto de Filosofía, UC., Chile.

13.15 a 13.45

Preguntas

13.45 a 15.00

Almuerzo

15.00 a 16.00

Estética y retórica: la belleza del lenguaje como camino de persuasión y consenso,

Andrés Covarrubias, Instituto de Filosofía, UC., Chile

Estética y hermenéutica. La hermenéutica filosófica de Gadamer y la experiencia del arte,

Cecilia Monteagudo, Pontificia Universidad Católica de Perú, Perú.

Estética y hermenéutica de H. G. Gadamer,

Javier Molina, Sociedad Peruana de Filosofía, Perú.

16.00 a 16.30

Preguntas

16.30 a 16.45

café

16.45 a 17.45

Las características del arte contemporáneo del S.XX según José Ortega y Gasset,

Macarena Torres, Universidad de Chile, Chile.

De verdad,

Marcos Aguirre, Universidad Academia de Humanismo Cristiano, Chile.

Lo trágico según Karl Jaspers,

Cristóbal Holzapfel, Universidad de Chile, Chile.

17.45 a 18. 15

Preguntas

VIERNES 15 DE SEPTIEMBRE

8.30 a 10.30

Tecnoromanticismo, mirada y panoptismo en la película Aguirre, la cólera de Dios, de Werner Herzog,

Hernán Neira, Universidad Austral de Chile, Chile.

El devenir secular de la simultaneidad en el cine,

Pablo Corro, Instituto de Estética UC.,Chile.

Infancia en acetato: estética y estáticas de la memoria en Cofralandes de Raúl Ruíz,

Mónica Drouilly, Instituto de Estética UC., Richard Astudillo, Instituto de Letras UC., Chile.

10.30 a 11.00

Preguntas

11.00 a 11.15

Café

11.15 a 12.15

Contra la exclusividad en materia del arte: el pensamiento estético de Nietzsche,

Kathia Hanza, Pontificia Universidad Católica de Perú, Peru.

Sordidez, horror y muerte en la relación teórico-estética de Georges Bataille y Hans Bellmer,

Constanza Arena, Instituto de Estética UC., Chile.

Una aproximación estético-histórica de la muerte en occidente moderno,

Joaquín Hernández, Instituto de Estética UC, Chile.

12.15 a 12.45

Preguntas

12.45 a 13.45

Una aproximación estética a partir de la valoración de la Aisthesis y la noción de ensayo. Observaciones al método de Adorno y de Musil.

Juan Pablo Velásquez, Instituto Departamental de Bellas Artes de Cali, Colombia.

Sobre la desartifización del arte,

Rodrigo Duarte, Universidade Federal de Minas Gerais, Brasil.

Maurice Blanchot y el reparto de la inspiración,

Enoc Muñoz, Universidad de Chile, Chile.

13.45 a 14.15

Preguntas

14.15 a 15.00

Almuerzo

15.00 a 16.00

Lo postmetafórico en Deleuze y Sloterdijk,

Gabriel Castillo, Instituto de Estética UC., Chile,

Filosofía y literatura,

Carla Cordua.

Estéticas del silencio: irrepresentabilidad y sublimidad en la narrativa de Roberto Bolaño y Enrique Vila Matas,

Lorena Amaro, Instituto de Estética UC., Chile.

16.00 a 16.30

Preguntas

16.30 a 16.45

café

16.45 a 17.30

Clausura.

 

 

 

PUBLICATIONS AND URLs (3)

 

 

1 (internet source: register@philo.at)

 

Advertisement of the May 2006 Edition of the

JBSP: Journal of the British Society for Phenomenology

Volume 37 – No 2 – May 2006

 

Ontology, Art & The Holy

 

Including the following articles:

LUIS SÁEZ RUEDA

Ontology of Events vs. Ontology of Facts: About the current fissures between the continental and analytic traditions

VALENTINE MOULARD-LEONARD

The Sublime and the Intellectual Effort: The Imagination in Bergson and Kant

RONNY MIRON

Towards Reality: The development of the philosophical attitude to reality in the thought of Karl Jaspers

JOAQUIN TRUJILLO

The Letter of James: Authentic Solicitude as a Pathway to the Holy

FIONA BORTHWICK

Categorising the Senses, Blurring the Lines: Kant, Derrida, Experience

ALISON ROSS

The Work of the Art-Work: Art after Heidegger’s Origin of the Work of Art

 

The JBSP is published three times a year, in January, May and October. Three such issues will constitute one volume: each issue will contain approximately 112 pages. The subscription price per volume (three issues) is individuals £30.00, libraries £40.00 in the U.K.; individuals $65.00, libraries $80.00 overseas, postage free. Air Mail supplement £10.00/$15.00 net. Orders for the JBSP should be sent to the publisher, Jackson Publishing and Distribution, 3 Gibsons Road, Heaton Moor, Stockport, Cheshire, SK4 4JX, England, or at your local bookseller. The combined subscription to the Journal and membership fee for the British Society for Phenomenology will be £35.00, Students £22.50. The cumulative index is available from the publisher either in electronic form or in hard copy for £10.00

Notes for Contributors

The JBSP is an internationally refereed journal. All submissions are sent to two referees for blind peer-reviewing. The JBSP publishes papers on phenomenology and existential philosophy as well as contributions from other fields of philosophy. Papers from researchers in the humanities and the human sciences interested in the philosophy of their subject will be welcome too. Space will be given to research in progress, to interdisciplinary discussion, and to book reviews. Intending contributors are asked to submit papers and correspondence for inclusion in the journal to the Editor, Dr. Ullrich Haase, Dept. of Politics and Philosophy, Manton Building, Manchester Metropolitan

University, Rosamund St. West, Manchester M15 6LL, UK. Tel.: 0044 (0)161 247 3438; Fax.: 0044 (0)161 247 6312. Email: u.haase@mmu.ac.uk.

Preparation of Manuscripts

Articles should normally be about 8000 words in length, with footnotes not exceeding ca. 10% of the text. Book reviews should not exceed 1,000 words. Manuscripts should be typewritten, on one side of the sheet only, double spaced and with a wide margin. References are to be given in endnotes. The titles of quoted journal papers should be in quotation marks, whilst titles of quoted journals or books should appear in italics. Journal papers should be quoted as follows: name(s) and initial(s) of author(s), full title of paper, journal abbreviation, volume and year, page numbers. Books should be quoted by name(s) and initial(s) of author(s), title, edition, place, publisher and year. Long quotations are inset and printed in smaller type without quotations marks. One copy of the manuscript should be sent together with a copy on disk or CD (MS Word readable), and be accompanied by a 250 word summary.

Advertising

Particulars of advertising in the JBSP may be obtained from the publisher, Jackson Publishing and Distribution, 3 Gibsons Road, Heaton Moor, Stockport, Cheshire, SK4 4JX, England.

 

Dr. Ullrich M. Haase

Editor of the Journal of the British Society for Phenomenology

Manchester Metropolitan University

Faculty of Humanities, Law and Social Sciences

Dept. of Politics and Philosophy

Geoffrey Manton Building

Rosamund Street West

Manchester M15 6LL

United Kingdom

Tel: 0044 (0)161 2473452

Fax: 0044 (0)161 2476312

Email: u.haase@mmu.ac.uk

 

 

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

 

Journal Consciousness, Literature and the Arts: New URL and NEW ISSUE

The peer-reviewed web journal Consciousness, Literature and the Arts changes its URL with the publication of volume 7 issue 1, April 2006. The new address is www.aber.ac.uk/cla.

 

Conference Announcement and Call for Papers. The Department of Theatre, Film and Television Studies at the University of Wales Aberystwyth, UK, is pleased to host the Second International Conference on Consciousness, Theatre, Literature, and the Arts. The conference will be held in Aberystwyth, Wales, UK, from Saturday 5 to Monday 7 May 2007. Abstracts (up to 1 page) are invited for papers relating any aspect of consciousness (as defined in a range of disciplines involved with consciousness studies) to any aspect of theatre,  performance, literature, music, fine arts, media arts and any sub-genre of those. Please send the abstract to Dr Daniel Meyer-Dinkgräfe, dam@aber.ac.uk. Deadline for receipt of abstracts is 1 March 2007.

 

Books available for review. The following books are now available for review in Consciousness, Literature and the Arts, allocated on a first come first served basis. Please provide a brief biographical note and full mailing address with

your indication of interest.

Stephen Gaukroger, The Blackwell Guide to Descartes Meditations.

Blackwell 2005

Wolfgang Kascha, Die Wirkungssicherung im traditionellen asiatischen Theater. Wiss. Verlag Trier 2005

Joe Milutis. Ether. The nothing that connects everything. Minnesota, 2006

Marcel Dobberstein, Die Natur der Musik. Lang, 2005

Veronika Busch, Tempoperformance und Expressivität. Eine Studie zwischen

Musikpsychologie und Musiktherapie. Lang, 2005

Ophelia benson and Jeremy Stangroom, Why Truth Matters. Continuum, 2006

Lisa Mark, ed. Ecstasy: In and About Altered States. Museum of

Contemporary Art, LA

Peter Consenstein, Literary Memory, Consciousness and the Group Oulipo.

Rodopi 2002

Francesco Castaldi, Choreographies of African Identities. U of Illinois P,

2006

Charles Burack, D.H.Lawrence?s Language of Sacred Experience. The

Transfiguration of the Reader. Palgrave, 2005

Margaret Coldiron,  Transce and Transformation of the Actor in Japanese

Noh and Balinese Masked Dance Drama. Mellen, 2004

Gerhard Penzkofer und Wolfgang Matzat Der Prozeß der Imagination: Magie

und Empirie in der spanischen Literatur der frühen Neuzeit. Niemeyer 2005

Adina Mornell, Lampenfieber und Angst bei ausübenden Musikern. Lang, 2002

Joshua Landy, Philosophy as Fiction. Self, deception and knowledge in

Proust. Oxford UP, 2004

Patrick J Keane, Emerson, Romanticism and Intuitive Reason. U of Missouri

Press, 2005

 

Dr Daniel Meyer-Dinkgräfe

Department of Theatre, Film and Television Studies

University of Wales Aberystwyth

Parry Williams Building

Penglais Campus

Aberystwyth, Ceredigion SY23 3AJ

Wales, UK

Tel. 01970 622835

Fax 01970 622831

Email: dam@aber.ac.uk

 

Consciousness, Literature and the Arts

www.aber.ac.uk/tfts/journal

 

Yn unol â pholisi dwyieithog Prifysgol Cymru, Aberystwyth, mae croeso i

chi ohebu â’r Brifysgol yn Gymraeg neu yn Saesneg.

 

In accordance with the bilingual policy of the University of Wales,

Aberystwyth, you are welcome to correspond with the University in either

Welsh or English.

 

 

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

 

fyi: a new edited collection on aesthetic computing, and

an accompanying web page with local activity at the University

of Florida:

book:   http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10919

local:    http://www.cise.ufl.edu/~fishwick/aescomputing

Paul Fishwick, PhD

Professor and Director

Digital Arts and Sciences Programs

Computer & Information Science and Engineering

Department

University of Florida

http://www.cise.ufl.edu/~fishwick

 

April 2006 – June 2006

 

CALLS FOR PAPERS/CONFERENCES (29)

 

1 (internet source: http://www.aesthetics-online.org/events/calls.html)

 

Call for Papers: ‘Politics and the Imagination’

 

Special Issue of Philosophical Papers

 

Guest Editor: Paul Voice, Bennington College

 

The role of the imagination in normative political philosophy has often been seen as secondary to the role of reason. While reason ‘dictates’ what we ought to do and think, the imagination is a more unruly element in theories of justice, political agency and judgment. While some recent work has focused on the place of literature and the arts in political reflection and understanding, there is place for more concerted attention to questions concerning the imagination and political judgment and political agency.

Philosophical Papers invites submissions for a special issue devoted to the intersection of politics and imagination. The topic is broad and the editor encourages innovative interpretations of the issue. Suggested questions for discussion include:

What role does the imagination play in forming and evaluating political judgments?

Does a capacity for imagination have a central place in an account of political agency?

Is an autonomous agent also an imagining agent, that is, someone who is capable of imagining herself otherwise?

Does diversity in contemporary liberal societies presuppose an ability to imagine the lives and values of the ‘other’?

What is the role of the imagination in political deliberation?

The very idea of revolution presupposes an imagined future. How are the ideas of revolution and imagination connected, and how is the scope of the former limited by the latter?

The idea of community presupposes an imagined (possibly imaginary) past. How are the ideas of community and imagination connected?

What is the place of art, film and literature in political theory?

The deadline for receipt of submissions is 30 June 2006. This issue of Philosophical Papers, comprising both invited and submitted articles, will appear in November of 2006.

Manuscripts should be submitted by post to Philosophical Papers, Department of Philosophy, Rhodes University, Grahamstown 6140, South Africa. Please include two hard copies along with an electronic version of the paper (either saved onto a new, clearly-labeled 3.5-inch PC-formatted floppy disk, or emailed as an attachment).

Further enquiries may be addressed to Paul Voice (pvoice@bennington.edu) or Ward Jones, Editor, Philosophical Papers (w.jones@ru.ac.za).

http://www.ru.ac.za/academic/departments/philosophy/PhilosophicalPapers/politics_cfp.htm

 

 

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PRIMERA CIRCULAR (mayo 2005)

Congreso

El pensamiento de Th. W. Adorno.

Balance y perspectivas

Palma (Mallorca), 3-5 Mayo de 2006

El recientemente pasado centenario del nacimiento de Th. W. Adorno significó, entre otras cosas, la publicación de un buen número de monografías sobre su pensamiento, el impulso a la edición de las obras completas en traducción castellana y la constatación de la casi nula relación de los investigadores y

estudiosos españoles sobre Adorno y de la inexistencia de plataforma alguna que promoviese los intercambios y la difusión, a pesar del volumen y calidad alcanzado. Este Congreso en torno al pensamineto de Theodor W. Adorno (1903-1969) pretende servir de plataforma para divulgar las diferentes líneas de investigación a partir del pensamiento de Adorno que se desarrollan en este país, servir de marco para intercambiar información y debatir propuestas o proyectos sobre el mismo tema, además de relacionar a los diferentes investigadores que están trabajando actualmente en diferentes campos pero teniendo en común alguna referencia al pensamiento adorniano.

Se celebrará del 3 al 5 de mayo de 2006, en Palma (Mallorca), según el programa que se concretará dentro de unos meses, y que contará diferentes sesiones de trabajo, de presentación y debate de ponencias, estructuradas en torno de estos cuatro ámbitos

Estética

Ética y Política

Sociología

Varia

además de otros actos organizados al efecto, estando previsto ya un concierto, con la interpretación, entre otras, de algunas de las piezas de Th.W. Adorno, y una conferencia inaugural. En las sesiones de trabajo cada ponente dispondrá, para la presentación y debate de su ponencia, de 45 minutos (30 de exposición y 15 de debate), organizándose el programa concreto de las diferentes sesiones según el tema tratado. Las ponencias tendrán una extensión máxima de 20 páginas de 2100 carácteres (aprox.). Se remitirá asimismo un resumen de no más de 200 palabras junto con el boletín de inscripción. Una comisión técnica velará

porque se ajusten a la temática del congreso y a los requisitos formales publicados. La fecha límite de presentación, para proceder a las tareas prácticas de todo congreso, será el 31 de marzo. Las ponencias expuestas en el Congreso se publicarán en unas Actas que editará la UIB y que serán remitidas a los participantes. Próximamente se informará de (a) otros actos organizados en el marco del congreso, y (b) informaciones prácticas para la participación en el

mismo.

Contacto/Información

Prof. Dr. Mateu Cabot

Departament de Filosofia i Treball Social

Universitat de les Illes Balears

07122 PALMA

Tel. 971 173 459

Fax 971 173 473

mcabot@uib.es

 

 

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http://www.helsinki.fi/taitu/estetiikka/esittely.htm

International Institute of Applied Aesthetics

http://www.helsinki.fi/jarj/iiaa/engindex.html

VII Summer School of Applied Aesthetics, Lahti 17.–19.6.2006

We have started planning for the next summer school. Working title is Urban Spaces, Everyday Experience and Well-Being. Summer school will be held in Lahti, Mukkula, 17.–19.6.2006. Call for papers will be announced in October, so check back then

Finnish Society for Aesthetics

http://www.helsinki.fi/taitu/estetiikka/eseura/english.html

 

 

 

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Between Three: Arts, Media, Politics

30th Anniversary Conference

IAPL

Albert Ludwigs Universitat Freiburg, Germany

June 5-10, 2006

http://www.iapl.info/

 

 

5 (internet source: register@philo.at)

 

Liebe Kolleginnen und Kollegen,

vom 15. bis 17. Juni 2006 findet am Institut für Philosophie der Technischen Universität Darmstadt eine internationale Tagung zum Thema "Pragmatismus - Philosophie der Zukunft?" statt.

Weitere Informationen finden Sie in dem dieser Mail angehängten Dokument.

In kürze werden auch Informationen im Internet zur Verfügung stehen.

Für Ihr Interesse danke ich im voraus und verbleibe

mit freundlichen Grüßen

Jens Kertscher

-----------------------------------------

Dr. Jens Kertscher

Technische Universität Darmstadt

Institut für Philosophie

Residenzschloß

Marktplatz 15

64283 Darmstadt, Germany

Tel.: +49-6151-16-5490

Fax: +49-6151-16-3970

 

 

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"El pensamiento de Th. W. Adorno. Balance y perspectivas", Universitat de les Illes Balears, Pa, Departament de Filosofia, 3. - 5. Mai 2006

 

Leitung: Prof. Dr. Mateu Cabot. Referenten: Rolf Tiedemann, Gerard Vilar. Kontakt: Prof. Dr. Mateu Cabot http://www.uib.es/congres/adorno/

 

 

 

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Lectures at the

 

École normale rue d'Ulm

(Musicologie.org

56 rue de la Fédération

93100 Montreuil)

 

1er avril Séminaire « Musique et philosophie », Paris, École normale rue d'Ulm : Écrits théoriques, d’Henri Pousseur

6 mai 2005, Paris : Séminaire « Musique et philosophie », Paris, École normale rue d'Ulm : Journée Parsifal (musique, cinéma, littérature et philosophie) avec Alain Badiou et Slavoj Zizek

13 mai 2005, Paris : Séminaire « Musique et philosophie », Paris, École normale rue d'Ulm : Journée Au croisement aujourd’hui de musique et politique, la philosophie ? (autour du livre d’Alain Badiou, Le Siècle, Paris 2005)

 

 

 

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

 

From Bob Cantrick to all aesthetics-l subscribers: The following notice came to me from the music philosophy group, which is owned by the Society for Music Theory and posts announcements to their email list.  You will notice that the music philosophy group invites anyone interested to submit a proposal for a paper to be given at the annual meeting in fall 2006.  Note that the person to apply to is Jkoslovs. I was one of the four persons who submitted suggestions for a vote.  I suggested the aestheticians Kathleen Marie Higgins and Kendall Walton.

>From: "jkoslovs" <jkoslovs@mail.rochester.edu>

>To: mtpl@list.mail.virginia.edu, mjmasci@sasupenn.edu, bto04@fsu.edu,      

>  chcross@aol.com, fmaus@viginia.edu, jpd5@columbia.edu, mguck@umich.edu,  

>      su.deghize@neu.edu, speles@bama.ua.edu, emargulis@northwestern.edu,  

>      hellner@cord.edu, akira@music.columbia.edu, cbaron@ms.cc.sunysb.edu, 

>       dec2101@columbia.edu, jmailman@alumni.uchicago.edu,       

>ekotzakidou@aol.com, nathan.martin@mail.mcgill.ca, cahnsj@us.edu,       

>randall@music.umass, mscherzi@princeton.edu, amyengelsdorfer@yahoo.com,    

>    anthony.gritten@rncm.ac.uk, benjaminayotte@aol.com, rbcantrick@msn.com,

>        h.borgdorff@ahk.nl, operascore@yahoo.com, cwillner@nypl.org,       

>wozzeck84@yahoo.com, hallgjerd.aksnes@imv.uio.no,       

>jawright@ccs.carleton.ca, John_Mayhood@brown.edu, mup01jh@gold.ac.uk,      

>  lapidaki@mus.auth.gr, rothfarb@music.ucsb.edu

>Subject: Music Philosophy Group: final vote

>Date: Thu, 29 Dec 2005 18:34:09 -0500

>To the Music Philosophy Group,

>From the votes we have received, the results are:

>Kendall Walton: 2

>Kathleen Marie Higgins: 1

>Kierkegaard (w/ Edward Mooney): 4

>Wittgenstein: 3

>As Kierkegaard received the most votes, we will write a

>proposal for this session. We are now looking for people to

>submit abstracts. Please contact either myself

>(jkoslovs@mail.rochester.edu) or Brian

>Hulse(operascore@yahoo.com) if you would like to submit.

>Brian will find out if Edward Mooney will be able to attend.

>In addition, if anyone knows of someone who is not on this

>email and would be interested in submitting an abstract,

>please forward them this information. I will copy the

>information about the proposed session from my previous

>email. Thank you again to everyone who submitted a session

>proposal or voted, we will inform the group about the final

>outcome of our proposal.

>Sincerely,

>John Koslovsky

>M.A./Ph.D. student

>Eastman School of Music

>University of Rochester

>Edward Mooney (proposed by Brian Hulse)

>Professor Hulse has suggested a special session on

>repetition and metaphysics, using the philosophies of

>Kierkegaard. He is submitting a paper, "Forming Tones:

>Kierkegaardian Repetition and the Metaphysics of Music,"

>to SMT '06, and would like to invite Ed Mooney to be on a

>panel. He writes "I have been in correspondence with Ed

>Mooney, who wrote the chapter on Kierkegaardian repetition

>in the Cambridge Guide to Kierkegaard and maybe he would

>be interested in participating in some kind of panel. He

>is really into music and was fascinated by the idea of a

>musical application to Kierkeggardian repetition."

 

 

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

 

Call for Papers: Film and Theatre

 

The editors of Theatre Journal invite submissions for a special issue  on Film and Theatre. The issue's purpose is to stimulate dialogue  between the disciplines of film and theatre/performance studies and  to probe the interconnections, both historical and theoretical,  between live performance and film. Contributions are sought from  scholars from all disciplines. Topics may include historical or  contemporary performances, films, events, technologies, practices or  theories that elucidate these interconnections.

Please send inquiries to David Saltz at saltz@uga.edu.

Submissions should be received by April 1, 2006. Manuscripts should  be 6,000-9,000 words, double-spaced throughout, using endnotes. For  other stylistic matters, follow the Chicago Manual of Style. Send  manuscripts in triplicate hard copy to:

Elly Lampner

Managing Editor

Theatre Journal

400 Symphony Circle, #359

Hunt Valley, MD 21030

------------------------------------------------------

Dr. David Z. Saltz, Head

Department of Theatre and Film Studies

University of Georgia

Athens, GA 3002-3154

(706) 542-2091

saltz@uga.edu

www.drama.uga.edu

www.virtualvaudeville.com

------------------------------------------------------

 

 

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

 

Graduate students of the University of Pittsburgh Department of English invite the submission of abstracts for papers and preconstituted panels, along with works of poetry and prose, for an interdisciplinary conference, April 7-8 2006:

Historicizing Aesthetics/Aestheticizing History: Theory, Practice and Pedagogy of (Un)Making History

We need history, certainly, but we need it for reasons different from those for which the idler in the garden of knowledge needs it? We need it, that is to say, for the sake of life and of action?

                                - Nietzsche, Untimely Meditations

As film, literature and composition scholars, and as teachers and writers, we understand artistic and literary production and their scholarly investigation as sites of contest for making and unmaking histories, consolidating or rupturing historical forces. We believe that literature, film, poetry, and essay demand the reconsideration of the relationship between presentness, pastness, and the production of future alternatives. This conference focuses on questions at the intersection of ?history? broadly conceived and ?aesthetics? revisited, and aims to provoke generative interdisciplinary discussion on the uses and disadvantages of history for theory, for practice, for pedagogy, for life and for the possibilities of Becoming.

In the spirit of interdisciplinary inquiry, this conference will include a poetry and prose reading, welcome and keynote address by professors/poets Lynn Emanuel and Paul Kameen of the University of Pittsburgh, and a live performance of ?The Living Nickelodeon? by renowned film scholar, pianist and singer Dr. Rick Altman of the University of Iowa.

We seek papers and pre-constituted panels engaging with theory, practice and pedagogy of history/histories and the aesthetic. We also invite creative works in the forms of poetry and prose that engage with the conference?s themes.

Possible topics may include:

? The History of Aesthetics

? Aesthetics of History

? The End of History

? The End of Art

? Aesthetics after historicity

? Histories of Representation: book, film, new media

? Masterworks and Canonicity

? Transcendent Beauty and the Historical Subject (Enlightenment, post-enlightenment, the persistence of Romanticism and the Modern)

? Melodrama and the Operatic

? Allegory and Myth

? Linear and nonlinear conceptions of History: Reversal, the Eternal Return ? Determinacy and Radical Contingency

? History, Aesthetics and the Body

? Historical Preservation and/as Self Preservation

? Local and Alternative Histories

? Post-coloniality and globality as alternate forms of historicizing

? Aesthetics of the Essay

? Histories in Composition and Creative Writing Classrooms

? Irrelevance, Irreverence and the Counterfactual

? Forgetting and Remembrance

? Memory and Memoir

Please submit a 300-500 word abstract for individual paper, 750 word abstract for pre-constituted panel, or full text of works of poetry and prose, and a brief biographical sketch (50 words or less) of all participants to englgso_at_pitt.edu by February 1. Papers should be 15-20 minutes in length.

 

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

 

Theoretical Parody

(dis)junctions: lost in translation

April 7-8, 2006

You could say it began with the Postmodern Pooh. Or maybe it began even earlier, as writers and academics grew uncomfortable with the new theoretical notions developing around them. But wherever and however this trend began, the postmodern age has seen just as many works parodying theory and its practitioners as it has innovative theoretical works themselves.

This panel wishes to examine these parodies in all their forms, seeking to understand how the process of parody and satire can perhaps help theoreticians to see beyond their ivory tower and understand the limits of their own knowledge. Topics include but are not limited to

1.examinations of a single parody (like Postmodern Pooh) - written or visual

- and the theories it parodies

2.examinations of a single theory or school of theory (psychoanalysis, new media, neo-Marxism, etc.) and how that theoretical practice has been parodied

3.Does parody ever change practice?

4.Reception of parody - reactions from both within and outside the academy to parody

5.We also are interested in papers and/or creative works that are themselves parodies of some theoretical concern.

Please send 250-300 word abstracts or excerpts to sharon.tohline_at_gmail.com by Feb. 10, 2006. Also please include any requests for media.

 

 

 

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

 

6th Annual CRAFT, CRITIQUE, CULTURE Conference

Redefining Nature

April 7-9, 2006

The University of Iowa

Iowa City, Iowa

CRAFT, CRITIQUE, CULTURE is an interdisciplinary conference focusing on the intersections between critical and creative approaches to writing both within and outside the academy. This year’s conference will trace the ways nature is defined, destroyed, encoded, tested, interpreted, manipulated, and usurped within diverse cultural contexts.

The conference encourages inquiry from a range of disciplines throughout the humanities and social sciences. We invite the submission of critical, theoretical and original creative work in a variety of media (including film, video, music, writing, visual art, artists’ books, etc.). This year’s conference will also include keynote presentations from leading scholar in the field of Literature and the Environment, Professor Michael Branch from the University of Nevada at Reno, and Globalization Scholar Professor Ursula Heise of Stanford University.

Possible topics include, but are not limited to:

? Authenticity and artificiality

? Ecology, environmental studies, ecocriticism

? Writing about the environment

? Plants and Animals

? Landscapes/cityscapes

? The outdoors and recreation

? Exploration and Discovery

? Ecological threats: Pollution, Trash, Extinction, and Reclamation

? Natural Disasters

? Virtual realities, simulations, cybercultures and communities

? Humans and Cyborgs ? natural/unnatural identities

? ?Human nature?

? Gender, The Body, Sexuality

? Life Cycles, Aging, and Death

? Religion, Spirituality and Nature

? Globalization and Nature

? Civic Responses and Activism

Visit the website at

http://www.uiowa.edu/~c3conf  for more information and scheduling updates.

 

 

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

 

The English Graduate Student Organization (EGSO) of the University at Albany, SUNY announces its annual graduate student conference Saturday April 22 and Sunday 23, 2006:

Changing the Subject: Poesis, Praxis, and Theoria in the Humanities (earlier title: Poesis in the Humanities)

Robert Scholes is the Keynote Speaker, presenting a paper titled "Changing the Subject: Periodical Studies"    

    Poiesis

We invite papers that address--through argument, exploration, performance, experiment--the concept of Poiesis, variously understood, misunderstood, and newly understood. What should we make of Aristotle's category? To ask, "What is Poiesis?" may be to ask, "What isn't? What might be or can't be? Why?" When Edward Said argues that the English novel played a crucial role in the shaping of the British colonial project, when Shelley Jackson and Jeanette Winterson write fictions that represent human bodies as fictive constructions, what happens to a traditional notion of "art" (let alone "for art's sake")? Meanwhile, formalism seems to dominate MFA programs. Why, and to what end? Must educational institutions ofart-making and art history necessarily function as ideological State apparatuses?

How can we (re)frame our understandings of poetic work--should we?--and what are the ramifications of our doing so? Of our exploding such frames, from within (genre-crossing) or without (art as activism)? Where, how, and to what end can art meet, overlap, become, or conflict with activism,theory, teaching, and criticism? Can conventional poetic and aesthetic definitions and divisions still benefit us? What of the margins?

Possible topics include (and are not limited to):

  -Poetics of transgression (the grotesque body, l'ecriture feminine)

  -Topologies of artistic plagiarism (Acker, Burroughs)

  -The (extra)literary (the literature of music)

  -Productive constraint (the Oulipo)

  -Institutional boundaries and the artist-academic

  -Poetics of exile and nomadism

  -The generation, blurring, and politics of genres ("the novel," prose poetry)

  -Technological and aesthetic evolution (hypermedia)

  -Periodization, canonization, categorization

  -Art as thinking, teaching, criticism, activism (metapoetics, social art)

  -The frames of drama and performance

  -The body as a narrative or performance (Butler, Wittig)

  -Translation as reframing

  -The artist, social agency, and censorship (writers under Apartheid)

  -The pedagogy of art-making

  -Poetics and ethics (Sebaldian silences)

Creative, performative, and/or unconventional presentation proposals are very welcome.

Please submit a 250-400 word proposal for papers and/panels by March 1, 2006 to egsoalbany_at_yahoo.com.

Conference website: http://www.albany.edu/english/grad_conference_06/  

"A belligerent state permits itself every such misdeed, every such act of violence, as would disgrace the individual."

Sigmund Freud

 

 

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Call for Papers

Journal of Literary Theory

With the Journal of Literary Theory, a printed periodical devoted solely to topics in literary theory will appear for the first time in German language areas. The journal encompasses a variety of trends in literary theory with an interdisciplinary orientation. It aims at combining combine the different yet sometimes parallel-running debates in literary theory in German speaking areas and at the same time offers a forum for international research. JLT especially seeks exchange with related disciplines interpreting texts and symbols, as well as with the humanities, and will inquire their significance for the formation of

literary theory.

JLT appears twice a year. The articles will be published in English or German. An internationally appointed advisory board will anonymously evaluate the articles and select them for publication. Most of the issues will focus on a special topic, to which at least three articles will be dedicated. In addition, the journal will include further essays, research reports and summaries of trends in theoretical debates in related disciplines that might be of interest to literary scholars. The central topics for the first issues are:

Issue 1 (2007): New developments in literary theory and related disciplines

Issue 2 (2007): Emotions

Issue 3 (2008): Interpretation

Issue 4 (2008): Pop culture

Call for Submissions

JLT seeks submissions for articles on topics in literary theory. Especially requested are essays on fundamental problems in literary studies, but also application-oriented studies with systematic cognitive interests as well as research reports and summaries of developments in literary studies in English and German. Submissions should be no longer than 50,000 characters (including spaces).

Proposals for the planned issue on “interpretation” should be sent by May 1, 2007

Please send to:

JLT_at_phil.uni-goettingen.de

or:

JLT-Journal of Literary Theory

Universität Göttingen

Seminar für Deutsche Philologie

Käte-Hamburger-Weg 3

D-37073 Göttingen

Germany

For more information see:

http://www.JLTonline.de/

 

 

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Nietzsche and Interdisciplinarity      

InterCulture (ISSN 1552-5910), an Electronic Journal published by Florida State University’s Interdisciplinary Program in the Humanities, is seeking papers for its Spring 2006 issue. Friedrich Nietzsche is well known for his influence on multiple disciplines in the modern era, for his forward looking philosophy, and also for his conception of culture, cultivation, bildung.

InterCulture would like to publish papers concerning Nietzsche’s contribution to modern discourse in various disciplines as well as those that address his own interdisciplinary approach to philosophy and culture. While his work influenced literature, classics, philosophy, psychology, religion, history, education, it is also a product of these areas of academic study since he produced his work by interrogating the presuppositions of these fields as well as others. Papers that address Nietzsche’s methods, themes, philosophy, influence, and/or consequences as they relate to these fields or to modern culture are welcome.

The journal will publish the issue May 15, 2006. Please send completed articles for review by March 15th to Thomas Philbeck, managing editor, at tdp0761_at_fsu.edu

Please include “InterCulture” in Subject line.

InterCulture is an e-journal focused upon the interdisciplinary study of world cultures, the celebration and contemplation of cultural diversity, and exploration of the commonalities of the human condition. InterCulture exists to publish articles and media written from an interdisciplinary perspective, without any preference for a particular theoretical approach. Creative work, book, film and music reviews are accepted as well.

InterCulture publishes material on a rolling basis; please allow 1-3 months for review. Articles should be submitted in MSWord or .RTF format and be between 3-6K words in length; book, film, and music reviews should be between 750-1250 words. Submissions are peer-reviewed.

 

 

16 (internet source: http://www.aesthetics-online.org/events/meetings.html)

 

Politics, Criticism, and the Arts

April 21-23, 2006, Vanderbilt University

http://www.vanderbilt.edu/AnS/philosophy/events/aesthetics.html

Friday, April 21-Sunday, April 23, 2006

Vanderbilt University

Nashville, Tennessee

Friday, April 21

5:45-6:00 p.m.

Welcome

Dean Richard McCarty, College of Arts and Science, Vanderbilt University

6:00-6:15 p.m.

Introduction

Gregg M. Horowitz, Vanderbilt University

6:15-8:15 p.m.

Opening Keynote Address

Lydia Goehr, Columbia University

Domestic Opera and Furniture Music: Toward a History of the Telephone

Commentary by Joy Calico, Vanderbilt University

Saturday, April 22

9:30 a.m.-12:30 p.m.

Plenary Speakers

Matthew Kieran, University of Leeds, Literature, Politics, and Analytic Aesthetics

Lawrence Kramer, Fordham University, The Great American Opera

2:00-5:00 p.m.

Plenary Speakers

Pamela M. Lee, Stanford University, Death by Media: Warhol's State of Exception

Miriam Hansen, University of Chicago, Vernacular Modernism: Tracking Cinema on a Global Scale

5:30-7:30 p.m.

Closing Keynote Address

Christoph Menke, University of Potsdam

A Critique of Judgment: Aesthetic Negativity in Tragedy

Commentary by Barbara Hahn, Vanderbilt University

Sunday, April 23

9:30-11:30 a.m.

Roundtable: Politics, Art, and the Disciplines

Roundtable participants will also include:

Stephen Melville, Ohio State University

Max Pensky, Binghamton University

Monique Roelofs, Hampshire College

Fred Rush, Notre Dame University

Martin Scherzinger, Princeton University    Lesley Stern, University of California San Diego

Sara Beardsworth, Southern Illinois University

Martin Donougho, University of South Carolina

Jonathan Gilmore, Yale University

Maria Gough, Stanford University

Tom Huhn, School of Visual Arts

Michael Kelly, University of North Carolina Charlotte

For further information, please contact Gregg Horowitz or Jonathan Neufeld or call the Department of Philosophy at Vanderbilt University (615-322-2637).

www.vanderbilt.edu/AnS/philosophy/events/aesthetics.html

Vanderbilt University

Department of Philosophy

111 Furman Hall

Nashville, TN 37240

 

 

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Empathy

An International Interdisciplinary Conference

California State University

Fullerton

June 22-23, 2006

Sponsored By:

CSU Fullerton

The American Society for Aesthetics

The British Society of Aesthetics

schedule: TBA

Heather Battaly           "Empathy: Virtue or Skill?"

**Noel Carroll "Solidarity"

Amy Coplan    "Understanding Empathy: Its Features and Effects"

Gregory Currie            "Empathy, Imitation and Joint Attention"

Stephen Davies          "Infectious Music: Music-Listener Emotional Contagion"

Peter Goldie   "Anti-empathy"

**Paul L. Harris           "The Intersection of Empathy and Testimony in Child Development"

Martin L.Hoffman        "Empathy, Justice, and the Law"

E. Ann Kaplan "Vicarious Trauma or 'Empty' Empathy?--Images of Catastrophe in the Public Sphere"

Derek Matravers         "Empathy and Knowledge"

Murray Smith   "Five Problems for Empathy"

**Kendall Walton        "In Alien Shoes"

** = Keynote Speaker

http://hss.fullerton.edu/philosophy/empathyMain.htm

 

 

 

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28. bis 29. April 2006

Gartendiskurse

Philosophisch- theologisches Symposion

Ort: Schloss und Park Dieskau bei Halle/Saale

Veranstalter    Institut für Katholische Theologie / Institut für Philosophie der Martin-Luther-Universität Halle-Wittenberg

Inhalt:

* Ernst Joachim Waschke (Halle) - Die Funktion des Gartens im Alten Testament

* David E. Cooper (Durham, UK) - The Garden's Virtues

* Hermann Josef Roth (Bonn) - Nutzen und Nutzung der Pflanzen

* Christiane Lauterbach (Nürnberg) - Hafen der Ruhe, Schule der Weisheit

* Arne Moritz (Halle) - Können Gärten moralisch sein?

* Harald Schwillus (Halle) - Hirtenidylle und hortus conclusus

Konzert, Ausstellung, Parkführung

Kosten: 22,00

KontakT: Arne Moritz

http://www.gartendiskurse.de

 

 

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

 

Critical Aesthetics

6 to 8 April 2006

Ithaca, New York, United States

http://www.arts.cornell.edu/trg/conf2006.html

Contact name: Robert S. Lehman

A conference dealing with the continuing relevance of aesthetics in contemporary theoretical discourses. Speakers: Simon Jarvis and Gabriel Riera.

Organized by: Theory Reading Group, Cornell University

 

 

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

 

(Be)longing: Art and Identity in an Age of Anxiety

4 May 2006

Langley, British Columbia, Canada

http://verge.the-outpost.ca

Contact name: Jeff Warren

An interdisciplinary conference discussing issues of identity, self and other in art. Visit website for call for papers and more conference info.

Organized by: Verge Arts Series / Trinity Western University

 

 

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

 

The Image of Maps/Maps of the Imagination

conference

12 to 13 May 2006

Oxford, United Kingdom

http://users.ox.ac.uk/~ball2144/

Contact name: Steven Stowell

This is a conference which seeks to survey the use of maps as primary areas and sources of historical research. We also hope to investigate the relationship between maps and mental maps.

Organized by: Department of the History of Art, University of Oxford

 

 

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

 

Refiguring Modernism. Jacques Maritain's Neo-Thomist Aesthetics and European Modernist Art Circles during the Interwar Period

12 to 13 May 2006

BRUSSELS, Belgium

http://kadoc.kuleuven.be/nl/acti/stu/refiguring_modernism.htm

Contact name: Magda Pluymers

The conference focuses on the impact and reception of Jacques Maritain's cultural criticism and reflections on aesthetics in European artistic and intellectual circles in the 1920s and 1930s.

Organized by: University of Leuven - Royal Flemish Academy of Arts and Sciences

 

 

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

 

On Aesthetics and Politics: With and Around Jacques Rancière

20 to 21 June 2006

Amsterdam, The Netherlands

Contact name: Marie-Aude Baronian and Sophie Berrebi

E-mail: lousbaronian_AT_uva.nl (to e-mail the conference organizers, please replace _AT_ with @)

This conference will focus on Rancière's work on aesthetics and politics Scholars, writers and artists are invited to reflect upon Rancière's ideas. A panel discussion will enable Ranciere to respond to the papers presented.

Organized by: University of Amsterdam, ASCA

http://www.casa.manifestor.org/files/2006/Ranciere.pdf

 

 

24 (internet source: http://www.crvp.org/Philosophical_Calendar/index.html)

 

April 8-9, 2006

Plato's Symposium

Details about the conference can be found on the following web page:

http://www.skidmore.edu/~grecco/symposium/

Contact:

Gregory Recco

Dept. of Philosophy & Religion

Skidmore College

(518)-580-8304

 

 

25 (internet source: http://www.crvp.org/Philosophical_Calendar/index.html)

 

May 24-25, 2006

Historical and Contemporary Virtues as Reflected in Literature

The 30th Annual Conference

Harvard Divinity School, Cambridge, Mass. USA

Registration fee: US$125.00 (Fee entitles you to also attend the Fine Arts Conference)

Organizer: Prof. Anna-Teresa Tymieniecka, Program Coordinator, World Phenomenology Institute, 1 Ivy Pointe Way, Hanover, NH 03755, USA

Fax: 802-295-5963

 

 

26 (internet source: http://www.crvp.org/Philosophical_Calendar/index.html)

 

June 11-30, 2006

Negotiating Identities in Art, Literature, and Philosophy

Cuban Americans and American Culture

Department of Philosophy

UB Art Gallery, Humanities Institute

State University at Buffalo

NEH Summer Seminar for College and University Teachers

Directors:

Jorge J.E. Gracia

Lynette Bosch

Isabel Alvarez-Borland

Speakers:

Carol Damian

Jorge Febles

Oscar Marti

Gustavo Perez Firmat

Eliana Rivero

Ofelia Schutte

Ricardo Viera

Visiting Writers

Roberto Fernandez

Ana Menendez

Topics:

How Cuban Americans have enriched American culture in art, literature and philosophy?

How Cuban American artists, writers and philosophers have negotiated their heritage?

How exile and memory has shaped the contribution of Cuban Americans to American culture?

How the Cuban American experience applies to other immigrant groups?

Only college and university teachers are eligible to participate. Stipends of $2,400 are provided by the NEH.

Contact Elizabeth Zeron: nehseminar06@gmail.com

www.buffalo.edu/philosophy/events/events

 

 

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

 

6 mai 2005, Paris : Séminaire « Musique et philosophie », Paris, École normale rue d'Ulm : Journée Parsifal (musique, cinéma, littérature et philosophie) avec Alain Badiou et Slavoj Zizek

 

 

28 (internet source: search engine)

 

Il 5, 6 e 7 maggio 2006 si svolgerà a Roma il XXVII Congresso Nazionale della Società Italiana di Medicina Estetica:

http://www.lamedicinaestetica.it/CongressoSIME/IscrizioneCongresso.asp

 

 

29 (internet source: search engine)

 

Alice Berline Kaplan Center for the Humanities

Northwestern University

Date: April 19, 2006

Time: 5:00 PM - 7:00 PM

Location: University Hall 201

See a map for this location

Title: Aesthetics, Identity, and Politics: Kevin Bell (NU), John Kerkering (Loyola), and Tessie Liu (NU)

Description: "Aesthetics, Identity, and Politics." Symposium with Kevin Bell, John Kerkering, and Tessie Liu. Assistant professor of English and Comparative Literary Studies, Kevin Bell is author of The Gravity of Play: Aesthetic Modernism in the Negative (Minnesota Press, 2006). His work concentrates upon trans-Atlantic literary modernisms, 20th century African American literature, modern philosophical aesthetics and experimental aesthetic forms, and has appeared in boundary 2. He is currently at work on Panegyric Exposures: Black Fragments in Explorative Music, Literature and Film. John Kerkering is Assistant Professor of English at Loyola University-Chicago. Specializing in the poetry and poetics of nineteenth- and early twentieth-century American literature and culture, his work appears in American Literature and Studies in Romanticism. Professor Kerkering is author of The Poetics of National and Racial Identity in Nineteenth-Century American Literature (Cambridge, 2006). Holding a joint appointment in Gender Studies and History at Northwestern University, Professor Tessie Liu teaches comparative women’s history and modern European history. Author of The Weaver’s Knot: the Contradictions of Class Struggle and Family Solidarity in Western France, 1750 to 1914, her current research focuses on the role of gender in the historical construction of the concept of race during the French Revolution. Recently joining Feminist Studies as an editor, she continues to serve on the editorial collective of Gender and History.

Contact: Katy Chiles

630-971-9599

http://aquavite.northwestern.edu/cal/public/calendar.cgi?id=71

 

 

LECTURES (3)

 

1 (internet source: http://www.information-philosophie.de/)

 

Dr. Wolfgang Gleixner, Goslar:

Die Sonette an Orpheus als Beitrag zu einer Philosophie (,Theologie' und Psychologie) des Menschen und der (seiner?) Natur

10. bis 12. April 2006, 15:00 Uhr

Ort: Goslar

Veranstalter: St. Jakobushaus

Kontakt: Alexandra Richter

http://www.jakobushaus.de

 

 

2 (internet source: http://www.information-philosophie.de/)

 

29. April bis 2. Mai 2006, 11:00 Uhr

Friedrich Nietzsche: Also sprach Zarathustra

Ort: Goslar

Veranstalter: St. Jakobushaus

Referent: Dr. Achim Engstler, Varel

Leitung: Dr. Andreas Fritzsche, Goslar

Kosten: 290,00 im DZ

Kontakt: Alexandra Richter

http://www.jakobushaus.de

 

 

3 (internet source: http://www.information-philosophie.de/)

 

28. April 2006

Schopenhauer und Bukowski

Ort: Heussenstamm-Stiftung Braubachstr. 34 Frankfurt / Main

Veranstalter    Schopenhauer Gesellschaft in Kooperation mit der Bukowski-Gesellschaft

Inhalt: Schopenhauer und Nietzsche sind - bei aller Verschiedenheit - verwandte Geister. Doch was verbindet den Unterschichts-Autor Charles Bukowski mit diesen?

Roni Braun zeigt, dass z.B. die Lebenseinstellung, das Welt- und Menschenbild, sowie die daraus resultierenden Fragen zur Lebens-Bewältigung interessante Parallelen bieten.

http://www.schopenhauer-online.de

 

 

 

PUBLICATIONS (5)

 

 

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

 

Dear friends and colleagues,

Together with the Australian archaeologist John Clegg I recently edited a book called Aesthetics and Rock Art, published by Ashgate. It contains articles by Peter Lamarque, yours truly, and some outstanding art historians, archaeologists and anthropologists. It is a thoroughly interdisciplinary book that seeks to throw some light on the aesthetic dimension of mostly pre-historic artistic expressions on stationary rock usually called pictographs and petroglyphs.

As anyone who has seen reproductions of rock art from Lascaux or Altamira knows, ancient humanly made marks on rock can be very aesthetically attractive. Nonetheless, these manifestations have received scant attention from aestheticists, while their aesthetic dimension is regularly overlooked by archaeologists on the assumption that it falls outside the scientific purview. In this volume 16 authors try to redress the balance by scoping some of the diverse ways in which the topic may fruitfully be pursued.

The first section of the book discusses whether it makes sense to pursue the aesthetic dimension of these manifestations, which, admittedly, have arisen independently of the European traditions of art and aesthetics. The second section considers the peculiar states of consciousness that certain representations on rock may have been designed to generate, how the aesthetic dimension may have entered into the production of rock art, and factors influencing the reception of these manifestations. The papers in the third section are case studies which relate insights and difficulties in the aesthetic appreciation of particular rock art sites within their specific cultural context.

In case any among of you are interested in pursuing this topic further, please consider the Symposium that John and I are organising in September 2006 in Lisbon.

Further information on the book and the Symposium can be had from my website http://web.uvic.ca/~heydt/.

Best wishes for the season's festivities,

Thom Heyd

Winter river --

down it float

flowers offered to Buddha

Yosa Buson (1716-1784)

Thomas Heyd, Ph.D.

Australia National University 2005 Fellow

Cultural Personalities Exchange Programme

Personal website: http://web.uvic.ca/~heydt/

Also see UVic Bookstore Featured Author:

http://bookstore.uvic.ca/featauthor.htm

e-mail: heydt@uvic.ca

Address: Department of Philosophy,

University of Victoria, P.O. Box 3045,

Victoria, British Columbia, V8W 3P4, Canada

Tel.: 250 - 721 7512; Fax: 250 - 721 7511

 

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

 

I am pleased to announce the publication of volume 17 of the Popular Culture and Philosophy series, “Bob Dylan and Philosophy”, edited by Carl Porter and Peter Vernezze. Please see the table of contents below.

Bill Irwin

BOB DYLAN AND PHILOSOPHY

Liner Notes

Side 1

1. With God (and Socrates and Augustine) on Our Side: Dylan and

Religious Philosophy

James S. Spiegel (page 1)

2. Who Killed Medgar Evers?

Avery Kolers (page 17)

3. Just Like a Woman: Dylan, Authenticity, and the Second Sex

Kevin Krein and Abigail Levin (page 32)

4. Gospel Plow: Bob Dylan's Christian Philosophy

Francis J. Beckwith (page 50)

5. Great White Wonder: The Morality of Bootlegging Bob

James C. Klagge (page 65)

6. "Far Between Sundown's Finish An' Midnight's Broken Toll":

Enlightenment and Postmodernism in Dylan's Social Criticism

Jordy Rocheleau (page 82)

7. "To live outside the law, you must be honest": Freedom in Dylan's

Lyrics

Elizabeth Brake (page 98)

8. We Call It a Snake: Dylan Reclaims the Creative Word

Ruvik Danieli and Anat Biletzki (page 115)

Side 2

1. Planet Waves: Dylan's Symposium

Doug Anderson (page 128)

2. "I Used to Care, But Things Have Changed": Passion and the Absurd in

Dylan's Later Work

Rick Anthony Furtak (page 144)

3. Language on the Lam(b): Tarantula in Dylan and Nietzsche

David Goldblatt and Edward Necarsulmer IV (page 174)

4. "When I Paint my Masterpiece": What Sort of Artist is Bob Dylan?

Theodore Gracyk (page 191)

5. You Who Philosophize Dylan: The Quarrel Between Philosophy and Poetry

in the Songs of Bob Dylan

Kevin L. Stoehr (page 206)

6. Bob Dylan's Truth

Michael Chiariello (page 222)

7. Signing the Blues: Fate and Responsibility in Dylan

Martin van Hees (page 238)

8. "I Got My Bob Dylan Mask On": Bob Dylan and Personal Identity

Peter Vernezze and Paul Lulewicz (page 250)

Acknowledgements (page 263)

Discography (page 268)

The Mongrel Dogs (page 270)

Index

 

 

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

 

Protocols: History and Theory

An interdisciplinary e-journal

 

Dear list members,

As part of our activities in the History and Theory department in Bezalel, we plan to have a special issue of our e-journal devoted to papers concerning the place of the Museum in modern society, the curator's role in constructing culture, memory, education, etc. 

The journal is peered refereed  e-journal.

Ben Baruch Blich

Editor

e-mail: baruchbl@013.net.il

Bezalel

Academy of arts and design Jerusalem

History and Theory unit

Mount scopus  p.o.b. 24046 jerusalem 91240 israel

Telephone 972-2-5893333 fax 972-2-5823094

 

 

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

 

Aestheticism: De-humanizing or Re-humanizing Art, the Artist, and the Artistic

Receptor? (Book Project)

Call for chapter proposals for the book project “Aestheticism: De-humanizing or Re-humanizing Art, the Artist, and the Artistic Receptor” to be submitted by August 2006. Cambridge Scholarly Press has already contacted me to express an interest in publishing an edited collection on this topic. Deadline for chapter proposal (500-1000 words): May 1, 2006. Deadline for the completed manuscript (15-30 pp. including notes and works cited) for accepted proposals: July 1, 2006.

Contact: Kelly Comfort (kcomfort_at_gatech.edu)

The question as to how literature, along with other creative arts, both helps to determine and is determined by the human is at the forefront of nineteenth- and early twentieth-century aestheticism in Europe and the Americas. Art for art’s sake - both as an approach toward art and as an attitude toward life - promotes freedom and autonomy, aims for newness and originality, hails pleasure over instruction, and prefers form and beauty to content and truth. As such, aestheticism invites us to consider the relationship between art and life, between the aesthetic and the social, especially in light of its purported severance between these two spheres. By widening the distance between art and life and separating the aesthetic from the social (i.e. from the economic, scientific, pragmatic, political, etc.), l’art pour l’art critiques the dominant values that made such a redefinition of art necessary in the first place.

This edited collection aims to explore the extent to which art for art’s sake can be viewed as an attempt to re-humanize (rather than de-humanize) art, the artist, or the artistic receptor in ways that speak to the question of what makes us human. Chapter proposals should thus discuss how the aestheticist view of art and literature is either life-sustaining or life-evading. Both theoretical and textual analyses are welcome. I am particularly interested in papers that treat the following authors:

Gautier, Baudelaire, Huysmans, Verlaine, de Montesquiou, Mallarmé

Debussy, Rimbaud, Proust

Swinburne, Moore, Rossetti, Whistler, Pater, Wilde, Joyce

Kant, Schiller, Georg, Nietzsche, Rilke, Mann

Ortega y Gasset, Baroja, Unamuno, G de la Serna

Kierkegaard

D’Annunzio

Poe, James, Chopin

Dar Silva, Casal, Nra, Infante

Additionally, I hope to broaden the scope beyond Western Europe and the Americas and also to expand the temporal period beyond the nineteenth and early twentieth centuries. Comparative studies are also of great interest.

Please send chapter proposals of 500-1000 words as a Word attachment to Kelly Comfort  (kcomfort_at_gatech.edu) by May 1, 2006.

Kelly Comfort

Assistant Professor of Spanish

School of Modern Languages

Georgia Institute of Technology

613 Cherry Street

Atlanta, Georgia 30332-0375

Phone: 404-385-0198

Fax:   404-894-0955

kcomfort_at_gatech.edu

www.modlangs.gatech.edu

 

 

5 (internet source: http://www.aesthetics-online.org/events/calls.html)

 

“Aesthetic Dilemmas or Case Studies”

College Art Association presentations and publications reveal that while art majors are creative, imaginative and technically skilled, they don't have a foundation in ideas. This book seeks to help young artists.  This text will be useful in courses popping up in art curriculums all over the country.

McGraw-Hill is interested in publishing a book tentatively called Choices: Philosophies for Artists, a text for artists and undergraduate art students who seek to understand major aesthetic theories along with current aesthetic issues. It's about aesthetics and ethics. The core of the text, and the accessibility of the content for artists, will be aesthetic dilemmas or case studies, after Margaret Battin's research for Puzzles About Art.

The author, Kathleen Desmond, is calling for Aesthetic Dilemmas or Case Studies to be published in Choices: Philosophies for Artists.  Aesthetic Dilemmas that address major aesthetic theories as well as new and current aesthetic concepts are sought. Specific discipline theories are also sought, such as those involving photography, painting, film, sculpture and ceramics, graphic design, illustration, interior design and teaching about art.  Ethical dilemmas as they are connected to aesthetic issues are also sought. Case study/aesthetic dilemmas are to be relatively short and conclude with several questions. While visual art is the focus of this book, case studies in theatre, music, poetry and literature will also be considered.  Submissions are to include the theory/issue addressed in the Case Study along with all pertinent information about the author for proper citation.

Kathleen Desmond

Central Missouri State University

Warrensburg MO 64093

Email kkdesmond@earthlink.net

 

 

 

6 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

 

Deleuze and Guattari

We are pleased to announce a new collaborative research initiative at the University of Warwick, UK which may be of interest. The project is based on the work started by Deleuze and Guattari in their final collaborative book "What is Philosophy?" and seeks to explore the relationship between Art, Science and Philosophy. In "What is Philosophy?" Deleuze and Guattari argue that philosophy maintains an active and dynamic relationship with the non-philosophical traditions of science and art. They seek to elaborate the creative operations of science and art in order to explicate what it is that philosophy can learn from these disciplines. For Deleuze and Guattari the task of philosophy is nothing less than creative pedagogy associated with concept creation. Throughout the next 6 months there will be a series of seminars and online research which everybody is welcome to participate in.

http://www2.warwick.ac.uk/fac/soc/philosophy/research/phillit/research/wip/

 

 

 

January 2006 – March 2006

 

CALLS FOR PAPERS (36)

 

 

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

 

CALL FOR PAPERS

"Abusing the Muse: Inspiration and Exploitation in 19th and 20th

Century Literature and Culture"

Edited by Alex Gil Fuentes, Sandy Alexandre and A.C. Geoghan

Abstracts are invited for a new collection that explores the various

ways in which authors exploit their sources of artistic or intellectual

inspiration whether it be for profit, fame or other such unseemly

motivations.

Potential topics include but are not limited to:

- the muse in the modern tradition

- failed collaborations

- paparazzi, yellow journalism and talk show culture

- copyright issues

- embodying/incorporating the muse

- patronage and manipulation

- art for art's sake?

- the artist manqubr /> - academic critics and opportunism

- the spectacle of pain

- ghost-writers and ghost-writing

- ethics and the role of the contemporary artist/critic

- "based on a true story"

- stolen identities and plagiarism

Existing contributions include essays on copyright issues surrounding

the play _Six Degrees of Separation_; the literary muses in modernism

and the authors who loved to hate them; the fates of Zelda Fitzgerald,

Vivienne Eliot and Sylvia Plath as disembodied muses; and the case

studies of Lacan and Freud.

A broad range of approaches, including critique, analysis, cultural

history, etc., are encouraged, as are collaborations, especially between

writers working in different fields or methodologies. Please send

abstracts and proposals (maximum 500 words) by February 1, 2006. All

attachments should be sent as RTF files for compatibility.

All materials and inquiries should be directed to:

Alex Gil Fuentes

http://ag7w_at_virginia.edu

English Department

University of Virginia

 

 

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

 

Janus Head. A Journal of Interdisciplinary Studies in Continental

Philosophy, Literature, Phenomenological Psychology and the

Arts www.janushead.org

CALL FOR PAPERS

JANUS HEAD 9.2 (Winter 2006/2007) - Special Issue 

TOPIC:  The situated body

Deadline for submissions: March 1, 2006.

Guest Editor: Shaun Gallagher (University of Central Florida)

In recent phenomenological and analytic philosophy, as well as in the cognitive sciences, emphasis has been given to embodiment. Concepts of embodied, enactive, and situated cognition have been developed. This special issue of Janus Head would like to explore questions about how the body is situated in both physical and social environments. What various ways can we characterize a situated body, and how does situatedness affect (or effect) perception, feeling, and cognition more generally? We especially encourage interdisciplinary approaches to these questions, including perspectives informed by phenomenology, philosophy of mind, neuroscience, Gibsonian and developmental psychologies, and discussions of self, the experience of others, narrative, metaphor, architecture, etc.

We are also soliciting poetry, fiction, creative non-fiction, and visual art that, in some way or other, address the topic of “the situated body.”

CRITERIA FOR ESSAYS: Submissions should be no longer than 10,000 words. Works should be typed and double-spaced. Format requirements: APA or MLA styles (footnotes should be placed at the end of paper). Submit one disk or CD and two (2) copies to the address below. Your essay should include a brief abstract (120 words or less). Also include a brief biography for the contributors page, should your paper be accepted. Make sure to include all relevant contact information, including a permanent e-mail address. Email submissions will not be accepted!

CRITERIA FOR SHORT FICTION, CREATIVE NON-FICTION, & POETRY: Please

include a cover letter, a short biography, and correspondence information.  Short fiction should be typed and double-spaced and should be no longer than 9000 words (about 36 pages or shorter). Poetry should

be typed in the format in which it is intended to be printed.  Three to

five poems are the suggested number for poetry submissions.  Submit one

disk or CD and two (2) copies to the address below. Please note: We are

no longer accepting poetry submissions via email. If you submit your

poetry via email, please do not expect it to be reviewed.

CRITERIA FOR ARTWORK: We are seeking artists for submissions of

portfolios to feature in the journal. Photos, slides, and/or electronic

images are the preferred formats. Please email the editors

(jhinfo@janushead.org ) if you have any questions.

NOTE:

1. Essay and poetry submission materials will not be returned. However, art, photography and other materials will be returned if you include a

self-addressed, stamped envelope.

2. Upon the acceptance of your paper, Janus Head reserves the right to

use your work for promotional purposes, anthologies, etc. However, you

are welcome to publish your work elsewhere as you see fit.

3. Contributors will get a complimentary hard copy of the issue in which

their work appears, as well as access to an electronic PDF file of their

article for distribution. Additional hard copies of the issue can be

purchased at $10 per copy.

Please send to:

Editors

Janus Head

P.O. Box 1259

Amherst, NY 14226

Authors should include their e-mail address. Allow at least 3-6 months

for the review process and editorial decisions. Notice of receipt of

materials can be obtained by email (jhinfo@janushead.org).

Costica Bradatan, Senior Editor, Janus Head

*********************************

Costica Bradatan, PhD

Department of Philosophy,

Miami University,

Hall Auditorium, 221

Oxford, OH 45056

USA

http://www.users.muohio.edu/bradatc/

*********************************

 

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

 

Philosophy, Art, History, Future

Hampton Press, Civilizations and Cultures Series

How good are the arguments that art has entered a post-historical phase? Is the notorious “death of art” different from a directionless plurality of artistic trends? If, as some have argued, artists no longer promote the modern historical project, what do they accomplish through their work and what are their audiences to expect from them? Are there alternatives to the post-historical condition and are there discernible future possibilities, harboured by the current philosophical discourse and artistic practices? Are these questions themselves already irrelevant, perhaps? Submissions are invited to the volume on Philosophy, Art, History, Future to be published by Hampton Press in its Civilizations and Cultures Series. The collection will focus on the philosophy of history as it applies to the arts. Contributions informed by non-western artistic experience are especially welcome. The collection is intended as a forum for various views and an arena for debate. “The arts” are conceived broadly and embrace the fine, performance, and traditional kinds.

Interdisciplinary perspectives are encouraged, as long as the main focus is on philosophical problems. Essays should not exceed 6,000 words and must be received no later than 1 March 2006.

Send submissions to:

Vladimir L. Marchenkov

School of Interdisciplinary Arts

Lindley Hall 120

Ohio University

Athens, OH 45701

marchenk@ohio.edu

 

4 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

CFP:

The Double, Literature, and Philosophy (edited volume, deadline for abstract, 31 Dec 2005)

We are inviting scholarly contributions to an edited volume that deals specifically with the trope of the double in literature from a philosophical perspective.

Treatment of the double (which include twins), which is most familiarly represented in Gothic narratives, has unfortunately tended to relate it to a psychoanalytical framework, often cast as the id/ego struggle, and the return of the repressed. As much as this theoretical trajectory has helped develop a critical tool to interrogate the trope, it has also restricted it from being studied through different philosophical perspectives. This edited volume seeks to correct this limitation.

Philosophical theories from Plato to the postmodernists have considered the often incompatible duality that resides in our beings, thus resulting in a rift within the self. But it is in literature that this dilemma is prominently ?enfleshed?, and most notably in the Gothic (although there are writings not overtly Gothic which also deal with the double).

The essays which will fit well into this volume would be those which consider the trope of the double in literature from a philosophical framework. Psychoanalysis may be invoked, but it should not form the main conceptual trajectory for the analysis to be made. Contributions should be on twentieth-century narratives from any nation.

Here are some suggestions of ?double? narratives for consideration: Fight Club (Chuck Palahniuk), the narratives of Steve Erickson, Time?s Arrow (Martin Amis), the novels of Orhan Pamuk, The Box Man (Kobo Abe), Birchwood (John Banville), Hawksmoor and The House of Dr Dee (Peter Ackroyd), Two Women of London (Emma Tennant), Wise Children (Angela Carter), and On the Black Hill (Bruce Chatwin).

The philosophical framework (including religious ones) can, however, come from any period or nation. For example, Palahniuk?s narrative can be read from an existential standpoint, and Amis?s Time?s Arrow can profit from a reading which deploys Heidegger?s notion of Dasein. Or perhaps an Islamic understanding of the double as depicted in Pamuk?s novels, or a Christian one in Ackroyd?s. Relating one philosophy to another to elicit the nuances of the doppelganger is encouraged.

The volume is looking for essays between 7000 ? 9000 words (including notes). However, please do not send complete manuscripts at this stage. Instead, submit a 500 word (maximum) abstract outlining your argument, and a brief CV to ?the editors? at philosophicaldouble_at_yahoo.com by 31 December 2005 for consideration of inclusion.

This innovative study of the literary double has strong publishing potential and we look forward to receiving your queries and abstracts. If you would like to discuss an idea with regards to this volume, please feel free to write to us as well.

 

 

5  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

 

cfp:

MOSAIC, a journal for the interdisciplinary study of literature announces an

 

INTERNATIONAL INTERDISCIPLINARY CONFERENCE

FOLLOWING DERRIDA: LEGACIES

OCTOBER 4-7, 2006

THE UNIVERSITY OF MANITOBA, WINNIPEG,

CANADA

KEYNOTE SPEAKERS:

Peter Eisenman, Catherine Malabou, Michael Naas

 

This commemorative conference will mark the second anniversary of the death of Jacques Derrida with a celebration of his work and an exploration of its promises, still to come.  The occasion will be one for paying homage to Derrida by way of ?counter-signing? his texts, or by way of ?following,? as he understood the term: in response to something other in a work, the attempt to make a difference. Proposals (in the form of a title and 250 word abstract) are invited for presentations from across the disciplines that engage Derrida?s work and its legacies through consideration of such topics as: art, architecture, archive, memory, mourning, history, temporality, trace, responsibility, ethics, politics, spectrality, structure, friendship, hospitality, futurity, institution, psychoanalysis, literature, philosophy ? and deconstruction. Proposals should include a brief c.v. (no more than two pages).

Deadline for submission of proposals: January 16, 2006.

Graduate students presenting a paper at the conference may be eligible for a travel grant. Those intending to apply for a travel grant should enclose a covering letter with their abstract detailing anticipated travel costs for the conference.

Information will be available from the Mosaic web site in spring of 2006: www.umanitoba.ca/mosaic

Please direct inquiries and proposals to:

mosaconf_at_cc.umanitoba.ca

We prefer electronic submissions, but if that is not feasible, send your proposal to:

The Derrida Conference

Mosaic

a journal for the interdisciplinary study of literature

The University of Manitoba

208 Tier Bldg

Winnipeg, Canada R3T 2N2

Telephone: +204-474-9763 Fax: +204-474-7584

 

 

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cfp

Failure: Ethics and Aesthetics

University of California, Irvine

March 3 and 4, 2006

 

The Visual Studies Graduate Student Association at the University of California, Irvine, calls for papers from a wide-range of areas of study that investigate and critically explore, contest, engage with, the concept of ?failure.?

The concept of failure has always remained closely tied to that of progress: economically, morally, culturally, and politically. In an effort to denaturalize this binary, we would like to examine what failure means through papers that deal critically with its various forms in both historical and contemporary circumstances, not only because this will help us understand how narratives of success and progress operate, but also because we wonder what potential ?failure? as a political and aesthetic tactic may offer. Might we discover a ?loser theory?? We ask for papers that do not just explore failed visions or failed experiments, but that examine what those particular failures mean, generate, expose. In addition, we recognize that in the past two decades a new archetype of success has emerged in popular culture, in the figure of the slacker?for example, MTV?s Jackass and the musician Beck?s ?Loser,? while politics and art provide other examples?the media image of President George W. Bush as an ?average guy? and the video art of Tony Oursler. At these moments, failure functions as a hollow gesture, a style. On the other hand, the discourses of deconstruction and poststructuralism show us that failure?failures of understanding, of communication, of translation, of domination?might have radical political potential. The binary of success and failure translates into an economic realm as well, with success equated with financial accumulation and failure with poverty. What has this meant for colonial projects of emancipation and their postcolonial entry onto the international stage? With this in mind, how might failure provide a location for revolutionary activity, political critique, or aesthetic experimentation? How does visual culture mobilize the concept of failure beyond empty aesthetics? Might the concept failure provide an ethics of its own?

In addition to academic papers, we invite participation from practicing artists, filmmakers, and videomakers. We are committed to opening our community to intellectual and creative producers who critically and rigorously engage in rethinking ?failure,? regardless of artistic or academic identification.

Possible essay topics include, but are by no means limited to:

Failure and Aesthetics: Ephemeral art

Invisibility as tactic

Deconstruction and the task of the translator/Miscommunication

?Bad? painting

?Pitiful? art (as described by Paul Virilio)

?Pathetic? art (coined by Ralph Rugoff)

Medium conservation/deterioration

Death of the author

Documentary film

Forgetting

Entropy

Problems of access

Design issues

The failure of modernist utopias

Sexuality: Camp

Critiques of heteronormativity

Failures of ?proper? gender identification

Adolescence

?Failures? of social assimilation

Failure and Theory: European avant-gardism and the question of elitism

Alternative discourses of failure

Loser theory

What is the role of critical theory today

Has it failed

What does that mean

Postructuralim and the critique of the subject

Politics and Failure: Fantasies of success and the American Dream

Failure as ethics

Colonialism and Liberation

Collectivism and Communalism

Revolutionary success as overall failure (Stalinism) versus immediate

failure as potential future success (Zapatistas)

Martyrdom and messianicity

Failure of the nation-state

Human rights and social justice

Economic Breakdowns: Reaganomics/Thatcherism

Monetary policies of the IMF and the World Bank and/or strategies of resistance

Specific policy failure? No Child Left Behind

Failed nations

National ?security?

Popular Culture: Punk rock

Sports films

Box-office failures, eg. Waterworld

Self-help and the Culture of Betterment

Critiques of slacker culture and the cooptation of failure

Please submit 250-500 word abstracts along with your name, institution, email address, and phone number to Vuslat Demirkoparan (vdemirko_at_uci.edu), by January 15, 2006.

For general questions about the conference, please contact Heather Murray (murrayh_at_uci.edu) or Mark Cunningham (mkcunnin_at_uci.edu).

 

 

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ASA Eastern Division Meeting

April 7-8, 2006, Philadelphia PA

Keynote speaker: Alan Goldman, The College of William and Mary

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 take no more than 20 minutes to present (roughly10 pages). Electronic submissions are strongly encouraged (in Word or as rtf), either via email or diskette. Papers should be accompanied by a 100-word abstract.

Deadline for submissions: January 15, 2006

Saam Trivedi

Department of Philosophy

Brooklyn College

2900 Bedford Ave.

Brooklyn NY 11210-2889

trivedi@brooklyn.cuny.edu

 

 

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Call for Papers

HUMOR IN PLATO

American Philological Association, January 6-9, 2007

 

Third year of renewed Three Year Colloquium, Plato as Literary Author

Organized by Ruby Blondell, University of Washington (blondell@u.washington.edu) Ann Michelini, University of Cincinnati emerita (ann.michelini@starband.net)

The final colloquium in our series on Plato as Literary Author will address humor, comedy, and the ridiculous. Plato is the funniest classical Greek author after Aristophanes, and he uses, represents, and analyses humor in a multitude of ways. In addition to his own authorial uses of various kinds of humor--such as mockery, word-play, and farce--he represents people laughing and being (or trying to be) funny, alludes to the comic theater—especially Aristophanes--and offers analysis and critique of comedy, laughter and their proper objects.

Despite the pervasiveness of such themes in the dialogues, this aspect of Plato's writing has received little scholarly or philosophical attention, no doubt in large part because it blurs the conventional lines between "philosophy" and "literature" in a peculiarly challenging way. This very blurring--and the concomitant challenge--makes it, however, grist to the mill of our colloquium. How does the use of (various kinds of) humor shape, reinforce, or undermine the ideas, arguments, or characters in the dialogues? How does it affect our understanding of the overall Platonic project (if there is such a thing)? Does laughter always imply criticism of its object, or can it have a different valence?

This panel calls for papers on playfulness and humor in Plato in all its myriad forms--laughter, comedy, mockery, satire, parody, jokes, wit, puns, word-play, farce, comical role-playing, buffoonery, intellectual slapstick and the carnivalesque. Topics might include (but are by no means limited to): Plato's use of humor to influence the reception of his characters and their arguments; the concept of "serious play" (and or tragi-comedy); the intertextual use of other comic authors; the varieties and functions of smiles and laughter; jokes made by speakers in the dialogues--how we do identify them, how do we interpret them, how do they affect the arguments or contexts in which they appear? Submissions that examine Plato's humor through the lens of ancient or later theories of humor are particularly welcome. Discussion of the dialogues' own discourse about the laughable is also welcome, provided it relates this to Plato's own use of such techniques. Irony is also a possibility, but we would like, if possible, to get away from the almost exclusive<not to say obsessive--focus on this particular aspect of Platonic humor in the scholarly literature.

Abstracts, of 800 words or less, are due by February 1, 2006, and will be anonymously refereed. Send them to Ruby Blondell, Classics Department, Box 353110, University of Washington, Seattle, WA 98195 or blondell@u.washington.edu (Email submission is preferred).

 

 

 

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May 24-25, 2006

Historical and Contemporary Virtues as Reflected in Literature

The 30th Annual Conference

Harvard Divinity School, Cambridge, Mass. USA

Abstracts due: Jan. 1, 2006; Full papers due: March 1, 2006

Registration fee: US$125.00 (Fee entitles you to also attend the Fine Arts Conference)

Please send papers and abstracts to: Prof. Anna-Teresa Tymieniecka, Program Coordinator, World Phenomenology Institute, 1 Ivy Pointe Way, Hanover, NH 03755, USA

Fax: 802-295-5963

 

 

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Aestheticism: De-humanizing or Re-humanizing Art, the Artist, and the

Artistic Receptor?

 

ACLA 2006, Princeton University, 3/23/06 - 3/26/06

 

Seminar Organizer(s): Kelly Comfort, Georgia Institute of Technology

The question as to how literature, along with other creative arts, both helps to determine and is determined by the human is at the forefront of nineteenth- and early twentieth-century aestheticism in Europe and the Americas. Art for art’s sake both as an approach toward art and as an attitude toward life promotes freedom and autonomy, aims for newness and originality, hails pleasure over instruction, and prefers form and beauty to content and truth. As such, aestheticism invites us to consider the relationship between art and life, between the aesthetic and the social, especially in light of its purported severance between these two spheres. By widening the distance between art and life, separating aesthetics from the economic, scientific, pragmatic, and political, and trying to avoid the fate of “art for capital’s sake” or “art for the market’s sake,” l’art pour l’art critiques the dominant social and economic values that made such a redefinition of art necessary in the first place. This seminar thus aims to explore the extent to which art for art’s sake can viewed as an attempt to rehumanize (rather than dehumanize) art, the artist, or the artistic receptor in ways that speak to the question of what makes us human. Seminar participants should thus discuss how the aestheticist view of art and literature is either life-sustaining or life-evading? Both theoretical analyses and textual comparisons are welcome.

Submit proposals online before 30 November, 2005, at the following link: http://aslamp01.princeton.edu/%7Eoitdas/acla06/

The ACLA 2006 general website:

http://webscript.princeton.edu/~acla06/site/

 

 

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Modern Language Studies (MLS) would like to solicit reviews of the new Penguin translations of Freud's works. Reviewers should be aware of the differences between the new translations and the Standard Edition. We encourage reviewers to discuss issues of translation and their consequences for psychoanalytic literary studies and/or the study of Freud in a literary context.

 

Reviews may range from 1500-3000 words. Longer reviews may also be possible.

 

Reviewers must be members of the Northeast Modern Language Association (www.nemla.org) by the time of publication.

 

Please send submissions as an MS Word attachment by February 1, 2006 to mls_at_susqu.edu

 

Inquiries may be addressed to Richard M. Juang, Reviews Editor, juang_at_susqu.edu

 

 

 

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Announcing the First Annual InterDisciplines Graduate Student Conference at Florida State University, Tallahassee, Florida.

 

Inter-disciplining the Body

 

From fine art, theatre, and literature to communication, biology, and physics, different discursive practices construct ideas about the body in dynamic and provocative ways. While resisting the naturalist urge to impose a "common language" on specific practices, the possibility of finding spaces of convergence amongst a variety of disciplines and approaches remains a goal for any scholar interested in interdisciplinary research. The conference invites academics from the humanities, fine artists, natural scientists, performers, social scientists, and anyone else interested in exploring the body in all of its complexities, uncovering disciplinary assumptions that might inhibit scholarship, and looking for places where these discourses can inform each other.

 

Possible topics include, but not limited to:

. Interdisciplined and Punished

. Literary Bodies

. The Construction of the Body through Media

. The Aesthetics of Body Modification

. Humans, Cyborgs, and Robots, oh my!

. The Body in Nature and the 'Nature' of Bodies

. The 'Plastic' Arts: Plastic Surgery and the Reconstruction of the Body

. Genetics: The Reduction of the Body

. Health Care and Practices

. The Aging Body

. Bodies in Communities

 

Please submit a 250-word abstract or proposal, CV, and contact information via email by January 21, 2006 to: interdisciplines_at_fsu.edu

-- CONFERENCE SEEKS --

Original Research:

May be from any academic discipline that approaches the "body" through multiple perspectives, or at least leaves room for such an interpretation to occur. Please submit a 250-300 word abstract (.doc or .rtf format) and include any multi-media needs. Panels could potentially be comprised of both research work and creative projects, as this conference desires to integrate knowledge in innovative and thought-provoking ways. Submit individually or as a panel.

Artwork or Performance Proposals:

When submitting a visual artwork, digital artwork or film, send a digital image, slide, or videotape/DVD documenting the piece. Slides, etc. will NOT be returned. Please include dimensions, materials, and date and, if applicable, the running time of any time-based media. Proposals of this type should include a brief (250 - 300 words) explanation on how it fits in with a particular theme concerning the body.

 

For more information please visit:

http://www.fsu.edu/%7Eproghum/interdisciplines/

Please let us know if you have any questions.

 

 

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The Ethics of Fiction in Contemporary Narrative

March 30-April 1, 2006, Universidad de Zaragoza

 

The 1980s and 1990s witnessed the emergence of what critics have termed an "ethical turn," partly produced as a reaction against the cultural radicalism and relativism propounded by certain ideological conceptions of the postmodern era. The return of ethical criticism is not, however, a homogeneous phenomenon. Critics like Wayne C. Booth and Martha C. Nussbaum have led an attempt to re-introduce the values of liberal humanism associated with Matthew Arnold and F. R. Leavis in the academia, while J. Hillis Miller, Andrew Gibson and Christopher Falzon, among others, have made the case for a criticism informed by a deconstructive ethics.

 

We will welcome contributions that will focus on the various ways in which contemporary narrative in English articulates ethical concerns, as they account for the three basic aspects of the narrative text: writing, reading and representation.

 

Suggested topics to explore include (but are not limited to): an ethical model of theory, ethics and literary genre, ethics and aesthetics, the ethos of the text, ethics and narrativity, ethics and narratology, ethics and politics, ethics and the articulation of identity, the ethics of gender, ethics in postcolonial studies, ethical approaches to indigenous peoples' studies, the ethics of academia.

 

Three copies of completed papers (max. 2500 words, aprox. 9 double-spaced pages, including notes and works cited) following the MLA Handbook for Writers of Research Papers together with a 100-150 word abstract should be sent to the organisers. Author information is to be sent in a separate sheet (including name, filiation, contact address and paper title).

 

Deadline: January 10, 2006

 

Bárbara Arizti Martin

Departamento de Filología Inglesa y Alemana

Facultad de Filosofía y Letras

Pedro Cerbuna, 12

50009 Zaragoza, Spain

barizti@unizar.es

 

 

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Call for Papers

 

Halduskultuur, Tallinn University of Technology’s annual publication in Public Administration, has recently been completely transformed into a fully peer-reviewed multi-language interdisciplinary journal of administrative studies. From the last, 6th issue on, it is publishing contributions in all the languages of the region: Estonian, Finnish, German, Russian, and also in English, the lingua franca of our times. For the time being, the journal continues to appear annually. Focusing on administrative culture, the journal has a wider scope than usual and, we are confident, makes for interesting reading. The current issue is available at our website (see below).

The 2006 issue of Halduskultuur will feature articles, among others, by Jane-Erik Lane and Ted Gaebler on David Osborne’s philosophy of administration.

Halduskultuur invites you to consider submitting articles, or drawing your colleagues’ and students’ attention to this new publishing venue. Articles can be submitted to me as the editor in chief, at kattel@staff.ut.ee. Style sheets etc. are to be found at the journal’s website, at www.ttu.ee/hum/halduskultuur, where – a short while after the publication in the print version – the full articles will also be available for download as pdf files.

Prof. Dr. Rainer Kattel

Editor-in-Chief

Contact: Rainer Kattel, Institute of Social Sciences and Humanities, Tallinn University of Technology

J. Sütiste 21, 13419 Tallinn, Estonia, e-mail: kattel@staff.ttu.ee

 

Halduskultuur is publishing a special issue in the fall of 2006 on the Aesthetics of Administration, guest edited by Eugenie A. Samier (Simon Fraser University, Canada) of the journal editorial board. Prior to the Special Issue, Halduskultuur, in cooperation with the Political Science Department and Aesthetics Department of the University of Helsinki, is hosting a two-day conference on the aesthetics of government on 27 April in Helsinki and 28 April in Tallinn. We invite papers exploring any aesthetic aspect of political and administrative practice. While aesthetic analysis is newly established in organisational theory and political analysis, it has yet to be applied to studies of government, particularly public administration. The aesthetic consists of the means by which organisational form is created, shaping the world and mentality of politicians and administrators. This ranges from the physical environment through buildings and their furnishings and decorations, to the interactional through performative and theatrical expression, and the use of language through its literary or poetic qualities. An aesthetic critique provides a new interdisciplinary and humanities-based approach to organisational politics, ideology, culture and ethics as it applies to all aspects of political activity and administrative responsibilities (e.g. decision-making, policy, management). Papers are invited that explore philosophical and theoretical aspects of the aesthetics of government, critical and interpretive investigations of political and administrative practices, and research approaches in the field. The philosophical origins of social aesthetic as it informs governmental practice can be found in the classical writings of Plato and Aristotle, establishing a tradition that is carried through the Enlightenment period through such authors as Kant, Baumgarten, and Schelling, and into later modern philosophy of the Romantic tradition, Nietzsche, Hegel, Collingwood, the pragmatic school, Bourdieu, Hermeneutics, and Critical Theory, etc. An additional important dimension is an evaluation of aesthetic sources for critique

- architecture, theatre, literature, music and film – as they serve both to understand the social construction of politics and administration and provide a critique of values, roles, power and authority. More applied aesthetic theory focuses on the implications for professional practice: the ways ideas and ideals are created, how their expression is conveyed, the impact they have on interpersonal relationships, and the organisational environment that carries and reinforces them. The aesthetic critique, broadly conceived, includes an investigation of organisational power and politics, the moral boundaries or limits that can be established or exceeded, and promises a rich approach for comparative governmental studies examined in the context of cultural traditions.

These dimensions affect role and identity construction, organisational design, the policy process, and processes of institutionalisation. While representing a significant departure from conventional studies in the field, aesthetics reflects a continuity of thought on the creation, use and abuse of authority from the writings of Plato through to contemporary theory.

Papers on public administration, or on politics that have direct implications for public administration, will be considered for publication in the Halduskultuur Special Issue. All papers will be considered for a monograph publication proposal in 2007.

The deadline for submissions for the conference is 15 January 2006, and for the Halduskultuur Special Issue 15 July 2006. Submission for the conference should include an abstract of 300-500 words, mailing contact information and email address. Submissions for the Special Issue will be an electronic copy of the paper with mailing and email contact information. Interested contributors should contact the issue editor at the address below or visit the Halduskultuur website.

Eugenie Samier

Faculty of Education

Simon Fraser University

8888 University Drive

Burnaby, BC, V5A 1S6

Canada

Email: esamier@sfu.ca

N.B.: please email 25 Sept – 5 Dec 2005

Halduskultuur

http://www.ttu.ee/hum/halduskultuur

University of Helsinki contacts:

Turo Virtanen, Department of Political

Science: turo.virtanen@helsinki.fi

Arto Haapala, Department of Aesthetics,

Institute for Art Research:

arto.haapala@helsinki.fi

http://deepthought.ttu.ee/hum/halduskultuur/call_conference.html

 

 

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Beyond Mimesis and Nominalism: Representation in Art and Science

June 22-23, 2006, London

 

Keynote speakers: Catherine Elgin (Harvard University) and James Elkins (School of the Art Institute of Chicago/University College Cork, Ireland).

 

Representations play a critical role in both science and art. Perceived as different in kind, artistic and scientific representations have been studied as objects of distinct disciplinary and intellectual traditions. However, recent work in both the philosophy of science and studies of the visual arts suggests that these apparently different representational traditions may be related in challenging and provocative ways. "Beyond Mimesis and Nominalism," a conference co-sponsored by the Courtauld Institute of Art Research Forum, the London School of Economics, and the Institute of Philosophy of the University of London, seeks to open conversations between and beyond these compartmentalized traditions of thinking about representation.

 

According to dominant accounts, scientific representation is explained by appeal to mimetic relationships such as similarity or formal relations like isomorphism. As these views have been subjected to increasing criticisms, recent approaches to scientific representation have begun to draw upon analogies with artistic representation. Significantly, parts of this emergent literature have turned to a "nominalist" position, not unlike that advocated by Nelson Goodman in his writings on representation in art.

 

But, a similar turn is already apparent within studies of visual art, where scientific representations are increasingly integrated into the analysis of art. Like their colleagues in the philosophy of science, recent scholars in the visual arts have seen Goodman's work as an important point of engagement. His pioneering work on the visual has informed recent efforts to expand semantic taxonomies and to analyze the increasing field of images that fall outside classification as "art." As this work has received important contribution from scholars concerned with scientific imaging, the project of rethinking representation is one of growing general importance to art-historical studies, whose interpretative scope has expanded dramatically outward in recent decades.

 

In order to press this emergent interdisciplinary conversation, scholars from all disciplines are invited to submit papers to this two-day international conference. We particularly seek submissions that explore the "how" of representation-papers that can enrich our understanding of the techniques employed in scientific representation and/or address their semantic structures or historical convergences with artistic practices - and vice versa. Also especially encouraged are papers that critique, historicize or defend the conference's central terms of mimesis and nominalism, or offer approaches to representations that navigate a middle course between them.

 

Springer Publishers has shown interest, and by agreement with individual authors, the conference organizers will be submitting edited versions of selected papers for possible publication in Springer's philosophy programme.

 

Deadline: March 1, 2006

 

Email: ph-artandscience@lse.ac.uk

 

Beyond Mimesis and Nominalism: Representation in Art and Science Two-day conference in London, 22-23 June 2006 Deadline for Submissions: 1 March 2006 Keynote speakers: Catherine Elgin (Harvard University) and James Elkins (School of the Art Institute of Chicago/University College Cork, Ireland) Organisers: Roman Frigg (LSE) and Matthew Hunter (Courtauld Institute of Art/University of Chicago) Programme committee: Peter Ainsworth (LSE), Roman Frigg (LSE), Matthew Hunter (Courtauld Institute of Art/University of Chicago), Elisabeth Schellekens (King's College London), Christine Stevenson (Courtauld Institute of Art), and Sabine Wieber (Birkbeck College London) Please send extended abstracts of up to 1000 words to ph- artandscience@lse.ac.uk by 1 March 2006. Decisions will be made by 1 April.  

 

 

 

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Conference Announcement and Call for Papers

This is the first call for papers for JOURNEYS OF EXPRESSIONS V: TOURISM AND THE ROOTS/ROUTES OF RELIGIOUS FESTIVITY

 

which will take place in Belfast, Northern Ireland, from 13th to 15th March 2006 at

Centre for Tourism and Cultural Change

Sheffield Hallam University, United Kingdom

Regularly updated information can be found at our website

www.tourism-culture.com

 

In this, the fifth of our continuing conference series exploring the multi-faceted relationships between tourism and festivals, Journeys of Expression aims to discuss touristic practices in relation to forms of traditional and contemporary religious festivity. The conference seeks to examine the meanings and roots of religious festivity within the context of tourism and related studies, the ways by which tourists arrive at, and consume religious festivity, and the ways in which touristic practice encounters, and in some instances shapes, the religious.

 

In a world apparently struggling with the boundaries of 'the religious', we are interested in the social practice of tourism, as a spatial displacement of the human body creating, a priori, a liminal space for mental and physical recreation. Situating this approach within the field of tourism, we hope, permits to analyse important shifts and transformations of traditional liturgical practices, manifested in particular by the veneration of new, now touristic forms of 'sacred' objects, spaces and elements ('nature', 'culture', 'art', 'sun', 'water', etc.). Within the contemporary transnationalised world how do we make sense of the religious - its symbolic expression, its politicisation etc. - through both festivity and tourism? How do festivals mobilise religious symbols to tell stories and make visible particular representations of the self? What are the festive roles attributed to, or taken by tourists and how are these integrated with forms of festive exchange and ritual? And, how can a better understanding of tourism-festival relationships shape agendas for 'intercultural dialogue' and peace as articulated by international organisations such as UNESCO.

 

Indicative themes of the conference include:

- Defining Religious Festivity: Genesis, Genealogy and Displacement

- Tourism, Pilgrimage and Travel Liturgies: Variations and Continuity of the 'Sacred Journey' in the Contemporary World

- Tourism and Transnational Festival Spaces: Festive Ostentation, Sacrifice, Transgression and Exchange in the Contemporary World

- Festive Economics / Politics of Making Visible: Religious Symbols, Discourse and the Formulation of Social Spaces / Boundaries in the Contemporary World

- Material Diasporas: Tourism Souvenirs and Meanings

- Tourism, Intersubjective Encounters and Power Relations in Religious Festivals

- The Continuity / End of War and Conflict: From Paradigms of Clash to Paradigms of Peace?

 

The conference is designed to be a discussion led, small scale event hosting approximately 50-70 international delegates. In the tradition of the Journeys of Expression series, we wish to animate an interdisciplinary debate on the suggested themes and welcome paper proposals from academics from various disciplinary backgrounds including: tourism studies, anthropology, cultural studies, cultural geography, religious studies, theology, philosophy, performance studies, cultural economics, politics, etc. If you wish to submit a paper proposal, please send a 300-word abstract with full address and institutional affiliation details as an electronic file to Dr. David Picard (d.picard@shu.ac.uk ). The deadline for the reception of abstracts is 10th January 2006.

Please find regularly updated information regarding this conference, registration procedures and (at a later stage) a programme at

our website www.tourism-culture.com

 

Dr David Picard

Senior Research Fellow

Centre for Tourism and Cultural Change

Sheffield Hallam University

Owen Building, Howard Street

Sheffield S1 1WB

United Kingdom

Phone: +44 (0) 114 225 3973

E-mail: d.picard@shu.ac.uk

 

 

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MIND & MUSIC ROUNDTABLE

March 4-5, 2006

Columbia University, Department of Philosophy

 

Scholars in diverse disciplines believe that the study of music can deepen our understanding of the mind and/or that the study of the mind can deepen our understanding of music. This workshop will bring together philosophers of mind/music and music theorists to examine issues at the intersection of mind and music.

S P E A K E R S

Fred Lerdahl

Music, Columbia University

Christopher Peacocke

Philosophy, Columbia University

Mark DeBellis

Music, Columbia University

Michael Luntley

Philosophy, University of Warwick

Robert Kraut

Philosophy, Ohio State University

Aaron Ridley

Philosophy, University of Southampton

Opening Remarks by Lydia Goehr, Philosophy, Columbia University

C O M M E N T A T O R S

Paul Boghossian

Philosophy, New York University

Joseph Dubiel

Music, Columbia University

Sean D. Kelly

Philosophy, Princeton University

York Gunther

Philosophy, California State University

Jonathan Neufeld

Philosophy, Vanderbilt University

Bill Seely

Philosophy, Franklin and Marshall College

Renee Timmers

Centre for the History and Analysis of Recorded Music, King's College London

Christopher Bartel

Philosophy, King's College London

Tiger Roholt

Philosophy, Columbia University

Sponsored by

British Society of Aesthetics

European Journal of Philosophy

Dept. of Philosophy, Columbia University

Dept. of Music, Columbia University

Columbia University Graduate School of Arts and Sciences

King's College, London

For additional information, please contact the organizers: Christopher Bartel and Tiger Roholt

For valuable assistance, the organizers would like to thank: Luke Tamura

http://www.columbia.edu/~tcr19/mindmusic.htm

 

 

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2006 Canadian Society for Aesthetics

 

York University,

Toronto, Ontario, Canada

28 - 30 May, 2006

 

The 2006 annual meeting of the CSA will occur in company with those of other Canadian associations, including the Canadian Philosophical Association, as part of the 75th Congress of the Humanities and Social Sciences. Participants selected for inclusion on the program inclusion are required to pay CSA membership and conference registration fees. Papers, panel proposals or abstracts on any topic in aesthetics are invited, and especially so if

addressing aspects of the theme of the Congress: The City: A Festival of Knowledge. Only completed papers of 10-12 standard pages, accompanied by a 150-word abstract and suitable for presentation in fewer than 25 minutes, will be considered initially for inclusion on the programme. Abstracts, if submitted alone, will be assessed later and only if vacancies occur in the programme.

Proposals for panels upon special topics or recent publications should include names and affiliations of all participants and an abstract of the subject matter. All items submitted for consideration must be forwarded both in hard-copy and as e-mail attachments (MS Word or .RTF files). Enquires or submissions in

English may be sent to Evan Wm. Cameron, Department of Film, CFT 216: York University, 4700 Keele Street, Toronto, Ontario, CANADA M3J 1P3 (ewc@yorku.ca); those in French to John MacKinnon, Department of Philosophy, Saint Mary’s University, 923 Robie Street, Halifax, Nova Scotia CANADA B3H 3C3 (john.mackinnon@smu.ca).

 

Deadline: 15 February 2006.

 

 

 

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The Philosophy of Film: Towards an Understanding of Film as Art

A film conference, 8th-9th June, 2006.

To be held at the philosophy department of the University of Liverpool.

'Why do people go to the cinema? What takes them into a darkened room where, for two hours, they watch the play of shadows on a sheet? The search for entertainment? The need for a kind of drug? All over the world there are, indeed, entertainment firms and organisations which exploit cinema and television and spectacles of many other kinds. Our starting point, however, should not be there?..' Andrei Tarkovsky

Many films give us information, explanation, they please the spectator with their action, music, dialogue, scenery (and what pleases the most is commonly derived from other arts). They might be fast, slow, violent, clever, crass, driven by commerce or ideas, but rarely with an understanding of nature, of life. They distract us, discourage us from taking the medium seriously, of thinking seriously about film as a distinctive art form. The aim of this conference is to clarify film's role, to think about and better appreciate film as art. Areas that might be of interest include:

. The role of the director

. Film as philosophy

. Film as an evocative art

. Religious feeling and film

. Film and imagination

. Film and Eastern tradition

. The film and its audience: contemplation versus explanation

While this conference has a philosophical focus, it is open to all those who are interested in film, aesthetics and art, whatever their position on the matter. We are looking for papers that display originality, sensitivity and imagination.

Abstracts (300 words) for presentations (of no more than thirty minutes) should be submitted by email to John Adams at jadam@liv.ac.uk

Deadline for submissions: 15th March

Conference organisers:

John Adams (jadam@liv.ac.uk) and Payal Doctor (p.doctor@liv.ac.uk)

 

 

 

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Call for papers

 

Phenomenonlogy and Modernism

 

A one-day conference on the topic Phenomenology and Modernism will be held at the Maison Française d'Oxford on 24 June 2006. The thrust of this conference is to assess the continuing significance of phenomenology in relation to the arts and its engagement with modernism. The underlying thesis of this conference is that phenomenology and modernism are inextricably linked. The intellectual history of the XXth Century is strewn with examples of a fruitful dialogue between writers and artists on the one hand and phenomenology on the other hand. The conference seeks to address critical questions regarding the relationship between phenomenology and modernism, with reference to Maurice Merleau-Ponty, who remains today one of the most influential phenomenologists interested in literary and aesthetic studies, but also Edmund Husserl “the founder of phenomenology”, Martin Heidegger, Gaston Bachelard, Paul Ricoeur and others. This conference is intended to be an interdisciplinary forum for scholars exploring a variety of issues gravitating around the interaction between phenomenology and modernism. Therefore, we welcome contributions from scholars working in a wide range of fields, including literature, art, philosophy and musicology. Proposals for papers (in English or French) are invited on the following topics: the influence of phenomenology and its relevance to modern aesthetics, what modernism owes to the phenomenological tradition, the affinity between the arts and phenomenology, such concepts as time, consciousness etc. Proposals for twenty-minute papers should include a title and be no more than 500 words in length. Please submit by e-mail to the organisers, Dr Carole Bourne-Taylor(carole.bourne-taylor@bnc.ox.ac.uk) and Dr Ariane Mildenberg ariane.mildenberg@oxon.blackwellpublishing.com) by 20 January 2006. This conference will be held at the Maison Française d'Oxford, Norham Rd, Oxford.  

 

 

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The Metaphysics of Art: Themes from the work of Jerrold Levinson

 

17th March 2005, University of Nottingham

 

Programme 9.30-10.00 Registration 10.00-11.15 Jerrold Levinson (Maryland): 'Three Species of Beauty: Human, Natural, and Artistic' 11.15-11.30 Coffee 11.30-12.45 Aaron Meskin (Leeds) "History, definition, and the origins of art forms" 12.45-2.00 Lunch 2.00-3.45 Stefano Predelli (Nottingham) "The Sound of the Concerto. A Contextualist Approach to Musical Ontology" 3.45-4.15 Tea 4.15-5.30 Peter Goldie (Manchester) "Art, history and the Avant Garde" 5.30: Drinks and close A registration form will soon be available from http://www.nottingham.ac.uk/philosophy

 

 

 

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Sensi/able Spaces. Space, Art and the Environment

 

Conference at the University of Iceland, Reykjavík 1st and 2nd June 2006 Hosted by the departments of Philosophy and, Geology and Geography with the 20th Reykjavík Arts Festival CALL FOR ABSTRACTS The conference deals with the perception and conception of spaces in the built as well as natural environment. The aim of the conference is to bring together a wide range of academics, from the physical sciences, social sciences and humanities, as well as artists and activists who have an interest in the way spaces can be sensed, understood and reconfigured. With this aim in mind we invite papers, posters, art work and displays that focus on ways of understanding and perceiving spaces as well as methodologies and techniques for creating spaces. Spaces today are continually being reconstituted and reformulated in various ways, often relying on notions of what is sensible, narrowly defined by groups with an ideological agenda of some kind and/or vested economic interests. These sensible factors often obscure and ignore notions of the sensable – that which people perceive through the senses while being-in spaces. The conference is about drawing out these sensibilities based on the sensable, as opposed to subjectively formulated agendas or interests which are based on many different notions of the sensible. Papers, posters, art work and displays are encouraged from a broad range of disciplines. The focus can be both on conceptual issues as well as more practical issues, or can be theme-related artwork displayed on site. More information is to be found at: www.sparten.org Paper and poster abstracts are to be 300–500 words and submitted by 30th January 2006 to Edward H. Huijbens (edward@hi.is). Proposals for art displays are to be sent by 30th January 2006 to Paul Hackett (ph@smallestspace.com) Final papers, to be published on the conference web page are to be submitted online

 

 

 

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(internet source: http://www.uni-jena.de/Literarische_Darstellungsformen_der_Philosophie_im_Umfeld_von_Romantik_und_Deutschem_Idealismus-skin-print.html)

 

"Darstellungsformen der Philosophie"

Friedrich Schiller Universität Jena, 26. - 27. Januar 2006

Teilprojekt C13 "Heuristik im Spannungsfeld von Wissenschaft und Poesie" des Sonderforschungsbereichs 482: Ereignis Jena-Weimar. Kultur um 1800. Leitung: Prof. Dr. Gottfried Gabriel / Dr. Temilo van Zantwijk. Kontakt: Brady Bowman

Der Sonderforschungsbereich 482, „Ereignis Weimar-Jena. Kultur um 1800“ an der Friedrich-Schiller-Universität Jena lädt, im Rahmen einer Tagung, vom 26. bis 28. Januar 2006 in das Alte Schloß nach Dornburg ein. 

 

 

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"Goethes universalästhetischer Impuls - Die Vereinigung der platonischen und aristotelischen Geistesströmung"

Bochum , 25. - 26. Februar 2006

Michael Colsman, M.A., Dipl.-Psych.Forum GL . Leitung: Prof. Dr. em. Lothar Udert, Bochum. Referenten: Prof. Dr. em. Lothar Udert, Bochum. Kosten: n.V. freiwill. Honorar. Kontakt: Michael Colsman, M.A., Dipl.PSych.

http://www.forum-ganzheitsorientierung.de/LOGOGelbSchatten.png

 

 

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Saturday 4 February, 2006, 10.30-6.30pm

Venue (tbc)

Art After the End of Art

Speakers; Jean-Pierre Cometti; Arthur Danto; Benoit Maire; Richard Shusterman and Nicolas Vieillescazes

Naked Punch Event

sponsored by the Forum for European Philosophy, Room J5, European Institute

Cowdray House, London School of Economics, London, WC2A 2AE

0207 955 7539, C.Lowe@lse.ac.uk

 

 

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Desconstructing Mimesis - Philippe Lacoue-Labarthe

27 to 28 January 2006

Paris, France

Website: http://lacoue-labarthe.cjb.cc/

Contact name: Leonid Kharlamov

Inetrnational colloquium about the work of Philippe Lacoue-Labarthe and his mimetic version of deconstruction.

Organized by: La Chute dans la Vallée, University Paris IV - Sorbonne (CRHT), Institut finlandais de Paris

 

 

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Conference Announcement / Call for papers

 

“Following Derrida: Legacies”

 

4 to 7 October 2006

Winnipeg, Manitoba, Canada

http://www.umanitoba.ca/mosaic

Contact name: Lisa Muirhead

 

KEYNOTE SPEAKERS

Peter Eisenman, Catherine Malabou, Michael Naas

Mosaic, a journal for the interdisciplinary study of literature, presents this commemorative conference as an occasion for paying homage to

Derrida by way of 'counter-signing' his texts, or by way of 'following,' as he understood the term: in response to something other in a work, the attempt to make a difference. Proposals (in the form of a title and 250 word abstract) are invited for presentations from across the disciplines that engage Derrida's work and its legacies through consideration of such topics as: art, architecture, archive, memory, mourning, history, temporality, trace, responsibility, ethics,

politics, spectrality, structure, friendship, hospitality, futurity, institution,

psychoanalysis, literature, philosophy – and deconstruction.

Proposals should include a brief c.v. (no more than two pages). Grad students can include an estimate of travel costs to apply for travel grants.

The deadline for abstracts/proposals is 16 January 2006.

Enquiries: mosaconf@cc.umanitoba.ca

Web address: http://www.umanitoba.ca/mosaic

(registration and details will be available online in the spring of 2006).

 

 

 

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Conference Announcement / Call for papers

 

Negotiating Identities in Art, Literature, and Philosophy

Cuban Americans and American Culture

 

Department of Philosophy

UB Art Gallery, Humanities Institute

State University at Buffalo

NEH Summer Seminar for College and University Teachers

Directors:

Jorge J.E. Gracia

Lynette Bosch

Isabel Alvarez-Borland

Speakers:

Carol Damian

Jorge Febles

Oscar Marti

Gustavo Perez Firmat

Eliana Rivero

Ofelia Schutte

Ricardo Viera

Visiting Writers

Roberto Fernandez

Ana Menendez

Topics:

How Cuban Americans have enriched American culture in art, literature and philosophy?

How Cuban American artists, writers and philosophers have negotiated their heritage?

How exile and memory has shaped the contribution of Cuban Americans to American culture?

How the Cuban American experience applies to other immigrant groups?

Applications will be accepted until March 1st, 2006.

Only college and university teachers are eligible to participate. Stipends of $2,400 are provided by the NEH.

Contact Elizabeth Zeron: nehseminar06@gmail.com

www.buffalo.edu/philosophy/events/events

http://philosophy.buffalo.edu/NEH06/

 

 

 

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Nietzsche, Culture and Society

International Conference

Rhodes University

13.-14.1.2006

Grahamstown (South Africa)

 

Race and multiculturalism

Being, embodiment and the feminine

Equality and the political

Power and empowerment

Democracy and the agon

Colonialism and neo-colonialism

Nihilism, culture and value

Classicism and modernity

 

http://www.ru.ac.za/academic/departments/philosophy/nietzsche/

 

 

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Designação: 4º Encontro Nacional de Professores de Filosofia**

Tema: Arte e Cognição: Problemas de Estética e Epistemologia

 

Organização: Sociedade Portuguesa de Filosofia e Universidade do Minho

Destinatários: Professores de Filosofia do Ensino Secundário

Local: Universidade do Minho, campus de Gualtar (Braga), Complexo Pedagógico II, Anfiteatro B1

Data: 16 e 17 de Fevereiro de 2006

Informações e inscrições: spfil@spfil.pt

Ver também o site: www.spfil.pt

 

 

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The Theory Reading Group of Cornell University invites submissions for its interdisciplinary spring conference:

 

Critical Aesthetics

 

Cornell University, Ithaca, NY. April 6-8, 2006

 

Following a few decades during which it was synonymous with bourgeois ideology or regressive humanism, philosophical aesthetics has reappeared as a key site for the formation of new political, epistemological, ontological, and critical categories. Beginning in France and Germany and spreading rapidly across the globe, recent thought has returned to the classic texts of the aesthetic tradition—Kant, Hegel, Nietzsche—and in some cases it has moved to develop new systems for which no clear precursors exist. We propose the term "critical aesthetics" as an as-yet unclaimed name for this emergent trend, one which retains significant resonances with critical philosophy from Kant forward, with the implication of aesthetics in literary criticism, as well as with more recent developments in critical theory. This conference seeks to provide a forum for debate around the possibilities and limits of the new aesthetics.

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

-Inaesthetics, Anti-Aesthetics, Anaesthetics (Badiou)

-Ethics and Aesthetics (Blanchot, Levinas, Derrida)

-Aesthetics and the Gift

-Aisthesis: Aesthetics and Affect (Deleuze, Lyotard)

-Frames, Limits, and Parergonal Aesthetics

-Sensus Communis: Aesthetics and Community

-The Politics of Form (Adorno, Benjamin, Jameson)

-Aesthetics and Materialism (Althusser)

-Kant vs. Hegel: The Aesthetic Tradition

-Aesthetic Ideology (de Man, Eagleton)

-Aesthetics and the Real

-The Ontology of the Literary Object (Lacoue-Labarthe & Nancy, Blanchot, Derrida, Heidegger)

-Aesthetics and Phenomenology

-Mimesis, Semblance, Simulacrum

-Literature and Its Outside (Blanchot, Foucault, Deleuze)

-Aesthetics as Sublimation

-The Beautiful and the Sublime

-Aesthetics and the Task of Criticism

-Deleuze and Literature

-Aesthetics and Technology (Benjamin, Virilio, Baudrillard)

-Singularity and Exemplarity: The Aesthetic Object in Philosophy

-Aesthetics and Deconstruction

-Aesthetics and Poetics

-The Work and Its Unworking

Keynote Lecture: Simon Jarvis.

Simon Jarvis is Gorley Putt Senior Lecturer in English Literary History at the University of Cambridge.

Featured Lecture: Gabriel Riera.

Gabriel Riera is Assistant Professor of Comparative Literature at Princeton University.

The deadline for submission of 250 word paper abstracts for 20 minute presentations is February 1, 2006. Please include your name, e-mail address, and phone number. Email all abstracts to rsl29@cornell.edu. For general questions about the conference, contact rsl29@cornell.edu. Notices of acceptance will be sent no later than February 15, 2006.

http://www.spep.org/Call%20for%20Papers.html

 

 

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Call for Papers

“Arts, Aesthetics, Life”

 

The Nordic Society of Aesthetics

Annual Conference

Jyväskylä

18th-21st May 2006

The theme of the conference, Arts, Aesthetics, Life, highlights a number of topical challenges in aesthetics, art research and contemporary art at the same time as it mirrors a long-standing trend to broaden the aesthetic discussion "beyond aesthetics". The boundaries between art, popular culture and everyday life have long been challenged. In contemporary art there is a tendency away from the art object towards events and processes, where the artist may invite the audience into shared authorship. Art can (again) be seen as a human practice that is not confined to the art world. This calls upon a re-evaluation of the relationship between art, education and social and creative processes. In addition, many artists are interested in social and ideological issues which they however present and analyse in ways that differ radically from that of the dominant media discourse. If the art of the modern age has traditionally been an open question, art is even more open in today's secular societies, while it also has to face challenges of fundamentalism. How is the contemporary situation reflected in aesthetic and art theory? Has autonomy become obsolete or does it still have a critical role to play? Where should we look for art and what are its relevant contexts of interpretation? What is the place of art in life; and in whose life? Further, if art is life, can life also be considered art, and in what ways? Aesthetic values offer significant perspectives on the quality of life and can function as keys to realising the value of non-human life. What are the possibilities of aesthetics and art in developing critical, constructive views on the life-world? What are the positive and negative meanings of aestheticization? What roles can art and aesthetics have with respect to environmental values?

These questions call for a discussion that takes heed of the perspectives not just of philosophical aesthetics but also of empirical, cognitive and anthropological approaches to aesthetics and art research. We hope to offer a forum for bringing the discussion within philosophical aesthetics into close contact with topical challenges and issues in contemporary art, culture and art education focusing on the continuities and not just the boundaries between arts, aesthetics and life, and to inspire a discussion of aesthetic values in relation to ethical, social and cultural values.

Proposals dealing with other topics of aesthetics are also welcome.

Presentations should not exceed 30 minutes so as to allow for 15 minutes of discussion. Presentations can be given in English or in one of the Scandinavian languages.

Invited speakers

Ellen Dissanayake, University of Washington, Seattle

Marina Grzinic, Academy of Arts and Sciences, Ljubljana and Academy of

Fine Art, Wien

Andrew Light, University of Washington, Seattle

Ken-ichi Sasaki, Tokyo university, Tokyo

Wolfgang Welsch, Friedrich Schiller *Universität, Jena

If you want to attend the conference, please return the registration form (see below) and an abstract of approximately 250 words before 31 January 2006 to:

Tarja Pääjoki

Dept. of Art and Culture Research, University of Jyväskylä

P.O.Box 35 (JT), FIN * 40014 University of Jyväskylä, Finland

More information will be sent out by February 15th.

Organisers: The Finnish Society of Aesthetics and the Department of Art and Culture Research, University of Jyväskylä.

NORDIC SOCIETY OF AESTHETICS

Annual Meeting Arts, Aesthetics, Life

Jyväskylä 18th * 21st May 2006

http://www.iaspm.net/aalcfp.htm

 

 

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CALL FOR PROPOSALS: the Philosophy of Luce Irigaray

 

Stony Brook University, Manhattan Campus

 

September 22-23, 2006

 

The Irigaray Circle at Stony Brook University, sponsored by the Department of Philosophy and the Program in Women's Studies, is planning a conference for September, 2006. We invite proposals that engage with any aspect of Irigaray's work in philosophy and feminist theory, such as

-The history of philosophy

-Psychoanalysis

-Medicine, health, and the body

-Language and literature

-Aesthetics and architecture

-Ethics

-Political theory

-Epistemology

The deadline for proposal submissions is January 9, 2006. Completed proposals should include your name, professional affiliation, contact information, a brief (one paragraph) bio, and an abstract of  350-700 words. The organizers welcome collaborative proposals for panel sessions, as well as individual submissions. Proposals should be submitted electronically in .rtf format. Please send proposals for review to irigaray06_at_gmail.com. Please note that the conference organizers are planning an edited volume based on the conference and request the right of first review on all conference papers. For further information please contact one of the conference chairs:

Mary C. Rawlinson (mrawlinson_at_notes.cc.sunysb.edu)

Sabrina Hom ( shom_at_ic.sunysb.edu)

Serene Khader ( skhader_at_notes.cc.sunysb.edu)

 

Conference Website:

www.sunysb.edu/philosophy/events/irigaray

 

 

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XIXth congress of the International association of empirical aesthetics

 

Organised by the Laboratoire Culture et Communication, University of Avignon, France.

 

Deadlines :

Submission of abstracts : November 25, 2005

Notice of acceptance : January 2006

Manuscript for proceedings : April 30, 2006

Early registration : March 31, 2006

 

Informations :

E-mail : jean-christophe.vilatte_at_univ-avignon.fr

 

Organizing Committee :

Hana Gottesdiener and Jean-Christophe Vilatte (congress organizers), Jean Davallon, Emmanuel Ethis, Daniel Jacobi (University of Avignon, France), Holger H?University of Oldenburg, Germany)

 

International Advisory Board :

Paolo Bonaiuto (Italy); Jo Chiung-Hua Chen (Taiwan); Gerald Cupchik (Canada); Hartmut Espe (Germany); Joao Pedro Frois (Portugal); Anna Maria Giannini (Italy); Paul Locher (USA); Pavel Machotka (USA); Colin Martindale (USA); Gis Marty (Spain); Vladimir Petrov (Russia); George Shortess (USA).

 

Program

Congress Topics :

Aesthetic Appreciation, Aesthetic Experience, Visual Perception and Art, Auditory Perception and Art, Psychology of Music, Appreciation of Literature, Culture and Media, Cinema, Festivals, Museology, Art Education

 

The technical congress program will consist of keynote addresses, parallel sessions, symposia, posters, posters, workshops, and an art exhibition.

 

Official Languages will be English and French. All written material (abstracts, posters, and contributions to the proceedings must be in English. The main language will be English, however, depending on the symposium or workshop, there will be a consecutive translation from French to English or from English to French.

 

Submission of Abstracts

Abstracts for papers, symposia or workshops must be received not later than november 5. The abstract should not exceed 600 words in length (Times New Roman, 12 points), and should be sent via e-mail. Notice of acceptance: January 2006. Deadline for the camera-ready manuscript for proceedings: April 30, 2006.

 

Proceedings

Details for the 4 pages camera-ready manuscript will be given with the notice of acceptance.

 

Registration Fees

Before March 31, 2006: 180 Euros for members of IAEA, 230 Euros for non-members, 50 Euros for students.

After March 31, 2006: 230 Euros for members of IAEA, 280 Euros for non-members, 75 Euros for students.

Reduced fees for participants from countries with exchange rate problems

 

 

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“Professor Challenger was double, articulated twice, and that did not make things any easier; people never knew which of him was present.”

 

This panel will explore the mappings Gilles Deleuze and Felix Guattari traced collaboratively. This is an interdisciplinary panel; papers devoted to explicating and contextualizing Deleuze-Guattari’s oeuvre and those setting it in conjunction with problems in disciplines including and beyond critical theory, literature, glossematics, political engagement, film studies, ecology, and psychoanalysis will be considered.

 

300-word abstracts are due to Daniel Gustav Anderson by email (danielgustavanderson at yahoo.com) by 1 March 2006, for the RMMLA conference in Tucson, Arizona, 12-14 October 2006. For details, visit www.rmmla.org

 

 

 

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Seeing Perception: Images & Texts

 

Universität Leipzig, Germany, 24-26 November 2006

 

Over the past two decades, matters of seeing and visual perception have garnered increasing critical attention. With good reason, the visual has come to feature in several different disciplines as well as in inter- or transdisciplinary perspectives (such as ?visual studies? or ?visual culture?): vision can be, and has been, conceptualised as a philosophical category, as cultural medium of expression, as instrument and technology of visualization as well as a means of communication.

Turning away from the “denigration of vision in twentieth-century French thought” (Jay 1993), studies such as Norman Bryson’s (1983) monograph on the “Logic of the Gaze,” Brennan and Jay’s (1996) collection of essays on “Vision in Context” and Jonathan Crary’s (1999) book on attention have contributed to highlight the centrality of visual perception in all areas of Western culture. A majority of contributions to the field follow a Foucauldian trajectory in stressing the constructed and ideological nature of seeing. As Crary puts it, “vision ... is embedded in a pattern of adaptability to new technological relations, social

configurations, and economic imperatives” (13). On the other hand, however, James Elkins has described seeing as irrational, inconsistent, and undependable. It is immensely troubled, cousin to blindness and sexuality, and caught up in the threads of the unconscious. Our eyes are not ours to command; they roam where they will and then tell us they have only been where we have sent them. No matter how hard we look, we see very little of what we look at. ... Seeing is like hunting and like dreaming, and even like falling in love. It is entangled in the passions “jealousy, violence, possessiveness; and it is soaked in affect” in pleasure and displeasure, and in pain. (11)

As Elkins’s title, “The Object Stares Back,” implies, there exists a reciprocal and indeed dialogical relation between spectator and object: “Ultimately, seeing alters the thing that is seen and transforms the seer.” (11f) Seeing is therefore closely related to matters of power, of sexuality (Rose), and to identity itself (Silverman).

The conference Seeing Perception attempts an overview over the main historical lines of methodological research on vision and perception, and on the multiple “practices of looking” (Sturken and Cartwright), as well as proposing new directions of research which are in continuation of, but nevertheless distinct from, those approaches offered by the visual studies/visual culture paradigm. Not the image as visible object, but the visual perception framing and surrounding it with its restless motion and performance constitutes the focal point of this conference. Visual perception as we conceive of it need not be limited to the realm of optics and to optical media; it also determines processes of reading and constructions of time and space, as well as bodily experience and processes of cognition. The multiple and varied treatments these topics have received make it necessary to take stock of the current state of debates surrounding seeing and perception, and to inquire into their underlying bases. Thus, we are interested in papers focussing on questions of theory and method (rather than mere case studies). Participants are invited from the following disciplines and fields of study: visual studies; art history; film studies; media and communication; theory of photography; literature; semiotics; narratology; philosophy.

We currently envision four conference sections:

The relation of spectator and object

Conceptualizing the relation of spectator and object raises questions of identity and alterity, self and other, as well as inquiring into the specific nature of seeing and looking. Formulations such as the “gaze,” Lacanian (Silverman) or not (Bryson 1983, 1988), fixate that relation by describing looking as a voyeuristic desire that forcefully moves towards the image and only partially replaces a desired touch with looking. Bryson’s “glance,” on the other hand, describes a respectful and self-reflexive way of looking and thus keeps the relation of spectator and object in an unfixable motion.

Going one step further, theorists such as George Didi-Huberman, James Elkins and W.J.T. Mitchell have furnished the image with its own set of eyes when they imply that images can be organisms with their own peculiar life and an at times threatening activity. Gottfried Boehm’s (2004) recent postulate of a new definition of the image no longer orients itself towards a frame, limiting part or detail, but rather centres on the intentional focus which the spectator directs at an imaging field. Conversely, images, with their ordered visuality, can seem to be ?alive? or even ?look back? at the spectator. We invite papers that critique the dynamic and dialogical formulation of the relation between spectator and object, or papers focusing on the questionable agency of the object.

Pragmatics of the image

It is well known that images can not only be looked at or perceived, but also touched, used, painted over or destroyed (Freedberg). This line of research has received increased attention through the study of new media and media art, of computer games and every kind of interactive image use. Such a pragmatics of the image is concerned with images as objects, as well as images as action, event or experience, as creation, configuration or as a deconstruction of identity (and of alterity). At the same time, this approach stresses that logical differentiations

between image and medium rely on a concept of perception which includes imagination, memory, and other practices of image production in which all meaning-making processes relating to images are based. In this context, we would like to query how far images can be said to steer or control perception, and how images translate perception into physical reactions, social gestures and pragmatic actions.

Perspectives on focalization

The concept of focalization, drawn from narratological theory (Genette), is one of the key issues in theories geared towards a transmedial narratology in the sense of a set of universal, media-independent tools of interpretation. Through its basis in the notion of perspective, focalization is associated with matters of vision; it has therefore been proposed as a concept bridging textuality and visuality (Bal), and has been tentatively used as a tool for analyzing visual artifacts (Yacobi 2002) as well as ones that combine the visual and the verbal (Horstkotte). However, it remains to be seen in how far focalization can serve to grasp the inherent problematic of seeing and the visual, or if it remains a metaphor for more traditional (or simple technical) concepts such as perspective. In particular, concepts of a “visual” focalization will have to explain how different narrative agents (author, narrator, focalizor) can be separated if we move from the textual to the iconic paradigm. The distinction between focalizor and narrator is crucial in narrative; in visual art, however, it is not always possible to clearly discriminate between a narrative agent and the represented perspective. How, then, can we move beyond the constrictions inherent in an overtly technical concept of perspective, and how can narratological categories such as focalization help us in analyzing modes of perception both within the image and circulating around it?

 Describing seeing, describing images

The ways in which images are perceived in Western culture are inextricably linked with verbal and textual structures and ways of thinking. If words can “cite,” but never “sight,” as W.J.T. Mitchell (1994) has it, how can the verbal paradigm deal adequately with matters of vision and perception? We invite participants to inquire into what Tamar Yacobi (2000) has termed “interart narrative;” moreover, we are interested in approaches linking images and texts, as each other’s “other,” beyond classical traditions of ekphrasis.

Please email paper proposals (300 words), accompanied by a short bio, by

31 January 2006.

Dr. Silke Horstkotte, Universitaet Leipzig (s.horstkotte_at_uni-leipzig.de)

Dr. Karin Leonhard, Universitaet Eichstaett-Ingolstadt  (karin.leonhard_at_ku-eichstaett.de)

 

 

 

 

CONFERENCES (2)

 

 

 

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

 

 

Colloque international:

Déconstruction Mimétique - Philippe Lacoue-Labarthe

Vendredi 27 janvier 2006 (à l'Institut Finlandais)

Matinée

Fabien Chambon (Helsinki, Finlande): Nietzsche illisible victime

Leonid Kharlamov (Paris, France): Le propre (n’)est (pas) le proche

Après-midi

Susanna Lindberg (Helsinki, Finlande): Heidegger sans musique

Artemy Magun (St Petersbourg, Russie): Révolution et mimesis

Paola Marrati (Baltimore, États-Unis):_(titre à préciser)

Samedi 28 janvier

Matinée (à la Sorbonne)

Denis Guénoun (Paris, France): La scène est-elle primitive ?

Magali Guiet (Strasbourg, France): Scènes de la représentation du mime

Esa Kirkkopelto (Helsinki, Finlande): Comparatifs de Hölderlin

Après-midi (à l'Institut Finlandais)

Maud Meyzaud (Francfort, Allemagne): Langue révolutionnaire

Jonathan Rousseau (Strasbourg, France): Écrit après : la mort du sacrifice

Institut Finlandais de Paris

Grande salle

60, rue des Écoles

75005 Paris

tél. +33 (0)1 40 51 89 09

fax +33 (0)1 40 46 09 33

Métro:

Cluny-La Sorbonne, Saint-Michel, Odéon

RER B & C: Saint-Michel-Notre-Dame

Autobus: 27, 38, 63, 86, 87

Sorbonne

Salle des Actes

Université Paris-Sorbonne (Paris IV)

1, rue Victor Cousin

75005 Paris

Tél. : 01 40 46 22 11 (standard)

Métro:

Cluny-La Sorbonne, Saint-Michel, Odéon

RER : Saint-Michel, Luxembourg 

Autobus: 27, 38, 63, 86, 87

http://lacoue-labarthe.cjb.cc/

 

 

2  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

 

Society for Cinema and Media Studies

March 2-5, 2006

Vancouver, Canada

http://www.cmstudies.org/conference_index.html

The SCMS Caucus on Class http://terri1.home.mindspring.com

"Materialism and Cinema"

The popularity of Deleuze in cinema studies is coincident with a philosophical return in the field to phenomenology, especially as inspired by Heidegger. Papers are sought which instead examine the application of materialist philosophy to the screen. What might a materialist theory of film look like and signify in the age of transnational capitalism? How would it differ from the cognitivist approaches of Bordwell and of Anderson, the analytic approaches of Allen, Smith, and Wartenberg, and the aestheticist approaches of Carroll and of Plantinga? How might it negotiate the Althusserian approaches of the 1960s-70s?

CONTACT: Terri Ginsberg - t.ginsberg.1_at_alumni.nyu.edu

 

 

LECTURES (3)

 

1  (internet source: search engine)

 

 

"Gedanken über Landschaftsmalerei" - Romantische Kunst und Philosophie der Kunst

Einrichtung: Zentrum Seniorenstudium

Vorlesungsverzeichnis: Wintersemester 2005/2006

Im Vorlesungsverzeichnis eingeordnet unter:

1 Fakultätsübergreifende Veranstaltungen > 1.4 Seniorenstudium > 1.4.6 Vortragszyklen > 1.4.6.2 B. Weltorientierung

Veranstaltungstyp: Vorlesung

Dozent(en): Prof. Dr. phil. Jörg Jantzen

Termin(e): 10.01.2006 17 -18 Uhr (10. Vorlesung der Reihe Weltorientierung am Dienstag, 10.01.2006, in HS A 140 (bisher: 225))

Ludwig-Maximilans-Universität München

Hauptgebäude, Geschwister-Scholl-Platz

http://webinfo.campus.lmu.de/view_person.cfm?ps=30254&cl=15

 

 

2 (internet source: search engine)

 

Museum Ludwig Köln

 

Kunstbewusste Vorträge der Freunde des Wallraf-Richartz-Museums und des Museums Ludwig e.V.

 

31. Januar 2006. 19.00 Uhr

 

Prof. Friedrich Kittler: Es ist eben schwierig mit der Kunst, wenn es keine Götter gibt.

Vortrag in der Reihe „Neue Perspektiven“. Gemeinsam veranstaltet mit der Fritz Thyssen Stiftung und der Gesellschaft für Moderne Kunst.

Ausgehend von der Antike und dem berühmten Prozess um die Hetäre Phryne spannt dieser Vortrag einen weiten Bogen zur Moderne und der Kunst von Yves Klein. Die Hetäre (in der Antike eine gebildete und sozial anerkannte Dirne) bot an, den Wiederaufbau des zerstörten Theben zu finanzieren. Der Bildhauer Praxiteles gestaltet daraufhin Aphrodite-Statuen nach ihrem Vorbild. Das Äußere dieser Statuen ist also eine Hetäre, der Kern eine Göttin. Im 20. Jh. Schuf nun Yves Klein mit seinen blau bemalten Modellen und ihren Körperabdrücken eine Kunst, in der wohl keine Göttin mehr wohnt …

Prof. Dr. phil. Friedrich Kittler, seit 1993 Inhaber des Lehrstuhls für Ästhetik und Geschichte der Medien am Institut für Kultur- und Kunstwissenschaften, Humboldt-Universität Berlin.

Kosten: 2,50 € / ermäßigt 1,50 € / Mitglieder der Freunde des WRM/ML frei

 

 

3 (internet source: search engine)

 

Lectures at the

 

École normale rue d'Ulm

(Musicologie.org

56 rue de la Fédération

93100 Montreuil)

 

7 janvier 2005, Séminaire « Musique et philosophie », Paris, École normale rue d'Ulm : Charles Ramond : L'interprétation des œuvres musicales : une logique de l'affectivité

15 mars 2005, Séminaire « Musique et philosophie », Paris, École normale rue d'Ulm : André Charrak : La place et les sources des références scientifiques dans la théorie harmonique de Rameau

25 mars 2006 Séminaire « Musique et philosophie », Paris, École normale rue d'Ulm : André Charrak : La place et les sources des références

 

 

 

PUBLICATIONS (2)

 

 

1 (internet source: private e-mail)

 

 

Gerhard Gamm, Andreas Hetzel (Hg.)
Unbestimmtheitssignaturen der Technik
Eine neue Deutung der technisierten Welt

Oktober 2005, 362 S.,
kart., 28,80 î
ISBN: 3-89942-351-8

Nicht dass eine fundamentale Ungewissheit nicht immer schon zum Leben dazu gehört hätte oder eine mehr oder weniger konstante und universelle Bedingung menschlicher Existenz gewesen wäre, erscheint als Problem, sondern
- dass mit der Erfahrung einer Zunahme von Unbestimmtheit auch eine mit der Gesellschaft vernetzte Technik davon betroffen und in den
Verunsicherungsprozess einbezogen ist;
- dass gesellschaftliche Freiheits- und Optionsgewinne mit nachhaltigen Orientierungsverlusten Hand in Hand gehen;
- dass die technowissenschaftliche Erzeugung von Wissen neuartige Zonen des Nichtwissens mit hervorbringt;
- dass wir nicht wissen können, was wir eigentlich tun sollen und
- dass der Umgang mit diesem Faktum die Startbedingung für eine zeitgemäß-unzeitgemäße Philosophie der Technik darstellt.
Die Beiträge dieses Bandes (u.a. von Dreyfus, Dupuy, Hörning, Hubig, Nordmann und Willke) gehen nicht nur den unterschiedlichen Aspekten dieser Entwicklung nach. Sie unternehmen auch den Versuch, die sozio-technischen Bestimmungsversuche und Vereindeutigungsstrategien abzuschätzen, die in einer radikal modernen Welt durch die Aufgabe einer "Selbstfestlegung im Unbestimmten" (Luhmann) immer aufs Neue herausgefordert werden.

Gerhard Gamm (Prof. Dr.) lehrt Philosophie an der TU Darmstadt.
Andreas Hetzel (Dr. phil.) ist Postdoc-Stipendiat im
Graduiertenkolleg "Technisierung und Gesellschaft" an der TU Darmstadt.
WWW: cms.ifs.tu-darmstadt.de/phil_gamm/
WWW: cms.ifs.tu-darmstadt.de/phil_ahetzel/

Informationen und Leseproben finden Sie unter:
http://www.transcript-verlag.de/ts351/ts351.htm

 

 

2  (internet source: register@philo.at)

 

(book:) Die Zukunft der Geisteswissenschaften

 

Die Bedingungen wissenschaftlichen Arbeitens an Hochschulen und Forschungseinrichtungen sind dabei, sich grundlegend zu ändern. Die Öffentlichkeit fragt lauter als zuvor nach den Früchten staatlich finanzierter Forschung, und die Politik fordert von den Universitäten tiefgreifende Reformen. Der öffentliche Legitimationsdruck, der angesichts von Sparzwängen und notwendiger Modernisierung auf die Universitäten zukommt, bringt die Geisteswissenschaften in besondere Bedrängnis. Wenn sie den praktischen Nutzwert ihrer Forschung vorweisen sollen, geraten sie meistens in Verlegenheit. Droht den Geistes-wissenschaften der disziplinäre Tod, oder wächst ihnen angesichts neuer Herausforderungen eine umso wichtigere Aufgabe am Beginn des 21. Jahrhunderts zu?

 

Inhaltsverzeichnis:

Julian Nida-Rümelin: Die Zukunft der Geisteswissenschaften?; Eine humanistische Perspektive

Reinhard Brandt: Zustand und Zukunft der Geisteswissenschaften

Hans-Peter Schütt: Der „Geist“ der Geisteswissenschaften

Peter Frankenberg: Die Rolle der Geisteswissenschaften zwischen Spezialisierung und Interdisziplinarität

Klaus Landfried: Wozu noch Geisteswissenschaften?

Ulrich Arnswald: Die Geisteswissenschaften?; Unterschätzte Transmissionsriemen des gesellschaftlichen Wandels und der Innovation

 

Der Band geht der Frage nach Anspruch und Zukunft der Geistes-wissenschaften nach und greift damit in die notwendige gesellschafts- und wissenschaftspolitische Debatte um die für den Wissenschaftsstandort Deutschland existentiellen Fragen ein.

 

Ulrich Arnswald (Hg.): Die Zukunft der Geisteswissenschaften, Manutius Verlag, Heidelberg, September 2005, Geb., 165 S., ISBN 3-934877-33-8, 19,80 EURO.

 

 

 

FUNDS (1)

 

 

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

 

Each year the BSA gives small grants in support of UK activities in aesthetics. Past grants have been used to support conferences and lecture series. Applications should be sent by email to the Secretary (kathleen@british-aesthetics.org) to arrive no later than December 8th. Applications should include a specific description of the project and a pre-costing which estimates how the funds would be used. Grants do not normally exceed £500. The Society does not normally make grants to projects of benefit to only one or a few individuals.

 

Kathleen Stock

 

 

 

October 2005 – December 2005

 

CALLS FOR PAPERS (21)

 

 

 

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

 

Philosophy and the Visual Arts at the American Philosophical Association

Eastern Division Meeting

New York, New York

27-30 December 2005

 

The Society for the Philosophic Study of the Contemporary Visual Arts

(SPSCVA) invites papers to be presented at its divisional meeting held

in conjunction with the Eastern Division Meeting of the American

Philosophical Association (APA-Eastern). Papers may address any topic

that involves the connection between philosophy and the visual arts:

film, photography, video, or any other aesthetic media. The Society also

welcomes proposals for panels, author-meets-critics, or other special

sessions, as well as volunteers to serve as panel chairs and

commentators. Presentations should be 20-25 minutes (10-12 pages in

length). Participants must be currently paid members of the SPSCVA.

Contact: James Harold, Department of Philosophy, Mount Holyoke College,

South Hadley, MA, 01075, < jharold@mtholyoke.edu >. E-mail submissions

are preferred.

 

Deadline: 1 April 2005

 

 

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

 

ASA Pacific Division Annual Meeting 2006

Pacific Grove, California

29-31 March, 2006

Deadline: December 1, 2005

The Pacific Division of the American Society for Aesthetics invites papers and/or panel proposals for its annual conference to be held 29-31 March, 2006 in Asilomar, California.

Submissions from persons in all arts-related disciplines, including graduate students, are welcome.

Suggested topics include feminist aesthetics, morality and art, nature aesthetics, performing arts, or any other artistic genre or particular work. These topics are only suggestions. /Paper submissions and panel proposals may be on _any_ area of interest related to aesthetics and the philosophy of art./ Volunteers to serve as commentators and/or chairs of panels are also welcome.

 

The author of the best graduate student essay submitted will be awarded $200. Submissions from graduate students, therefore, should be clearly marked as such. Submissions, accompanied by 100-word abstracts, should not exceed 3000 words in length and 20 minutes in presentation time. Those interested in organizing a panel should send a detailed proposal, including the names and affiliations of all participants and abstracts of papers. Electronic submissions are highly preferred, but hard-copy submissions are also acceptable.

 

Send submissions to one of the conference chairs: Sheila Lintott, Appalachian State University, Department of Philosophy & Religion, ASU Box 32104, Boone, North Carolina 28607, E-mail: lintottsm@appstate.edu <mailto:lintottsm@appstate.edu>; or

David Osipovich, Eastern Washington University, Department of Philosophy, 266 Patterson Hall, Cheney, Washington 99004, E-mail: dosipovich@mail.ewu.edu

 

For further information about the Asilomar conference grounds see:

http://www.visitasilomar.com/

Sheila Lintott

Assistant Professor of Philosophy

Appalachian State University

ASU Box 32104

Boone, North Carolina 28608

828-262-4031

http://www1.appstate.edu/~lintottsm/

 

 

3 (internet source: search engine)

 

CFP: Digital Arts & Cultures 2005: Copenhagen 

Posted by gif on tirsdag februar 15, @09:47

from the dept.

CALL FOR PAPERS:

Digital Arts & Cultures (DAC) Conference 2005:

"Digital Experience: Design, Aesthetics, Practice"

December 1st - December 3rd, Copenhagen, Denmark.

http://www.itu.dk/DAC2005/

The 6th DAC conference will be held at the IT University of Copenhagen,

Denmark, from December 1st to December 3rd 2005.

Researchers and practitioners from all related disciplines are invited to participate in this event and to exchange ideas, theories and experiences regarding the state of the field of digital arts, cultures, aesthetics and design anno 2005.

ON THE THEME: DIGITAL EXPERIENCE

The DAC 2005 conference invites critical examinations of the field of

digital arts and culture, which challenge existing paradigms. We call for papers which examine both theoretical and hands-on approaches to digital experiences and experience design. Since the inaugural DAC in 1998 much has happened, and research has matured from early investigations into the problematic nature of new media towards questions of emergent dynamics, user centered design and various forms of interactivity. At the same time, the realization has grown that users of digital media not only are active participants, but also have to be taken into account at all stages of the design and production of digital experiences. How do practitioners (programmers, artists, designers etc.) cater for this kind of active and demanding user? What kinds of experiences can we create?

How can these experiences inform us? How do we as academics analyse and

evaluate digital experiences? DAC has always been interested in exploring the ways in which digital media do things that traditional media cannot. We believe that the focus on 'experience' in DAC 2005 will illuminate the possibilities of digital media beyond the functional possibilities of 'usability'. What are the aesthetic and cultural implications of digital design as experience?

For suggestions of more specific topics of the papers, see the website.

SUBMISSIONS

We call for submission of full papers only. It is possible to submit either a full-length paper (max. 10 pages) or a short paper (max. 4 pages). We also invite invitations for self-organised preconference workshops.

All papers will be reviewed by an independent review committee, which will provide written feedback on each paper.

Submission of full paper (long & short) & workshop proposals: August 8th

Submission of camera-ready papers: October 28th

CONTACT

Conference organiser, academic officer: Tasha Buch, IT University of

Copenhagen (tabu@itu.dk)Conference chair: Lisbeth Klastrup, IT University of Copenhagen (klastrup@itu.dk)

Conference chair: Susana Tosca, IT University (tosca@itu.dk, currently on maternity leave)

- we look forward to meeting you at DAC 2005!

-----------------------------------------------------------------

Lisbeth Klastrup

Interim Head of Dept., Assistant Professor

Dept. of Digital Aesthetics and Communication

IT University of Copenhagen

Rued Langgaardsvej 7

DK-2300 Copenhagen S

Phone: + 45 7218 5029

Fax: + 45 7218 5001

klastrup@itu.dk

 

 

4 (internet source: search engine)

 

33rd International Hume Conference

Call for Papers

The Hume Society is pleased to announce its thirty-third annual conference, to be held August 9-12, 2006, in Koblenz, Federal Republic of Germany. 

The conference themes are: Hume and Culture, Hume and German Philosophy, and Hume’s Aesthetics.

Papers bearing some relation to the themes will be especially welcome; however, papers on any aspect of Hume’s life and works will be considered.

Papers should be no more than thirty minutes reading length with self-references in the 3rd person.  The author’s name should appear only on a front cover sheet.

Papers may be submitted in French, Spanish, German, or English, but must include an English-language or German-language abstract. Authors are requested to submit cover sheets, abstracts and papers in one file as an e-mail attachment in MS Word or rich text format.

Submissions must be sent to secretary@humesociety.org by November 1, 2005.  A link to the website can be found at http://www.humesociety.org/conferences/index.html

The Hume SocietyThis page was last updated on 17 December, 2004

This page is maintained by Lorne Falkenstein

http://publish.uwo.ca/~lfalkens/EnglishCall.htm

 

5 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

CALL FOR PAPERS

Academic Session: "A Tremendous Shattering of Tradition": Reconsidering Walter Benjamin's 'The Work of Art in the Age of Mechanical Reproduction'

(AAH Annual Conference, University of Leeds, UK, 4/6/2006 - 4/8/2006)

Session convenors: Patricia Allmer, Loughborough University School of Art and Design, Epinal Way, Loughborough LE11 3TU, sears_at_allmer.fsnet.co.uk

John Sears, Manchester Metropolitan University (Cheshire),

Interdisciplinary Studies, Hassall Road, Alsager ST7 2HL,

J.Sears_at_mmu.ac.uk

Session Abstract:

This session will commemorate the 70th anniversary of the publication of Walter Benjamin's seminal essay 'Das Kunstwerk im Zeitalter seiner  technischen Reproduzierbarkeit', translated into English by Harry Zohn in 1968 (year of revolutionary discontent) as 'The Work of Art in the Age of Mechanical Reproduction'.

In 1936 the essay offered a challenge not only to Fascist appropriations of art, but also to conventional Marxist aesthetics as well as to phenomenological theorisations of art - witness its problematic reception by Adorno and others, its expressed discontent with what it sees as depoliticised modes of aesthetic engagement, and its analysis of "a world without aura" (Rodolphe Gasch=E9). These challenges are repeated in different ways in the essay's influence on the turbulent intellectual scene of the late 1960s. It has contributed significantly to the development of both Marxist and postmodernist theorisations of  culture, as well as to the ongoing art-historical reassessment of the art work and its roles in contemporary media-dominated societies. In short, Benjamin's essay constitutes a major, if continually contested, contribution to debates about modernism and postmodernism that retain their currency in the age of digital reproduction, "a period when politics as spectacle has become a commonplace in our televisual world", as Susan Buck-Morss argues.

The essay's perennial appeal to discontented Marxist and other modes of reading modern and postmodern art may constitute one line of enquiry. Papers are also sought that will explore the essay's continuing significance for contemporary theories, practices and histories of art. The essay has exerted a profound influence on the work of key theorists (eg October) and practitioners (Warhol, Burgin, Sherman); papers may wish to explore or assess aspects or examples of this influence. Other topics might include Benjamin's notions of the aura of the art work, of originality, of reproduction; changes in the significance for art history of mechanical and other forms of reproduction; the implications and consequences of accommodating photography and film (Benjamin's exemplary modern media) within the configurations of art historical practice, and the essay's contribution to current debates about inter- and trans-disciplinarity (the 'contents' of the discipline of art history); the essay-form itself as exemplifying politicised, interventionist aesthetic practices of modernist and postmodernist malcontents; the essay itself considered as a work of art, enacting its own arguments in fragmentary, inconsistent forms; and considerations of the various publication contexts and initial critical receptions of and responses to Benjamin's essay.

Papers are invited that address these and other topics in relation to reconsiderations of Benjamin's essay.

Details for Submission of Proposals: Papers must not exceed 30 minutes. Please email a 200 word abstract to the session convenors before the 11th November 2005. Include the title of your paper, your full name and contact details and institutional affiliation (if applicable).

Please note that the call for papers for all the conference sessions will be published in the June edition of the AAH Bulletin and at the AAH

website: www.aah.org.uk

 

 

6 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

Call for Papers

Experimental Writing and Aesthetics

Abstract/Proposals by 15 November 2005

Southwest/Texas Popular & American Culture Associations

27th Annual Conference

Albuquerque, NM, February 8-11, 2006

Hyatt Regency Albuquerque

330 Tijeras

Albuquerque, NM 87102

Phone: 1.505.842.1234

Fax: 1.505.766.6710

Panels now forming on topics related to Experimental Writing and Aesthetics in such areas as the aesthetics of experimental writing in any genre or in multi-genre/multi-media works including digital and graphic compositions involving language, the poetics of performance of experimental compositions, critical studies of experimental writers, etc.

Creative writers interested in the selective creative writing readings panel should contact Jerry Bradley, Creative Writing Readings Chair, via <http://www.swtexaspca.org> in the early fall.

Scholars, teachers, professionals, writers not affiliated with academic institutions, and others interested in experimental writing are encouraged to participate. Graduate students are also particularly welcome with award opportunities for best graduate papers.

If you wish to organize your own panel, I will be happy to facilitate your scheduling needs.

Send abstracts, papers, or proposals for panels with your email address by 15 November 2005:

Hugh Tribbey, Experimental Writing and Aesthetics Chair

Email: htribbey_at_mailclerk.ecok.edu

Mailing Address:

Dr. Hugh Tribbey

Department of English and Languages

East Central University

1100 E. 14th St.

Ada, OK 74820

Phone: 580-310-5524; Fax: 580-436-3329

Conference Website: <http://www.h-net.org/~swpca/> (updated regularly)

 

 

 

7 (internet source: search engine)

 

Call  for  Papers

THE GERMAN SOCIETY FOR

CONTEMPORARY  THEATRE  AND  DRAMA  IN   ENGLISH (CDE)

15th Annual CDE Conference 2006,

Augsburg, Germany, May 25-28, 2006

“Drama and/after Postmodernism”

The German Society for Contemporary Theatre and Drama in English announces its 15th Annual Conference (May 25-28, 2006). It will be organized by the Chair of English Literature at the University of Augsburg and held at a conference venue in the town centre of Augsburg.

In the past three decades, few discourses in the humanities and social sciences have found a resonance as lasting as the discourses of postmodernism. Various theoretical approaches in philosophy, sociology, psychoanalysis, gender studies and – last but not least – literary studies (i.e. Barthes, Baudrillard, Cixous, Deleuze, Derrida, Foucault, Habermas, Irigaray, Kristeva, Lacan, Lyotard, Jameson, and many others) have outlined postmodern culture or express a postmodern zeitgeist. The conference will address the issues of a postmodern aesthetics in/of drama, and thereby discuss the future of postmodernism via questioning as to whether contemporary drama adheres to the ‘incompleted project of modernism’ or rather considers postmodern fragmentation and anti-rationalism as a liberating avenue.

Topics may include, but are not limited to:

analysis and evaluation of central assumptions of postmodern theory and their aesthetic reflection in the texts of contemporary playwrights;  re-evaluation of the significance of the Avant-garde in the context of contemporary drama and theatre in English; introduction to and critical discussion of postmodern discourses and their historical context in the social and political sphere; critical analysis of the relationship between dramatic theory and theatrical practice in the context of contemporary drama and theatre in English.

Abstracts:

If you propose to give a talk (in English, not exceeding 20 minutes), please submit your title and an abstract of 200 words accompanied by a short biographical sketch. In addition to the presentation of papers we particularly invite contributions to alternative forms of discussion: e.g. proposals for workshops on Teaching Contemporary Drama in English and on Theatre Practice/Working with English Drama Groups.

Deadline for submission of abstracts: 31 December 2005.

Only paid-up members are eligible to read papers at CDE conferences.

NB: Membership subscriptions may be taken out or renewed during the conference.

Please send your proposals to:

Prof. Dr. Martin Middeke

Universität Augsburg

Lehrstuhl für Englische Literaturwissenschaft

D-86135 Augsburg

e-mail: martin.middeke@phil.uni-augsburg.de

Dr. Christoph Henke

Universität Augsburg

Lehrstuhl für Englische Literaturwissenschaft

D-86135 Augsburg

e-mail: christoph.henke@phil.uni-augsburg.de

http://fb14.uni-mainz.de/projects/cde/conferen/augsburg/

 

 

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

 

cfp:

LITERATURE, EPISTEMOLOGY AND SCIENCE

 

(12/31/05 proposals;  11/30/06 articles for journal issue)

European Journal of English Studies, Vol. 11, Issue 3 (Routledge)

The purpose of this special issue of EJES is to examine the relationship

between literature (or art in general) and the realms of epistemology and science which philosophers have tried to connect or to compare to literature in various ways since the beginning of aesthetics. The justification of literature has often gone hand in hand with an attempt to prove its cognitive content or its "truth"; more recently, many influential studies have endeavoured to show how literature and the arts have helped determine the course of scientific research and/or

epistemological theory. There is, of course, a long tradition of debate about this subject, with arguments ranging from T.L. Peacock's claim that while "the historian and the philosopher are advancing in, and accelerating, the progress of knowledge, the poet is wallowing in the rubbish of departed ignorance" to the Wordsworthian vision of poetry as "the breath and finer spirit of all knowledge". Related forms of the same question can be seen in the debate between I.A. Richards and T.S. Eliot on the problem of belief, in the so-called "Two Cultures

Controversy" and even in the recent controversy raised by Alan Sokal's hoax. The title of this special issue intentionally places epistemology in the centre, since there may be some point in arguing that literature, fiction, and the arts in general play a full epistemological role without necessarily contributing directly to the sciences themselves.

Authors of articles will be asked to address the theoretical issues involved in this continuing debate via the examination of a certain number of concrete literary or artistic examples taken from the field of English Studies in the largest sense of this term. EJES welcomes polemical papers as well as more particular studies of a specialized point, the only general requirement being that all papers be informed by current work in the field.

Proposals for papers and enquiries regarding the issue should be sent by e-mail to Ronald Shusterman RonaldShusterman@tele2.fr

The deadline for proposals is 31 December 2005, with delivery of completed essays by 30 November 2006.

 

 

 

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cfp:

LITERATURE, EPISTEMOLOGY AND SCIENCE

 

(12/31/05 proposals;  11/30/06 articles for journal issue)

European Journal of English Studies, Vol. 11, Issue 3 (Routledge)

The purpose of this special issue of EJES is to examine the relationship

between literature (or art in general) and the realms of epistemology and science which philosophers have tried to connect or to compare to literature in various ways since the beginning of aesthetics. The justification of literature has often gone hand in hand with an attempt to prove its cognitive content or its "truth"; more recently, many influential studies have endeavoured to show how literature and the arts have helped determine the course of scientific research and/or

epistemological theory. There is, of course, a long tradition of debate about this subject, with arguments ranging from T.L. Peacock's claim that while "the historian and the philosopher are advancing in, and accelerating, the progress of knowledge, the poet is wallowing in the rubbish of departed ignorance" to the Wordsworthian vision of poetry as "the breath and finer spirit of all knowledge". Related forms of the same question can be seen in the debate between I.A. Richards and T.S. Eliot on the problem of belief, in the so-called "Two Cultures

Controversy" and even in the recent controversy raised by Alan Sokal's hoax. The title of this special issue intentionally places epistemology in the centre, since there may be some point in arguing that literature, fiction, and the arts in general play a full epistemological role without necessarily contributing directly to the sciences themselves.

Authors of articles will be asked to address the theoretical issues involved in this continuing debate via the examination of a certain number of concrete literary or artistic examples taken from the field of English Studies in the largest sense of this term. EJES welcomes polemical papers as well as more particular studies of a specialized point, the only general requirement being that all papers be informed by current work in the field.

Proposals for papers and enquiries regarding the issue should be sent by e-mail to Ronald Shusterman RonaldShusterman@tele2.fr

The deadline for proposals is 31 December 2005, with delivery of completed essays by 30 November 2006.

 

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

 

I am very happy to announce that the next issue of the Postgraduate Journal of Aesthetics (Vol. 2, No.2) is now available to view online. To access, please follow the link from www.british-aesthetics.org.

The August issue has been specially devoted to the Philosophy of Music, and includes a professional contribution from Mark DeBellis, writing about the role of nonconceptual content in music perception.

The content is as follows:

Mark DeBellis

Conceptual and Nonconceptual Modes of Music Perception

Daniel Gallagher

Restating the Case for Representation in the Philosophy of Opera

Guy Dammann

What do we Understand in Musical Experience?

Antonio Lopes

Musical Works and Performance Evaluation

Nick Jones

I Never Heard No Horse Play Guitar

Elina Packalen

Musical Feelings and Atonal Music

I would also like to give a special thanks to Anthony Pryer and Aaron Ridley for

their assistance in preparing this issue of the PJA.

--

Christopher Bartel, Editor

Postgraduate Journal of Aesthetics

www.british-aesthetics.org

King's College, London

christopher.bartel@kcl.ac.uk

 

 

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

 

Call for papers

Exchanges at the Interface Between Art History and Philosophy

 

Paper abstracts of no more than 250 words are invited for the session ‘Exchanges’ at the 32nd Annual Conference of the Association of Art Historians

 

University of Leeds, April 5-7, 2006

 

As art history continues to be characterised by self–reflexivity, reflecting upon questions of methodology, objectives and scope, can philosophy point to some new directions? Once associated with the “heroic phase” of the discipline, the Kantian and Hegelian legacies can be fruitfully re–examined, in particular in the aftermath of debates surrounding formalism. Are there remaining important questions to be asked within this philosophical framework? And is there restorative work that needs to be undertaken, leading to a richer understanding of this tradition of thought, which has often been subjected to oversimplification and distortion? Furthermore, is it conceivable that the cross–fertilisation of the discipline with numerous methodologies has led to diversification and fragmentation to such an extent that a return to a unifying discourse on method –

pluralistic rather than monolithic – could, rather against the odds, prove constructive? And would such an endorsement of reflection at a meta–level, not entangled in ideological struggles, identify a standpoint at all feasible or desirable?

This session invites papers that explore and re–evaluate the post–Kantian philosophical contribution to art history, but also papers that attempt to forge links to contemporary Anglo–American philosophy and its characteristic preoccupation with second–order theoretical investigation. The common ground between papers addressing these two different schools of thought would be provided by emphasis on methodological issues. Moreover, papers that explore the content of the term “philosophy of art history”, debating whether it is worth

being established as a branch of philosophy, are particularly pertinent to the concerns of the session. The latter would ideally include both positive and sceptical approaches.

Deadline: November 11, 2005

Katerina Reed-Tsocha

Trinity College and Department of History of Art

University of Oxford

katerina.reed-tsocha@trinity.ox.ac.uk

For more details, please see the AAH 2006 conference website http://www.aah.org.uk/confs/2006aah/2006aah.html

 

 

 

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

 

conference

Negotiating the Sacred II : Blasphemy and Sacrilege in the Arts

Call for Papers

http://www.anu.edu.au/culture/conf/sacred/index.htm

Dr. Maria-Suzette Fernandes-Dias

Centre for Cross-Cultural Research

The Australian National University

ACTON ACT - 0200

Tel: + 61 2 6125 9879

Fax: + 61 2 62480054

 

13  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

 

cfp:

LITERATURE, EPISTEMOLOGY AND SCIENCE

 

European Journal of English Studies, Vol. 11, Issue 3 (Routledge)

The purpose of this special issue of EJES is to examine the relationship between literature (or art in general) and the realms of epistemology and science which philosophers have tried to connect or to compare to literature in various ways since the beginning of aesthetics. The justification of literature has often gone hand in hand with an attempt to prove its cognitive content or its "truth"; more recently, many influential studies have endeavoured to show how literature and the arts have helped determine the course of scientific research and/or epistemological theory. There is, of course, a long tradition of debate about this subject, with arguments ranging from T.L. Peacock's claim that while "the historian and the philosopher are advancing in, and accelerating, the progress of knowledge, the poet is wallowing in the rubbish of departed ignorance" to the Wordsworthian vision of poetry as "the breath and finer spirit of all knowledge". Related forms of the same question can be seen in the debate between I.A. Richards and T.S. Eliot on the problem of belief, in the so-called "Two Cultures

Controversy" and even in the recent controversy raised by Alan Sokal's hoax. The title of this special issue intentionally places epistemology in the centre, since there may be some point in arguing that literature, fiction, and the arts in general play a full epistemological role without necessarily contributing directly to the sciences themselves.

Authors of articles will be asked to address the theoretical issues involved in this continuing debate via the examination of a certain number of concrete literary or artistic examples taken from the field of English Studies in the largest sense of this term. EJES welcomes polemical papers as well as more particular studies of a specialized point, the only general requirement being that all papers be informed by current work in the field.

Proposals for papers and enquiries regarding the issue should be sent by e-mail to Ronald Shusterman: RonaldShusterman_at_tele2.fr

The deadline for proposals is 31 December 2005, with delivery of completed essays by 30 November 2006.

 

 

14 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

 

CALL FOR PAPERS

The Louisiana State University English Graduate Student Association (EGSA) would like to announce its 16th Annual Mardi Gras Conference, February 10--11, 2006 in Baton Rouge, LA

 

Text and the Provisionality of Meaning: Theory into Action

 

Keynote Speaker: Terry Eagleton, Professor of Cultural Theory and the John Rylands Fellow, The University of Manchester, England. Selected Publications: Literary Theory: An Introduction (1983/1996), The Gatekeeper: A Memoir (2001), After Theory (2004)

?There can be no reflexive life without theory,? writes Terry Eagleton. With this in mind, we are seeking papers that use theory to provide new ideas and insights into human experience.

The EGSA encourages paper submissions by graduate students, faculty, independent scholars, and activists that explore literary works and community literacy practices via an established theoretical approach such as formalism, semiotics, hermeneutics, narratology, psychoanalysis, reception theory, phenomenology, structuralism, psychoanalytic, poststructuralism, Marxism, feminism, queer theory, historicism, postcolonial studies, etc. The conference hopes to answer questions about a broad array of fundamental issues pertaining to the reading and interpretation of literature, culture, tradition, nationalism, genre, gender, meaning, paraphrase, originality, intertextuality, authorial intention and the unconscious, literary education, rhetoric, mimesis, representation, and truth. The conference is designed to examine the place of theory in academia, but more importantly, to place theory in a broader context. We will question established theoretical models by considering their ability to convey meaning and shape the way we read.

To establish a meaningful connection between theory and action, the conference will also involve a strong community literacy component; therefore, papers that seek to conjoin theory with literacy are also encouraged. Papers addressing topics such as adult literacy, prisoner literacy, and literacy programs in the public schools are especially welcome. The conference will feature a forum designed to introduce attendees to various local community programs that work to bolster literacy levels. The forum is intended to unify people and programs within the profession, develop resources, share ideas, share research, and generally come together to discuss how city- and statewide programs can aid one another in the goal of increased literacy rates. We are working to confirm the publication of a conference proceedings that will include select presentations concerned with community literacy.

Creative works that explore theoretical concepts relating to literacy are also encouraged. All genres are welcome. Accepted works will be read at an event that is free and open to the public, and the best creative work will receive the first annual EGSA Mardi Gras Imagination (MGI) Award.

Submission deadline: December 1, 2005. Papers should about 15 minutes duration. Please send an abstract of no more than 200 words and your CV by ttachment or in the body of an email to esgamardigras_at_lsu.edu

http://www.lsu.edu/student_organizations/egsamardigras

LSU is accessible by the Baton Rouge Metropolitan Airport

 

 

15  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

 

Call for papers:

Crossings: A Counter-Disciplinary Journal

Issue # 9: The "Work" of Art

DEADLINE: December 1, 2005

 

The ninth issue of Crossings aims at addressing the ambiguous relationship between the aesthetic and the ethical. The binary between ethicism (the notion of art as a guide to morality) and aestheticism (the notion that art and morality are autonomous spheres) has historically framed the thinking about art and ethics, but what is at stake in limiting our thinking to this framework? We invite people to think beyond and across this gulf and to imagine other possibilities

of art's power.

Assuming that art exercises power in the realms of the social and the ethical, we may ask the question: what should art do, or what is the work of art? We know that art can instigate social change, but art's power may reach further, actually determining the social and the ethical in some way.

Philosophers have long discussed thought's dependence on the construction of images, or what might be termed "the imagination". Given this relationship between thinking and the imagination, are moral and political philosophy, along with other forms of thinking, forms of art or literature? What is the transformative power of image-making in relation to thinking and the construction of a social reality? Do aesthetics and the imagination hold the radical potential to burst the solidity of the normative structures of "universal" modes of perception and fundamentally change the way we construct and relate

to our world and one another? What are the implications of this complex network that encompasses thinking, the imagination, the aesthetic, and the political, social, and ethical?

All forms of art are open for discussion. We invite essays from practicing artists in all mediums, in addition to scholars from various fields.

Possible topics include, but are not limited to:

Aestheticizing politics and politicizing art

Journalism

"Body Art": Piercing, Tattoos, Body Building

Happenings

Politically "committed" literature

Indigenous art

The instrumentalization of art

Art and violence

The institutionalization of art

Art and revolution

Ethics as art/Art as ethics

Art and pornography

Info-tainment

Fetishism

Testimonial

Art and authenticity

Exposure to alterity or the political through art

Myth

The art market

Photography

Grafitti

Performance art

Image-making and thinking

Religion and popular literature

The gesture of art's work in relation to language

Protest art forms

Pedagogical possibilities: Art and the ethical in the classroom

Submissions should be in MSWord or WordPerfect format, double-spaced, and conform to the Chicago Manual of Style, 15th edition, endnote citation format. Hard copy manuscripts should be submitted in duplicate and should be accompanied by a disk version (IBM compatible 3 1/2" disk). Manuscripts will not be returned unless accompanied by a self-addressed, stamped envelope. A style sheet is available in Adobe Acrobat format on-line at: http://crossings.binghamton.edu/style.pdf

Additional information can be found at: http://crossings.binghamton.edu

Send all manuscripts and inquiries by December 1, 2005 to:

Amy Smith at xings_at_binghamton.edu

Or,

Crossings

Department of English

P.O. Box 6000

Binghamton University

Binghamton, New York 13902-6000

 

 

16  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

cfp

New Jersey College English Association Spring Conference

to be held on

March 18, 2006 in

Jubilee Hall, on the Seton Hall University campus in

South Orange, NJ 07079

Papers are being accepted for a panel titled

"Poetry as Theory, Theory as Poetry"

Please send proposals, which must include all contact information, especially an e-mail address, and institutional affiliation if there is one, to:

Burt Kimmelman

Humanities Department

New Jersey Institute of Technology

Newark, NJ 07102

kimmelman_at_njit.edu

http://web.njit.edu/~kimmelma

Abstracts of 300 words should be emailed, if at all possible. Full papers should be sent as hard copy, along with an e-mail notification of the snail mailing; a full paper is not necessary but an abstract is (feel free to go over the 300-word limit).

Deadline: 15 December 2005.

Please visit the NJCEA website at http://www.njcea.org  or a complete call for papers and session proposals, and to learn more about this organization.

 

 

17  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

CALL FOR PAPERS - UPDATE

Academic Session

"A Tremendous Shattering of Tradition": Reconsidering Walter Benjamin's 'The Work of Art in the Age of Mechanical Reproduction'"

 

AAH Annual Conference, University of Leeds, UK, 4/6/2006 - 4/8/2006

Session convenors: Patricia Allmer, MIRIAD, Manchester Metropolitan University, Cavendish North Building, Cavendish Street, 20

Manchester, M15 6BG, sears_at_allmer.fsnet.co.uk

John Sears, Manchester Metropolitan University (Cheshire), Interdisciplinary Studies, Crewe Green Road, Crewe, Cheshire, CW1 5DU, J.Sears_at_mmu.ac.uk

Session Abstract:

This session will commemorate the 70th anniversary of the publication of Walter Benjamin's seminal essay 'Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit', translated into English by Harry Zohn in 1968 (year of revolutionary discontent) as 'The Work of Art in the Age of Mechanical Reproduction'.

In 1936 the essay offered a challenge not only to Fascist appropriations of art, but also to conventional Marxist aesthetics as well as to phenomenological theorisations of art - witness its problematic reception by Adorno and others, its expressed discontent with what it sees as depoliticised modes of aesthetic engagement, and its analysis of "a world without aura" (Rodolphe Gasch=E9). These challenges are repeated in different ways in the essay's influence on the turbulent intellectual scene of the late 1960s. It has contributed significantly to the development of both Marxist and postmodernist theorisations of culture, as well as to the ongoing art-historical reassessment of the art work and its roles in contemporary media-dominated societies. In short, Benjamin's essay constitutes a major, if continually contested, contribution to debates about modernism and postmodernism that retain their currency in the age of digital reproduction, "a period when politics as spectacle has become a commonplace in our televisual world", as Susan Buck-Morss argues.

The essay's perennial appeal to discontented Marxist and other modes of  reading modern and postmodern art may constitute one line of enquiry. Papers are also sought that will explore the essay's continuing significance for contemporary theories, practices and histories of art. The essay has exerted a profound influence on the work of key theorists (eg October) and practitioners (Warhol, Burgin, Sherman); papers may wish to explore or assess aspects or examples of this influence. Other topics might include Benjamin's notions of the aura of the art work, of originality, of reproduction; changes in the significance for art history of mechanical and other forms of reproduction; the implications and consequences of accommodating photography and film (Benjamin's exemplary modern media) within the configurations of art historical practice, and the essay's contribution to current debates about inter- and trans-disciplinarity (the 'contents' of the discipline of art history); the essay-form itself as exemplifying politicised, interventionist aesthetic practices of modernist and postmodernist malcontents; the essay itself considered as a work of art, enacting its own arguments in fragmentary, inconsistent forms; and considerations of the various publication contexts and initial critical receptions of and responses to Benjamin's essay.

Papers are invited that address these and other topics in relation to reconsiderations of Benjamin's essay.

Details for Submission of Proposals:

Papers must not exceed 30 minutes. Please email a 200 word abstract to the session convenors before the 11th November 2005. Include the title of your paper, your full name and contact details and institutional affiliation (if applicable).

Please note that the call for papers for all the conference sessions has been published in the June edition of the AAH Bulletin and at the AAH website: www.aah.org.uk

 

 

 

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

 

ASA Pacific Division Annual Meeting

March, 29-31, 2006, Pacific Grove, California

The Pacific Division of the American Society for Aesthetics invites papers and/or panel proposals for its annual conference.

Submissions from persons in all arts-related disciplines, including graduate students, are welcome. Suggested topics include feminist aesthetics, morality and art, nature aesthetics, performing arts, or any other artistic genre or particular work. These topics are only suggestions. Paper submissions and panel proposals may be on any area of interest related to aesthetics and the philosophy of art. Volunteers to serve as commentators and/or chairs of panels are also welcome.

The author of the best graduate student essay submitted will be awarded $200. Submissions from graduate students, therefore, should be clearly marked as such. Submissions, accompanied by 100-word abstracts, should not exceed 3000 words in length and 20 minutes in presentation time. Those interested in organizing a panel should send a detailed proposal, including the names and affiliations of all participants and abstracts of papers. Electronic submissions are highly preferred, but hard-copy submissions are also acceptable.

Deadline: December 1, 2005

Sheila Lintott

Department of Philosophy & Religion

Appalachian State University

ASU Box 32104

Boone NC 28607

lintottsm@appstate.edu

David Osipovich

Department of Philosophy

Marist College

Poughkeepsie NY 12601

david.osipovich@marist.edu

 

 

 

 

19  (internet source: aesthetics-l@LISTSERV.INDIANA.EDU, http://www2.warwick.ac.uk/fac/soc/philosophy/news/deleuze_and_literature/)

 

cfp

“Deleuze and Literature”

 

A Two-Day Conference Organised by the Centre for Research in Philosophy and Literature, University of Warwick

20th/21st March 2006

Confirmed Speakers:

Mary Bryden (Cardiff)

Daniel Smith (Purdue)

Anthony Uhlmann (Sydney)

Jeff Wallace (Glamorgan)

Claire Colebrook (Edinburgh)

James Williams (Dundee)

David Musselwhite (Essex)

Miguel de Beistegui (Warwick)

'To write is certainly not to impose a form (of expression) on the matter of lived experience…Writing is a question of becoming, always incomplete, always in the midst of being formed, and goes beyond the matter of any liveable or lived experience. Writing is inseparable from becoming: in writing, one becomes-woman, becomes-animal or vegetable, becomes-molecule to the point of becoming-imperceptible.' (Gilles Deleuze, 'Literature and Life')

This two-day international conference will provide an opportunity to explore important aspects of Gilles Deleuze's contribution to the contemporary philosophical understanding of literature. We aim to bring together many individuals working on a multiplicity of areas arising from Deleuze's philosophical work on literature and literary texts, concentrating upon specific issues concerning philosophy's relation to literary language, form and creativity. We are keen to invite a small number of speakers to join the participants we have already confirmed for this conference. Topics of possible papers might include the role of literature as the production of what Deleuze terms 'lines of flight' and the creation of 'visions and auditions'; Kafka and the notion of Minor Language; the vocation of literature; the relation between literature, life and becoming, and the creative pedagogy associated with literature. It is envisaged that a very broad range of literary authors will be discussed during this conference, including Franz Kafka, Antonin Artaud, Marcel Proust, Samuel Beckett, Sacher-Masoch, Herman Melville, Henry James, Thomas Hardy, Virginia Woolf, D.H. Lawrence and F.Scott Fitzgerald.

Abstracts of not more than 500 words should be sent to Dr Darren Ambrose at the address below by November 1st 2005.

d.ambrose@warwick.ac.uk

Deleuze & Literature Conference

Centre for Research in Philosophy and Literature

Department of Philosophy

University of Warwick

Coventry, CV4 7AL

UK

 

 

20  (internet source: http://www.crvp.org/Philosophical_Calendar/index.html)

 

Call for papers:

"Reading Herbert Marcuse's Eros and Civilization After Fifty Years"

The campus of Saint Joseph's University in Philadelphia, PA.

 

November 3-6, 2005

Directions for Paper Submissions Papers should be suitable for delivery in 30 minutes speaking time. Abstracts may be sent by surface mail to:

Dr. Arnold Farr

Philosophy Department

Saint Joseph's University

5600 City Avenue

Philadelphia, PA 19131

http://www.sju.edu/cas/philosophy/marcuse_conference/call_paper.html

 

 

 

21  (internet source: search engine)

 

cfp

BECKETT'S PROUST/DELEUZE'S PROUST

 

The School of European Studies at Cardiff University invites paper submissions for a two-day international conference to take place at Cardiff University on 10th and 11th March 2006. Current sponsors include the British Academy, and the Society for French Studies.

This conference will stage an interdisciplinary encounter between three influential French writers: the novelist Marcel Proust, the playwright and novelist Samuel Beckett, and the philosopher and cultural critic Gilles Deleuze. Although individually the subject of sustained critical attention, the three writers are innovatively drawn together here in an event designed to draw out their complementary insights and their aesthetic, literary, and philosophical affinities. These affinities are many and complex. Both Beckett and Deleuze wrote monographs on Proust. Visual and sonic phenomena are crucial in the writing of Proust and Beckett, while their fusion in the televisual and cinematic was a preoccupation of Deleuze, who not only wrote a study of Beckett's television plays, but also included analysis of Beckett's only work for cinema, Film, in his 2-volume study of cinema. The writing of Proust and Beckett has, in turn, inspired musical composition, and a performance of a selection of this music is planned as a special conference event.

This is a particularly timely moment to stage such a conference. 2006 marks the centenary of Beckett's birth, and prompts a widespread evaluation of his cross-generic oeuvre, while Deleuzian scholarly debate continues unabated since his death in 1995. There has also been a marked resurgence of interest in Proust in recent years, as evinced by the philosophers, novelists, and film-makers who have reinterpreted his work. The conference will be of interest both to the corpus of scholars attached to each of these three writers and to those engaged, more specifically, in questions of intertextual, interaesthetic and interdisciplinary exchange. In addition to keynote addresses, there will be two concurrent panels on each day of the conference. These intersecting perceptions will be drawn out in a concluding round table, but will also be more widely disseminated in an edited collection of essays based upon the conference papers.

Guidelines: submission deadline is 15 November 2005. Papers are invited which relate Proust's work to that of Beckett AND/OR Deleuze. The field of engagement is broad. Areas to be considered might include:

¢ Philosophical, literary and/or aesthetic affinities

¢ Beckett's and/or Deleuze's evaluations of Proust

¢ Proustian influences on Beckett and/or Deleuze

¢ The interaesthetic: visual, sonic, cinematic, e.g.:

¢ How have painters, musicians or film-makers interpreted their work?

¢ Problems of adaptation: comparisons and contrasts

¢ Music/the visual arts, painters/musicians in their works

¢ The musical or visual textures of their work

¢ Cinematic features in their work

¢ Proust as (Beckettian) dramatist?

¢ Proust as (Deleuzian) philosopher or cultural critic?

¢ To what extent is Beckett's Proust Deleuze's Proust?

¢ What might Proust have made of Beckett and/or Deleuze?

We would also welcome proposals for other creative contributions. These might include:

¢ A conversation between Proust, Deleuze and Beckett

¢ A la recherche by Beckett

¢ A la recherche by Deleuze

Papers should last approximately 20 minutes. Please send abstracts of 250-300 words, preferably in Word format, by email to either of the organisers: Mary Bryden BrydenKM@cardiff.ac.uk, or Margaret Topping ToppingM@cardiff.ac.uk, or by mail to:

Professor Mary Bryden

School of European Studies

Cardiff University

65-68 Park Place

CARDIFF

CF10 3AS

United Kingdom

Tel: (+44) (0)29 2087 4889

Fax: (+44) (0)29 2087 4946

 

 

 

 

 

 

 

CONFERENCES (12)

 

 

 

1 (internet source: http://www.nietzsche-gesellschaft.de/deutsch/anzcall05.htm)

 

Philosophie und Musik bei Nietzsche

 

15. Jahrestagung der Nietzsche-Gesellschaft e.V.

14. - 16. Oktober 2005 in Naumburg (Saale),

in Zusammenarbeit mit der Universität der Künste Berlin

Mit freundlicher Unterstützung des Landes Sachsen-Anhalt

Wissenschaftliche Leitung: Beatrix Himmelmann, Organisation: Ralf Eichberg.

Die Musik hielt Nietzsche lebenslang in ihrem Bann. Als Philosoph versuchte er nicht nur die Tragödie, sondern die ganze Welt aus „dem Geiste der Musik“ zu verstehen. Musikalische Werke versuchte der Komponist von Chorälen, Liedern und Klavier-stücken nicht nur mit Hilfe von Tönen zu schaffen, sondern ebenso aus Worten zu formen. Nietzsches Philosophie ist auch eine hochmusikalische Philo-sophie, und er selbst ist es, der ein „musiktreibender Sokrates“ sein wollte!

So besteht Anlass genug, dem Verhältnis von Philosophie und Musik bei Nietzsche einmal genauer nachzugehen – zumal er über seine Auseinander-setzung mit Richard Wagner auch Gegenstand der Musikgeschichte geworden ist und eine Reihe von Komponisten und Musikern beeinflusste.

Mit Beiträgen von:

Rüdiger Görner (London), Rainer Cadenbach (Berlin), Peter André Bloch (Mulhouse/Sils Maria), Aldo Venturelli (Urbino), Dieter Schellong (Münster), Georges Liebert (Paris) und Christoph Landerer (Wien).

Vom 20. 08. bis 27. 11. 2005 zeigt das Stadtmuseum Naumburg im Nietzsche-Haus eine Ausstellung unter dem Titel „Nietzsche und der deutsche Geist – die Sammlung Richard F. Krummel“

 

Nietzsche-Gesellschaft e.V., Weingarten 18, 06618 Naumburg (Saale),

e-mail: info@nietzsche-gesellschaft.de.

 

 

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

 

Society for Student Philosophers Annual Conference

Grand Valley State University

Grand Rapids, Michigan

October 1-2, 2005

 

Keynote Speaker: Martha Nussbaum, Ernst Freund Distinguished Service Professor of Law and Ethics, University of Chicago

 

The Society for Student Philosophers (SSP) invites the submission of papers for possible presentation at their Annual Conference, hosted this year by Grand Valley State University, Grand Rapids, Michigan.

Papers should be philosophical in the broad sense of the term, showcasing student research and critical thinking at its best.

Authors must be of student status (e.g., not holding a Ph.D. and still pursuing their philosophical education) and papers must not be published or accepted for publication.  Papers previously presented at SSP events are excluded from submission.  Authors are permitted to submit one paper for consideration.

Papers should be around 15 pages in length, and suitable for a 20 minute presentation.

Leave identifying references to the author out of the submitted paper, and include author information (address, institution, etc.) in the text of your email.

Unreadable or virus infected files will not be considered.

For more details on the conference, check out the SSP website: http://members.aol.com/stphilsociety/index.htm

Please send your paper as an email attachment (Word or PDF file) to:

Scott Stroud, SSP Director at: ssp@temple.edu

Deadline for Submissions: June 20, 2005

 

 

3 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

 

A Tribute to Richard Wollheim

THE BRITISH PSYCHOANALYTICAL SOCIETY

Psychoanalytic Forum and Scientific Committee Art, Emotion and Psychoanalysis:

A TRIBUTE TO RICHARD WOLLHEIM

Saturday 8 October 2005 9.30am to 4pm

at The Institute of Psychoanalysis, 112A Shirland Road, London W9

Speakers: Sebastian Gardner Richard Wollheim's Aesthetics Edward Harcourt Guilt, Shame, and “the Philosophy of Love” Jim Hopkins Psychoanalysis and Wollheim’s Philosophy of Mind Michael Lacewing ‘Wollheim and the Puzzle of Unconscious Emotion’ Discussants: David Bell Edna O’Shaughnessy Chair: Louise Braddock DAVID BELL is a Fellow of The Institute of Psychoanalysis, a Training Psychoanalyst and Chairman of the Scientific Committee. He is a Consultant Psychiatrist in the Adult Department at the Tavistock Clinic. SEBASTIAN GARDNER is a member of the Philosophy Department at University College London. His research interests include philosophy of psychoanalysis, aesthetics, and post-Kantian history of philosophy. EDWARD HARCOURT is Senior Lecturer in Philosophy at the University of Kent and, from September 2005, Fellow and Tutor in Philosophy at Keble College, Oxford. JIM HOPKINS is Reader in Philosophy at Kings College London. He gave a yearly seminar with Richard Wollheim on ‘Philosophy and Psychoanalysis’ when Wollheim was Professor and Head of Department at University College London. MICHAEL LACEWING is a Lecturer at Heythrop College, University of London. His research concentrates on the interface between psychoanalysis and ethics, and he is currently researching on the nature of unconscious emotion. EDNA O’SHAUGHNESSY is a Fellow of The Institute of Psychoanalysis. LOUISE BRADDOCK is a former psychiatrist and has taught Philosophy at St Anne’s College, Oxford. REGISTRATION FEES (Includes a light lunch) Full Price: £45 Trainees: £30 Students: £22 Tickets from: Ann Glynn, The Institute of Psychoanalysis, 112A Shirland Road, London

 

 

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http://www.sfb626.de/

Jahrestagung des Sfb 626

SPRACHEN DER ÄSTHETISCHEN ERFAHRUNG

4.-6. November 2005

Staatliches Institut für Musikforschung

Preußischer Kulturbesitz

Curt-Sachs-Saal

Tiergartenstraße 1

10785 Berlin

(am Kulturforum)

Im Sprechen und durch Sprache werden ästhetische Erfahrungen bezeugt, ausgetauscht und dokumentiert. Diese scheinbar selbstverständliche Feststellung setzt voraus, dass die Sprache zu solchen Erfahrungen immer erst wie ein Transportmittel dazukommt. Das Gegenteil ist aber ebenso gut vorstellbar: dass eine frisch gewonnene ästhetische Erfahrung bei ihrer Versprachlichung wie neuer Wein in alten Schläuchen verwahrt wird. Denkbar ist auch ein Drittes: dass sich von ästhetischen Erfahrungen außerhalb der Sprachen, in denen sie sich bekunden, gar nicht reden lässt; im Extremfall, dass diese Erfahrungen sich überhaupt erst in der Sprache bilden. In diesem Fall müsste man allerdings das Spektrum möglicher Sprachen sehr weit fassen. So wollte schon Herder die Sprache der Begriffe durch Körpersprache korrigiert sehen. Er erinnert in diesem Zusammenhang an den selbstvergessenen Betrachter von Skulpturen, der deren Haltung mit dem eigenen Körper nachstellt.

Die Jahrestagung beschränkt sich auf einen engen Ausschnitt des weiten Feldes. Sie hält sich zum einen an Verbalisierungen und konzentriert sich zum anderen auf Kunsterfahrung. Sie will aus unterschiedlichen Perspektiven erweisen, wie wenig das sprachliche Medium als neutraler Behälter verstanden werden kann. Die zwei Sektionen der Tagung sind dem Wechselverhältnis von Künsten und Texten (Sektion I) sowie der Evokation ästhetischer Erfahrung durch Texte (Sektion II) gewidmet; im einzelnen:

Sektion 1

Die Texte und ihre Künste

1a Formen und Funktionen des Sprechens: Hier stehen die Textsorten im Mittelpunkt. Deren kulturvariante Ausbildung für die Beschreibung und Beurteilung ästhetischer Erfahrung ist in ihren Intentionen und Funktionen an das gesellschaftliche Umfeld ihrer Publizierung gebunden. Welche Sprachstile, rhetorischen Konventionen und Stereotypen werden in der wissenschaftlichen Analyse, in Essays, Katalogen, Feuilletons und Rezensionen eingesetzt, um Erfahrungen mit Kunst zu formulieren? Wie verhält sich die analytische Rede zum ästhetischen Genuss? In welcher Weise konstruieren sich die Schreibenden in der textuellen Präsentation ihrer Kunstrezeption? Wie unterscheiden sich diese von nichtprofessionellen Stellungnahmen zur Kunst etwa in Leserbriefen, Internetforen oder Interviews? Welchen Einfluss haben die Kunstform, der Publikationskontext und das im jeweiligen kulturellen Kontext verfügbare konzeptuelle und metaphorische Repertoire auf die Modi des Sprechens? In der Thematisierung solcher Fragen soll herausgearbeitet werden, wie Texte künstlerische Produktionen nicht nur begleiten, sondern als Vermittlungsinstanzen im Rezeptionsprozess auch die Nachfrage und die Erfahrung von Kunst durch Autorisierung und Emphatisierung des Faszinierenden, durch Dekonstruktion und Kritik beeinflussen und lenken.

1b Die Künste und ihre Texte: Unter diesem Gesichtspunkt bilden Unterschiede und Gemeinsamkeiten zwischen den Künsten den Fokus. Im Sprechen und Schreiben über ästhetische Erfahrung haben sich für die einzelnen Künste eigene Traditionen herausgebildet, deren Geschichte und gegenwärtiges Verhältnis zueinander als ein Echo auf den Kunstprozess von der Autonomisierung bis zur Entgrenzung der Künste verstanden werden können. Bei ihrer Untersuchung soll die unterscheidende Spezifik der wissenschaftlichen und journalistischen Rede über die verschiedenen Künste – Musik, bildende Kunst, Literatur, Film und Theater – ebenso zum Thema werden wie die Tendenz zu analoger Auffassung und Begriffsbildung, wie sie gegenwärtig besondere Aufmerksamkeit beanspruchen kann. In welchen Bereichen und unter welchen historischen Vorzeichen decken sich diese Sprachen, worin unterscheiden sie sich und aus welchen Gründen? Neben aktuellen Beispielen sollen hier auch historische Wandlungen und Wendepunkte in den Blick kommen, die sich auf einzelne Künste und Künstler beziehen, sich aber auch spartenübergreifend geltend machen.

Sektion 2

Evokationen ästhetischer Erfahrung

2a Programmatik und Produktion: Programmatische Äußerungen von Künstlern, Wissenschaftlern, Kritikern, Kulturpolitikern u. A. sind ein wichtiges Feld der Versprachlichung ästhetischer Erfahrung. Solche Statements, seien es Schriften oder mündliche Anweisungen, beziehen sich darauf, was, für wen, mit welchem Zweck und auf welche Weise durch einen künstlerischen Prozess erfahrbar werden soll. Wie deutlich ist künstlerische Produktion auf programmatische Einlassungen bezogen? Welche Sprachbilder, Tonlagen und Sprechakte kennzeichnen programmatische Aussagen (vom Probengespräch übers Interview bis zum Manifest)? Was bleibt von der Programmatik übrig, wenn hochfliegende Träume in konkrete Arbeit umgesetzt werden müssen? Wird ein Programm nicht häufig erst ex post, im Erleben eines tatsächlich weitgehend emergenten Ergebnisses unterstellt? Zeigt sich künstlerisches Potenzial vielleicht gerade darin, dass vorab formulierte Programme von der Praxis immer wieder verfehlt, transformiert oder auch überholt werden? In der Erörterung dieser Probleme soll das Verhältnis von Programmsprachen und Produktion an Beispielen aus verschiedenen Künsten differenziert werden. Dem eher seltenen Fall einer eindeutig a priori entwickelten Programmatik dürften diverse Varianten gegenüber stehen, in denen Sprache, Erfahrung und Handeln auf komplexe Weise verflochten sind.

2b Die Ästhetisierung der Vermittlung: Ästhetisierungen der wissenschaftlichen Rede sind gegenwärtig ein auffälliges Phänomen nicht nur in den Geisteswissenschaften. Die Vermittlung von individuellen, an die konkreten Modalitäten von Raum und Zeit gebundenen ästhetischen Erfahrungen ist traditionell keine Aufgabe wissenschaftlicher Rede. Gleichwohl zeigt sich bereits in der Wissenschaftsgeschichte zumindest seit der Aufklärung ein Oszillieren zwischen wissenschaftlichem Diskurs und künstlerisch geformter Rede, wenn es um ästhetische Erfahrungen geht. Die Tradition reicht von Hamann und Herder über Nietzsche bis zu Eco, Barthes und Derrida. Die Fragen dieser Sektion gelten den Formen und Funktionen sich ästhetisch selbst reflektierender Wissenschaft, wie sie sich in deren metaphorischen, allegorischen, fragmentarischen oder hermetisch verrätselten Auftritten zeigt. Sind das Sonderfälle eines die Grenzen der Wissenschaft überschreitenden Schreibens, Sprechens, Denkens, und Handelns oder lassen sich in ihrem Gefolge neue Strategien und vielleicht sogar methodische Regeln für die wissenschaftliche Versprachlichung ästhetischer Erfahrung formulieren?

 

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

 

XVIIth International Congress of Aesthetics

9–13 July 2007

Middle East Technical University

Ankara- Turkey

Theme: Aesthetics Bridging Cultures

The theme of the XVIIth International Congress of Aesthetics will be 'Aesthetics Bridging Cultures'. The Congress is organized by the Sanart Association of Aesthetics and Visual Culture, in cooperation and with the support of the Middle East Technical University and the Faculty of Architecture, under the auspices of the International Association of Aesthetics.

The third millennium is proceeding with threatening declarations, both in  deed and in discourse as to the possibility to reconcile differences. The partiality of prevailing political and cultural attitudes jeopardizes dialogue amongst cultures and convictions. Yet, culture as human nature means diversity as well as synthesis. As aestheticians we can ask whether it is possible to keep diversities alive as well as to render them communicable, and to create new forms of synergie, through art and aesthetics.

The XVIIth International Congress of Aesthetics, taking place in Turkey,  will approach art and culture in terms of historic ruptures, continuities, tensions and hybridities. With worldwide participation, it is expected that alternative disciplinary attitudes within aesthetics and philosophy with focuses on art, architecture, urbanism, landscape, music, literature, film, etc., can contribute to the discussion of 'Bridging Cultures'. The exchange of ideas and experiences of an aesthetic nature can also encourage relationships between different cultures.

Session titles will be made definitive after paper proposals. Yet, the following items can be a guide for choosing thematic or conceptual approaches.

Idealism and Pragmatism, Local and Glocal, Orientalism and Occidentalism

Pluralism and Egalitarianism, Sacred and Profane, Historicism

New Taxonomies of Art, Culture Industry, Aesthetics of Technologies

Aesthetics and the Everyday, High/Low, Real and Virtual, Philosophical Approaches

Interculturalism and the Arts, Territory and Cultures, Art in  Transhistorical Perspectives, Violence, Ethics/Aesthetics, Education

The Middle East Technical University is situated on a large campus about 20 minutes drive away from the city center and houses many facilities for academic and cultural international events. The Sanart Association has often held its international symposia at the Middle East Technical University. The university can also offer accommodation during the summer recess, which will reduce participation costs for many members of the IAA and for students. It has also facilities where about 600 people can be served lunch. Both the Cultural and Congress Center and the Faculty of Architecture have conference halls with audio-visual equipment. About 10 to 12 parallel sessions can be held jointly in these buildings.

Many artistic events, a sculpture symposium that will take place on the METU campus, performances, film and video shows, special student panels will be planned during the congress week both in Ankara and on the METU campus. Organizers will be happy to consider proposals both from Turkey and for international events. Please write to aesth@metu.edu.tr

Hopefully the congress will also be an occasion to meet many aestheticians from the Middle East and from non-western countries. Turkey is a country of diverse regional and ethnic cultures, and neighbors many countries with rich cultural traditions, both in east and west. The organization will see to it that there will be cultural-touristic trips to interesting sites before and after the congress.

On early July, temperatures in Ankara can go up to 25-35 centigrade, yet the evenings are cool and comfortable, since the city is situated on a high plateau of 900 meters. Early and mid July is the best summer time all over Turkey.

Registration fees: till 30th December 2005 - 200 USD

1st January 2006 – 30 April 2007 - 250 US D

1st May 2007- Congress opening - 300 US D

Includes: lunches, IAA 3 year membership, city tour, reception, programme  and abstract book, proceedings book, earphone loan for translation, coffee and tea

Student registration: 50 USD till 30 April 2007

75 USD after 1st May 2007

Includes: coffee and tea, earphone loan, programme and abstract book, proceedings book

Contact: Jale Erzen erzen@arch.metu.edu.tr

http://www.sanart.org.tr

Mail Address:

Jale Erzen, Faculty of Architecture, Middle East Technical University

Balgat – Inonu Cad. 06531 – Ankara – Turkey

Fax: 90-312-2101249

Telephone: 90-312-2102215

Registration, Accommodation and Paper Presentation forms and info will be announced in Fall 2005 

 

 

6  (internet source: http://www.philosophy-forum.org/Conferences.htm)

 

Millennium. Journal of International Studies

Annual Conference 2005

Between Fear and Wonder: International Politics, Representation and 'the Sublime'

29 - 30 October 2005

Sponsored by

Director's Fund

The sublime, as an aspect of aesthetics that signifies engagement with the inexplicable and incalculable, captures many modes of interpretation. Taming the sublime through art and poetry for example, challenges the foundation and reach of our communicative knowledge. Therefore, sublime experiences, events and moments can shatter the consensus of constitutive meaning through which we give order to our lives. How epistemology responds to and incorporates the sublime, from aesthetic conception to representation, is consequently a deeply political question. Who, with what words and what authority, expresses or interprets 'the sublime' in our world?

 A selected number of papers presented at the Annual Conference will appear in Millennium's Special Issue on Between Fear and Wonder: International Politics, Representation and 'the Sublime' (Volume 34, Number 3), to be published in early 2006. 

Conference Organisation: For further information, please contact the Conference Organisers - Marjo Koivisto and Simona Manea - at Millennium: Journal of International Studies, London School of Economics and Political Science, Houghton Street, London WC2A 2AE; fax: 020 7955 7438; e-mail: Millennium.Conference@lse.ac.uk

Special Issue planned on ''Between Fear and Wonder: International Politics, Representation and 'the Sublime': For further information, please contact the Editors - Annika Bolten, Douglas Bulloch and Mireille Thornton - at Millennium: Journal of International Studies, London School of Economics and Political Science, Houghton Street, London WC2A 2AE; fax: 020 7955 7438; e-mail: Millennium@lse.ac.uk

 

 

 

7  (internet source: search engine)

 

Sa­So

05.­ 06.11. 2005

Symposium

ART & LANGUAGE & LUHMANN III

WHAT WORK DOES THE ARTWORK DO No 1

ZKM-Medientheater, Sa ab 14.30 Uhr, So ab 10 Uhr, Eintritt frei

 

Die Veranstaltung setzt eine Reihe fort, in der Konzeptkunst als Kunst zweiter Ordnung auf die Theorie beobachtender Systeme traf, und die 1995 im »Kunstraum Wien« unter Teilnahme von Niklas Luhmann mit dem Titel »Art & Language & Luhmann I« begann. Das zweite Symposium »Art & Language & Luhmann II« folgte fünf Jahre später im ZKM. Initiiert von der Jackson-Pollock-Bar Freiburg fanden beide Veranstaltungen in enger Zusammenarbeit mit der Künstlergruppe Art & Language statt, die auch dieses Jahr wieder an der Konzeption der Veranstaltung mitwirkt und anwesend sein wird. Mit dem Titel »What Work does the Artwork do?« nimmt die Veranstaltung gleichzeitig die Fragestellung einer Reihe von Symposien an der Metropolitan University London in den Jahren 2004 und 2005 auf, in der von der Konzeptkunstgruppe Art & Language konkrete, am Kunstwerk orientierte Bedeutungsfragen aufgearbeitet wurden (Methodologie der Produktion, Autorschaft, Stile, Kontextanalyse, Diskursanalyse, Institutionenkritik).

»Handel mit Intelligenzderivaten im Kunstsystem?«

Bei der diesjährigen Veranstaltung stehen insbesondere Themen der Bedeutungsverschiebungen und Strukturveränderungen in der Gegenwartskunst im Vordergrund. Dabei geht es um eine Analyse der Funktionen und Bedeutungen des Kunstwerks in einem Geist offener Untersuchung. Als der Gesellschaftsstruktur adäquates Theorieinstrumentarium kommt die Theorie der Beobachtung zweiter Ordnung zur Anwendung. Sichtbar wird dabei die Authentizitäts- und Kontingenzproblematik, das Verschwinden von Kritik und Repräsentation. Gleichzeitig kommt die ontologische Umstellung der Kunst auf Kommunikation in den Blick. Das Kunstwerk gerät zur Selbstreproduktion des Kunstsystems, während es sich gleichzeitig zu einer Widerstandsinstanz emanzipiert. Das wird besonders deutlich an der Praxis von Art & Language, die mit der Betonung von Indexikalität, innerer Komplexität und gruppeninterner Konversation die Widerstandsmomente des Kunstwerks und die ontologische Differenz zwischen Kommunikation und Werk herausarbeiten. Schließlich müssen die Folgen der operativen Schließung des Kommunikationssystems Kunst reflektiert werden. Sie führt im Großen als Globalisierung zur »Weltkunst« und damit zur Ablösung des alteuropäischen Kunstbegriffs durch Produktionsepedemie und Marktselektion. »Die Versuche, die Reflexionstheorie des Kunstsystems in der Form von Kunstwerken zu reproduzieren, markieren das Ende der ästhetischen Epoche der Selbstbeschreibung des Kunstsystems. () Wenn aber das Kunstwerk selbst zur eigentlichen Philosophie der Kunst geworden ist - wie kann es dann weitergehen ? Muß man jetzt damit rechnen, dass im Kunstsystem vor allem mit Intelligenzderivaten gehandelt wird - so wie auf den Finanzmärkten mit derivativen Finanzinstrumenten?« (Niklas Luhmann. Siehe im Näheren auch die 99 Thesen zur aktuellen Kunst unter ww.zkm.de).

Eine Veranstaltung des Zentrums für Kunst und Medientechnologie Karlsruhe (ZKM) und des Instituts für soziale Gegenwartsfragen Freiburg

http://www.kunstportal-bw.de/zkmluhmannstart.html

 

 

8  (internet source: search engine)

 

VI. Internationales Wittgenstein-Symposion 2006

"Ethik und Ästhetik sind Eins" - Kunst jenseits der Moral?

http://www.phil.uni-passau.de/philosophie/Symposien/Symposien.html

 

 

9 (internet source: search engine)

 

Calendrier provisoire des activités 2005-2006

SAVOIRS  et  TEXTES

Jeudi 20 octobre 2005

17h-19h : Cycle de conférences sur "Philosophie, esthétique et littérature", organisé conjointement par l'UMR " Savoirs et textes " et le Centre Eric Weil.

Bibliothèque recherche de l'UFR de Philosophie.

UMR  8519

C.N.R.S., Universités de Lille 3 et de Lille 1

Université de Lille 3 – B.P. 149

59653 Villeneuve d’Ascq Cedex

ph. 03 20 41 65 12

http://www.univ-lille3.fr/set

 

 

10  (internet source: search engine)

 

Jeudi 20 octobre 2005 à 10h, Maison de la Recherche, salle des colloques :

conférence de Bernard Joly sur "Le teinturier et le mathématicien. Goethe contre Newton ou l'esprit de la chimie au service de l'esthétisme", dans le cadre du colloque pluridisciplinaire sur "Le Traité des couleurs de Goethe : rapports de voisinage et postérité" (Institut International Erasme/MSH Nord-Pas de Calais, Centre d'études des Arts Contemporains de Lille 3, UFR de Physique de Lille 1).

Universités de Lille 3 et de Lille 1

Université de Lille 3 – B.P. 149

59653 Villeneuve d’Ascq Cedex

ph. 03 20 41 65 12

http://www.univ-lille3.fr/set

 

 

11  (internet source: search engine)

 

L'art, l'imaginaire, le sensible. Approches esthétique et phénoménologique

Colloque

Université de Liège

Organisateur:

Unité de recherche "Phénoménologies", Groupes de contact "Phénoménologie" et "Esthétique et philosophie de l'art" du F.N.R.S. Info: http://www.pheno.ulg.ac.be/colloque2005.htm

Email : R.Steinmetz@ulg.ac.be

Tél : 00 32 (0)4 366 55 64

Fax : 00 32 (0)4 366 55 59

L'art, l'imaginaire, le sensible

Approches esthétique et phénoménologique

Université de Liège, les 27 et 28 octobre 2005

Programme

Jeudi 27 octobre 2005

Matinée :

9h45 : Ouverture par le Doyen Pierre SOMVILLE

10h00 : Jacques GARELLI : « Passivité originaire et transduction poétique »

10h45 : Danielle LORIES : « Philosophie, peinture, image : Merleau-Ponty et Jonas »

11h30 : Discussion

12h00 : Repas

Après-midi :

14h00 : Eliane ESCOUBAS : « De l'esthétique du sensible à l'esthétique de l'art : la voie de l'abstraction picturale »

14h45 : Sébastien LAOUREUX : « Peinture et affectivité. L'esthétique de la phénoménologie matérielle »

15h30 : Discussion

16h00 : Pause-café

16h15 : Stéphanie MENASE : « Comment apprendre à voir d'après Le Visible et l'Invisible ? »

17h00 : Discussion

Vendredi 28 octobre 2005

Matinée :

10h00 : Pierre RODRIGO : « L'image, l'analogon, le simulacre : la question des "fictions perceptives"»

10h45 : Rudy STEINMETZ : « La conscience d'image, l'attitude esthétique et le jeu de la mimésis chez Husserl »

11h30 : Discussion

12h00 : Repas

Après-midi :

14h00 : Jacques TAMINIAUX : « Exotisme et esthétisme chez Emmanuel Lévinas »

14h45 : Maud HAGELSTEIN : « Georges Didi-Huberman : l'intentionnalité renversée ? »

15h30 : Discussion

Salle "Lumière" (Bât. A1/2è ét.) - ULg, 7, Place du XX août - 4000 Liège

Renseignements:

R.Steinmetz@ulg.ac.be

00 32 (0)4 366 55 64

Comité organisateur :

Daniel Giovannangeli (Professeur ordinaire - Université de Liège)

Maud Hagelstein (Aspirante F.N.R.S. - Université de Liège)

Sébastien Laoureux (Chargé de recherches - F.N.R.S. Université de Liège)

Thierry Lenain (Chargé de cours - Université Libre de Bruxelles)

Danielle Lories (Professeur ordinaire - Université Catholique de Louvain)

Rudy Steinmetz (Chargé de cours - Université de Liège)

Comité scientifique :

Eliane Escoubas (Professeur émérite - Université de Paris XII)

Daniel Giovannangeli (Professeur ordinaire - Université de Liège)

Thierry Lenain (Chargé de cours - Université Libre de Bruxelles)

Danielle Lories (Professeur ordinaire - Université Catholique de Louvain)

Jacques Taminiaux (Professeur émérite - Université Catholique de Louvain)

Rudy Steinmetz (Chargé de cours - Université de Liège)

 

 

12  (internet source: search engine)

 

congresso

"Il cervello e la bellezza. La nascita della neuroestetica fra neuroscienze, filosofia e arte"

11 Novembre 2005, Lecce

Presidente: Prof. Domenico Fazio, Cattedra di Storia della Filosofia, Università di Lecce

Per maggiori informazioni contattare

Dr. Fabrizio Vinci

fabriziovinci@yahoo.it

 

 

 

 

 

 

 

 

PUBLICATIONS (4)

 

1 (internet source: register@hhobel.phl.univie.ac.at)

 

 

Advertisement of the October Edition of the

JBSP: Journal of the British Society for Phenomenology

Volume 36 – No 3 – October 2005

Heidegger, Aesthetics and Art

Including the following articles:

MARK SINCLAIR

On Heidegger’s Account of Equipment in Being and Time as Metaphysics in its

Repetition

PAUL S. MCDONALD

Husserl and the Cubists on a Thing in Space

HELEN A. FIELDING

This Body of Art: The Singular-Plural of the Feminine

KRISTIN GJESDAL

Against the Myth of Aesthetic Presence: A Defence of Gadamer’s Critique of

Aesthetic Consciousness

SIMON O’SULLIVAN

>From Possible Worlds to Future Folds (Following Deleuze): Richter’s

Abstracts, Situationist Cities, and the Baroque in Art

INFORMATION CONCERNING THE JBSP:

Subscriptions:

The JBSP is published three times a year, in January, May and October. Three

such issues will constitute one volume: each issue will contain

approximately 112 pages. The subscription price per volume (three issues) is

individuals £30.00, libraries £35.00 in the U.K.; individuals $54.00,

libraries $60.00 overseas, postage free. Air Mail supplement £10.00/$15.00

net.

Orders for the JBSP should be sent to the publisher, Jackson Publishing and

Distribution, 3 Gibsons Road, Heaton Moor, Stockport, Cheshire, SK4 4JX,

England, or at your local bookseller. From January 2000 the combined

subscription to the Journal and membership fee for the British Society for

Phenomenology will be £35.00, Students £22.50. The cumulative index from

1970 to the present issue, is available from the publisher either in

electronic form or in hard copy for £10.00

NOTES FOR CONTRIBUTORS

The JBSP publishes papers on phenomenology and existential philosophy as

well as contributions from other fields of philosophy. Papers from workers

in the humanities and the human sciences interested in the philosophy of

their subject will be welcome too. Space will be given to research in

progress, to book reviews, and to bibliographies of use to students. The

journal will also provide a forum for interdisciplinary discussion.

Intending contributors are asked to submit papers and correspondence for

inclusion in the journal to the Editor, Dr. Ullrich Haase, Department of Politics and Philosophy, The Geoffrey Manton Building, Manchester Metropolitan University, All Saints, Manchester, M15 6LL, England. Telephone 0161 247 3452. Fax: 0161 247 6312. E-mail: u.haase@mmu.ac.uk.

PREPARATION OF MANUSCRIPTS:

Articles should normally be about 8,000 words in length, and book reviews

not more than 1,000 words. Manuscripts should be typewritten, on one side of

each sheet only, double-spaced and with a wide margin. Bibliographical

references should be arranged in alphabetical order at the end of the paper.

The titles of quoted journal papers should be put in inverted commas, whilst

titles of quoted journals and books should be in italics. Journal papers

should be quoted as follows: name(s) and initial(s) of author(s), full title

of paper, journal abbreviation, volume and year, page numbers. Books should

be quoted by name(s) and initial(s) of author(s), title, edition, place,

publisher and year. References to the text will be numbered consecutively,

and should be kept within reasonable limits. Foreign words will be printed

in italics and should be underlined in the typescript. Long quotations are

inset and printed in small type without quotation marks. Diagrams and

illustrations should be supplied on separate sheets. Two copies of the

manuscript should be sent together with a 250 word summary of it. A copy of

the paper on computer disc should also be sent.

ADVERTISING

Particulars of advertising in the JBSP may be obtained from the publisher,

Jackson Publishing and Distribution, 3 Gibsons Road, Heaton Moor, Stockport,

Cheshire, SK4 4JX, England.

Dr. Ullrich M. Haase

Editor of the Journal of the British Society for Phenomenology

Manchester Metropolitan University

Faculty of Humanities, Law and Social Sciences

Dept. of Politics and Philosophy

Geoffrey Manton Building

Rosamund Street West

Manchester M15 6LL

United Kingdom

Tel: 0044 (0)161 2473452

Fax: 0044 (0)161 2476312

Email: u.haase@mmu.ac.uk

 

 

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

 

JANUS HEAD: A Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenological Psychology, and the Arts

 Volume 8.1 (Summer 2005)

We are very pleased to announce the new issue of Janus Head, which is now available on-line at:

http://www.janushead.org

This is a very special issue, dedicated to Goethean science, which was guested edited by Bill Bywater and Craig Holdrege.

The issue is also very special because it features one of the last interviews by Paul Ricoeur, a dialogue with Sorin Antonhi on "Memory, History, Forgiveness." Ricoeur, who was one of the 20th century's most important philosophers, passed away this May 2005. Our special issue celebrates the gift of his life to us.

Here is a list of the contents of the new issue:

 JANUS HEAD (Volume 8, Issue 1)

Special Issue on Goethe's Delicate Empiricism

Guest Edited by

Bill Bywater & Craig Holdrege

EDITORIAL

"Editorial"

by Brent Dean Robbins 

http://www.janushead.org/8-1/RobbinsEdit.pdf

"Editorial"

by Craig Holdrege

http://www.janushead.org/8-1/HoldregeEdit.pdf

ESSAYS

Memory, History, Forgiveness: A Dialogue Between Paul Ricoeur and Sorin Antohi

by Paul Ricoeur and Sorin Antohi

http://www.janushead.org/8-1/Ricoeur.pdf

Doing Goethean Science

by Craig Holdrege

http://www.janushead.org/8-1/Holdrege.pdf

"Zartre Empirie": Goethean Science as a Way of Knowing

BY Daniel C. Wahl

http://www.janushead.org/8-1/Wahl.pdf

Goethe's Way of Science as a Phenomenology of Nature

by David Seamon

http://www.janushead.org/8-1/Seamon.pdf

New Organs of Perception: Goethean Science as a Cultural Therapeutics

by Brent Dean Robbins

http://www.janushead.org/8-1/Robbins.pdf

Goethe and the Refiguring of Intellectual Inquiry: From 'Aboutness'-Thinking to 'Withness'- Thinking in Everyday Life

by John Shotter

http://www.janushead.org/8-1/Shotter.pdf

Goethe, Husserl, and the Crisis of the European Sciences

by Eva-Maria Simms

http://www.janushead.org/8-1/Simms.pdf

Place, Goethe and Phenomenology

by John Cameron

http://www.janushead.org/8-1/Cameron.pdf

Goethe and the Poetics of Science

by Dennis L. Sepper

http://www.janushead.org/8-1/Sepper.pdf

The Proteus Within: Thoreau's Practice of  Goethe's Phenomenology

by Christina Root

http://www.janushead.org/8-1/Root.pdf

Anschauung and the Archetype: The Role of Goethe's Delicate Empiricism in Comparative Biology

by Malte C. Ebach

http://www.janushead.org/8-1/Ebach.pdf

Goethe and the Molecular Aesthetic

by Maura C. Flannery

http://www.janushead.org/8-1/Flannery.pdf

Goethe: A Science Which Does Not Eat the Other

by Bill Bywater

http://www.janushead.org/8-1/bywater.pdf

Emerging Out of Goethe: Conversation as a Form of Social Inquiry

by Allan Kaplan

http://www.janushead.org/8-1/Kaplan.pdf

FICTION

Casanova Meets Goethe:

An excerpt from the novel, Casanova in Bohemia

by Andrei Codrescu

http://www.janushead.org/8-1/Codrescu2.pdf

ART

Photography

by Syrie Kovitz

http://www.janushead.org/8-1/SyrieKovitz.cfm

Photography

by Brad Fuller

http://www.janushead.org/8-1/BradFuller.cfm

POETRY

Two poems

by Robert Bly

http://www.janushead.org/8-1/Bly.pdf

Four poems

by Pattiann Rogers

http://www.janushead.org/8-1/Rogers.pdf

Visitors

by Andrei Codrescu

http://www.janushead.org/8-1/Codrescu.pdf

Three poems

by Richard Hoffman

http://www.janushead.org/8-1/Hoffman.pdf

Meditation

by Martin Steingesser

http://www.janushead.org/8-1/Steingesser.pdf

The Whore, or a Bull

by Sarah Biggs

http://www.janushead.org/8-1/Biggs.pdf

Three poems

by Elizabeth Bradfield

http://www.janushead.org/8-1/Bradfield.pdf

Budapest

by Annie Seikonia

http://www.janushead.org/8-1/Seikonia.pdf

Three poems

by Bin Bin (translated by Ouyang Yu)

http://www.janushead.org/8-1/BinBin.pdf

Anschauung

by Malte C. Ebach

http://www.janushead.org/8-1/Ebach2.pdf

Heart of Earth

by Kenneth Rosen

http://www.janushead.org/8-1/Rosen.pdf

BOOK REVIEWS

Philosophy of the Animal

Review of Animal Philosophy: Ethics and Identity

Edited by Peter Atterton & Matthew Calarco

Reviewer: Donald L. Turner

http://www.janushead.org/8-1/AttertonCalarco.pdf

Deleuze's Catch After His Surrender to Bacon

Review of Francis Bacon: The Logic of Sensation

by Gilles Deleuze

Reviewer: Andrew Feldmar

http://www.janushead.org/8-1/Deleuze.pdf

The Will to Murder

Review of The Nature of Truth

by Sergio Troncoso

Reviewer: Bryan R. Farrow

http://www.janushead.org/8-1/Troncoso.pdf

Taking Bataille Seriously

Review of The Sunday of the Negative: Reading Bataille Reading Hegel

by Christopher M. Gemerchak

Reviewer: Brent Dean Robbins

http://www.janushead.org/8-1/Gemerchak.pdf

In Borges' Shadow

Review of The Lesson of the Master

by Norman Thomas Di Giovanni

Reviewer: Kimberly Brown

http://www.janushead.org/8-1/DiGiovanni.pdf

Specifying Badiou

Review of Badiou: A Subject to Truth

by Peter Hallward

Reviewer: Stuart Elden

http://www.janushead.org/8-1/Hallward.pdf

Finding Their Voices: Philosophy as a Way of Life

Review of Singing in the Fire: Stories of Women in Philosophy

Edited by Linda Martin Alcoff

Reviewer: Claudette Kulkarni

http://www.janushead.org/8-1/Alcoff.pdf

Bergson's Challenge to Phenomenology, Ontology and Ethics

Review of The Challenge of Bergsonism

by Leonard Lawlor

Reviewer: James McLachlan

http://www.janushead.org/8-1/Lawlor.pdf

Exposure to the Posthuman Other

Review of Avatar Bodies: A Trantra for Posthumanism

by Ann Weinstone

Reviewer: Steven A. Benko

http://www.janushead.org/8-1/Weinstone.pdf

Historical Relapse, False Memory, and Other Oddities in the Time-Space Continuum

Review of Deja Vu: Abberations of Cultural Memory

by Peter Krapp

Reviewer: Ivy Cooper

http://www.janushead.org/8-1/Krapp.pdf

The Embrace of Paradox for the Healing of Humankind

Review of Dimensions of Apeiron: A Topological Phenomenology of Space, Time, and Individuation

by Steven M. Rosen

Reviewer: Elizabeth McCardell

http://www.janushead.org/8-1/SRosen.pdf

Beyond the Narrative View of Life-History

Review of The Wild-Region in Life History

by  Laszlo Tengelyi (translated by Geza Kallay)

Reviewer: Louis Hoffman

http://www.janushead.org/8-1/Tengelyi.pdf

The Objects of Scientific Desire

Review of The Objects of Social Science

by Eleonora Montuschi

Reviewer: Brian Caterino

http://www.janushead.org/8-1/Montuschi.pdf

Fact or Fiction

Review of Jewish Philosophy: An Historical Introduction

by Norbert M. Samuelson

Reviewer: C. Oscar Jacob

http://www.janushead.org/8-1/Samuelson.pdf

CONTRIBUTORS

http://www.janushead.org/8-1/Contributors.pdf

Subscriptions can be made here:

http://www.janushead.org/subscribe.cfm

Costica Bradatan,

Senior Editor

Janus Head

Costica Bradatan, PhD

Department of Philosophy,

Miami University,

Hall Auditorium, 221

Oxford, OH 45056

USA

http://www.users.muohio.edu/bradatc

 

 

3  (internet source: register@hhobel.phl.univie.ac.at)

 

NEUERSCHEINUNG

J o u r n a l Phänomenologie 23 (2005)

ISSN 1027-5657

 

Schwerpunkt: Jacques Derrida

-- Inhalt --

Editorial 3

Schwerpunkt: Jacques Derrida 4

Derrida überleben? Zum Schwerpunktthema (Kathrin Busch) 4

"Wer wird erben, und wie? Wird es überhaupt Erben geben?" oder: Das "Erbe" der "Dekonstruktion" (Hans-Dieter Gondek) 8

Negative Medialität. Derridas Différance und Heideggers Weg zur Sprache (Dieter Mersch) 14

Das Bild zum Empfang (Kathrin Busch) 23

Das dringendste Denken (Elisabeth Weber) 31

Berichte 39

Erster Österreichischer Philosophietag, Salzburg, 4.-5. 3. 2005 (Othmar Kastner) 39

Ubu und Guantanamo: Tyrannen und Schurken auf der literarisch­politischen Schaubühne (Ludger Fittkau) 43

Adressen, Internet, Diverses

30 Jahre "Phänomenologische Forschungen" 47

Veranstaltungen 48

Rezensionen, Literaturhinweise 53

Rezensionsessay

Zur Kritik eines glücklichen Vergessens in der politischen Gegenwart. Ricoeurs Projekt einer Versöhnung von Gedächtnis und Geschichte (Burkhard Liebsch) 53

Sammelrezensionen

Verantwortung als Antitotalitarismus (Martin W. Schnell) 60

Michel Foucault: Geschichte der Gouvernementalität (Thomas Bedorf) 65

Gouvernementalität: Foucault appliqué (Thomas Bedorf) 69

Neuere Literatur

Ch. Bermes: Welt als Thema der Philosophie (St. Günzel) 75

K. Busch: Geschicktes Geben (A. Hetzel)

J. Derrida/H.­G. Gadamer: Der ununterbrochene Dialog (M. W. Schnell) 78

The Ocean of Forgetting. Alexandru Dragomir (S. Stoller) 80

M. Friedman: Carnap, Cassirer, Heidegger (A. Großmann) 82

A. Hirsch: Recht auf Gewalt? (M. Schöning) 84

St. Simon (Hg.): Der gute Arzt im Alltag (Th. Langer) 86

E. M. Vogt/H. Silverman (Hg.): Über Zizek (R. Heil) 88

B. Waldenfels: Phänomenologie der Aufmerksamkeit (Th. Rolf) 91

R. Weihe: Die Paradoxie der Maske (J. Flath, R. Becker) 94

P. Zeillinger: Jacques Derrida (M. Flatscher) 97

Neuerscheinungen 102

Impressum 105

 

Das J o u r n a l Phänomenologie erscheint 2-mal im Jahr.

Weitere Informationen auf unsrer Website: www.journal-phaenomenologie.ac.at

Redaktion Österreich:

Dr. Silvia Stoller

Oeverseestr. 35/5

1150 Wien

E-Mail: silvia.stoller@univie.ac.at

Redaktion Deutschland:

Dr. Helge Schalk

Friederikastr. 14

D-44789 Bochum

E-Mail: helge.schalk@ruhr-uni-bochum.de

Homepage des Journals:

http://www.journal-phaenomenologie.ac.at

 

 

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

 

I am pleased to report that a review of Aesthetics of Opera in the Ancien Régime, 1647-1785 by Downing A. Thomas has been posted at Opera Today http://www.operatoday.com/

The reviewer is Prof. Deborah Kauffman of the University of Northern Colorado.

Best wishes,

Gary Hoffman

glhoffman@operatoday.com

 

 

 

 

 

CANDIDATURE (1)

 

1

(internet source: private e-mail)

 

Stadtschreiber in Dresden

 

Um die Stelle eines/einer "Stadtschreibers/Stadtschreiberin" in Dresden für 2006 können sich ab sofort deutschsprachige Autorinnen und Autoren bewerben, die sich auf Wechselseitigkeiten von Literatur und urbanem Raum einlassen wollen und ihren Lebensmittelpunkt nicht in Dresden haben.

Die Stelle wird vom April bis September 2006 vergeben und durch die Stiftung für Kunst und Kultur der Stadtsparkasse Dresden ermöglicht.

Mit der Verleihung des Titels "Stadtschreiber/in" ist eine monatliche Zuwendung von 900 EURO sowie die kostenlose Bereitstellung von Wohnraum verbunden.

Stifter und Organisatoren erwarten, dass der/die Stadtschreiber/in die Zeit weitgehend in Dresden verbringt, die literarischen Traditionen dieser Kulturstadt bereichert und durch eigene Veranstaltungen der Bedeutung von Sprachkultur und Literatur Impulse verleiht. Die Eröffnungs- sowie Abschlusslesung erfolgt im Rahmen des Stipendiums.

Bewerber/innen sollten möglichst auf eine selbständige Publikation verweisen können, die nicht im Eigenverlag erschienen ist. Gebeten wird um Einsendung einer Textprobe (mind. 8 bis max. 12 A4-Seiten) sowie einer gesonderten Biobibliographie in jeweils fünffacher maschinenschriftlicher Ausfertigung

bis zum 30. September 2005 an:

Landeshauptstadt Dresden,

Kulturamt,

Königstraße 15,

01097 Dresden.

Es erfolgt keine Rücksendung der Bewerbungsunterlagen.

info@dresdner-literaturbuero.de

 

 

July 2005 – September 2005

CALLS FOR PAPERS (1 + NEW 10)

 

 

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

 

Proposals are now being accepted for the thirteenth annual conference of the

North American Society for the Study of Romanticism, "Deviance and

Defiance," to be held in Montreal, Canada, 13-17 August 2005

Special session: "Defying Subjectivism" - Session organizer: Nicholas Halmi

Submissions on any aspect of subjectivism in German or British Romantic

philosophy are invited. Particularly welcome are papers engaging in some way

with the concerns--whether or not in agreement with the thesis--of Frederick

Beiser's massive study German Idealism (2002), which emphatically rejects

the common view of German Idealism as a radical subjectivism.

Please email your 500-word abstract (no attachments) to http://nh2_at_u.washington.edu

For the general call for papers and more information about NASSR 2005,

please visit the conference website:

http://www.etang.umontreal.ca/nassr2005

PLENARY SPEAKERS:

Andrew Elfenbein; Tim Fulford; Michael Gamer; and Tilottama Rajan

ORGANIZERS:

Michael Eberle-Sinatra (Universite Montr) and Joel Faflak (University

of Western Ontario)

CONFERENCE COMMITTEE:

Jason Camlot (Concordia University), Monique Morgan (McGill University),

Peter Sabor (McGill University), Jonathan Sachs (Concordia University), and

Tabitha Sparks (McGill University)

(This year's NASSR conference will also be dovetailed with the seventh

biennal conference of the International Gothic Association, also focusing on

deviance and defiance, which will be held from the 11th-14th of August at

the same location; see http://www.wlu.ca/~wwwgac/IGA2005.)

Dr. Michael Eberle-Sinatra

Director of Graduate Studies

Departement d'etudes anglaises

Universite de Montreal

CP 6128, Station Centre-ville

Montreal, Quebec H3C3J7 - Canada

Editor *Romanticism on the Net*

http://www.ron.umontreal.ca

michael.eberle.sinatra_at_umontreal.ca

Tel: (514) 343-6149 - Fax: (514) 343-6443

 

 

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

 

The next issue (Volume 2, No. 1) of the Postgraduate Journal of Aesthetics is now available on the British Society of Aesthetics' website. Just follow the link from www.british-aesthetics.org

Also, The Postgraduate Journal of Aesthetics Online is now accepting papers for a special edition on Philosophy of Music, scheduled to be published in August, 2005.  Essays for this issue are invited on any topic related to philosophy of music including (but not limited to): emotion in music, musical representation, music in cognitive science, ontology of music, authenticity in performance, the role of musical analysis in appreciation, and improvisation in music. The deadline for this special edition will be 30 June, 2005.  All essays should be prepared for blind review.

Essays are meant to be kept short, generally aiming at 2500 - 3000 words (or roughly the length of a 30 minute conference paper). The philosophical level of essays should be such as to encourage serious and focused academic thought at a level appropriate to postgraduate's topics of interest. Also, authors are asked to avoid lengthy footnotes and include page references within the body of the text, while source materials should be collected at the end of the essay.

Authors working in philosophical traditions other than analytic philosophy are of course welcome.

As this is an entirely web-based format, essays should be submitted via email. To avoid difficulties with word processing formats, we request that al emailed should be saved and sent in Rich Text Format (.rtf).  Essays in an acceptable format will be refereed blind by a member of the editorial board. Please direct all submissions and editorial questions to Christopher Bartel via email at: christopher.bartel@kcl.ac.uk

PLEASE INCLUDE "PJA" IN THE EMAIL SUBJECT HEADING.

Deadlines: For the Special Issue: 30 June, 2005 Generally: At least one month in advance of any regular issue.

Essay Length: 2500 - 3000 WORDS

Email submissions to: christopher.bartel@kcl.ac.uk

--

Christopher Bartel, Editor

Postgraduate Journal of Aesthetics

www.british-aesthetics.org

King's College, London

christopher.bartel@kcl.ac.uk

 

 

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

 

Call for Abstracts

Metallica and Philosophy

William Irwin, editor

The editor of Seinfeld and Philosophy, The Simpsons and Philosophy, The

Matrix and Philosophy, and More Matrix and Philosophy seeks abstracts for a new volume on Metallica. Abstracts and subsequent essays should be

philosophically substantial but accessible, written to engage the

intelligent lay reader. Potential contributors should examine other

volumes in the Popular Culture and Philosophy series for style and

content. Contributors of accepted essays will receive a significant

honorarium.

Possible themes and topics might include, but are not limited to, the following: Search for Meaning-"Frantic" and "Through the Never"; Nuclear

Fear and Politics-"Fight Fire with Fire" and "Blackened"; Capital Punishment-"Ride the Lightning"; Politics, Economics, and Ethics-"...And

Justice for All" and "Some Kind of Monster"; The Problem of Evil-"Creeping Death"; Alcoholica: Free Will and Addiction-"Master of

Puppets" and "Fixxer"; Appearance and Reality-"Enter Sandman" and

"Escape"; Foucault and Metallica on Madness and Insanity-"Sanitarium" and "The Frayed Ends of Sanity"; Truth-"Eye of the Beholder"; Hypocrisy and Inauthenticity-"Leper Messiah" and "Holier Than Thou"; Hume and Augustine on Moral Motivations and Inordinate Desire-"Sad But True," "The Unnamed Feeling," and "Master of Puppets"; Emotion: Love and Anger-"The Struggle Within" and "St. Anger"; Heidegger's Being-toward-death-"Fade to Black" and "The Four Horsemen"; War-"Disposable Heroes" and "For Whom the Bell Tolls"; Sorrow, Redemption, and Forgiveness-"No Remorse," "Harvester of Sorrow," and "The Unforgiven"; Violence-"Seek & Destroy" and "All Within My Hands"; Masculinity and Warrior Virtues-"Metal Militia," "Don't Tread on Me," and "Shoot Me Again"; Existentialism-"Wherever I May Roam," "Nothing Else Matters," and "My World"; Selling-Out, Commercialism and Marxism: Why did Metallica start making videos?; Napster and Intellectual Property; Group Identity and Personal Identity: Are the group members the same persons they were 20 years ago? Is it the same group it was 20 years ago, given the changes the members have undergone and given the changes in bass players?

Contributor guidelines:

1. Abstract of paper (100-500 words).

2. CV or resume for each author and co-author.

3. Submission deadline for abstracts:  July 1, 2005

4. Submission deadline for first drafts of accepted papers (tentative):

February 1, 2006

5. Abstracts should be submitted by e-mail, with or without Word

attachment.

Send by e-mail to:

wtirwin@kings.edu

William Irwin

Series Editor,

Open Court Publishing, Popular Culture and Philosophy

Associate Professor of Philosophy

King's College

Wilkes-Barre, PA 18711

(570) 208-5900 ext. 5493

wtirwin@Kings.edu

http://www.kings.edu/wtirwin/

"Look to this day, / For it is life, / The very life of life. / In its brief course lie all / The realities and verities of existence, / The bliss of growth, / The splendor of action, / The glory of power-- / For

yesterday is but a dream, / And tomorrow is only a vision, / But today,

well lived, / Makes every yesterday a dream / of happiness / And every

tomorrow a vision of hope. / Look well, therefore, to this day." Sanskrit Proverb

 

 

NEW 4 (internet source: register@philo.at)

 

"Darstellungsformen der Philosophie"

Selten wurde so vielfältig mit Darstellungsformen experimentiert wie in der deutschsprachigen Philosophie um 1800. Unter Darstellungsform sind dabei einerseits rhetorische Mittel wie Metapher, andererseits aber auch Textgattungen wie Brief, Dialog, Abhandlung, Lehrbuch oder Aphorismus zu verstehen. Die Fragestellung des Workshops ist von der Frage nach der Philosophie in der Literatur etwa der deutschen Klassik abzugrenzen. Gemeint ist vielmehr der Zusammenhang zwischen literarischer Form und Inhalt philosophischer Texte an der Wende zwischen dem 18. und 19. Jahrhundert sowie ihre Rezeption in der nach-idealistischen Philosophie. Gefragt sind Beiträge zur kommunikativen Funktion, zum systematischen Anspruch und zum Erkenntniswert der unterschiedlichen sprachlichen Darstellungsformen.

Interpretationen damaliger Texte, Untersuchungen zur

Wirkungsgeschichte sowie explizite Auseinandersetzungen mit Romantik und Idealismus in späterer Zeit sind gleichermaßen willkommen.

Der Workshop findet 26.-27. Januar 2006 in Jena statt.

Die Referate sollen eine Länge von ca. 20 Minuten nicht überschreiten.

Abstracts (max. 1000 Zeichen) können bis 30. September 2005 eingereicht werden. Kontakt: brady.bowman@uni-jena.de . Dr. Brady Bowman, Friedrich-Schiller-Universität Jena, Inst. f. Philos., Zwätzengasse 9, D-07743 Jena. brady.bowman@uni-jena.de

 

NEW 5 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

CALL FOR PAPERS

?Scientific Images?

Mini-Conference

In Conjunction with the APA Pacific Division Meeting

March 21-26, 2006, Portland Hilton, Portland, Oregon

Images are a prominent feature of contemporary science, but philosophers are still at an early stage in understanding their epistemic contributions to scientific practice.  This mini-conference aims to advance understanding of scientific images by pulling together approaches from several relevant disciplines, such as the study of non-linguistic models by philosophers of science, the debate over the nature of depiction or pictorial representation by philosophers of art, and work on perception and perceptual knowledge in philosophy of mind and epistemology.

Confirmed invited speakers are Catharine Abell (Macquarie University), Anouk Barberousse (École Normale Supérieure), Stephen Downes (University of Utah), Jordi Cat (University of Indiana), Dominic McIver Lopes (University of British Columbia), Aaron Meskin (Texas Tech University), Laura Perini (Virginia Tech), Marta Spranzi (Université de Versailles), and Mauricio Suárez (Universidad Complutense de Madrid).

This two-day mini-conference is sponsored by the APA Pacific Division and is held in conjunction with its 2006 meeting. Participants in the mini-conference may also participate in the meeting's main and group programs.

Submitted papers are invited. They must not exceed 3000 words in length and should be emailed before September 1, 2005 to Dominic McIver Lopes <dom.lopes@ubc.ca>.

This is a workshop style conference; all papers will be circulated among participants in advance and participants will include several commentators at large in addition to paper presenters.

Volunteers to serve as chairs or commentators-at-large are also welcome.

For updates, visit http://apa-pacific.org/scientific_images/

 

 

NEW 6 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

CALL FOR PAPERS

The School of Humanities at the Australian National University presents an interdisciplinary symposium on

ART AND TIME

Thursday 3 November and Friday 4 November 2005

'What then is time?' wrote St Augustine. 'If no one asks me I know.  If

I wish to explain it, I know not.'

Time is a challenging concept for theologians and philosophers, but it is no less so for the artist, critic, and art theorist.  This symposium will explore aspects of time in all forms of art - literature, visual art, and music.

Papers are invited on the general question of the relationship between art and time, or on particular works, styles or artistic movements in which time, in one of its guises, plays an important part.

General questions might include:  Does art transcend time?  Is it a dimension of the eternal?  Is art somehow embedded in historical time? Do works of art, as Terry Eagleton argues, offer 'a particular perspective in which to view the history of our times?'  Does each new work, as T.S. Eliot suggested, transform the past as well as the present, changing and re-ordering our artistic heritage?  Is the relationship between art and history, as some new historicists claim, in a constant process of 'negotiation and exchange'?  Is there a link between art and memory, nostalgia and forgetting?  Are Hegel and Arthur Danto correct in foreshadowing the 'end of art'?

Participants may also wish to examine particular works, styles or movements in which the temporal dimension is of particular interest - such as the postmodern fascination with the contingent and its opposition to 'grand narratives', the existentialist emphasis on freedom and openness to the future, the Romantic urge to recapture the past or prefigure a radiant future, the confident Baroque joy in the present moment, the Elizabethans' bittersweet counsel to 'seize the day', the medieval preoccupation with death and eternity.

Papers should not exceed 20 minutes reading time.  Abstracts (about 200 words) should be emailed to Amanda Crawford at amanda.crawford@anu.edu.au  by September 9th 2005

Special assistance for non-ACT postgraduates:  Two grants of $300 each will be offered to postgraduate students enrolled at institutions outside the ACT to assist with travel and accommodation expenses involved in attending the conference to deliver a paper. Applications should take the form of an abstract of the paper to be presented, and a letter outlining the academic situation of the student (institution, level and area of study etc) and his or her claim to the subsidy. Send

to amanda.crawford@anu.edu.au by 9 September, 2005.

All are welcome to attend.  No registration fee.

Web-site: http://www.home.netspeed.com.au/derek.allan/artandtime.html

More information from:

Amanda Crawford, English, School of Humanities, ANU,  0408 636 474

amanda.crawford@anu.edu.au

Jan Lloyd Jones,  English, School of Humanities, ANU,  (02) 6125 8867

(W) jan.lloyd-jones@anu.edu.

 

 

NEW 7 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

CFP: Art as Imitation

We would like to invite you to contribute an essay to a critical anthology  that examines the relationship between imitation, creation, and the created object. Our working title is *Mirror up to Nature: Art as Imitation.* The collection will consist of a set of essays in various disciplines within the Arts and Humanities, essays which will explore the issues of mimesis and metaphor in the context of modern, postmodern, and contemporary art, literature, film, and architecture. The essays we will include should examine some of the following questions:

What is the relationship of the creative act to the object imitated?

Is all art inherently imitative?

What does it mean to say something is imitative?

Does metaphor require mimesis?

What is the relationship between verbal/visual metaphor and the referent?

What is the distinction between imitation and interpretation?

What is the relationship between invented worlds and historical worlds?

What is the value of mimetic form?

Is expression a form?

How are space and time represented in the created object?

What constitutes a copy?

What constitutes the transformative act in the self-referential post-modern object?

What is the expressive element of imitation?

The approach we are seeking is not primarily historical, nor are we seeking discussions that are purely theoretical. We ask that theory be explored with reference to specific works.

Abstracts of proposed papers should be submitted by July 30 to the

following address:     

     Prof. Douglas Friedlander or Prof. David Pushkin

     130 Hofstra University

     Roosevelt Hall 211

     Hempstead, NY 11549

Douglas.R.Friedlander_at_hofstra.edu

 

NEW 8 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

CALL FOR PAPERS: "Aristotelian Encounters"

Roosevelt Academy, Middelburg, The Netherlands

January 2007

The aim of this conference is to re-evaluate Aristotle's contributions to philosophy, science and art from a contemporary and multidisciplinary perspective. Possible topics include Aristotle's logic, physics, biology, psychology, metaphysics, ethics, politics, economics, rhetoric and poetics. Authors are invited to elaborate on the Wirkungsgeschichte of an Aristotelian (sub-)discipline and/or to investigate its relevance for today. Please note that Aristotelian Encounters will not be a specialist conference on textual exegesis of Aristotle's writings, but rather an interdisciplinary gathering around Aristotle's work. All participants will receive (electronic versions of) all papers to be presented at the conference well in advance, and will be expected to have read all contributions in order to make stimulating in-depth discussions possible. All contributions will be fully refereed and published in a special issue of the interdisciplinary journal Foundations of Science.

Please submit an abstract (250-300 words) by e-mail  (b.mosselmans_at_roac.nl) no later than 1 September 2005. The final paper will be due no later than 1 March 2006.

Organising committee: Michael Burke, Mark Janse, Bert Mosselmans

 

 

NEW 9  (internet source: http://www.aesthetics-online.org/events/calls.html)

 

Scientific Images: An APA Pacific Division Mini-Conference

In Conjunction with the APA Pacific Division Meeting

March 21-26, 2006, Portland Hilton, Portland, Oregon

CALL FOR PAPERS

Images are a prominent feature of contemporary science, but philosophers are still at an early stage in understanding their epistemic contributions to scientific practice. This mini-conference aims to advance understanding of scientific images by pulling together approaches from several relevant disciplines, such as the study of non-linguistic models by philosophers of science, the debate over the nature of depiction or pictorial representation by philosophers of art, and work on perception and perceptual knowledge in philosophy of mind and epistemology.

Confirmed invited speakers are Catharine Abell (Macquarie University), Anouk Barberousse (École Normale Supérieure), Stephen Downes (University of Utah), Jordi Cat (University of Indiana), Dominic McIver Lopes (University of British Columbia), Aaron Meskin (Texas Tech University), Laura Perini (Virginia Tech), Marta Spranzi (Université de Versailles), and Mauricio Suarez (University of Madrid).

This two-day mini-conference is sponsored by the APA Pacific Division and is held in conjunction with its 2006 meeting. Participants in the mini-conference may also participate in the meeting's main and group programs.

Submitted papers are invited. They must not exceed 3000 words in length and should be emailed before September 1, 2005 to Dominic McIver Lopes <dom.lopes@ubc.ca>.

This is a workshop style conference; all papers will be circulated among participants in advance and participants will include several commentators at large in addition to paper presenters.

Volunteers to serve as chairs or commentators-at-large are also welcome.

http://apa-pacific.org/scientific_images/

 

NEW 10  (internet source: http://www.conferencealerts.com/philosophy.htm)

 

 

The School of Humanities, Faculty of Arts, at the Australian National University presents

“Art and Time”,

an interdisciplinary symposium

Thursday 3 November and Friday 4 November, 2005

Drama Lab, ANU

Call for Papers

‘What then is time?’ wrote St Augustine. ‘If no one asks me I know.  If I wish to explain it, I know not.’

Time is a challenging concept for theologians and philosophers, but it is no less so for the artist, critic, and art theorist.  This symposium will explore aspects of time in all forms of art – literature, visual art, and music.

Papers are invited on the general question of the relationship between art and time, or on particular works, styles or artistic movements in which time, in one of its guises, plays an important part.

General questions might include:  Does art transcend time?  Is it a dimension of the eternal?  Is art somehow embedded in historical time?  Do works of art, as Terry Eagleton argues, offer ‘a particular perspective in which to view the history of our times?’  Does each new work, as T.S. Eliot suggested, transform the past as well as the present, changing and re-ordering our artistic heritage?  Is the relationship between art and history, as some new historicists claim, in a constant process of ‘negotiation and exchange’?  Is there a link between art and memory, nostalgia and forgetting?  Are Hegel and Arthur Danto correct in foreshadowing the 'end of art'?

Participants may also wish to examine particular works, styles or movements in which the temporal dimension is of particular interest – such as the postmodern fascination with the contingent and its opposition to 'grand narratives', the existentialist emphasis on freedom and openness to the future, the Romantic urge to recapture the past or prefigure a radiant future, the confident Baroque joy in the present moment, the Elizabethans’ bittersweet counsel to ‘seize the day’, the medieval preoccupation with death and eternity …

Papers should not exceed 20 minutes reading time.

Abstract (about 200 words) should be emailed to Amanda Crawford at

amanda.crawford@anu.edu.au by 9 September, 2005.

There is no conference registration fee. Registration, however, is necessary for catering purposes. There will also be a dinner on the Friday night for those who wish to attend.More details on the conference program will be provided at a later stage.

Special assistance for non-ACT postgraduates:  Two grants of $300 each will be offered to postgraduate students enrolled at institutions outside the ACT to assist with travel and accommodation expenses involved in attending the conference to deliver a paper. 

Applications should take the form of an abstract of the paper to be presented, and a letter outlining the academic situation of the student (institution, level and area of study etc) and their claim to the subsidy. Send to amanda.crawford@anu.edu.au by 9 September, 2005. 

Enquiries:

Amanda Crawford, English, School of Humanities, ANU,  0408 636 474

amanda.crawford@anu.edu.au

Jan Lloyd Jones,  English, School of Humanities, ANU,  (02) 6125 8867 (W) jan.lloyd-jones@anu.edu.au

 

 

NEW 11  (internet source: search engine)

 

Call for Papers

“Postcolonial Aesthetics”

Anglistentag 2006

Keynote speaker: Professor Elleke Boehmer, Royal Holloway, University of London

Is it possible to speak of a 'postcolonial aesthetics'? Is it necessary to speak of a 'postcolonial aesthetics'? Are postcolonial literatures characterized by an emphasis on thematics, commitment, or political impetus at the expense of form? What are the relationships between postcolonial and other aesthetical concepts? How do we begin to address such issues in a large and varied field which is subdivided into distinct languages, periods, and regions? And what are the politics of speaking (and of not speaking) about postcolonial aesthetics?

Literary production as well as its reception are enmeshed in industries of production and consumption; in turn these are influenced by differentiated economies, ideologies, and tastes. This raises the question who participates in the development, formulation, and promotion of postcolonial aesthetics. Which aesthetical concerns were and which remain influential in postcolonial canon formation and its revisions arises as a further issue.

If the past century has seen an enormous proliferation of aesthetic theory, how can the focus on postcolonial aesthetics help revitalise the concept and reconsider its history? And, in what ways has the (post-)colonial perhaps always been present in that history?

If you are interested in these and related debates, you are invited to submit an abstract for this section on "Postcolonial Aesthetics" at the Anglistentag 2006 at Halle University. Abstracts (of some 200 words) and a short biographical sketch should be sent to one of the organisers of this section (listed below).

Conference of the German Association of University Teachers, Halle/Saale, 17.-20. September 2006

Please send your abstract by 15 July 2005

PD Dr. Helge Nowak

Institut für Anglistik und Amerikanistik

Universität Regensburg

D-93040 Regensburg

Fax. ++49 (0)941 943-4955

E-Mail: Helge.Nowak @ sprachlit.uni-regensburg.de

Dr. Saskia Schabio

Amerikanistik und Neuere Englische Literatur

Universität Stuttgart

Keplerstrasse 17

D-70174 Stuttgart

Fax. ++49 (0)711 121-3237

E-Mail: Saskia.Schabio @ ilw.uni-stuttgart.de

Prof. Dr. Mark Stein

Institut für Anglistik und Amerikanistik

Universität Potsdam

Postfach 601 553

D-14415 Potsdam

Fax. ++49 (0)331 977-2192

E-Mail: M.Stein @ rz.uni-potsdam.de

 

 

 

CONFERENCES (2 + NEW 4)

 

1 (internet source: http://www.aesthetics-online.org/events/meetings.html)

 

The University of Nottingham Honours Professor Kendall Walton

 

In July 2005 Kendall Walton, a leading figure in philosophical aesthetics, will receive an honourary doctorate from the University of Nottingham. On July 1st there will be a one-day workshop on aspects of his work. Kendall Walton is an enormously influential figure in the philosophy of art, but his theory of make-believe and imagination has also been significant for developments in metaphysics and the philosophy of language. The papers to be delivered at the workshop reflect the full range of his influence. Professor Walton will comment on the papers.

Supported by the Analysis Trust, the British Society for Aesthetics and the University of Nottingham. A limited number of 50% travel bursaries are available for students (see registration form).

Programme

Stephen Barker (Nottingham): Pretence and Logical Form

Greg Currie (Nottingham) Irony, echo and pretence (I)

Deirdre Wilson (UCL): Irony, echo and pretence (II)

Robert Hopkins (Sheffield) 'Pictures, Images and Time'

Paul Noordhof (Nottingham): Artistic expression in action

You can download a registration form here.

You can download a campus map here.

You can access information on how to get to the University of Nottingham here.

If you have queries, please contact the workshop administrator, Andrea Hill

http://www.nottingham.ac.uk/philosophy/walton.htm

 

 

2 (internet source: http://www.aesthetics-online.org/events/meetings.html)

 

Royal Institute of Philosophy: Annual Conference 2005

Narrative and Understanding Persons

University of Hertfordshire 12-14 JULY

Proposed Schedule: Version 1

TUESDAY July 12th 2004

9.00-10.00      Registration

10.00-10.15    Opening words from VC - N001

10.15-11.15    PLENARY 1: Owen Flanagan (Duke) - N001

Narratives of Accomplishment and Desert: Morally Harmful Master Narratives

11.15-11.45    Coffee/Tea/Refreshments

11.45-1.15      Submitted Papers 1:  N001

         Three Scrooges? Dickens’ A Christmas Carol and the Problem of Character Transformation for Virtue Theory – Christopher Yorke (Glasgow)

         Character, Common-Sense and Expertise – Jonathan Webber (Sheffield)

         Concern without Action or Discussion without Engagement?: The Moral Value of Narratives – Adele Tomlin (King’s London)

            Submitted Papers 2:  N101

         Understanding One’s Self: Narrative and Autobiographical Memory – Louise Röska-Hardy (Dortmund)

         Let’s Get Lost – From the Death of the Author to the Disappearance of the Reader: A Deleuzian Analysis – Bruce Baugh (Cariboo)

         Narrative Understanding and Persons: Paul Ricœur’s Challenge to Rethink Selfhood – Chris Watkin (Cambridge)

1.15-2.30        Lunch

2.30-4.00        Submitted Papers 3: N001

         Narrative Structure of Emotion – Dina Mendonça (Lisboa)

         Emotions, Narrative and Mental Simulation  – Bill Wringe (Bilkent)

         Explaining Emotions through Personal Narratives – Robert Downham (Macquarie)

Submitted Papers 4:  N101

         Memento: A Philosophical Investigation – Phil Hutchinson (Manchester Metropolitan) &  Rupert Read (East Anglia)

         Narrative Explorations of a Philosophy of Education – Simone Galea (Malta)

         Race and Aesthetic Identification – Tanya Rodriguez Eckman (Minnesota)

4.00- 4.30       Coffee/Tea/Refreshments

4.30- 5.30       PLENARY 2:  Peter Goldie (King’s London) - N001

            Dramatic Irony and the External Perspective

5.30- 7.00       Submitted Papers 5:  N001

         Matters to Attend to: The Role of Attention in Understanding Narrative and Understanding Persons – Marianne O’Brien (Liverpool)

         Moral Lives, Moral Words: Literature and Human Understanding  – Tara G. Gilligan (Lafayette)

         Making Sense of Making Sense – Kelby Mason (Rutgers)

            Submitted Papers 6:  N101

            Chair:  Peter Goldie

         Character Engagement and Narrative in the Visual Arts – Bence Nanay (Berkeley)

         From Neurons to Narrative: Elementary Understanding and the Development of Empathy  – Shaun Gallagher (Central Florida)

         Understanding Self and Other: Studies Involving Robots and Interactive Systems – Megan Davis, Sarah Woods, Kerstin Dautenhan, Chrystopher Nehaniv, Stuart Powell (Hertfordshire)

7.00-8.00         Free time

8.00                 Dinner

WEDNESDAY July 13th 2004

9.00-10.30                  Submitted Papers 5:  N001

         Life Narratives and Plotless Lives –  Robert Kimball (Louisville)

         Oneself as an Author – Lisa Jones (St. Andrews)

         Are We Just Made-Up Stories? – Jeremy Newman (Birkbeck)

            Submitted Papers 6:  N101

         Is the Narrative Conception of the Self a Form of Anti-Realism? – Markus Schlosser (St. Andrews)

         Selves, Fictions and Narratives  – Simon Beck (KwaZulu-Natal)

         Past Lives: Narrative in History and Philosophical Psychology – Mahlete-Tsige Getachew (York)

10.30-11.00    Coffee/Tea/Refreshments

11.00-12.00    PLENARY 3:  Gregory Currie (Nottingham)

12.00-1.30      Submitted Papers 7:  N001

         Narrative Explanations of Intentional Human Action –  Christian Miller (Wake Forest)

         The Engine of Narrative: Inference and Propositional Attitudes – John Zeimbekis (Grenoble/CNRS)

         Being Transported through Narrative – Chisoula Andreou & Mariam Thalos (Utah)

                        Submitted Papers 8:  N101

         Narratives and the Unity of One’s Life: Charles Taylor’s Contribution to the Problem of Narrative Identity –  Franscico Lombo de León (Leuven)

         In Praise of Hypocrisy: On Risk and Forgetting in the Narrative Self – Benjamin Morris (Edinburgh)

         Silence and Self-Understanding: Learning from Kierkegaard about Narrative – Victoria Newman (Saint Louis University)

1.30-2.45        Lunch

2.45-4.15        Submitted Papers 9:  N101

         Against Time-Slice Decision-Making –  Christopher Cowley (East Anglia)

         Self-Understanding in Velleman’s Escape from the Prisoner’s Dilemma – Zoe Gilbert (Bristol)

         Personhood, Humanity and Animals: Three Approaches – Elisa Aatola (Turku)

Submitted Papers 10:  N101

         Defending Narrative Against Strawson    Sarah Worth (Furman)

         Reasons to be Fearful: Strawson, Death and Narrative – Kathy Behrendt (Oxford)

         Attributing Responsibility to the Narrative Self – David Thompson (Newfoundland)

4.15-4.45        Coffee/Tea/Refreshments

4.45-5.45        PLENARY 4: Galen Strawson (Reading)

5.45-7.00        Free time

7.00                 Gala Dinner: Elizabethan Banquet at Hatfield House

THURSDAY July 14th 2004

9.30 – 10.30   PLENARY 5: Dan Zahavi

            Self and Other as Limits of Narrativity

10.30 - 11.00 Coffee/Tea/Refreshments

11.00- 12.30   Kierkegaard and Narrative: Panel Session

John Lippitt (Hertfordshire), Anthony Rudd (St. Olaf) & Barry Stocker (Ankara)

12.30-1.45      Lunch

1.45-2.45        PLENARY 6: Peter Lamarque (York)

2.45-3.15        Coffee/Tea/Refreshments

3.15-4.15        PLENARY 7:  Daniel Hutto (Hertfordshire)

                        From Folk Psychological Narratives to Self Consciousness

4.15-4.30        Closing words

 

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

 

REFRESH!

1st INT. CONFERENCE ON THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY

September 28 - October 1, 2005, Banff New Media Institute, Canada

www.MediaArtHistory.org

Recognizing the increasing significance of media art for our culture, the conference on the Histories of Media Art will discuss for the first time the history of media art within the interdisciplinary and intercultural contexts of the histories of art. Banff New Media Institute, the Database for Virtual Art, Leonardo/ISAST and UNESCO DigiArts are collaborating to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art.

The conference will also discuss the documentation, collection, archiving and preservation of media art. What kind of international networks must be created to advance appropriate policies for collection and conservation? What kind of new technologies do we need to optimize research efforts and information exchange?

SESSIONS

For further information on the program and the speakers in each session please go to www.MediaArtHistory.org.

I. MediaArtHistories: Times and Landscapes I Chairs: O. GRAU and G. NADARAJAN

MediaArtHistories: Times and Landscapes II E. SHANKEN and C. GERE

II. Methodologies: W.J.T. MITCHELL and tba.

III. Art as Research / Artists as Inventors: D. DANIELS

IV. Image Science and 'Representation': From a Cognitive Point of View: B. STAFFORD

V. Collaborative Practice/ Networking (history): R. KLUSZCZYNSKI and D. DOMINGUES

VI. Pop/Mass/Society: M. KUSAHARA and A. LANGE

VII a. Collecting, preserving and archiving the media arts: J. GAGNON

VII b. Database/New Scientific Tools: R. FRIELING and O. GRAU

VIII. Cross-Culture - Global Art: S. DIAMOND and M. HSU

IX. What can the History of New Media Learn from History of Science/Science Studies? L. HENDERSON

X. Rejuvenate: Film, sound and music in media arts history: T. GUNNING and D. KAHN

XI. High Art/Low Culture - the future of media art sciences? K. BRUNS

XII. History of Institutions: I. SAKANE and J. REICHARDT

XIII. tba

REGISTRATION:

For information, online conference registration and accommodation please go to: http://www.banffcentre.ca/bnmi/events/refresh/registration_form.asp

For questions concerning registration please contact Luke Heemsbergen: Luke_Heemsbergen@banffcentre.ca

Conference: September 28 - October 1st, 2005

www.banffcentre.ca/bnmi

 

NEW 4 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

Partisan histories: conflicted pasts and public life

15-16 September 2005

The Centre for Cross-Cultural Research

The Australian National University

Convenors:

Prof. Dipesh Chakrabarty, University of Chicago

Prof. Bain Attwood, Australian National University and Monash University

It is now being increasingly recognised that the spread of anti-colonial and democratic sentiments in the twentieth and twenty-first centuries has often challenged the basic tenets of the social-science and humanities disciplines that themselves took shape and moulded our perceptions of modernity in the nineteenth century. Demands for cultural pluralism and for inclusion of formerly marginal groups in the representations of the nation have contributed to this process. Thus, anthropologists have had to re-examine their disciplinary understanding of cultureor geographers their understanding of spacein the wake of debates on knowledge-systems and their relationship to domination of one group by another.

The discipline of history has been no exception to this general process. It is no longer enough for historical research to be true to the past(as Ranke and others conceived the ideals of the discipline). It is now increasingly demanded that it be useful to the present as well and serve some definite social ends. In many parts of the world in the last three decades, historians and archaeologists have been drawn into acute public disputes to do with questions of the past. Their involvement has given rise to various kinds of debates national to methodological in scope with serious impact on and implications for the practice of their disciplines.

Countries such as Germany, Australia, India, Israel, South Africa, New Zealand and the United States have provided some of the prominent sites of these debates.

The aim of this conference is to examine in depth several sites of public debates on the past that have seen the active involvement of professional historians. International and local speakers will share with us their experience of particular debates with a view to discerning emergent general patterns that may be suggestive of the future of the discipline.

Among the themes and problems the conference will address will be those evident in Aboriginal history in Australia, legal cases involving gay history in the United States, debates on history text-books, the work of truth commissions such as the South African Truth and Reconciliation Commission, the conflict over Hinduhistory in India in the last two decades, the controversy over the Enola Gay exhibition in the United

States, the work of the Treaty of Waitangi Tribunal in New Zealand, and Israeli archaeology. This conference hopes to contribute to contemporary discussions of disciplines and their futures in a world marked by growing demands for recognition of groups hitherto marginalised by mainstream national and institutional practices. By focusing on the discipline of history in particular, this conference will provide a forum for discussion by historians as to whether or not their involvement in public disputation has led them to rethink the protocols of the discipline, or its many possible futures, in any fundamental way.

The speakers will include Bain Attwood (Monash University and The Australian National University), Neeladri Bhattacharya (Jawaharlal Nehru

University), Laurence Brown (The Australian National University), Dipesh

Chakrabarty, George Chauncey and Arnold Davidson (University of Chicago), Paula Hamilton (University of Technology, Sydney), Claudio Lomnitz (New School, New York), Klaus Neumann (Swinburne), Deborah Posel (University of Witwaterstrand), Bill Schwarz (Queen Mary's College, University of London), Keith Sorrenson (University of Auckland) and), David Thelen (Indiana University, Bloomington).

The Centre for Cross-Cultural Research acknowledges the support provided for this conference by the Humanities Research Centre, Australian National University; Department of History, University of Melbourne; School of Historical Studies, Monash University; School of Philosophical and Historical Inquiry, University of Sydney.

Registrations open. To register on-line, go to:

http://www.anu.edu.au/culture/conf/partisan_histories/index.htm

Full: $125

Concession: $75

Contact us

Dr. Maria Suzette Fernandes-Dias

Centre for Cross Cultural Research

Australian National University

Liversidge Street, Acton

Phone: (02) 6125 9879

Fax: (02) 6248 0054

tra Information

Dr. Maria-Suzette Fernandes-Dias

Centre for Cross-Cultural Research

The Australian National University

ACTON ACT - 0200

Tel:    + 61 2  6125 9879

Fax:    + 61 2 62480054

 

 

 

 

NEW 5  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

The Philosophic Intersections in Performance Studies working group of the Performance Studies Focus Groups invites interested participants to join us at our second annual meeting to be held on Wednesday 27 July and the morning of 28 July at the Westin St. Francis Hotel in San Francisco. This is part of the annual Performance Studies Focus Group (PSFG) of ATHE's 3rd annual Preconference, "Conceptions of the (American) 'West': Response/Ability."

For details on the entire preconference and registration information, please check out the website at http://www.athe.org/FG/ps

The Philosophic Intersections in Performance Studies working Group meeting  is coordinated by Gwendolyn Alker.

Performance Studies has always been defined by the fluidity of its disciplinary boundaries. While most stories of origin locate this field at the intersection of theatre and anthropology, other disciplinary collusions suggest different beginnings and subsequent models. One of the least discernable margins lies at the meeting point between PS and the discipline of Philosophy; yet this is also one of the most important borders in light of the "theory explosion" of the last 35 years. In this working group we will attempt to trace and discuss some of the important sites of generativity between the two areas, the disciplinary ramifications and the ongoing possibilities for cross-pollination.

Following from the initial meeting last year in Toronto, this initial meeting will continue the discussion of parameters for future discussions and collaborations. We intend to examine the boundaries of a philosophic canon within Performance Studies, exploring why certain philosophic discourses have been taken up by PS while others have not. In order to create a common foundation for ongoing discussion, the coordinators may assign readings/request suggested readings before the first meeting of the group. Initial questions may include:

- What are the initial locations and ongoing points of intersection between Philosophy and Performance Studies?

- How does the relationship between Philosophy and Performance Studies overlay and speak to the theory/practice dichotomy?

- What strands of philosophic thought have been most influential in Performance Studies and why?

- What might Performance Studies have to offer to the field of Philosophy and the methodologies prevalent within philosophic thought?

For questions about the Philosophic Intersections in Performance Working group, contact Gwendolyn Alker at gwendolyn.alker_at_nyu.edu

For general preconference questions, please contact Joshua Abrams and Jennifer Parker-Starbuck at ps_at_athe.org or visit the website at http://www.athe.org/FG/ps

 

 

 

NEW 6  (internet source: http://www.conferencealerts.com/philosophy.htm)

 

TURKISH CONGRESS OF AESTHETICS

27 to 29 September 2006

ANKARA, TURKEY

Website: http://www.sanart.org.tr

Contact name: Prof. Dr. Jale ERZEN

E-mail: erzen_AT_arch.metu.edu.tr

Organized by: SANART, Turkish Society for Aesthetics and Visual Culture

Deadline for abstracts/proposals: Not available.

 

 

 

 

LECTURES (NEW 1)

 (internet source: search engine)

 

Donnerstag, 29. September 2005, 19.30 Uhr

Vortrag im Hörsaal des Landesmuseums

Brüder-Grimm-Platz 5

Kassel

„Ernst ist das Leben, heiter die Kunst.“

Zum Begriff des Spiels in Schillers

Schrift „Über die ästhetische Erziehung

des Menschen“

Prof. Dr. Helmut Fuhrmann, Kassel

Goethe-Gesellschaft Kassel e.V.

Geschäftsführerin: Margot Leiding

Brasselsbergstr. 3a

34132 Kassel

Telefon: (0561) 400 89 74

Telefax: (0561) 400 30 48

e-mail: E-Mail: info@goethe-gesellschaft-kassel.de

Internet: www.goethe-gesellschaft-kassel.de

 

 

 

PUBLICATIONS (NEW 2)

 

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

 

The latest issue of Janus Head is now available at http://www.janushead.org

It features a broad selection of essays, fiction, poetry, and art.

--- EDITORIAL

Brent Dean Robbins

http://www.janushead.org/7-2/Editorial.pdf

--- ESSAYS

Fetishism and Bad Faith: A Freudian Rebuttal to Sartre

Christopher M. Gemerchak

http://www.janushead.org/7-2/Gemerchak.pdf

Singing the World in a New Key: Merleau-Ponty and the Ontology of Sense

Ted Toadvine

http://www.janushead.org/7-2/Toadvine.pdf

Elemental Sonority: Heidegger, H?rlin and Thunder

Stephen B. Hatton

http://www.janushead.org/7-2/Hatton.pdf

Evil and the Ritual of Shame: A Crime Against Humanity in

Bosnia-Herzegovina

Keith Doubt

http://www.janushead.org/7-2/Doubt.pdf

The Loss of Language, the Language of Loss: Thinking with DeLillo on

Terror

and Mourning

J. Heath Atchley

http://www.janushead.org/7-2/Atchley.pdf

Launching the Hydrapolemic: The Mythological Encounter with Polemic as

Concept

Kane X. Faucher

http://www.janushead.org/7-2/Faucher.pdf

Violence and Heterogeneity: A Response to Habermas' "Between Eroticism

and

General Economics: Bataille"

Apple Zefelius Igrek

http://www.janushead.org/7-2/Igrek.pdf

Descartes in the Matrix: Addressing the Question "What is Real?" from

Non-Positivist Ground

Gilbert Garza

http://www.janushead.org/7-2/Garza.pdf

"God is dreaming you": Narrative as Imitatio Dei in Miguel De Unamuno

Costica Bradatan

http://www.janushead.org/7-2/Bradatan.pdf

Painting in the Expanded Field

Gustavo Fares

http://www.janushead.org/7-2/Fares.pdf

--- FICTION

Gestures in Waiting

Robert Vivian

http://www.janushead.org/7-2/Vivian.pdf

The Philosopher

Aaron Parrett

http://www.janushead.org/7-2/Parrett.pdf

--- ART & POETRY COLLABORATIONS

Desert Flesh and Iron

Nat Hardy & Julian Grater

http://www.janushead.org/7-2/HardyGrater.pdf

Vignettes in Stone

Anita Lundberg & Jean Weiner

http://www.janushead.org/7-2/LundbergWeiner.pdf

--- POETRY

Three poems

Ewa Lipska (translated by Margret Grebowicz)

http://www.janushead.org/7-2/Lipska.pdf

Sonnets to Orpheus 1.2

Rainer Maria Rilke (translated by Rick Anthony Furtak)

http://www.janushead.org/7-2/Rilke.pdf

Six poems

James Deahl

http://www.janushead.org/7-2/Deahl.pdf

Six poetry translations

Ouyang Yu

http://www.janushead.org/7-2/Yu.pdf

Three poems

Robert Gibbons

http://www.janushead.org/7-2/Gibbons.pdf

Three poems

Jnana Hodson

http://www.janushead.org/7-2/Hodson.pdf

Five poems

James Hoggard

http://www.janushead.org/7-2/Hoggard.pdf

--- BOOK REVIEWS

The Current State of the "Question of the Animal"

Review of Zoontologies: The Question of the Animal

Edited by Cary Wolfe

Reviewer: Fareed Awan

http://www.janushead.org/7-2/Wolfe.pdf

Restoring Life to the Treatment of Madness

Review of History Beyond Trauma

by Francoise Davoine & Jean-Max Gaudilliere

Reviewer: Pam Leck

http://www.janushead.org/7-2/DavoineGaudilliere.pdf

Sex of the Soul: Transsexual Identity Development

Review of Transsexualism: Illusion and Reality

by Colette Chiland

Reviewer: Nadine Vaughan

http://www.janushead.org/7-2/Chiland.pdf

Caught in the Net and Dreaming Lucidly

Review of Connected--Or What It Means to Live in the Network Society

by Steven Shaviro

Reviewer: Andrew J. Felder

http://www.janushead.org/7-2/Shaviro.pdf

"The rest is jelly"

Review of Wetwares: Experiments in Post-Vital Living

by Richard Doyle

Reviewer: Gavin Miller

http://www.janushead.org/7-2/Doyle.pdf

A Passionate Embrace With Thought Itself

Review of Intimacy or Integrity: Philosophy and Culutral Difference

by Thomas P. Kasulis

Reviewer: Alan Pope

http://www.janushead.org/7-2/Kasulis.pdf

Bodies and Thinking in Motion

Review of Body and World

by Samuel Todes

Reviewer: Tom Strong

http://www.janushead.org/7-2/Todes.pdf

Classifications of Dissociation: Bridging Disciplines to Understand

States of Consciousness

Review of Mind Over Mind: The Anthropology and Psychology of Spirit

Possession

by Morton Klass

Reviewer: Angelina Baydala

http://www.janushead.org/7-2/Klass.pdf

Does Anyone Really Know What Time Is?

Review of Are We In Time?: And Other Essays on Time and Temporality

by Charles M. Sherover

Reviewer: Steven J. Hendlin

http://www.janushead.org/7-2/Sherover.pdf

Culture and the Western World

Review of Thresholds of Western Culture: Identity, Postcoloniality,

Transnationalism

Edited by John Burt Foster, Jr. & Wayne J. Froman

Reviewer: Van Yu

http://www.janushead.org/7-2/FosterFroman.pdf

CONTRIBUTORS

http://www.janushead.org/7-2/Contributors.pdf

*********************************

Costica Bradatan, PhD

Department of Philosophy,

Miami University,

Hall Auditorium, 221

Oxford, OH 45056

USA

http://www.users.muohio.edu/bradatc/

*********************************

 

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

 

I am happy to announce the publication of Volume 13 in the Open Court

Popular Culture and Philosophy Series, _Superheroes and Philosophy: Truth, Justice, and the Socratic Way_, edited by Tom Morris and Matt

Morris. Please see the table of contents below.

William Irwin

Series Editor,

Open Court Publishing, Popular Culture and Philosophy

Associate Professor of Philosophy

King's College

Wilkes-Barre, PA 18711

(570) 208-5900 ext. 5493

wtirwin@Kings.edu

http://www.kings.edu/wtirwin/

Superheroes and Philosophy

Introduction: Men in Bright Tights and Wild Fights, Often at Great

Heights - And, Of Course, Some Amazing Women, Too!

TOM MORRIS AND MATT MORRIS

Part One: The Image of the Superhero

1. The Real Truth about Superman: And the Rest of Us, Too

MARK WAID

2. Heroes and Superheroes

JEPH LOEB AND TOM MORRIS

3. The Crimson Viper vs. The Maniacal Morphing Meme

DENNIS O'NEIL

4. Superhero Revisionism in Watchmen and The Dark Knight Returns

AEON SKOBLE

Part Two: The Existential World of the Superhero

5. God, the Devil, and Matt Murdock

TOM MORRIS

6. The Power and the Glory

CHARLES TALIAFERRO AND CRAIG LINDAHL-URBEN

7. Myth, Morality, and the Women of the X-Men

REBECCA HOUSEL

8. Batgirl and Moral Perfectionism

JAMES SOUTH

9. Batman and Friends: Aristotle and The Dark Knight's Inner Circle

MATT MORRIS

10. The Fantastic Four as a Family: The Strongest Bond of All

CHRIS RYALL AND SCOTT TIPTON

11. Comic-Book Wisdom

MIKE THAU

Part Three: Superheroes and Moral Duty

12. Why Are Superheroes Good? Comics and The Ring of Gyges.

JEFF BRENZEL

13. Why Should Superheroes Be Good?  Spider-Man, the X-Men, and

Kierkegaard's Double Danger

C. STEPHEN EVANS

14. With Great Power Comes Great Responsibility: On the Moral Duties of

the Super-Powerful and Super-Heroic.   

CHRISTOPHER ROBICHAUD

15. Why Be a Superhero? Why Be Moral?

C. STEPHEN LAYMAN

16. Superman and Kingdom Come: The Surprise of Philosophical Theology

PHILIP TALLON AND JERRY WALLS

Part Four: Identity and Superhero Metaphysics

17. Questions of Identity: Is the Hulk the Same Person as Bruce Banner?

KEVIN KINGHORN

18. Identity Crisis: Time Travel and Metaphysics in the DC Multiverse

RICHARD HANLEY

19. What's Behind the Mask?  The Secret of Secret Identities

TOM MORRIS

List of Contributors, or: WOW!  IT COULD BE THE GREATEST GATHERING OF

MINDS IN COMIC-BOOK HISTORY!  HOLD ON TO YOUR HATS AND GET READY FOR THE

BIOS OF YOUR LIFE!

 

 

JOB OFFERINGS (NEW 1)

 

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

 

MA in Aesthetics at the University of Sussex

 

The Philosophy Department at Sussex currently offers a specialist MA in Aesthetics as well as graduate supervision at MPhil and PhD level. The MA in Aesthetics provides an advanced programme of study for those particularly interested in the philosophy of art and literature. It is built around two core courses in aesthetics, alongside which students take two further courses chosen from a range of options. The range of options has been revised for 2005-06.

For further information on the course structure, please see the MA Aesthetics webpage http://www.sussex.ac.uk/gchums/1-2-7-1.html

Department Faculty interested in Aesthetics are as follows:

Paul Davies, Reader, works in the Philosophy of Literature, and is currently writing a book on the Philosophy of Art entitled 'Poems, Works, and Contexts'. In addition, he has interests in the History of Philosophy, including Kant, Heidegger, Blanchot, and Levinas; in the case of each of these thinkers, his interests include reflection on the implications of their views for issues in aesthetics and the philosophy of art.

Tanja Staehler, Lecturer, specialises in Contemporary European Philosophy (esp. Husserl, Heidegger, Merleau-Ponty, Levinas); German Idealism; Ancient Philosophy (esp. Plato); Continental Aesthetics . She is currently working on the idea of love in Plato and Levinas.

Kathleen Stock, Lecturer, is interested in the nature of the imagination, especially in relation to the arts. She is currently working on a book on the imagination, and in her spare time is editing an anthology in the Philosophy of Music. She has recent or forthcoming publications in the British Journal of Aesthetics, the Philosophical Quarterly and several anthologies. She is Secretary of the British Society of Aesthetics.

Michael Morris, Reader, is a philosopher of language whose recent research in that area has raised questions about the nature of works of art and of artistic 'media'. He has recently written a conference paper ('Doing Justice to Works of Art') on this: it is hoped that he will develop this into a book in the longer term.

Rickie Dammann, Emeritus Lecturer, is concerned with problems connected with the notion of 'representation', an area where 'analytical' and 'continental' thinkers have much to learn from each other. At present he is working on Plato's notion of Mimesis, a term Plato (and Aristotle after him) applied primarily to Poetry, but which can be fruitfully compared to Wollheim's notion of 'seeing-in'. In doing so, he is working on the writings of Derrida and Lacoue-Labarthe.

For further information on the department, please see our webpage

http://www.sussex.ac.uk/philosophy/

For further information on the University, please see the website

http://www.sussex.ac.uk/

For further information about applications to Sussex, please contact our graduate convener Andrew Chitty  A.E.Chitty@sussex.ac.uk

Kathleen Stock,

Lecturer,

Department of Philosophy,

Arts B 235,

School of Humanities,

University of Sussex,

Falmer, Brighton,

BN1 9QN

Tel: 01273 877822

Email: K.M.Stock@sussex.ac.uk

 

 

April 2005 – June 2005

 

CALLS FOR PAPERS (NEW 8 + 1)

 

1 (internet source: http://www.aesthetics-online.org/events/calls.html)

 

"Aesthetics and Literature in Perspective of Modern Eco-Civilization"

August 19-22, 2005

Jinan, Shandong, China

 

Topics: present status of research of eco-aesthetics and eco-literature in China, overseas eco-criticism and environmental aesthetics, chinese traditional ecological thoughts and culture, eco-ethnics and eco-aesthetics.

Deadline: June 1, 2005

Zuzhe Wang

Center for Literary Theory and Aesthetics

Shandong University

27 Shandananlu Road

Jinan

China 250100

Fax: +86-531-836 4252

 

NEW 2 (internet source: register@philo.at)

 

 

perforum - Stiftung Charles und Agnes Voegele

11.02.2005-02.05.2005, Pfäffikon, Schweiz

Deadline: 02.05.2005

 

CALL FOR PAPERS

 

In der internationalen Gegenwartsphilosophie ist zur Zeit eine Renaissance der klassischen Autoren des Pragmatismus zu erkennen, deren Aussagen als Alternativen zu Dekonstruktivismus und Postmodernismus empfohlen werden. Richard Rorty's bereits 1994 formulierte Erinnerung über das Drängen Deweys, das Streben nach Gewissheit durch die Forderung nach Phantasie zu ersetzen, scheint heute an Aktualität zu gewinnen. "... Man sollte sich nicht mehr darum kümmern, ob das was man glaubt, gut fundiert ist, sondern sich allmählich darum kümmern, ob man genügend

Phantasie aufgebracht hat, um sich interessante Alternativen zu den gegenwärtigen Überzeugungen auszudenken."

 

Als ausschlaggebend erwiesen sich Entwicklungen in Theorie und Praxis, die heute unter Begriffen linguistic turn, pictorial turn beziehungsweise performative turn zusammengefasst werden, ebenso wie die zunehmende Reflektion der Medien oder der Einfluss der Wissenschaftstheorie auf kulturelle Entwicklungen. Insbesondere eine jüngere Generation von Wissenschaftlern und Kulturschaffenden, die von den Erkenntnissen des 20. Jahrhunderts weitgehend profitieren konnte, scheint nun diese Erkenntnisse zunehmend als Ausgangspunkt für neue Entwicklungen zu nutzen als nach weiteren Begründungen und Rechtfertigungen bestehender Theorien zu suchen. Mit diesem möglichen Handlungswillen stellt sich gleichzeitig die Frage nach der Handlungskapazität dieser Generation und danach, ob deren Ideen in nächster Zeit zu größeren Veränderungen im kulturellen Bereich, in Theorie und Kulturpraxis, führen könnten.

 

Die von perforum - Stiftung Charles und Agnes Voegele herausgegebene Publikation versammelt klassische Schriften und Zeitdokumente, die die kulturelle und gesellschaftliche Situation vergangener Zeiten beschreiben und fordert junge Wissenschaftler und Kulturschaffende aus Theorie und Praxis auf, Beiträge zu senden, die aus verschiedenen Perspektiven den aktuellen Zustand der geisteswissenschaftlichen Theorie und der kulturellen Praxis im weitesten Sinne sowie mögliche Entwicklungen in beiden Feldern aufzuzeigen suchen. Ziel des Publikationsvorhabens ist es, einer jüngeren Generation eine Plattform zur Äußerung im Hinblick auf das aktuelle kulturelle Denken zu geben. Einsendeschluss Abstract: 2. Mai, max. 2.000 Zeichen

an: pius.freiburghaus@perforum.ch

 

On the international philosophy scene at present, a renaissance in the classical authors of pragmatism can be observed whose statements are being recommended as alternatives to deconstructivism and post-modernism. Richard Rorty's recollection, formulated already in 1994, about Dewey's urging to replace the striving for certainty by the demand for imagination today seems to be gaining in relevance. "... one should no longer be concerned only with whether what one believes in is well-grounded, but gradually with whether one has employed sufficient imagination to think through interesting alternatives to present day convictions."

 

Developments in theory and practice today that are comprised under the concepts of linguistic turn, pictorial turn and performative turn, as well as increasing self-reflection in the media and the influence of philosophy of science on cultural trends are turning out to be decisive.

 

In particular, a younger generation of researchers and cultural workers who have been able to largely profit from the knowledge of the twentieth century now seems to be using this knowledge increasingly as the starting-point for new developments rather than looking for further foundations and justifications of existing theories. With this potential will to act, the question is simultaneously posed concerning this generation's capacity to act and also concerning whether its ideas could lead in the near future to major changes in the cultural sector in both

theory and practice.

 

The publication by perforum - Charles and Agnes Voegele Foundation collects together classical writings and contemporary documents that describe the cultural and social situation of past periods and also calls on young researchers and cultural workers in theory and practice to send in contributions that try to show from various perspectives the current state of theory in the humanities and of cultural practice in the broadest sense, as well as potential developments in both areas. The objective of the publication project is to give a younger generation a platform for expressing present-day cultural thinking.

 

Deadline for submitting abstracts: 2.Mai. 2005, maximum of 2,000 characters

 

Send abstracts to: pius.freiburghaus@perforum.ch

Pius Freiburghaus

perforum - Stiftung Charles und Agnes Voegele

www.seedamm-kultur.ch

http://hsozkult.geschichte.hu-berlin.de/termine/id=3640

 

 

NEW  3 (internet source: register@philo.at)

 

Graduiertenkolleg "Technisierung und Gesellschaft", TU-Darmstadt

12.10.2005-14.10.2005, Schloss TU-Darmstadt

Deadline: 22.04.2005

Technisierung/Ästhetisierung - Technological and Aesthetic. (Trans)Formations of Society

Darmstadt Technical University, October 12 to 14, 2005

For the past nine years, the interdisciplinary graduate college "Technisierung und Gesellschaft" considered the technological (trans)formation of society. As the last cohort of doctoral students concludes its studies, the final conference widens the perspective and brings past researches to bear on the interplay of technological and aesthetic dimensions of formative processes in contemporary societies.

By foregrounding process, the conference goes beyond the iconic turn in science and technology studies. Rather than focus on images, it will explore the work that goes into producing self and society in the image of technology. This work involves constructions of time and space, it negotiates forces of globalization and localization, it construes self and nature as subject and object of technological shaping. This work also produces tensions between and among aesthetic and technological ideals.

Abstracts from a wide variety of disciplines are welcome. These include philosophy, sociology, history, engineering and the natural sciences, art history, linguistics or media studies. Submit 500-word abstracts by April 22, 2005, as a Word or RichText document to

TU Darmstadt

Fachbereich 2

Graduiertenkolleg "Technisierung und Gesellschaft"

Karolinenplatz 5 (Fach 1404)

64289 Darmstadt

Germany

E-mail: tagung-graduiertenkolleg@ifs.tu-darmstadt.de

There will be panels on:

- Aesthetic Anticipation

- Art, Technosciences, and Social Criticism

- Metaphors in Science and Technology

- The Aesthetic Dimensions of Warfare

- Urban Spaces and Private Quarters

Other topics might include:

- Perception and Technologies of Visualization

- The Justification of the Self as Post-Human Artwork

- Designing Life-Cycles of People and Products

- Modeling between Artefacts and practical Usage

- Vestiges of Nature

- Visions and Visionaries from Science Fiction to Science Fact

- Figurative and the Literal Aspects of Technical Discourses

- Bordercrossings: Technology and the Arts

For a more detailed call for papers and a collection of topical theses go to www.ifs.tu-darmstadt.de/fileadmin/gradkoll/Konferenzen/abschluss/main.html

Bruno Arich-Gerz

TU Darmstadt

Fachbereich 2

Graduiertenkolleg "Technisierung und Gesellschaft"

Karolinenplatz 5 (Fach 1404)

64289 Darmstadt

Germany

tagung-graduiertenkolleg@ifs.tu-darmstadt.de

www.ifs.tu-darmstadt.de/fileadmin/gradkoll/Konferenzen/abschluss/main.html

(http://hsozkult.geschichte.hu-berlin.de/termine/id=3678)

 

 

NEW  4  (internet source: aesthetics-l@LISTSERV.INDIANA.EDU )

 

The British Society of Aesthetics

Annual Conference 2-4 Sept. 2005

St. Edmund Hall, Oxford

September 2005

Call for Papers: Deadline: May 7th

Papers in philosophical aesthetics should be submitted with a 100 word abstract and formatted for blind review (author’s name on separate cover page). Papers should not exceed 12 pages (20 minutes reading time). Abstracts cannot be considered in lieu of papers.

Graduate papers are encouraged (to be marked as such when submitted) with a £50 prize to be awarded to the best one presented at the conference. Submissions should be in Word format or rtf and emailed to Derek Matravers: D.C.Matravers@open.ac.uk

Programme Chair: Matthew Kieran

Programme Committee: Ian Ground, Derek Matravers, Anthony Pryer

www.british-aesthetics.org

 

NEW 5 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

Philosophy and the Visual Arts at the American Philosophical Association

Eastern Division Meeting

New York, New York

27-30 December 2005

 

The Society for the Philosophic Study of the Contemporary Visual Arts

(SPSCVA) invites papers to be presented at its divisional meeting held

in conjunction with the Eastern Division Meeting of the American

Philosophical Association (APA-Eastern). Papers may address any topic

that involves the connection between philosophy and the visual arts:

film, photography, video, or any other aesthetic media. The Society also

welcomes proposals for panels, author-meets-critics, or other special

sessions, as well as volunteers to serve as panel chairs and

commentators. Presentations should be 20-25 minutes (10-12 pages in

length). Participants must be currently paid members of the SPSCVA.

Contact: James Harold, Department of Philosophy, Mount Holyoke College,

South Hadley, MA, 01075, < jharold@mtholyoke.edu >. E-mail submissions

are preferred.

Deadline: 15 April 2005

 

 

 

NEW 6 (internet source: search engine)

 

Call for Papers:

The Reproduction of Whiteness: Race and the Regulation of the Gendered Body

 

Hypatia: A Journal of Feminist Philosophy is seeking papers for a special issue addressing the ways in which race and racism have been present in the disciplining and regulation of reproduction. The issue will be guest edited by Alison Bailey and Jacquelyn N. Zita.

 

Over the last two decades feminist philosophers, critical race theorists, postcolonial theorists, progressive historians, and political activists revisited and reexamined questions of race and identity. Collectively these scholars and activists have made visible the ways in which the social construction of race informs scholarly inquiry and public policy. Most of these writings identify "whiteness" as a cultural disposition and ideology held in place by specific political, social, aesthetic, epistemic, metaphysical, economic, legal, and historical conditions crafted to preserve white identity and supremacy. Yet outside of Dorothy Roberts's landmark Killing the Black Body: Race, Reproduction and the Meaning of Liberty (1997) very little attention has been paid to the ways women's bodies have been, and continue to be, disciplined and regulated to reinforce the dominant (white) racial order.

 

The relative silence around the connections between race and reproduction is striking, given the strong historical connections. The regulation of racial, ethnic, and national boundaries has been tied closely to the regulation of women's--and to a lesser extent men's--bodies. Recall that white anxiety about immigration pushed the criminalization of abortion in the U.S. forward. Or how forced sterilization of women of color has been used to regulate/exterminate communities of color. If racial identity is also preserved through reproductive policy and sexual standards, why haven't these topics been engaged more frequently? If reproduction is disciplined along racial lines, then why hasn't it been central to discussions of resistance to racism? The purpose of this special issue is to bring discussions of reproduction, sexuality, and race together in ways that make these connections visible, so that resistance to the reproductive racial order can also be addressed.

 

Possible topics include, but are by no means restricted to:

 

• Somatophobia (fear of the bodily) in whiteness studies

• Reproduction and critical race theory

• The racialized management of adoption, abortion, artificial insemination, egg and sperm donation, and surrogacy

• The historic and contemporary role of eugenics in maintaining racial categories

• Reproductive resistance

• The racialization of pregnant bodies

• The relationship between reproductive policies and nation building

• The distortion, invisibility, and cooptation of women of color's reproductive labor

• Links between women's status and their reproductive and sexual choices

• Race and GLBT parenting

• Incarnating matrimonial whiteness

• White sex and race formation

• Engendering whiteness studies

• Globalizing whiteness in women's bodies

 

Papers should be less than 10,000 words long, prepared for anonymous review, and accompanied by an abstract of no more than 75 words. Please provide a cover letter identifying your paper as a submission for the special issue "Reproduction of Whiteness." The deadline for submissions is 1 May 2005. Papers should be submitted by electronic attachment in Word or WordPerfect to both Alison Bailey at baileya@ilstu.edu and Jacquelyn N. Zita at zitax001@umn.edu. Authors should follow the Hypatia style guidelines, which can be found at http://www.msu.edu/~hypatia/. Please address all correspondence, manuscripts, questions and suggestions to either Alison Bailey or Jackie Zita. We look forward to hearing from you.

 

NEW 7 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

Pataphysica announces an upcoming third issue on pataphysical

machines. We will print selected critical and artistic works. We

invite the pataphysical writing of scholars in the following

fields: alchemy, Alfred Jarry, Contraptionalism, cybernetics,

dada, Fernando Pessoa, Flann O'Brien, Gilles Deleuze, Jean

Tinguely, machine-produced art, Marcel Duchamp, Oulipo,

puppetry, Stanislaw Ignacy Witkiewicz, and such. Contemporary

artists and poets may submit textual machines, diagrams, and

descriptions of works in progress. Articles and works must

directly relate to pataphysics for inclusion. Deadline for

submission: June 20, 2005. Send all proposals to Dr. Cal

Clements at calclements_at_yahoo.com. For information on past

issues, see http://calclements.com/pataphysica.html

pataphysics is the only science. find out what you will always be missing.see: http://calclements.com/pataphysica.html

 

NEW 8 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

CALL FOR PAPERS

TRANSVERSALITIES:  CROSSING DISCIPLINES, CULTURES AND IDENTITIES

Departments of Film, Theatre & Television and Fine Art, University of

Reading.

Keynote speaker Phillip Auslander (author of Liveness)

"rather than the diagonal, one should have to speak of the transversal:

everything that takes the subject in all the sense of the word from an odd

angle, and traverses it. Instead of interdisciplinarity, I would speak of

transdisciplinarity, placing the accent on the trans- - or better yet, on

transit, on translation, or even on trance, but not on transcendence"(Hubert

Damisch)

Transversality describes the key impulse in recent artistic practice in

which dance, film, music, theatre, painting, sculpture, performance,

television, text, theatre, video have all contested the boundaries of their

disciplines and their relations with each other in playful and controversial

ways. Transversality across cultural and academic contexts enables creative

and productive dynamic exchanges. Fine Art and Film, Theatre & Television

at Reading are co-hosting a three-day conference and inviting contributions

from across the humanities to ask four key questions:

What are the histories of transversality in the arts?

How does political agency figure in transversal work?

How might identity formations be deconstructed by transversing

disciplines, cultures and artistic practices?

What are the effects of transversing the actual and the virtual?

We welcome 300 word abstracts for papers and performances in one of the

following formats:

20 minute plenary papers to be presented in chaired panel sessions

Demonstrations, performances, screenings or installations which can be

presented as part of the conference proceedings.

2 hour workshops in which a limited number of participants (maximum 15)

will work with the practitioner proposing the workshop.

Seminar sessions where pre-circulated academic papers will be debated.

Proposals for seminars should address one of the following topics:

o camp as cultural strategy;

o action and image, image and text;

o cross cultural performativity.

Conference date: 16-18 September 2005.

Venue: Bulmershe Court, University of Reading.

Submission Deadline: Friday 29 April, 2005.

Email abstracts and queries to: Lib Taylor l.j.taylor_at_reading.ac.uk (Film, Theatre & Television) or Roger Cook r.j.r.cook_at_reading.ac.uk (Fine Art)

 

NEW 9 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

Modernist Studies Association 7th Annual Conference

November 3-6, 2005: Chicago

Proposed Panel: Modernism and the Mimetic Faculty

One of the most shopworn maxims about aesthetic modernism is that,

across a wide range of styles, genres, and media, modernism is

resolutely anti-mimetic. The concept of mimesis that underwrites this

view, however, tends to be a notion of visual reflection that often

reduces the complexity of the issues involved. As Stephen Halliwell's

_The Aesthetics of Mimesis_ demonstrates, Plato's own account is

considerably more ambiguous and nuanced than the mimesis-as-mirror

model, and Aristotle seems to have had something different in mind

entirely. This proposed panel looks to broaden the understanding of

modernist aesthetic practices in relation to other theories of mimesis,

the mimetic, and imitation. Two directions of especial interest are the

anthropological notion of the mimetic faculty in Walter Benjamin, and

psychoanalytic models of mimesis and identification as elaborated by

Diana Fuss, Mikkel Borch-Jacobsen, Judith Butler, and others. Other

approaches--such as those theorized by Girard, Gebauer and Wulf, Adorno and/or Horkheimer, Bhabha, etc.=97are also welcome. Please send a

one-page abstract and brief CV by April 25 to Brian Glavey at

glavey_at_virginia.edu.

Brian Glavey

232 Monte Vista Av.

Charlottesville, VA 22903

434-825-7460

 

 

CONFERENCES (NEW 8 + 2)

 

1 (internet source: research engine)

http://www.fabula.org/actualites/article9505.php

"L'esthétique en acte"

IIe Congrès de la Société des études romantiques et dix-neuviémistes en collaboration avec les Universités de Caen et de Paris X-Nanterre

25-28 mai 2005

APPEL A CONTRIBUTION (Date limite : 15 novembre 2004 - Information publiée le mercredi 27 octobre 2004 par Alexandre Gefen)

Dans le prolongement des journées organisées par la Société des Études romantiques et dix-neuviémistes sur les manifestes (janvier 2004) et sur les préfaces (janvier 2005), une réflexion reste à mener sur la question de l'esthétique - question centrale et plus générale à la fois. Charles Magnin, dans Le Globe, en 1829, rendant compte de la réédition du Nouvel Art poétique de Viollet le Duc (1re éd. 1809), déclarait que le temps des poétiques (normatives) était révolu ; en revanche, il annonçait une ère nouvelle, celle de l'esthétique. C'est cet avènement, les débats qu'il entraîne, les bouleversements qu'il opère qui se trouveront au centre de ce IIe Congrès.

Trois axes ont été retenus. Le premier se propose d'analyser les relations qu'entretiennent tout au long du siècle poétique et esthétique, ainsi que les parcours qui conduisent de l'une à l'autre. Le deuxième prend en charge de répertorier les lieux, les supports, les vecteurs divers, les pratiques institutionnelles et éditoriales sur lesquels s'appuie la réflexion esthétique au XIXe siècle. Le troisième, centré sur la notion même d'esthétique en acte, se propose de mettre l'accent sur les interactions de divers ordres entre théories et pratiques esthétiques.

1. De la poétique à l'esthétique

Il s'agira de penser l'histoire, l'extension sémantique du mot et de la notion, depuis les réappropriations et les reformulations proposées à l'aube du siècle (chez Mme de Staël, puis dans Le Globe), jusqu'aux différents avatars fin-de-siècle (l'Esthétique de la langue française de Remy de Gourmont, ou l'ascèse de Mallarmé dans les « glaciers de l'esthétique »). Mais il conviendra d'être attentif aussi aux restes assez consistants de « poétique » et de « rhétorique » normatives qui demeurent actifs tout au long du siècle, du fait de la fidélité de l'enseignement scolaire et universitaire à ces disciplines ancestrales, sans oublier les autres signes de résistance de l'aristotélisme (Quatremère de Quincy, Népomucène Lemercier, Nisard, Viennet, etc.). Il faudra tenir compte aussi du fait que le « siècle de l'esthétique » fut aussi celui de cette activité connexe elle aussi nouvelle, du moins par l'ampleur sans précédent qu'elle acquiert alors : la critique.

Il s'agira par ailleurs d'étudier les diverses notions qui ont constitué en quelque sorte l'outillage mental de l'esthétique : la notion de « beau idéal », au premier chef, avec ses acceptions différentes de Winckelmann à George Sand ; celle de « création »; celle de « l'art pour l'art », celle de « réalisme », etc.

Il y aurait aussi à envisager les rapports entre l'esthétique et la morale, chez un Cousin bien sûr, chez les philosophes allemands, mais aussi chez un Hugo et les « humanitaires », ou encore chez un Baudelaire.

Il faudra s'interroger sur la nouvelle géographie de l'espace épistémique qui se dessine à une époque où, les commentateurs le remarquent, aux « Beaux-Arts » en tant que disciplines techniques séparées, se substitue la notion d'« Art », au singulier de majesté, avec son impérialisme attractif et novateur. La notion d'esthétique est ainsi liée à une redéfinition de l'espace intellectuel tout entier, qui tend en particulier à produire cette révolution majeure : faire passer la poésie et les formes nouvelles de ce qu'ont eût appelé au siècle antérieur les « Belles-lettres » du camp de la « Littérature » (au sens ancien du mot, qui comprenait la philosophie)  vers celui de l'« Art ».

Dans une optique complémentaire, il apparaît nécessaire de s'interroger sur les transformations qui affectent alors la notion d'auteur (devenu sujet sensible) et sur la notion d'oeuvre, qui sont toujours en relation, mais plus encore dans un siècle qui, après avoir fait passer l'axe de l'empire esthétique de l'oeuvre vers l'homme, le ramène ensuite progressivement, dans la deuxième moitié du siècle, de l'homme vers le « livre aux mobiles feuillets » (Mallarmé).

Il conviendra par ailleurs de penser les relations que l'esthétique entretient avec la notion de « style », et enfin d'analyser les valeurs à partir desquelles une critique nouvelle cherche à se fonder (vérité, modernité, authenticité, sincérité, intimité, spiritualité, décadence, etc.)

2. Lieux et supports institutionnels

Dans un deuxième temps, il s'agira de répertorier les lieux où la réflexion esthétique se formule et s'expose : Salons, dîners littéraires, Prix, académies, cours professés en Sorbonne (Cousin, 1818) ou à l'école de Beaux-arts (Taine, 1863), ou cours privés - voir, par exemple, le Cours de littérature dramatique de Wilhelm-August Schlegel tenu à Vienne en 1808, avant d'être traduit et édité en français (1813) ou le cours d'esthétique de Jouffroy (édité à sa mort en 1843). On fera l'appel des Cénacles et des principaux groupes porteurs d'une réflexion esthétique novatrice et organisée, aux divers moments du siècle. On devra tenir compte aussi de ce phénomène que constitue cette réalité collective nouvelle, les « écoles », sorte de « politisation de l'esthétique ». On dressera ainsi la cartographie évolutive de la pensée esthétique et de son institutionnalisation. Parallèlement, il conviendra de repérer les lieux textuels (revues, correspondances, traités, essais, traductions, critique d'art, « salons » au sens littéraire du terme, etc.) où se formulent ces discours théoriques. On sera attentif à la chronologie et aux titres génériques d'ouvrages ou d'articles qui sont comme autant d'emblèmes éditoriaux de la réflexion esthétique, et où souvent le mot « art » se décline : « Un mot sur l'art moderne » (Musset, 1833), « Du beau dans l'art » (Gautier, 1847), Du principe de l'art et de sa destination sociale (P.-J. Proudhon, 1863), Philosophie de l'art (Taine, 1880), etc. Une réflexion d'ordre historique, en particulier en termes d'histoire culturelle, devra établir dans quelle mesure l'esthétique, cette activité en apparence immatérielle, a pu se trouver elle-même investie dans tout un appareil social de production et de diffusion, qui, pour avoir été limité le plus souvent aux cercles littéraires et artistiques, n'en est pas moins intéressant à étudier en termes socio-économiques, tant au niveau des sociabilités que des pratiques éditoriales.

Cette topographie institutionnelle devra être complétée par une géographie, au moins européenne. La question des traductions est ici d'autant plus centrale que la notion vient de l'étranger, et, qu'elle reste longtemps affectée d'italiques. Aux yeux de certains esprits hostiles, elle porte la marque d'abstraction qui caractérise la philosophie allemande. De là l'intérêt de se poser la question de l'esthétique en termes de « littérature comparée », et à se demander dans quelle mesure une telle réflexion a eu ou non une spécificité française. Ce qui pourra se faire en reprenant la question des influences en France des traductions des grandes sommes esthétiques allemandes (Kant, Hegel, Schelling, Schopenhauer, Nietzsche...), anglaises (Ruskin) ou américaines (Poe, Emerson), mais aussi des points aveugles en raison de non-traduction ou de traduction tardive (Coleridge, Carlyle, etc.). De cette manière, ce Congrès pourra être réellement celui de toute notre Société : littéraires, historiens de l'art, philosophes, comparatistes, historiens des idées et des pratiques culturelles.

Enfin, mais sans que cela nous amène à construire obligatoirement des ensembles en fonction de ce critère, l'évolution historique des formes et supports de la réflexion esthétique au cours du siècle devra être elle aussi prise en compte.

3. L'esthétique à l'oeuvre

Si les journées préparatoires au Congrès ont été centrées sur les préfaces et les manifestes, si le présent congrès traite d'abord des diverses autres formes de la réflexion esthétique, il semble nécessaire d'analyser aussi la mise en oeuvre des programmes ainsi énoncés. Quel est le rapport entre la théorie et les oeuvres ? comment les oeuvres les exposent-elles, les mettent-elles en évidence, mais aussi en pratique ? Telles seront ici les questions.

Y a t'il alors rapport direct entre théorie et pratique ? N'y a-t-il parfois transformation des théories esthétiques par des oeuvres censées les mettre en acte ? Par ailleurs, ne peut-on considérer que certaines oeuvres, hors toute théorie préalable, sont à elles seules de véritables actes esthétiques, entraînant de manière implicite de profondes reconsidérations dont la réflexion postérieure essaie ensuite de prendre la mesure ? Cela sans oublier qu'il est un autre cas, plus habituel, où c'est dans l'oeuvre même que la théorie se formule de manière encore plus vive (Corinne, Le Chef d'oeuvre inconnu, A Rebours, Paludes, L'Atelier du peintre de Courbet, etc.)

Il importe également de considérer comment, dans les oeuvres d'art du temps, se mettent en place des thématiques ou des figures prenant valeur d'emblèmes esthétiques : représentation de l'atelier du peintre, autoportraits, romans de l'écrivain ou de l'artiste, etc. Dans les textes littéraires, il conviendrait de recenser les lieux (ekphrasis, dialogues, digressions, etc.) où la pensée esthétique se formule tout en cherchant à s'exposer comme un « beau texte ». Le trait semble plus accentué à mesure que, selon l'évolution propre au siècle, toute oeuvre qui prétend à une certaine dignité esthétique se propose à la fois comme produit et comme méditation en acte de sa possibilité même (l'aboutissement du phénomène, qu'on donne ordinairement comme caractéristique du siècle suivant, étant une oeuvre comme celle de Proust, dont les racines au XIXe siècle méritent d'être rappelées).

Dans un esprit complémentaire, il conviendrait d'insister enfin sur ce qui assure la visibilité de l'esthétique : soit donc sur ce qui finit par rendre perceptible à tout un chacun les choix artistiques d'une époque donnée. Autre forme de « mise en oeuvre » de l'esthétique, rendue ainsi manifeste jusque dans la vie courante. Ce marquage de la vie quotidienne par l'esthétique en vogue est certes plus nettement perceptible de nos jours, en notre âge de design. Mais là encore, le phénomène est né au XIXe siècle. Cela est patent dans les domaines de l'architecture, de l'urbanisme, du paysage. Certaines formes d'architecture ont un lien avec des événements historiques (l'égyptomanie, liée aux expéditions de Bonaparte, ou le néo-gothique, qui n'est pas sans liens avec l'idéologie de la Restauration). De même, dans le domaine de la décoration et des arts graphiques (le japonisme, lié aux expéditions coloniales). Autre forme de « mise en montre » de l'esthétique : la mode, avec ses effets sur les transformations de la silhouette féminine telle que la remodèle périodiquement la haute-couture.

Il faudrait tenir compte aussi du rapport entre l'esthétique et les évolutions de la technique: l'architecture métallique (la Tour Eiffel), l' art industriel, moqué par Flaubert, mais non sans influence sur l'évolution des arts décoratifs, l'art de l'affiche, qui favorise le contact du public avec certaines formes de l'avant-garde picturale, et surtout, bien sûr, la photographie, dans la mesure où elle devient un art à part entière. Tout cela débouchant sur le problème de la reproductibilité cher à Benjamin.

Les propositions de communication devront être faites sous la forme suivante :

-brève présentation de l'auteur de la proposition ;

-titre ;

-résumé d'environ 300 mots ;

-rubrique dans laquelle la proposition s'inscrit.

Elles devront être adressées avant le 15 novembre 2004 par courrier électronique à l'un des membres du Comité scientifique :

Jean-Louis Cabanès (Paris X) jlcab@club-internet.fr 

Gabrielle Chamarat (Paris X) gchamarat@free.fr 

Brigitte Diaz (Caen) brigittediaz@wanadoo.fr

José-Luis Diaz (Paris 7) joseluisdiaz@wanadoo.fr

Gérard Gengembre (Caen) gerard.gengembre@wanadoo.fr

 

 

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

 

CFP: Philosophy and Aesthetics - Lyotard and Deleuze

Wednesday June 22nd – Friday June 24th, 2005

University of Melbourne, Australia

A conference organised by

The School of Art History, Cinema, Classics and Archeology

The School of Creative Arts

Melbourne School of Continental Philosophy 

 

This three-day conference will cover a range of thinkers and issues in contemporary philosophy and aesthetics, with a particular focus over the first two days on two French philosophers, Jean-François Lyotard and Gilles Deleuze.

 

Day One: Lyotard - Beyond the Postmodern Condition

 

The reception of the philosophy of Jean-François Lyotard in the English-speaking world has been sporadic and far from comprehensive. Regrettably, his influence has been largely felt through the infamous definition that opens The Postmodern Condition, and to a lesser extent the ironically-flavoured summary found in the ‘Reading Dossier’ of The Differend. The aim of this symposium is to redress this situation by drawing attention to the large amount of provocative and important work done by Lyotard throughout his career. Particular attention will be given to his early libidinal philosophy, his readings of other philosophers, his aesthetics, and his recent work (from Postmodern Fables onwards). Possible topics for presentations could include: art and aesthetics; Lyotard’s readings of Freud, Marx, Kant, Lévinas, Malraux, Augustine, Adorno, or phenomenology; Libidinal Economy; Discours, Figure; paganism; Lyotard’s politics and his theorizing of the avant-garde.

 

Day Two: Deleuze and Creativity

 

Although many aspects of Deleuze’s work have received close attention in recent years there has been little written about his views on aesthetics and creativity (as distinct from his views on particular artistic creations). The aim of this symposium is to provide an opportunity for exploring Deleuze’s account of creative production in the context of the various arts (literature, film, music, theatre, painting etc.) and of culture more generally.

 

Day Three: Philosophy and Aesthetics

 

The third day of this conference is open to papers from all disciplines theoretically or practically engaging with issues in aesthetics. Both academics and practising artists are invited to contribute papers or works of relevance to the conference theme.

 

Possible topics for presentations could include:

 

Postmodern aesthetics; the changing role (and relevance) of art in contemporary culture; emergent art forms; the relation between thought and sensation; the sublime; recent movements within the respective arts; the relationship between the marketplace and the reception and consumption of artworks, etc.

 

Papers on philosophers, cultural critics, or artists who have written on aesthetics or aesthetic issues are welcome (e.g., Kant, Hegel, Nietzsche, Heidegger, Bataille, Kristeva, Blanchot, Lacan, Derrida, Baudrillard, Adorno, Genette, Ricoeur, Jameson, McLuhan, Goodman, etc.)

 

Expressions of general interest can be sent to Felicity Colman fcolman@unimelb.edu.au or Jon Roffe <overground@imap.cc>. Particular expressions of interest concerning Day One (Lyotard) can be mailed to Ashley Woodward phallacy@tpg.com.au and Day Two to Graham Jones <grajones@unimelb.edu.au> or Barbara Bolt bbolt@unimelb.edu.au.

 

Further conference details can be found online at http://www.mscp.org.au

 

 

 

 

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

 

CALL FOR PAPERS:

Thinking about Museums: Objects of Desire and the Concept of Collecting

 

A one-day conference to be held at the University of Dundee

24 May 2005

Jointly organised by the Department of Philosophy and University of Dundee Museum Services

 

Plenary speaker: Mark O'Neill, "Towards a New Epistemology for Museums"

 

Proposals are sought for papers to contribute to a one-day conference on philosophy and museums, organised jointly by the University of Dundee Museum Services and the Department of Philosophy. We are interested in thinking philosophically about museums and collecting, and in considering what museums and their collections can tell us about thinking. How do ethics, aesthetics and metaphysics relate to museums and museum collecting? What can museums and their objects tell us about the ways we think? How do we arrive at concepts of collecting, museum objects, and the museum itself? How can philosophy inform museums - and how can museums be a resource for philosophy? This conference is timed to coincide with UK Museums and Galleries Month 2005 and relates to its chosen theme "Objects of Desire".

 

Subjects addressed during the conference could include the following:

- the idea of the universal or Enlightenment museum

- the art and/or science of collecting

- interpretation, representation and desire

- desire and aesthetics

- desire and the ethics or politics of collecting

- collecting, knowledge and memory

- changing nature of academic/university collections

- collecting in Scotland, collecting Scottish objects

 

Overall, we are hoping to address both theoretical and practical aspects of these subjects. Submissions are welcome both from academic researchers and from museum professionals. Abstracts or proposals of 200-300 words should be sent by email attachment to Beth Lord at b.lord@dundee.ac.uk, by Friday 18 March at the latest.

 

Dr. Beth Lord

Teaching Fellow

Dept. of Philosophy

University of Dundee

tel: 01382 344439

fax: 01382 348274

email: b.lord@dundee.ac.uk

 

 

 

 

NEW 4 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

N A T U R E   I N   T H E   K I N G D O M   O F   E N D S

Where are we taking nature?  Were is nature taking us?

A Conference  in Selfoss, Iceland, June 11th and 12th 2005

http://www.midja.is/fraedslunet

Respecting others for what they are rather than treating them simply as instruments is one of the fundamentals of human morality. The philosopher Immanuel Kant expressed this in the following words: “Act  in such a way that you treat humanity, whether in your own person or in the person of another, always at the same time as an end and never simply as a means”. And sometimes Kant says that rational beings are citizens in the kingdom of ends. But why only rational beings? The title “Nature in the Kingdom of Ends” indicates that nature should also belong to the kingdom of ends, that it is deserving of respect and that one should never treat it simply as a means but always also as an end.

The object of the conference is to consider the place of nature in the contemporary world and its appearances in different aspects of human life.

When we ask about sources of values, we are asking questions about the basic frames which we set for our lives; the surroundings in which we live, the projects that we undertake, and the goals we set ourselves. Here we find the roots of ethics and art.

Ecological crises, climatic changes, and natural catastrophes have made us increasingly aware of the place of man, as a living creature, in a fragile natural environment which constrains human life in various ways. But, at the same time, nature has appeared as a source of values opening up new ways for creative and meaningful life. This status of nature is reflected in new trends in art and ethics.

Culture – art – nature

Complex relations between art and nature are one of the characteristics of contemporary art. The distinction between art and nature has become increasingly blurred at the same time as the ancient dichotomy of culture and nature has become controversial. It is the inner space, the interstices between disciplines, the challenging discourse between the triple, culture – art – nature, that has become a locus, a place for creative richness, that has generated some of the most exciting artworks created during the last decades.

Ethics

Ideas about the proper object of moral philosophy underwent radical changes in the last decades of the 20th century. Philosophers began discussing nature as an independent source of moral values, rather than a mere stage for moral life which, in the end, derives its value from relations between humans.

Nature and modernity

The new circumstances of art and ethics have forced us to recognize the dual nature of humans as natural and cultural creatures. We are forced to look at humans as a unified whole with these two sides, which often conflict.

 

 

NEW 5 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

John Cage Thinker-Performer

 

One-day conference

Royal Northern College of Music (UK)

Saturday 16 April 2005

This one-day conference is free to RNCM staff and students; £15.00 to others (includes, coffee, tea, both performances and the drinks reception). Advance registration is unnecessary, but an indication of intent to attend would be helpful.

 

The provisional programme is below and (printer-friendly) at http://www.rncm.ac.uk/Place%20to%20Study/Research%20Events/

9.30am Registration

10.00 Stephen Chase, 'Listening / Not Listening: Improvisation after Cage'

10.30 Clemens Gresser, 'Cage, the Performer and the Idea of Co-Creatorship'

11.00 Coffee

11.15 Darla Crispin, 'Some Noisy Ruminations on Susan Sontag's 'Aesthetics of Silence''

11.45 Nic Melia, 'Silence and Subjectivity: Strands of Critical Resistance to Sound-Making'

12.15pm Keynote address: David Nicholls, 'Cage  Performing'

1.15 Lunch

2.15 Simon Anderson, 'Over-prepared, Under-prepared? The Problems of Preparing Pianos for the Music of Cage'

2.45 Marco Lombardi, 'Cage's Cello Music'

3.15 Tea

3.30 Rebecca Kim, '"Making Music by Reading Aloud": Cage as Vocalist'

4.00 Rob Haskins, 'Playing in the Brothel: Problems of Performance Practice in Cage's Song Books'

4.30 Drinks reception and performance of 'Lecture on Nothing' by Jody Killingsworth

5.30 Performance of 'Sonatas and Interludes' for prepared piano by John Tilbury

6.30 Close

 

Dr Anthony Gritten FRCO

Head of Postgraduate Studies and Research

Royal Northern College of Music

124 Oxford Road

Manchester M13 9RD

UK

Tel: (44)(0)161-907-5380

Email: anthony [dot] gritten [at] rncm [dot] ac [dot] uk

Web: http://www.rncm.ac.uk

 

 

NEW 6 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

 

Art and Cognition

9.-11. Juni 2005

University of Erfurt

Questions about art and reality are among the central topics of aesthetics, and they have become especially significant in recent deba­tes. Can art contribute to our knowledge of the world? Can we learn from literary texts?

The aim of this conference is to present and discuss various approaches to these questions, considering how literature might either afford knowledge of the world or change our view of the world. Central topics include the cognitive content of literature, alternative conceptions of know­ledge, and the nature of aesthetic experience

Programme:

Thursday, June 9, 2005

14.15 Richard Eldridge (Swarthmore): "The Ends of Narrative"

15.30 Bernard Harrison (Sussex/Utah): "Aharon Appelfeld and the Problem of Holocaust Fiction"

16.45 John Gibson (Temple): "Narrative as an Ethical Ideal"

Friday, June 10, 2005

09.15 Wolfgang Huemer (Erfurt): "Drawing Inferences from Literature"

10.30 Luca Pocci (Western Ontario): "The Return of the Repressed: Literary Themes and Cognition"

11.45 Catherine Elgin (Harvard): "Cognitive Functions of Fiction"

14.15 Christiane Schildknecht (Bonn): "Phenomenal Experience in Art and Literature"

15.30 Alex Burri (Erfurt): "Art and the View from Nowhere"

16.45 Sabine Döring (King’s College London): "Art, Affective Perception, and Aesthetic Knowledge"

Saturday, June 11, 2005

09.15 Gottfried Gabriel (Jena): "Aesthetic Cognition and Aesthetic Judgment"

10.30 Peter Lamarque (York): "Can the Truth Issue about Literature be Resolved?"

11.45 Joachim Schulte (Bielefeld): "On Understanding the Language of Literature"

Conference venue: Begegnungsstätte Kleine Synagoge, Erfurt, Germany.

www.uni-erfurt.de/philosophie/

 

 

 

NEW 7 (internet source: search engine)

 

 

L'esthétique en acte. IIe Congrès de la Société des études romantiques et dix-neuviémistes. en collaboration avec les Universités de Caen et de Paris X-Nanterre

 

Université Paris X- Nanterre

26-28 mai 2005

salle des conférences, bâtiment B  et salle des thèses, B5, bâtiment B.

 

Dans le prolongement des journées organisées par la Société des Études romantiques et dix-neuviémistes sur les manifestes (janvier 2004) et sur les préfaces (janvier 2005), une réflexion reste à mener sur la question de l'esthétique - question centrale et plus générale à la fois. Charles Magnin, dans Le Globe, en 1829, rendant compte de la réédition du Nouvel Art poétique de Viollet le Duc (1re éd. 1809), déclarait que le temps des poétiques (normatives) était révolu ; en revanche, il annonçait une ère nouvelle, celle de l'esthétique. C'est cet avènement, les débats qu'il entraîne, les bouleversements qu'il opère qui se trouveront au centre de ce IIe Congrès.

 

Trois axes ont été retenus. Le premier se propose d'analyser les relations qu'entretiennent tout au long du siècle poétique et esthétique, ainsi que les parcours qui conduisent de l'une à l'autre. Le deuxième prend en charge de répertorier les lieux, les supports, les vecteurs divers, les pratiques institutionnelles et éditoriales sur lesquels s'appuie la réflexion esthétique au XIXe siècle. Le troisième, centré sur la notion même d'esthétique en acte, se propose de mettre l'accent sur les interactions de divers ordres entre théories et pratiques esthétiques.

 

1. De la poétique à l'esthétique

 

Il s'agira de penser l'histoire, l'extension sémantique du mot et de la notion, depuis les réappropriations et les reformulations proposées à l'aube du siècle (chez Mme de Staël, puis dans Le Globe), jusqu'aux différents avatars fin-de-siècle (l'Esthétique de la langue française de Remy de Gourmont, ou l'ascèse de Mallarmé dans les « glaciers de l'esthétique »). Mais il conviendra d'être attentif aussi aux restes assez consistants de « poétique » et de « rhétorique » normatives qui demeurent actifs tout au long du siècle, du fait de la fidélité de l'enseignement scolaire et universitaire à ces disciplines ancestrales, sans oublier les autres signes de résistance de l'aristotélisme (Quatremère de Quincy, Népomucène Lemercier, Nisard, Viennet, etc.). Il faudra tenir compte aussi du fait que le « siècle de l'esthétique » fut aussi celui de cette activité connexe elle aussi nouvelle, du moins par l'ampleur sans précédent qu'elle acquiert alors : la critique.

 

Il s'agira par ailleurs d'étudier les diverses notions qui ont constitué en quelque sorte l'outillage mental de l'esthétique : la notion de « beau idéal », au premier chef, avec ses acceptions différentes de Winckelmann à George Sand ; celle de « création »; celle de « l'art pour l'art », celle de « réalisme », etc.

 

Il y aurait aussi à envisager les rapports entre l'esthétique et la morale, chez un Cousin bien sûr, chez les philosophes allemands, mais aussi chez un Hugo et les « humanitaires », ou encore chez un Baudelaire.

 

Il faudra s'interroger sur la nouvelle géographie de l'espace épistémique qui se dessine à une époque où, les commentateurs le remarquent, aux « Beaux-Arts » en tant que disciplines techniques séparées, se substitue la notion d'« Art », au singulier de majesté, avec son impérialisme attractif et novateur. La notion d'esthétique est ainsi liée à une redéfinition de l'espace intellectuel tout entier, qui tend en particulier à produire cette révolution majeure : faire passer la poésie et les formes nouvelles de ce qu'ont eût appelé au siècle antérieur les « Belles-lettres » du camp de la « Littérature » (au sens ancien du mot, qui comprenait la philosophie)  vers celui de l'« Art ».

 

Dans une optique complémentaire, il apparaît nécessaire de s'interroger sur les transformations qui affectent alors la notion d'auteur (devenu sujet sensible) et sur la notion d'oeuvre, qui sont toujours en relation, mais plus encore dans un siècle qui, après avoir fait passer l'axe de l'empire esthétique de l'oeuvre vers l'homme, le ramène ensuite progressivement, dans la deuxième moitié du siècle, de l'homme vers le « livre aux mobiles feuillets » (Mallarmé).

 

Il conviendra par ailleurs de penser les relations que l'esthétique entretient avec la notion de « style », et enfin d'analyser les valeurs à partir desquelles une critique nouvelle cherche à se fonder (vérité, modernité, authenticité, sincérité, intimité, spiritualité, décadence, etc.)

 

2. Lieux et supports institutionnels

 

Dans un deuxième temps, il s'agira de répertorier les lieux où la réflexion esthétique se formule et s'expose : Salons, dîners littéraires, Prix, académies, cours professés en Sorbonne (Cousin, 1818) ou à l'école de Beaux-arts (Taine, 1863), ou cours privés - voir, par exemple, le Cours de littérature dramatique de Wilhelm-August Schlegel tenu à Vienne en 1808, avant d'être traduit et édité en français (1813) ou le cours d'esthétique de Jouffroy (édité à sa mort en 1843). On fera l'appel des Cénacles et des principaux groupes porteurs d'une réflexion esthétique novatrice et organisée, aux divers moments du siècle. On devra tenir compte aussi de ce phénomène que constitue cette réalité collective nouvelle, les « écoles », sorte de « politisation de l'esthétique ». On dressera ainsi la cartographie évolutive de la pensée esthétique et de son institutionnalisation. Parallèlement, il conviendra de repérer les lieux textuels (revues, correspondances, traités, essais, traductions, critique d'art, « salons » au sens littéraire du terme, etc.) où se formulent ces discours théoriques. On sera attentif à la chronologie et aux titres génériques d'ouvrages ou d'articles qui sont comme autant d'emblèmes éditoriaux de la réflexion esthétique, et où souvent le mot « art » se décline : « Un mot sur l'art moderne » (Musset, 1833), « Du beau dans l'art » (Gautier, 1847), Du principe de l'art et de sa destination sociale (P.-J. Proudhon, 1863), Philosophie de l'art (Taine, 1880), etc. Une réflexion d'ordre historique, en particulier en termes d'histoire culturelle, devra établir dans quelle mesure l'esthétique, cette activité en apparence immatérielle, a pu se trouver elle-même investie dans tout un appareil social de production et de diffusion, qui, pour avoir été limité le plus souvent aux cercles littéraires et artistiques, n'en est pas moins intéressant à étudier en termes socio-économiques, tant au niveau des sociabilités que des pratiques éditoriales.

 

Cette topographie institutionnelle devra être complétée par une géographie, au moins européenne. La question des traductions est ici d'autant plus centrale que la notion vient de l'étranger, et, qu'elle reste longtemps affectée d'italiques. Aux yeux de certains esprits hostiles, elle porte la marque d'abstraction qui caractérise la philosophie allemande. De là l'intérêt de se poser la question de l'esthétique en termes de « littérature comparée », et à se demander dans quelle mesure une telle réflexion a eu ou non une spécificité française. Ce qui pourra se faire en reprenant la question des influences en France des traductions des grandes sommes esthétiques allemandes (Kant, Hegel, Schelling, Schopenhauer, Nietzsche...), anglaises (Ruskin) ou américaines (Poe, Emerson), mais aussi des points aveugles en raison de non-traduction ou de traduction tardive (Coleridge, Carlyle, etc.). De cette manière, ce Congrès pourra être réellement celui de toute notre Société : littéraires, historiens de l'art, philosophes, comparatistes, historiens des idées et des pratiques culturelles.

 

Enfin, mais sans que cela nous amène à construire obligatoirement des ensembles en fonction de ce critère, l'évolution historique des formes et supports de la réflexion esthétique au cours du siècle devra être elle aussi prise en compte.

 

3. L'esthétique à l'oeuvre

 

Si les journées préparatoires au Congrès ont été centrées sur les préfaces et les manifestes, si le présent congrès traite d'abord des diverses autres formes de la réflexion esthétique, il semble nécessaire d'analyser aussi la mise en oeuvre des programmes ainsi énoncés. Quel est le rapport entre la théorie et les oeuvres ? comment les oeuvres les exposent-elles, les mettent-elles en évidence, mais aussi en pratique ? Telles seront ici les questions.

 

Y a t'il alors rapport direct entre théorie et pratique ? N'y a-t-il parfois transformation des théories esthétiques par des oeuvres censées les mettre en acte ? Par ailleurs, ne peut-on considérer que certaines oeuvres, hors toute théorie préalable, sont à elles seules de véritables actes esthétiques, entraînant de manière implicite de profondes reconsidérations dont la réflexion postérieure essaie ensuite de prendre la mesure ? Cela sans oublier qu'il est un autre cas, plus habituel, où c'est dans l'oeuvre même que la théorie se formule de manière encore plus vive (Corinne, Le Chef d'oeuvre inconnu, A Rebours, Paludes, L'Atelier du peintre de Courbet, etc.)

 

Il importe également de considérer comment, dans les oeuvres d'art du temps, se mettent en place des thématiques ou des figures prenant valeur d'emblèmes esthétiques : représentation de l'atelier du peintre, autoportraits, romans de l'écrivain ou de l'artiste, etc. Dans les textes littéraires, il conviendrait de recenser les lieux (ekphrasis, dialogues, digressions, etc.) où la pensée esthétique se formule tout en cherchant à s'exposer comme un « beau texte ». Le trait semble plus accentué à mesure que, selon l'évolution propre au siècle, toute oeuvre qui prétend à une certaine dignité esthétique se propose à la fois comme produit et comme méditation en acte de sa possibilité même (l'aboutissement du phénomène, qu'on donne ordinairement comme caractéristique du siècle suivant, étant une oeuvre comme celle de Proust, dont les racines au XIXe siècle méritent d'être rappelées).

 

Dans un esprit complémentaire, il conviendrait d'insister enfin sur ce qui assure la visibilité de l'esthétique : soit donc sur ce qui finit par rendre perceptible à tout un chacun les choix artistiques d'une époque donnée. Autre forme de « mise en oeuvre » de l'esthétique, rendue ainsi manifeste jusque dans la vie courante. Ce marquage de la vie quotidienne par l'esthétique en vogue est certes plus nettement perceptible de nos jours, en notre âge de design. Mais là encore, le phénomène est né au XIXe siècle. Cela est patent dans les domaines de l'architecture, de l'urbanisme, du paysage. Certaines formes d'architecture ont un lien avec des événements historiques (l'égyptomanie, liée aux expéditions de Bonaparte, ou le néo-gothique, qui n'est pas sans liens avec l'idéologie de la Restauration). De même, dans le domaine de la décoration et des arts graphiques (le japonisme, lié aux expéditions coloniales). Autre forme de « mise en montre » de l'esthétique : la mode, avec ses effets sur les transformations de la silhouette féminine telle que la remodèle périodiquement la haute-couture.

 

Il faudrait tenir compte aussi du rapport entre l'esthétique et les évolutions de la technique: l'architecture métallique (la Tour Eiffel), l' art industriel, moqué par Flaubert, mais non sans influence sur l'évolution des arts décoratifs, l'art de l'affiche, qui favorise le contact du public avec certaines formes de l'avant-garde picturale, et surtout, bien sûr, la photographie, dans la mesure où elle devient un art à part entière. Tout cela débouchant sur le problème de la reproductibilité cher à Benjamin.

 

Jean-Louis Cabanès (Paris X) jlcab@club-internet.fr

Gabrielle Chamarat (Paris X) gchamarat@free.fr

Brigitte Diaz (Caen) brigittediaz@wanadoo.fr

José-Luis Diaz (Paris 7) joseluisdiaz@wanadoo.fr

Gérard Gengembre (Caen) gerard.gengembre@wanadoo.fr

 

 

Jeudi 26 mai 2005  Matinée ouverture

M. le Président de Paris X : Allocution de bienvenue

Philipe Hamon (Paris III), Ouverture du Congrès

José-Luis Diaz (Paris 7), De la poétique à l’esthétique (1800-1850)

Élisabeth Decultot ( CNRS), Dans le sillage de Victor Cousin, le débat sur l’esthétique philosophique allemande (1820-1850)

Jean-Louis Cabanès (Paris X), L’esthétique dans la critique scientifique (1850-1900)

Jeudi 26 mai 2005 Après-midi

Atelier 1 Philosophie

Jeudi 26 mai 2005 Après-midi

Atelier 2 Des Lumières au Romantisme

Françoise Gaillard (Paris 7), L’autonomisation de l’esthétique

Mildred Galland-Szymkowiak (Paris IV), L’esthétique comme synthèse du théorique et de pratique dans l’idéalisme allemand (Schelling)

René-Marc Pille (Paris X). Schiller et sa réception en France. L’élaboration d’une esthétique humaniste

Laurent Clausade, Le réalisme esthétique de la philosophie spiritualiste, une esthétique de l’idéal

Baldine Saint-Girons (Paris X), Sublime et monstrueux dans Frankenstein, Un prêtre marié, et Docteur Jekyl et Mister Hyde

Gérard Gengembre (Caen), Entre poétique et esthétique : situation de la conception bonaldienne

Stéphanie Tribouillard (Caen), Y a-t-il une esthétique staëlienne en 1800 ?

Béatrice Didier (ENS Paris), Le beau idéal selon Chateaubriand

Marc-Matthieu Munch (Metz) ), L’Ironie romantique

Jean Lacoste, Heinrich Heine et le salon de 1831 : ironie allemande et romantisme français

Vendredi 27 mai 2005

Matinée

Atelier 3 Romantismes

Vendredi 27 mai 2005

Matinée

Atelier 4 Histoire de l’art

Michel Crouzet (Paris IV), Le ciel chez Stendhal

Florence Naugrette (Rouen), La Préface de Cromwell

Brigitte Diaz (Caen), Sand et la « fraternité des arts »

Paolo Tortonese (Univ. de Savoie), L’idéal et la réclame : extrémités de l’esthétique dans la préface de Mademoiselle de Maupin

Michèle Hannoosh (University of Michigan) Imagination esthétique et conscience historique : Jules Michelet et les arts plastiques

Timothée Picard (Lille III), L’esthétique musicale, d’Hoffmann à ses héritiers

Celina Maria Moreira de Mello (Rio de Janeiro), L’Artiste (1831-1838), sur les relations mots-images dans la critique d’art

Jean-Philippe Chimot , Delacroix peintre et critique : questions au silence

Thomas Schlesser (Doctorant EHESS), Des discours esthétiques à dimension politique : les conflits critiques autour des tableaux manifestes du Réalisme de Gustave Courbet

Michael R. Orwicz (University of Connecticut ), Discours esthétiques et enjeux socio-culturels chez les critiques d’art d'avant-garde face au cas Gauguin (vers 1890)

Vendredi 27 mai 2005

Après-midi

Atelier 5 Institutions

Vendredi 27 mai 2005

Après-midi

Atelier 6 Esthétique et éthique

Anthony Glinoer (Liège), Entre révolution esthétique et anarchie institutionnelle : le Petit Cénacle face à La Liberté, journal des arts (1833)

Vincent Laisney (CNRS), L’école de Rome : Mallarmé professeur d’esthétique

Jérôme Poggi (Paris I), La Génération de 1863 et la Galerie des Italiens : la chambre de la modernité

François kerlouegan ENS), Les manuels de beauté romantiques : une esthétique mise en pratique

Mariane Bury (Paris IV), Les rapports esthétique/morale chez quelques théoriciens français, dont Guizot

Max Milner (Paris III), Poétique de l’éthique, éthique de la poétique chez Baudelaire

Marie-Françoise Melmoux-Montaubin (Paris 7), « L’esthétique de Barbey d’Aurevilly »

Gisèle Seginger ( Marne-la-Vallée), Hegel et Flaubert : de la philosophie à l'éthique de l'écriture

Françoise Sylvos (La Réunion), « L’idéal en plus ou la quête du Beau dans les utopies de la première moitié du XIXe siècle »

Samedi 28 mai 2005

Matinée

Atelier 7 Réalismes ?

Samedi 28 mai 2005

Matinée

Atelier 8 Le souci exclusif du beau

Christèle Couleau, « Suivez le guide ! » : Le commentaire esthétique du romanesque dans le récit balzacien

Gabrielle Chamarat (Paris X), Crise du réalisme dans les années 1850

Didier Philippot (Paris III ), L’imagination chez les réalistes

Adeline Wrona (ENS), L’épique chez Flaubert et Zola

Bernard Vouilloux (Bordeaux III), Autour de l’allégorie

Yann Mortelette (CNRS), L’esthétique du Parnasse

Pierre- Henry Frangne (Rennes 2), Le Symbolisme : philosophie de l’art et esthétique

Bertrand Marchal (Paris IV), La poésie en noir et blanc : le Sonnet en -yx de Mallarmé

Pascal Durand (Liège), Qu'est-ce qu'un “acte vide” ? Genèse sociale de l'esthétique pure

Henri Scepi (Poitiers), Jules Laforgue : du principe esthétique au « tel quel de la vie »

Samedi 28 mai 2005

Après-midi

Modernités

Nathalie Vincent-Munia (Clermont-Ferrand), La naissance du poème en prose français : une reconstruction esthétique ?

SilviaDisegni (Naples), Le poème en prose, au risque du Petit-Journal

Jean-Michel Maulpoix (Paris X), « J'aimais ces peintures idiotes »

Martine Lavaud (Montpellier III), Écriture et pratique photographique : un art à l’œuvre

Claude Leroy (Paris X), La Tour Eiffel comme acte esthétique

 

 

NEW 8 (internet source: search engine)

 

 

CONGRESSO INTERNACIONAL

 

DIMENSÃO ESTÉTICA

Homenagem aos 50 anos de Eros e Civilização

Belo Horizonte, Brasil, 17-20 de Maio de 2005

 

PROGRAMA

A programação consistirá em palestras proferidas por conferencistas convidados, na parte da manhã, e na apresentação de comunicações e de painéis inscritos por adesão, na parte da tarde.

 

A organização do Colóquio sugere os seguintes tópicos:

Mediação entre práxis e sensibilidade

Arte e política

Indústria cultural

O corpo na arte contemporânea

Estética e psicanálise

Estetização da vida cotidiana

Marcuse e a Teoria Crítica

Conexões: Eros, civilização e estética.  

 

Programação Provisória

Dia 17/05 – Terça-feira

Manhã:

09:00 Abertura

09:30 – 12:00 Palestra: "Marcuse e a crítica estética da modernidade.", Prof. Dr. Ricardo Barbosa (UERJ).

Tarde:

14:00 –18:00 Comunicações e painéis  

Dia 18/05 – Quarta-feira

Manhã:

09:00 – 12:00 Palestras: "Reloaded. O fim da utopia.", Prof. Dr.Thomas Friedrich (Fachochschule Mannheim). 

"'Uma pintura de Cézanne mesmo num banheiro é uma pintura de Cézanne.' Arte e cultura do cotidiano em Marcuse.", Prof. Dr. Gerhard Schweppenhauser (Freie Universität Bozen)

Tarde:

14:00 –18:00 Comunicações e painéis  

Dia 19/05 – Quinta-feira

Manhã:

09:00 – 12:00 Palestras: "A culpa acumulada da espécie humana: sobre a estética em um mundo danificado",   Profª. Drª. Shierry Nichoelsen.

"Arte, instinto, tecnologia e a possibilidade do socialismo", Prof. Dr. Jeremy Shapiro (The Fielding Institute - Sta. Barbara).

Tarde:

14:00 –18:00 Comunicações e painéis  

Dia 19/05 – Sexta-feira

Manhã:

09:00 – 12:00 Palestras: "Eros, civilização e phantasia.", Profª. Drª. Imaculada Kangussu (UFOP).

"Eros e civilização. Dialéticas da liberação", Prof. Dr.Douglas Kellner (UCLA).

Tarde:

14:00 –16:00 Mesa de encerramento: "A influência de Adorno na estética de Marcuse.", Prof. Dr. Rodrigo Duarte (UFMG), Profª. Drª. Márcia Tiburi (Unisinos) e Prof. Dr. Verlaine Freitas (UFMG).

Obs: As palestras em Inglês e Alemão terão tradução simultânea para o Português.

 

 

NEW 9 (internet source: search engine)

 

International conference

Politics [AND/IN] Aesthetics

4-9 June 2005 - Thessaloniki, Greece & Veliko Turnovo, Bulgaria

School of English, Aristotle University of Thessaloniki, Greece

Department of English and American Studies, University of Veliko Turnovo, Bulgaria

The conference aims at exploring the relationship between politics and aesthetics in a wide variety of areas ranging from literature and cultural studies to film and media studies, linguistics and the social sciences. It is expected that participants will focus attention on past and present debates over the meaning of aesthetics, its resistance to and/or complicity with politics, and its relationship to ethics and morality.

Possible subtopics:

·   Politics through Aesthetics - Politics vs. Aesthetics

Aesthetic categories and their political parameters; apolitical/politicised/depoliticised aesthetics; committed art vs. art for art's sake; revolt / conservatism and the literary text; aesthetics and the literature of ideas

·   Aesthetics, Politics and Language

Language, aesthetics and society; language, aesthetics and culture

·   Aesthetics, Politics and Ethics

Dangerous art; politics, aesthetics and the importance of being, or not being, earnest; the politics of sensation - the politics of cruelty; the (ir)responsibility of art/artists

·   Aesthetics and the Politics of Gender and Sexuality

Gendered/gendering aesthetics; the gendered/gendering gaze and fashion; post-gender developments: the cyborg; camp and queer aesthetics; the (anti-)aesthetics of transvestism and transexualism

·   Aesthetics and the Politics of Ethnicity/Race

Race/ethnicity, philosophy and aesthetics; race/ethnicity, history, literature, and the battlefield of ideas; pre-colonial/colonial/post-colonial views of ethinicity/national culture (or identity) in literature; aesthetic/political parameters of the representation of racial/ethnic others

·   Aesthetics, Politics and the Market

Political/economic infrastructures and the work of art; the market and canonization; aesthetic pleasure and popular culture; the market and exoticism; museums, libraries and aesthetic pleasure

·   Aesthetics and/in Space and Time

Aesthetic/political parameters of travel writing; sites of aesthetic/political homage; aesthetics, politics and everyday life

·   The (anti-)aesthetic and its (dis)contents

The (an)aesthetised message; the ‘failure of the new’ and the politics of nostalgia; pastiche vs. parody; the logic of kitsch and schlock

·   Politics and Genre

Political satire; the literature of sentiment in the service of politics; politics and the philosophical/moral tale; politics in popular/folk literature; the politics of science fiction; politics and cinema.

As this is going to be a ‘travelling’ conference with sessions held at two universities in two very different parts of South Eastern Europe, it is hoped that participants will further benefit from their interaction with cultural difference.

a) Prof. Litsa Trayianoudi (e-mail: lidi@enl.auth.gr OR fax: +30 2310 997432 OR postal address: Dept of English Literature, School of English, Aristotle University of Thessaloniki, 54006, Thessaloniki, Greece)

AND

b) Prof. Ludmilla Kostova (e-mail: lkostova@mbox.digsys.bg OR fax: +359 (0)62621468 OR postal address: Dept of English and American Studies, University of Veliko Turnovo, 2 Teodosi Turnovski Str., Veliko Turnovo 5003, Bulgaria).

ORGANISING COMMITTEE

For Greece:

Litsa Trayianoudi     (lidi@enl.auth.gr )

Ioanna Dalavera      (dalavera@enl.auth.gr )

Roulis Heliotis

For Bulgaria:

Ludmilla Kostova      (lkostova@mbox.digsys.bg )

Dafina Genova         (genova_da@yahoo.com )

Yarmila Daskalova    (yarmich@yahoo.com )

Zdravka Nenova, Technical Assistant (zdravka_vt2001@yahoo.com )

ADVISORY COMMITTEE

Ruth Parkin-Gounelas

Katerina Kitsi-Mitakou

Zoe Detsi-Diamanti

Conference site: www.enl.auth.gr/pol-aesthet

Contact Web Service 2005-2009:

Göran Sonesson (Vice Secretary General), email: goran.sonesson@semiotik.lu.se

Created: January 31, 1998 / Last Update: January 21, 2005 (Göran Sonesson, IASS-AIS)

Copyright © 1997/2005 IASS-AIS.

All rights reserved.

http://www.arthist.lu.se/kultsem/AIS/sem-CFP/c0506politics.html

 

NEW 8 (internet source: http://www.aesthetics-online.org/events/meetings.html)

 

 First Annual Aesthetics Anarchy Conference

"Aesthetics and ..."

May 13-15, 2005

Indiana University

Bloomington, IN

Aesthetics Anarchy is a workshop-style symposium on aesthetics and the philosophy of art. Aesthetics fruitfully intersects with practically every other major subfield of philosophy, and this conference will focus on those interstices themselves. Moreover, while the relationship between aesthetics and the rest of philosophy is often thought of in terms of what those latter areas can bring to aesthetics, symposium participants will also investigate ways in which consideration of works of art and other aesthetic phenomena may shed light on issues outside the domain of aesthetics.

Topics: Aesthetics and Cognitive Architecture, Aesthetics and Epistemology, Aesthetics and Ethics, Aesthetics and Existentialism, Aesthetics and Feminism, Aesthetics and Fictionalism, Aesthetics and the Law, Aesthetics and Sense Theories, Aesthetics and Value Theory, and more!

Featured Speakers:

Peg Brand (Indiana University)

Anne Eaton (Bucknell University)

Stacie Friend (Washington and Jefferson College)

Karen Hanson (Indiana University)

James Harold (Mount Holyoke College)

Matthew Kieran (University of Leeds)

John Kulvicki (Dartmouth College)

Sheila Lintott (Appalachian State University)

Dominic McIver Lopes (University of British Columbia)

Katalin Makkai (Barnard College)

Derek Matravers (The Open University)

Aaron Meskin (Texas Tech University)

Elijah Millgram (University of Utah)

Daniel Nathan (Texas Tech University)

Shaun Nichols (University of Utah)

Joshua Shaw (Penn State Erie, The Behrend College)

James Shelley (Auburn University)

Deena Skolnick (Yale University)

Jonathan Weinberg (Indiana University)

We are grateful to the Indiana University Department of Philosophy for its generous support of this conference. 

Aaron Meskin

(aaron.meskin@ttu.edu)

Department of Philosophy

Texas Tech University   Jonathan Weinberg

(jmweinbe@indiana.edu)

Department of Philosophy

Indiana University 

http://www.indiana.edu/%7Eaesthete/

 

NEW 9 (internet source: http://www.aesthetics-online.org/events/meetings.html)

 

N A T U R E   I N   T H E   K I N G D O M   O F   E N D S

Where are we taking nature?  Were is nature taking us?

A Conference  in Selfoss, Iceland, June 11th and 12th 2005

Respecting others for what they are rather than treating them simply as instruments is one of the fundamentals of human morality. The philosopher Immanuel Kant expressed this in the following words: “Act in such a way that you treat humanity, whether in your own person or in the person of another, always at the same time as an end and never simply as a means”. And sometimes Kant says that rational beings are citizens in the kingdom of ends. But why only rational beings? The title “Nature in the Kingdom of Ends” indicates that nature should also belong to the kingdom of ends, that it is deserving of respect and that one should never treat it simply as a means but always also as an end.

The object of the conference is to consider the

place of nature in the contemporary world and its appearances

in different aspects of human life.

When we ask about sources of values, we are asking questions about the basic frames which we set for our lives; the surroundings in which we live, the projects that we undertake, and the goals we set ourselves. Here we find the roots of ethics and art.

   Ecological crises, climatic changes, and natural catastrophes have made us increasingly aware of the place of man, as a living creature, in a fragile natural environment which constrains human life in various ways. But, at the same time, nature has appeared as a source of values opening up new ways for creative and meaningful life. This status of nature is reflected in new trends in art and ethics.

Culture – art – nature

Complex relations between art and nature are one of the characteristics of contemporary art. The distinction between art and nature has become increasingly blurred at the same time as the ancient dichotomy of culture and nature has become controversial. It is the inner space, the interstices between disciplines, the challenging discourse between the triple, culture – art – nature, that has become a locus, a place for creative richness, that has generated some of the most exciting artworks created during the last decades.

Ethics

Ideas about the proper object of moral philosophy underwent radical changes in the last decades of the 20th century. Philosophers began discussing nature as an independent source of moral values, rather than a mere stage for moral life which, in the end, derives its value from relations between humans.

Nature and modernity

The new circumstances of art and ethics have forced us to recognize the dual nature of humans as natural and cultural creatures. We are forced to look at humans as a unified whole with these two sides, which often conflict.

Fræðslunet Suðurlands • Tryggvagötu 25 • 802 Selfossi

Sími/tel: +354 480 8155 • Netfang/email fraedslunet@sudurland.is

http://www.midja.is/fraedslunet/?pID=5

 

 

NEW 10 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

Philament Conference: ?The Politics and Aesthetics of Refusal?

Darlington Centre, The University of Sydney

April 15, 2005

Philament, the online journal of cultural studies and literary arts affiliated

with the University of Sydney

(http://www.arts.usyd.edu.au/publications/philament), invites postgraduate

scholars to contribute single-page proposals for an upcoming conference on ?The Politics and Aesthetics of Refusal?

Art, writes Herbert Marcuse, has ?magic power only as the power of negation. It

can speak its own language only as long as the images are alive which refuse

and refute the established order.? Marcuse?s call for cultural production to

refuse the limitations of hegemonic culture has particular resonance in a

contemporary political and cultural landscape where patterns of production,

distribution and consumption are increasingly regulated and homogenized. To

refuse is to be against consensus, to be contrarian, to be non-conformist.

Refusal presents itself as a strategy for resisting the totalising forces of

normative thought and practice. It contains the potential for a form of

immanent critique which operates within the parameters of dominant order whilst simultaneously rejecting its uniformity.

We are looking for proposals that consider social and political acts, as well as

acts of literature and art which refuse hegemonic paradigms of theory and

praxis.

Papers may address, but are not limited to:

*unilateralism and/or isolationism

*culture jamming

*counter-culture

*sub-cultures

*nomadology

*autonomous activism

*avant-garde aesthetics

*extremism

*alterity

*deviance

*subversion

For further information visit

http://www.arts.usyd.edu.au/publications/philament

 

 

 

 

 

PUBLICATIONS (NEW 1)

 

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

 

ANGELAKI 9.2 THE POLITICS OF PLACE

Edited by Andrew Benjamin, Monash University, Australia, and Dimitris Vardoulakis, Monash University, Australia

 

Editorial Introduction: The Politics of Place

-- Andrew Benjamin & Dimitris Vardoulakis

On Cultural Survival

-- Gil Anidjar

Thinking Love With Drawn in the Process of Becoming Australian

-- Louise Gray

Banks, Edges, Limits (of Singularity)

-- Jean-Luc Nancy

Placing Speaking: Notes on the First Stasimon of Sophocles' Antigone

-- Andrew Benjamin

Spaces of Hospitality

-- Heidrun Friese

The Critique of Loneliness: Towards the Political Motives of the Doppelganger

-- Dimitris Vardoulakis

Territory, Landscape, Garden: Toward Geoaesthetics

-- Gary Shapiro

Ecstatic Dwelling: Perspectives on Place in European Romanticism

-- Kate Rigby

Keeping Art to its Edge

-- Edward S. Casey

"I Don't Think they Invented the Wheel": The Case for Aboriginal

Modernity

-- Stephen Muecke

Colonizing the Ideal: Neoclassical Articulations and European

Modernities

-- Neni Panourgia

Mapping: The Locus of the Project

-- Teresa Stoppani

Factory, Territory, Metropolis, Empire

-- Alberto Toscano

Architecture at War: A Report from Ground Zero

-- Reinhold Martin

 

ANGELAKI 9.3 GENERAL ISSUE 2004

Edited by Pelagia Goulimari, Oxford, UK

 

Editorial Introduction

-- Pelagia Goulimari

Introducing Disagreement

-- Jacques Ranciere

On Individualism

-- Dominique Lecourt

Reading Shakespeare-Reading Modernity

-- Kristin Gjesdal

John Rawls at the Ends of Politics

-- Ethan H. MacAdam

The Translatability of Revolutionary Idioms

-- David Huddart

Cavell and the Endless Mourning of Skepticism

-- Tammy Clewell

Separated from Proust

-- Alexander Garcia Duttmann

Language, Spectacle and Body in Anthony Drazen's Hurlyburly

-- Elizabeth Walden

Deleuze with Carroll: Schizophrenia and Simulacrum and the Philosophy of

Lewis Carroll's Nonsense

-- Alan Lopez

"The possibility of the poetic said": Between Allusion and Commentary

(Ingratitude, or Blanchot in Levinas II)

-- Gabriel Riera

Garden of Eden and Back Again: Pictures, People and the Problem of the

Perfect Copy

-- Isabelle Loring Wallace

Heidegger and the Hypostasis of the Performative

-- Karen S. Feldman

From the The Immersive Spectator: A Phenomenological Hybrid

-- Maria Walsh

Representation and Presentation: The Deleuzian Image

-- Anthony Uhlmann

Schizo-Math. The Logic of Different/ciation and the Philosophy of

Difference

-- Simon Duffy

 

Re: Obtaining SINGLE ISSUES of ANGELAKI: journal of the theoretical

humanities. We quite often hear from people wanting to get hold of a single issue of Angelaki. It is expensive for individuals to buy single issues of the journal from the publisher. However it is possible to buy them, online or by phone, directly from the journal's UK shop distributor, Central Books.

Please see below for ordering information and the list of issues

available.

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that has been trading for more than 50 years. Angelaki is distributed in

North America by Bernhard DeBoer of Nutley, NJ, but DeBoer do not hold

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of the journal are advised to contact Central Books.

Issues of Angelaki are available from Central Books for shops and

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individuals as a running order. If your university library does not have

a subscription to Angelaki, please consider recommending one to your

library committee.

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packing additional (given when you order and prior to confirmation of

order).

Few copies remaining of volumes 1 and 2. Please give issue number and

ISBN when ordering by telephone. For contents lists see the Angelaki site at http://www.tandf.co.uk/journals/routledge/0969725X.html

2004

9.1 Hotel Psychoanalysis ISBN: 1899567127

9.2 The Politics of Place ISBN: 1899567135

9.3 General Issue 2004 ISBN: 1899567143

2003

8.1 General Issue 2003.i ISBN 1899567097

8.2 The One or the Other: french philosophy today ISBN 1899567100

8.3 General Issue 2003.ii ISBN 1899567119

2002

7.1 Aesthetics and the Ends of Art ISBN 1899567062

7.2 Inventions of Death: lit, phil, psychoanalysis ISBN 1899567070

7.3 General Issue 2002 ISBN 1899567089

2001

6.1 Subaltern Affect ISBN 0415271096

6.2 Gift, Theft, Apology ISBN 041527110X

6.3 General issue 2001 ISBN 0415271118

2000

5.1 Poets on the Verge ISBN 0902879367

5.2 Rhizomatics, Genealogy, Deconstruction ISBN 0902879413

5.3 General Issue 2000 ISBN 0902879464

1999

4.1 Judging the Law ISBN 0902879219

4.2 Machinic Modulations: new cult theory & technopol ISBN 090287926X

4.3 General Issue 1999 ISBN 0902879316

1998

3.1 Impurity and Authenticity ISBN 0902879065

3.2 The Love of Music ISBN 0902879111

3.3 General Issue 1998 ISBN 0902879162

1995--97

2.1 Home and Family ISBN 1899567038

2.2 Authorizing Culture ISBN 1899567046

2.3 Intellectuals and Global Culture ISBN 1899567054

1993--95

1.1 The Uses of Theory ISBN 1899567003 (1995 reprint)

1.2 -- Not Available --

1.3 Reconsidering the Political ISBN 189956702X

Gerard Greenway

Angelaki: journal of the theoretical humanities

http://www.tandf.co.uk/journals/titles/0969725X.asp

Angelaki Humanities (books)

http://catalogue.mup.man.ac.uk/acatalog/Angelaki_Humanities_.html

 

 

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

 

STAR WARS AND PHILOSOPHY

Edited by Kevin S. Decker and Jason T. Eberl

 

I am pleased to announce the publication of Star Wars and Philosophy, volume 12 in the Open Court Popular Culture and Philosophy series. The table of contents is pasted below for those interested.

William Irwin

Series Editor,

Open Court Publishing, Popular Culture and Philosophy

Associate Professor of Philosophy

King’s College

Wilkes-Barre, PA 18711

(570) 208–5900 ext. 5493

wtirwin@Kings.edu

http://www.kings.edu/wtirwin/

TABLE OF CONTENTS

Acknowledgments: Heroes of Rogue Squadron

Introduction: The Force Is With You … But You’re Not a Jedi Yet

Part I – “May the Force Be with You”: The Philosophical Messages of Star Wars

Jason T. Eberl

“You Cannot Escape Your Destiny” (Or Can You?): Freedom and Predestination in the Skywalker Family                       

William O. Stephens

Stoicism in the Stars: Yoda, the Emperor, and the Force

Walter [Ritoku] Robinson

The Far East of Star Wars

Richard H. Dees

Moral Ambiguity in a Black-and-White Universe

Part II – “Try Not – Do or Do Not”: Ethics in a Galaxy Far, Far Away

Judith Barad

The Aspiring Jedi’s Handbook of Virtue

Christopher M. Brown

“A Wretched Hive of Scum and Villainy”: Star Wars and the Problem of Evil

Elizabeth F. Cooke

“Be Mindful of the Living Force”: Environmental Ethics in Star Wars

Richard Hanley

Send in the Clones: The Ethics of Future Wars

Part III – “Don’t Call Me a Mindless Philosopher!”: Alien Technologies and The Metaphysics of the Force

Jerold J. Abrams

A Technological Galaxy: Heidegger and the Philosophy of Technology in Star Wars

Robert Arp

“If Droids Could Think …”: Droids as Slaves and Persons

Jan-Erik Jones

“Size Matters Not”: The Force as the Causal Power of the Jedi

James Lawler

The Force Is With Us: Hegel’s Philosophy of Spirit Strikes Back at the Empire

Part IV – “There’s Always a Bigger Fish”: Truth, Faith and a Galactic Society

Brian Cameron

“What is Thy Bidding, My Master?”: Star Wars and the Hegelian Struggle for Recognition

Kevin S. Decker

By Any Means Necessary: Tyranny, Democracy, Republic and Empire

Jerome Donnelly

Humanizing Technology: Flesh and Machine in Aristotle and Empire

Shanti Fader

“A Certain Point of View”: Lying Jedi, Honest Sith, and the Viewers Who Love Them

Joseph Long

Religious Pragmatism through the Eyes of Luke Skywalker

Masters of the Jedi Council

The Phantom Index

 

January 2005 - March 2005

 

CALLS FOR PAPERS (5 NEW + 6)

 

(internet source: http://www.aesthetics-online.org/)

Established in 1942 by the American Society for Aesthetics, The Journal of Aesthetics and Art Criticism publishes current research articles, symposia, special issues, and timely reviews of books in aesthetics and the arts. The "arts" are taken to include not only the traditional forms such as music, literature, landscape architecture, dance, painting, architecture, sculpture, and other visual arts, but also more recent additions including photography, film, earthworks, performance and conceptual art, the crafts and decorative arts,  contemporary technical innovations, and other cultural practices, including work and activities in the field of popular culture.

The Journal takes a theoretical and interdisciplinary approach to the arts and aesthetic matters. Its authors include artists, writers, and academics in the fields of philosophy, English literature, comparative literature, art, music, theater and drama, art history, psychology, law, and related disciplines.  The Journal also sponsors the bi-annual John Fisher Memorial Prize in Aesthetics in honor of John Fisher, Editor of the Journal from 1973-1988.  The Prize is offered to foster the development of new voices and talent in the field of aesthetics.

The Editorial Offices of The Journal of Aesthetics and Art Criticism are housed in the Department of Philosophy at Temple University. The Book Review Offices of the Journal are housed in the Department of Philosophy at the University of Missouri-St.Louis.

Deadline: February 1, 2005

 

2 (internet source: http://www.aesthetics-online.org/events/calls.html)

The 2005 John Fisher Memorial Prize in Aesthetics

The American Society for Aesthetics is pleased to announce the guidelines for the 2005 John Fisher Memorial Prize, created in memory of the late John Fisher, Editor of The Journal of Aesthetics and Art Criticism from 1973 to 1988.

i) Amount: The Prize will be in the amount of $1000.

ii) Deadline: The deadline for submission is 1 February 2005.

iii) Eligibility: The Prize is intended to foster the development of new talent in the field of aesthetics.  The competition is limited to those persons who have completed graduate work and are in the early stages of participation in their profession.  Persons in doubt about their qualifications should consult the ditor of the JAAC in advance (Feagin@temple.edu).  Entrants should include with their entry a statement indicating how they qualify.  Entry is not limited to members of the A.S.A.

iv) Essay Content and Length: The essay may be on any topic in aesthetics understood according to the characterization on the masthead of the JAAC.  The essay should be a maximum of 30 double-spaced typed pages (7,500 words) in length. Unless the entrant specifies otherwise, all entries will also be considered for publication in JAAC, even if they do not receive the award.

v) Judging: The judges for the Prize will be drawn from members of the current JAAC Editorial Board by the editor in consultation with the Board.

vi) Presentation: The name of the Prize winner will be announced, and if feasible the Prize presented, at the Annual Meeting of the Society in October 2005.  The Prize-winning essay will be published in the JAAC.  The Prize may not be awarded if, in the opinion of the judges, no entry of sufficient merit is received.

vi) Submission Requirements: For the 2005 competition, entries should be sent in triplicate, together with a 100-word abstract and the statement of qualifications, formatted for blind reviewing, to the Editor of the JAAC:

Professor Susan Feagin /Department of Philosophy / Anderson Hall 718 / Temple University / Philadelphia, Pennsylvania 19122 / U.S.A.

Submissions should be clearly identified as entries for the John Fisher Memorial Prize.

viii) Questions: Contact Prof. Feagin at Feagin@temple.edu ot the JAAC office at jaac@temple.edu.

The deadline for submissions for the 2005 Prize is 1 February 2005.

 

3 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

Call For Papers

Conference on Consciousness, Literature and the Arts

Deadline for receipt of abstracts is 1 March 2005.

The Department of Theatre, Film and Television Studies is pleased to hostthe first International Conference on Consciousness, Theatre, Literature, and the Arts, to celebrate the fifth anniversary of the launch of the refereed web journal Consciousness, Literature and the Arts (CLA) (www.aber.ac.uk/tfts/journal).

The conference will be held in Aberystwyth, Wales, UK, from Saturday 7 to Monday 9 May 2005. Apart from invited and contributed papers, in plenary and parallel sessions, we are planning a performance of Robin Graham’s A Different Place,  a performance by Koodiyattom performer Arya Madhavan, a poetry performance by CLA editorial board member John Danvers, and an optional conference dinner.

Abstracts (up to 1 page) are invited for papers relating any aspect of consciousness (as defined in a range of disciplines involved with consciousness studies) to any aspect of theatre, performance, literature, music, fine arts, media arts and any sub-genre of those. Please send the abstract to Dr Daniel Meyer-Dinkgräfe, dam@aber.ac.uk. Deadline for receipt of abstracts is 1 March 2005. Colleagues will be informed within 2 weeks of receipt whether their abstract has been accepted.

 

4 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

Angelaki special issue on "Creative Philosophy: Theory and Praxis"

Co-editors Felicity J. Colman (University of Melbourne) and Charles J. Stivale (Wayne State University)

This Angelaki issue on "Creativity" seeks essays with collaborative, hybrid, and polyvocal research, linkages, and models of creativity in philosophical thought and artistic practices (e.g. literature, architecture, music, visual arts, new media, cinema). The thematic of creativity asks how creative interfaces operate, what forms of generic skills and community resources inform contemporary relations betwee ideas and creative expression and representation, and how and where creativity is produced.

Examples of creative pursuits might be located through modernist activities of the twentieth century and those subsequent modifications and modulations of praxis and thought. Also of interest are the interactivities of the early twenty-first century that attest to divergent sets of aesthetic and political logics. The issue seeks essays that provoke and examine questions concerning the modes of interface and systems of logic that creative and expressive territories of aesthetics, politics, and representation engage; forms of learned cognitive processes that currently are emerging and how these affect creativity; the types of social outcomes that result from specific logics of practice and/or theory. These intersections between creativity, thought and expression are but a few of the directions in which the issue editors encourage potential contributors to develop essays for consideration for this Angelaki issue.

Abstracts of 500-750 words should be submitted in electronic format by February 15, 2005, to fcolman_at_unimelb.edu.au and c_stivale_at_wayne.edu. Authors will be notified (at latest) by April 15, 2005, of agreement to develop the full essay.

The upper limit of completed essays is 8000 words; shorter pieces are welcome. A maximum of three images can accompany essays, to be published in black and white. It is the author's responsibility to seek copyright for use of images, with high-definition images required (either as photographs or as electronic [jpeg] files).

Final drafts are due to the issue editors by October 15, 2005. Address all queries on this special issue to Felicity J. Colman or Charles J. Stivale. Work accepted for development in this special issue must conform to the Modern Language Association Handbook for Writers of Research Papers (www.mla.org). All manuscripts should be original in content and not published, and not under consideration for publication elsewhere. Manuscripts are not returned.

http://www.tandf.co.uk/journals

Dr. Felicity J. Colman

Lecturer, Cinema Program

School of Art History, Cinema, Classics & Archaeology

University of Melbourne. Victoria 3010

Australia

61 3 83443359

 

5 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

The Living Thought of Gilles Deleuze

Conference at University of Copenhagen, Denmark, November 3-4, 2005

One of the prominent themes in the writings of Gilles Deleuze is an understanding of thinking as being alive. Thinking is conceived as an affirmation of life, and life itself is affirmed by thinking as something that is alive. In other words, the relationship between life and thinking is an affirmative relationship, in which life is affirmed by thinking and thinking affirmed by life. The notion of the double affirmation in Nietzsche et la philosophie (1962) is revolving around such an affirmative relationship between life and thinking.

The affirmative relationship between life and thinking is further elaborated in the books on Proust et les signes (1964) and Le bergsonisme (1966). In these books Deleuze explores the affirmative relationship between life and thinking through the lense of temporality. The temporality of the affirmation is primarily described in two modes: the proustian apprenticeship of signs as an ongoing becoming, as a number of leaps and revelations, is organized from the viewpoint of a future, whereas the bergsonian notions of duration, memory and n vital accentuates a relationship to the past.

It can be argued that the double affirmation of life and thinking is one of the basic themes in Différence et répétition (1968). In fact, Deleuze presents the reader with a conception of life as a multitude of differential relationships between immanent forces, and thinking in the affirmative mode is described as a number of temporal syntheses and repetitions. In this respect we can rearticulate the complex notions of difference and repetition as they are presented by Deleuze as a philosophical portrait of living thought.

The collaboration between Gilles Deleuze and Felix Guattari introduces, among other aspects, an experimental and subversive dimension. The critique of psychoanalysis in L?Anti-?dipe (1972) encompasses at least two dimensions: a specific critique of a certain French psychoanalysis in the early 1970s, and a more general critique of a mode of thinking that willingly or unwillingly tries to domesticate life. In Mille plateaux (1980) the authors present the reader with a number of critical models, ranging from the rhizome to the nomadic machine, all of which contain a certain potential for an affirmative and experimental thinking. If L?Anti-?dipe criticizes thinking in the mode of negativity, then Mille Plateaux creates a number of critical models for an affirmative thinking.

The books on cinema returns to a number of earlier themes in the writings of Gilles Deleuze: the apprenticeship of signs, difference and repetition, the temporality of affirmation... The history of cinema is described as an apprenticeship of moving and temporal signs, and the notion of the crystalline image, for instance, rearticulates the problem of how to introduce time in thinking. The books are not simply applied philosophy, but rather an attempt to articulate the experience of living images in terms of thought: an empiricism of the cinema.

However, it is probably in the book on Foucault (1986) that Deleuze most clearly outlines his understanding of living thought. His general description of Foucault?s writings is guided by two questions: What is "the middle" or the constant element in the thought of Foucault? What is the element that Foucault and Deleuze have in common? The response to both of these questions is concentrated in a notion of living thought, or in other words a philosophical vitalism.

In Qu'est-ce que la philosophie? (1991) the authors further elaborate the understanding of living thought by describing it as a creative thinking: philosophy as creation of concepts, science as creation of functions, art as creation of affects and percepts. This notion of thinking as a creation of different entities - concepts, functions, affects and percepts - is a continuation of the nietzschean notion of a double affirmation between life and thinking. Between these two notions there is a wide variety of manifestations and critical expositions of living thought in the writings of Gilles Deleuze.

The conference on The Living Thought of Gilles Deleuze is held on the occasion of the 10th anniversary of the voluntary death of Gilles Deleuze. However, it is not simply our intentions to commemorate the death of a philosopher, but more importantly to explore and celebrate the thoughts of Gilles Deleuze as very much alive today.

The conference will be held November 3-4, 2005, at the University of Copenhagen, Denmark, and is organized and coordinated in collaboration between the University of Copenhagen and the Copenhagen Business School. The language at the conference will be English. With the exception of keynote speakers, whom will be announced shortly, each of the presentations at the conference will be limited to 20 minutes in order to facilitate a commentary session regarding each paper. It is planned that the papers at the conference will be published afterwards in an anthology.

Proposals for papers, including a short academic biography, must be submitted by January 15th 2005 to the organizers at kimsu_at_hum.ku.dk and the notification regarding acceptance will be announced by February 15th 2005.

For further information, please contact the organizers:

Associate professor

Martin Fuglsang

Department of Management, Politics and Philosophy

Copenhagen Business School

Blaagaardsgade 23B

DK 2200 Copenhagen N

Denmark

Phone: (+45) 3815 2813

Email: fuglsang_at_cbs.dk

Assistant research professor

Kim Su Rasmussen

Department of Cultural Studies and the Arts,

Comparative Literature and Studies in Modern Culture

University of Copenhagen

Njalsgade 140-142, Building 25.5

DK 2300 Copenhagen S

Denmark

Phone: (+45) 3532 9269

Email: kimsu_at_hum.ku.dk

 

6 (internet source: mailing list)

American Society for Aesthetics. Eastern Division Meeting

8 - 9 April 2005

Philadelphia

Keynote speaker: Noël Carroll (Temple University)

Papers on any topic in aesthetics are invited, as well as proposals for panels, author-meets-critic, or other special sessions. Volunteers to serve as session chairs and commentators are welcome.  All participants must register for the conference.

Papers should take no more than 20 minutes to present (approximately 10 pages). Electronic submissions are strongly encouraged (attachments in Word or as rtf), although a diskette via standard post will also be accepted. (If submitting via standard post, please be sure to include a diskette.)  Send to Anne Eaton, Program Co-Chair at aeaton@bucknell.edu or Philosophy Department, Bucknell University, Lewisburg, PA 17837.

Papers should be accompanied by a 100-word abstract.

Please feel free to direct questions to the Program Chairs: Tim Costelloe (College of William and Mary) at tmcost@wm.edu or Anne Eaton (address above).

Deadline for submissions:  January 15, 2005

Anne W. Eaton

Assistant Professor

Department of Philosophy

Coleman Hall

Bucknell University

Lewisburg, Pennsylvania 17837

Phone: 570-577-3800

Fax: 570-577-1717

E-mail: aeaton@bucknell.edu

 

NEW 7 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

 

"John Cage, Thinker-Performer"

 

One day conference

Royal Northern College of Music (UK) Saturday 16 April 2005

 

Deadline for receipt of proposals: 18 Feb 2005

Programme announced: 25 Feb 2005

* Keynote address by Professor David Nicholls (University of Southampton)

* Complete performance of Sonatas and Interludes given by John Tilbury

* Roundtable on 'Performing after Cage'

Call for papers

How is performance to be understood after Cage? What is Cage's legacy for the performer? How wide is the range of repertoires affect by his practice and thought? How should Cage's own performances be understood? What role did Cage's own performers (e.g. David Tudor), colleagues, friends and contemporaries (e.g. Morton Feldman) play in his practice as a thinker-performer? Does Cage make "demands" on the performer, or ought we to think otherwise about what his music needs? How does technology figure in performance? What issues of cross-media interaction are pertinent to the performance of Cage? Is improvisation a useful term? Performance art or musical performance? Are recordings any use? Can a reliable, strong performance aesthetic for Cage's music be (re-)constructed?

Paper proposals (title + 500 word abstract) should be sent, preferably by email, to:Dr Anthony Gritten, Royal Northern College of Music, 124 Oxford Road, Manchester, M13 9RD, UK. Email: anthony.gritten@rncm.ac.uk  Organisers: Dr Martin Dixon (University of Glasgow), Anthony Gritten.

 

NEW 8 (internet source: http://www.aesthetics-online.org/events/calls.html)

 

http://www.herts.ac.uk/humanities/philosophy/RIP05CFP.html

Call for Papers

"Narrative and Understanding Persons"

Royal Institute of Philosophy Annual Conference

 

Submitted contributions to this conference may focus on the role and importance of narrative with respect to any aspect of self understanding and the understanding of persons, with special emphasis on its role in philosophical psychology and ethics.

Narrative has become increasingly important to philosophical psychology, psychopathology and psychiatry. It is frequently invoked in attempts to help us understand (and to treat) pathologies such as autism, multiple personality disorder, and schizophrenia. In philosophy, the concept of narrative figures large in many discussions of personal identity and reflective self-consciousness. It has the potential to impact on philosophical puzzles concerning self-knowledge, self-deception, and even the nature of folk psychology. 

Much recent work in ethics has also become increasingly concerned with such issues as human flourishing, the moral psychology of the virtues and the conditions under which human beings are able to find our lives meaningful or purposeful. Narrative is often held, either explicitly or implicitly, to be central to such dimensions of our self-understanding.

The following are just some of kinds of questions we would hope the conference will address:

Should we think of ‘persons’ as narrative constructions? Can narratives account for the unity of persons over time? If so, how unified need such narratives be? (Ricoeur, Kerby, Lamarque, MacIntyre, Cooper, Taylor);

What, if any, are the links between narrative, fictional imagination and simulation? (Blackburn, Currie, Goldie);

Are reason explanations a form of narrative explanation? And if so, can they be regarded as a species of causal explanation or are they distinctive? (Bevir, Bruner, Juarrero, Roth);

What place, if any, do narratives play our understanding of the virtues - and ethics in general? In what sense and to what extent is a capacity for self narration a requirement of being able to act virtuously? (Gaita, Strawson, MacIntyre, Taylor).

Abstract Submission and Paper Presentation

Abstracts of 500 words (or longer papers or no more than 2000 words) should be submitted by the 1st March 2005 to:

Professor Daniel Hutto

School of Humanities

University of Hertfordshire

de Havilland Campus

Hatfield,

Hertfordshire  AL10 9AB

Email: d.d.hutto@herts.ac.uk

Authors of accepted papers will be given a maximum of 20 minutes for presentation, with roughly 10 minutes for questions.

Edited Volume

An edited volume based on the invited keynote lectures and a small number of selected additional papers presented at, or related to, this conference will be published by Cambridge University Press, as a special supplement of the journal, Philosophy.

 

NEW 9 (internet source: http://tuyau.club.fr/agenda.htm)

CALL FOR PAPERS

le site Maurice Blanchot (Soumis par Eric Hoppenot 09-01-2005):

Colloque

"Un siècle avec Lévinas. Lévinas-Blanchot, penser la différence"

Colloque International / 15-18 Novembre 2006, Paris

Modalités de l’appel à contribution : Les intervenants intéressés doivent se signaler par un simple courriel à : Eric.Hoppenot@iufm.paris.fr avant la fin du mois de janvier. Le colloque est ouvert aux étudiants. Les propositions (titre et résumé d’une quinzaine de lignes) seront accompagnées d’une brève biographie (coordonnées personnelles, université, recherche effectuée ou en cours, publications éventuelles…), elles devront parvenir à l’une des adresses suivantes :

Eric.Hoppenot@iufm.paris.fr

Arthur.Cools@ua.ac.be

Jean-Francois.Patricola@wanadoo.fr

impérativement avant le 15 mars 2005. Seules seront étudiées, les communications envisageant les œuvres des deux penseurs. Les intervenants retenus seront informés dans le courant du mois d’avril 2005.

Appel à communication Un siècle avec Lévinas : Lévinas – Blanchot, penser la différence Colloque International / 15-18 Novembre 2006, Paris Argumentaire Il y a de bonnes raisons pour associer au nom d’Emmanuel Lévinas celui de Maurice Blanchot (les années 2006 et 2007 marqueront respectivement le centenaire de Lévinas et celui de Blanchot). L’amitié indéfectible qui s’est nouée entre les deux auteurs et dont on peut rappeler quelques signes : leurs années d’études à Strasbourg, l’aide de Blanchot à la famille de Lévinas sous l’Occupation, son témoignage en faveur du judaïsme, leur effort commun pour penser et dire l'indicible de la Shoah, nombreux furent les accords, les partages. Blanchot commentait ainsi le sens et le mystère de leur rencontre : « Quelque chose de profond nous portait l'un vers l'autre. » Une amitié paradoxalement sans rencontre (ou si peu finalement) qui a traversé le XXè siècle et a duré toute leur vie. Cette amitié, figure comme une interlocution silencieuse à travers leurs écrits : à de multiples reprises, ils se réfèrent l’un à l’autre, se commentent, se rendent hommage et se sont mêmes consacré plusieurs textes. Aussi l’écriture de Blanchot et celle de Lévinas se sont développées et se sont approfondies dans une certaine proximité. De la découverte de l’il y a, aux échanges lointains sur le statut de l’œuvre d’art, en passant par le dialogue sur l’éthique, le judaïsme et la Bible citée par Blanchot dans ses écrits les plus tardifs. C’est par le rejet du primat de l’ontologie que les deux auteurs se rapprochent. C’est sans doute pour cette raison que les noms de Lévinas et de Blanchot sont devenus des références dans le discours d’une certaine postmodernité. Association qui a pu engendrer aussi un certain malentendu notamment autour de la notion de « ethics » dans le monde anglo-saxon, qui a conduit parfois à effacer les différences entre les deux penseurs. Et pourtant, ces rapports d’amitié et cette proximité n’empêchent pas que plusieurs auteurs ont signalé un profond écart entre les deux penseurs. Françoise Collin l’a constaté dès 1971 : « il s’agit toujours de deux registres d’écriture et de pensée qui supportent mal la comparaison ». Plus récemment, Jacques Derrida, qui « [d]e son propre aveu a placé son œuvre sous le triple signe de Heidegger, de Blanchot et de Lévinas », reconnaît qu’il s’agit de « deux idiomes intraduisibles » : « Quoi que Lévinas et Blanchot aient dit ou laissé paraître de leur accord, de leur alliance, un abîme les sépare qui pourrait, si on voulait se livrer à cet exercice, donner lieu à d’irréconciliables différends, parfois à des oppositions frontales et explosives ». D’autres fractures peuvent apparaître mais qui jamais n’interrompirent la rencontre. Il semble bien que le rapport entre Blanchot et Lévinas ne se laisse pas simplement réduire à une alliance de partenaires qui réagissent contre le primat de l’ontologie dans la pensée occidentale et dont la référence au « neutre » cristallise la différence d’attitude critique face à l’ontologie heideggerienne. Néanmoins comment articuler les différences qui séparent les deux amis et comment penser leur amitié (et la communauté qui lui est inhérente) à partir de ces différences ? C’est, entre autres, à ces deux questions que le colloque voudra se consacrer. Au cœur de ce questionnement, il y a tout d’abord une entente hétérogène du langage. Pour Lévinas, le langage se définit de façon essentielle comme discours – comme parole adressée à autrui. Pour Blanchot, en revanche, l’essence du langage ne peut être approchée que dans l’écriture. A cet écart, une appréhension différente de la subjectivité est liée : pour Blanchot, l’approche du langage invite à une expérience qui dépasse l’instance de l’énonciation, Lévinas, au contraire, décrit l’événement du langage comme une promotion de la subjectivité ayant à répondre « je », « me voici », c’est-à-dire, à témoigner. Pour expliciter cette différence, ce sont les notions-clés d’événement, d’image, d’entente, de moi, d’existence, d’autrui, d’éthique, de Dieu qu’il faut articuler différemment. Et pourtant, malgré ces différences, les auteurs ont engagé un entretien où se réfléchit le rapport de la parole à l’écriture et où est en cause la question même de la subjectivité. Dans cette optique, l’examen de cet entretien invite à penser la condition de possibilité (dans le double sens kantien de « transcendantal » et « critique ») de la communauté et de l’amitié. Modalités de l’appel à contribution : Les intervenants intéressés doivent se signaler par un simple courriel à : Eric.Hoppenot@iufm.paris.fr avant la fin du mois de janvier. Le colloque est ouvert aux étudiants. Les propositions (titre et résumé d’une quinzaine de lignes) seront accompagnées d’une brève biographie (coordonnées personnelles, université, recherche effectuée ou en cours, publications éventuelles…), elles devront parvenir à l’une des adresses suivantes : Eric.Hoppenot@iufm.paris.fr Arthur.Cools@ua.ac.be Jean-Francois.Patricola@wanadoo.fr impérativement avant le 15 mars 2005. Seules seront étudiées, les communications envisageant les œuvres des deux penseurs. Les intervenants retenus seront informés dans le courant du mois d’avril 2005. Le colloque donnera lieu à une publication. Comité organisateur : Eric Hoppenot (Paris) Arthur Cools (Anvers) Jean-François Patricola (Metz) En association avec l'Association pour la Célébration du Centenaire d'Emmanuel Levinas (ACCEL, Paris), Levinas Ethical Legacy Foundation (LELF, USA) et RCJ (Paris). Des informations sur le colloque seront disponibles en ligne sur le Site Maurice Blanchot : http://www.mauriceblanchot.net/

 

NEW 10 (internet source: http://tuyau.club.fr/agenda.htm)

http://www.auf.org/actualites/agenda/index.html?action=voir_detail&reference=1974&PHPSESSID=0ec6f3104873b15f58a6769f69335279

CALL FOR PAPERS

Colloque international: "Pour une poétique de la relation : limites, épreuves, dépassement"

 

(Appel à communications jusqu'au 1er février 2005)

Domaine : Langue française, francophonie, diversité linguistique

du 26 au 27 avril 2005 à Carthage, Tunisie

Résumé : L’Université de Tunis, la Faculté des Sciences humaines et Sociales et le Département de français organisent un colloque international à Carthage -- Fondation Beit El Hikma, les 26 et 27 avril 2005.

Comité d’organisation : Samia Charfi- Sonia Fitouri- Loïc Céry

« Or que ferons-nous au monde, les uns et les autres -- qui portons d’aussi contraires motivations ? Comment façonner nos contraires tremblements, -- sinon par la relation qui n’est pas tout court l’impact ni le contact, mais plus loin l’implication d’opacités sauves et intégrées ? » Édouard Glissant, L’Intention Poétique.

De la géopoétique insulaire des Antilles aux complaintes identitaires de la francophonie arabe, maghrébine ou moyen-orientale, des toiles se tissent qui relient, aimantent, suscitent sans isoler voix et intonations infléchies par le même désir de connaissance de soi, et par la foi -- si nervalienne -- que cette auto-connaissance passe nécessairement par le miroir de l’Autre.

C’est en fait de l’inverse abouti d’une isolation dont il s’agira ici :

portes ouvertes sur l’Ouest, c’est dans l’esprit historiquement attesté et cycliquement renouvelé d’un pays d’accueil que la Tunisie se propose de rendre hommage à l’écrivain antillais qui chanta Carthage : Edouard Glissant.

La reprise du concept si fécond de « poétique de la Relation » tel que défini par Edouard Glissant n’est pas à prendre dans ce contexte pour une simple alliance ludique. C’est que ce croisement, ce tressage sont d’une vivacité et d’une actualité étonnantes. On y verra se profiler des problématiques fondamentales, qui pourront constituer autant d’axes d’analyse, de matière à réflexion :

- Dans quelle mesure la dialectique de la Relation peut-elle être considérée comme étant aussi cruciale, aussi urgente que l’enracinement culturel ?

- Peut-il encore y avoir, dans un monde comme celui d’aujourd’hui, des Poétiques de la Relation, ce « devenir partagé » dont parlait E. Glissant dans L’Intention Poétique?

- Face aux crispations identitaires, à l’exaspération des revendications territoriales, que penser de l’alternative symbolisée par l’image glissantienne du rhizome, cette racine « dispersée » qui renouvelle la traditionnelle et mythique figure des racines ?

- Que peut nous apporter l’expérience culturelle antillaise ; comment le rapport aux langues -- langue matricielle/ langue seconde, pour reprendre les termes de Patrick Chamoiseau -- y est-il vécu ?

Si la mise en valeur de méridiens virtuels, d’affinités latitudinales et/ou longitudinales -- autant dire transversales - se dessinant dans la naissance d’un tropisme intellectuel sera sans doute au centre des réflexions de cette rencontre, d’autres points nodaux n’en seront pas moins traités avec la même vigilance. Parmi eux, et touchant de très près à l’axe central du sujet :

- la question du lien au Lieu natal, avéré ou imaginé.

- celle du terroir dans ses variations ethnogéographiques.

- celle encore des migrations et des épopées intimes qui en dérivent.

Dans cette optique, il conviendra d’aborder les modes de perception et de réception des textes antillais au Maghreb et vice versa, au regard de ce questionnement mutuel suscité par le partage des récits, l’échange des littératures et des fabulations. La conduite créatrice est-elle toujours indissociable des déterminismes géoculturels et même anthropologiques qui sculptent la personnalité de l’écrivain ? Comment l’assimilation ou le déni de ces atavismes définissent-ils, en une épreuve initiatique de construction de soi les contours, plus ou moins sereins, plus ou moins inquiets, de l’oeuvre aboutie ? La question des limites d’une telle poétique, optimisée par les épreuves qu’elle a dû traverser, n’est-elle pas aussi des plus brûlantes ? C’est à l’évaluation de ces réflexions toujours vivaces que nous convions les chercheurs, à Carthage, les 26 et 27 avril 2005.

Les propositions de communication devront parvenir au comité d’organisation avant le 1er février 2005 aux adresses électroniques suivantes:

samiakassab@yahoo.fr

soniazf2002@yahoo.fr

loic.cery@free.fr

 

NEW 11 (internet source: search engine)

http://www.uqtr.ca/dfra/congres2005/call.html

The Canadian Society for Eighteenth-Century Studies (CSECS) will meet Wednesday to Saturday, 19-22 October 2005 in Trois-Rivières (Québec).

“Imitation and invention in the eighteenth century”

Call for papers : In keeping with the Society's tradition, all lecturers are free to present their latest researches.

Motto: “On modern thoughts let us fashion verses antique.” André Chénier, L'invention (1788)

The eighteenth century passionately compared the past and the present, the models of antiquity and the innovations of the modern world, as illustrated by the Quarrel of the Ancients and the Moderns that raged as the century began. In 1755, was not the German art historian Winckelmann still observing in his Reflections on the Imitation of Greek Works that "the only way to become great and, if possible, inimitable, lies in the imitation of the Greeks?" This demonstrates to what extent the inventive vitality of the eighteenth century emanated from the intensive questioning throughout the century regarding the various ways to delimit and articulate the past and the present, the ancient models to imitate and a new culture to be invented.

Contemporary research has placed this realization at the heart of its thinking so as to situate the eighteenth century beyond often artificial temporal boundaries, within a longer historical time period. As Jean Dagen and Philippe Roger recently noted, only an approach that can free itself from the traditional and institutional partitions of history makes it possible to account for a culture based on three major references: "the ancient model, the Christian model, the scientific model" – not to mention, since the Renaissance, the new contributions of exoticism (Un siècle de deux cents ans ? [A two-hundred year century?], 2004) Whether the subject is literary, philosophical and literary practices, scientific discoveries or political reforms, the intellectual fertility of the eighteenth century invites us always to revisit the main "places of memory" the era invested in, which are not "what one remembers, but where memory works, not tradition itself, but its laboratory" (Pierre Nora,1984).

Already, in his famous Épître à Huet [Epistle to Huet] (1687), Jean de La Fontaine was writing: "Mon imitation n'est point un esclavage" [My imitation is not slavery]. In fact, the concept of imitation inherited by the eighteenth century largely exceeded the narrow framework of the relationship of model and copy. On one hand, if the idea of imitation owes its fortune to Aristotle's Poetics (in Greek, mimèsis), its field, during the entire Classical Age, extended well beyond that of literature and the fine arts in that philosophy and ethics continuously called upon the models offered by the great men, and political thought made the lessons of history a school of life. On the other hand, the notion of imitation falls within a complex semantic network, as Diderot and d'Alembert emphasized in their Encyclopédie (1765) in an article reminding readers to what extent "la bonne imitation est une continuelle invention" [a good imitation is a continuous invention].

Thus to imitate was not to copy, but rather to rework and reorder, redo and renew, to the point where the notions of imitation and invention intersected and intermingled all during the century. These notions overlapped, even, since models presented for imitation inspired originality. The term "invention" was all the more expressive of this necessary relation between tradition and innovation in that it became enriched by the successive contributions of rhetorical reflection, where it designated both the "préparation heuristique des matériaux" [heuristic preparation of the materials] of discourse (Barthes, 1970) and an aptitude for discovering the new, even a "certain génie particulier qui donne la facilité de trouver quelque chose de nouveau" [certain particular genius that creates the facility to find something new] (Furetière, Dictionnaire, 1690).

In these conditions, if imitation fed invention, it was not so much by dictating recipes as by furnishing inspiration. This requirement of freedom in the imitation of models, moreover, found one of its fullest expressions in the article "Invention poétique" in Marmontel's Éléments de littérature (1787), where "to invent" meant, specifically, "réaliser les possibles" [realize the possibilities], "rassembler les débris du passé" [reassemble the debris of the past] and "hâter la fécondité de l'avenir" [hasten the fertility of the future]. This is why, in the eighteenth century, imitation and invention formed a bond which history invites us to view as a dynamic conception of the genesis of ideas, works and discoveries, a genesis that is at once rooted in a multitude of memorable places or figures and included within a process whereby reflection takes hold of the forms often stemming from a long tradition and uses them to produce a new, improved — even subversive — voice.

Suggested topics : Continuities and discontinuities between the seventeenth and eighteenth centuries — Quarrel of the Ancients and the Moderns — Ancient sources of modern thought and culture — Fate of the great genres (tragedy, comedy, etc.) — Poetics of the new genres (novel, bourgeois drama, etc.) — Writings of history — Late Baroque and neo-classicism — Art criticism and the birth of aesthetics — Mutations in garden art — Invention and energy, imitation and originality, genius and rules — The notion of "beautiful nature" — Music and aesthetics of imitation — Pedagogy and the history of teaching — Reception of the rhetorical tradition — Debates on the origin of languages — seventeenth century "Libertinage érudit" and Enlightenment — Rationalism and sensualism — Ancient materialism and modern materialism — Constitution of new knowledge (chemistry, biological sciences, etc.) — Religion, the Enlightenment and the anti-Enlightenment — Reforms of the State apparatus — The French and American Revolutions — The Republic — Figures of the great man — The European Enlightenment and the New World — Transformations of material culture.

The deadline for panel proposals is March 15, 2005

 

 

CONFERENCES (3 NEW + 3)

 

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

Sculpting in Time and Space: New Approaches to Sculpture and Film

 

CAA Conference, Atlanta, February 2005

 

During much of the 20th century, film was often assumed to be a 'flat' pictorial art, more often compared with painting and graphic media, than with sculpture. There were always dissenting voices in these early years: Andrey Tarkovsky would define his aesthetic with the striking metaphor of 'sculpting in time'. In the last few decades, however, film has come to be more closely associated with sculpture. In recent years, it has largely been through gallery installations that the sculptural aspect of film and video and the extent to which filmic representation enlarges our understanding of sculptural space has been demonstrated. This session proposes a more rigorous exploration of the relationship between sculpture and film. It considers how film has interpreted - and performed - historic sculpture; how film has been used as a 'documentary' (and mobile) viewing method to facilitate the reading of abstract sculpture; how modernist sculpture might be considered the outcome of an interaction with filmic technique; and how narrative cinema might be re-thought as fundamentally sculptural in its production of dynamic, affective space.

 

Prof. Ian Christie, Birkbeck College,

University of London, Malet Street, London,

WC1E 7HX

ian.chr@blueyonder.co.uk

and

Dr. Jon Wood, Henry Moore Institute

jonw@henry-moore.ac.uk

 

 

2 (internet source: research engine)

 

CALL FOR PAPERS: AESTHETICS AND MOBILITY

HELSINKI, FINLAND, 13-15 JANUARY 2005

 

The School of Visual Culture at the University of Art and Design Helsinki and the Department of Aesthetics at the University of Helsinki are organizing a three-day congress entitled Aesthetics and Mobility that is scheduled to take place on 13-15 January 2005 at the University of Helsinki.

 

The organizers welcome presentations that deal with the aesthetics of mobility in a broad sense. The theme of mobility itself is of prime cultural, ecological and economic importance. People, goods and information circulate locally and globally and this circulation is regulated, steered and restricted by various technical, juridical and economic factors. In addition, the current boom of mobile technology is connected with this more general culture of mobility. Largely due to the increased volume of mobility, the world in which we live – landscapes, cities, even the climate – is changing rapidly. Mobility is a phenomenon that has major cultural and environmental influences and thus calls for in-depth analyses from many angles, including from the point of view of philosophical aesthetics, arts, and related fields.

 

This congress is being organized within the framework of the research projects Aesthetics, Mobility and Change (Academy of Finland) and Environment, Experience and Change (Emil Aaltonen Foundation).

 

As presentations will be allotted 30 minutes, including discussion, papers should not be longer than 20 minutes. The language of the congress is English.

 

The deadline for submitting abstracts (maximum 300 words) is 30 June 2004. Notification of acceptance as well as information about transport, accommodation and other practical issues will be given by 31 August 2004.

 

To register, please use the attached registration sheet, including the space provided for the abstract. Please reply to Ms Inka Finell (inka.finell@uiah.fi or by fax +358-9-75630577).  Additional information is available from Ms Finell upon request.

 

The congress fee is 50 € (students 20 €). The congress organizers regret that they cannot provide any financial assistance to pay for travel and accommodation.

 

http://www.uiah.fi/page_exhibition.asp?path=1,1450,1452,8861,11020

 

 

3 (internet source: http://www.aesthetics-online.org/events/calls.html)

7th Annual Comparative Literature Conference

Thinking on the Boundaries:  The Availability of Philosophy in Film and Literature

10-12 February, 2005

Keynote Speaker: Stanley Cavell (Harvard)

Plenary Speakers: Karen Hanson (Indiana); Toril Moi (Duke); Stephen Mulhall (Oxford)

Special Guest: Ross McElwee (Harvard)

Inspired by the work of Stanley Cavell, this conference provides an opportunity to explore topics central to his writings and illustrative of the frequently cross- disciplinary approaches that those writings employ. Such topics include, but are hardly confined to, Shakespeare and Philosophy, Emerson and Nietzsche, Emerson as a Philosopher?, Arguments of Genre in Film and Literature, Moral Perfectionism, Film and the Sublime, Film and Skepticism, Exemplarity and Exemplification, Documentary and Beyond.

Presentations should be broadly interdisciplinary. Please send one-page abstracts for twenty-minute papers to the conference organizers, Martin Donougho and Lawrence Rhu, Comparative Literature Program, Humanities Building, Columbia, SC 29208, or email them to donougho@gwm.sc.edu and rhul@sc.edu

http://www.cla.sc.edu/CPLT/activities/7thannucon.html

 

 

NEW 4 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

"Character and Imagination "

http://www.sheffield.ac.uk/~phil/character/

University of Sheffield, January 29th, 2005

Various influential ethical theories propose that we should strive to develop morally sound character traits, either because good actions are those that issue from good character traits, or because good traits generally incline us toward actions that are good for some independent reason such as the intentions with which they are performed or the consequences of performing them. This one-day conference will investigate the nature of character traits and the role of imagination in our attribution of traits to ourselves and others, in the context of the current debates over these issues. Speakers: Nafsika Athanassoulis (Leeds) Gregory Currie (Nottingham) Peter Goldie (London) Robert Hopkins (Sheffield)

 

NEW 5 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

METAPHOR: AN INTERDISCIPLINARY CONFERENCE

University of London, 21-22 Jan 2005

FRIDAY 21ST & SATURDAY 22ND JAN 2005 ROOM 329/330, SENATE HOUSE, LONDON WC1 with the support of Mind & Language

To Register please email your name to philprog@sas.ac.uk with 21/22 Jan as the subject header. Speakers: Josef Stern (University of Chicago); Samuel Guttenplan (Birkbeck College, London); Sam Glucksberg (Princeton University); Rachel Giora (Tel Aviv University); Ray Gibbs (University of California at Santa Cruz); Courtenay Norbury (University of Oxford); Robyn Carston and Deirdre Wilson (University College, London).NOTE TWO DAY FEES SCHEDULE (please settle on first day) STANDARD £25 STUDENTS Some student subsidies will be available. Please consult the Philosophy Programme website in December for details of these. Cheques (on day) payable to "UNIVERSITY OF LONDON".

http://www.sas.ac.uk/Philosophy/Metaphor.htm

 

 

NEW 6 (internet source: research engine)

Conference "Bewusstsein und Teleportation"

Symposium

Neue Galerie Luzern

January 22/23, 2005

http://www.neugalu.ch/d_bienn_2005.html

René Stettler (Concept):

Das zur Schweizer Biennale zu Wissenschaft, Technik + Ästhetik mutierte gleichnamige Luzerner Symposion wird 10 Jahre alt. Die neue Ausgabe knüpft an das Symposion von 2001 «Das Rätsel des Bewusstseins» an, wo die Quantenteleportation («Fernübertragung» oder «der erste kleine Schritt zum Beamen à la Star Trek») und Fragen wie Was ist Information? oder Was ist Realität? für kontroverse Diskussionen sorgten. Können schon bald Teile des menschlichen Körpers kopiert und über Entfernungen transportiert werden? Was ist die Rolle von «Information» in unserem Weltverständnis? Gibt es Zusammenhänge zwischen der Funktionsweise des Gehirns und quantenphysikalischen Theorien oder zwischen biologischen Prozessen im Gehirn und geistigen Phänomenen? Was für eine Rolle hat das Gehirn im Universum (oder das Universum im Gehirn)?

Albert Einstein bezeichnete das Zusammenhängen von quantenphysikalischen Systemen über grosse Entfernungen (z.B. von einem Ende der Galaxie zum anderen), das unserer alltäglichen Erfahrung vollständig widerspricht, als «spukhafte Fernwirkung». Das seltsame Phänomen der Quantenverschränkung, das von der Teleportation benützt wird, spielt – wie vorgeschlagen wurde – eine Rolle bei der Entstehung von Bewusstsein. Heute sind Phänomene wie die Quantenverschänkung in der neuen Physik nicht nur hervorragend experimentell bestätigt, sondern bilden – wie Anton Zeilinger vor vier Jahren in Luzern gezeigt hat – die Grundlage für eine neue Informationstechnologie und den zu ihr gehörigen Forschungsgebieten wie Quantenkryptographie, Quantenteleportation und Quantencomputer. Was sagt uns aber das neue Wissen über uns selber und die Existenz der Spezies Mensch auf dem blauen Planeten? Was ist sein zukünftiger gesellschaftlicher Nutzen angesichts der ohnehin schon vorhandenen bedrohlichen Katastrophenszenarien mit denen die Bio-, die Nanotechnologie und die Nuklearenergie uns aufwarten?

Die Biennale sucht in Grenzbereichen und an den Schnittstellen der Disziplinen (Natur)Wissenschaft, Philosophie, Kunst und Ästhetik nach Antworten auf diese Fragen. Ich wünsche Ihnen zwei spannende und geistig anregende Tage im Verkehrshaus der Schweiz, das der Biennale als Gastgeber eine ideale Plattform bietet.

Key-Words: Theorie der Quantenteleportation; Theorie der Informationsübertragung mit Lichtgeschwindigkeit; Quantenteleportation und Wirklichkeit; Bellsches Theorem; Quantentheorie und Messung; Wissenschaft und Teleportation; Kopenhagener Interpretation der Quantenmechanik; Komplementarität; Gödelsches Theorem; Mathematik; Reversibiliät und Irreversibilität von Zeit; nicht-komputierende Physik; (Mikro)-Relativität; (Mikro)-Konstruktivismus; Neurowissenschaften; Quanteninformation und Bewusstsein; Bewusstsein und Beobachtung; Bewusstsein und Teleportation; Quanten-Nichtlokalität und unbewusste Hirnfunktionen; das Konzept eines Ichs; Philosophie des Bewusstseins; Physik und Psychologie.

Key-Note Speakers / Chairpersonen

PROF. DR. CLAUDIA AMBROSCH-DRAXL, Theoretische Physik, Theoretical Physics, Universität Graz, http://physik.uni-graz.at/~cad/

PROF. ROY ASCOTT, Medien- und Kunsttheorie, Art- and Media Theory, Planetary Collegium, University of Plymouth, www.planetary-collegium.net

PROF. DR. DICK J. BIERMAN, Physics and Consciousness Research, Physik und Bewusstseinsforschung, University of Amsterdam and Utrecht University, www.uu.nl

PROF. DR. SAMUEL L. BRAUNSTEIN, Quantencomputation, Quantum Computation, Department of Computer Science, University of York, UK, www-users.cs.york.ac.uk/~schmuel/home.html

PROF. DR. Emeritus GISELHER GUTTMANN, Psychologie und Neurowissenschaften, Psychology and Neuroscience, Institut für Psychologie, Universität Wien, www.univie.ac.at/Psychologie/

PROF. STUART HAMEROFF, M.D., Anästhesiologie und Psychologie, Anesthesiology and Psychology, Center for Consciousness Studies, University of Arizona, Tucson, www.quantumconsciousness.org/curriculumvitae.html

PROF. DR. JOSEF MITTERER, Philosophie, Philosophy, Universität Klagenfurt, www.uni-klu.ac.at/

PROF. DR. Emeritus KARL H. PRIBRAM, M.D., Neurophysiologie und Neuropsychologie, Neurophysiology and Neuropsychology, Department of Psychology, Georgetown University, Washington D.C., www.georgetown.edu/departments/psychology/

PROF. JD JOHN D. PETTIGREW, FRS, Biomedizinische Wissenschaften, Biomedical Sciences, Vision, Touch and Hearing Research Centre, School of Biomedical Sciences, University of Queensland, Australia, www.uq.edu.au/nuq/jack/jack.html

PROF. DR. Emeritus ABNER SHIMONY, Philosophie und Physik, Philosophy and Physics, Boston University, Boston, www.bu.edu/philo/faculty/shimony.html

PROF. PETER WEIBEL, Medien- und Kunsttheorie, Art- and Media Theory, Zentrum für Kunst und Medientechnologie Karlsruhe, www.zkm.de

PROF. DR. FRANZ X. VOLLENWEIDER, Psychologie, Psychology, Psychiatrisches Universitätsspital, Universität Zürich, www.neuroscience.unizh.ch/e/groups/vollen00.htm

OSWALD WIENER, Schriftsteller, Writer, Walstern 14, Halltal / Österreich, http://class.georgiasouthern.edu/~hkurz/wiener.htm

Präsentatoren / Chairpersonen

MAIA ENGELI, Forscherin / Researcher, Hochschule für Gestaltung und Kunst, Basel, Planetary Collegium, University of Plymouth / UK, http://maia.enge.li

DR. GERHARD J. LISCHKA, Kulturphilosoph und Mediator, Culture Philosopher and Mediator, Bern, http://www.xspace.at/agm/agm_sites/4077083597.html

PROF. DR. OTTO E. RÖSSLER, Chaostheorie, Theory of Chaos, Universität Tübingen, www.uni-tuebingen.de/uni/c14/Chemie/PC/Profs/roessler.html

PROF. DR. JILL SCOTT, Medien- und Kunsttheorie, Art and Media Theory, Hochschule für Gestaltung und Kunst Zürich, www.jillscott.org / www.artistsinlabs.ch

Alle Referate und Gespräche werden simultan von Englisch auf Deutsch bzw. Deutsch auf Englisch übersetzt

Organisation

Ort / Place: Verkehrshaus der Schweiz, Luzern, Konferenz-Center (Bus Nr. 6 und 8 ab Bahnhof, Haltestelle «Verkehrshaus»)

Swiss Museum of Transport and Communication, Conference Center (Bus Nr. 6 and 8 from Station SBB, Bus-Stop «Verkehrshaus»)

Termine / Dates

Samstag, 22. Januar 2005, 12.00 - 19.00 / Saturday, January 22, 2005, 12.00 - 19.00

Sonntag, 23. Januar, 2005, 12.00 - 19.00 / Sunday, January 23, 2005, 12.00 - 19.00

Wissenschaftliche Mitarbeit / Scientific Collaboration: lic. phil. Irena Banjkovec

Information

c/o Neue Galerie Luzern, Postfach 3901, CH-6002 Luzern

c/o New Gallery Lucerne, P.O. Box 3901, CH-6002 Lucerne

Tel.: ++41 (0) 41 240 26 75

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Private Tonband- und Videoaufnahmen sind nicht gestattet. Sämtliche Urheberrechte gehören der Neuen Galerie Luzern / Private Recording and/or Video Recording are prohibited. All Rights reserved to the New Gallery Lucerne

Technik / Technical Support

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Kurt Waser (Dokumentation / Documentation)

Eintrittspreise (Biennale und freier Eintritt ins Verkehrshaus der Schweiz)

Entrance Fees (Biennial and Free Admission to the Swiss Museum of Transport and Communication)

Referate und Schlussgespräch 22. 1. 2005

Lectures and Final Panel Discussion 1/22/2005

(Shimony / Braunstein / Rössler-Weibel-Lischka / Bierman / Hameroff)

Fr. / CHF 50.-

Stud. und / and AHV Fr. / CHF 35.- (mit / with ID)

Referate und Schlussgespräch 23. 1. 2005

Lectures and Final Panel Discussion 1/23/2005

(Pribram / Wiener / Scott, Ascott, Engeli / Guttmann / Pettigrew)

Fr. / CHF 50.-

Stud. und / and AHV Fr. / CHF 35.- (mit / with ID)

Dauerkarten 22./23. 1. 2005 / Tickets 1/22-23, 2005

Fr. / CHF 80.-

Stud. und / and AHV Fr. / CHF 50.- (mit / with ID)

Telefonische Reservation / Reservation by Phone

4.1. - 21. 1. 2005, Di-Fr 15.00 – 18.30 Uhr Tel. ++41 (0) 41 362 20 77. Reservierte Eintrittskarten bitte eine Stunde vor Tagungsbeginn (11.00) im Konferenz-Center abholen. Keine Platznummerierung

1/4 - 21, 2005 Tue-Fri 15.00 – 18.30 ++41 (0) 41 362 20 77. Please collect your reserved tickets in the conference center one hour (11.00) before the conference starts. No numbering of seats.

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Sie können problemlos eine elektronische Anmeldung vornehmen, indem Sie ein E-Mail an Anmeldung schicken. Ihr Mail muss Ihren Namen und Vornamen, die genaue Adresse, Wohnort, Land, Telefonnummer und Ihre E-Mail-Adresse sowie die genaue Anzahl und Kategorie der gewünschten Eintrittskarten enthalten. Wir nehmen dann mit Ihnen Kontakt auf und bestätigen die Anmeldung!

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Patronat / Patronage

Charlotte and Josef Brandenberg, Luzern

Dr. Ulrich Fässler, ehemaliger Regierungsrat, Kanton Luzern

Franz Kurzmeyer, alt Stadtpräsident Luzern

Dr. Guy André Mayor, Präsident Freie Vereinigung Gleichgesinnter, Luzern

Claudia Moser, Hotel Rebstock, Luzern

Philosophische Akademie Luzern

Peter Schulz, ehem. Direktor Medienausbildungszentrum (MAZ), Luzern

Germaine Böni-Clerc, Präsidentin der Seniorenuniversität Luzern

Urs W. Studer, Stadtpräsident von Luzern

Dr. Hans Widmer, Nationalrat, Luzern

Verpflegung und Getränke / Food and Beverages

Foyer / Entrance Hall to Conference Center

Bücher/ Books

Konferenz-Center / Conference Center

Hotels

Luzern Tourismus, Bahnhofstrasse 3, CH-6002 Luzern Tel.: ++41 (0) 41 227 17 27 www.luzern.org

Stadtplan/Ortsplan  Stadtplan / Ortsplan 88 kB

 

 

SPECIAL: SARTRE 2005 (NEW)

(internet source: http://www.jpsartre.org/)

Michel Rybalka, en relation avec le Groupe d'Etudes Sartriennes (GES):

CENTENAIRE DE LA NAISSANCE DE SARTRE EN 2005

 

Le centenaire de Sartre est annoncé officiellement comme faisant partie des Célébrations Nationales en 2005. Nous publierons au début de 2005 le texte pour cette commémoration, rédigé par M. Rybalka. Parmi les autres commémorations cette année-là, il y aura celles de Raymond Aron, Paul Nizan, Tocqueville (né en 1805), Jules Verne (mort en 1905)...

Le service de la Poste émettra des timbres pour Aron et pour Tocqueville, mais il n'y aura pas de timbre Sartre. Rappelons qu'un timbre peu ressemblant lui a ete consacre en 1985. Un timbre Sartre, d'une faciale de 1,11 euro, sera cependant emis par Monaco en 2005. Il a été disponible en avant-première du 3 au 5 décembre 2004 à l'exposition Monacophil, à Monaco.

Le rassemblement des sociétés sartriennes à Paris autour de la date du 21 juin 2005 ne se fera pas comme je l'avais préconisé. Le programme des journées de juin, en ce qui concerne le GES, est en cours d'élaboration et sera communiqué plus tard, en particulier sur le site jpsartre.org :8080 L'Année sartrienne, nº 18, publiée à cette occasion, visera à présenter un contenu exceptionnel. Une commémoration officielle est envisagée pour le 21 juin à la Sorbonne. Le colloque du GES aura lieu les 17-18 juin 2005.

14.1.05 - Lévy (Bernard-Henri) : « Sartre : pour ouvrir le bal du centenaire », Le Point, 13 janvier 2005, p. 138. [Dans ce "Bloc-notes" inspiré, BHL fait le tour de l'oeuvre de Sartre.]

Une série de conférences est organisée à la Galerie Léo Scheer (14-16 rue de Verneuil, 75007 Paris) du 6 janvier au 9 juin 2005, les jeudis de 18h à 20h, sur le thème : "Le centenaire politique de Sartre. A-t-on encore raison de se révolter ?" - 6 janvier ; Noudelmann (François) présente son livre "Pour en finir avec la généalogie" (Éditions Léo Scheer), en présence d'Édouard Glissant. - 10 février ; Sichère (Bernard) et Curnier (Jean-Paul) : "Sartre et Genet : révolte/révolution." - 31 mars ; Maniglier (Patrice) : "Les structures de la résistance." - 14 avril ; Agacinski (Sylviane) : "Conversions - à partir de Sartre." - 19 mai ; Cohen-Solal (Annie), Simont (Juliette) et Vermeren (Patrice) : "Sartre et les États-Unis." - 9 juin ; Lanzmann (Claude) : "Sartre, incarnation d'une autre légitimité française."

Une grande exposition sur Sartre, dirigée par Mauricette Berne avec la collaboration de Michel Sicard et la participation de Michel Rybalka, aura lieu à la BNF-Tolbiac du 9 mars au 21 août 2005. En partenariat avec Libération, L'Histoire et France-Inter. Conférence : Winock (Michel) : "Sartre et la politique". Mercredi 16 mars 2005, 16h30-20h. Grand Auditorium, Hall Est. Entrée libre.

Colloque à Bruxelles en février 2005, org ; Juliette Simont, sur le thème « Sartre dans son époque, notre époque et Sartre ».

Colloque "Sartre multiple" org. par la Société Tunisienne des Études Philosophiques à Hammamet, Tunisie, les 22-24 mars 2005. Contact, le secrétaire géneral : cherif.taoufik@tiscali.fr

11.1.05. La "Literaturhaus München", dirigée par Reinhard Wittmann, montera une exposition sur Jean-Paul Sartre en coopération avec la Bibliothèque nationale de France à Paris et l'Institut francais de Munich. L'exposition, dont Verena Nolte (mél : verinissima@t-online.de) est commissaire, sera inaugurée le 12 mai avec la participation de M. Daniel Cohn-Bendit et durera jusqu'au 10 juillet. L'exposition sera accompagnée par plusieurs manifestations et une conférence.

Colloque à Harvard University, « Sartre et ses autres/Sartre and his others », 15-16 avril 2005. Organisé, entre autres, par Susan Suleiman. Contact : Thérèse Chevallier, mél : chevall@fas.harvard.edu

Colloque "Jean-Paul Sartre, penseur critique des "temps modernes"" organisé par Yvanka Raynova, directrice de l'Institut de recherches axiologiques, Vienne, les 2-4 juin 2005. Par invitations seulement pour les exposés. Contact : yvanka.raynova@univie.ac.at

Session "Sartre" organisée par Christina Howells, à Helsinki, entre le 5 et le 8 juin 2005, au congrès de l'IAPL (International Association for Philosophy and Literature).

Le Collège Smolny de l'Université d'Etat de Saint-Pétersbourg, l'Institut des Langues Etrangères de Saint-Pétersbourg, le Département de français de l'Université d'Etat d'Economie et de Finances de Saint-Pétersbourg organisent un colloque international à Saint-Pétersbourg, soit les 23-24 juin 2005, soit les 27-28 juin (période des "nuits blanches"), sur le thème « J.-P. Sartre réfléchi au présent : l'autobiographique de la philosophie, de la littérature et de la politique », avec notamment le sujet « Sartre : droits de l'homme et droits de l'écrivain ». Langues de travail : français, russe, avec traduction simultanée. Propositions d'exposés à envoyer avant le 30 décembre 2004 à Serguei Fokine, mél : voltchek@omnisp.ru Une exposition « Sartre et la Russie » aura lieu à la Bibliothèque Nationale de Russie.

Un colloque « Sartre : écriture et engagements » aura lieu à Cerisy-la-Salle du 20 au 30 juillet 2005, sous la responsabilité de Michel Rybalka et de Michel Sicard.

Le colloque italien, dirigé par Gabriella Farina, Giovanni Invitto, Claudio Tognonato et Francesco Saverio Trincia, aura lieu à Rome du 14 au 16 avril 2005 sur le thème « Sartre après Sartre » Contact : fra@uniroma3.it Voir info@centenariosartre.it et www.centenariosartre.it. Voir programme ci-dessous.

Colloque à l'Université de Saragosse, 15-20 novembre 2005, dirigé par José Luis Rodriguez Garcia.Contact : rogarcia@posta.unizar.es

Colloque à l'Université de Bogota, Colombie, en aout 2005 : « Sartre et la question du marxisme ». Org. Alfredo Gomez-Muller.

Colloque à New York Universty, "Situation de Sartre 2005/Situating Sartre 2005", 30 septembre-1er octobre 2005. Orgs. Thomas Bishop et Denis Hollier.

Un colloque, « Sartre et la question colonialisme -- l'autre culture et la culture de l'autre », est projeté pour fin octobre 2005 à l'Institut Catholique de Paris, dirigé par Alfredo Gomez-Muller.

En novembre-décembre 2005, exposition « Sartre et l'art : l'existentialisme dans les arts contemporains japonais », co-organisée par l'Association Japonaise d'Études Sartriennes (AJES) et le Musée Municipal d'Urawa. Présentera des oeuvres de Giacometti, Calder, Masson, Wols, Saburo Aso, Tatsuo Ikeda, On Kawara, Katsuiro Yamaguchi, Jiro Takamatsu, Lee Ufan, Gyoji Nomiyama, Isamu Wakabayashi, etc.

En novembre 2005, un colloque international à l'Université Aoyamagakuin, co-organisé par cette Université et l'AJES.

Un colloque "Sartre : création littéraire et philosophie aura lieu du 7 au 9 décembre 2005 à Gabès, Tunisie.Comité d'organisation : Noureddine Lammouchi, Jean-Pierre Picot, Francis Lacoste, Me Najet Labidi Sayah, Mustapha Trabelsi, Sonia Hbaïeb, Chokri Rhibi, Zoubeir Chaouch. Renseignements et propositions de communication à adresser à Noureddine Lamouchi, Institut Supérieur des Langues, Rue Ali Jmel, 6000 Gabès (Tunisie) avant le 30 août 2005. GSM : 00216 98 628 868. Email : noureddine.lammouchi@islgb.rnu.tn

Spectacle Sartre on Jazz, dirigé par Gérard Thirioux, au Lavoir moderne parisien, Paris, 11-22 avril 2005. Et à Montereau le 8 avril.

Un colloque s'est tenu en octobre 2004 à Johns Hopkins University, dirigé par C. Delacampagne et J. Mehlman.VOIR PROGRAMME DANS LA SECTION COLLOQUES ET ACTIVITES.

La North American Sartre Society se réunira les 18-20 fevrier 2005 en Californie a l'University of San Francisco. Contact local : Jeffrey Paris, mel : paris@usfca.edu, Fax : 415.422.5116. Voir programme complet ci-dessous.

Des colloques sont prévus à Palerme (Philosophie et Esthétique, dirige par G. Farina), à Trente en février (Philosophie et Littérature, dirigé par P. Tamassia).

Un colloque est prévu en 2005 en Corée du Sud.

La revue Rue Descartes du Collège de Philosophie publiera en janvier 2005 un numéro "Sartre contre Sartre", sous la responsabilité de Bruno Clément et de Patrick Vauday.

Sartre Studies International publiera en mars-avril 2005 un numéro spécial, sous la direction d'Adrian van den Hoven.Ce numéro sera publié sous forme de livre par Berghahn Books.

Le Magazine littéraire publiera le 15 mars 2005 un numéro hors série sur Sartre, fait principalement d'articles parus dans le périodique.

Il y aura un numéro hors série de Libération.

Un numéro spécial de la revue L'Histoire est prévu

Le revue Impulso (Univ. méthodiste de Piracicaba, Sao Paulo, Brésil) publiera un numéro sur Sartre. Contact: Silvio Gallo, sdogallo@unimep.br

Un film télé de fiction, "Sartre : l'age des passions", est actuellement écrit pour France2 et plusieurs chaînes européennes par Michel-Antoine Burnier et Michel Contat avec le producteur Jacques Kirsner. Ce film se déroule de 1958 à 1964.

14th Biennial Meeting of the North American Sartre Society February 18-20, 2005, University of San Francisco, USF Lone Mountain Conference Center Hosted by Jeffrey Paris (paris@usfca.edu)

Pre-Conference Colloquium. Ronald Aronson : "Camus versus Sartre : The Unresolved Confict", University of San Francisco Dept. of Philosophy, University Center, Faculty Lounge, Thursday, February 17, 3.30pm. A. Friday, February 18, 9 :00 am to 12 :00 pm Session 1, Sartre, Camus, Freud and Aesthetics : - Marie Andree Charbonneau (University of Moncton) : "Le Scenario Freud" ; - Christine Daigle (Brock University) : "Sartrean Aesthetics in Nausea" ; - Benedict O'Donohoe (University of Windsor) : "Sartre and Camus : Parallel Playwrights" ; - Ronald Aronson (Wayne State University) : "Camus's L'Impromptu des Philosophes. Camus's Satirical Take on Sartre and Himself". Session 2, Philosophy and Politics in Beauvoir's The Mandarins : - Chair and Commentator, Bill McBride (Purdue University) ; - Sonia Kruks (Oberlin College) : " 'Living on Rails' : Freedom, Constraint, and Political Judgment in The Mandarins" ; - Thomas Busch (Villanova University) : "Simone de Beauvoir and Achieving Subjectivity" ; - Shannon Mussett (Utah Valley State College) : "Personal Choice and the Seduction of the Absolute in Beauvoir's Les Mandarins". Session 3, Racism and Racial Identity : - Tom Martin (Rhodes University) : "On Racisms" ; Martin Matustik (Purdue University) : "Deracination and Violence : Postsecular Meditation on Identity and Roots" ; - Anika Mann (Morgan State University) : "Reconstituting Group Constitution : The Politicization of Racial Group Formation in Sartre's Critique". B. Friday, February 18, 1 :30-3 :30 Session 1, Book Session : Challenging Postmodernism : Philosophy and the Politics of Truth. Chair : Ken Anderson (Emory University) Speaker : Steven Hendley (Birmingham Southern College) Speaker : Bill Martin (DePaul University) Respondent : David Detmer (Purdue University Calumet) Session 2, The Ego, the Imaginary and the Other : - Beata Starwarska (University of Oregon) : "Obsession, Hallucination, and Consciousness" : - Bruce Baugh (University College of the Cariboo) : "Freedom, Fatalism, and the Other in Being and Nothingness and The Imaginary". Session 3, Sartre, Fanon, and Foucault : - George Ciccariello Maher (University of California at Berkeley) : "The Debate on Humanism Reconsidered : Cesaire and Fanon on Situated Agency" ; - Matthew Eshleman (Duquesne University) : "A Foucaultean Problem of Freedom : Towards a Sartrean Solution". C. Friday, February 18, 3 :45-5 :45 Session 1, Book Session : Sartre, Self-Formation and Masculinities : Chair : Ron Aronson (Wayne State University) Speaker : Debra Berghoffen (George Mason University) Speaker : Thomas Flynn (Emory University) Respondent : Jean-Pierre Boule (Nottingham Trent University) Session 2, Sartre, Einstein & Quantum Physics : - Richard Holmes (University of Waterloo) : "Sartre's Theory of Consciousness and Quantum Phenomena : An Analogy" ; - Dennis Rohatyn (University of San Diego) : "Einstein and Sartre : Freedom, Nature, and Authenticity". Session 3, Sartre's Early Phenomenology : - Niel Rosen (Catholic University of America) : "The Transcendence of the Ego and Recent Husserl Scholarship" : - Stanley Konecky (Hartwick College) : "Breaking Down the Walls Separating Phenomenology from Scientific Materialism : Sartre on Consciousness/Body Problem". D. Saturday, February 19, 9-11 :30am  Session 1, Critical Theory and The Critique of Dialectical Reason : - David Sherman (University of Montana) : "Sartre's Phenomenology and Critical Theory" ; - J.C. Berendzen (Loyola University New Orleans) : "Sartre and the Communicative Paradigm in Critical Theory" ; - Arno Munster (Université de Picardie-Jules Verne/Amiens) : "Dialectic and Practice in Sartre's Thought : An Analysis of The Critique of Dialectical Reason". Session 2, Bad Faith and Authenticity : - Michelle Darnell (Methodist College) : "Trying to Know Too Much : Bad Faith, Sadism, and Masochism" ; - Betty Cannon (Colorado School of the Mines) : Authenticity, the Nature of Reality, and the Practice of Existential Psychotherapy" ; - Kris Johnson (University of Memphis) : "Investigating Sartre's 'For-Itself' under Levinasian Concerns : A Closer Look at Bad Faith". Session 3, Violence and Decolonization : - Paige Arthur (University of California at Berkeley) : "Decolonization and the Philosophy of Jean-Paul Sartre : Moving Beyond the Preface to The Wretched of the Earth" ; - Ronald Santoni (Denison University) : "The Bad Faith of Violence (And is Sartre in Bad Faith Regarding It ?" E. Saturday, February 19, 1 :30-4 :30 Session 1, Sartre and Theatre : Theory and Practice : - Chair/Commentator : Adrian van den Hoven (University of Windsor) : - John Ireland (University of Illinois Chicago) : "Sartre and Scarry : Bodies and Phantom Pain" ; - Dennis Gilbert (Boston College)"For a Sartrean Aesthetic of Theater" ; - Steve Martinot (University of California, Berkeley) : "Skin for Sale : Race and Sartre's Respectful Prostitute". Session 2, The Triangulations of Friendship : Sartre, Camus, and Beauvoir : - Peter Gratton (DePaul University) : "The Politics of (a) Friendship" ; - Ann Taylor (Diablo Valley College)"Literary Friendships and Fictional Truths" ; - Bill Martin (DePaul University) : "Friendship under World-Historical Pressure". Session 3, Consciousness and the Early Sartre : - Mark Rozahegy (McGill University) "Calculating as "Counting on…" in Heidegger, Gasset, and Sartre : An Investigation Concerning the Pre-reflective Self-relation" ; - Joel Krueger (Purdue University)"Concrete Consciousness : Sartre's Relevance to Contemporary Philosophy of Mind" ; - Simon Glynn (Florida Atlantic University) : "Sartre, Phenomenology and the Buddhist No-Self Theory". Saturday, February 19, 5 :00-6 :30 Keynote Address : Violence and Non-Violence : Shadows of Algiers by Judith Butler, University of California at Berkeley. Introduction : Ronald Santoni, Denison University. F. Sunday, February 20, 9 :00-11 :30am Session 1, Sartrean Ethics and Religion : - Michael Michau (Purdue University) : "A Religious Critique of Sartrean Ethics" ; - Yiwei Zheng (St. Cloud State University) : "Sartre and Kierkegaard on Absurdity" ; - Tatjana Schonwalder (Ludwig-Maximilians-Universitat Munchen) : "How Consistent is Sartre's Philosophy : Rereading the Relation Between Epistemological, Ontological, and Ethical Requirements". Session 2, Disclosure, Duality, and Immortality : - Kristana Arp (Long Island University) : "Simone de Beauvoir's Concept of Disclosure : Sartrean, Heideggerian or Husserlian ?" ; - Eleanor Kaufman (University of California, Los Angeles) : "Sartre, Badiou, and the Truth of the Two" ; - Craig Vasey (Mary Washington College) : "Two Approaches to Immortality". Session 3, Sartre, Politics and Hope Now : - Christopher Harless (Fordham University) : "Sartre's Hope and the Function of Ethics" : - Jonathan Judaken (University of Memphis) : "Sartre on the Arab/Israeli Conflict" ; - Kevin Gray (University of Toronto) : "Sartre and the Hungarian Revolution".

UK Society for Sartrean Studies : Sartre Centenary Conference 18-19 March 2005. Institut Français du Royaume-Uni, 17 Queensberry Place, London SW7. Nearest Tube : South Kensington. Programme (tout en anglais) Friday 18 March 2005 9.30 - 11.00 : Willie Thompson :"Sartre's Legacy in an Era of Obscurantism." Debbie Evans : "1945-2005 : Existentialism and Humanism 60 Years on." Chair : Michael Scriven 11.30 - 1.00 : Christine Daigle : "Sartre and Nietzsche : Brothers in Arms." Gérard Wormser : "Towards a Phenomenological Ethics." Chair : Christina Howells. 2.30 - 3.30 : Keynote address. Olivier Todd : "Sartre, Camus and Malraux." Chair : David Drake. 3.45 - 5.00 : Ruud Welten : "Fraternity, Terror and Hope." - Ian Birchall : "Sartre and Terror : Some Further Observations." Chair : Jean-Pierre Boulé. Saturday 19 March 2005 10.30 - 12.00 : Roy Elveton : "Sartrean Phenomenology, Intentionality and History." - Nik Farrell Fox : "The New Sartre ; A Postmodern Progenitor ?" Chair : Andy Leak. 12.00 - 1.00 : Keynote address. Annie Cohen-Solal : "Sartre and the United States." Chair : Benedict O'Donohoe. 2.30 - 4.30 : Alain Flajoliet : "Literature and Philosophy in Sartre's Early Writings." - Bradley Stephens : "A Surreptitious Romantic ? Reading Jean-Paul Sartre through Victor Hugo." - Peter Royle : "Hidden Word-Play in the Work of Jean-Paul Sartre." Chair : Annette Lavers. 4.45 : UKSSS AGM (non-members welcome to attend). Admission to the Conference : £10 to non-members of UKSSS, £5 to non-members who are students, unwaged, etc., free to members of UKSS (i.e. paid-up subscribers to Sartre Studies International). Conference Organisers : d.drake@britishlibrary.net benedict.o'donohoe@uwe.ac.uk

Sartre après Sartre Convegno internazionale Roma 14, 15 e 16 aprile -- Gruppo di Studi Sartriani Centro di Studi Italo-Francesi Università degli Studi Roma Tre Università degli Studi di Roma "La Sapienza" Ambasciata di Francia - Unidiversité Università degli Studi di Roma Tor Vergata Università degli Studi di Lecce Università degli Studi di Salerno. Programma provvisorio. Giovedì 14 aprile (Aula Magna della Facoltà di Lettere e Filosofia dell'Università Roma Tre) Presiede : Giovanni Invitto. 09.00 - 10.00 Saluti 10.00 - 10.30 Michel Rybalka « Situation de Sartre et des études sartriennes en 2005 » 10.30 - 11.00 Annie Cohen Solal « Sartre et les Etats Unis » Pausa 11.15 - 11.35 Gianfranco Rubino Rappresentare la guerra 11.35 - 11.55 Giovanni Cera Contingenza, libertà e destino 12.00 - 12.20 Antonio Delogu Dio e il soggetto come trascendenza 12.30 - 13.15 Dibattito Pausa pranzo Presiede : Piero Di Giovanni 15.00 - 15.20 William McBride Sartre e la politica 15.20 - 15.40 Pier Aldo Rovatti La CRD II 15.40 - 16.00 Franco Ferrarotti Il Marxismo di Sartre Dibattito Pausa 16.40 - 17.00 Roberto Cipriani Il metodo autobiografico e il Flaubert 17.00 - 17.20 Claudio Tognonato Sartre e la sociologia 17.20 - 17.40 Giorgio Baratta Da un secolo all'altro, Sartre a colloquio con Gramsci Dibattito ore 20.30 Cena Venerdì 15 aprile Presiede : Angela Ales Bello 09.30 -10.00 Pierre Verstraeten Sartre et la psychanalyse lacanienne 10.00 -10.20 Aniello Montano La coscienza morale come modalità dell'essere-per-altri 10.20 -10.30 Fabrizio Scanzio Futuro alienato e futuro autentico Dibattito Pausa 11.15 - 11.35 Francesco Saverio Trincia Il giovane Sartre e il problema dell'Io 11-35 - 11.55 Marcella D'Abbiero Il problema dell'intersoggetività nell'Essere e il Nulla 11.55 - 12.05 Cristina Ficorilli Creatività e materialità in Sartre. Dibattito Pausa Pranzo Presiede : Giacomo Marramao 15.00 - 15.20 Giuseppe Cacciatore Attivismo e storia in Sartre 15.20 - 15.40 Stefano Poggi Sartre e Heidegger 15.40 - 16.00 Rocco Ronchi L'intelligibilità della storia. Sartre e Bergson Dibattito Pausa 16.40 - 17.00 Raul Fornet-Betancourt Sartre ou l'éthique comme projet d'une vie avec subjectivité 17.00 - 17.20 Gérard Wormser Sartre : dal mito alla Storia 17.20 - 17.40 Gruppo di Ricerca A proposito della teoria delle emozioni Dibattito ore 20.30 (da definire) Sabato 16 aprile ( Sapienza-Villa Mirafiori o Sala Capizucchi) Presiede: Gabriella Farina 09.30 - 09.50 Michel Sicard Sartre e l'estetica 09.40 - 10.00 Sandra Teroni La scena del dialogo 10.00 - 10.20 Giuseppe Di Giacomo Arte e vita nella riflessione di Sartre Pausa 11.00 - 11.20 Elio Matassi Sartre e la Musica 11.20 - 11.40 Enzo Neppi Contributo alla riflessione sulla storia del nichilismo : Di alcune analogie sorprendenti fra Sartre e Leopardi e Primo Lévi. 11.40 - 12.00 Stella Caldieri La distinzione tra le arti Dibattito Chiusura dei lavori Domenica 17 aprile Teatro al Palladium ore 18 Paolo Flores d'Arcais : Sartre Lettura scenica con musica dal vivo : Le Parole di Jean-Paul Sartre a cura di Marcello Cava

 

October 2004 - December 2004

CALLS FOR PAPERS (3 + 7 NEW)

 

 

1 (internet source: http://www.aesthetics-online.org/)

 

Film as Philosophy

Special Issue of the Journal of Aesthetics and Art Criticism

Edited by Murray Smith and Thomas Wartenberg

 

“Film as Philosophy” will focus on the idea that a film might have a philosophical dimension, or make a contribution to the enterprise of philosophy, beyond merely illustrating a philosophical idea or acting as source material for philosophy proper. This topic has been touched on implicitly by many philosophers of film, but only occasionally has it been addressed explicitly. Articles that focus either on the theoretical question of whether film can act as a vehicle of philosophy, or on particular films as sources of philosophic insight, are encouraged. Articles addressing other philosophical questions prompted by film may also be submitted, although the Special Issue will be centered around the topic of film as philosophy.

 

Submissions should be no more than 7000 words and should be accompanied by a brief abstract. Electronic submissions in RTF format greatly preferred and should be sent to both editors at the above addresses. Submissions by hard copy will also be considered

 

Deadline: November 1, 2004

 

Murray Smith

School of Drama, Film and Visual Arts

Rutherford College

University of Kent

Canterbury, Kent UK CT2 7NX

<m.s.smith@kent.ac.uk>

 

Thomas Wartenberg

Department of Philosophy

Mount Holyoke College

South Hadley, MA 01075

<twartenb@mtholyoke.edu>

 

2 (internet source: http://www.aesthetics-online.org/events/calls.html)

 

 

Film as Philosophy

Special Issue of the Journal of Aesthetics and Art Criticism

Edited by Murray Smith and Thomas Wartenberg

“Film as Philosophy” will focus on the idea that a film might have a philosophical dimension, or make a contribution to the enterprise of philosophy, beyond merely illustrating a philosophical idea or acting as source material for philosophy proper. This topic has been touched on implicitly by many philosophers of film, but only occasionally has it been addressed explicitly. Articles that focus either on the theoretical question of whether film can act as a vehicle of philosophy, or on particular films as sources of philosophic insight, are encouraged. Articles addressing other philosophical questions prompted by film may also be submitted, although the Special Issue will be centered around the topic of film as philosophy.

Submissions should be no more than 7000 words and should be accompanied by a brief abstract. Electronic submissions in RTF format greatly preferred and should be sent to both editors at the above addresses. Submissions by hard copy will also be considered

Deadline: November 1, 2004

Murray Smith

School of Drama, Film and Visual Arts

Rutherford College

University of Kent

Canterbury, Kent UK CT2 7NX

m.s.smith@kent.ac.uk

Thomas Wartenberg

Department of Philosophy

Mount Holyoke College

South Hadley, MA 01075

twartenb@mtholyoke.edu

 

 

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

 

 

 

14th meeting of the Society for Philosophy and Technology

 

July 20-22, 2005

Delft University of Technology

Delft, The Netherlands

Conference Theme:

"Technology and Designing"

The Society for Philosophy and Technology has sponsored conferences on philosophical aspects of technology since the late 1970s. Current conferences are held every other year, rotating between North America and Europe. The Society welcomes a broad range of papers from various philosophical perspectives and schools.

 

http://www.sptdelft2005.tbm.tudelft.nl/theme.html), but submissions

 

?Philosophy and engineering design?

?Philosophy and architectural design?

?Methodological and epistemic issues in designing?

?Ethical, anthropological or political issues in designing?

 

TIME SCHEDULE:

The final deadline for submissions of abstracts and sessions is November 30, 2004. Notification of acceptance will be made by February 15, 2005. Final papers should be submitted by May 1, 2005, in order to provide commentators with ample time for preparing remarks.

 

PUBLICATION:

Techné, the peer reviewed journal of the Society for Philosophy and Technology, welcomes accepted papers to be submitted for publication.

Also a volume with a selection of accepted papers on the conference

theme of technology and designing is envisaged.

 

The city of Delft has a population of some 100.000 and is located in the West of the Netherlands, in between Rotterdam and The Hague. It has a nice historic city centre with its canals, pubs and restaurants. The vault of the Dutch Royal Family is in Delft. And Delft is of course well-known for its blue earthenware and for the 17th century painter Johannes Vermeer.

 

The conference site for the 2003 SPT meetings will be at the Faculty of Technology, Policy and Management building located at the campus of Delft University of Technology. The building is within walking distance (15 minutes) of the city centre of Delft and of the Delft railway station. Delft can be reached by train (40 minutes; one change of trains) from Amsterdam Airport Schiphol, which offers many direct European and intercontinental connections.

 

http://www.sptdelft2005.tbm.tudelft.nl/

for further information and conference updates.

 

Further inquiries may be made at sptdelft2005@tbm.tudelft.nl.

 

NEW 4 (internet source: search engine)

 

Call for Papers

Production Aesthetics & Criticism Division

The Production, Aesthetics & Criticism Division of the Broadcast Education Association invites competitive, scholarly papers from academics, students and professionals for presentation at the annual convention in Las Vegas, Nevada, April 21-23, 2005. The BEA 2005 convention theme is "Fifty Years of Excellence for Electronic Media Academics, Industry and Future Professionals." … submissions must be received by the paper competition chair no later than 5:00 PM on December 1, 2004

http://www.beaweb.org/bea2005/callpac.html

 

 

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

Call for papers

Deadline: November 1, 2004

Film as Philosophy

Special Issue of the Journal of Aesthetics and Art Criticism

Edited by Murray Smith and Thomas Wartenberg

“Film as Philosophy” will focus on the idea that a film might have a philosophical dimension, or make a contribution to the enterprise of philosophy, beyond merely illustrating a philosophical idea or acting as source material for philosophy proper. This topic has been touched on implicitly by many philosophers of film, but only occasionally has it been addressed explicitly. Articles that focus either on the theoretical question of whether film can act as a vehicle of philosophy, or on particular films as sources of philosophic insight, are encouraged. Articles addressing other philosophical questions prompted by film may also be submitted, although the Special Issue will be centered around the topic of film as philosophy.

Submissions should be no more than 7000 words and should be accompanied by a brief abstract. Electronic submissions in RTF format greatly preferred and should be sent to both editors at the above addresses. Submissions by hard copy will also be considered.

Murray Smith / School of Drama, Film and Visual Arts / Rutherford College / University of Kent / Canterbury, Kent UK CT2 7NX <m.s.smith@kent.ac.uk>

Thomas Wartenberg /Department of Philosophy / Mount Holyoke College / South Hadley, MA 01075 <twartenb@mtholyoke.edu>

 

NEW 5 (internet source: http://www.aesthetics-online.org/events/calls.html)

Call for Papers

"TECHNOLOGY AND DESIGNING"

Delft, July 20-22, 2005

The Society for Philosophy and Technology has sponsored conferences on philosophical aspects of technology since the late 1970s. Current conferences are held every other year, rotating between North America and Europe. The Society welcomes a broad range of papers from various philosophical perspectives and schools. This year, the programme committee especially invites submissions on the conference theme of designing, but submissions on all aspects of philosophy and technology are welcome, including work on biotechnology, genetics and philosophy, and information technology. The conference theme may be interpreted broadly, inclusive of:

"Philosophy and engineering design"

"Philosophy and architectural design"

"Methodological and epistemic issues in designing"

"Ethical, anthropological or political issues in designing"

Plenary speakers:

Paul Thompson, Michigan State University, USA.

Alfred Nordmann, Technische Universität Darmstadt, Germany.

Philosophy and architectural design: t.b.a.

Plenary debat:

Carl Micham, Colorado School of Mines, USA.

Arie Rip, Universiteit Twente, The Netherlands.

SUBMISSIONS:

Submissions to the conference may be made with an abstract of between 200 and 400 words. Proposals for full sessions are also welcome; please include abstracts for all papers to be included in sessions. Electronic submissions are preferred. They may be forwarded as a Word (.doc), Rich Text Format (.rtf) or Portable Document Format (.pdf) attachment to: sptdelft2005@tbm.tudelft.nl

FINAL PAPERS:

Most accepted papers will be assigned a commentator, for which a final paper of not more that 12 pages, double-spaced, is required. A period of 20 minutes is planned for the presentation of a paper.

COMMENTATORS:

If you would like to serve as a commentator, please contact the organisers at sptdelft2005@tbm.tudelft.nl

TIME SCHEDULE:

The final deadline for submissions of abstracts and sessions is November 30, 2004. Notification of acceptance will be made by February 15, 2005. Final papers should be submitted by May 1, 2005, in order to provide commentators with ample time for preparing remarks.

http://www.sptdelft2005.tbm.tudelft.nl/theme.html

 

NEW 6 (internet source: http://www.aesthetics-online.org/events/calls.html)

Consciousness, Literature and the Arts

May 7-9, 2005, Aberystwyth, Wales, UK

Call for Papers

Abstracts (up to 1 page) are invited for papers relating any aspect of consciousness (as defined in a range of disciplines involved with consciousness studies) to any aspect of theatre, performance, literature, music, fine arts, media arts and any sub-genre of those. Please send the abstract to Dr Daniel Meyer-Dinkgräfe, dam@aber.ac.uk. Deadline for receipt of abstracts is 1 March 2005. Colleagues will be informed within 2 weeks of receipt whether their abstract has been accepted. This should allow speakers enough time to obtain funding support. The status of accepted papers (presentation in plenary or parallel sessions), will be decided after the deadline, and all presenters will be notified by the 15th of April.

Social Program

We are pleased to inform you that apart from invited and contributed papers, in plenary and parallel sessions, there will be a performance of Robin Graham’s A Different Place, see http://www.aber.ac.uk/tfts/journal/archive/graham.html, a performance by Koodiyattom performer Arya Madhavan, a poetry performance by CLA editorial board member John Danvers, and an optional conference dinner.

Registration details will become available soon, and registration is scheduled to open in November 2004.

http://www.aber.ac.uk/tfts/journal/

 

NEW 7 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

ETHICS BEAUTY ENVIRONMENT: THE WILDERNESS OF SIGNS

University of Alaska Anchorage Department of English, Anchorage, Alaska, US

March 3 - 5, 2005

While it is clear that postmodernism was a shift in thinking that needed to happen, a concerted movement to displace the "grand narratives" that for centuries have been used to disaffect peoples through naturalized and often power-stacked claims to reason, order, and justice, postmodernism has proven defiantly evasive on elements integral to the condition(s) of being human: ethics, beauty, value, and judgment. And although signifying practice inescapably defines the human world, postmodernism has not successfully addressed aspects that lay outside human signification, namely the environment and the natural world. Here we find a dangerous conundrum: while the natural world around us has an existence independent of its human conceptions, these human conceptions carry with them grave consequences for the natural world?s very existence. At the dusk of postmodernism, now is the time to visit careful attention upon these issues?issues critical not only for the good of humanity, but for the good of the non-human world as well.

The title and theme for the 2005 Pacific Rim Conference on Literature and Rhetoric "Ethics beauty environment: the Wilderness of Signs" invites discussion of the possibilities of objectivity; ethical action, language, and representation; issues of aesthetic responsibility and the role of art in society; the environment in human imagination; threats of signification upon ecology; the nature/culture dialectic; the loss of the pastoral; the "greening" of discourse across disciplines; the impact of (post)modern urban environments to the "human condition"; and the consequences these and other issues have both for and beyond humanities studies in the 21st Century.

These suggestions are meant to stimulate rather than limit thought, and responders are encouraged to interpret the conference theme freely.

Proposals for both individual papers and panel organizations may be emailed to anjpj_at_uaa.alaska.edu or submitted directly through the conference website http://www.cyborgsophist.net/pacrim/

Individual abstracts should be 200-300 words for a 20-minute presentation. We will assess and organize individual papers into panels of three or four.

Panel proposals should be 500 words for a 1 hour-15-minute session.

Please include the session title, name of organizer, institutional affiliation, discipline or department, along with the chair's name and participants' names.

The submission deadline is December 15, 2004.

Please direct all questions and concerns to:

Joseph Jordan, conference director

Department of English

University of Alaska Anchorage

(907) 786-4348

anjpj_at_uaa.alaska.edu

 

NEW 8 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

INTERNATIONAL CONFERENCE

Politics [AND/IN] Aesthetics

4-9 June 2005 - Thessaloniki, Greece & Veliko Turnovo, Bulgaria

SCHOOL OF ENGLISH, ARISTOTLE UNIVERSITY OF THESSALONIKI, GREECE

DEPARTMENT OF ENGLISH AND AMERICAN STUDIES, UNIVERSITY OF VELIKO TURNOVO, BULGARIA

The conference aims at exploring the relationship between politics and

aesthetics in a wide variety of areas ranging from literature and cultural studies to film and media studies, linguistics and the social sciences. It is expected that participants will focus attention on past and present debates over the meaning of aesthetics, its resistance to and/or complicity with politics, and its relationship to ethics and morality.

Possible subtopics:

- Politics through Aesthetics. Politics vs. Aesthetics

Aesthetic categories and their political parameters; apolitical/politicised/depoliticised aesthetics; committed art vs. art for art's sake; revolt / conservatism and the literary text; aesthetics and the literature of ideas

- Aesthetics, Politics and Language. Language, aesthetics and society; language, aesthetics and culture

- Aesthetics, Politics and Ethics. Dangerous art; politics, aesthetics and the importance of being, or not being, earnest; the politics of sensation - the politics of cruelty; the (ir)responsibility of art/artists

- Aesthetics and the Politics of Gender and Sexuality. Gendered/gendering aesthetics; the gendered/gendering gaze and fashion;

post-gender developments: the cyborg; camp and queer aesthetics; the (anti-)aesthetics of transvestism and transexualism

- Aesthetics and the Politics of Ethnicity/Race. Race/ethnicity, philosophy and aesthetics; race/ethnicity, history, literature, and the battlefield of ideas; pre-colonial/colonial/post-colonial views of ethinicity/national culture (or identity) in literature; aesthetic/political parameters of the representation of racial/ethnic others

- Aesthetics, Politics and the Market. Political/economic infrastructures and the work of art; the market and canonization; aesthetic pleasure and popular culture; the market and exoticism; museums, libraries and aesthetic pleasure

- Aesthetics and/in Space and Time. Aesthetic/political parameters of travel writing; sites of aesthetic/political homage; aesthetics, politics and everyday life

- The (anti-)aesthetic and its (dis)contents. The (an)aesthetised message; the "failure of the new" and the politics of nostalgia; pastiche vs. parody; the logic of kitsch and schlock

- Politics and Genre. Political satire; the literature of sentiment in the service of politics; politics and the philosophical/moral tale; politics in popular/folk literature; the politics of science fiction; politics and cinema.

As this is going to be a "travelling" conference with sessions held at two universities in two very different parts of South Eastern Europe, it is hoped that participants will further benefit from their interaction with cultural difference.

Abstracts of 250-300 words with a provisional title and a short bio should be sent by 31 December 2004 to:

Prof. Litsa Trayianoudi, lidi_at_enl.auth.gr or +30 2310 997432 (fax) or Dept. of English Literature, School of English, Aristotle University of Thessaloniki, 54006, Thessaloniki, Greece

AND

Prof. Ludmilla Kostova, lkostova_at_mbox.digsys.bg or +359 (0)62621468 (fax) or Dept. of English and American Studies, University of Veliko Turnovo, 2 Teodosi Turnovski Str., Veliko Turnovo 5003, Bulgaria

ORGANISING COMMITTEE

for Greece:

Litsa Trayianoudi (lidi_at_enl.auth.gr)

Ioanna Dalavera (dalavera_at_enl.auth.gr)

Roulis Heliotis

for Bulgaria:

Ludmilla Kostova (lkostova_at_mbox.digsys.bg)

Dafina Genova (genova_da_at_yahoo.com)

Yarmila Daskalova (yarmich_at_yahoo.com)

Zdravka Nenova, Technical Assistant (zdravka_vt2001_at_yahoo.com)

ADVISORY COMMITTEE

Ruth Parkin-Gounelas

Katerina Kitsi-Mitakou

Zoe Detsi-Diamanti

Conference site: www.enl.auth.gr/pol-aesthet

 

NEW 9 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

The Dromocratic Condition: Contemporary Cultures of Acceleration

An international, multi-disciplinary conference hosted by the School of English, University of Newcastle upon Tyne, UK

Saturday 12 and Sunday 13 March, 2005

Keynote speakers:

Douglas Kellner (UCLA, USA)

John Armitage (Northumbria, UK)

Theories of contemporary culture have foregrounded the significance of "late capitalism" or "post-Fordism" (Jameson; Harvey); simulation and "hyper-reality" (Baudrillard); information technology and the "inhuman" (Lyotard); the "panopticon" (Foucault); "communicative action" (Habermas); "desiring-production" and schizophrenia (Deleuze and Guattari); risk (Ulrich Beck); and the cyborg (Haraway). An alternative theorisation which intersects with these perspectives, but diverges from them views acceleration as the defining feature of the contemporary era. The French cultural theorist Paul Virilio has coined the term "dromocracy" (from the Greek dromos: avenue or race course) to characterise this position. Under Virilio's "dromocratic" reading of history, scientific, technological, societal, military, and cultural change is propelled by the pursuit of ever-increasing speed. Our own era with its fibre-optic cables, satellite-linked communications networks, supersonic aircraft, and cruise missiles is, Virilio suggests, approaching the limits of acceleration, and teeters on the edge of the "integral accident" the true end of modernity.

This conference invites papers that explore any aspect of what the social theorist John Armitage - re-orientating Lyotard’s famous assessment of the contemporary - has called the “dromocratic condition”. What are the key characteristics of the contemporary culture of acceleration? How has the pursuit of speed impacted upon contemporary subjectivity, upon strategies of warfare and terrorism, or upon experiences of space and time? How have theorists, activists, writers, artists, and filmmakers responded to the speed-up of contemporary life? Is there necessarily a connection between speed and destruction, or can high-speed technologies serve a progressive or radical agenda? Is speed truly, as Virilio has claimed, “the location and the law, the world's destiny and its destination”, or do movements exist that offer viable  alternatives to the contemporary culture of acceleration?

The organisers envisage that a special issue of the journal Cultural Politics (http://www.bergpublishers.com/uk/culture/culture_about.htm ) will result from the papers at the conference.

Please send proposals (250-300 words) for 20-minute papers to Paul Crosthwaite at p.j.crosthwaite_at_ncl.ac.uk or School of English Literature, Language, and Linguistics, Percy Building, University of Newcastle upon Tyne, Newcastle upon Tyne, NE1 7RU, United Kingdom by 23 December 2004. Updates and accommodation information will appear on the conference web site (http://www.dromocratic.visitnewcastlegateshead.com ).

 

NEW 10  (internet source: mailing list)

11th International Symposium of the Austrian Association for Semiotics OeGS/AAS

"EUROPE - IMAGE & CONCEPT IN CULTURAL CHANGE" FROM A SEMIOTIC AND TRANSDISCIPLINARY POINT OF VIEW

Under the Auspices of the International Association for Semiotic Studies

IASS-AIS

11. Internat. Symposium der Oesterr. Gesellschaft fuer Semiotik OeGS/AAS

"EUROPA - BILD & BEGRIFF IM KULTURWANDEL" AUS SEMIOTISCHER UND TRANSDISZIPLINAERER SICHT

Sub auspiciis International Association for Semiotic Studies IASS-AIS

VIENNA, University of Applied Arts Vienna

WIEN, Universitaet fuer angewandte Kunst Wien

Oskar-Kokoschka-Platz 2

A-1010 Wien/Vienna, Austria/Oesterreich

Friday-Sunday, DECEMBER 3-5, 2004

Freitag-Sonntag, 3.-5. DEZEMBER 2004

Organized by the Institute for Socio-Semiotic Studien ISSS, Vienna, on behalf of the Austrian Association for Semiotics OeGS/AAS and in Cooperation with the Institute for Political Science, University of Vienna, the University of Applied Arts Vienna, Dept. History of Culture, and INST Research Institute for Austrian and International Literature and Cultural Studies / Organisiert vom Institut fuer Sozio-Semiotische Studien ISSS, Wien, im Auftrag der Oesterreichischen Gesellschaft fuer Semiotik OeGS und in Kooperation mit dem Institut fuer Politikwissenschaft der Universitaet Wien, mit der Universitaet fuer angewandte Kunst Wien, Ordinariat Kulturgeschichte, sowie mit dem Institut zur Erforschung- und Foerderung oesterreichischer und internationaler Literaturprozesse

Organisation: Jeff Bernard mit/with Gloria Withalm, Sonja Kral, Andreas Pribersky, Karin Liebhart, Leila Hadj-Abdou

Scientific Committee / Wissenschaftliches Komitee: built from Officers of / gebildet aus Funktionaeren von: IASS-AIS, OeGS/AAS, ISSS, & IPW/IPS, Vienna University

Congress Languages / Kongresssprachen:

English, German / Englisch, Deutsch

Plenary Lectures/Plenarvortraege: 40' plus 20' discussion/Diskussion

Section Lectures/Sektionsvortraege: 25' plus 15' discussion/Diskussion

TARGETS / ZIELSETZUNGEN

According to a decision of the Board of the OeGS/AAS, its 11th International Symposium is to take place as a complement to the research project "Public Construction of Europe (PCE)" (in the research focus New Orientations in Democracy in Europe NODE of the Austrian Ministry of Education, Science, and Culture), carried out by the Institute for Political Science, University of Vienna, under the direction of Andreas Pribersky, and in cooperation with the ISSS. Due to the connection between ISSS and OeGS/AAS it seemed recommended to dedicate the OeGS/AAS symposium this time to a topic closely related to PCE, to warrant and intensify PCE's culture-theoretical and culture-analytical embedding. Semiotics considers and examines cultural phenomena, structures and processes on the basis of the analytical hierarchy "signs-texts-cultures." The approach of the ISSS is moreover not a formalistic one but focuses particularly on the sociality and historicity  of sign systems and sign processes (communications, discourses...) and stresses the social relevance of semiotic research, what means: also its polit/olog/ical aspects. Therefore, the symposium follows, on the one hand, the presuppositions given by the PCE project, which are: to reconstruct references to underlying cultural patterns, made in political advertising and campaigns on European integration and enlargement, that select a framework for political discourse and influence the political views and perspectives of the civic societies involved; to reconstruct how political campaigns and advertisements concerning the promotion of Europeanization and EU enlargement have been perceived by the citizens, and to critically describe current conceptualizations of the citizens and the civic society in these political campaigns; to advance and disseminate knowledge about, and to initiate a reflexive public discussion on these topics. On the other hand, it is the particular task of this symposium to explore the cultural deep-dimensions of the problems under examination, and to provide a culture-theoretically founded as well as well-exemplified embedding in societal coherences at large. The results will be published.

Auf Beschluss des Vorstands der OeGS versteht sich deren 11. Internationales Symposium als Ergaenzung und Erweiterung des Forschungsprojekts "Public Construction of Europe (PCE)" (im Forschungsschwerpunkt New Orientations in Democracy in Europe NODE des BMBWK), das vom Institut fuer Politikwissenschaft der Univ. Wien unter der Leitung von Andreas Pribersky mit dem ISSS als Kooperationspartner ausgefuehrt wird. Aufgrund des Konnexes ISSS/OeGS war es naheliegend, das Symposium diesmal einem hiermit enggefuehrten Thema zu widmen, das zudem die erwuenschte kulturtheoretische und kulturanalytische Einbettung gewaehrleistet. Semiotik betrachtet und bearbeitet das kulturelle Geschehen und die kulturellen Strukturen und Prozesse auf Basis der analytischen Hierarchie "Zeichen-Texte-Kulturen". Hinzu kommt, dass das ISSS keine formalistische Orientierung hat, sondern besonderes Augenmerk auf die gesellschaftliche und geschichtliche Eingebundenheit der Zeichensysteme und -prozesse (Kommunikationen, Diskurse...) legt und die soziale Relevanz semiotischer Forschung betont, somit auch inklusive der polit/olog/ischen Aspekte. Daher folgt das Symposium einerseits thematisch den Vorgaben desProjekts PCE, d.h. Bezuege des Themas zu den ihnen unterliegendenkulturellen Mustern zu rekonstruieren, besonders im Bereich politischer Werbung und politischer Kampagnen zur europaeischen Integration und Erweiterung, die auf politische Diskurse abheben bzw. abzielen und eine Beeinflussung politischer Ansichten und Perspektiven in den jeweiligen Zivilgesellschaften erstreben. Weiters folgt es der Vorgabe der Rekonstruktion der Machart solcher Werbung und Kampagnen und wie diese im Sinne der Europaeisierung und EU-Erweiterung von den Buerger/innen rezipiert werden. Es geht also vor allem um die kritische Beschreibung der Konzeptualisierungen auf der buergerlich-zivilgesellschaftlichen Seite. Ziel ist, das diesbezuegliche Wissen/Bewusstsein zu erweitern, die Ergebnisse zu verbreiten und die oeffentliche Reflexion dieses Themenkreises anzuregen. Andererseits ist es darueber hinaus das sehr spezielle Anliegen des Symposiums, die kulturellen Tiefendimensionen der Problematik auszuloten und eine kulturtheoretisch fundierte wie auch exemplifizierte Einbettung in gesamtgesellschaftliche Zusammenhaenge herzustellen. Die Ergebnisse werden publiziert. Please send a TITLE & ABSTRACT of maximally 1000 strokes (including interspaces) as soon as possible but NO LATER THAN  OCTOBER 15, 2004, and direct it to ISSS-Info@MCNon.com

Please add your affiliation and/or residence and your preferred e-address. You will get an answer concerning acceptance within a very few days. Wir laden ein, TITEL & ABSTRACT in Laenge von max. 1000 Anschlaegen (samt Zwischenraeumen) schnellstmoeglich, doch SPAETESTENS BIS 15. OKTOBER an ISSS-Info@MCNon.com zu senden, bitte mit Angabe der Universitaets- und/oder Heimatadresse und der bevorzugten E-mail-Adresse. Mitteilung, ob der Vortrag akzeptiert wurde, erfolgt binnen weniger Tage.

The SCHEDULE / Der PROGRAMMABLAUF will be specified as soon as all abstracts are delivered. We plan to start on Dec. 3, 13.00, and to finish on Dec. 5, late afternoon, with open end. Beside a certain number of plenary speeches, several parallel sections will be built by selection out of the suggestions given below, added here as motivation. The first provisional program will be distributed at the end of October 2004. At the beginning of the event a printed program and an abstract booklet will be available. / wird spezifiziert, sobald alle Abstracts eingegangen sind. Der Beginn ist geplant fuer 3. Dez., 13.00, das Ende fuer 5. Dez. 2004 spaetnachmittags bis bei Bedarf abends. Neben einigen Plenarvortraegen wird es mehrere parallele Sektionen geben, die sich als Auswahl aus den unten angefuehrten Themenkreisen herausbilden werden, welche wir hiermit als Anregungen beigeben. Das erste vorlaeufige Programm wird ca. Ende Oktober 2004 versandt. Vor Beginn der Veranstaltung wird ein gedrucktes Programm samt Abstract-Broschuere vorliegen.

Planned PLENARY LECTURES / Geplante PLENARVORTRAEGE:

Herbert Arlt (Vienna): Centrope - Zeichen & Realitäten

Getrude Durusoy (Izmir): Europa der Frauen(?)

Bernard Lamizet (Lyon): Cultural and Political Mediation of Identity. The Case of Europeanness

Augusto Ponzio (Bari): The European Community's Identity and Global Communication. A Sociosemiotic Analysis of the European Constitution's Ideology

Georg Schmid (Les Bussieres de Saint-Oradoux/Vancouver): A Semiotic

Analysis of Europe's Legitimacy and Democracy Deficit

N.N.: Europe Campaigns Analysis

Suggestions for SECTION TITLES / Vorschlaege fuer SEKTIONSTITEL:

- European Integration & Enlargement: Political Campaigns as a Framework for Political Discourses / Integration & Erweiterung Europas: Politische Kampagnen als Rahmenbedigungen politischer Diskurse

- Integration into a Greater Europe - a Comparison between Austrian, Hungarian and Slovak Pro-Accession Campaigns / Integration ins groessere Europa - ein Vergleich oesterreichischer, ungarischer und slowakischer

Beitrittskampagnen

- Conceptualizations of Citizens and Civic Society in Political Campaigns / Konzeptualisierungen des Buergers und der Zivilgesellschaft in politischen Kampagnen

- Image & Imagination

- Icons and Images of Europeanness (together with Iconoclash-Team) / Ikonen und Imagos der Europaeizitaet (zusammen mit dem Iconoclash-Team)

- "Europe" in Cultural and Artistic Production / "Europa" in der kulturellen und kuenstlerischen Produktion

- The Concept of "Minorities" in Political Change / Das Konzept "Minderheiten" im politischen Wandel

- Borders and Transitions - Borders in Transition / Grenzen und Uebergaenge - Grenzen im Uebergang

- Globalization, Europeanization, Regionalization / Globalisierung, Europaeisierung. Regionalisierung

- Civic Society, NGOs, and Cooperation in Cyberspace / Zivilgesellschaft, NGOs und Kooperation im Cyberspace

- Stereotypes - Good or Bad? Stereotypen - gut oder schlecht?

- Conviviality and Democracy - Formal vs. Actual? / Konvivialitaet und Demokratie - formal vs. inhaltlich?

- "Europe" - an Empty Sign? / "Europa" - ein leeres Zeichen?

- Economic Substructures of (Political) Sign Use / Oekonomische Substrukturen  des (politischen) Zeichengebrauchs

- Big Media and/vs. Small Media and their Roles in European Developments / Grosse und/vs. kleine Medien und ihre Rollen in

europaeischen Entwicklungen

- Socio-Semiotics, Socio-Semioses, and Politics / Sozio-Semiotik, Sozio-Semiosen und Politik

- "Cultural Patterns" from a Sign-Theoretic Point of View / "Kulturelle Muster" aus zeichentheoretischer Perspektive

- Meta-Research: The Common and the Uncommon / Meta-Forschung: das Gemeinsame und das Nicht-Gemeinsame

- Is there a EUROPEAN Film, Literature, Art, Music, Architecture...? / Gibt es eine EUROPAEISCHE Filmkultur, Literatur, Kunst, Musik, Architektur...?

- European Law-Cultures (28th Seminar "Semiotics of Law" included as special session: please send abstracts ALSO to Friedrich Lachmayer <lachmayer@chello.at>!) / Europaeische Rechtskulturen (28. Seminar "Semiotik des Rechts" als Spezialsektion; Abstracts hiefuer bitte AUCH an Friedrich Lachmayer <lachmayer@chello.at> senden!)

These are titles for sections already received, discussed and considered useful and possible. Please send further suggestions until August 31, we will take them into serious deliberation! (Without warranty for 1:1-realization, please understand!) Please write as heading "Suggestion for a Section" and add a short description (max. 1000 strokes). / Dies sind Sektionsthemen, deren Titel uns bereits als Vorschlaege vorliegen und uns als moeglich und sinnvoll erscheinen. Bitte senden Sie bis 31. August weitere Vorschlaege, wir werden sie in Begutachtung nehmen! (Ohne Gewaehr auf 1:1-Realisierung, bitte!) Bitte uebertiteln Sie "Sektionsvorschlag" und fuegen Sie eine Kurzbeschreibung (max. 1000 Anschlaege) bei.

KONTAKTE/ANFRAGEN - CONTACTS/REQUESTS:

Jeff Bernard <ISSS-Info@MCNon.com>

c/o ISSS, Waltergasse 5/1/12, A-1040 Wien, Tel. ++43-1-5045344

Andreas Pribersky <andreas.pribersky@univie.ac.at>

Institut fuer Politikwissenschaft der Univ. Wien

Universitaetsstrasse 7,  A-1010 Wien, Tel. ++43-1-427747720

 

 

NEW 11 (internet source: mailing list)

29th ANNUAL CONFERENCE OF THE INTERNATIONAL ASSOCIATION FOR PHILOSOPHY AND LITERATURE

"CHIASMATIC ENCOUNTERS"

2-7 June 2005

UNIVERSITY OF HELSINKI, FINLAND

Invited plenary speakers include:

GIANNI VATTIMO

STEVEN HOLL

deadline for submissions: OCTOBER 15TH, 2004

Dedicated to the exchange of ideas and scholarly research within the humanities, the International Association for Philosophy and Literature provides a context for the interplay of Philosophy, Literary Theory, and Cultural / Textual / Visual Studies. Founded in 1976, the IAPL brings together scholars from a wide range of disciplines concerned with philosophical, historical, critical, and theoretical issues.

For more details, go to the IAPL website: www.iapl.info

IAPL Program Coordinator:

Hugh J. Silverman (IAPL Executive Director)

IAPL 2005 Conference Coordinator:

Kuisma Korhonen

Organizing Committee:

Arto Haapala (Chair), Sara Heinämaa, Kristian Klockars, Kuisma Korhonen

 

 

CONFERENCES (3 + 4 NEW)

 

1 (internet source:

http://www.terravista.pt/fernoronha/1411/congressolatinoprogr.htm)

 

 

II°. CONGRESSO

LATINO DE GESTALT

(Informação Preliminar. Site em Construção.)

Hermenêutica Experimental do Contato Empiria e Teoria 

21 a 24 de Outubro de 2004

Maceió - AL. BRASIL.

congrlatgt2004@hotmail.com

PROGRAMAÇÃO

Dia 21 - QUINTA

Dia 22 - SEXTA

Dia 23 - SÁBADO

Dia 24 - DOMINGO

 08:00-11.00

Mesas Redondas com Troca de Idéias

Abertura

“Fenomenologia Existencial do Contato. (Ou Hermenêutica Experimental do Contato) Filosofia, Teoria e Método em Gestalt Terapia”.

“Conceitos, Concepções Básicas e Método em Gestalt Terapia. Dentro e fora da lata de lixo”.

Sobre o Self e o Contato na Condição Humana e no Método da Gestalt Terapia. "O Devir da Gestalt Terapia Fenomenológico Existencial nos Países de Línguas Latinas".

11.00-13.00

Painéis.

(Simultâneos)

Apresentação e "Bate Bola"

 A Gestalt Terapia no Atendimento Hospitalar

Vivência e Trabalho de Grupo em Gestalt Terapia.

A Abordagem Gestáltica fora da Terapia

Encerramento:

Debate Aberto

Celebração Artística

O Lugar e o Método da Arte na Gestalt Terapia

A Gestalt Terapia no Trabalho Comunitário

Teatro em Terapia Gestáltica.

 A Gestalt Terapia no Âmbito da Cultura da Instituição Psiquiátrica

Gestalt Pedagogia

A Abordagem Gestáltica no Trabalho em Saúde Coletiva

O Conceito de Neurose e a Terapia em Gestalt Terapia

O Sentido da Dialogicidade em Gestalt Terapia

A Filosofia da Vida de Nietzsche e as Bases da Gestalt Terapia

O Trabalho Fenomenológico Existencial com Drogadictos

A Abordagem Gestáltica na Empresa e na Organização do Trabalho

A Fenomenologia Existencial e as Bases da Gestalt Terapia

 14.00-17.00

Vivências

(Simultâneas)

Laboratório de Grupo

Laboratório de Experimento

Laboratório de Sonhos

Laboratório de Arte Terapia na Gestalt Terapia

Laboratório de Teatro em Terapia Gestáltica.

17.00-19.00

Mesas Redondas com Troca de Idéias

A Forma Narrativa em Gestalt Terapia

Os Sentidos das Fenomenologias. Franz Brentano,  Edmund Husserl, Martin Heidegger, M. Merleau-Ponty,  J.-P. Sartre, P. Ricoeur, Gadamer.

Haveria uma Gestalt Terapia Pós Perls? Bosquejos.

19.00-21.00

Programação Cultural

Celebração Artística

A programação está em elaboração, e pode ser alterada.

 

 

 

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

 

 

Seventh Annual

University of South Carolina

Comparative Literature Conference

Thinking on the Boundaries:

The Availability of Philosophy

in Film and Literature

11-13 February 2005

Keynote Speaker:  Stanley Cavell (Harvard)

Plenary Speakers:  Karen Hanson (Indiana); Toril Moi (Duke); Stephen

Mulhall (Oxford)

Special Guest:  Ross McElwee (Harvard)

Inspired by the work of Stanley Cavell, this conference provides an opportunity to explore topics central to his writings and illustrative of the frequently cross- disciplinary approaches that those writings employ. Such topics include, but are hardly confined to, Shakespeare and Philosophy, Emerson and Nietzsche, Emerson as a Philosopher?, Arguments of Genre in Film and Literature, Moral Perfectionism, Film and the Sublime, Film and Skepticism, Exemplarity and Exemplification, Documentary and Beyond.

Presentations should be broadly interdisciplinary.  Please send one-page abstracts for twenty-minute papers to the conference organizers, Martin Donougho and Lawrence Rhu, Comparative Literature Program, Humanities Building, Columbia, SC 29208, or email them to donougho@sc.edu and rhul@sc.edu.  Deadline for proposals:  31 October 2004.

 

 

3  (internet source:

http://www.british-aesthetics.org/DesktopDefault.aspx?tabindex=8&tabid=15)

 

Philosophy and Tragedy

 

Deadline: October 31, 2004

 

THE AUSTRALASIAN SOCIETY FOR ANCIENT PHILOSOPHY solicits offers of papers on the topic on PHILOSOPHY AND TRAGEDY  for a panel to be held at the Australasian Society for Classical Studies Conference XXVI (January 20th - February 3rd 2005) at St Margaret's College, University of Otago, Dunedin New Zealand. For further details of the conference as a whole please see the conference website. Papers of either 20 or 30 minutes duration (allowing in addition 10 or 15 minutes for discussion) will initially be considered, but other shorter or longer papers may be accepted if circumstances permit. Please send offers with a 100 word abstract and indication of time required by email to dj.blyth@auckland.ac.nz or by mail to Dougal Blyth, Department of Classics and Ancient History, University of Auckland Private Bag 92019 Auckland, New Zealand. The closing date for offers for this panel is October 31st.

NEW 4 (internet source: search engine)

“Luft”. Kongress Ausstellungshalle der Bundesrepublik Deutschland Bonn, October 24-26, 2004 http://www.kah-bonn.de/index.htm?veranstaltungen/forum/luft/index.htm

NEW 5 (internet source: http://sifa.unige.it/2eve/con.htm)

The Indeterminacy of Technology

International Conference from Octobre 20th 1.00 p.m. - 22nd, 7.45 p.m., 2004

Location: Hessisches Staatsarchiv, Karolinenplatz 3, Darmstadt, Germany

Organized by the Post-Graduate School "Technology and Society" at the University of Technology Darmstadt (Gerhard Gamm, Andreas Hetzel)

That the modern world bears the signature of indeterminacy is not as surprising as it may seem. Since the middle of the last century, philosophers and sociologists have identified indeterminacy as a main feature of modernity. To mention just one example: For Arnold Gehlen “fuzziness, lack of definition and objective indeterminacy” characterize not only modern society. In relation to their objects, theoretical physics and modern art also reveal a constitutive undecidability and contingency. But to interpret all aspects of modern life in light of indeterminacy – this has rarely been attempted so far. This applies especially to technology which is still considered to be synonymous with unambiguous exactness, constructive transparency, and functionality. Because we know the real mechanisms, we expect that we can also calculate, plan and control them totally.

Under the conditions of a radically modern world this expectation has become brittle. Among the key-terms signalling the growing reflexivity and indeterminacy of technology are the overdetermination of technological developments, the incalculability of complex systems, the rise of risks outside the scope of predictability, the resistance against technologies by concerned actors, the unintendedness of consequences etc.

This international conference will trace out the different aspects of this development. It will also attempt to evaluate the socio-technological projects of determination and strategies of disambiguation that are provoked again and again by the need for “self-definition within the indeterminate” (N. Luhmann).

http://www.ifs.tu-darmstadt.de/gradkoll/Konferenzen/technik_en/main.html

 

NEW 6 (internet source: http://sifa.unige.it/2eve/con.htm)

Individuating the Senses

Conference

at the

Centre for the Study of Perceptual Experience

University of Glasgow

4 & 5 December 2004

http://www.gla.ac.uk/Acad/Philosophy/Conferences/IndividuatingtheSenses/index.html

 

NEW 7 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

Shakespeare and Philosophy

London School of Economics, 20th November

Saturday 20 November Old Theatre, London School of Economics, WC2. Forum for European Philosophy Conference. Admission Free, No registration required. 11.00-12.30 Andrew Bowie: Shakespeare, Tragedy, and the Philosophical Discourse of Modernity. 12.30-2.00 Lunch. 2.00-3.15 John Joughin: Bottom's Secret: Faith and the Spiritual Life. 3.15-3.30 Comfort break. 3.30-4.45 Ewan Fernie: The Last Act: Shakespeare's Metaphysics of Rashness. 4.45-5.00 Coffee Break. 5.00-6.15 Simon Critchley + Tom McCarthy: Universal Shylockery - Money and Morality in the Merchant of Venice. Further details from Catherine Lowe, Forum for European Philosophy, Room J105, European Institute, Portugal St, LSE, WC2. Tel: 0207 955 7539; Email: C.Lowe@lse.ac.uk For further details about the speakers see our website: http://www.philosophy-forum.org/

 

NEW 8  (internet source: e-mail)

Tonspuren. Musik und Film, Musik im Film

Musiksymposion

Ort: Palais Meran, Florentinersaal

Termin: 24. - 26. Oktober 2004, jeweils ab 10 Uhr

Musik und Film verbindet eine Hassliebe. Dass nirgends sonst avancierte und komplexe Musik ein so breites Publikum erreicht wie im Kino, ist zwar wahr, nimmt dem Verhältnis indes nicht das Prekäre. Denn sie erreicht es um den Preis, dass sie als Musik kaum wahrgenommen wird, wo sie zu Untermalung und Klangkulisse herabgesetzt ist. Umgekehrt stehen die nachdenklicheren unter den Filmemachern dem, was Musik ihnen anzubieten hat, mit unverhohlener Skepsis gegenüber; ihr Verdacht ist, der Musikstrom verkleistere das Unzusammenhängende des Lebens mit falschen Zusammenhängen. Gibt es in der heutigen Situation eine Rolle für Musik im Film, in der diese das dem Auge Präsente weder bloß verdoppelt - dann wäre sie im Grunde überflüssig -, noch einfach schönt? Dieser Frage wird das Symposion aus unterschiedlichen Perspektiven nachgehen.

[symposium: soundtracks. music and film, music in film. Music and film are wedded to each other in a peculiar mix of love and hatred. While fastidious musicians shudder to find their art reduced to an acoustic background, the more reflective among those who make films suspect that the flow of music might smear over the fragments of life. Has music today got a part to play in film such that what is present to the eye anyway is neither merely doubled nor merely embellished? The symposiasts will tackle this question from diverse angles.]

Konzept: Andreas Dorschel

ReferentInnen: Julie Brown (GB), Andreas Dorschel (A), Reinhard Febel (A), Harald Haslmayr (A), Julie Hubbert (USA), Susanne Kogler (A),  Ladislav Kupkovic (D), Christine Pollerus (A), Albrecht Riethmüller (D), Arno Russegger (A), Cornelia Szabó-Knotik (A), Christian Wessely (A).

Publikation: Studien zur Wertungsforschung, Bd. 46

Kunstuniversität Graz

Institut 14 - Wertungsforschung

Leonhardstraße 15, A-8010 Graz

T +43.316.389-3140

F +43.316.389-3141

maria.klinger@kug.ac.at

www.kug.ac.at/iwf

 

LECTURES (2)

 

1 (internet source:  http://www.information-philosophie.de/)

 

5. Oktober

"Die Welt im Kopf"

3 Sat (15:45 Uhr)

Vom Verschwinden der Realität

Der Philosoph Jean Baudrilland

 

 

2 (internet source: search engine)

 

Theatre of Ideas:

Arthur C. Danto

 

Miller Theatre

Columbia University

2960 Broadway

(at 116th St.)

MC 1801

New York, NY 10027

212-854-1633

Fax: 212-854-7740

Box Office: 212-854-7799

http://www.millertheatre.com/

 

Eight evenings throughout the season offering the public the opportunity to interact with some of Columbia's greatest minds! A discussion on Arthur C. Danto's contributions to contemporary art, a film screening of "Murder at Harvard" and dialogue with University Professor Simon Schama, and six evenings featuring some of Columbia University's top scientists make up this season's Theatre of Ideas.

 

You can also order by calling the Box Office at 212-854-7799, or you can download an order form and fax it to 212-854-7740 or mail to Miller Theatre, Columbia University, 2960 Broadway, MC1801, New York, NY 10027, or visit the Box Office at 116th & Broadway.

 

Please note that artists and programs are subject to change.

 

Copresented by the Journal of Philosophy, School of the Arts, and Department of Philosophy

 

Arthur C. Danto is one of the most influential minds in art and philosophy. At Columbia since 1951 and a professor since 1966, Danto is the Emeritus Johnsonian Professor of Philosophy as well as the art critic for The Nation. This closing session of a three-day conference on Danto considers his contributions to contemporary art. A panel will discuss to what extent Danto's work has affected artists, curators, critics, and the artworld generally. This is part of the larger issue of how philosophy is related to the creation and understanding of art, in particular contemporary art.

 

Presented as part of the Arthur C. Danto: Art, Action, History conference. The full conference runs from October 3 to 5 at Miller Theatre. For more information, see http://jphil.org (The Journal of Philosophy)

 

Moderator: Daniel Shapiro (art lawyer)

 

Panelists:

David Carrier (Cleveland Institute of Art and Case Western University)

William Kentridge (artist)

Katy Siegal (art critic)

Robert Storr (curator, Museum of Modern Art)

Ann Temkin (curator, Philadelphia Museum of Art)

 

NEW 3 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

Ethics and Aesthetics at Tate Modern.

Oct-Nov 2004

A series of events which pairs internationally renowned theorists, inviting each to give a give a lecture, and respond to the other, and then to audience questions, on the relationship between ethics and aesthetics. To book tickets: By telephone, call 020 7887 8888 Online, visit the Tate website. Speakers: J M Bernstein & Judith Butler, Starr Auditorium, Friday 1 October 14.30-18.00; Howard Caygill & Thierry de Duve, Starr Auditorium, Friday 15 October 14.30-18.00; Noel Carroll & Adrian Piper, Starr Auditorium, Friday 5 November 14.30-18.00; W J T Mitchell & Griselda Pollock, Starr Auditorium, Friday 26 November 14.30-18.00.

 

 

July 2004 - September 2004

 

CALLS FOR PAPERS (2 + NEW 2)

 

1 (internet source: http://www.ufrgs.br/comexfce/abre/ing1.htm)

 

français: http://www.ufrgs.br/comexfce/abre/fran1.htm

deutsch: http://www.ufrgs.br/comexfce/abre/alem1.htm

ABRE - Associação Brasileira de Estética

CHANGES IN AESTHETICS
XVI INTERNATIONAL CONGRESS OF AESTHETIC
RIO DE JANEIRO, BRAZIL
18 - 23 JULY 2004
FIRST ANNOUNCEMENT

RIO DE JANEIRO

Rio de Janeiro is located in the Southeast of Brazil, the country´s most developed region. It is a modern, cosmopolitan city where visitors immediately feel at home. Rio is renowned for its extraordinary natural beauties - the breathtaking landscape of the curving beaches and mountains. The eight million of residents of Rio called "cariocas" are indeed very special people. To be a "carioca" is to have a light spirit, to be naturally happy, receptive, generous, friendly.The Portuguese in January 1532, when they gazed at Guanabara Bay for the very first time, thought they were in the estuary of a large river, hence the name Rio de Janeiro (river of January).Brazil is the only Latin American country to have been a monarchy. The residence of the Emperor is today the Historic Museum of Quinta da Boa Vista. From Portuguese colony it became an Empire, then independent and finally a republic in the late 19th century. The many museums, churches and palaces open to the public date from that time.Rio has also served as the stage for some of the most important events in Brazilian history which are preserved in the city´s museums, libraries, and monuments. In the four hundred years of its history, Rio was the launching pad for the country's main cultural exports and the host of major international art exhibitions and musical events, attracting top names in the classical and contemporary arts. Rio, the home of rhythm and percussion, is the birthplace of Bossa Nova, Chorinho and Samba. Samba is embodied in the Samba School parade during the unforgettable Carnival festivities.
Rio de Janeiro opens its arms and welcomes you all.

ORGANISATION

The Congress will be organised under the auspices of the International Association for Aesthetics and the Brazilian Society for Aesthetics, in co-operation with the Culture Secretariat of Rio de Janeiro, Museu Nacional de Belas Artes and Rio Convention & Visitors Bureau.

THEME

The theme of the Congress is Changes in Aesthetics. Discussion will cover the theories of philosophy of art, including criticism and praxis. Contributions are also welcome on more traditional topics. The changes in practice and theory of art are of the utmost importance for the study of aesthetics throughout the history and philosophy of art. One of the basic concepts in the evolution of western art aesthetics may be understood as the keynote of Changes in Aesthetics, which concentrates on the problems of contemporary art and aesthetics. Emphasis will be given to the ideas on the practice and theories relating to the extension of contemporary aesthetics, including sociology, anthropology, science, ecology, fashion, semiotics, art education, folklore, psychoanalysis and other areas of knowledge. It emphasizes the aesthetics of cultural diversity and its relations with history as well as criticism and everyday life. Lastly, it endeavours to facilitate the exchange of ideas and experiences in aesthetics to achieve a closer relationship between eastern and western cultures.

PROGRAMME

The programme will consist of contributed sections, invited plenary sessions and symposia. In addition to papers, contributions can be made in terms of posters, workshops, demonstrations, exhibitions, performances and videos. The use of audiovisual media is specially encouraged.

SECTIONS

The organisers suggest the following topics:

The main questions in philosophy of art.
Arts: Changes in their history, criticism and theories.
Artistic and aesthetic values.
Post-modernism and new concepts in contemporary visual arts.
Architecture, design, environment and new trends in aesthetics.
Ethics politics and aesthetics in everyday life.
The aesthetics of music, dance, literature, theatre and film.
Aesthetics, fashion and cultural anthropology.
Aesthetics, sexuality and the changes in the human body.
Aesthetics, media and new technologies.

SYMPOSIA
Symposia on the following themes are also being planned:

Art, memory and the question of identity.
Reflections about the future of art and aesthetics.
Aesthetics in the age of electronic media.

LANGUAGES
The official languages of the Congress are English, French and German.

VENUE (unconfirmed)

Museu Nacional de Belas Artes
Avenida Rio Branco, 199 - Cinelândia
20040-008 Rio de Janeiro - RJ - BRAZIL

SOCIAL AND CULTURAL PROGRAMME
The social and cultural programme will be organised as follows:

The Welcoming Reception.
Concerts, artistic performances and exhibitions.
Theatre and galleries.
A cruise on Guanabara Bay.
A Congress banquet with Brazilian delicacies and music.
Cultural tours in downtown Rio.
Excursions to Tijuca Forest, Sugar Loaf and Corcovado.
Pre and post Congress tours to other resorts in Rio de Janeiro state.

ACCOMMODATION
There are several choices for accommodation. More detailed information will be given in the second announcement.

CONGRESS FEE

The Congress fee will be about US$ 250. This will include admittance to all Congress sessions, all official Congress material and parts of the social programme. The Congress fee for students will be US$ 80 and includes admittance to all Congress sessions, the official Congress material and some of the social activities. The Congress fee per day is US$ 40 and US$ 20 for students (includes admittance to the day's Congress sessions).

CONGRESS SECRETARIAT

For further information please contact the Congress Secretariat:

XVI International Congress of Aesthetic
http://www.ufrgs.br/comexfce/abre/abre
phone: +55 21 2255 8808
fax: +55 21 2547 3417
nilzadeo@hotmail.com
elvyn@domain.com.br

 

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

 

CALL FOR PAPERS

Janus Head: An Interdisciplinary Journal

http://www.janushead.org

SPECIAL ISSUE: Goethe's Delicate Empiricism

Guest Editors:

Craig Holdrege, Director of the Nature Institute

William Bywater, Professor of Philosophy, Allegheny College

Please submit your writing--including poetry and fiction as well as theory--considering all aspects and applications of Goethe's methodology.

Essays on the following topics are most welcome:

-- the philosophical and spiritual foundations of the method

-- the historical context of the development of the method

-- the impact of the method on 20th Century and contemporary humanistic and scientific theorizing

-- the use of the method in contemporary study of life

Creative work which reflects the scope, power, or impact of Goethe's approach to nature, imagination or knowledge is especially invited.

Deadline for submissions: August 15, 2004

Janus Head is a peer-reviewed, interdisciplinary journal that is especially interested in the intersection among continental philosophy, phenomenological psychology, literature and the arts. The journal is available in hard copy and on-line formats.

CRITERIA FOR ESSAYS:

Submissions should be no longer than 10,000 words. Works should be typed and double-spaced. Format requirements: APA or MLA styles. Submit one disk or CD and two (2) copies to the address below. Your essay should include a brief abstract (120 words or less). Also include a brief biography for the contributors page, should your paper be accepted.

Make sure to include all relevant contact information, including a permanent e-mail address. E-mail submissions will not be accepted!

CRITERIA FOR SHORT FICTION AND POETRY:

Please include a cover letter, a short biography, and correspondence information. Short fiction should be typed and double-spaced and should be no longer than 9000 words (about 36 pages or shorter). Poetry should be typed in the format in which it is intended to be printed. Three to five poems are the suggested number for poetry submissions. Submit one disk or CD and two (2) copies to the address below. Poetry, if 300 words or less, may be sent via e-mail to jhinfo@janushead.org (but please include full correspondence address). If your submissions does not follow these guidelines, it will not be reviewed.

CRITERIA FOR ARTWORK:

We are seeking artists to submit portfolios to feature in the journal. Photos, slides, and/or electronic images are the preferred formats.

Please e-mail the editors if you have any questions:

jhinfo@janushead.org.

Note:

1. Essay and poetry submission materials will not be returned. However, art, photography and other materials will be returned, if you include a self-addressed, stamped envelope.

2. Upon the acceptance of your paper, Janus Head reserves the right to use your work for promotional purposes, anthologies, etc. However, you are welcome to publish your work elsewhere as you see fit.

3. Contributors will get a complimentary hard copy of the issue in which their work appears, as well as access to an electronic PDF file of their articicle for distribution. Additional hard copies of the issue can be purchased at $10 per copy at the Janus Head website.

Please send to:

Editors

Janus Head

P.O. Box 7914

Pittsburgh, PA 15216-0914

Authors should include their e-mail address. Allow at least 3-6 months

for the review process and editorial decisions. Notice of receipt of

materials can be obtained by e-mail at jhinfo@janushead.org.

 

 

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

 

 

Call for Papers/Abstracts/Submissions

3rd Annual Hawaii International Conference on Arts and Humanities

January 13 - 16, 2005

Sheraton Waikiki Hotel, Honolulu Hawaii, USA

 

Submission Deadline:  August 31, 2004

 

Sponsored by:

East West Council for Education

Center of Asian Pacific Studies of Peking University

 

Web address: http://www.hichumanities.org

Email address: humanities@hichumanities.org

 

The 3rd Annual Hawaii International Conference on Arts and Humanities will be held from January 13 (Thursday) to January 16 (Sunday), 2005 at the Sheraton Waikiki Hotel in Honolulu, Hawaii.  The conference will provide many opportunities for academicians and professionals from the arts and humanities related fields to interact with members inside and outside their own particular disciplines.  Cross-disciplinary submissions with other fields are welcome.

 

Topic Areas (All Areas of Arts and Humanities are Invited):

 

*American Studies

*Archeology

*Architecture

*Art

*Art History

*Dance

*English

*Ethnic Studies

*Film

*History

*Landscape Architecture

*Languages

*Literature

*Linguistics

*Music

*Performing Arts

*Philosophy

*Religion

*Second Language Studies

*Speech/Communication

*Theatre

*Visual Arts

*Other Areas of Arts and Humanities

*Cross-disciplinary areas of the above related to each other or other areas.

 

The Hawaii International Conference on Arts and Humanities encourages the following types of papers/abstracts/submissions for any of the listed areas:

 

Research Papers - Completed papers.

Abstracts - Abstracts of completed or proposed research.

Student Papers - Research by students.

Work-in-Progress Reports or Proposals for future projects.

Reports on issues related to teaching.

 

For more information about submissions see:

http://www.hichumanities.org/cfp_artshumanities.htm

 

Format of Presentations:

 

-Paper sessions will have three to four papers presented in each 90 minute

session, giving each presenter 20 30 minutes.

-Workshop presentations will be given a full 90 minute session.

-Panel sessions will provide an opportunity for three or more presenters to speak in a more open and conversational setting with conference attendees.

Submissions for these 90 minute sessions should include the name,

department, affiliation, and email address of each panelist in addition to a description of the presentation and the title page.

-Poster sessions will last 90 minutes and consist of a large number of

presenters.  Poster sessions allow attendees to speak with the presenters on a one-to-one basis.

-Performances will be accommodated whenever possible. Direct specific

inquires to humanities@hichumanities.org

 

Submitting a Proposal:

 

1.  Create a title page for your submission. The title page should include:

 

a.  title of the submission

b.  topic area of the submission (chooses from above list)

c.  presentation format (choose from above list)

d.  name(s) of the author(s)

e.  department(s) and affiliation(s)

f.  mailing address(es)

g.  e-mail address(es)

h.  phone number(s)

i.  fax number(s)

j.  corresponding author if different than lead author

 

2. Email your abstract and/or paper, along with a title page,  to humanities@hichumanities.org. Receipt of submissions will be acknowledged via email within 48 hours.

 

If you do not wish to email your submission, you may send it via regular mail or fax to:

 

Hawaii International Conference on Arts and Humanities

P.O. Box 75036

Honolulu, HI, 96836, USA

 

808-947-2420 (Fax)

 

***If submitting via regular mail, please supply two copies of your submission***

 

There is a limit of two contributed submissions per lead author.

 

3. Submissions will only be published in the conference proceedings if at least one of the authors registers and attends the conference. More

information will be provided upon acceptance.

 

4. If you wish to be a session chair, please e-mail your request to

humanities@hichumanities.org and indicate the topic area in which you are interested. Registration for the conference is required to be a session chair.

 

To be removed from this list, please reply to this e-mail with the word

"Remove" in the subject heading.

 

Hawaii International Conference on Arts and Humanities

P.O. Box 75036

Honolulu, HI 96836 USA

 

Telephone: (808) 949-1456

Fax: (808) 947-2420

E-mail: humanities@hichumanities.org

Website: www.hichumanities.org

 

 

NEW 4 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

2004 Comparative Literature Graduate Conference

CALL FOR PAPERS

Beauty: Looking into the Eyes of the Beholder

 

Graduate Center of CUNY

New York City, 365 5th Avenue & 34th Street

November 5 & 6, 2004.

 

How does the concept of Beauty keep surviving in the wake of the repeated proclamations of its demise? Quite often at odds with many currents in literary and art criticism as well as artists? visions of art, it offers itself as a very controversial subject in a number of works, most recently Wendy Steiner’s Venus in Exile, Elaine Scarry’s On Beauty and Being Just, and Geremy Gilbert-Rolfe’s Beauty and the Contemporary Sublime. The ensuing debate raises numerous questions: How do we approach a work of art? What criteria do we devise and how do we respond to art? How have approaches to aesthetics changed over time and what are the determining factors for these changes?  How do social and political institutions generate aesthetic theories?  In what way can aesthetic theories resist/change social paradigms? In this two day event we will revisit the debate over Beauty in different historical periods. Expecting submissions from students in a variety of fields (art history, literature, philosophy, music, film, architecture), the list of subjects is open to your proposals:

 

>> Sublime

>> belles-lettres

>> Plotinus and Plato

>> Apollo and Dionysus

>> aesthetization of crime

>> criminality of art

>> Orpheus

>> Kant

>> subversion of Beauty in popular culture

>> English Gothic Novel

>> Plastic Surgery

>> Art of Love

>> Decadence

>> Narcissism

>> Grotesque

>> Fashion

>> kitsch

>> idyll

>> beautification projects

 

The proposals (up to 300 words) for panels and 20 minute presentations should be forwarded to Alexander Moudrov at moudrov@excite.com or the address below. If the presenter so desires, it can be accompanied by a complete essay. The deadline for submissions is September 26, 2004.

Alexander Moudrov

Comparative Literature

Queens College

65-30 Kissena Blvd

Flushing, NY 11367-1597

 

 

NEW 5  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

Seventh Annual

University of South Carolina

Comparative Literature Conference

 

Thinking on the Boundaries:

The Availability of Philosophy

in Film and Literature

 

11-13 February 2005

 

Keynote Speaker: Stanley Cavell (Harvard)

 

Plenary Speakers: Karen Hanson (Indiana); Toril Moi (Duke); Stephen Mulhall (Oxford)

 

Special Guest: Ross McElwee (Harvard)

 

Inspired by the work of Stanley Cavell, this conference provides an  opportunity to explore topics central to his writings and illustrative of the frequently cross- disciplinary approaches that those writings employ. Such topics include, but are hardly confined to, Shakespeare and Philosophy, Emerson and Nietzsche, Emerson as a Philosopher?, Arguments of Genre in Film and Literature, Moral Perfectionism, Film and the Sublime, Film and Skepticism, Exemplarity and Exemplification, Documentary and Beyond.

 

Presentations should be broadly interdisciplinary. Please send  one-page abstracts for twenty-minute papers to the conference organizers, Martin Donougho and Lawrence Rhu, Comparative Literature Program, Humanities Building, Columbia, SC 29208, or email them to

donougho@sc.edu

and rhul@sc.edu

Deadline for proposals: 31 October 2004.

Updates at http://www.cla.sc.edu/CPLT/activities/index.html

 

 

NEW 6  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

CALL FOR PAPERS

 

RENE GIRARD AND FILM

 

2005 National Meeting of the Popular Culture/American Culture Associations,

 

San Diego, CA

 

March 23-26, 2005

 

20-25 minute papers discussing a film, a set of films, or the film industry as a whole in the context of Mimetic Theory as outlined by Rene Girard or others utilizing the Girardian insight are being sought to fill a panel at the next PCACA national meeting. Presentations that demonstrate the way in which Girard’s observations on desire, rivalry, doubles, violence, the scapegoat mechanism or a combination of these concepts have been represented on film are of particular interest, but papers using any of Girard’s insights will be considered. The most promising papers will move beyond introducing Girard’s ideas and will use Girard’s concepts in appealing ways.

 

For consideration, please submit electronically as a word attachment a 250 word abstract to aredmon@etbu.edu or by mail to Allen Redmon, English Department, East Texas Baptist University, 1209 N. Grove Street, Marshall, TX, 75670 by 27 August 2005. Feel free to offer a brief bio in the text of the email message or on a cover page of a mailing if so inclined.

 

Panelists will need to be members of either the Popular Culture or the American Culture Association at the time of presentation.

 

 

CONFERENCES (4 + NEW 1)

 

1 (internet source: http://www.british-aesthetics.org/)

 

3rd CongressCATH

Bradford, 9-11 July 2004

Hosted by the AHRB Centre for Cultural Analysis, Theory and History, University of Leeds. This year's theme is The Philosophy of Architecture/The Architecture of Philosophy.

http://www.leeds.ac.uk/cath/congress/2004/call.html

 

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

 

 

International Conference Announcement

TOURISM & LITERATURE: TRAVEL, IMAGINATION & MYTH

22-26 July, 2004, Harrogate, Yorkshire, United Kingdom

This is the second Call for Papers for our 2004 annual research conference on TOURISM & LITERATURE organised by the CENTRE FOR TOURISM & CULTURAL CHANGE (Sheffield Hallam University) and hosted by the HARROGATE INTERNATIONAL FESTIVAL. The conference will run in tandem with the Harrogate International Festival and the Harrogate Crime Writing Festival.

TOURISM & LITERATURE is the second conference in a series initiated with TOURISM & PHOTOGRAPHY last July when more than 120 delegates from 21 countries with academic backgrounds in sociology, anthropology, history, geography, arts and tourism studies met in Sheffield, UK. The overall aim of this conference series is a critical approach to the relationship between the touristic construction and experience of the world, and the challenge this represents for the social, spatial, economic, aesthetic and political organisation patterns and symbolic elements of social existence. This raises fundamental anthropological, sociological, political, economic, geographical and cognitive-psychological issues related to the way we communicate and exchange in the contemporary world, and how this has historically developed.

This second academic event emphasises on literature which, through both texts and authors, has long been an inspiration for tourists. Travel and tourist experiences have, in turn, long inspired literature. This inter-relationship between tourist, tourism and literature will be at the heart of this international conference. How does literature construct tourist histories and identities? How do tourists 'read' fictional texts?  How does literature produce, prescribe and legitimate spaces for tourists?  How are tourist expectations and experiences mediated by literature?  What is the significance of imagined worlds, fantastic landscapes and mythic characters for tourism?  Why do some authors hold a fascination for tourists?  Who are literary pilgrims and what experiences do they have?

The conference seeks to explore and deepen our understanding of tourism and literature relations by bringing together an international audience of academics, curators, writers, professionals and tourism managers to discuss this increasingly important field. The conference will be multi-disciplinary drawing from literary criticism, history, linguistics, sociology, anthropology, cultural and political geography, etc. I am personally interested in developing the discussion on 'perception' and 'cognition' that I feel needs to be further introduced in the field of tourism research and would welcome abstracts from neuro-scientists, philosophers, linguists, aestheticians and psycho-analysts. From a social anthropological perspective, I would like to continue the critical debate on the meaning of tourism as an international phenomena - a hypothetic form of 'sacrality' of the contemporary worlds - which a number of younger researchers refreshed through ethnographic approaches of tourists presented in last July's event. From a political economy and geography perspective, I think our last conference permitted a very fruitful discussion on the 'imagery' of places as a way to create familiarity, to 'know' the world through conventionalised compositions, an argument which bears important conceptual and political implications.

THEMES

- Sight-seeing - encounters with literately enchanted worlds

- From the Bible to Lonely planet - literature as travel liturgy

- Production of literary spaces and the poetics of literary landscapes

- Recreating the world - travel, cosmogony and myth

- 'Intangible heritages' - narrative traditions, storytelling and oral histories

- Literary pilgrimages and the celebrity of authors

- Representing places, peoples and pasts in fictional texts

- Alternative literatures and tourist experiences

- Diaspora and Localities: Negotiating cultural identities through travel narratives

- The commodification and commercialisation of literature

Conference Convenors:

Mike Robinson, David Picard, William Culver-Dodds

David Picard Ph.D.

Tourism Development & Consultancy Unit

Centre for Tourism & Cultural Change

Sheffield Hallam University

Howard Street - Owen Building

Sheffield S1 1WB

United Kingdom

Phone +44 (0) 114 225 3973

Fax +44 (0) 114 225 3343

Email d.picard@shu.ac.uk

Website www.tourism-culture.com

 

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

 

TOURISM & LITERATURE: TRAVEL, IMAGINATION & MYTH

22-26 July, 2004, Harrogate, Yorkshire, United Kingdom

Research conference on 'Tourism & Literature', organised by the Centre for Tourism and Cultural Change at Sheffield Hallam University, United Kingdom. The conference will take place in an old spa hotel in Harrogate, The Old Swan, in the North of England, from 22-26 July 2004. It will run in tandem with the Harrogate International Festival and the Harrogate Crime Writing Festival.

Themes of interest for the conference include:

- Sight-seeing - encounters with literately enchanted worlds

- From the Bible to Lonely planet - literature as travel liturgy

- Representing places, peoples and pasts in fictional texts

- Diaspora and Localities: Negotiating collective identities through travel narratives

- Production of literary spaces and the poetics of literary landscapes

- Recreating the world - travel, cosmogony and myth

- 'Intangible heritages' - narrative traditions, storytelling and oral histories

- Literary pilgrimages and the celebrity of authors

- Alternative literatures and tourist experiences

'Tourism & Literature' is part of our ongoing annual conference series build around the problem of touristic constructions and experiences of time, space and otherness, and the challenge these represent to the way we communicate and exchange in the contemporary world. This second academic event emphasises on literature which, through both texts and authors, has been a major 'inspiration' for tourists and travel. The inter-relationship between tourist, tourism and literature will be at the heart of this international conference.

The conference will gather around 140 international academics and travel writers from around 25 countries with research interests and teaching curricula in the tourism and travel literature fields. This event is a unique opportunity to raise a number of fundamental anthropological, sociological, geographical and political issues which we would like to discuss through different historic, ethnographic, aesthetic, cognitive-psychological and socio-linguistic perspectives.

Executive Producer: Frederic Revaz

Conference Convenors: Mike Robinson, David Picard, William Culver-Dodds

Centre for Tourism & Cultural Change

Sheffield Hallam University

Howard Street - Owen Building

Sheffield, SW1 1WB, United Kingdom                     

www.tourism-culture.com

Phone: ++114 225 29 28

Fax: ++114 225 33 43

Email: f.revaz@shu.ac.uk

 

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

 

 

The Architecture of Philosophy/The Philosophy of Architecture

CongressCATH 2004

http://www.leeds.ac.uk/cath/congress/2004

The Architecture of Philosophy/The Philosophy of Architecture

9-11 July 2004, National Museum for Photography, Film and Television, Bradford, UK

The plenary speakers include Andrew Benjamin (Sydney University), Dana Arnold (University of Southampton), Anthony Vidler (University of California, Los Angeles), Beatriz Colomina (Princeton University), Mark Wigley (Columbia University, Irena Bauman (Leeds-based Architect) and David West (Alsop Architects).

In addition some 170 international papers will be presented in various open sessions throughout the three days.  Apart for the academic programme we will be offering a series of films, an architectural walk

through Bradford, and a book-fair. More information about this conference and the registration forms are

available on our website http://www.leeds.ac.uk/cath/congress/2004

The third CongressCATH, organised by the AHRB Centre for Cultural Analysis, Theory and History addresses the question of architecture and philosophy from the Classical to the Postmodern.  The conference would like to explore the ways in which philosophy, and latterly the expanded practice of theory, has imagined itself as an architectural enterprise which builds systems of thought.  It also wishes to address theories and philosophies of architecture, examine contemporary architecture, and the architecture of the museum and the museum of architecture and the architectural archive.  CongressCATH 2004 will also explore the specific conjunction between philosophers and architects, the material in philosophy and architecture, architecture and the city, and the relationship between building and sculpture, between architectural practice and artistic practice.

Josine Opmeer

Centre Coordinator

AHRB Centre for Cultural Analysis, Theory and History, University of

Leeds

Old Mining Building, room 2.08

LEEDS, LS2 9JT, UK

Tel: +44 (0)113 343 1629

Fax: +44 (0)113 343 1628

http://www.leeds.ac.uk/cath

NEW  5 (internet source: register@philo.at)

 

Workshop

 

Computer als Medium

»HyperKult 13«

Unschärfe. Jenseits der Berechenbarkeit

 

22. bis 24. Juli 2004

 

im Rechenzentrum der

Universität Lüneburg

Scharnhorststr. 1

Gebäude 7

21332 Lüneburg

 

veranstaltet von der

Fachgruppe »Computer als Medium«

im FB IuG der Gesellschaft für Informatik

und

»Labor Kunst und Wissenschaft«

an der Universität Lüneburg

 

Das Programm des Workshops - Version 1.2

 

In verschiedenen Gebieten bestimmt sich die Kultur der Gegenwart als

eine Kultur der Unschärfe.

Von Ästhetiken des Verschwommenen und Unscharfen über die politischen

und ökonomischen Optionen der Flexibilisierung bis hin zur Operation

mit Unschärfephänomenen in Wissenschaft und Technologie lassen sich

Konstellationen bemerken, in denen problematisch gewordene

Grenzziehungen Ununterscheidbarkeitszonen schaffen.

Für die Informatik stellt die Unschärfe eine historische

Herausforderung dar: es lässt sich eine Entwicklung beobachten, die

sich auch als schrittweise Öffnung zur Kontingenz, zur Unschärfe, zum

Jenseits der Berechenbarkeit beschreiben lässt. Konsequenterweise hätte

damit eine Öffnung der sich als exakt verstehenden Informatik und der

als hard sciences angetretenen Naturwissenschaften den Geistes- und

Kulturwissenschaften gegenüber einher zu gehen, deren Gegenstand die

Unschärfen, die Kontingenz selbst ist.

Wissenschaftliche, technische und künstlerische Beiträge, die sich dem

Phänomen und Konzept der Unschärfe stellen, sollen auf der HyperKult 13

eine Rolle spielen.

 

Donnerstag, 22.07.04

11:00

Britta Schinzel: Körperbilder in der Medizin

11:45

Jens Schröter: Image Blur – 'Digitale Bilder' und das Unscharfe

12:30

Mittag

13:30

Verena Kuni: Nur nicht schärfer, bitte

14:15

Nikolai Wojtko: Unschärfe

15:00

Pause

15:30

Bernd Hüppauf: Wie kommt die Linie in die Welt?

16:15

Thomas Hölscher: Wittgenstein über Unschärfe und Wagheit

17:00

Pause

17:30

Susanne Regener: Blurred – WebCam-Bilder zwischen Erhabenheit und

Banalität

18:15

Annett Zinsmeister: Unscharfe Objekte. Die Falte

18:45

Aussteller

19:15

Gang in den Kunstraum zur Ausstellung "Die Regierung" und Empfang

 

Freitag, 23.7.04

09:30

Laszlo Böszörmenyi: Über Unschärfe in der digitalen Videotechnik

10:15

Jochen Koubek: Unscharfe Schärfe

11:00

Pause

11:30

Christian Kassung: Unschärferelation

12:15

Victor Zwimpfer: Die Unschärfe der Regel

13:00

Mittag

14:00

Claus Pias: Bilder

14:45

Joseph Vogl: Gewölk, Gefieder

15:30

Pause

16:00

Wibke Larink: Fuzzy Faces – Zu Physiognomik und Prosopagnosie

16:45

Peter Schefe: Zur Epistemologie und Semantik von Unschärfe und

Ungenauigkeit

17:30

Hartmut Sörgel: VerDichtung

20:00

Jochen Koubek et al.: Life-Hörspiel "Norbert Wiener"

danach: HyperBierGarten vor Gebäude 7

 

Samstag, 24.7.04

09:30

Harry Storch: Smart Mobs

10:15

Georg Trogemann: Experimentelle und spekulative Informatik

11:00

Pause

11:30

Martin Warnke: Synthese, Mimesis, Emergenz

12:15

Andreas Genz, Susanne Grabowski, Martin Koplin, Matthias Krauß und

Frieder Nake: Jenseits der Berechenbarkeit liegt die Unschärfe

13:00

Hartmut Sörgel: VerDichtung

13:05

Wahl der Leitung der Fachgruppe "Computer als Medium" im Fachbereich

IuG der GI e.V.

 

Präsentationen

Zorah Marie Bauer: in-der-stadt.net

Rosy Beyelschmidt: PAPA ZULU

Sibylle Feucht: Unschärfe

Andreas Genz (Bilddaten Ulrike Wilkens): baumschaum handland

Wolf Kahlen: KYOTO – Raw material on sublime beauty

Brigitte Neufeld: OT

Uwe Pirr: Medienportal

Elke Reinhuber: Akzellerationsvektor 13b

Tim Otto Roth: I see what I see not

Kulturinformatik an der Universität Lüneburg: studentische Arbeiten

aus dem Seminar „Experimentelle Interface-Programmierung“

Axel Töpfer: Reise in Manliver

Annett Zinsmeister: Unscharfe Objekte. Die Falte

Brigitte Neufeld: Im Lichte gesehen

 

Bei der Anreise können Sie sich von http://www.uni-lueneburg.de/anfahrt

helfen lassen.

Für die Pausengetränke, gedruckte Materialien und das Rahmenprogramm

bitten wir um einen Kostenbeitrag von 25 Euro, der bei der Anmeldung zu

entrichten ist. Bitte melden Sie sich unter hyperkult@uni-lueneburg.de

zur Teilnahme an.

 

Ihre Unterbringung in Lüneburg organisieren Sie mit

http://www.lueneburg.de.

 

Organisation

 

Rolf Großmann

Martin Schreiber

Martin Warnke

 

Programmkommittee

 

Lena Bonsiepen (Humboldt-Universität zu Berlin)

Wolfgang Coy (Humboldt-Universität zu Berlin)

Rolf Großmann (Universität Lüneburg)

Jochen Koubek (Humboldt-Universität zu Berlin)

Claus Pias (Ruhr-Universität Bochum)

Martin Schreiber (Universität Lüneburg)

Georg Christoph Tholen (Universität Basel)

Joseph Vogl (Bauhaus Universität Weimar)

Martin Warnke (Universität Lüneburg)

 

 

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

 

http://www.conferencealerts.com/seeconf.mv?q=ca1hmmhh

Conference on Music & Philosophy: Perspectives from Africa and Europe 

 

20 to 23 September 2004

Pretoria, Gauteng, South Africa

 

Website: http://bophelo.com

Contact name: Cherie Vermaak

E-mail: cherie.vermaak_AT_up.ac.za (to e-mail the conference organizers, please replace _AT_ with @)

 

The departments of Music and Philosophy at the University of Pretoria, South Africa invite you to attend an interdisciplinary conference to explore the intricate relationship between music and philosophy from both an African, as well as a European country.

 

Organized by: University of Pretoria

Deadline for abstracts/proposals: 30 May 2004

(Check the event website for latest details.)  Want to receive e-mailed updates of conferences matching your interest profile? Subscribe to our free alerting service.

 

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

 

British Society of Aesthetics Annual Conference 2004

 

St. Edmund Hall, Oxford, September 10 -12

 

Guest Speakers:

Stephen Davies (University of Auckland)

Robert Hopkins (University of Sheffield)

Jenefer Robinson (University of Cincinnati)

 

Conference Cost, including full board:

£150 for standard room

£175 for en suite room

£90 for non-residents (incl. tea, coffee and meals)

A limited no. of grants is available to research students on application.

 

For a full programme and booking form (available from the beginning of July)

http://www.british-aesthetics.org

 

NEW 4 (internet source: http://www.goethe.de/an/wel/enpkonf.htm#kant)

 

 

BICENTENNIAL KANT CONFERENCE WITH PFOFESSOR Günter Zöller

 

Auckland, Regency Hotel

July 9 - 12

 

In association with University of Auckland, Department of Philosophy The University of Auckland Department of Philosophy, with generous support from the Goethe-Institut is pleased to sponsor an international bicentennial conference commemorating the thought of Immanuel Kant (1724 - 1804). The theme will be “Morality, Beauty and Religion” . The keynote address will be given by Professor Günter Zöller (Munich) and at present, plenary sessions will be given by Professor Henry Allison (UC Davis), Professor Daniel Breazeale (Kentucky) and possibly Professor Robert Pippin (Chicago). We will be addressing Kant’s thoughts in connection with issues concerning human meaning and destiny, as they are embodied in these thoughts on morality, beauty, sublimity, religion, systematic rationality and the nature of philosophizing. Prof. Günter Zöller is Head of the Philosophy Department of Munich University and President of the International Fichte Society. From 1987 to 1999 he was Chair of the Department of Philosophy at the University of Iowa. In the nineties he was visiting professor at Princeton, Oxford, Tübingen, Harvard and Paris.

Details  09 373 7599 x 86566 or j.young@auckland.ac.nz

http://www.arts.auckland.ac.nz/phi/KC%20index.htm

 

 

NEW 5 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/ and http://www.dundee.ac.uk/english/postgrads/cfps/MTVstim.htm)

 

Call for papers

for a volume of essays on

 

‘MTV and Philosophy’

 

Do the philosophical implications of MTV really get you going?

 

If so, you are invited to submit an abstract for a collection of essays on ‘MTV and Philosophy’. I seek to obtain the permission of Open Court Books in publishing the result as part of their trendy Popular Culture and Philosophy series. The series has spawned six successful volumes since its 2001 debut with 'Seinfeld and Philosophy', including the best-selling ‘The Matrix and Philosophy’, and is noted for revitalising philosophical narratives through its celebration of pop culture as worthy of in-depth analysis.

 

Ever since 1981 MTV has functioned as a status symbol in its own ight, quickly capturing the imagination of numerous audiences, a figure of controversy in the (post)modern world it informs. Your mission, should you choose to accept it, is to decide what MTV does for your philosophical imagination, and stun me with your creative genius. Any philosophical approach is permitted- if your topic requires an inter-disciplinary examination then this will be respected, provided that philosophy remains your key disciplinary outlook.

 

Please submit an abstract of roughly 500 words, keeping in mind a 4000 word limit on all essays. It’s strongly recommended that you are familiar with the style of 'PC and Philosophy' series. Topics may be informed by, but certainly not limited to, the following:

 

Aesthetics, appropriation, Barthes, Baudrillard, cable TV, censorship, ommercialization, community, consumption, eastern philosophy, minem, epistemology, ethics, existentialism, fashion, Foucault, fragmentation, gender, genre diversifications (e.g. mutation of ‘pop’ and ‘rock’ categories over time), globalization, high culture vs. low culture, identity, image, iMitation TVs, innovation, intertextuality, live feeds, Lyotard, Madonna, mainstream, manufactured music, mash ups, metaphysics, mixes, ‘MTV Generation’, multi-modal texts, phenomenology, pastiche, postmodernism, programming, race, sampling, sexuality, simulation, status quo, sub-cultures, synaesthesia, status, trends, youth culture, Weber, visual culture, Zen.

 

Please email both your abstract and a copy of your CV to

crispyclouds@hotmail.com.

 

I am also currently searching for an assistant editor to aid me in this roject, so if you have a genuine desire to participate, email me with the easons why are the ideal person for the job, along with a copy of your CV.

 

The deadline for the "I Want My S(t)imulation!" MTV, Representation esire' volume has now been extended to the 15th of August 2004, so t's time to let your MTV-inspired processes flourish like never before!

 

Happy S(t)imulating,

 

Epiphanie Bloom

(crispyclouds@hotmail.com)

 

Marc Leverette

Department of Journalism and Media Studies

School of Communication, Information, and Library Studies

Rutgers University

4 Huntington Street

New Brunswick, NJ 08901-1701

marclev@scils.rutgers.edu

 

NEW 7 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

International Conference

 

Two Hundred Years after Kant

 

November 20-22, 2004

 

Tehran, Iran

 

On the occasion of bicentennial anniversary of the death of the most distinguished European philosopher, Emanuel Kant, the philosophy department of Allameh Tabatabaii University intends to hold the International Conference on "Two Hundred Years after Kant", on November 20-22, 2004. You can find the details attached to this email.

 

You are kindly invited to send a paper for the conference.

 

It will be your kindness to send this email to whom you think may be interested in attending the conference.

 

The later information like the web site address will be sent in the near future.

 

We hope meeting you in the conference.

 

With best regards,

 

Hamidreza Ayatollahy

 

Head of Philosophy Department and the Director of the Conference

 

On the occasion of bicentennial anniversary of the death of the most distinguished European philosopher, Emanuel Kant, the department of philosophy of Allameh Tabatabaii University intends to hold the International Conference on "Two Hundred Years after Kant", on November 20-22, 2004.

 

The papers will focus on:

 

A. General Topics

- Kant and Methodical Developments in Contemporary Philosophy

- Kant and the Question of Modernity

- A Study of Kant's Thoughts after Two Centuries

- Kant and Comparative Philosophies

- A Critique of Kant's Thoughts after two Centuries

- Transcendental Logic and Other Logical Methods

- Kant Posthumous Writings

B. Kant & Critical Philosophy

- New Interpretations on 1st Critique

- New Interpretations on 2nd Critique

- New Interpretations on 3rd Critique

- Transcendental Method and Critical Philosophy

- Kant and Leibniz-Wolff Philosophy

- Kant and Empirical Philosophy of England

C. Kant & Metaphysics

- Metaphysics and New Sciences

- Metaphysics and Kant Successors

- Metaphysics and Contemporary Philosophy

- Metaphysics and Philosophical Theology

- Metaphysics and Philosophy of Religion

D. Kant & Political-Social Thoughts

- Kant's Political Thoughts and New Interpretations

- Influence of Kant's Thoughts on Western Political Developments

- Kant and Cosmopolitanism in the Era of Globalization

- Kant & Enlightenment

- Kant's Critique of Western Political Models

 

Call for Papers

- Contributors are invited to submit their papers in Persian, English or Arabic.

- Abstracts of the papers should be sent to the Secretariat not later than September 22, 2004.

- Abstracts will be reviewed by the Examining Committee and their decision will be communicated not later than September 26, 2004.

- The length of abstracts will range between a minimum of 200 words and a maximum of 350 words, typed on A4 papers. It must also be sent a copy of your abstract in Microsoft Word Format file via your email, or a floppy diskette if you intend to mail it by post.

- Please include with your abstract, your name in full, affiliation and academic rank, the area to which your contribution belongs, your mail and email address in detail, including your telephone and fax number.

- The papers of accepted abstracts will be sent not later than October 30, 2004.

- The accepted papers will be published in an ISSN journal and/or an ISBN book.

- Registration fee for accepted papers for presentation is 80 Euro.

All papers should be sent to secretariat of the conference at the following address:

Secretariat of International Conference on "Two Hundred Years after Kant"

Department of philosophy,

Faculty of Literature,

Allameh Tabatabaii University,

Allameh Tabatabaii Street, Modiriyyat Bridge, Shahid Chamran Highway,

19816 Tehran

Iran

Telephone: (+98 21) 208 1887

Fax: (+98 21) 2064621

Email: kantconference@yahoo.com,  kantconference@atu.ac.ir

Web Site: http://www.atu.ac.ir/kantcon/kant.html

 

 

NEW 8  (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

IMPULSO

Journal of Humanities and Social Sciences

Published by UNIMEP University Press

(Piracicaba - Sao Paulo, Brazil).

 

CALL FOR PAPERS ON KANT (1724-1804)

Extended deadline: July 25, 2004

 

1. Essays on Immanuel Kant

 

IMPULSO publishes thematic sections and essays dedicated to special contemporary debates. Sections may have 3 to 6 papers. Previous issues have dealt with Freud, social exclusion, law, globalization, religion and others.

An issue to be published in 2004 will be dedicated to IMMANUEL KANT (1804-2004).

 

Deadline: July 25, 2004

Publication: December 2004

 

2. General Essays

 

IMPULSO also welcomes the submission of scholarly articles, analytical studies and book reviews on general themes of the humanities, society and culture. Manuscripts can be submitted on an ongoing basis in Portuguese, English, Spanish, German or French, and are selected through a blind peer-review process. Selected articles are translated into Portuguese or Spanish, indexed and distributed internationally.

 

Texts should include an abstract with keywords. Please send essays (12 to 30 double-spaced pages), communications (10 to 18 pages), review articles (8 to 12 pages), commentaries (4 to 6 pages), book reviews (2 to 4 pages) or inquiries to:

 

UNIMEP Press

Universidade Metodista de Piracicaba - UNIMEP

Rodovia do Acucar, Km 156

13400-911 - Piracicaba/Sao Paulo

BRAZIL

E-mail: editora@unimep.br

Tel: +55 (19) 3124-1620 or 3124-1621

Webpage: www.unimep.br/editora

 

 

NEW 9 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx?tabindex=8&tabid=15)

 

Goethe's Delicate Empiricism

 

Deadline for submissions: August 15, 2004

 

Janus Head: An Interdisciplinary Journal

 

Special Issue: Goethe's Delicate Empiricism

 

Guest Editors: Craig Holdrege, Director of the Nature Institute; William Bywater, Professor of Philosophy, Allegheny College.

 

Please submit your writing -- including poetry and fiction as well as theory --considering all aspects and applications of Goethe's methodology. Essays on the following topics are most welcome: -- the philosophical and spiritual foundations of the method; -- the historical context of the development of the method; -- the impact of the method on 20th Century and contemporary humanistic and scientific theorizing; -- the use of the method in contemporary study of life; Creative work which reflects the scope, power, or impact of Goethe's approach to nature, imagination or knowledge is especially invited.

 

Janus Head is a peer-reviewed, interdisciplinary journal that is especially interested in the intersection among continental philosophy, phenomenological psychology, literature and the arts. The journal is available in hard copy and on-line formats.

 

http://www.janushead.org/

 

 

NEW 10  (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx?tabindex=8&tabid=15)

 

Lyotard and Kant

 

Deadline for submitting abstracts: August 31, 2004

 

Conference at the Dominican College of Philosophy and Theology, Ottawa, Canada, November 19-20 2004

 

This year marks a double anniversary, the 200th of Kant's death and the 25th of the publication of The Post-Modern Condition, which provide an occasion for establishing an interesting connection between these two thinkers. Both have produced a lasting account of the intellectual culture of their times, What is Enlightenmnent? and the Post-Modern Condition providing examples of a "history of the present". In addition, Lyotard has devoted a good deal of attention to Kant, notably on Kant's Analytic of the Sublime, Kant's philosophy of history and Kant's epistemology. This conference invites papers on any aspect of the Kant-Lyotard connection.

 

Abstracts can be sent to Jean-François Méthot, Department of Philosophy, Dominican College, 96 Empress Ave. Ottawa, Ont. Canada, K1R 7G3. Fax: (613) 233-6064. Electronic submission are strongly encouraged at Jean-Francois.Methot@Collegedominicain.ca

 

NEW 11  (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx?tabindex=8&tabid=15)

 

Thinking Photography (Again)

 

Deadline: 15th September 2004

 

University of Durham, UK, 7-9 July 2005

 

Keynote Speakers: Victor Burgin, Goldsmiths College, London; John Tagg, SUNY Binghamton; Louis Kaplan, University of Toronto; Shawn Michelle Smith, University of Saint Louis.

 

The aim of the conference is to trigger this reassessment of Photography Theory, in the hope of further stimulating its development. We invite proposals for papers examining the following issues. Alternatively, you may wish to put forward your own paper or panel proposal.

 

a.. Photography Theory's Sacred Cows. Why Barthes? Why Benjamin? Why Derrida? Why Sontag?

b.. Travelling Concepts and Cultural Specificity

c.. Favourite topoi (memory, trauma, death) - how and why?

d.. Theorising the image versus analysing the image

e.. The death and resurrection of the author

f.. Currents and influences. English Studies, Art History, Visual Culture: who shapes photography's disciplinary spaces?

g.. Digital culture: continuity or rupture?

h.. The history of Photography Studies

 

A brief CV and abstracts of 500-600 words for a presentation of 20 minutes should be submitted by 15 September 2004, to the following address: photo.group@dur.ac.uk. The programme will be finalised by 30 October 2004. For further information, please contact the Photography Studies team at Durham, Jonathan Long, Andrea Noble and Edward Welch (photo.group@dur.ac.uk).

 

 

PUBLICATIONS (NEW 1)

 

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

 

Graduate Guide to Study of Aesthetics in UK - British Society of Aesthetics

 

The BSA Graduate Guide to studying Aesthetics in the UK is now available free of charge in the BSA website postgraduate section. This Guide has been compiled for students who are interested in pursuing graduate studies in philosophy with an expertise or competence in aesthetics or the philosophy of art. Data for the Guide was collected in 2003 from a survey sent to UK graduate philosophy departments and was then written up by BSA member and postgraduate student, Adele Tomlin.

 

For further details please go to: http://www.british-aesthetics.org/DesktopDefault.aspx?

 

 

April 2004 - June 2004

CALLS FOR PAPERS (3 + 7 NEW)

 

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

 

FIRST INTERNATIONAL TZVETAN TODOROV CONFERENCE IN
HONOUR OF HIS 65TH BIRTHDAY

‘Tzvetan Todorov and the Future of the Human Sciences’

24–27 June 2004

Bakhtin Centre, University of Sheffield, UK

Tzvetan Todorov, who has gradually emerged as a leading
intellectual figure in Europe, has consistently refused enclosure in established disciplines, and has approached human experience from a variety of angles. The clarity of his style and accessibility of his thought enhance the unifying perspective he has adopted within the human sciences. A growing trend in the humanities today consists, precisely, in questioning the boundaries erected between
the various disciplines of the human sciences and in addressing  the need for research in the humanities to develop in new directions. It is our belief that critical theory should provide the platform for this debate rather than remaining at a ‘theoretical second remove’ and commenting only after the fact. It therefore appears imperative to create a forum for discussion of the works and thought of Tzvetan Todorov in a manner that would bridge the divides between academic disciplines, considering that Todorov is an outstanding exemplar of what has been achieved in overcoming disciplinary boundaries, and of the potential that still remains for
doing so.

The conference proposes to assess the position and contribution of  Tzvetan Todorov’s thought to the human sciences and to evaluate the potential of his concept of ‘critical humanism’ as an alternative to theory. Therefore, the conference seeks to bring together scholars from various disciplines who engage with Todorov’s work
and to foster cross-disciplinary thought in the humanities (critical theory, literature, history, philosophy, philosophical anthropology, semiotics…) with a view to publishing at least one thematically focused volume of articles.

TZVETAN TODOROV will give a public lecture in the French Embassy Lecture Series on 26 June 2004 and will participate in a roundtable with the conference participants on 27 June.

Keynote speakers include:
Stoyan ATANASSOV (University of Sofia) on ‘Todorov or the Dialogical Self at the Crossroads of Cultures’;
Frances FERGUSON (Johns Hopkins University) on ‘Tzvetan Todorov on Narratives and Societies’;
Eugene GOODHEART (Brandeis University) on ‘Todorov, Berlin, Kolakowski and Me’;
Robert ZARETSKY (University of Houston) on ‘Uncommon Histories: An Evening with Jean-Jacques Rousseau at the Drury Lane Theatre’.

Papers addressing one or more of the following areas will be especially welcome:
-cross-disciplinarity as the future of the human sciences
-critical humanism: new form of humanism or well-tempered liberal humanism_?
-literature as privileged medium for understanding human
experience
-ethical_approaches to history
-‘exemplary narrative’ as an original contribution to critical
theory
-Todorov’s contribution to holocaust studies
-Todorov as European intellectual
-historical and/or contemporary sources of or influences on
Todorov’s thought (for ex. Rousseau, Constant, Bakhtin,
Ferry, …)
-crossing cultures: translating Todorov, Todorov in
translation, etc.

Papers addressing other issues related to the general aims of the conference and proposals for panels (see guidelines below) are encouraged.

Papers will be organised in panels of 3 lasting 90 minutes. Each paper should last 20–25 minutes (maximum) in order to leave adequate time for discussion.
Advance posting of abstracts, or even full papers, on the
conference website_is envisaged.

Publication:
A selection of the papers presented will be considered for
publication in a special issue of The Canadian Review of
Comparative Literature.

Abstracts:
Please send 300-word abstracts by e-mail attachment in RTF or Word format to
k.zbinden@sheffield.ac.uk by 30 September 2003.

Proposals for panels should include title of panel, names and institutional affiliations of chair and three panellists with abstracts and name of discussant if appropriate.

Please consult the conference website for updated information at {HYPERLINK http://www.shef.ac.uk/uni/academic/A-C/bakh/homeconf.html}http://www.shef.ac.uk/uni/academic/A-C/bakh/homeconf.html and address any query to the conference organisers (Karine  Zbinden and David Shepherd): by e-mail (mailto:k.zbinden@sheffield.ac.uk or
mailto:d.g.shepherd@sheffield.ac.uk) or by post to:

Tzvetan Todorov Conference
Bakhtin Centre
Arts Tower, fl. 8
University of Sheffield
Sheffield S10 2TN, UK.

and

Dr Karine Zbinden
SNF Research Fellow
Bakhtin Centre
Arts Tower, floor 8
Western Bank
University of Sheffield
SHEFFIELD S10 2TN, G.B.
ph. 0044 (0)114 222 7412
fax ph. 0044 (0)114 222 7416
http://www.shef.ac.uk/uni/academic/A-C/bakh/zbinden.html

http://www.shef.ac.uk/uni/academic/A-C/bakh/todorov.html

 

2 (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

The British Society of Aesthetics

Annual Conference

St. Edmund Hall, Oxford

September 10-12, 2004

Papers in philosophical aesthetics should be submitted with a 100 word abstract and formatted for blind review (author’s name on separate cover page). Papers should not exceed 12 pages (20 minutes reading time). Abstracts cannot be considered in lieu of papers.

Submissions should be emailed to Derek Matravers: D.C.Matravers@open.ac.uk

Deadline: May 7th, 2004

Programme Chair: Matthew Kieran

Programme Committee: Emily Brady, Iain Ground, Derek Matravers, Kathleen Stock

 

 

3 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

New Directions in Critical Theory: Borders, Territories, and Frontiers

April 8-10, 2004

University of Arizona

An address by Hortense Spillers, Frederick J. Whiton Professor of English at Cornell University, will open the conference.

Professor Spillers, one of the most distinguished African American feminist and psychoanalytic theorists working in America today, has been a central, critical figure in the areas of African American letters, African diasporic literature, cultural criticism and literary theory. Her work includes, _Black, White, and In Color: Essays on American Literature and Culture_ and two edited volumes, _Comparative American Identities: Race, Sex, and Nationality in the Modern Text_, and _Conjuring: Black Women, Fiction, and Literary Tradition_. She is currently working on _In the Flesh_, which will consider points of intersection between Black American women's history and feminist inquiry and _The Eagle Stirs Her Nest_, a work that examines the rhetoric of black sermons preached and/or written before W.W.I.

The 2004 New Directions in Critical Theory Conference, an interdisciplinary graduate student forum at the University of Arizona, will focus on "Borders, Territories, and Frontiers." We read "Borders, Territories, and Frontiers" broadly - in all of its concrete and metaphoric manifestations. This theme evokes Southwestern history, literature, and film, points to the local politics of Southern Arizona, border towns, areas, and regions, and resonates with the emotive force of our national myths: notions of the frontier and manifest destiny. In post 9/11 America and the greater, global world, such terms also connote the hegemonic paradigms and critical concerns central to social, cultural, and humanistic inquiry: globalization, multiculturalism, political economies, transnationalism, feminism, antiracist struggle, and liberal identity. In the academy itself, such concepts encourage border-crossings between departments, prompt us to question the theoretical methodologies and analytic frameworks we employ, encourage us to redefine, problematize, or even liberate existing bodies of knowledge, and increase our understanding of diversity and similarity across various fields of study.

We invite graduate students from any discipline to present theoretically-oriented scholarship that interrogates the social formation and maintenance of borders, posits means for transgressing, resisting, or subverting boundaries, and in so doing, works to re-envision existing territories or incite new frontiers of meaning.

Global/Local Politics

Postcolonialism/Multiculturalism/Globalization

Tourism /Travel Writing/Advertising

History/Tourism/Architecture

Architecture/Geography/Memory

History/Life Writing/(Re)membering

Memory & Identity

National/Cultural/Racial/Sexual/Gendered/Class Identity

Hybridity & Identity

Hybridity & Embodiment

Borders of the Human

Exteriority/Interiority

Peripheral Zones/Contact Zones

The Rhetoric of Borders, Territories, Frontiers

Barriers/Communities/Home

Space/Mobility/Displacement

Immigration/Othering/Alienation

Borders & Criminality

The Southwest in Film, History, & Literature

Ranching/Ecology

New Frontiers & Scientific or Spatial Studies

Science & Technology Studies

Virtual Borders, Territories, or Frontiers

Cyberspace & Virtual Bodies

Genders/Sexualities/Cyborgs

Popular Culture/High Culture

Consumerism/Media/Identity

Subjectivity/Experience/Identity

Sex & Economy

Violence/Sexuality/Desire

Heteronormativity/Homosexuality/Transsexuality

Feminist Theory & Queer Theory

Psychoanalytic Theory & Feminist Theory

Critical Race Theory & Psychoanalysis

Spirituality & Subjectivity

Performativity/Self-Fashioning

Texts, Bodies, & Spectacle

Bodies of /and Knowledge

Intellectual Traditions & Interdisciplinarity

Diversity, Similarity, & the Academy

Language/Literacy/Opportunity

Translation/Appropriation/Adaptation

Texts, Contexts, & the Web

Theory & the Classroom

Teaching & Service Learning

The Academy & Activism

We particularly welcome submissions attending to race, gender, class, ethnicity, sexuality, material culture, media and film studies, feminist studies, performativity, corporeality, and visuality. Please submit 100-250 word individual abstracts or panel proposals, comprised of a 100-250 word abstract for the entire panel and one 100-250 word abstract for each paper. Include names, email addresses, mailing addresses, institutional affiliations, technology requests, paper titles with abstracts by January 15, 2004 to:

April Huff (Women's Studies) & Wendy Weise (Department of English)

Conference Co-Chairs

Modern Languages Building, Room 445

University of Arizona

Tucson, Arizona 85721

(620) 621-1836

newdirectionsaz@hotmail.com

 

NEW 4 (internet source: redaktion@sinn-haft.at)

 

CfP / s i n n - h a f t  n r. 1 8 / Theorie Erzählungen (TM) / Herbst 2004

Liebe sinn-haft-AutorInnen und KollegInnen,

während die Redaktion fieberhaft an der Fertigstellung der

Frühjahrsausgabe der sinn-haft (nr. 17: Inmitten der Dinge. Über

Mediologie) bastelt, ist bereits der CfP der nächsten Nummer enstanden:

Die Nr. 18 wurde gemeinsam mit Holger Schulze (Universität der Künste,

Berlin) konzipiert und soll sich mit dem Erzählerischen im

Theoretisieren bzw. mit Erzählungen von Theorien beschäftigen. Den

ganzen Call-Text finden Sie / findest du unten eingefügt.

Bis zum Herbst ist noch viel Zeit, aber um das Heft möglichst gut zu

planen, würden wir uns freuen, bis 15.4. zu erfahren, mit welchen Texten wir rechnen können. Wir bitten bis dahin um Titelvorschläge und

Längen-Schätzungen. Redaktionsschluss wäre der 15. Juli.

In freudiger Erwartung deines / Ihres Vorschlages,

Karin Harrasser für die Redaktion

--

Theorie Erzählungen TM

Persönliches Sprechen vom eigenen Denken

Theoretisches Sprechen ist persönliches Sprechen. Du bist kein anonymes Erkenntnissubjekt und ich auch nicht. Angestellten von Truthmaking Inc. wird das Sprechen über ihre situativen Denkanlässe, ephemeren

Selbstwahrnehmungen und intimen Erfahrungen im Rahmen ihrer Forschungstätigkeit jedoch immer noch eher selten gestattet. Subjektiv, privatistisch und partikularistisch lauten die Vorwürfe, bis zum Arbeitsverbot können sie führen. Nicht nur Mobbing lauert, auf Dauer kommen die ganz normalen, institutionell vorgebahnten akademischen Ausschlussmechanismen zum Tragen. Die Empfindungsgenauigkeit, unser genuines Erfahrungssubstrat und unsere individuell-motivierende Erlebnisweise werden deshalb vorsorglich überformt von Theorie-Architekturen, ängstlich auf Widerspruchsfreiheit hin zugegipst - und das innerhalb einer massenmedialen Tektonik, die Privates, Intimes und Nebensächliches bombastisch inszeniert und bis in die hintersten Ecken grell ausleuchtet.

Sicher, Genieglaube und Betroffenheitsfreudigkeit sorgen dafür, dass die persönliche Inszenierung als wissenschaftliche Inszenierung ihren Marktwert hat. Doch wie ist der Versuch zu denken, persönliches Sprechen mit Präzision zu verbinden? Eben jene, diese, unsere Empfindungsgenauigkeit sprechen zu lassen?

Erzählen wir also von unseren Theorien, von uns selbst, von unseren Selbsttheoretisierungen. Die sinn-haft lädt ein zu einem methodologischen Selbstversuch: Eine Versprachlichung unseres Denkens auszuprobieren, die sowohl thetisch argumentiert als auch die persönlichen Entstehungszusammenhänge des Argumentierens situativ erzählt. Die unsere Erfahrung transzendierendes Denken erzählerisch

einbettet in die Immanenz unseres je individuellen Lebenszusammenhangs.

Das wollen wir proben: Persönliches Theoretisieren, im Bewusstsein der außerpersönlichen Situiertheit jeder Erfahrung und jenseits der larmoyanten Selbstinszenierung. Eine erweiterte Form von

Quellenkritik. Das Selbst als Quelle der Motivation, wissenschaftlich zu arbeiten. Als Begleiter, Träger, als Störfaktor und Produkt.

Wie wäre es, eine direkte Begriffs- und Theoriearbeit zu ergänzen um die Erzählung der persönlichen Denk- und Forschungssituation? Theorie Erzählungen, die unsere Anlässe des Denkens und Untersuchens

miterzählen, selbstkritisch und tastend. Unsere Neigungen und Aversionen, Denkgefühle und Theorieahnungen, Sackgassen und fehlgeleitete Euphorien - unser Involviertsein, unser Unverständnis.

Und vielleicht auch dies: unseren Umgang mit der Zensur im Kopf, die uns dazu antreibt, stets auf der Seite der Erfolgreichen zu bleiben.

Die Phänomene bleiben unbeherrschbar, in, um uns. Und dennoch versuchen wir sie und uns sprachlich zu formulieren. Zu formen.

Be brave - be personal!

http://sinn-haft.at

Damit sinn-haft nr. 18 formbar wird: Bitte übersenden Sie/übersendet möglichst bald aber spätestens bis 15. 4. 2004 einen Themenvorschlag und die geschätzte Länge des Beitrages an: schulze@udk-berlin.de oder redaktion@sinn-haft.at .

Redaktionsschluss ist der 15. Juni 2004, erscheinen soll die sinn-haft im Herbst 2004.

 

NEW 5 (internet source:  phaenlist@philo.at)

 

Blanchot Conference - Australia

Blanchot, the Obscure

A conference on the French critic and author Maurice Blanchot

Organized by the journal Colloquy

Under the auspices of The Centre for Comparative Literature and Cultural Studies

and The School of Languages, Cultures and Linguistics at Monash University and Alliance Française Melbourne

Dates: 19-20 August 2004

Confirmed Keynote Speakers: Kevin Hart

Despite the enormous influence of his work, for many Maurice Blanchot remains an obscure figure. His fiction is regarded by some as impenetrable, his critical comments gnomic. His reclusive habits shroud

decisive events of his life, most notably his brush with death during the occupation of France. For others, Blanchot's work is anything but obscure, his reticence to reveal the details of his life being only a

proper extension of his lucid, critical thought.

Nevertheless, the adjective `obscure' can function as a lens onto a series of ideas appearing throughout Blanchot's writings. The mysterious and the enigmatic feature prominently in terms of the il y a, death,

désoeuvrement, the event, the gaze, the negative, the neutral, madness. Perhaps what remains most obscure is the work of writing itself, both in practice and in theory. The obscurity of the work of writing brings to

the fore the relation between fiction and philosophy.

This conference invites papers which address the life and work of Blanchot in a way that is faithful to Blanchot himself. We do not seek to unearth new facts, rather, to take heed of the exigency of writing as

conceptualised and practised by Blanchot. We encourage papers which deal with the obscure in Blanchot's work in relation to any of the following themes:

* Friendship * Death * Time and Being * The Greeks (especially the pre-Socratics) * Blanchot in France and Germany * Literature (his practical and/or theoretical contribution) * The Feminine * The Sacred * Mysticism * Psychoanalysis * Blanchot in English *

Proposals (150 words max.) for twenty minute papers should be sent by 20 May 2004 by e-mail to colloquy@arts.monash.edu.au , or by post to Colloquy, Centre for Comparative Literature and Cultural Studies, Monash University, PO Box 11A, Vic 3800, Australia.

Refereed proceedings of the conference will be published electronically in Colloquy (www.arts.monash.edu.au/others/colloquy/) and in print in the Monash Romance Studies series of Delaware University Press.

The Colloquy Editors

 

NEW 6 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

Postgraduate Journal of Aesthetics

British Society of Aesthetics'

POSTGRADUATE JOURNAL OF AESTHETICS ONLINE

Call for Papers

The British Society of Aesthetics is preparing the first issue of their Postgraduate Journal of Aesthetics Online.  The aim of this journal is to offer postgraduate students interested in aesthetics a space not only to exchange ideas, but also to promote high quality essays free from the potential chaos of internet mediums.  As publishing becomes increasingly more important for the development of academic careers, this journal is meant to be a space for postgraduate students only, where their work can be received at a level of competition appropriate to postgraduates (though each issue of the journal may include at most one invited essay from a professional working in aesthetics).

The journal will be published three times annually in the postgraduate section of the BSA's website, www.british-aesthetics.org.  Essays are invited from postgraduate students on any topic in aesthetics.  Essays are meant to be kept short, aiming at roughly 2000 - 2500 words, the length one would expect of a professional book review.  For that reason, authors would be advised to write concise, to-the-point essays, with clearly stated aims and tightly controlled arguments.  Discussion pieces are welcome.  The philosophical level of essays should be such as to encourage serious and focused academic thought at a level appropriate to postgraduate's topics of interest.  Also, authors are asked to avoid lengthy footnotes and include page references within the body of the text, while source materials should be collected at the end of the essay.  As this will be an entirely web-based format, essays

should be submitted via email.  To avoid difficulties with word processing formats all emailed essays must be saved and sent in Rich Text Format (.rtf).  Essays in an acceptable format will be refereed blind by a member of the editorial advisory board.

Please direct all submissions and editorial questions to Christopher Bartel via email at:  christopher.bartel@kcl.ac.uk

Field: ANY TOPIC IN AESTHETICS

Submission Deadline: ONGOING - AT LEAST ONE MONTH BEFORE PUBLICATION

(e.g. March for the April issue)

Submission Format: VIA EMAIL - SEND ALL ESSAYS IN RICH TEXT FORMAT

Submit To:christopher.bartel@kcl.ac.uk - PLEASE INCLUDE "PJA" IN THE

SUBJECT HEADING

Essay Length: 2000 - 2500 WORDS

 

 

NEW 7 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

 

call for papers

Society for Philosophic Study of the Contemporary Visual Arts

Group Meeting at the Eastern Division meeting of the American Philosophical Association, December 27-30, 2004, Boston, MA, Boston Marriott

The Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA) invites papers to be presented at its divisional meetings held in conjunction with the Eastern Division Meetings of the American Philosophical Association (APA-Eastern). Papers may address any topic that involves the connection between philosophy and the visual arts: film, photography, video, or other aesthetic media.

The Society also welcomes proposals for panels, author-meets-critics, or other special sessions, as well as volunteers to serve as panel chairs and commentators. Presentations should be 20-25 minutes (10-12 pages in length). Participants must be currently paid members of the SPSCVA. The Society plans to hold two sessions at the APA-Eastern meetings.

Submission by e-mail preferred: <jharold@mtholyoke.edu>

Deadline: April 15, 2004

Contact:

James Harold

Philosophy Department

Mt. Holyoke College

South Haldey, MA 01075

jharold@mtholyoke.edu

 

 

NEW 8 (internet source: aesthetics-l@LISTSERV.INDIANA.EDU)

 

CALL FOR PAPERS

Annual symposium of the Dutch Association of Aesthetics, October 1 and 2, 2004, Amsterdam

Publication: Annual of Aesthetics 2005

THE NEW POLITICAL DIMENSION OF ART

One can notice a return of politics in contemporary art. This is clear in the exhibitions Documenta X (1997) and XI (2002) where themes such as democracy, migration, multiculturalism, globalisation, diasporas and post-colonialism were important, but also in the recent revaluation of documentaries as an art form, and of politically topical theatre. Until recently, however, this political dimension is only explored in ‘cultural studies’. The topic of this symposium concerns the new perspectives aesthetics can offer on this new phenomenon, and the consequences for aesthetics if it deals with such problems. Questions addressed in this conference are: what is typical for this new political dimension and how is it different from the political commitments of the ‘60s and ‘70s? Are new technologies and the uses of new and combined media necessary conditions for this new political dimension of art? What are the challenges of this new interest in politics for the theoretical framework of traditional aesthetics?

Abstracts of maximum 300 words may be sent, before 1 May 2004, to:

Jenny Slatman

Afdeling Wijsbegeerte, UvA

Nieuwe Doelenstraat 15

1012 CP Amsterdam

The Netherlands

j.slatman@uva.nl

The contributions of this symposium will be published (in Dutch translation) in the Annual of Aesthetics 2005. There is also the possibility to send papers on this topic for publication to jaarboek@nge.nl without taking part

in the symposium. In that case, the deadline is 31 December 2004. Normally, we ask only nonexclusive rights, i.e. we ask for publishing rights only in Dutch and authors will keep their rights to publish the paper in English elsewhere. Queries should be addressed to jaarboek@nge.nl

Exclusieve Xbox Live wedstrijd ! http://www.msn.be/games/xbox/wedstrijd/

 

 

NEW 9 (internet source: http://www.aesthetics-online.org/events/calls.html)

 

 

Beauty and the Way of Modern Life

May 14-16, 2004, Wuhan University

The Chinese Aesthetics Society and Wuhan University are calling for papers for an aesthetics conference that will concentrate on the role of beauty in modern life. Areas to be discussed include, but are not limited to, the following:

1. Aesthetic Ideas about the Way of Modern Life

2. Aesthetics of Design

3. Environmental Aesthetics

4. Modern Reflections on Ancient Wisdoms of Eastern and Western Philosophy and Aesthetics

International participants are supposed to submit $200 US to the conference committee, who will cover the costs for meals and travel in the city of Wuhan during the conference. The committee will help to arrange two travel routes after the conference: one to the Three Gorges along the Yangtze River, another to the national forest park, Zhang Jia Jie in Hunan Province.

Deadline: May 15, 2004

Chen Wangheng

Philosophy Department

Wuhan University

430072,Wuhan, Hubei, China

whchen@whu.edu.cn

 

 

NEW 10 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

 

Call for Papers

The Loop as a Temporal Form

The online journal, _Invisible Culture_, is seeking papers for an  upcoming issue on the theme of the loop. This issue will take a  broad view of the loop—an act of editing that involves the telling and  retelling of a narrative—as a form that potentially sets in motion temporal patterns that reconfigure the boundaries of space, time  and perception. David Joselit describes the “deep, dreamlike uncanny pulse” intrinsic to the temporal quality of the loop as one imbuing even the weakest work with a persuasive power. Umberto Eco describes Italian viewing habits of popular film, where one enters a theatre at any point, then stays to see the film again from the moment where the audience member entered the narrative. For Eco, film, like life, continually retraces events that have already occurred. The viewer or reader of, or participant in a loop can let  the (potentially) perpetual story unfold, either viewing the unresolvedness as an end in itself, or by waiting for the cathartic moment to return again and again. In other words, the loop is a temporal form whose length is chosen by the viewer/reader/participant and may produce catharsis, evoke a dreamlike state, or mimic everyday life.

Topics might include theorizations of this temporal form or close  readings of either works of art or examples from everyday culture whose central form is the loop. Theorizations could include but are not restricted to: Deleuzian repetition and difference, Marxist historical cycles, or Freud’s repetition compulsion. Examples of works of art could include Stan Douglas’ “Win, Place or Show” (1998) or Santiago Serra’s “Lifted Out Wall of Gallery, Leaning Over by 60 Degrees and Held Up by Five People” (2000). Examples from everyday culture could include the daily conundrum of time tied to a per-hour paycheck.

Submissions are encouraged from a variety of perspectives,  including cultural studies, architecture, history, sociology,  psychology, media or film studies, anthropology, philosophy, music,  political science, semiotics, art history, queer theory, literary criticism, urban planning or gender studies. All theoretical and empirical approaches are welcomed.

We are seeking papers 2500 to 6000 words in length. In matters of citation, the journal uses Chicago Manual of Style, but other citation formats are acceptable with respect to the disciplinary concerns of the author. Please email inquiries to Margot Bouman, at bomn@mail.rochester.edu and submissions in Microsoft Word as an attachment to the same address. The deadline for submissions is May 30, 2004.

* * *

The online journal _Invisible Culture_

http://www.rochester.edu/in_visible_culture/ivchome.html

is dedicated to explorations of the material and political dimensions of  cultural practices: the means by which cultural objects and communities are produced, the historical contexts in which they emerge, and the regimes of knowledge or modes of social interaction to which they contribute. As the title suggests, _Invisible Culture_ problematizes the unquestioned alliance between culture and visibility, specifically visual culture and vision. Cultural practices and materials emerge not solely in the visible world, but also in the social, temporal, and theoretical relations that define the invisible. Our understanding of Cultural Studies, finally, maintains that culture

is fugitive and is constantly renegotiated.

Margot Bouman

Editor

Invisible Culture

http://www.rochester.edu/in_visible_culture/ivchome.html

University of Rochester

bomn@mail.rochester.edu

 

 

CONFERENCES (5 + 4 NEW)

 

1 (internet source: http://www.aesthetics-online.org/)

 

International Conference on Theological Aesthetics

We are pleased to announce an International Conference on Theological Aesthetics (“Beauty of All Things Beautiful”: Theology and the Arts) organized by the Theology Department of St. Bonaventure University, NY, that will take place on May 19-23, 2004.

The Conference is devoted to the question of the interrelation between theology, aesthetic experience, and the arts. It will bring together, for a seminar-style conversation, leading scholars from North America and Europein such areas as philosophical aesthetics, the theological aesthetics of H.U. von Balthasar, the medieval tradition, religious environments, and theology of the image. The Franciscan tradition in art and theology will be particularly emphasized.

The Conference will take place at the beautiful St. Bonaventure University Campus located in the Alleghany mountains. Registration fee $75 (Students $50). Discount student housing is available ($50 for four days).

Full schedule and registration information: http://web.sbu.edu/theology/theoaesth

Registration, general inquiries:

Oleg Bychkov

Theology Dept.

St. Bonaventure University, NY 14778

obychkov@sbu.edu

(716) 375-2443

 

 

2 (internet source: http://www.aesthetics-online.org/)

 

The Judgment of Beauty: Beauty's Role in Contemporary Criticism

April 2-3, 2004, UCLA

17th annual interdisciplinary conference to be held at the University of Southern California, Los Angeles, California, on April 2nd and 3rd, 2004.

This year's conference, titled "The Judgment of Beauty: Beauty's Role in Contemporary Criticism," will investigate the apparent return of beauty to academic discourse. Works as diverse as Denis Donoghue's Speaking of Beauty (2003), Elaine Scarry's On Beauty and Being Just (1999), Dave Hickey's The Invisible Dragon: Four Essays on Beauty (1993) and Wendy Steiner's Venus in Exile: The Rejection of Beauty in Twentieth-Century Art (2001) indicate a sea change in contemporary scholarship: the resurrection of beauty and aesthetic primacy as acceptable terms of judgment and evaluation. This conference will look at new critical activity around the topic of beauty and what its so-called return augurs for our conception of the academic in relation to the political. To this end, we seek papers that examine the following questions and topics: Where exactly, and why, is space being made for beauty in academic discourse? What relation, if any, does this renewed interest in beauty have to the current status of theory? How do we discuss works and ideas from periods that viewed "the beautiful" with less suspicion? Can scholarship from both sides of this debate speak to and with each other in a way that is intellectually fruitful? Additionally, the conference will demonstrate the various ways in which beauty as a theoretical or anti-theoretical concept is manifested in specific critical and analytical applications. We will include the presentation of scholarship that discusses the phenomenon of beauty as it is conceived within or around specific texts and social or political phenomena.

Exploration of  the concept of beauty within theoretical discourse and/or our current methods of evaluating works of art, broadly conceived. We are also open to papers that examine culture in this same light, reevaluating the role beauty plays in social interaction, the media, perceptions of history, etc. We are particularly interested in work from fields with unconventional ties to beauty (i.e. the sciences, law, etc.), but welcome papers on all periods and disciplines, both public and academic criticism.

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

* Cognition and Beauty; The Transformation of the Beholder

* The Body as Ideological Battleground

* The Rebirth of Aesthetics

* Altered and Synthetic Beauty; The Utopian/Cyber/Mechanized Body

* Beauty as Theatrical and/or Performative

* Decorations, Attire, Adornment

* Subjects and Objects of the Gaze

* Aesthetic Hierarchies and Aesthetics of Power

* Beauty and Desire; Beauty and Sexuality

* Commodities and Corporate Beauty

* The Beautiful vs. the Sublime

* Cultural Limitations/Amplifications of Beauty

* The Grotesque and the Obscene

* Creative Aesthetics vs. Critical Aesthetics

* Beauty in the Service of Evil (The Discourse of Pseudo-Science, Politics, etc.)

* The Politics of the Visual

* Beauty as a Value or Virtue

* Archetypal and Mythical Beauty; Paragons of Beauty (Mona Lisa, Venus, Helen of Troy)

* The Aesthetics of Selfhood and/or Nationhood

* Beauty and Violence

* Gender Representation; Femme Fatales, Sirens, and Women Warriors; Beauty as Feminine

* Beauty and Sex/Sexuality

* Religious Beauty; The Sacred and Taboo; Beauty as Talisman

* Neoplatonic Conceptions of Beauty

 

3 (internet source: http://www.aesthetics-online.org/, http://www.kcl.ac.uk/kis/schools/hums/philosophy/frames/Research/perception/perception.html)

 

PERCEPTION, NARRATIVE DISCOURSE, AND CONCEPTUAL ART:

A PHILOSOPHICAL INVESTIGATION

June 4-5, 2004, King's College London

'Perception, Narrative Discourse and Conceptual Art' is a philosophical research project, funded by the Arts and Humanities Research Board's 'Innovation Award', and organised by Dr. Peter Goldie and Dr. Elisabeth Schellekens at King's College London.

The general public shows ambivalence towards conceptual art.  They enjoy it and find it challenging.  But at the same time many doubt whether any conceptual art really has aesthetic worth.  The main aim of this project is to undertake a philosophical enquiry into the grounds of this doubt, and whether they are well-founded.  In this project, we are taking 'conceptual art' with a small 'c': not just the specific historical movement from 1966-1972, but more widely, to include all art that adheres to certain broadly defined tenets (See 'Introduction' to Seminar 13 Nov. 2003).  Within this broad definition, conceptual art is, we believe, a particularly interesting one for philosophers for three principal reasons:

First, it questions the boundaries not only of art, but of the aesthetic.

Second, it is founded on the idea that art not only can, but should, transmit beliefs, judgements, and perceptual experiences with conceptual and cognitive content.

Third, it confronts us with objects that do not obviously have a distinctively aesthetic appreciation, a feature that puts a special kind of onus on the perceiver and on the psychology of engaging with objects aesthetically.

These reasons (amongst others) seem to make conceptual art fertile ground for an exploration of the precise nature of aesthetic perception and the manner in which it is to be distinguished from other 'non-straightforward' modes of perception and knowledge acquisition.

INTERNATIONAL CONFERENCE

The research project will culminate in a two-day international conference to be held in London on 4th and 5th June 2004 at James Clerk Maxwell Building, Stamford Street, Waterloo Campus, London, UK.

The following people have kindly agreed to give a paper.

Margaret Boden (Sussex)

Diarmuid Costello (Oxford Brookes)

Gregory Currie (Nottingham)

David Davies (McGill)

Peter Goldie (King's College London)

Charles Harrison (Open University)

Robert Hopkins (Sheffield)

Peter Lamarque (York)

Jerrold Levinson  (Maryland)

Derek Matravers (Open University)

Dominic McIver Lopes (British Columbia)

Anthony Savile (King's College London)

Elisabeth Schellekens (King's College London)

Kathleen Stock (Sussex)

Would those of you who would like to attend please complete this application form and return it as soon as possible to the address on the form.

SEMINARS

As a part of the project we are holding a series of seminars centred around the theme of 'Aesthetic Perception and Conceptual Art'.

13 Nov. 03.  Peter Goldie & Elisabeth Schellekens: Introduction.

20 Nov. 03.  Jason Gaiger (Open University): 'Interpreting the ready-made: Marcel Duchamp's "Bottle-rack" '.

27 Nov. 03.  Derek Matravers (Open University): 'Problems of thinking of Conceptual Art as Art.'

04 Dec. 03.  Carolyn Wilde (Bristol): 'Meaning and Transfiguration: Danto's Story of Art.'

11 Dec. 03. David Davies (McGill): 'Unclear on the Concept?'

26 Feb. 04.  Anthony Savile (K.C.L.):

04 Feb. 04.  Tom Crowther (Birkbeck): T.B.C.

11 March 04.  Diarmuid Costello (Oxford Brookes):  T.B.C.

18 March 04.  Kathleen Stock (Sussex):

25 March 04.  Alex Neill (Southampton): T.B.C.

From 26 February 2004, the seminars will take place in the Lecture Room, Department of Philosophy, King's College London, Strand, London WC2R 2LS, from 17.30 until 19.00.

For any further information, please do not hesitate to contact Elisabeth Schellekens, by phone on +44 020 7848 2067, or by e-mail on elisabeth.schellekens@kcl.ac.uk

For general information, contact King's College London on +44 (0)20 7836 54 54

 

 

4 (internet source: http://www.british-aesthetics.org/)

 

Read and... (The Herbert Read Conference 2004)

Friday 25 and 26 June, Tate Britain.

During the twentieth century, Herbert Read was one of Britain's most remarkable cultural theorists. A tireless promoter of the avant-garde in art and literature, he was in many ways more in tune with the cultural critics of mainland Europe than those of his native England. This was reflected in his early admiration for Expressionist and Surrealist art, his advocacy of Idealist and Existentialist philosophy, and most of all in his pioneering use of psychoanalysis as a critical tool. With his political views too, Read was always a radical and controversial figure. As an anarchist he succeeded in offending the sensibilities of both the political left and right, and according to some critics this is directly responsible for the misrepresentation and neglect of his work by academic critics and historians over the past thirty years. In association with the University of Nottingham Institute for Research in Visual Culture, Tate Britain is staging a two day critical conference on Herbert Read's work. The conference will explore Read's relationship to other modernist thinkers, and to ideas that have developed since his death in 1968. The speaker list can be viewed at www.herbertread.org.uk. In association with the University of Nottingham Institute for Research in Visual Culture. £30 (£20 concessions.)

 

5 (internet source: http://www.british-aesthetics.org/)

 

Values and Virtues: Aristotelianism in Contemporary Ethics

University of Dundee, Scotland, April 30 – May 2, 2004

Speakers: Christine Swanton (University of Auckland); John Skorupski (University of St Andrews); Theodore Scaltsas (University of Edinburgh); Paul Russell (University of British Columbia); Sarah Broadie (University of St Andrews); AntonyDuff (University of Stirling); Adam Morton (University of Oklahoma); Linda Zagzebski (University of Oklahoma). Further details from Dr Timothy Chappell at the Philosophy Department, University of Dundee DD1 4HN Scotland (t.d.j.chappell@dundee.ac.uk).

 

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

 

"On Sensibility" Conference, The University of Dundee, Saturday, April 24th and Sunday, April 25th 2004.

A conference bringing together international artists and scholars who seek to explore the status that sensibility has been ascribed in Kantian and Post-Kantian European philosophy, and the role sensibility plays within the constitution of thought.

Keynote Speakers:

John Llewelyn (Edinburgh University)

Daniel Smith (Purdue University)

Speakers and participants include:

Artillery (Ahrus, Denmark)

Claire Colebrook (Edinburgh University)

Robin Durie (Peninsular Medical School)

Laura Hengehold (Case Western University, Cleveland)

Aislinn O?Donnell (Dundee University)

Lou Reynolds (Staffordshire University)

James Williams (Dundee University)

For information and registration, please contact the conference organizer, Valentine Moulard at v.m.moulard@dundee.ac.uk

The University of Dundee is grateful to The British Society of Aesthetics for its support for this event.

 

 

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

 

 

CONFERENCE ANNOUNCEMENT: PHILOSOPHY AND CONCEPTUAL ART

KING’S COLLEGE LONDON, FRIDAY 4th TO SATURDAY 5th JUNE 2004

SPEAKERS:

* Margaret Boden (Sussex): 'Creativity and Conceptual Art'.

* Diarmuid Costello (Oxford Brookes): 'Towards an Aesthetics

of Conceptual Art'.

* Gregory Currie (Nottingham): 'Action and Concept'.

* David Davies (McGill): ?Telling Pictures.?

* Robert Hopkins (Sheffield): 'Conceptual Art and Epistemic

Autonomy'.

* Matthew Kieran (Leeds): ?Appreciating Conceptual Art?.

* Peter Lamarque (York): 'On Perceiving Conceptual Art'.

* Jerrold Levinson  (Maryland): ?Concluding Remarks?.

* Derek Matravers (Open University): 'The Dematerialization

of the Art Object'.

* Dominic McIver Lopes (British Columbia): 'Conceptual Art

Is Not What It Seems'.

* Anthony Savile (King's College London): 'Imagination and

Aesthetic Value'.

* Kathleen Stock (Sussex): 'Imagination, Seeing-As and

Conceptual Art'.

* Art & Language (Michael Baldwin, Charles Harrison &

Mel Ramsden): 'Emergency Conditionals'.

BACKGROUND:

The general public shows ambivalence towards conceptual art. They enjoy it and find it challenging.  But at the same time many doubt whether any conceptual art really has aesthetic worth. The main aim of this project is to undertake a philosophical enquiry into the grounds of this doubt, and whether they are well-founded.  On a broad understanding, 'Conceptual Art' raises interesting questions for philosophers for three principal reasons: First, it questions the boundaries not only of art, but of the aesthetic. Second, it is founded on the idea that art not only can, but should, transmit beliefs, judgements, and perceptual experiences with conceptual and cognitive content. Third, it confronts us with objects that do not obviously encourage a distinctively aesthetic appreciation, a feature that puts a special kind of onus on the perceiver and on the psychology of engaging with objects aesthetically.

FOR FURTHER DETAILS (INCL. APPLICATION FORM):

www.kcl.ac.uk/philosophyandconceptualart

CONTACT:

Peter Goldie on +44 020 7848 2031 or peter.goldie@kcl.ac.uk

Elisabeth Schellekens on +44 020 7848 2067 or elisabeth.schellekens@kcl.ac.uk

This conference has been organised within the framework of the

AHRB ?Innovation Award? research project ?Perception, Narrative

Discourse and Conceptual Art: A Philosophical Investigation?.

 

8 NEW  (internet source: http://www.uic.edu/orgs/ancientphilosophy/conference2004.htm)

 

Chicago Area Consortium in Ancient Greek and Roman Philosophy

Northwestern University, the University of Chicago, and the University of Illinois at Chicago will host their Fifth Conference in Ancient Philosophy

Aristotle's Practical Philosophy: A Conference on Aristotle's Ethics, Politics, and Poetics

April 16-17, 2004

Friday April 16, 2004, Afternoon session on Aristotle's ethics

Northwestern University, Harris Hall, Room 108, 1881 Sheridan Road, Evanston

2:00-3:45 Rosalind Hursthouse (University of Auckland, New Zealand), 'What does the Aristotelian phronimos know?'

Comments: Steven Skultety (Northwestern)

4:00-5:45 Gisela Striker (Harvard University), 'Aristotle's ethics as a political science'

Comments: Paula Gottlieb (Univ. of Wisconsin, Madison)

6:30 Dinner in Evanston

Saturday April 17, 2004:

Morning Session on Aristotle's politics

University of Illinois at Chicago, Institute for the Humanities, Stevenson Hall

8:30-9 Coffee and Rolls

9:00-10:45: Josiah Ober (Princeton University)

Comments: Sara Monoson (Northwestern)

11:00-12:45: Bernard Yack (Brandeis University), 'Rhetoric and Public Reason in Aristotle's Political Philosophy'

Comments: Danielle Allen (University of Chicago)

12:45-2:00: Van transportation from UIC to the University of Chicago; lunch at the Univ. of Chicago

Afternoon Session on Aristotle's poetics

University of Chicago, Franke Humanities Institute, Joseph Regenstein Library, Room S102, 1100 East 57th Street (PLEASE NOTE CHANGE OF ADDRESS)

2:00-3:45: Stephen Halliwell (University of St. Andrews), 'Aristotle's Poetics and the Theatre of the Mind'

Comments: Anne Eaton (Bucknell University)

4:00- 5:45: Paul Woodruff (University of Texas, Austin), 'Who is Creon? Character and Mimesis in Aristotle's Poetics'

Comments: Gabriel Richardson Lear (Univ. of Chicago)

7:30 Dinner for Participants

The conference is sponsored by the Northwestern University Classical Traditions Initiative, the Northwestern University Ancient Philosophy Fund, the University of Chicago Franke Institute for the Humanities, the University of Chicago Departments of Classics and of Philosophy, the University of Chicago Committee on Social Thought, Professor Martha Nussbaum, the University of Illinois at Chicago College of Liberal Arts and Sciences, the UIC Graduate College, UIC Humanities Institute, and UIC Department of Philosophy.

The conference itself is free.

To reserve a place at one of the dinners, contact Richard Kraut. Dinner on Friday evening will be $15 per person, and dinner on Saturday evening will be $35 per person. Dinner on Friday evening will be free for graduate students in the Chicago Area program, and $15 for dinner on Saturday evening.

Please mail checks made out to 'Northwestern University' to Richard Kraut, Department of Philosophy, Northwestern University, Kresge Hall Room-2-335, 1880 Campus Drive, Evanston, Illinois 60208-2214.

To reserve a place in the van on Saturday (to go from UIC to the University of Chicago), please contact Richard Kraut.

The speakers and commentators will be staying at the Omni Chicago Hotel, 676 N. Michigan Avenue Chicago, IL 60611. If you would like to stay at the hotel at University of Chicago rates (approx. $145 per night), please contact Ms. Lorrie Ragland <lorrie_ragland@law.uchicago.edu> by April 1st to have your name added to the hotel list. To make a reservation you will need to give your credit card number to Ms. Ragland.

 

9 NEW (internet source: http://perso.club-internet.fr/alemore/)

 

jeudi 29 et vendredi 30 Avril, 2004

Colloque "Esthétique, politique, épistémé et Weltanschauung : résultantes" (à préciser)

(organisé par les doctorants du RITM et du CRHI)

J.-F. Trubert (musicologie) : "Motion and the renewal in Weil-Brecht partnership: facing alienation"

P. Dal Molin (musicologie) : "Nationalisme et classicisme dans les sonates de Debussy"

M. Joos (musicologie) : (à confirmer et à préciser)

P. Marcolini (philosophie) : "Dada et la politisation de l'esthétique au XXe siècle (Sens et valeur du moment Dada selon Walter Benjamin et les Situationnistes)"

D. Popa (philosophie) : "Imagination and art composition, and creation" (à préciser)

S. Martelli (musicologie) :"High graduate exams in french academic music school at the end of XIXth century"

M.-C. Jeannot (musicologie) :"Structuralism: consequences on contemporary modern thought"

A. Bourdie (sociologie) : "Le concept et l'image du nègre en France au début du XXe siècle"

N. Corniglion (droit) "The shift in penal and civil rights between XIXth and XXth century"

 

10 NEW (internet source: http://perso.club-internet.fr/alemore/)

 

mardi 01 Juin, 2004 (lieu à préciser)

Séminaire "Philosophie et musique"

D. Charles (à confirmer et à préciser)

F. Jegoudez : "L'antithèse Bizet-Wagner"

M. Sobieszczanski (à confirmer et à préciser)

C. Talon : "Musique et affects" (à préciser)

A. Tirzi : "L'impossibilité de parler de la musique" (à préciser)

J.-F. Trubert (à confirmer et à préciser)

P. Dal Molin : "Deleuze et Boulez" (à préciser)

vendredi 11 Juin, 2004 (à confirmer)

Séminaire "Philosophie et esthétique"

C. Lacroix, "L'illusion de l'autre: une expérience esthétique"

N. Biagioli, "La bathmologie" (à confirmer et à préciser)

 

11 NEW (internet source: http://www.british-aesthetics.org/DesktopDefault.aspx)

 

“Beauty of all things beautiful”: Theology and the Arts

International Conference on Theological Aesthetics

May 19-23, 2004

Theology Department, St. Bonaventure University, NY

Sponsored by the Franciscan Holy Name Province, St. Bonaventure University, and the Franciscan Institute

Address:

International Conference on Theological Aesthetics, Theology Department,

St. Bonaventure University,

St. Bonaventure, NY 14778, USA

General inquiries:

obychkov@sbu.edu

Organizing Committee:

Dr. Oleg Bychkov, St. Bonaventure University, NY

http://web.sbu.edu/theology/oleg.html

wk: (716) 375-2443

Dr. Xavier Seubert, New York University, NY

Dr. James Fodor, St. Bonaventure University, NY

Dr. Daniel Tate,  St. Bonaventure University, NY

International Conference on Theological Aesthetics

 “Beauty of all things beautiful”: Theology and the Arts

May 19-23, 2004

St. Bonaventure University, NY

Wednesday, May 19

5-6PM

President’s Welcome

Keynote address: “The Beauty of the Cross”

Richard Viladesau, Fordham University, NY

7PM

Dinner and reception

Thursday, May 20

Breakfast

Part I. Theological Aesthetics

1. Philosophical Presuppositions

9-10AM

“Cracks in the World: the Aesthetic”

Calin Mihailescu, University of Western Ontario, Canada

“The Retrieval of Mimesis in Gadamer’s Philosophy of Art”

Daniel Tate, St. Bonaventure, NY

Coffee break

10:15-11:15AM

“Aesthetics of the Body”

Anne Foerst, St. Bonaventure, NY

“Parabolic Judgment: Disciplines of Listening and the Aesthetic/Ethical Expansion of the Christian Imagination”

Jim Fodor, St. Bonaventure

coffee break

11:30-12:30PM

Discussion: moderator Viladesau

Lunch

2. Theological Aesthetics of H.U. von Balthasar

2-3PM

 “Hans Urs von Balthasar: Theological Aesthetics as the Gateway to Systematic Theology”

Francesca Aran Murphy, University of Aberdeen, Scotland

“The English Inheritance: Hans Urs von Balthasar’s Reading of Gerard Manley Hopkins”

Fergus Kerr, Blackfriars, Oxford, England

Coffee break

3:15-4:15PM

 “Friends or Foes? Hans Urs von Balthasar and Contemporary Feminist Theology: A Conversation”

Michelle Gonzalez, Loyola Marymount University, CA

 “Patterns of Protestant Aesthetics: Conversations with Von Balthasar”

Lee Barrett, Lancaster Theological Seminary, PA

Coffee break

4:30-5:30

Discussion: moderator Kerr

dinner

7:30-8:30 or 8-9PM

Evening lecture and discussion

 “Communion and Community: the Theological Aesthetics of Devotional Experience”

Alejandro Garcia-Rivera, Jesuit School of Theology at Berkeley, CA

Friday, May 21

Breakfast

3. Theological Aesthetics in Medieval/Franciscan Texts

9-10AM

 “Retrieval of Theological Aesthetics from Ancient and Medieval Texts (Plato to Bonaventure): the Balthasarian Model”

Oleg Bychkov, St. Bonaventure, NY

 “The Beautiful according to Thomas Aquinas: an Inquiry with regard to Present-day Concepts” (Das Schöne nach Thomas von Aquin: eine Anfrage an gegenwärtige Konzepte)

Günther Pöltner, Institut für Philosophie, Universität Wien, Austria

Coffee break

10:15-11:15AM

 “Scotus, Hopkins and von Balthasar”

Bernardette Ward, University of Dallas, TX

 “Divine Delight: Acceptatio and the Aesthetics of Salvation According to Duns Scotus”

Mary Beth Ingham, Loyola Marymount University, CA

Coffee break

11:30-12:30

Discussion: moderator Bychkov

Lunch

Part II. Theology of the Arts

2-2:45PM

Keynote address: “Beyond Beauty and the Aesthetic in the Engagement of Religion with Art"

Nicholas P. Wolterstorff, Yale University, CT

Coffee break

1. Theology and Space

3-4PM

 “The Built Environment as Art”

Timothy Gorringe, Exeter University, England

 “The Strange and the Self. Visual Arts and Theology in Aboriginal and Other (Post-) Colonial Spaces”

Sigurd Bergmann,The Norwegian University of Science and Technology, Norway

Coffee break

4:15-5:30 (5:45)PM

 “Rethinking the Creation of Sacred Space in a Global Village: Myth or Magic?”

Richard Vosko, Designer and Consultant for Worship Environments, Diocese of Albany, NY

Discussion: moderator Gorringe

dinner

7:30-8:30 or 8-9PM

Evening lecture with discussion time and/or reception

Saturday, May 22

Breakfast

2. Theology and the Image

9-10AM

 “What is Worth Remembering: Image,Time, Redemption”

George Pattison, Oxford University, England

Coffee break

10:15-11:15AM

 “A Paradise Within Thee, Happier Far”: “The Upright Heart and Pure” as Temple of Divine Beneficence in Milton's Paradise Lost

John Mulryan, St. Bonaventure, NY

 “Darkness and Light: Reflections of a Contemporary Painter Embracing the Drama of Religious Imagery”

Constance Pierce, St. Bonaventure, NY

Coffee break

11:30-12:20PM

Discussion: moderator Pattison

Lunch

3. Theology and the Image: the Franciscan Tradition

2-3PM

 “Franciscan Texts and Images as Sources for Narrative Church History”

Amanda Quantz, Catholic Theological Union, Chicago

 “Image as the Word of God: Francis and Salvation History”

 (Featuring interactive 3-D computer models of Franciscan Art)

Daniel T. Michaels, St. Louis University, MO

Coffee break

3:15-4:15PM

Franciscan Art and Byzantium

Helen Evans, Metropolitan Museum of Art, New York, NY

 “Franciscan Icons: Theory and Practice”

Amy Neff, The University of Tennessee, TN

Coffee break

4:30-5:30PM

Discussion: moderator Xavier Seubert

dinner

7:30-8:30 or 8-9PM

General discussion: possibility of a permanent conference on Franciscan art/Franciscan influences in religious art at St. Bonaventure

Key speakers: Xavier Seubert, New York University, New York, NY; Margaret Carney, St. Bonaventure, NY; Helen Evans, Metropolitan Museum of Art, New York, NY

Sunday, May 23

Breakfast

Optional: excursions

Departure

http://web.sbu.edu/theology/theoaesth/

 

 

 

 

PUBLICATIONS (4 NEW)

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

 

 

Subject: [AE] News: ToC:  ANGELAKI  Volume 8  in theory, 1993--2003

After some delay, ANGELAKI 8.2 and 8.3 were published at the end of the year.

Gerard Greenway

volume 8 number 2 november/december 2003

THE ONE OR THE OTHER: FRENCH PHILOSOPHY TODAY

issue editor: peter hallward

CONTENTS

The One or the Other: French Philosophy Today

-- Peter Hallward

Some Comments on the Question of the One

-- Christian Jambet

Our World

-- Jean-Luc Nancy

Stagings of Mimesis

-- Philippe Lacoue-Labarthe

Despite Everything, Happiness Is Still Happiness

-- Clement Rosset

The Problem of Great Politics in the Light of Obviously. Deficient Modes of Subjectivation

-- Guy Lardreau

Phenomenology of Life

-- Michel Henry

Beyond Formalisation

-- Alain Badiou

Sexual Alterity and the Alterity of the Real for Thought

-- Monique David-Menard

Technics of Decision

-- Bernard Stiegler

What Can Non-Philosophy Do?

-- Francois Laruelle

Politics and Aesthetics

-- Jacques Ranciere

The Mole and the Locomotive

-- Daniel Bensaid

The Science of Relations

-- Michel Serres

* * *

volume 8 number 3 november/december 2003

GENERAL ISSUE 2003 II

issue editor: pelagia goulimari

CONTENTS

Editorial Introduction

-- Pelagia Goulimari

Non-violence and the Other: A Composite Theory of Multiplism, Heterology and Heteronomy Drawn from Jainism and Gandhi

-- Chakravarthi Ram-Prasad

Infinite Spaces: Walter Benjamin and the Spurious

Creations of Capitalism

-- Mark Cauchi

Ubermenschen, Mestizas, Nomads: The Ontology of Becoming and the Scene of Transnational Citizenship in Anzaldua and Nietzsche

-- Salah el Moncef

Cavailles, Husserl and the Historicity of Science

-- David Webb

The Theatre of Phenomenology

-- Andrew Haas

Statements and Profiles

-- Gilles Deleuze

Her Voiceless Voice: Reviewing Sappho's Poetics

-- Cornelia Tsakiridou

Lacanians and The Fate of Critical Theory

-- Filip Kovacevic

Bataille and the Erotics of Hegelian Geist

-- Kane X. Faucher

The Problem of a Material Element in the Cinematic Sign:

Deleuze, Metz and Peirce

-- Roger Dawkins

Amidst the Plurality of Voices: Philosophy of Music after Adorno

-- Nikolas Kompridis

A Harmless Suggestion

-- Robert Smith

Volume Index

* * *

ANGELAKI

journal of the theoretical humanities

September 2003 sees the 10th anniversary of the journal. There is a page

at the website giving a chronological selection of 100 articles from

Volumes 1 to 8. Please click on 'In theory, 1993--2003' at:

http://www.tandf.co.uk/journals/routledge/0969725X.html

Gerard Greenway

Angelaki: journal of the theoretical humanities

http://www.tandf.co.uk/journals/routledge/0969725X.html

Angelaki Humanities

http://catalogue.mup.man.ac.uk/acatalog/Angelaki_Humanities_.html

Subversive Spinoza: (un)contemporary variations

Antonio Negri - ed. Timothy S. Murphy

july 2004 - hb 0-7190-6646-8 - pb 0-7190-6647-6

 

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

 

Dear Listmembers

To those who are interested in Japanese aesthetics I would like to announce the apparition of my new book

PLACE AND DREAM: JAPAN AND THE VIRTUAL

published by Rodopi in Amsterdam and New York

ISBN: 90-420-1069

info@rodopi.nl

www.rodopi.nl/ntalpha.asp?BookId=SIP+12&type=new&letter=P

Fax: 31-(0)20 611 48 21

Thank you very much

Thorsten Botz-Bornstein, Paris

Contents:

Introduction: Space and the Virtual: An East-West Comparison

1. The Gamelike and Dreamlike Structures of Nishida Kitarô’s Pure Experience

2. Iki, Style, Trace: Kuki Shûzô and the Spirit of Hermeneutics

3. Contingency and the ‘Time of the Dream’: Kuki Shûzô and French Prewar Philosophy

4. The ‘I’ and the ‘Thou’: A Dialogue between Nishida Kitarô and Mikhail Bakhtin

5. Ma, Basho, Aida: Three Japanese Concepts of Space at the Age of Globalization

6. Nishida Kitarô and the Politics of the Virtual Body

7. Nishida and Wittgenstein: From Pre-conceptual Experience to Lebensform

Postface: "Predicative Logic" and Virtual Stylistics

Appendix: Eight Western Paradigms of Onreiric Spatial Perception:

Chôraic Space, Aporiatic Space, Phronetic Space, Chronotopic Space, Mnemetic Space, Ur-Space,

Dandyist Space, Unheimlicher Space

 

 

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

 

 

Publication Announcement

Rodopi has published a book that may be of interest

Artistic Research.

Edited by Annette W. Balkema and Henk Slager.

Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical

practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the artistic domain so far has tended to continually exceed the parameters of knowledge management? One could claim that the artistic field comprises the hermeneutic question of the humanities, the experimental method of the sciences, and the societal commitment of the social sciences. Will that knowledge influence the domain, the methodology, and the outcome of artistic research? Another major topic concerns not only the specificity of the object of knowledge of artistic research but above all whether and how artistic research and its institutional programs will influence topical visual art, its artworks and its exhibitions. These complex problematics with their various points of view and management models are mapped out through the contributions of theorists, curators, and institutions, from Belgium, France, Great-Britain, Italy, The Netherlands, Finland, Germany, and Sweden. May these contributions be a constructive impetus for a versatile debate which may influence the future role of advanced art institutions and the position of artistic research in the next decade.

For further information including the Table of Contents see:

http://www.rodopi.nl/senj.asp?BookId=LB+18

Amsterdam/New York, 2004, 184 pp.

(Lier & Boog - Series of Philosophy of Art and Art Theory 18)

PB: ISBN 90-420-1097-5 EUR 40/ US$ 50

 

 

4 NEW (internet source: http://www.umr8547.ens.fr/Documents/Publ_Dufour.pdf)

 

 

- L’Esthétique musicale de F. Nietzsche, Lille, Editions du septentrion, collection Musique et

sciences des arts, 2004, à paraître, 350 pages.

Ce travail reprend, développe et fonde en une unité les différents articles que j’ai publiés sur cette question. Les développements inédits se trouvent principalement dans : a) l’analyse des pieces musicales de Nietzsche que j’avais jusqu’ici mises de côté et qui permettent de mieux comprendre sa conception de la musique ; 2) l’analyse des partitions de P.Gast (et en particulier celle du Lion de Venise), auxquelles Nietzsche ne cesse de se référer à titre d’exemples de musique du sud.

 

 

January 2004 - March 2004

CALLS FOR PAPERS (9 + NEW 15)

 

1 (internet source: http://www.aesthetics-online.org/)

Humor
Monist Special Issue
‘An unarmed man has been shot dead by police in London for the second time this week.' Interesting. Both Russellians, who give a quantificational analysis of sentences containing indefinite descriptions, and anti-Russellians, who say that such descriptions typically pick out an individual, seem to be wrong about the indefinite description occurring in the quoted sentence. And talking of the police, I got knocked down by a bus the other day, and there I was, lying injured in the road, when a policeman came up to me and said, ‘Let me have your name, sir, and I'll inform your relatives.' I said ‘But my relatives already know my name.' Here the policeman's utterance invites misinterpretation, yet it does not contain any ambiguous expressions. The policeman was optimistically relying on my having mastered those principles of interpretation, on which all competent speakers depend, which would have delivered his intended meaning. The theoretical challenge is to identify those principles. Nonsense and absurdity are frequently amusing, and a certain kind of nonsense springs from conceptual (‘grammatical') error of just the sort that philosophy aims to expose. Wittgenstein went so far as to identify the depth of philosophy with the depth of a grammatical joke (Philosophical Investigations, 111). He himself made much of utterances such as ‘It is raining and I don't believe it' (op. cit., p. 192), and ‘I know that I am in pain' - which, he held, can't be said, except perhaps as a joke (op. cit., 246). But Wittgenstein aside, there has until now been little investigation of humor as a stimulus to philosophy, and little investigation of the forms and varieties of humor and of how these relate to the forms and varieties of language-use in general. Contributors will include Kent Bach, Noel Carroll, Ernie Lepore.
Deadline: January 31, 2004
Laurence Goldstein <
laurence@hkusua.hku.hk>

 

2 (internet source: http://www.aesthetics-online.org/)

2004 Hawaii International Conference on Arts and Humanities

Call for Papers/Abstracts/Submissions
Hawaii International Conference on Arts and Humanities
January 8 - 11, 2004
Renaissance Ilikai Waikiki Hotel, Honolulu Hawaii, USA

Submission Deadline: August 18, 2003

Web address: http://www.hichumanities.org/
Email address:
humanities@hichumanities.org

The 2004 Hawaii International Conference on Arts and Humanities will be held from January 8 (Thursday) to January 11 (Sunday), 2004 at the Renaissance Ilikai Waikiki Hotel in Honolulu, Hawaii. The conference will provide many opportunities for academicians and professionals from arts and humanities and related fields to interact with members inside and outside their own particular disciplines. Cross-disciplinary submissions are welcome. Topic Areas (All Areas of Arts and Humanities are Invited):

*American Studies
*Archeology
*Architecture
*Landscape Architecture
*Art
*Dance
*English
*Ethnic Studies
*Film
*History
*Languages
*Literature
*Linguistics
*Music
*Performing Arts
*Philosophy
*Religion
*Second Language Studies
*Speech/Communication
*Theatre
*Other Areas of Arts and Humanities
*Cross-disciplinary areas of the above related to each other or other areas

The Hawaii International Conference on Arts and Humanities encourages the following types of papers/abstracts/submissions for any of the listed areas:

Research Papers - Completed papers.
Abstracts - Abstracts of completed or proposed research.
Student Papers - Research by students.
Poster Sessions/Research Tables - informal presentation of papers or abstracts.
Work-in-Progress Reports or Proposals for future projects.
Reports on issues related to teaching.
Panel Discussions, Practitioner Forums and Tutorials are invited.
Workshop proposals are invited.

For more information about submissions see:
http://www.hichumanities.org/cfp_artshumanities.htm

Submission Guidelines
1. Submissions may be made electronically via e-mail to
humanities@hichumanities.org or mailed. Electronic submissions are
preferred. Submissions will be acknowledged within 48 hours.

If submissions are mailed, submit two copies of your paper, report,
abstract, proposal or study. Submissions imply that at least one author
will register for the conference and be present at the time designated in
the conference program. Submissions must be received by August 18, 2003.
E-Mail, fax or mail submissions to:

Hawaii International Conference on Arts and Humanities
P.O. Box 75036
Honolulu HI, 96836, USA

Telephone: (808) 949-1456
Fax: (808) 947-2420
E-mail:
humanities@hichumanities.org

There is a limit of two contributed papers per lead author.

2. Each submission must include a separate title page as outlined below:

a. title of the submission,
b. topic area of the submission (available at
http://www.hichumanities.org/cfp_artshumanities.htm),
c. two or three keywords that describe the submission,
d. name(s) of the author(s),
e. mailing address(es),
f. e-mail address(es),
g. phone number(s),
h. fax number(s),
i. corresponding author if different than lead author.

Correspondence regarding receipt of submission will be made by e-mail unless another mode of correspondence is requested. BE SURE AND INCLUDE THE TOPIC AREA AND TWO OR THREE KEY WORDS DESCRIBING THE SUBMISSION.

3. Submissions will only be published in the conference proceedings if at least one of the authors attends the conference. Instructions for submitting a computer readable format for the proceedings will be provided when the submission is accepted.

4. If you wish to be a reviewer, session chair, or discussant, please e-mail your request to humanities@hichumanities.org and indicate the topic area in which you are interested. Registration for the conference is required to be a session chair or discussant.

 

3 (internet source:  Phaenlist@philo.at)

 

THE THIRD WORLD CONGRESS OF PHENOMENOLOGY

Theme: PHENOMENOLOGY WORLD WIDE AT THE BEGINNING OF THE THIRD MILLENNIUM,

Historical Research; Great Phenomenological Issues; Present Day Developments

Organized by: The World Phenomenology Institute, its centers and affiliated societies.  All phenomenology groups and societies are invited to join.

Place: Wadham College, University of Oxford, England

Date:   August 15 - 21, 2004

Program Director:   Professor Anna-Teresa Tymieniecka, World Phenomenology Institute, 1 Ivy Pointe Way,

Hanover, New Hampshire  03755, USA, Fax: 802-295-5963.

Abstracts due:   January 1, 2004

Full papers due:   May 1, 2004

Registration Fee:   Before February 1, 2004: US $150.00; After February 1, 2004:  US $175.00

Affordable accommodations available

((The First World Congress of Phenomenology was held to celebrate the Fiftieth Anniversary of Husserl's death, by the World Phenomenology Institute in Santiago de Compostela, Spain, 1988, cf. Analecta Husserliana Volumes XXXIV, XXXV, XXXVI, XXXVII.  The second was held in Guadalajara, Mexico, 1995, cf. Analecta Husserliana Volumes LII, LIII, LIV, LV.))

For details and further information, watch our website: http://www.phenomenology.org

 

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

 

Michigan State University Grad Student Philosophy Conference

MICHIGAN STATE U N I V E R S I T Y

FIFTH ANNUAL GRADUATE STUDENT PHILOSOPHY CONFERENCE IN SOCIAL-POLITICAL THOUGHT AND VALUE THEORY

February 27-28, 2004

featuring keynote speaker Bernard Boxill of UNC Chapel Hill

We welcome papers in all areas of social-political thought and value theory, including:

Aesthetics

Biomedical Ethics

Critical Theory

Feminist Theory

Historical Ethics

Metaethics

Race Theory

Social Epistemology

We will also accept papers by graduate students in areas of philosophy related to social-political thought and value theory, and interdisciplinary papers on the same subjects which are relevant to philosophy. See abstracts of papers presented at our conference on our website (URL below).

PAPER SUBMISSION GUIDELINES

Papers Must be: Received by January 1, 2004

Limited to 15 double-spaced pages (30 minutes presentation time)

Accompanied by an abstract of no more than 250 words submitted with a single cover sheet indicating your name, institution, address, phone number, and email address. (Papers will be judged by anonymous review and so should contain no indication of authorship on any page other than the cover page.)

We will only accept papers electronically, and not by post. Papers should be submitted via email to philconf@msu.edu Please send cover sheet, abstract, and paper in one file as an attachment, and not in the body of the message (preferred format is MSWord, but we will accept submissions in WordPerfect 8.0).

Registration and other conference information can be found at our website: http://www.msu.edu/unit/phl/gradconference/

Please direct any questions, including requests for accommodations for persons with disabilities, to the Organizing Committee at philconf@msu.edu We endeavor to provide rooming free of charge to presenters and commentators.

 

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

 

Knowledge and Imagination

First Call for Papers for conference on Knowledge and Imagination

*Keynote speakers:

Jeanne Peijnenburg (University of Groningen, The Netherlands)

Ole Skilleas (University of Bergen, Norway)

Tamar Szabo Gendler (Cornell University, USA)

James Van Cleve (Brown University, USA)

*Dates and location:

- Conference dates: 23-25 June, 2004

- Conference venue: Department of Philosophy, Vrije Universiteit, Amsterdam

- Deadline for abstract submissions: February 15th, 2004.

*Conference theme:

"Knowledge" and "imagination" are important epistemological concepts. But what is the exact relationship between them? The present conference aims to shed some light on this question. On the one hand, one might council that the relationship between knowledge and imagination is strained (if not stormy). If one knows that it rains, one does not imagine it; and if one imagines that it rains, one does not know it. On this view, knowledge and imagination tend to go apart. On the other hand, one might council that the relationship between knowledge and imagination is friendly (if not flourishing): (i) thought- experiments might advance (philosophical) knowledge, yet are clear products of the imagination; (ii) reading fiction might advance (moral) knowledge, yet fiction is a clear product of the imagination. On this view, knowledge and imagination tend to go together.

The purpose of the conference is to discuss the relationship between knowledge and imagination. Is that relationship really as stormy as some think, or is there room to argue for flourishing prospects? Possible topics include (but are certainly not confined to):

- The role of the imagination in conceptual analysis

- The epistemological status of thought- experiments and possible worlds

- Fiction and knowledge

- Knowledge and the problem of imaginative resistance

- Historical studies

Please send a detailed abstract of 250 words to:

Martijn Blaauw

Department of Philosophy

Free University of Amsterdam

De Boelelaan 1105

1081 HV AMSTERDAM

The Netherlands

or email the abstract to knowim@ph.vu.nl

Please make your abstract suitable for anonymous refereeing.

The DEADLINE for submissions is February 15th 2004.

Organizing Committee

The conference is organized by the researchgroup ‘Sources of Knowledge’, based at the Department of Philosophy, Vrije Universiteit, Amsterdam.

For further information, please contact the organizing committee (Martijn Blaauw, Cornelis van Putten, Mariëtte Willemsen, and René van Woudenberg) at knowim@ph.vu.nl

 

6 (internet source: http://www.uc3m.es/uc3m/dpto/HC/AGR/mam.html)

 

III Inter-university Workshop on

Mind, Art and Morality

Madrid, Spain. March 4th-6th, 2004

Presentations should not exceed 40 minutes (with 20 additional minutes for discussion). Deadline for the receipt of papers (or, alternatively, 1000 words abstracts) is January the 10th, 2004. Papers can be submitted and presented either in English or Spanish, preferably by e-mail. Each submission will be sent for blind selection to two members the Scientific Comittee.

Invited Speaker: Christine Korsgaard  (Harvard University, USA)

The inter-university workshop on Mind, Art and Morality was created two years ago, with the aim of opening a new space for the philosophical reflection rooted in the kind of rigorous philosophical research and discussion that the analytic tradition has been carrying on, and extrapolating it to some open and often slippery issues on aesthetic and moral experience, argumentation, action and value assessment. Problems that finally underlie in any genuine philosophical thinking.

This workshop aims at working in a point where ethical, aesthetical and the philosophy of mind’s discussion topics converge and interweave. Our hope is, finally, that this initiative will help to create a space for discussion open to philosophers from different fields sharing an interest in the rigorous study of such questions.

The Workshop follows up the structure of the Inter-University Workshop on Philosophy and Cognitive Science, whose first edition took place in Donostia/San Sebastian (Spain) in 1989. Each edition is hosted by a different University and has a prominent philosopher as invited speaker. In addition, a number of contributed papers are read (in English or Spanish) on any aspect of his/her work.

The philosophical works and discussions encouraged by the Workshops on Philosophy and Cognitive Science have tended to focus on the disciplines more "typically analytic", like the philosophy of language, the philosophy of mind and epistemology, while no equivalent project in areas like ethics or aesthetics has crystallized so far. The main purpose of the Inter-University Workshop on Mind, Art, and morality is precisely to help filling this gap.

The first edition of the Workshop about Mind, Art and Morality took place in Murcia (2002) with Richard Wolheim as the invited speaker. The second edition has been realized recently in Valencia with the discussion of Jonathan Dancy’s practical philosophy. This third edition, will take place in the University Carlos III of Madrid, in March 2004, and will focus on the work of the American philosopher, Christine Koorsgaard.

Papers on the practical philosophy of Christine Korsgaard are specially invited, although papers on any other aspect of her work are also welcome. Young scholars are highly encouraged to participate.

Correspondence and submissions:

Carlos Thiebaut Luis-Andrè (thiebaut@hum.uc3m.es)

Clara Ramírez Barat (cramirez@hum.uc3m.es)

Grupo de Filosofía

Departamento de Humanidades

Universidad Carlos III de Madrid

C/Madrid, 126, dpcho: 15.1.61

28903, Getafe, Madrid.

Tel. +34 916249235     Fax +34 916249212

http://www.uc3m.es/uc3m/dpto/HC/AGR/amm.html

Organizing Committee:

Antoni Gomila (Universitat de les Illes Balears)

Carlos Thiebaut (Universidad Carlos III de Madrid)

Gerard Vilar (Universidad Autónoma de Barcelona)

Scientific Committee:

Jacques Bouveresse (College de France, París)

Valeriano Bozal (Universidad Complutense, Madrid)

Josep E. Corbí (Universitat de València)

Manuel García Carpintero (Universitat de Barcelona)

Tobies Grimaltos (Universitat de València)

Jordi Ibáñez (Universitat Pompeu Fabra)

Julián Marrades (Universitat de València)

Carlos Moya (Universitat de València)

Francisca Pérez Carreño (Universidad de Murcia)

Salvador Rubio (Universidad de Murcia)

Marcelo Sabatés (Kansas State University)

Gianfranco Soldati (Université de Fribourg)

Antonio Valdecantos (Universidad Carlos III, Madrid)

José Luis Zalabardo (University College, London)

 

7 (internet source: http://www.acpcpa.ca/resources/conferences/Deleuze_Trent_2004.html)

Gilles Deleuze: Experimenting with Intensities. Science, Philosophy, Politics, Arts / Gilles Deleuze: L’Expérience aux intensités. Science, Philosophie, Politique, les Arts

International Conference at Trent University

May 12-15, 2004

Essays of no more than 4000 words should be submitted, no later than February 15, 2004, to the Philosophy Department, Trent University, Peterborough, ON K9J 7B8, to the attention of Constantin V. Boundas. For more information, please, visit http://www.trentu.ca/philosophy/

May 12: Intensive Science: Philosophy of science faced with dynamic processes, morphogeneses, and multiple attractors.

May 13: Virtual Philosophy: Virtuality as a modal operator and "flat ontologies."

May 14: Politics of Becoming: Publics, counter-publics and the politics of becoming.

May 15: Arts and Affect: aesthetics of the affect.

Invited Speakers: Ronald Bogue, William Connolly, Manuel DeLanda, Brian Massumi, and Paul Patton.

 

8 (internet source: http://www.aesthetics-online.org/events/calls.html)

Narration, Imagination, and Emotion in Moving Image Media

July 22-24, 2004, Grand Rapids, Michigan

The Center for the Cognitive Study of Moving Images (CCSMI) is pleased to announce a three-day conference, "Narration, Imagination, and Emotion in the Moving Image Media" at Calvin College. Papers are invited on topics related to this year's theme, examining the moving image media from a broadly cognitive perspective. Papers on the conference theme that incorporate other approaches, or suggest the revision or redirection of cognitive approaches, will also be considered.

The conference will be in close proximity to an IMAX theater, and we also welcome papers that explore IMAX and large-screen projection. We plan to devote at least one panel to large-screen films and spectatorship. This will be the fourth meeting of CCSMI <www.uca.edu/org/ccsmi/>, and the first in a conference format (with an open call for papers). Previous symposia were held at the University of Kansas, the University of Copenhagen, and the University of Pecs (Hungary).

Papers will be roughly 25 minutes in length in order to allow time for discussion. Send a paper proposal of 250 words and a brief biographical statement to Carl Plantinga <cplantin@calvin.edu>. Proposals for reconstituted panels will also be considered.

Deadline: February 15, 2004

 

9 (internet source: http://www.aesthetics-online.org/events/calls.html)

Contemporary Issues in Aesthetics

Special issue of the journal “Symposium”

This special issue of Symposium is dedicated to exploring contemporary issues in aesthetics and its relation to Continental thought. Article submissions are welcome on topics that include, but are not restricted to, the role of art in the production and expression of meaning, examinations of themes such as metaphor, narrative, symbol, style, art and self-knowledge, and the relation of/at/to philosophy and culture. This issue will be published as Volume 8, Number 2 in the Fall of 2004. Please submit two hard copies with a disk. Submissions by email are also welcome. Article submissions are peer-reviewed.

Deadline: March 31, 2004

Paul Fairfield, Editor

Symposium

Department of Philosophy

Queen's University

Kingston ON K7L 3N6

<paulfairfield@hotmail.com>

 

NEW 10 (internet source: http://www.aesthetics-online.org/)

 

2004 ASA Annual Meeting

October 27-30, 2004, Houston

Papers on any topic in aesthetics or the philosophy of art are invited. Papers addressing topics that overlap with topics in other areas of philosophy (such as metaphysics, epistemology, philosophy of language and mind, ethics) are especially encouraged.

Papers must be prepared for blind review and may not exceed twenty minutes reading time. Electronic submission is required and submission by email strongly preferred. Electronic files should be in Rich Text Format or PDF. It is the policy of the ASA that the programme committee may only consider submissions of papers authored by members of the Society.

Proposals for author-meets-critics sessions and invited symposia are also welcome. Proposals should comprise a paragraph outlining the expected contribution of the panel together with a list of panelists and paper titles. Papers to be presented on panels must be submitted to the programme chair by May 1, 2004.

Volunteers to serve as commentators or chairs are also welcome.

Ten travel awards are available to graduate students whose papers are accepted for presentation at the meeting.

Deadline for papers and panels February 1, 2004. Deadline for panel papers May 1, 2004.

Dominic McIver Lopes

Philosophy

UBC

Vancouver Canada V6T 1Z1

<dom.lopes@ubc.ca>

 

NEW 11 (internet source: http://www.aesthetics-online.org/)

ASA Rocky Mountain Division

July 9-11, 2004, Hotel St. Francis, Santa Fe

We welcome critical papers in all fields and disciplines, pertaining to the history, application and appreciation of aesthetic understanding. We are always particularly interested in research into interdisciplinary and intercultural approaches emphasizing the natural character of the American Southwest.

Papers for 25 to 30 minute presentations accepted for review. Please be sure to include your current email address with your submission, as this will be the primary means of notification on acceptance.

Deadline: March 15, 2004

John Samson

Department of English

Texas Tech University

Lubbock TX 79409-3091

phone: 806-742-2500 ext. 259

<john.samson@ttu.edu>

 

NEW 12 (internet source: http://www.aesthetics-online.org/)

 

Music and Language

June 21-22, 2004, University of Aberdeen

Keynote speaker: Peter Kivy

In June 2002 the Aberdeen University Music Research Group sponsored a highly successful cross disciplinary conference on 'The Intellectual Frontiers of Music'. In many of the discussions that ensued, it became clear that the relation of music to language is a recurrent theme in different disciplines. Are music and language parts of our biological nature, or are they social constructs? Does the human mind acquire musical and linguistic skills in the same way? Might the study of linguistics produce insights for the study of music and vice versa? Is music a universal language? Can we sensibly speak of distinct musical vocabularies? Is the expression 'the language of music' metaphorical, or literal?

The purpose of this follow-up conference is to explore these questions more closely, and to do so in a cross disciplinary context. The following disciplines are especially pertinent: Composition, Musicology, Music Education, Philosophy, Psychology, Socio-linguistics, Theology. However, paper proposals relevant to the theme of the conference will be welcome from all areas of inquiry. These should be of a reading time of no more than 30 minutes and will be chosen after a process of refereeing.

Deadline: January 30, 2004

Jasmin Cameron

Hilton Campus

University of Aberdeen

Aberdeen UK AB24 3UB

<jasmin.cameron@abdn.ac.uk>

 

NEW 13 (internet source: http://www.aesthetics-online.org/)

Literature and Philosophy after Kant: Re-evaluating Early German Romanticism

https://www.gmu.edu/depts/philosophy/rc/romanticismconference.htm

In recent years the work of the early German Romantics has drawn increased attention from American scholars. The writings of Novalis, Hölderlin, Schleiermacher, and the Schlegel brothers are attracting interest not only from students of German literature but across a wide range of academic disciplines. To literary scholars the Romantics are important because of their contribution to the development of contemporary literary theory. To philosophers and historians of ideas, they are a vital link between the critical philosophy of Immanuel Kant and the idealism of Fichte, Schelling, and Hegel.

“Literature and Philosophy after Kant: Re-evaluating Early German Romanticism” is intended to advance this already lively discussion and foster exchange between the disciplines of literature and philosophy. The conference will be held Friday and Saturday, June 11 and 12, 2004, at George Mason University in Fairfax, Virginia. Papers are welcome on all topics relating to the interpretation of early German Romanticism, especially its relation to German philosophy from Kant to Hegel, and from scholars in philosophy and literary studies. There will be two plenary sessions for presentations by Prof. Karl Ameriks of the University of Notre Dame and Prof. Jane Kneller of Colorado State University.

Literature and Philosophy after Kant: Re-evaluating Early German Romanticism" is sponsored by the Department of Philosophy and Religious Studies, George Mason University, as well as by the Office of the Provost, the College of Arts and Sciences, and the Department of Modern and Classical Languages.

Those interested in participating should send an abstract of not more than 500 words (for a paper presentation of 30 minutes, plus discussion) to:

Ted Kinnaman, Department of Philosophy and Religious Studies, George Mason University 3F1, Fairfax, VA 22030, or by email to tkinnama@gmu.edu. Proposals for entire two-hour (three-paper) panels are also encouraged.

Deadline for submissions is Jan. 31, 2004

 

NEW 14 (internet source: http://www.aesthetics-online.org/)

Aesthetics of Architectural Composition

June 16-19, 2004, Dresden University

This International Symposium aims to resurrect a strong tradition in the theory of aesthetics and architectural composition at Dresden University. Up to the middle of the 20th Century, architectural education was organized around three primary aspects: form, function and structure. While functional and structural aspects still dominate the field, it seems that aspects of building form and spatial aesthetics have been marginalized in the recent practice of architectural education. This development can be interpreted as a reorientation of architectural ideologies after WW2 as well as an increasing insecurity and lack of consensus on criteria for the evaluation of buildings and for the design of good architecture.

Yet despite disagreement on the right kind of principles that should be the basis of good architectural form and space, for centuries there was common ground for the assumption that good form can be systematically analyzed and described.

Principles of this kind can be traced from classical essays by Vitruvius, Alberti and Palladio as well as in writings by french theorists such as Blondel and Durand and even in modern manifestoes by Corbusier and Frei Otto. Building composition was not an exclusive domain of architects, but it was inspired by the arts and sciences such as painting and music as well as physics and biology.

As one of the oldest schools of Architecture in Germany, Dresden has a long and continuous tradition in the field of building composition. One of its special characteristics is a unique link between architecture and landscape architecture in one area of study and the subdivision of the department into teaching clusters along the lines of funcional aspects of architecture. Both research and education have been developed by architects such as Fritz Schumacher and Otto Schubert, who revitalized that tradition after WW2, and layed the foundation for a scientific description of the correlation between optics and architectural design. At present, the organizing institute focusses on the psychological foundations of architectural design as well as on theories of proportion and mathematically based ordering systems of design.

To celebrate the 175th anniversary of the Technical University of Dresden and the 125th anniversary of Prof. Otto Schubert, the Institute of Spatial Design hosts a symposium on the role and relevance of form-finding and form-generating processes in the recent field of architecture and design. The focus of this symposium is to discuss the role, the relevance and nature of a systematic and scientific discourse of architectural and urban form. A particular focus will be the role of systems of mathematical order and proportions in the design process. Furthermore, of interest is the aspect of form as it relates to research in cognitive sciences and environmental psychology. In summary, the overall framework of the conference is architectural aesthetics and its application to the practice of design.

This call for papers addresses not only architects, urban designers and planners, but also scientists, artists, philosophers, practitioners and theoreticians from related fields.

• The role and relevance of architectural aesthetics in a field that is currently dominated by economic factors on the one side

and short lived architectural fashions on the other. Is there a contemporary need for a discourse on building and urban design for

which transcend these aspects, and can such a revitalized focus improve the overall qualities of our built environment?

• Which are the central, scientific findings to be identified for the development of an understanding of architectural and

urban form?

• Are there systems of visual order that have gained importance in the design field both in history and the recent past?

Are there new theories on the horizon?

• What is the role of proportioning systems in contemporary architecture and urban design. Can a rediscovery and further

development of such systems have an impact on the perceived visual qualities of architecture?

• Digital tools for visualization and form generation: Order and harmony generated by computerized algorithms.

Virtual realities as a test for spatial cognition. Shape grammars and form metamorphosis.

• Psychological aspects of aesthetics and architectural design. The role of perception and cognition in the process of form

finding.

Deadline: February 1, 2004

TU-Dresden Fakultät Architektur

Lehrstuhl Raumgestaltung Prof.Dr. Ralf Weber

Zellescher Weg 17

01069 Dresden, Germany

<AAC@mailbox.tu-dresden.de>

 

 

NEW 15 (internet source: http://www.aesthetics-online.org/)

 

Canadian Society for Aesthetics

Call for Papers

21st Annual Conference, University of Manitoba, Winnipeg

30 May – 1 June, 2004

Deadline: February 15, 2004

The CANADIAN SOCIETY FOR AESTHETICS invites papers and/or panel proposals for its annual conference, to be held at the University of Manitoba (Winnipeg) from May 30 to June 1, 2004 under the auspices of the Congress of the Humanities and Social Sciences Federation of Canada. Papers on any aspect of aesthetics are welcome, particularly those related to the following themes:   (1) Law and Literature; (2) Environmental Aesthetics; (3) Art, Mind and Knowledge; (4) Video Art.  Also, in connection with the 2004 Congress theme “Idea, Identity, Place,” we are looking for submissions on the topic, Aesthetics and Cyberculture, as illustrated through the relations between body and machine, and network and community.

Presentations of papers (approximately 2500 words) should not exceed 20 minutes. Complete papers, along with a 150-word abstract, will be given preference (as well as a commentator); but abstracts alone are also welcome.  Those interested in organizing a panel (of 3 or 4 participants) on a special topic or recent publication should send a detailed proposal, including the names and affiliations of all participants and a general abstract of the topic. Bilingual panels are welcome. Papers and panel proposals, preferably, should be sent via e-mail (as MS Word or .RTF attachments) or via mailed disks; hard-copy submissions are also acceptable.

Prior to submitting, participants must be fully paid-up members of the Canadian Society of Aesthetics. Papers and proposals must reach the program coordinators no later than February 15, 2004. All submissions and inquiries must be sent to one of the following program coordinators:

Anglophone Coordinator:

Ira Newman

Department of Philosophy    

Mansfield University

Mansfield PA 16933,

inewman@mnsfld.edu          

Francophone Coordinator:

François Chalifour

465 Banting

Saint-Bruno, Québec

USA    CANADA  J3V 1Y4

chalif@hotmail.com

http://www.uqtr.uquebec.ca/SCE/

 

 

NEW 16 (internet source: http://www.aesthetics-online.org/)

 

Narration, Imagination, and Emotion in Moving Image Media

July 22-24, 2004, Grand Rapids, Michigan

The Center for the Cognitive Study of Moving Images (CCSMI) is pleased to announce a three-day conference, "Narration, Imagination, and Emotion in the Moving Image Media" at Calvin College. Papers are invited on topics related to this year's theme, examining the moving image media from a broadly cognitive perspective. Papers on the conference theme that incorporate other approaches, or suggest the revision or redirection of cognitive approaches, will also be considered.

The conference will be in close proximity to an IMAX theater, and we also welcome papers that explore IMAX and large-screen projection. We plan to devote at least one panel to large-screen films and spectatorship. This will be the fourth meeting of CCSMI <www.uca.edu/org/ccsmi/>, and the first in a conference format (with an open call for papers). Previous symposia were held at the University of Kansas, the University of Copenhagen, and the University of Pecs (Hungary).

Papers will be roughly 25 minutes in length in order to allow time for discussion. Send a paper proposal of 250 words and a brief biographical statement to Carl Plantinga <cplantin@calvin.edu>. Proposals for reconstituted panels will also be considered.

Deadline: February 15, 2004

 

NEW 17 (internet source: http://www.aesthetics-online.org/)

 

The Value of Aesthetic Experience

Deadline: March 30, 2004

http://londonaesthetics.tripod.com/

UNIVERSITY OF LONDON GRADUATE CONFERENCE

Generously supported by the British Society of Aesthetics (BSA)

11 June 2004, Senate House, London

Keynote speakers:

Richard Shusterman (Temple University, USA)

Paul Davies (Sussex University, UK)

Though long considered the most essential of aesthetic concepts, as including but also surpassing the realm of art, aesthetic experience has in the last half-century come under increasing critique. Not only its value but also its very existence has been questioned. Many analytic philosophers, taking Duchamp literally, tried to accommodate 20th Century art works by focusing on how we define a work of art and the role played by artworld institutions in that definition. While Dewey celebrated aesthetic experience, making it the very centre of his philosophy of art, Danto virtually shuns the concept, warning (after Duchamp) that its "aesthetic delectation is a danger to be avoided." The preoccupation with the anaesthetic thrust of the 20th century's artistic avant-garde, as Richard Shusterman recently argued, may itself be symptomatic of much larger transformations in our basic sensibility as we move increasingly from an experiential to an informational culture. What is clear, however, is that many philosophers and non-philosophers are concerned that this theoretical focus is misplaced and furthermore has helped legitimise a lot of bad art. Many people feel that classificatory definitions and artistic activity geared towards subverting these definitions neglect what is valuable about art and aesthetic experience.

Evidence to this effect is wide spread. Recent publications in analytic aesthetics have placed emphasis on the reach and value of the aesthetic including topics such as the aesthetic appreciation of nature, the connection between the aesthetic and ethics and the value of Beauty. This shift of emphasis is also paralleled in the art community. Contemporary artists and curators are moving away from producing art as idea or concept and beginning to re-evaluate and re-acknowledge the value of aesthetic experience and the role the artwork plays in that experience. This year, among the Turner Prize nominees are works of significant craftsmanship, aiming to create a striking visual effect. They are less about wordplay or definitions than about shocking or impressive images.

In response to this development, a University of London graduate aesthetics study group was set up in November 2003, by Adele Tomlin a research student at Kings College, London with the support of Alison Lord, a postgraduate student at Birkbeck College, London. Postgraduate students from Birkbeck, Heythrop, UCL and Kings as well as academics in the University are supporting this successful group. For more info on the group's activities click on this link University of London Aesthetics Graduate Study Group. The Graduate conference will build on the work of the study group as well as promote and encourage postgraduate work in Aesthetics. The aim of the conference is to re-examine the importance of the value of aesthetic experience as well as to challenge the direction that much analytic aesthetic theory in the 20th Century has taken.

There will be NO conference registration fee.

The BSA's declared foundational aim is to promote study, research and discussion of the fine arts and related types of experience from a philosophical, psychological, sociological, historical, critical and educational standpoint. For example, it is currently engaged in promoting the post-graduate study of the subject and recently launched a section on their website specifically aimed at postgraduates. It financially supports, though necessarily on a modest scale, other societies and individuals engaged in projects in aesthetics who apply to it.

The End of Aesthetic Experience

The ambiguous title of the philosopher Richard Shusterman's recent paper, "the end of aesthetic experience," has two goals: a reasoned account of its demise, and an argument for reconceiving and thus redeeming its purpose.

Somaesthetics: A Disciplinary Proposal

Richard Shusterman states in this recent paper that: "my prime goals here are reconstructive rather than historical: 1) to revive Baumgarten's idea of aesthetics as a life-improving cognitive discipline that extends far beyond questions of beauty and fine arts and that involves both theory and practical exercise; 2) to end the neglect of the body that Baumgarten disastrously introduced into aesthetics (a neglect intensified by the great idealist tradition in nineteenth-century aesthetics); and 3) to propose an enlarged, somatically centered field, somaesthetics, that can contribute significantly to many crucial philosophical concerns, thus enabling philosophy to more successfully redeem its original role as an art of living."

 

NEW 18 (internet source: http://www.aesthetics-online.org/)

 

Bob Dylan and Philosophy

Peter Vernezze & Carl Porter, Editors

Abstracts are sought for a collection of philosophical essays on Bob Dylan. The editors are currently in discussion with Open Court Press (The publisher of The Simpsons and Philosophy, The Matrix and Philosophy, and the forthcoming The Sopranos and Philosophy, etc.) regarding the inclusion of this collection in their "Popular Culture and Philosophy" series. We are seeking abstracts, but anyone who has already written an unpublished paper on this topic may submit it in its entirety. Potential contributors may want to examine other volumes in the Open Court Series. See http://www.opencourtbooks.com/

The book plans to focus on all aspects of the work and life of Bob Dylan. Although we expect the study of his lyrics will form the core of the work, we also plan on including analysis from his work in other mediums such as film and poetry, as well as an examination of his role as a public figure, etc. Some obvious areas for papers include the history of philosophy, ethics, social and political philosophy, philosophy of religion, aesthetics, and philosophy of language. But papers in any area of philosophy will be considered.

Deadline: January 15, 2004

Peter Vernezze

Department of Political Science and Philosophy

Weber State University

1203 University Circle

Ogden, UT 84408-1203

<pvernezze@weber.edu>

 

NEW 19 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

Call for papers for a panel (5/20/04-5/24/04) on the work--creative and/or theoretical of Peter Weibel and/or Jeffery Shaw, who will be participating in a plenary session of the upcoming International Association for Philosophy and Literature Conference. Send 1-2 page abstracts by email to: novakpp@lemoyne.edu

 

 

NEW 20 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

Call for papers for a special session to be proposed for MLA 2004 in Philadelphia: The Premodern in Poststructuralist Theory

How have poststructuralist theorists conceived of (or not conceived of) premodern periods, texts, and/or cultures? What is the relation between the post- and the premodern in theory?

Please send papers or abstracts by March 10th to:

Todd Reeser, Univ. of Utah (treeser@mail.hum.utah.edu).

 

 

NEW 21 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

INTERFACE: LIMINALITY, MEDIATION & HYBRIDITY

GRADUATE STUDENT

INTERDISCIPLINARY CONFERENCE

DEPARTMENT OF CULTURAL MEDIATIONS

CARLETON UNIVERSITY, OTTAWA

APRIL 30TH - MAY 1ST 2004

The Cultural Mediations Program at Carleton University announces a call for papers for the Interface graduate conference to be held in Ottawa during April 30th - May 1st 2004. The keynote speaker for the conference will be Will Straw from the Department of Art History and Communications Studies, McGill University.

The Interface conference is an interdisciplinary congress for graduate researchers and scholars in Canada. It emphasizes the embeddedness of cultural production and consumption within a matrix of mediating factors and the liminality resulting from multiple "contested borders". Presentations dealing with any aspect of "Cultural Mediations" are welcome in the general streams of Literary Studies, Visual Culture, Musical Culture and New Technologies. To accommodate a wide range of research interests the 2004 conference will be run with both general and themed streams. Performance pieces, slide exhibits and short film presentations (~20 mins) of theory/praxis are welcomed and encouraged. The conference welcomes proposals on a wide range of cultural studies / critical theory topics including

SUBJECTS

+ The Liminal Body

+ Mediating Sex

+ Nation, Race & Gender in Production

+ Sensing, Affect and Mediation

+ Experiencing Time

+ Homo Junctio: Connective Wo/Man

SPACES

+ Fringes and "Freaks"

+ The Space of Consumption

+ The Borders of the Nation

+ Exile, Nomadism, Diaspora

+ The Map and the Territory

+ Globalism, the Internet and Mediation

OBJECTS

+ "/"

+ Fetishism and the Overdetermination

+ Inter / Intra / Multi Disciplinarity

+ The Other as Mirror

+ The Analog and the Digital

+ Pattern, Complexity, Emergence

MEDIATIONS

+ The Moment of Production / Consumption

+ Communication and Language

+ Mediating History / Historicizing Mediation

+ Intersections of Cultural Theory and Praxis

+ Feedback, Cross-Talk and Noise

+ Limits and Boundaries

The Conference committee invites proposals for individual presentations to be included in general and themed streams. The format for presentations may be either

a 20 minute paper addressing a particular facet of the conference theme,

as determined by the conference committee, with 10 minutes of time for

feedback after each presenter, OR One media presentation or performance of about 20 minutes, followed by a discussion led by the artist and a committee appointed mediator.

Proposals (of no more than 250 words) for 20-minute papers should be directed via email to the Organizing Committee at interface@carleton.ca.

DEADLINE FOR SUBMISSIONS IS FEBRUARY 1, 2004

http://www.carleton.ca/interface/

 

NEW 22 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

Nexus: Reconstructing Theory and Value

Interdisciplinary Graduate Symposium

University of Tennessee at Knoxville

Knoxville, TN

Thursday and Friday April 1st and 2nd, 2004

Keynote Speakers: Dr. Daniel O’Hara (Temple University), author of _Empire Burlesque: The Fate of Critical Culture in Global America_ (Duke UP 2003) and Tony Conrad (SUNY-Buffalo) film maker, performance artist and musical pioneer.

The Graduate Students in English at University of Tennessee sponsor the Nexus Interdisciplinary Series, which explores disciplinary boundaries and borderlands. Nexus aims to better understand how theoretical, aesthetic and critical changes, both past and present, have shaped the humanities and fine arts, especially focusing on how intersections can help reenergize critical methodologies.

Nexus 2004 will draw together speakers from a variety of fields to consider the urgent question of theory following its supposed demise. Currently Nexus is especially interested in tracing how discourses are being reconstructed after deconstruction and how the critic’s relationship to value and ethics is helping to create new disciplinary boundaries. Where borderlands and ruptures were traditionally seen as sites of division and conflict, both in politics and on the page, recent theory has begun recognizing the value of affect and the importance of ethics. What is the relation between art/aesthetics and political agency? Nexus 2004 will focus on how the Humanities, Fine Arts and Social Sciences might be reconstructed, through new ways of reading and new modes of thinking.

The theme of the symposium is interdisciplinary; we encourage connections across fields of scholarship. Submission topics are not limited to, but might include:

New Electronic and Media Innovations and Borderlands

Art Beyond Globalization and Kitsch

New Modes of Activism

After Third-Wave Feminism

New Uses of History

Literary and Artistic Investigations after Postmodernity

Film and Performance after Postmodernity

Identity after Hybridity

Nexus is scheduled for April 1st and 2nd, 2004. GSE invites proposals for both individual papers and panels; these proposals should be 300 words in length, should include a CV and be received no later than January 30, 2004.

Please include a complete mailing address, e-mail address, AV requirements and professional affiliation. Submissions can be made electronically to (bgempp@utk.edu or scook2@utk.edu ) or by mail to:

Graduate Students in English

Nexus Interdisciplinary Symposium

Graduate Students in English

306 McClung Tower

Knoxville, TN 37996-0430

 

 

NEW 23 (internet source: aesthetics l@LISTSERV.INDIANA.EDU)

 

The Chinese Aesthetics Society and Wuhan University are calling for papers for the aesthetics conference

Beauty and the Way of Modern Life

to be held on May 14-16, 2004 at Wuhan University, Wuhan, China

The main theme of the conference will concentrate on the role of beauty in modern life. Areas to be discussed include, but are not limited to, the following:

1. Aesthetic Ideas about the Way of Modern Life

2. Aesthetics of Design

3. Environmental Aesthetics

4. Modern Reflections on Ancient Wisdoms of Eastern and Western Philosophy and Aesthetics

International participants are supposed to submit 200 US Dollars to the conference committee, who will cover the costs for meals and travel in the city of Wuhan during the conference. The committee will help to arrange two travel routes after the conference: one to the Three Gorges along the Yangtze River, another to the national forest park, Zhang Jia Jie in Hunan Province.

The deadline for abstract submission is March 15,2004. For more information please contact the conference committee directly.

Contacts:Prof. Chen Wangheng (Chairman), Mr. Deng Yangzhou (Secretary), Philosophy Department, Wuhan University, 430072,Wuhan, Hubei, P. R. China, Tel: 86-27-87684753, 86-27-87214253, Fax: 86-27-87682811, E-mail: yangzhou_deng@hotmail.com, whchen@whu.edu.cn

 

 

NEW 24 (internet source: aesthetics l@LISTSERV.INDIANA.EDU, http://www.philo.uqam.ca/polishphilosophy/)

 

Call for papers, deadline: 15 March 2004

Logic, Ontology, Aesthetics. The Golden Age of Polish Philosophy

Logique, ontologie, esthétique. L’âge d’or de la philosophie polonaise

24 -26.09.2004, Université du Québec à Montréal

Consulat général de la République de Pologne à Montréal

Un colloque international bilingue portant sur l’histoire et l’actualité de la contribution polonaise à la philosophie du vingtième siècle. A Bilingual International Conference on the History and Actuality of the Polish Contribution to Twentieth Century Philosophy

Conférenciers invités / Invited speakers: Arianna Betti (Amsterdam), Jean-Yves Béziau (Neuchatel) , Jean-Pierre Cometti (Aix), Jacques Dubucs (Paris), Denis Fisette (Montreal), Ingvar Johansson (Umea), François Lepage (Montreal), Dariusz Lukasiewicz (Krakow), Denis Mieville (Neuchatel), Jeff Mitscherling (Guelph), Kevin Mulligan (Geneve), Adam Olech (Krakow), Claude Panaccio (Montreal), Roger Pouivet (Nancy), Peter Simons (Leeds), Barry Smith (Buffalo/Leipzig), Amie Thomasson (Miami), Jan Wolenski (Krakow)

Un nombre limité de places sont disponibles. Les étudiants sont fortement encouragés à participer. Les meilleures contributions étudiantes se verront attribuer un financement partiel. Les personnes intéressées sont invitées à faire parvenir un résumé de deux pages d’ici le 15 mars 2004. Les auteurs seront informés de l’acceptation ou du refus de leur soumission en juin 2004. Les résumés doivent être envoyés (format Word) à l’adresse mentionnée ci-dessous. Ils devront comporter le nom de l’auteur(e), son statut, son adresse, son affiliation institutionnelle et son adresse électronique. Les présentations seront d’une durée de 30 minutes.  - A limited number of places is available. Students are strongly encouraged to participate. The best student contributions will be awarded partial funding. We invite those who wish to present a paper to submit a two pages abstract before 15 March 2004. Authors will be informed of the acceptance or refusal of their submission on June 2004. Abstracts must be sent in electronic form (Word format) at the e-mail address indicated below. They must include the author’s name, status, address, institutional affiliation and email. Selected contributed papers will be allowed 30 minutes.

Mathieu Marion & Sandra Lapointe & Jimmy Plourde polish_philosophy_2004@sympatico.ca

 

 

CONFERENCES (NEW 6)

 

 

NEW 1 (internet source: http://www.aesthetics-online.org/)

 

Ethics in Place: Architecture, Memory and Environmental Poetics

February 5-6, 2004, Arizona State University

http://www.ethicsinplace.org/

haiye ne yana

It is placed, it is placed, it is placed,

It is placed, it is placed, it is placed,

Now at the Rim of the Emergence Place, it is placed, it is placed.

At the hogan, blessedness is placed, it is placed,

At the rear, Turquoise Boy, it is placed, it is placed,

At the rear, White Shell Girl, it is placed, it is placed,

At the center of the hogan of soft goods, it is placed, it is placed,

At the hogan of all kinds of jewels, it is placed, it is placed,

Now sa'ah naaghei, now bik'eh hozhoo below the hogan,

it is placed, it is placed, it is placed, it is placed,

It is placed, It is placed, neyowo.

The Navajo House Blessing Ceremonial. Charlotte Frisbie, trans., Southwestern Indian Ritual Drama (Albuquerque: UNM Press, 1980), 191.

The ever-increasing production of memorial buildings, sculptures, cenotaphs, parks and gardens since World War I testifies to a century in which more people have been tortured and killed and more cities and ecosystems have been destroyed than during any other time in human history. This also points to the critical role that architecture and environmental design plays beyond personal comfort, shelter and efficient living--that is, as a vehicle for public memory, environmental stewardship, communal poetics and ethical reflection. But what does this mean in a context where the ancestral waters, healing skies and the embracing earth, as honored by her original inhabitants, have become "property" and "resources" waiting to be mined and tapped, moved and shaped by designers and their clients? How, for instance, in multicultural Arizona, does our selection of forms and materials, images and soundscapes influence the memory--and thus the ethics--of those who dwell and pass through this place? This international symposium along with its associated publications, a concurrent online university course, exhibition, performances, and a public discussion website prepare the theoretical groundwork and mission for a future international research center for Ethics in Architecture. We invite architects, philosophers, designers, ethicists, poets, lawyers, artists, and students from within and outside the academy to join us in mapping the history and theory of architecture as vehicles for memory, environmental responsibility, poetic visioning and communal ethical reflection.

 

NEW 2 (internet source: http://www.british-aesthetics.org/)

 

Wagner and Philosophy

Friday 16 January 2004, 10.30 - 5.30, University of London.

Speakers include:  Aaron Ridley

Michael Tanner (Corpus Christi, Cambridge)

Lucy Beckett From Nietzsche to Schopenhauer

Roger Scruton Wagner's Philosophical Anthropology

Followed by a drinks reception

With the generous support of OUP. Followed by a drinks reception. Registration: One-day conference fees apply

 

NEW 3 (internet source: http://www.british-aesthetics.org/)

 

"Valeurs et fonction des arts (technai, artes )"

Centre Louis Gernet

1e, 3e et 5e Lundi du mois, 11h-13h, à partir du 17 Novembre, Centre Louis Gernet, 10 Rue Monsieur le Prince,75 006 Paris. Salle du 3e étage]. 01 Décembre 2003 : Guillaume Dye. Sextus Empiricus : " du bon usage de Contre les professeurs I-VI ". 15 Décembre 2003 : Jesper Svenbro, "Les démons de l'atelier. Tekhnê, contingence et pensée religieuse dans "Homère"". 05 Janvier 2004 : Jean-Louis Labarrière, "Technè et physis chez Aristote". 19 Janvier 2004 : Natacha Massar, "Validation et transmission écrite des connaissances : de la médecine et quelques autres technai". 02 Février 2004 : Anne Balansard, "Technè, imitation et langage". 01 Mars 2004 : Bernard Vitrac, "Les mathématiques sont-elles des technai?". 15 Mars 2004 : Claude Calame, "La civilisation de Prométhée et le génie génétique : rôles des tekhnai et usages des métaphores linguistiques". 29 Mars 2004 : François Lissarague, "façons de faire, façon de voir : les technai et les arts plastiques". 05 Avril 2004 : Nina Strawczynski, "technè et iconographie attique". 03 Mai 2004 : Jean-Michel Carrrié. Titre à préciser 17 Mai 2004 : Catherine Darbo-Peschanski, "Recomposer les listes des technaï". 07 Juin 2004 : Christian Jacob, "Sextus Empiricus et la critique de la technè grammaticale".

 

 

NEW 4 (internet source: http://www.british-aesthetics.org/, http://www.crassh.cam.ac.uk/events/events2004/archiethics.html)

 

Architecture and its Ethical Dilemmas

Buckingham House, New Hall, Cambridge, 22-23 March 2004

Conference sponsored by CPD for Architects in association with the University of Cambridge Department of Architecture and CRASSH

How secure is the future of architecture? In this fast commercial world is there a place for high ideals and integrity in design as there had been in the past?

Conference sponsored by CPD for Architects in association with the University of Cambridge Department of Architecture and CRASSH

How secure is the future of architecture? In this fast commercial world is there a place for high ideals and integrity in design as there had been in the past?

This conference brings together philosophers, architectural theorists and historians, practising architects and other members of the building professions not, as is frequently the case, merely to discuss aesthetic issues, but to examine the ethical role of the architect in today's changing society.

How can architects "intend what ought to be" in today's society, and can such idealism be reconciled with pragmatic issues? Are architects so constrained by current conditions that they cannot take on that kind of responsibility? Did they in fact have such a responsibility in the past, and should they even attempt to assume it today? Or should their role be confined to one of assisting in the provision of the products that today's society requires, at the right time and price?

Convener:

Nicholas Ray (Architecture)

Contributors

Dr Onora O'Neill, CBE FBA FmedSci (The Baroness O'Neill of Bengarve) is Principal of Newnham College, Cambridge. She lectures in the faculties of Philosophy and History and Philosophy of Science, and has written books and articles in ethics, political philosophy, on the philosophy of Immanuel Kant and on bioethics. She is a former member and chair of the Nuffield Council on Bioethics and the Human Genetics Advisory Commission, and chairs the Nuffield Foundation. She is a Member of the House of Lords, sits as a crossbencher and was a member of the Select Committee on Stem Cell Research.

Neil Leach (Cantab.) Dip. Arch.(Cantab.), PhD (Nottingham) is an architect and theorist. He teaches at the Architectural Association in London and the Dessau Institute of Architecture in Germany. He has also been Visiting Professor at Columbia University, New York, Professor of Architectural Theory at the University of Bath, and Reader in Architecture and Critical Theory at the University of Nottingham. He is the author of The Anaesthetics of Architecture, Millennium Culture, Camouflage (forthcoming), The Politics of Space (forthcoming) and Forget Heidegger (forthcoming); editor of Rethinking Architecture, Architecture and Revolution, The Hieroglyphics of Space, Designing for a Digital World; co-editor of Digital Tectonics (forthcoming); and co-translator of L B Alberti, On the Art of Building in Ten Books.

Julian Roberts grew up in Germany and England and took his Ph.D. at Cambridge. He has taught at Anglia Polytechnic University, Cambridge and the Architectural Association School of Architecture, London. Since 1994 he has been Associate Professor at the Institute for Philosophy of the LMU Munich. He is a practising barrister (in London) and an attorney (in Munich). His books include Walter Benjamin, German Philosophy: An Introduction, The Logic of Reflection and (in preparation) The Philosophy of Law.

Tom Spector MArch BS PhD trained as an architect but undertook a Masters in Philosophy. He is the author of The Ethical Architect The Dilemma of Practice, which outlines a number of ways in which ethical dilemmas intersect with architectural practice, and The Guide to the Architecture of Georgia. His interests include the theory and practice of perspective drawing, and architecture design theory, especially as it relates to professional practice issues, and moral philosophy.

Richard Hill MA (Cantab) Dip Arch RIBA trained as an architect and has had a varied career in research, teaching and the management of building projects in the public and private sectors. He is the author of Designs and their Consequences: Architecture and Aesthetics, published by Yale University Press in 1999.

Sjoerd Soeters is an architect who established his own office 25 years ago and is based in Amsterdam. The office, now 65 people, works on projects varying from city- and masterplanning to architecture and interiors.His work is published in a monograph (Uitgeverij 010 Publishers,1995). He has been involved in master-planning in several European countries as well as Holland, and has examined in schools of architecture in Britain.

Andrew Saint MA (Oxon) MPhil (Warburg) is Professor of Architecture at the University of Cambridge. He was previously Architectural Editor at the Survey of London and a Senior Historian for English Heritage. Amongst his publications are a monograph on Norman Shaw, Towards a Social Architecture and The Image of the Architect. He is working on a book entitled Architect and Engineer - a study of sibling rivalry. Andrew Saint is a frequent contributor of reviews to the Times Literary Supplement and London Review of Books.

Nicholas Ray MA (Cantab) Dipl UCL RIBA is a University Senior Lecturer at the University of Cambridge Department of Architecture and Director of Nicholas Ray Associates, architects, a practice mostly engaged in buildings for tertiary education. He is the author of Cambridge Architecture - a Concise Guide, (Re) Sursele Formei Arhitecturale, numerous articles in professional journals and a forthcoming study of Alvar Aalto. He is a member of the editorial boards of arq and ptah (Helsinki).

Sir Michael Latham MA (Cantab) DL is Chairman of the Construction Industry Training Board. In 1993-4 he was Chairman of the Joint Government/Industry Review of Procurement and Contractural Problems in the Construction Industry, arising out of which he published Trust and Money (1993) and Constructing the Team (1994), which initiated far-reaching reforms affecting the Building Industry and Professionals alike. He has been Visiting Professor at the University of Northumbria, the Bartlett School of Architecture and (currently) at the University of Central England.

David Adamson MA (Cantab) is Director of Estates at the University of Cambridge. An undergraduate at King's College, he returned to Cambridge after lecturing and working, mostly overseas, in construction research and contracting while with the Royal Engineers; subsequently he was scientific advisor to NATO in Brussels, and Bursar at Bristol University. He has served as national client representative on the Construction Industry Board, Movement for Innovation, and is a current board member of the Construction Industry Training Board and Construction Research and Innovation Strategy Panel.

Jane Collier B.Sc(Econ), MA Cantab, Ph.D is Senior Research Associate at the Judge Institute of Management Studies in the University of Cambridge, and a Fellow of Lucy Cavendish College. She is Editor Business Ethics: a European Review, and Book Review Editor of Business Ethics Quarterly. She is Chair of the Co-Operative Insurance Society SRI Advisory Committee, a member of the BT Corporate Social Reporting Independent Advisory Panel, and is a Trustee of the Institute of Business Ethics. She currently consults with KPMG on the development of ethics training.

Giles Oliver MA (Cantab) Dip Arch RIBA practises as an architect in London, where he is an Associate at Penoyre & Prasad, principally engaged on primary healthcare and social housing projects. As joint co-ordinator he was instrumental in establishing the Interdisciplinary Design for the Built Environment master's programme at the University of Cambridge in 1994, and continues to act as visiting tutor to the course. He chaired the Construction Research and Innovation Strategy Panel's report on Design published in 2001 and is presently a member of the Commission for Architecture and the Built Environment research steering group. He regularly contributes reviews to Architectural Review, arq and Architecture Today.

Andrew Ballantyne is Professor of Architecture at the University of Newcastle Upon Tyne. He has also taught at the universities of Sheffield and Bath. He is author of Architectures: Modernism and After, Architecture, Landscape and Liberty, Architecture - a very short introduction, and edited a book of essays What is Architecture? to which he also contributed The Nest and the Pillar of Fire.

The conference will appeal to architects and other members of the building professions, teachers of architecture, sociology and social studies and anyone with an interest in the relevance of ethical thinking in the applied social sciences.

Conference Abstracts

Onora O'Neill

Intelligent Accountability and Professionalism

Professional accountability has been widely replaced by other, supposedly more effective forms of accountability. These are usually forms of managerial accountability, by which targets are set so that performance may be controlled, judged and sanctioned; meanwhile professional accountability has come to be seen as a cloak for professional cosiness, so inadequate. Yet, the very phrase managerial accountability suggests a conflation of tasks. Management is directed at those who are managed, accountability to those who are not managed (e.g. shareholders, electors, clients). Agents may not be best held accountable for their performance as managers - or other activities - by managing that performance. Governance and management are distinct activities. Intelligent accountability is not a matter of securing and extending managerial control. - Could professional accountability form (part of) a more intelligent approach to accountability? Or do professions and professional bodies always mask producer capture and self interest, hence frustrate rather than ensure accountability? Professions that take accountability seriously need to ensure the quality of work done by their members to others who are less expert. This task has ethical as well as technical dimensions. Neither accountability to clients, nor high standards of transparency, nor their combination can ensure intelligent professional accountability. A more robust approach to accountability would need a serious consideration of means for securing independent professional judgement.

Neil Leach

The Ethical Function of Architecture

Karsten Harries's book, The Ethical Function of Architecture (Cambridge, MA: MIT Press, 1997), has been one of the most prominent of architectural publications in recent years to have referred to the concept of ethics in its title. MIT Press is a highly respected architectural publishing house, and Harries himself is a distinguished Professor of Philosophy at Yale University. - But what exactly is Harries referring to when he uses the term 'ethics'? Can this book be used profitably as a means of engaging with the role of ethics within the construction industry? Or has Harries merely appropriated the term for an aesthetic agenda that has little to do with the actual ethics of architectural practice? Can there indeed be any such thing as the 'ethical function' of architecture? - This paper will offer an overview of Harries's work in general, together with a more precise critique of his use of the term 'ethics'. It will expose the limitations of Harries's approach, and seek to offer an alternative approach in which the role of ethics within architectural practice is addressed in a more comprehensive manner.

Julian Roberts

How much sense does the link between architecture and morality make?

One rather typical modernist position claims that architecture is 'moral', just as the world in general is 'good' whenever things are suited to a purpose. Architectural value may be determined by reference to functionality. If a building is good for people and for their purposes, then it is 'moral'. Obviously, architecture must also be beautiful and pleasing. But the bottom line is analytical and functional, and emotional valuations are dismissed as secondary. In a world which violates rationalism at all points, this kind of modernism is hardly convincing. One response has been to take refuge in a Hobbesian rhetoric of power. This assumes that there is no natural virtue, and hence that architecture cannot reflect it; the overriding function of a building is to assert whatever identity its occupants wish to project, with - increasingly - sheer intimidation as the foundational modality. - But this is rather cynical. Is there no other way to articulate morality - understood, at any rate, as excellence of character in the face of adversity and self-regard - without falling into naiveté, dogmatism or brutalism? The fault, both in modernism and in its opponents, probably lies in their insistence on the priority of the cognitive. Contrary to this, one might say that moral and aesthetic judgements are not indistinct versions of analytical ones, but are elementary in their own right. Unlike analytical judgements, they do not adhere to systemic criteria such as non-contradiction, and so cannot be computed in advance. They are humanistic and conventional rather than absolute. Of necessity, reflection on them takes place on an empirical level: the questions of what constitutes virtue, and of what constitutes good taste, are - quite properly - ones of experience, training, and historical observation. - This vision, pre-eminently, is associated with the philosophy of the eighteenth century. What does it mean for architecture now?

Tom Spector

Codes of Ethics and Coercion

I intend to examine the written codes of ethics by which architects are supposed to practice. Does, for instance, the bland, flavourless document known as the American Institute of Architects' Code of Ethics and Professional Conduct actually capture any practising architect's most deeply held values or beliefs? This document is hardly noble and visionary since it is devoted to instructing its members to obey the law. Why are architects' codes of ethics like this? Is there something so wrong or dangerous with the values that actually motivate architects that they must be hidden away somewhere with their old fee schedules and accessed on the sly? How can architects begin to account for the disparity between prescriptive Codes of Ethics and what it actually feels like to be an architect and believe in they do? How could one begin to reform architectural Codes of Ethics into something meaningful, a document with action-guiding gusto, or even more ambitiously, reform the profession's values in general? - If instead of regarding a Code of Ethics as a sadly stale artefact of an otherwise interesting profession, we regard it with curiosity - as a potential bellwether of the profession's internal compromises it makes to hold itself together - then we may find a starting point from which to begin exposing (and eventually, reforming) the struggles within this profession many of us love. Instead of asking of a Code of Ethics: "What values does it express?" let's not assume that everyone within the profession is largely of one mind and ask instead the more pointed, political question: "Whose values does it serve?"

Richard Hill

The Ethics of Luxury

Architects are assailed by many varieties of goodness or rightness. There is moral behaviour which architects must grapple with, as everybody must. There is a kind of goodness, maybe a good-enough-ness, that goes along with professional life, in exchange for which professionals are accorded privileges and respect. There is the goodness/rightness that is central to artistic activity - in which a work finds its true, its proper form - and which is still a sustaining principle of architectural design. There is the good that architects can bring to their clients, an improvement in their lives, an increase in pleasure. There is the goodness/rightness that architects pursue in politics, partly because they are ordinary citizens, but also because the state controls numerous aspects of the built environment. - It may be that these varieties of goodness belong to distinct conceptual fields and they just use similar terms: no doubt other contributors will illuminate this issue. But consider how, in architectural life they become combined and intertwined: as an example I wish briefly to discuss the tricky question of luxury, treated often as a moral, artistic, political issue and on occasions - negatively - as a professional one.

Sjoerd Soeters

On being a humble architect

According to Adolf Loos, architecture with a big A was to be reserved for the palaces and the "grabdenkmaler"; all other buildings ought to behave more or less humbly as parts of the city and act as good neighbours. - The official Dutch policy, that every building should be Architecture, has turned out to be a disaster, when with the disintegration of proper, coherent and responsible planning, "architecture" was moved centre-stage to produce ever newer, more modern, and more attractive images. - Our office, Soeters van Eldonk Ponec, came to the conclusion that it no longer made sense to add more of these free-standing, sculptural, egocentric structures to the scrapheap that most of the suburban landscape has been turned into. In our projects we seek rather to embroider existing elements and structures and build them out to coherent areas, in which, as Raymond Unwin put it, "the variety of each is dominated by the harmony of the whole". Instead of aiming at the invention of ever more daring, news-breaking world wonders, the ethically responsible architect should act as a "bricoleur" - looking for the best way to build in the local circumstances, with local and regional characteristics. Mostly architects are acting with developers as clients, and they need to work very closely with local government, within a limited budget, to add to the existing city fabric, and to make "situations" in which people like to live, work, shop, and play, even if, or exactly because, they have not studied architecture, the fine arts - or ethics.

Andrew Saint

The ethics of the professional architect since 1800

This talk will take the character of an enquiry rather than an argument. It will start from the premise that dominant ethical value-systems have always been needed throughout the history of architectural practice, but that most have proved unstable. What circumstances have made particular value-systems obtain at particular times, and then give place to others? Can one successfully distinguish those values which derive from aesthetics from others which have social or professional origins, interested or disinterested? - The talk will touch on four ethical postures repeatedly found in architectural discourse over the past two centuries: the call for 'truth' or 'honesty' in the appearance of buildings; the belief that the architect has an independent and disinterested position midway between the client and the builder; the idea that architects occupy a privileged role in the vanguard of social progress; the notion that architects have a kind of supra-responsibility to the integrity of their buildings which transcends their loyalty to client or user; History will be used to sketch in a brief background for each of these positions and help clarify their thrust, their origins and their destiny. It may be suspected that the ethical impulse is as crucial to the survival and well-being of a marginal profession as the aesthetic one. In rallying to such powerful moral causes as the housing of the masses or the ecological movement, architects may in fact be positioning themselves at pressure points which seem, at least for a time, susceptible to skills and patterns of operating ill-suited to a modern, market-driven economy.

 

Nicholas Ray

The Cambridge History Faculty Building - a case study in ethical dilemmas in the 20th century

In 1985 I was asked to review James Stirling's recently published Buildings and Projects, where the History Faculty building was illustrated in all its pristine splendour. The building was widely admired by architects, but not generally by its users: just at the same time the University was debating whether to demolish the twenty-year old building because of its technical failings. - I used Thomas Nagel's essay The Fragmentation of Value (in Mortal Questions) to argue that architects were faced with a series of values (Nagel listed five) which might well conflict, and which necessarily entailed the exercise of not only professional but also ethical judgements. I suggested, for instance, that architects who recognised that they themselves were not as formally skilful as Stirling had a duty not to take the same position in relation to conflicting values as he had. - I intend to re-visit that question in greater depth, drawing on the thought of the anglo-phone sceptical tradition (Bernard Williams, Nagel himself), and also relating the ethical dilemmas encountered to the particular circumstances of this commission: the competition, the client body, the contractual relationships between designers contractors and clients.

Sir Michael Latham

Constructing the Team - How are the Professions involved?

When I wrote Constructing the Team nearly ten years ago, I believed that one key to unlocking the seemingly inexcusable and interminable level of dispute and conflict was through creating the ethos and the practical delivery which would allow all to see their role within a project as equally vital. A "silo" approach to responsibility for work, both on and off site, was clearly unsuccessful, as it involved everyone blaming everyone else and seeking to shuffle it off, usually on to the shoulders of the least able to cope with it. - Much has changed since then, but the concept of the team is still not fully accepted, let alone followed in practice. I am proud to be an Honorary Fellow both of the RIBA and the RIAS, and greatly value my links with the architectural profession. I will seek to examine in my talk how we can take this process of working together forward over the next decade.

Jane Collier

Architecture and moral imagination

This paper addresses the question of ethical decision-making by architects and in architectural practice. In the general case 'wrong' decisions are frequently the result not of moral amnesia but of a lack of moral imagination and a perception of the situation that is limited by tradition, culture and/or personal motivation. The idea of 'moral imagination' is explored in terms (a) of the need for awareness of the conceptual schema, mental models or 'scripts' functioning in a given decision situation; (b) of the possibilities of revising the dominating 'script' so as to take into account new possibilities within the situation; (c) of the ability to envision possibilities that are 'unthinkable' within existing schema and thus to generate new ways of 'framing' the situation; and (d) of the insight needed to uncover the moral dimensions of all possible outcomes. - Moral imagination is not simply an individual attribute. It has to be located within a systemic approach that takes into account the interdependent elements, subsystems, networks of relationships and patterns of interaction that prevail in a given professional situation. The paper will develop this point using case studies related to the practice of architecture.

Giles Oliver

Responsible practice within the new framework

Architectural education generally skirts over ethics in favour of the presentation of styles of thought and their associated aesthetic. The closet character of university-based training, where lack of responsiveness can perversely be esteemed as a distinctive 'virtue', minimises dialogue with users or the wider society. Subsequently, architectural practice plunges the practitioner into a terrain of choices and conflicting demands. Generally the younger architect is powerless to influence the direction of projects and merely assists. The tacit goal remains to attain self-expression after a period of necessary eclipse. Who this self is is rarely examined or questioned, either in school or in practice. The most significant impact is a resultant lack of awareness of (indeed resistance to) the part played by others in the creation of the built environment, let alone insight into or questioning of the authority of those who commission projects. There is an ethical vacuum sustained through the systematic withholding of dialogue. - Recent pressure to produce architecture within a wider team framework and to account for its benefit over the lifetime of buildings has challenged this posture. A matrix of socially oriented "design values" has recently been developed (Design Quality Indicators 2003). Will these promote the dialogues so long neglected at the heart of architect's work and in doing so arouse the necessity for active ethical debate and commitment? Or will they be seen as a shielding device? This talk will use the example of the provocative tensions activated by recently formed private/public partnerships to deliver new forms of primary healthcare to examine these issues.

Andrew Ballantyn

Hearth and horizon: the architect's ethos

Everyone has ethics, whether or not they are clearly articulated. Each architect's ethos (each person's) is made up of sets of values that sometimes work together and sometimes come into conflict. We realise our character as ethical beings when we find ourselves in positions where we have to take decisions that involve giving priority to one version of the good over another. In architecture for example there are ethics of production, sets of values driven by commerce, which usually come into play where speed and cost-effectiveness come to the fore, and others where one would be trying to achieve work that has lasting value. - The weight that is given to each such value-system varies from one individual to another and from one society to another. In practice it is necessary to choose between these sets of 'goods', and it is only by examining the choices that one can tell what one's ethos really is (rather than what one would like it to be). One learns about sets of values by being able to see when one set of good intentions is more important than another. And the decision will be influenced by the breadth of one's vision. The values of personal survival and thriving, must be balanced against the values of the far horizon. As we project our values across the sky, and introject the universal into our particular circumstances, we come to see the world as being imbued with sets of values, and we translate them into the kinds of people we develop into, and the kinds of buildings we allow ourselves to build. Ethics are generators of architecture.

Provisional Programme:

Sessions on both days will run from 9.40am to 5.00pm (approx.)

Monday 22 March 

Onora O'Neill Intelligent Accountability and Professionalism

Neil Leach The Ethical Function of Architecture?

Julian Roberts How much sense does the link between architecture and morality make?

Lunch

Tom Spector Codes of Ethics and Coercion

Richard Hill The Ethics of Luxury

Sjoerd Soeters On being a humble architect

Andrew Saint (Chair) Discussions and questions

Tuesday 23 March 

Andrew Saint The ethics of the Professional Architect 1800

Nicholas Ray The Cambridge History Faculty Building - a case study in ethical dilemmas in the 20th century

Sir Michael Latham Constructing the Team - How are the Professions involved?

David Adamson (Chair) Discussions and questions

Lunch

Jane Collier Architecture and moral imagination

Giles Oliver Responsible practice within the new framework

Andrew Ballantyne Hearth and Horizon: the architect's ethos

Nicholas Ray (Chair) Discussions and questions

For further information/booking please contact Pat Blackman at CPD For Architects, The Martin Centre, 6 Chaucer Road, Cambridge, CB2 2EB, Tel: 01223 461458, email pb210@cam.ac.uk. Alternatively, a booking form may be downloaded here.

© 2002 Centre for Research in the Arts, Social Sciences and Humanities, University of Cambridge. Information provided by webmaster@crassh.cam.ac.uk

 

 

NEW  5 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

The Western Society for Eighteenth Century Studies Annual Meeting

February 14-15, 2004 University of San Francisco

Kant and the Question of Community

In section 20 of his third critique, Kant emphatically notes a distinction between "common sense" [Gemeinsinn] and "sensus communis." Since the faculty of judgment is posited as the harmonizing force between the faculties of reason and understanding, the necessity of a "sense" that is common, or even "universal" underlies the entire critical project. In section 20 Kant demonstrates the existence of sensus communis on the ground that there must be a common sense that allows the "necessary condition of the universal communicability of our cognition." In this cryptic yet seminal moment in The Critique of Judgment, Kant presupposes a concept of community that is vaguely defined by its ability to communicate universal cognitions, and thereby to communicate both reason and understanding. Kant insists that the harmonizing that makes this all possible is not "merely subjective play." This implies that community itself is not merely constituted by subjects but more fundamentally by some sense of community that transcends subjectivity. However, the question of community (as well as its answer) remains rather obscure. Interrogation of this question within Kant's own work and/or in comparison with later philosophers, literary theorists, historians, or social scientists.

Brenda Machosky, Ph.D.

Fellow in the Humanities

Stanford University

Introduction to the Humanities

Building 250-251J

Stanford, CA 94305-2020

machosky@stanford.edu

 

 

NEW 6 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

29th Annual Conference on Literature and Film

Florida State University

January 29 - February 1, 2004

Tallahassee, Florida

THE PERSISTENCE OF FORM: CULTURE, HISTORY AND THE AESTHETIC

Keynote speakers:

Stanley Cavell, Harvard University

Tom Gunning, University of Chicago

Toril Moi, Duke University

The twenty-ninth annual Film and Literature Conference poses the question of whether the rubric "Literature and Film" should organize the thirtieth. Conference panels and seminars will focus on the ways that three decades of critical work have changed the categories of "literature" and "film" and try to determine whether these categories can still productively organize criticism. Specifically, what has happened to the notion that "film" and "literature" designate discrete art forms with specific relations to history and cultural politics? Would a new account of "film form" or of "literary form" revitalize literary and film studies, or has it proven more worthwhile to identify forms comprising both films and literary texts in the manner of narratology's global project? Should criticism today emphasize film's interrelation with other arts, or should critics conceive of entities like "the city" as themselves forms produced by films, novels, plays, architecture, paintings, advertising, and so on?

Broaching the question of form is necessary, we believe, to correct an overemphasis on theme that, on the whole, causes recent criticism to flee sedimented conceptions of "art," "literature," and "film" rather than to confront them. Consider, for example, the now pervasive use of "reading" as the generic term for criticism of any "text." Not only does such usage evade the question of what difference it makes for information to appear in one aesthetic form or another, it arguably carries an uninterrogated formalism latent within it. If the critical procedures developed for literary narratives and modernist poetry now seem equally well suited to Hollywood blockbusters, Wal-Marts, and socio-economic globalization, does this fact testify to the procedures' vitality or to their obsolescence? What stake does current critical practice have in the particularity of the types of works alongside which it developed? Is "the text" a residual category we would be better off without, or an emergent category in need of further theorization? Why do assertions of aesthetic value continue to seem depoliticizing despite repeated demonstrations of their political effects? Can we envision new ways out of this impasse? Papers and seminars address these issues and their application to particular aesthetic works.

http://english3.fsu.edu/~filmlit2004

Conference organizers: R. M. Berry, Mark Garrett Cooper, Andrew Epstein

filmlit@english.fsu.edu

Andrew Epstein

Assistant Professor

English Department

Florida State University

Tallahassee, FL 32309

850-644-8110

aepstein@english.fsu.edu

 

 

PUBLICATIONS (NEW 2)

 

 

NEW  1 (internet source: register@philo.at)

 

Jens Kertscher / Dieter Mersch (Hrsg.)

Performativität und Praxis

München, Fink 2003, broschiert, 302 Seiten, € 49,90, ISBN: 3-7705-3924-9

Performativität bezeichnet in den Kulturwissenschaften ein neues theoretisches Modell. Es löst nicht die inzwischen klassischen Fragestellungen des Symbolischen und der Medialität oder des Mediums ab, sondern ergänzt sie. In die Debatten um Repräsentation und Darstellung, um Sinn, Verkörperung und Technik trägt es die Gesichtspunkte der Präsentation und Aufführung, des Vollzugs und der Setzung ein. Performativität markiert so die Seite der Handlung, des Aktes und betont damit die sich dem Paradigma des Diskurses, der Schrift und des Textes entziehenden Momente der Singularität, der Nichtwiederholbarkeit und des Ereignisses. Die verschiedenen Beiträge kreisen dabei um Aspekte des Performativen in Theater, Kunst, Sozialwissenschaft, Mathematik, Naturwissenschaft, Literatur, Sprachphilosophie und Rhetorik.

Inhalt:

Einleitung

1. Teil

Performativität der Sprache

Sybille Krämer: Was tut Austin, indem er über das Performative spricht? Ein anderer Blick auf die Anfänge der Sprechakttheorie

Jens Kertscher: Wittgenstein – Austin – Derrida: „Performativität“ in der sprachphilosophischen Diskussion

Dietmar Köveker: Performativität als Funktion von Sprache und Endlichkeit – zu Lyotards Rhetorik der Gegenwart

Dieter Mersch: Ereignis und Respons – Elemente einer Theorie des Performativen

2. Teil

Ästhetik des Performativen

Erika Fischer-Lichte: Theater als Modell für eine Ästhetik des Performativen

Juliane Rebentisch: Der Auftritt des minimalistischen Objekts, die Performanz des Betrachters und die ethisch-ästhetischen Folgen

Simon Critchley: Der Humor – ein herrlich unmögliches Thema

Uwe Wirth: Vorbemerkungen zu einer performativen Theorie des Komischen

Wolfgang Christian Schneider: Durch Sinnbilder zur Schau. Performative

Momente in Allegorie, Typos-Bezug und Mystagogie des spätantiken Christentums

3. Teil

Performativität der Praxis

Gerhard Gamm: „Werde, was Du bist“ – Über die performative Magie sprachlicher Praxis

Georg W. Bertram: „Im Anfang war die Tat“ – Praktiken als Basis der Sprache und des Geistes

Andreas Hetzel: „Die Rede ist ein großer Bewirker.“ Performativität in der antiken Rhetorik

4. Teil

Performativität des Wissens

Matthias Kroß: Performativität in den Naturwissenschaften

Alex Demirovic: Gouvernementalität und die Performanz der Gesellschaftstheorie

Ulrich Arnswald: Die Anwendung bestimmt die Bedeutung: Der innere Zwang der Mathematik und das Rituelle ihrer Abrichtung nach Wittgenstein

 

 

NEW  2 (internet source: register@philo.at)

La revue "Les Archives de philosophie" ont désormais leur site: http://www.archivesdephilo.com/

Vous y trouverez une présentation (avec un bref historique):

http://www.archivesdephilo.com/ARC.htm

tous les sommaires depuis 1981:

http://www.archivesdephilo.com/Sommaires.htm

chaque sommaire est accompagné de résumé. Le site donne aussi les sommaires de plusieurs bulletins publiés par les Archives...: Bulletin cartésien, Bulletin de bibliographie spinoziste, Bulletin de philosophie médiévale, Bulletin Hobbes; le "Bulletin de littérature hégélienne" et le "Bulletin Renaissance" sont à venir. Un moteur de recherche est disponible.

Contact: mailto:archivesdephilo@wanadoo.fr

Communication: Jean-Jacques Delfour, Professeur de philosophie Agrege, Normale Sup. Saint-Cloud, EHESS Professeur de philosophie en Classes Preparatoires Responsable du site Internet de philosophie de l'Academie de Toulouse http://www.ac-toulouse.fr/philosophie/index.html

 

October 2003 - December 2003

CALLS FOR PAPERS (5)

 

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

 

Call for Papers: SPSCVA-Pacific and Central Papers are invited for the Spring 2004 Pacific and Central meetings of the Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA), to be held in  conjunction with the APA meetings in Pasadena, Mrch 24-29, and in Chicago, April 22-25. EADLINE for both meetings: October 1, 2003

For complete information, please see the notice on the ASA web site: http://www.aesthetics-online.org/events/spscva.html

Papers for the Pacific meeting should be submitted to Julie Van Camp, California State University, Long Beach: jvancamp@csulb.edu

Papers for the Central meeting should be submitted to Dan Flory, Montana State University: dflory@montana.edu

 

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

 

CALL FOR PROPOSALS for INCUBATION3

The 3rd trAce International Symposium on Writing and the Internet

12-14 July 2004 at The Nottingham Trent University, England

http://trace.ntu.ac.uk/incubation/

We are pleased to invite proposals for Incubation3, the leading international event for writers and artists working online.

Proposals should be submitted via an online form which will be available on the website from Friday 10th October 2003: http://trace.ntu.ac.uk/incubation/

Deadline for Proposals 1st December 2003

Selections announced by 31st January 2004

Keynote Speaker: Mark Amerika

Plus: Paul Brown, Alan Sondheim, Tim Wright

Also featuring: Talan Memmott, Kate Pullinger, Stefan Schemat

Conference Committee

Randy Adams : Paul Brown : Catherine Byron : Jane Dorner : Marjorie Luesebrink : Simon Mills : Alan Sondheim : Sue Thomas : Lawrence Upton : Helen Whitehead

BURSARIES

New at Incubation3 - 30 bursaries are available for delegates and presenters

Generously funded by Arts Council England: East Midlands: http://www.artscouncil.org.uk/aboutus/myregion_eastmidlands.html

Applications should be submitted via an online form which will be available on the website from Friday 10th October 2003: http://trace.ntu.ac.uk/incubation/

Previous Incubations

Incubation 2000: http://trace.ntu.ac.uk/incubation/archive/2000/index.htm

Incubation 2002: http://trace.ntu.ac.uk/incubation/index2002.cfm

Why a Symposium?

Those familiar with Incubation will notice that we are now a Symposium rather than a Conference. This heralds a subtle shift, not in identity, but in the way we promote the event. Incubation has always been very practice-based and in 2004 it will be even more so. Thanks to Arts Council England (http://www.artscouncil.org.uk/) we are offering a total of 30 bursaries to enable those who cannot obtain funding elsewhere to attend the full residential conference at no charge. We expect this injection of financial support to provide a greater balance of academia and professional writers and artists.

Themes

The purpose of Incubation has always been to provide ideas, stimulus and motivation; information and debate for the international new media writing community. We aim to encourage interdisciplinary creativity and cross-fertilisation, and we are especially interested in introducing the form to writers for whom it is a new idea as well as helping practitioners to share and expand their work.

The themes for 2004 are:

A. Developing a new form: contemporary textual works in new media and performance

B. The practice of making: creative and professional practice; online teaching and learning.

C. Critique and criteria: criticism, reviewing, defining, and archiving of new media writing.

TYPES OF PROPOSALS SOUGHT

Proposals will not be considered unless they are submitted via the online form. When completing the form please indicate which of the above themes (A, B or C) your proposal relates to.

Guidelines

In order to make the field as open as possible we have kept guidelines to a minimum but as a rough guide, we encourage lively debate and provocative thinking about:

*recent work by both new and established writers and artists. You may simply show/perform the work, or accompany it with a practice-based commentary or formal critique

*explorations of the ways in which new media works are made, discussed, reviewed, categorised and archived

*explorations of online teaching and learning in a creative context

*surprise us!

1. Presentations - 20 minutes

We invite proposals for 20 minute presentations which we will group together in panels of three with an added 30 minutes for questions. You are also welcome to organise and propose your own panel.

2. Performances

A number of 20 minute presentation periods may be used for short performances / presentations of work. In addition a number of longer evening sessions may be available. We particularly welcome performances which extend limits and cross boundaries. Proposals should describe the performance and specify technical support required, set-up times, audience profiles, length of performance, etc.

3. Workshops - 1 hour

There will be space for a limited number of hands-on workshops. We are interested in workshops with a specific technical or artistic focus. Please indicate whether you require a PC resource room or a regular classroom.

4. Position Papers/Posters - 10-15 minutes

There will be a limited number of 1 hour sessions beginning with the presentation of a short position paper which will have been put online before the conference and which will act as a stimulus for discussion. These sessions will be chaired and a scribe will be provided. We invite contentious papers with scope for energetic debate. The online 'paper' may be in text or any new media format which will be viewable at the discussion and should be submitted by 1st June 2004.

Details of the technology available in our presentation rooms will be available on the website from 10th October 2003: http://trace.ntu.ac.uk/incubation/

ADDITIONAL COLLABORATIVE PROJECT FOR NEW MEDIA / VIDEO / SOUND ARTISTS

We hope to obtain funding for Online/Offline, a collaborative project connecting three new media writers with three video artists and a sound artist to work together online to create an original piece to be premiered at Incubation. Application time for this is likely to be short - current planning is to invite applications from new media writers during the month of December only. The video artists and sound artist will be based in the East Midlands and will be separately appointed. Register for updates to receive further information: http://trace.ntu.ac.uk/incubation/informed.cfm

Incubation is generously supported by

Arts Council England: East Midlands: http://www.artscouncil.org.uk/aboutus/myregion_eastmidlands.html

NESTA: http://www.nesta.org.uk/ through Writers for the Future: http://www.writersforthefuture.com/

For further information please contact Catherine Gillam at incubation@ntu.ac.uk or by telephoning +44 (0)115 8483533.

the trAce Online Writing Centre

trace@ntu.ac.uk

http://trace.ntu.ac.uk

The Nottingham Trent University

Clifton, Nottingham NG11 8NS, UK

Tel: + 44 (0) 115 848 6360

Fax:  + 44 (0) 115 848 6364

 

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

Philosophy of Architecture/The Architecture of Philosophy

The third CongressCATH hosted by the AHRB Centre for Cultural Analysis, Theory and History, University of Leeds, will be held at the National Museum for Photography, Film and Television in Bradford from 9-11 July 2003. This year's theme is The Philosophy of Architecture/The Architecture of Philosophy. The call for papers, proposal forms and guidelines are available on our website http://www.leeds.ac.uk/cath/congress/2004/

Speakers include: Andrew Benjamin, Beatriz Colomina, Mark Wigley

This conference addresses the question of architecture and philosophy from the Classical to the Postmodern. It wishes to pursue several avenues of investigation. Firstly, the place of the architectural metaphor in the texts of philosophy from the Platonic archeton to Marx's superstructure, from Heidegger's notion of dwelling to deconstructive arche-writing. In this respect the conference would like to explore the ways in which philosophy, and latterly the expanded practice of Theory, has imagined itself as an architectural enterprise which builds systems of thought. Secondly, the philosophical discussion of architecture as a branch of aesthetics from Kant and Hegel to the present. Here the conference also wishes to address theories and philosophies of architecture from Vitruvius to Corbusier and beyond. Thirdly, those pieces of architecture which both have their foundations in philosophy and which inspire philosophical reflection. In particular the conference will examine contemporary architecture (so-called postmodern or deconstructive architecture), which as a practice seems to perform the insights of postmodern theory, and the architecture of the museum and the museum of architecture and the Architectural Archive. Here the conference would like to explore debates around the creation of museum spaces and the relationship between collections, interpretation, meaning and space. Fourthly, the specific conjunction between philosophers and architects, when philosophers become architects (e.g. Wittgenstein, Derrida) and when architects become philosophers (e.g. Thomas Jefferson, Bernard Tschumi). Fifthly, the question of the material in philosophy and architecture, from Socratic materialism to Paul de Man's Aesthetic Ideology. Here the conference would like to explore the ways in which architecture might help philosophy think through the problems of materiality and the ways in which such philosophical reflection might be performed in architectural practice. Sixthly, the relationship between building and sculpture, between architectural practice and artistic practice.  Seventhly:  architecture and the city; how does contemporary practice engage with historic spaces?  How does architecture address issues such as regeneration, political discourse and social inclusion and identity?

WE INVITE ABSTRACTS OF ABOUT 200 WORDS FOR PAPERS, OR COMPLETE PANEL INCLUDING 3 PAPERS TO BE SUBMITTED BY 15 DECEMBER 2003 TO:

Josine Opmeer, Centre Coordinator CentreCATH, Old Mining Building, 2.08 UNIVERSITY OF LEEDS, LS2 9JT Tel: +44(0)113 343 1629 / Fax: +44(0)113 343 1628

centreCATH@leeds.ac.uk http://www.leeds.ac.uk/cath/

 

4 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

ANGELAKI. journal of the theoretical humanities

http://www.tandf.co.uk/journals/routledge/0969725X.html

“HOTEL PSYCHOANALYSIS”

(Prop: Sarah Wood)

This issue of Angelaki will explore the after-effects of psychoanalysis for thinking. Contributions are invited both from those who already work on psychoanalysis, and from those who would be interested in this proposal for their own reasons. In particular the issue is interested in the aspects of psychoanalysis which are not in the first place psychological. The main paradigm of psychoanalytic theory is still depth psychology: a theory of the fragmented self is still a theory of the self. This issue wants to encourage more mobile approaches and explore the possibilities of contributors not only endorsing but also counter-signing the signatures of Freud, Ferenczi, Fanon, Klein, Winnicott, Lyotard, Roustang, Bersani and others. Hence the idea of the issue as hotel ('house for the entertainment of strangers and travellers' OED).

Guest-contributors are invited to think about the history and future of psychoanalysis (is it here to stay?); its props and refurbishments; its private rooms and public spaces; signatures and countersignatures; reception; transfer; cancellation; cost. It is hoped contributors would feel able to allow broad questions of method and value into their pieces.

I would consider psychoanalysis to be inseparable from idiom. Idiomatic writing is what we want for this issue, precisely because it seems unlikely to me that there is a properly psychoanalytic idiom. (Who wants a word-perfect shrink with a tin ear?) Derrida glosses the term 'idiomatic' like this:  'A property you cannot appropriate; it somehow marks you without belonging to you. It appears only to others, never to you, except in flashes of madness which draw together life and death, which render you at once alive and dead. It's fatal to dream of inventing a language or a song which would be yours - not the attributes of an 'ego,' but rather the accentuated flourish, that is, the musical flourish of your own most unreadable history. I'm not speaking about a style, but if an intersection of singularities, of manners of living, voices, writing, of what you carry with you, what you can never leave behind.'

Idiom is what you might bring to a hotel, even if you arrived with just the clothes you were standing up in. Let us resist the constant academic tendency to assimilate and 'apply' psychoanalysis. If, as Freud says in 'Beyond the Pleasure Principle,' the scientific terms of psychoanalysis are a kind of figurative language, there remains immense scope for inventive thinking about psychoanalytic concepts and responsive reading of psychoanalytic texts. The prime concept of psychoanalysis, affecting all the others, I take to be the unconscious, which by definition escapes all assimilation, and is the terrifying friend of all creative enterprises.

The formal and thematic scope of the issue will in part depend on the writing that people submit, but I wish for two things: firstly, for work that opens psychoanalysis towards readers of Angelaki who do not necessarily identify with it, towards 'others'. And, to say the same thing in other words, I hope for work that opens psychoanalysis to the future. To achieve this it would not be necessary to write from 'within' psychoanalysis, if such a thing were possible. In addition to spirited and inventive articles, the issue welcomes hybrid writings that engage with psychoanalytic theory, or play seriously with psychoanalytic terms and practices.

The upper limit for submissions is 10,000 words. Short pieces are welcome.  Enquiries from possible contributors are welcome. Work can be submitted electronically (in Word, please) to

Sarah Wood: s.wood@ukc.ac.uk

The deadline for submissions is December 31 2003.

Dr Sarah Wood, School of English, University of Kent, Canterbury, Kent, CT2 7NX,United Kingdom

Thank you for smoking. Please carry your key with you at all times.

* * *

'Fearless and inventive, this journal has reset the agenda for the theoretical humanities.' Peggy Kamuf, University of Southern California, USA

September 2003 sees the 10th anniversary of the journal. here is a page at the website giving a chronological selection of 100 articles from Volumes 1 to 8. Please click on 'In theory, 1993--2003'.

At the end of 2002 the collection _The Question of Literature: The Place of the Literary in Contemporary Theory_ was published in the Angelaki Humanities book series (Manchester UP). Details of the book can be found at: http://catalogue.mup.man.ac.uk/acatalog/Angelaki_Humanities_.html

Gerard Greenway

 

5 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

 

The Association of English Graduate Students at the University of Southern California invites proposals for its 17th annual interdisciplirary conference to be held at the University of Southern California, Los Angeles, California, on April 2nd and 3rd, 2004.

This year's conference, titled "The Judgment of Beauty: Beauty's Role in Contemporary Criticism," will investigate the apparent return of beauty to academic discourse. Works as diverse as Denis Donoghue's Speaking of Beauty (2003), Elaine Scarry's On Beauty and Being Just (1999), Dave Hickey's The Invisible Dragon: Four Essays on Beauty (1993) and Wendy Steiner's Venus in Exile: The Rejection of Beauty in Twentieth-Century Art (2001) indicate a sea change in contemporary scholarship: the resurrection of beauty and aesthetic primacy as acceptable terms of judgment and evaluation. This conference will look at new critical activity around the topic of beauty and what its so-called return augurs for our conception of the academic in relation to the political. To this end, we seek papers that examine the following questions and topics: Where exactly, and why, is space being made for beauty in academic discourse? What relation, if any, does this renewed interest in beauty have to the current status of theory? How do we discuss works and ideas from periods that viewed "the beautiful" with less suspicion? Can scholarship from both sides of this debate speak to and with each other in a way that is intellectually fruitful? Additionally, the conference will demonstrate the various ways in which beauty as a theoretical or anti-theoretical concept is manifested in specific critical and analytical applications. We will include the presentation of scholarship that discusses the phenomenon of beauty as it is conceived within or around specific texts and social or political phenomena.

We invite papers or paper proposals that explore the concept of beauty within theoretical discourse and/or our current methods of evaluating works of art, broadly conceived. We are also open to papers that examine culture n this same light, reevaluating the role beauty plays in social interaction, the media, perceptions of history, etc. We are particularly interested in work from fields with nconventional ties to beauty (i.e. the sciences, law, etc.), but welcome papers on all periods and disciplines, both public and academic criticism.

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

* Cognition and Beauty; The Transformation of the Beholder

* The Body as Ideological Battleground

* The Rebirth of Aesthetics

* Altered and Synthetic Beauty; The Utopian/Cyber/Mechanized Body

* Beauty as Theatrical and/or Performative

* Decorations, Attire, Adornment

* Subjects and Objects of the Gaze

* Aesthetic Hierarchies and Aesthetics of Power

* Beauty and Desire; Beauty and Sexuality

* Commodities and Corporate Beauty

* The Beautiful vs. the Sublime

* Cultural Limitations/Amplifications of Beauty

* The Grotesque and the Obscene

* Creative Aesthetics vs. Critical Aesthetics

* Beauty in the Service of Evil (The Discourse of Pseudo-Science, Politics, etc.)

* The Politics of the Visual

* Beauty as a Value or Virtue

* Archetypal and Mythical Beauty; Paragons of Beauty (Mona Lisa, Venus, Helen of Troy)

* The Aesthetics of Selfhood and/or Nationhood

* Beauty and Violence

* Gender Representation; Femme Fatales, Sirens, and Women Warriors; Beauty as Feminine

* Beauty and Sex/Sexuality

* Religious Beauty; The Sacred and Taboo; Beauty as Talisman

* Neoplatonic Conceptions of Beauty

Please mail or e-mail a one-page abstract (250-word, double spaced) with a separate cover sheet including your name, affiliation, address, phone number, and e-mail address to:

uscbeauty2004@yahoo.com

OR

The Association of English Graduate Students, The Department of English, University of Southern California, Taper Hall of Humanities #420, Los Angeles, CA 90089

Deadline for Submission: December 12, 2003

 

CONFERENCES (9)

 

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

INTERNATIONAL CONGRESS ON ARTHUR C. DANTO AND THE END OF ART. THEORY AND CRITICISM OF CONTEMPORARY ART

Murcia (Spain), December 1st.- 3rd, 2003, organized by the Centro de Documentación y Estudios Avanzados de Arte Contemporáneo, and the Universidad de Murcia

Invited Speakers: Arthur Danto, Jean-Marie Schaeffer, Félix de Azúa, and Ana Mª Guash.

Organizing Committee: Pedro A. Cruz (CENDEAC Director), Miguel A. Hernández-Navarro (Vice-director), Francisca Pérez Carreño (Universidad de Murcia)

Scientific Committee:

Román de la Calle (Universitat de València), Noëll Carroll (University of Wisconsin-Madison), Francisco Jarauta (Universidad de Murcia), Dominique Chateau (Université de Paris I), Mario Perniola (Universitá di Roma Tor-Vergata), Estrella de Diego (Universidad Complutense de Madrid), Javier San Martín (Universidad de País Vasco), Mª Carmen Sánchez Rojas (Universidad de Murcia), Guillermo Solana (Universidad Autónoma de Madrid), Gerard Vilar (Universitat Autònoma de Barcelona). 

Registration fee: 120 Euro.

Call for Papers

Papers are invited on any aspect of Danto Aesthetics, Theory of Art, and Art Criticism.

Abstracts should not exceed 1500 words, and could be written and presented either in English or Spanish. Presentations should be 20 minutes long maximum (with 10 additional minutes for discussion).

Deadline for submissions is September 15th, 2003.

E-mail submissions are encouraged.

Each submission will be sent for blind selection to two members from the Scientific Committee.

A selection of papers presented at the congress will be published in the Congress Proceedings. Papers to be considered for publication therein should be submitted to the organizers before the congress. All registered participants will receive a copy free.

Correspondence and submissions:

Danto_endofart@yahoo.es

cendeac@hotmail.com

Dr. Francisca Pérez Carreño (fpc@um.es)

Universidad de Murcia

Departamento de Filosofía

30071 Murcia (Spain)

Tel. +34 968 36 34 65

Fax. +34 968 36 4266

 

2 (internet source: http://www.musik-und-aesthetik.de/adorno100/index.html)

Kritik – Phänomenalität – Kunst
Freiburger Symposion zum 100. Geburtstag Theodor W. Adornos
2. bis 5. Oktober 2003

Veranstaltet vom Philosophischen Seminar I der Universität Freiburg, der Gesellschaft für Musik und Ästhetik und der Staatlichen Hochschule für Musik Freiburg

Gesamtleitung: Günther Figal/Richard Klein
Ort: Haus zur Lieben Hand, Löwenstr. 16, Großer Saal

Diskussionsleitung: Friedrich Uehlein

Donnerstag, 2. 10. 2003

15. 00 Uhr Begrüßung

15. 15 – 16. 30 Uhr
Günter Figal (Freiburg)
Über das Nichtidentische

Kaffeepause

16. 45 – 18.00 Uhr
Terry Eagleton (Oxford)
Aspects of Adorno's Aesthetics

19. 00 Abendessen im Oberkirch (Münsterplatz)
Freitag., 3. 10. 2003

09. 00 – 10. 15 Uhr
Albrecht Wellmer (Berlin)
Über Negativität und Autonomie der Kunst. Die Aktualität von Adornos Ästhetik

10. 15 – 11. 30 Uhr
Lydia Goehr (New York)
Adorno, Schönberg und der Totentanz der Prinzipien

Kaffeepause

11. 45 – 13. 00 Uhr
Wolfram Ette (Chemnitz)
Tragoedia negativa. Beckett, das Drama und das Projekt der negativen Dialektik

15. 00 – 16. 15 Uhr
Richard Klein (Freiburg)
Die Philosophie der musikalischen Werke selbst und aus ihnen heraus. Adornos strittiges Vermächtnis

Kaffeepause

16. 30 – 17. 45 Uhr
Bernhard Böschenstein (Genf)
Adorno zu Stefan George

20.00 Kaufhaussaal Münsterplatz: Konzert (gepl.)
Werke von Theodor W. Adorno, Anton Webern und Claus-Steffen Mahnkopf . Mit Einführungsvortrag Eckehard Kiem (Freiburg): Adorno als Komponist
Samstag, 4. 10. 2003

9. 00 – 10. 15 Uhr
Ute Guzzoni (Freiburg)
Grauen und Verlockung. Überlegungen zum Verständnis der Natur im Odysseus-Exkurs der Dialektik der Aufklärung

10. 15 – 11. 30 Uhr
Tilo Wesche (Luxemburg)
Adornos Philosophie der Sprache

Kaffeepause

11. 45 – 13. 00 Uhr
Ludger Heidbrink (Kiel)
Grenzen kritischer Negativität

15. 00 – 16.15 Uhr
Hans-Joachim Hinrichsen (Zürich)
Zu Adornos Theorie der musikalischen Reproduktion

Kaffeepause

16. 30 – 18. 45 Uhr
Sonja Dierks (Freiburg)
Musikalische Schrift und Interpretation. Zu Adornos Reproduktionstheorie

Sonntag, 5. 10. 2003

09. 00 – 10. 15 Uhr
Hermann Danuser (Berlin)
Musikalische Physiognomik bei Adorno

Kaffeepause

10.30 – 11. 45 Uhr
Ernst A. Schmidt (Tübingen)
Adorno über Rudolf Borchardt

14. 00 – 15. 15 Uhr
Johann Kreuzer (Oldenburg)
Adornos und Heideggers Hölderlin

15. 15 – 16. 30 Uhr
Luca Creszenzi (Pisa)
Unverständlichkeit. Alte und neue Hermetik in den Noten zur Literatur
Freier Eintritt zu Vorträgen und Diskussionen
Information: RiKlein@t-online.de bzw. Tel.: 0761/290434

3 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)

Rom, 16.-18. Oktober 2003
Adornos Theoretische, Moral- und Ästhetische Philosophie, sowie ihre Zusammenhänge mit Literatur und Musik
Universität Rom "La Sapienza", Università di Roma Tre in Zusammenarbeit mit dem Goethe Institut Rom

4 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a) 31. Oktober - 1. November 2003
"Words from Abroad - Wörter aus der Fremde:
A Symposium on the Occasion of Theodor W. Adorno's 100th Birthday".
University of Wisconsin, Madison (USA)
Organisiert von Prof. Dr. Gerhard Richter.
Den Hauptvortrag hält Alexander Garcia Düttmann.

5 (internet source: http://www.musik-und-aesthetik.de/adorno100/index.html und http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)

http://www.tu-chemnitz.de/phil/avl/AVLinC/Projekte/Adorno.htm#Anfang%20

Am 7. und 8. November 2003 veranstaltet die Professur für Allgemeine und Vergleichende Literaturwissenschaft an der Technischen Universität Chemnitz aus Anlaß des 100. Geburtstages von Theodor W. Adorno ein interdisziplinäres Symposion mit dem Titel:

Theorie – Kunst – Wissenschaft. Zur Aktualität Theodor W. Adornos

Exposé

Gelebte Interdisziplinarität: Das Werk Theodor W. Adornos

Theodor W. Adorno (1903–1969) hat wie wenige Denker des 20. Jahrhunderts mit seinem Werk den Brückenschlag zwischen den Disziplinen praktiziert. Er arbeitete als Philosoph und Sozialforscher, als Musikwissenschaftler und als Literaturkritiker, und er war in den intellektuellen Debatten der 50er und 60er Jahre maßgebend. Die Stichworte der Tagung Theorie – Kunst – Wissenschaft umreißen die Pole, zwischen denen sich Adornos Werk bewegt und aus deren Spannung es sein geistiges Leben gewinnt. Der so streitbare wie umstrittene Versuch, in einer Phase der Moderne, die einen integralen Zugriff auf die Wirklichkeit immer mehr erschwert, das »Ganze« perspektivisch in den Blick zu nehmen, ließ seine systematisch angelegte Arbeit zum offenen ›work in progress‹ werden. Wenn auch dieser Ansatz in den Einzelwissenschaften vielleicht nicht immer günstig aufgenommen wurde, gibt es nur wenige Disziplinen, zumal in den Geisteswissenschaften, in denen Adorno keine Wirkung entfaltet hätte – durch die Maßstäbe setzende Differenziertheit seines Denkens wie durch die Rigidität seiner Kritik.
Die Notwendigkeit, auf der Basis disziplinierter Forschung eine substantielle Praxis von Interdisziplinarität zu entfalten, stellt sich heute mindestens in demselben Maße wie zu Adornos Zeit, aber mit der »Unübersichtlichkeit« des gesellschaftlichen und kulturellen Feldes hat die Schwierigkeit zugenommen, hier zu verbindlichen Aussagen zu gelangen. Die Geistes- und Sozialwissenschaften sind diesem Problem oft ausgewichen. Es läßt sich in ihnen eine Tendenz zur Polarisierung erkennen: Einzelstudien von positivistischer Gründlichkeit, die aber eng fokussierten Fragestellungen nachgehen, stehen theoretische Konstruktionen gegenüber, deren empirischer Gehalt gering ist. Ein sinnvoller Begriff von Interdisziplinarität muß über Additionen einzelner Wissenschaften hinausgehen. Er muß darauf abzielen, den Zusammenhang von Wissenschaft und Erfahrung theoretisch und praktisch zu fundieren. Auf dieser Schwelle ist Adornos Arbeit angesiedelt. Sie ist gekennzeichnet durch das Vermögen, die Versenkung ins Detail mit theoretischem Durchblick zu vereinen. Die Auseinandersetzung mit seinem Werk eröffnet daher die Chance einer wissenschaftstheoretischen Reflexion und eines wissenschaftspraktischen Vollzugs, die in einer Zeit, in der die Geisteswissenschaften unter Legitimationsdruck geraten sind, nicht versäumt werden sollte.

Adorno und die Komparatistik

Seit ihren Anfängen hat sich die komparatistische Literaturwissenschaft als eine Disziplin verstanden, die unter der Maxime der Interdisziplinärität steht. »Allgemein« und »Vergleichend« will diese Literaturwissenschaft sein, indem sie ihren eigenen Horizont zu dem ihres Gegenstandes hin überschreitet. Auf das Verhältnis der Literatur zu den anderen Künsten kann sich diese Vorgehensweise ebenso beziehen wie auf Zusammenhänge der Ästhetik, Psychoanalyse, Sprachphilosophie, Politologie, der Musiksoziologie oder der Religionswissenschaft – Felder, in denen sich Adornos Schriften bewegen. Es liegt also in der Natur der Sache, wenn Adornos Werk in unterschiedlichsten Disziplinen, besonders aber in der Allgemeinen und Vergleichenden Literaturwissenschaft immer eine bedeutende Rolle gespielt hat. Maßstabsetzend blieb seine Arbeitsweise allerdings in der Weise, dass ein Mehr an einzelwissenschaftlicher Ausarbeitung nicht mit einer Einengung der erfahrungsnahen und disziplinübergreifenden Perspektiven erkauft sein sollte. Mittlerweile, nachdem die Schuldebatten der achtziger und frühen neunziger Jahre selbst historisch geworden sind, kann man Adorno mit gutem Recht als einen genuinen Autor der Komparatistik bezeichnen.

Zum Programm der Tagung

Ein komparatistisches Symposion, das sich mit dem Werk Adornos auseinandersetzt, entspricht als Ort disziplinärer Horizontüberschreitung dem Anspruch dieses Werkes ebenso wie dem Selbstverständnis unseres Faches und dem aktuellen Erfordernis, einen konsistenten Interdisziplinaritätsbegriff zu erarbeiten. Dem gemäß besitzt die Tagung einen gewissen Schwerpunkt in Adornos Schriften zur Literatur – den Noten zur Literatur (selbst schon disziplinübergreifend betitelt). Konkretisiert und überschritten wird dieser Schwerpunkt aber im Dialog mit philosophischen Disziplinen, mit Musikwissenschaft und Politologie. Das betrifft vor allem auch die Frage danach, welche Bedeutung dem Werk Adornos in der Wissenschaftsgeschichte und im aktuellen Diskussionsstand heute zugesprochen wird. Das angefügte Programm spiegelt den aktuellen Stand der Planung wider. Es ist vorgesehen, die Beiträge des Symposions gesammelt zu publizieren. Ein angesehener Verlag hat sein Interesse an der Veröffentlichung bereits zum Ausdruck gebracht.
Wir erlauben uns abschließend, darauf hinzuweisen, dass im Adorno-Jahr 2003 unser Symposion die einzige größere akademische Veranstaltung sein wird, die in den neuen Bundesländern stattfindet. Sie böte der Technischen Universität Chemnitz, insbesondere ihrer Philosophischen Fakultät, gute Gelegenheit zu einer Außendarstellung, die mit Sicherheit überregional wahrgenommen wird.

Vorläufiges Programm Adorno-Konferenz 2003

7.-8. 11. 2003

1. Adornos »ästhetische Philosophie« und ihr Kontext

Richard Klein: Die Philosophie der Werke (selbst). Adornos Vermächtnis
Christoph Türcke: »Meine theologischen Intentionen ...« Zur religionsphilosophischen Deutung Adornos
Christoph Ziermann: Zum Verhältnis von Metaphysik und Dialektik in Adornos Philosophie
Tilo Wesche: Kunst und Sprache in Adornos Ästhetik
2. Literatur und andere Künste
Gregor Gumpert: Gertrude Stein und der Kubismus. Zur Theorie der Konvergenz in den Künsten
Berthold Türcke: Zum Verhältnis von »musique informelle« und kompositorischer Praxis
3. »Resonanzen«
Alfons Söllner: Adornos kulturpolitische Rolle nach dem Krieg
Helmut Pillau: Adorno und Wolfgang Heise zu Hegels Ästhetik
Hans Jürgen Feurich: Adonro und die Musikwissenschaft
Eckart Goebel: Das irre Ganze und der Glücksanspruch des Einzelnen. Zu Th. W. Adornos Kulturbegriff
4. »Noten zur Literatur«
Larson Powell: Naturschönes und Naturgeschichte. Adornos Begriff des Lyrischen
Günter Peters: Radionoten. Adorno als Gesprächspartner im Rundfunk
Waltraud Naumann-Beyer: Negative vs. positive Dialektik in Goethes Iphigenie. Adorno und Hans Robert Jauß
Sonja Dierks: Zum Bilde Prousts
Wolfram Ette: Tragoedia negativa. Becketts Drama und das Projekt der negativen Dialektik


6 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Symposion: Adorno und Richard Strauss
5. - 6. Dezember 2003
A-8010 Graz, Leonhardstraße 15, Palais Meran, Florentinersaal
Beiträge von u.a.: Andreas Dorschel, Rebekka Fritz, Gabriella Hanke-Knaus, Susanne Kogler, Otto Kolleritsch, Peter Revers, Michael Walter, Walter Werbeck
Institut für Wertungsforschung an der Universität für Musik und darstellende Kunst Graz, http://www.kug.ac.at/iwf

7 (internet source: http://www.philo.umontreal.ca/prof/daniel.dumouchel.html)

Post-esthétique(s). États de la question esthétique aujourd’hui (avec Marie-Noëlle Ryan, Université de Moncton), Congrès international, Musée d’Art Contemporain de Montréal et Centre Canadien d’Études Allemandes et Européennes, novembre 2003.

8 (internet source: http://www.philo.umontreal.ca/prof/daniel.dumouchel.html)

Art, critique, société: hommage à Rainer Rochlitz, colloque, Centre Canadien d’Études Allemandes et Européennes, septembre 2003

 

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

 

Conference Update: The State of the Real

Hello, Keen observers will already know that The State of the Real conference has a different web address on the newly updated GSA website than previously advertised. The conference can currently be found at: http://www.gsa.ac.uk/gsa.cfm?pid=1015 From here you can download a registration form and view the draft timetable. Concessions are available to full-time students. Spaces for this conference are going fast.

T h e   S t a t e   o f   t h e   R e a l

An Interdisciplinary Conference

Conference includes:

Keynote Speakers:

Prof. Linda Nochlin, New York University

Prof. Slavoj Zizek, University of Ljubljana

45 international session speakers.

Bookstalls

Exhibition by photographer Andrew Lee

Ceilidh Dinner

Delegates are advised to book early to avoid disappointment.

Glasgow School of Art, UK

21-22 November 2003

"How real can you get?"

This two-day conference will debate the subject of Œthe real¹ in aesthetic philosophy, criticism and practice.

"When is representation not real?"

Recent years have seen notions of reality discussed in the open. What relationship do current views developed by this discourse have with those tenets of realism and representation that once provided the foundation for aesthetic study? What are the philosophical consequences of the introduction of technologies that increasingly blur the boundaries between art and popular culture? What is the effect of aesthetic culture on Realpolitik? What has happened to the notions of social realism, verisimilitude, and the imaginary? Are they still relevant, and how have they been changed, if at all?

"Reclaiming the real."

The organizers are also interested in how notions of reality are affected by, and continue to affect, aesthetic practice in the fields of art, design, and media production. With the popularity of haptic technologies, what has happened to Œreal¹ haptics? How do practitioners and academics view older technologies in the light of their electronic avatars? With the development of notions of virtual space, what has happened to our understanding of the body, the mind, and corporeal space?

The conference will include panels on these issues, and also on The Body, Photography, Museum Studies, Design, Cinema and Urban Space.

For more information, and a registration form, email the organisers at: real@gsa.ac.uk

Or please contact:

The State of the Real, Dept. of Historical and Critical Studies, Glasgow School of Art, 167 Renfrew St, Glasgow, Scotland, UK. G3 6RQ.

http://www.gsa.ac.uk/research/statereal.htm

 

10  (internet source: e-mail)

ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, Oktober 2003, Infomail Nr. 52

G i l l e s   D e l e u z e   u n d   d i e   K ü n s t e. Wiederholung und Differenz

24.-26.10.2003 Festival im ZKM | Medientheater

25.10.-07.12.2003 Ausstellung im ZKM | Medienmuseum, Projektraum

Eintrittspreise:

3 Tages-Karte: € 20/€ 12, Tageskarte € 10/€  6, nur Konzert und Filme: €  6

"Eines Tages wird das Jahrhundert vielleicht deleuzianisch sein."

(Michel Foucault)

Zeitgenössische Kultur ist ohne philosophischen Hintergrund nicht denkbar. Unter dem Titel "Gilles Deleuze und die Künste. Wiederholung und Differenz" veranstaltet das ZKM Karlsruhe, zusammen mit Peter Gente (Merve Verlag, Berlin) vom 24. bis 26. Oktober ein internationales Treffen. Das Festival ist die dritte Veranstaltung in der ZKM-Reihe "Philosophie und Kunst". Nach der Ausstellung "Guy Debord. Agent der Kritik gegen ihre Anerkennung" im Herbst 2001 und dem im vergangenen Jahr mit großem Erfolg durchgeführten Festival "Michel Foucault und die Künste ? Probleme einer Genealogie", sollen auch bei der diesjährigen Veranstaltung fernab akademischer Schwere Philosophie, Wissenschaft und Kunst in ihrem Verhältnis zueinander diskutiert werden. Neben Vorträgen beinhaltet das Festivalprogramm Filme, Konzert und eine "Deleuze Soundnight" mit Achim Szepanski (Mille Plateaux), Richard Pinhas und Jérôme Schmidt. Die Ausstellung im ZKM | Medienmuseum zeigt Video- und Audioinstallationen, Bild- und Tondokumente mit und über Gilles Deleuze, Fotografien von Hélène Bamberger, Gérard Uferas und Raymond Depardon und Malerei von Gérard Fromanger sowie Dokumente des umfangreichen Archivs zu Gilles Deleuze aus dem Merve Verlag, Berlin. Veröffentlichungen von und über Deleuze veranschaulichen die Erfahrungswelten des Philosophen und dokumentieren 29 Jahre Arbeit mit Deleuze.

Gilles Deleuze (1925-1995) war mehr als einer jener Universitätsprofessoren, die viel gelesen und (meist wenig) geschrieben haben. Er war ein Philosoph, der sich am Ende seines Lebens die Frage stellte: Was ist Philosophie? Worin unterscheidet sie sich von Kunst und Wissenschaft? Ist sie selbst eine Kunst, die Begriffe erfindet? Rhizomatik, Nomadologie, Wunschmaschinen, nichtorganisches Leben, Deterritorialisierung, Ritornell, "agencement" (Gefüge),  das sind einige Begriffe, die Deleuze berühmt gemacht haben. Oder resultieren diese aus der Zusammenarbeit mit seinem Freund, Félix Guattari (1930-1992), mit dem er seine wichtigsten Bücher gemeinsam verfasst hat?

Philosophie ist Freundschaft. Deleuze philosophiert mit Freunden, schreibt Bücher mit ihnen, über sie: Spinoza, Leibniz, Hume, Kant, Nietzsche, Bergson, Foucault... Aber es müssen nicht Philosophen sein, ebenso sehr liebt er die Dichter, Komponisten, Künstler: Melville, Proust, Kafka, Lawrence (beide), Carroll, Artaud, Beckett, Luca..., Bacon, Klee..., Godard, Resnais, Welles..., Boulez, Schumann, Berio.

Deleuze nennt Kunst einen Empfindungsblock aus Perzepten und Affekten und die Künste, an denen er das exemplifiziert, sind Literatur, Malerei, Musik, Film, Theater, Oper, Architektur und die Fernsehspiele Becketts. Erstaunlich, was er alles und wie präzise er alles verarbeitet hat: Mathematik, Pop, Psychoanalyse, Film, elektronische Musik...!

Deleuze hat nicht nur Freunde, sondern auch Gegner: Anti-Ödipus, Anti-Hegel, Anti-Wittgenstein... Das Philosophieren von Deleuze ist verführerisch, es springt über die Grenzen der Wissenschaft, der Universität, des akademischen Stils hinaus. Es sympathisiert mit den Künsten und ist zugleich ein großer Versuch, die Philosophie zu erneuern, sie aus der Gewalt der Meinungen, der Propositionen und Funktionen zu befreien. Für die Kunst gilt: Mit seinen Neurosen, Affektionen, Perzeptionen, Meinungen macht man keine Kunst. Der Künstler ist kein Kranker, sondern ein Arzt. Versteht sich das Buch "Was ist Philosophie?" als einem pädagogischen Eros verpflichtet, so soll die Beschäftigung mit den Künsten ihrer Poetik dienlich sein.

(Peter Gente)

Die Vorträge des letztjährigen Festivals "Michel Foucault und die Künste. Probleme einer Genealogie" erscheinen im April 2004 im Suhrkamp Verlag, Frankfurt. Die Veröffentlichung der Festivalbeiträge "Gilles Deleuze und die Künste" ist für 2005 geplant.

Programm

Freitag 24.10.2003

09.45 Uhr //  Piano Piece for David Tudor 4 von Sylvano Bussoti

10.00 Uhr // Peter Weibel, Peter Gente // Einführung //  Michel Tournier

"Aide mémoire" gelesen von Nina Meinhold

11.00 Uhr // Jean-Clet Martin // De la dramatisation des images

12.00 Uhr // Pause

14.00 Uhr // Clemens-Carl Härle // Deleuze und die Frage: Was heißt sprechen?

15.00 Uhr // Franco Berardi Bifo //La schizoanalyse face à l'épidémie psychopatique actuelle  dans le contexte de la société Sémiocapitaliste. Un Hommage à Félix Guattari

16.00 Uhr // Tom Holert // Eine andere Politik des Populären?

17.00 Uhr // Pause

17.30 Uhr //  Thomas Hirschhorn // Das Deleuze-Monument

18.30 Uhr // Pause

19.00 Uhr // Gilles Deleuze und die Künste // Ausstellungseröffnung im Projektraum | Medienmuseum

20.00 Uhr // Walter Zimmermann "Kindheitsblock", Mitglieder des ensemble recherche

20:30 Uhr // Le Grand Escroc // R: Jean-Luc Godard, F 1963 (angefragt)

Samstag 25.10.2003

10.00 Uhr // Marcus Steinweg // Immanenz, Souveränität, Bejahung und das

Glück, nicht unsterblich zu sein. Deleuze mit Blanchot

11.00 Uhr // René Aguigah // Was ist eine literarische Maschine?

12.00 Uhr // Pause

14.00 Uhr // Videos und Lesung zu Samuel Beckett

16.00 Uhr // Pause

16.30 Uhr // Danielle Cohen-Levinas // Une philosophie de l’hyperbole est-elle possible en musique: D’après une lecture de Deleuze

17.30 Uhr // Matthieu Carièrre liest Deleuze

18.30 Uhr // Pause

20.00 Uhr // Schatten der Engel // R: Daniel Schmid, CH 1976

22.00 Uhr // Deleuze Sound Night // Live-Performance von Achim Szepanski (Mille Plateaux),  Richard Pinhas und Jerôme Schmidt

Sonntag 26.10.2003

10.00 Uhr // Michaela Ott // Virtualität in Philosophie und Filmtheorie von Deleuze

11.00 Uhr // Raymond Bellour // L'image de la pensée: art ou philosophie, ou au-delà?

12.00 Uhr // Pause

14.00 Uhr // Hannes Böhringer // Über das Ritornell

15.00 Uhr // Joseph Vogl // Was ist ein Ereignis?

16.00 Uhr // Pause

16.30 Uhr // Robert Fleck spricht über Kunst

17.30 Uhr // Henning Schmidgen // Über die Philosophie als Kunst, Begriffe zu schaffen

18.30 Uhr // Bernd Stiegler // Buchpräsentation: Gilles Deleuze: Die einsame Insel, Frankfurt: Suhrkamp 2003

19.00 Uhr // Pause

20.00 Uhr // Ein neues Leben (Peau neuve) // R: Emilie Deleuze, F 1999

Die französischen Vorträge liegen in deutscher Übersetzung vor.

Programmänderungen vorbehalten

ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, Medientheater, Lorenzstraße 19, 76135 Karlsruhe

Information und Anmeldung

Tel: +49 721/8100-1200

Fax: +49 721/8100-1439

Weitere Informationen finden Sie unter www.zkm.de/deleuze-treffen

Petra Meyer, E-Mail:  meyer@zkm.de

 

LECTURES (7)

 

1 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Freitag, 3. / Samstag, 4.
Oktober 2003
Amorbach. Gedenkfeier anläßlich des 100. Geburtstages von Theodor W. Adorno
Freitag:
16.00 Uhr, Festvortrag von Martin Lüdke: Adorno in Amorbach - Die gezähmte Wildsau und die Philosophie
17.30 Uhr, Hotel zur Post: Empfang durch die Stadt im Hotel Post. Eröffnung des Adorno-Zimmers
19.00 Uhr, Liederabend im Grünen Saal: Adorno und seine Vorbilder. Gabriele Hierdeis (Sopran) und Thorsten Larbig (Klavier)
Samstag:
10.00 Uhr: Stadtführung
12.00 Uhr: Orgelkonzert

2 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Mittwoch, 10.
November 2003, 20.00 Uhr
Literaturhaus Frankfurt
»Die Ästhetik der Negativität schließt die Kultur aus.«
Vortrag von Wilhelm Genazino


3 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Dienstag, 18. November 2003, 20.00 Uhr
Das poetische Prinzip der »Wildsau von Ernsttal«.
Adornos Jugenderinnerungen aus Amorbach im Kontext seiner ästhetischen Theorie gelesen. Vortrag von Martin Lüdke und Wolfram Schütte

4 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Literaturhaus Frankfurt
Mittwoch, 26. November 2003, 20.00 Uhr
Dichten nach Adorno
Vortrag von Robert Menasse

5 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Dienstag, 18. November 2003, 20.00 Uhr
Das poetische Prinzip der »Wildsau von Ernsttal«.
Adornos Jugenderinnerungen aus Amorbach im Kontext seiner ästhetischen Theorie gelesen. Vortrag von Martin Lüdke und Wolfram Schütte

6 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Dienstag, 2. Dezember - Donnerstag, 4. Dezember 2003
Vortragsreihe im Historischen Museum Frankfurt
Dienstag, 20.00 Uhr: Geradlinig sollen wir leben.
Adorno und der Architektur-Funktionalismus
Vortrag von Dieter Bartetzko
Mittwoch, 20.00 Uhr: Pädagogische Aufklärung
nach Adorno
Vortrag von Andreas Gruschka
Donnerstag, 20.00 Uhr: Adorno. Die befreite
Menschheit, die messianische Dimension
und der Kulturbruch
Vortrag von Claus-Steffen Mahnkopf

7 (internet source: http://www.fluctuat.net/article.php3?id_article=78)

De l'autobio-sophie considérée comme un bel art
Conférence de Jean-Luc Nancy

"S'il est vrai que le besoin de philosophie constitue la philosophie même, ainsi que le suggère fréquemment Hegel, il se pourrait bien que la vocation des philosophes en dise plus long sur la philosophie que la philosophie elle-même...."

Pourquoi devient-on philosophe ? Beaubourg inaugure avec cette conférence un cycle consacré à l'autobiographie vu sous l'angle de la philo, une sorte d'autobio-sophie dixit le programme. Première rencontre, premier intervenant : le lumineux Jean-Luc Nancy, auteur du L'"il y a" du rapport sexuel (Galilée 2001, texte initialement donné à l'occasion d'une conférence d'études lacanienne : "Il n'y a pas de rapport sexuel" la même année) et plus récemment de La Création du monde ou la mondialisation, Galilée, 2002.

Extrait : "Je ne suis jamais devenu philosophe cette phrase peut s'entendre au sens où je ne suis toujours pas philosophe, ou bien au sens où je l'ai toujours été, bien avant d'embrasser une profession (pour parler comme autrefois, et pour se demander au passage si c'est une profession). Cette ambivalence foncière dénie tout intérêt à une possible réponse lorsqu'on me demande comment ou pourquoi je suis devenu philosophe. Mais d'ailleurs, pourquoi me poser cette question ? Pourquoi préjuger d'un intérêt plus grand avec elle qu'avec toute autre question sur le choix d'un métier ? (pourquoi devient-on marin, pharmacien, danseur ?) D'où vient cette question - et où va-t-elle, si du moins elle va quelque part ?"

Où ?
Centre Georges Pompidou, Petite salle. M° Les Halles ou Rambuteau.

Quand ? Combien ?
Mercredi 30 octobre à 19h30. Entrée libre.

 

 

PUBLICATIONS (2)

 

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

 

ANGELAKI journal of the theoretical humanities

http://www.tandf.co.uk/journals/routledge/0969725X.html

1993ff.

VOLUME 8 CONTENTS (3 issues)

volume 8 number 1 april 2003

GENERAL ISSUE 2003 I

issue editor: pelagia goulimari

CONTENTS

Editorial Introduction

-- Pelagia Goulimari

Beyond Postmodernism: Toward an Aesthetic of Trust

-- Ihab Hassan

Forgetting Rhetoric: On the Ars Oblivionalis of Pragmatism

-- Anthony Reynolds

Lines and Colours: Cezanne's Abstraction and Richter's Figures

-- Andrew Benjamin

After Aura: History of Photography and the Writing of the

Origin in Benjamin

-- Oleg Gelikman

A Time for Dissonance and Noise: On Adorno, Music, and the

Concept of Modernism

-- David Cunningham

Silence, Visuality and the Staying Image: The "Unspeakable Scene" of

Toni Morrison's Beloved

-- Ryan P. McDermott

Nothing to be Said: On the Inexpressible in Modern Philosophy

and Literature

-- Shane Weller

Undivided, Not-United: Robert Musil's Community

-- Austin Harrington

Islands and Empire: Beyond the Shores of Utopia

-- Antoine Hatzenberger

Felix Guattari: Towards a Transdisciplinary Metamethodology

-- Gary Genosko

The Group, Linguistic Innovation, and International Regionalism:

Prelude to the Preparation of a Group Manifesto

-- John Kinsella

AutoArchive Now? Scholarship, Teaching, Research

-- Sarah Wood

Raymond Klibansky: An Illustrious Philosopher's Journey

-- Michele Le Doeuff

* * *

volume 8 number 2 november/december 2003

THE ONE OR THE OTHER: FRENCH PHILOSOPHY TODAY

issue editor: peter hallward

CONTENTS

The One or the Other: French Philosophy Today

-- Peter Hallward

Some Comments on the Question of the One

-- Christian Jambet

Our World

-- Jean-Luc Nancy

Stagings of Mimesis

-- Philippe Lacoue-Labarthe

Despite Everything, Happiness Is Still Happiness

-- Clement Rosset

The Problem of Great Politics in the Light of Obviously

Deficient Modes of Subjectivation

-- Guy Lardreau

Phenomenology of Life

-- Michel Henry

Beyond Formalisation

-- Alain Badiou

Sexual Alterity and the Alterity of the

Real for Thought

-- Monique David-Menard

Technics of Decision

-- Bernard Stiegler

What Can Non-Philosophy Do?

-- Francois Laruelle

Politics and Aesthetics

-- Jacques Ranciere

The Mole and the Locomotive

-- Daniel Bensaid

The Science of Relations

-- Michel Serres

* * *

volume 8 number 3 november/december 2003

GENERAL ISSUE 2003 II

issue editor: pelagia goulimari

CONTENTS

Editorial Introduction

-- Pelagia Goulimari

Non-violence and the Other: A Composite Theory of Multiplism,

Heterology and Heteronomy Drawn from Jainism and Gandhi

-- Chakravarthi Ram-Prasad

Infinite Spaces: Walter Benjamin and the Spurious

Creations of Capitalism

-- Mark Cauchi

Ubermenschen, Mestizas, Nomads: The Ontology of Becoming and

the Scene of Transnational Citizenship in Anzaldua and Nietzsche

-- Salah el Moncef

Cavailles, Husserl and the Historicity of Science

-- David Webb

The Theatre of Phenomenology

-- Andrew Haas

Statements and Profiles

-- Gilles Deleuze

Her Voiceless Voice: Reviewing Sappho's Poetics

-- Cornelia Tsakiridou

Lacanians and The Fate of Critical Theory

-- Filip Kovacevic

Bataille and the Erotics of Hegelian Geist

-- Kane X. Faucher

The Problem of a Material Element in the Cinematic Sign:

Deleuze, Metz and Peirce

-- Roger Dawkins

Amidst the Plurality of Voices: Philosophy of Music after Adorno

-- Nikolas Kompridis

A Harmless Suggestion

-- Robert Smith

Volume Index

* * *

September 2003 sees the 10th anniversary of the journal. There is a page at the website giving a chronological selection of 100 articles from

Volumes 1 to 8. Please click on 'In theory, 1993--2003' at http://www.tandf.co.uk/journals/routledge/0969725X.html

Gerard Greenway

Angelaki: journal of the theoretical humanities

http://www.tandf.co.uk/journals/routledge/0969725X.html

Angelaki Humanities

http://catalogue.mup.man.ac.uk/acatalog/Angelaki_Humanities_.html

 

2 (internet source: e-mail)

Buchvorstellung Ästhetikgeschichte

Sehr geehrte Damen und Herren,

das Deutsche Polen-Institut Darmstadt lädt gemeinsam mit der Humboldt-Universität Berlin, Seminar für Ästhetik, für den 4. November 2003, 18 Uhr, zu einer Buchvorstellung in den Senatssaal der Humboldt-Universität (Unter den Linden 6) ein.

WELCHE GESCHICHTE FÜR DIE ÄSTHETIK? WLADYSLAW TATARKIEWICZ UND SEINE "SECHS BEGRIFFE"

Programm

Dr. Dieter Bingen (Deutsches Polen-Institut): Begrüßung, Einführung in die Reihe "Denken und Wissen"

Dr. des. Peter Oliver Loew (Deutsches Polen-Institut): Wladyslaw Tatarkiewicz vor dem Hintergrund seiner Autobiographie

Prof. Dr. Renate Reschke (HU Berlin, Seminar für Ästhetik): Wladyslaw Tatarkiewicz - "Geschichte der sechs Begriffe"

Prof. Dr. Adam Labuda (HU Berlin, Kunstgeschichtliches Seminar): Kommentar

Wladyslaw Tatarkiewicz: Geschichte der sechs Begriffe: Kunst, Schönheit, Form, Kreativität, Mimesis, ästhetisches Erlebnis. Aus dem Polnischen von Friedrich Griese. Frankfurt am Main: Suhrkamp 2003. 576 S. € 38,90

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tel;home:06151/2787098

tel;work:06151/4202-17

x-mozilla-html:FALSE

org:Deutsches Polen-Institut

version:2.1

email;internet: loew.dpi@t-online.de

title:Dr. des.

adr;quoted-printable:;;Mathildenh=F6hweg 2=0D=0A;Darmstadt;;64287;Deutschland

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PANEL DISCUSSIONS (NEW 4)

 

1 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Donnerstag, 16.
Oktober 2003, 20.00 Uhr
Literaturforum Frankfurt, Studiobühne
Adorno übersetzen
Diskussion mit französischen, italienischen, englischen Übersetzern. In Zusammenarbeit mit dem Institut Francais, dem Instituto Italiano di Cultura und dem Amerikahaus. Moderation: Bernd Schwibs

2 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Freitag, 24. Oktober 2003
Hochschule für Musik und Darstellende Kunst Frankfurt
Adorno - Wegbereiter der Neuen Musik?
Betrachtungen aus der subjektiven Perspektive von Komponisten dreier Generationen
15.00 Uhr Podiumsgespräch mit dem Adorno-Preisträger 2003 György Ligeti, Hans Ulrich Engelmann, Nicolaus A. Huber, Helmut Lachenmann, Hans Zender, Claus-Steffen Mahnkopf, Isabel Mundry, Wieland Hoban
18.00 Uhr Pause
19.30 Uhr Konzert des Mutare Ensemble mit Werken der eingeladenen Komponisten


3 (internet source:
http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)Donnerstag, 6. November / Freitag, 7. November 2003
Literaturhaus Frankfurt
Erinnerungen an Theodor W. Adorno
Ivan Nagel, Ludwig von Friedeburg, Heinz-Klaus Metzger, Alfred Schmidt, Herbert Schädelbach, Dieter Schnebel. Moderation: Klaus Reichert

4 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Literaturhaus Frankfurt

Donnerstag, 27. November, 20.00 Uhr
Dichten nach Adorno
Diskussion mit Robert Menasse, Wilhelm Genazino, Ernst-Wilhelm Händler, Ruth Schweikert

 

EXHIBITION (1)

 

1 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Dienstag, 28.
Oktober, 19.30 Uhr
Frankfurter Kunstverein
Adorno
Eröffnung der Ausstellung
Kritische Theorie und Bildende Kunst: Dass gerade die Kunst eine vordergründig sekundäre Rolle in Adornos Werk spielt, versteht sich dabei als produktive Leerstelle, die in der prospektiven Weiterführung seiner Gedanken die Idee von Souveränität und Autonomie zur Diskussion stellt. In kritischer Auseinandersetzung mit Adornos Schriften und insbesondere dem in seinem Spätwerk entwickelten Ästhetik-Begriff wird über das Medium der bildenden Kunst sein Denken im Spiegel seiner Wirkung reflektiert. Gerard Byrne, Cerith Wyn Evans, Euan McDonald, Sarah Morris, Ad Reinhardt, Christopher Williams u.a. haben speziell für diese Ausstellung Kunstwerke entworfen.
(bis 4. Januar 2004)

 

July 2003 - September 2003

CALLS FOR PAPERS (1)

1 (internet source: http://www.aesthetics-online.org/)

"Narrative Understanding"
Special Issue of Philosophical Papers
Recent analytic philosophy has seen an emergence of the use of the concept of narrative. Various writers have argued that narratives play a central role in scientific explanations, the identity of the self, the nature of human agency, the understanding and evaluation of character, and the establishment of personal identity, ethical evaluation, and the meaning of life.
Yet within the analytic tradition the notion of narrative has yet to receive sustained and direct critical attention. This issue will be devoted to developing an analytic framework for understanding narrative and how it may illuminate issues within particular areas of philosophy.
Article submissions are welcome on any topic relevant to the nature of narrative and its relationship to central problems in philosophy. This includes, but is not restricted to, such topics as:
the nature of narrative comprehension, explanation and understanding
narrative, self-identity and self-constitution
narrative, self-knowledge and knowledge of others
narrative, agency, and character
narrative, ethics, and moral psychology
narrative, death, and the meaning of life
Deadline: July 31, 2003
Philosophical Papers
Department of Philosophy
Rhodes University
Grahamstown 6140 South Africa
Further enquiries may be addressed to Matthew Kieran <
m.l.kieran@leeds.ac.uk>

 

CONFERENCES (16)

 

1 (internet source: http://cas.memphis.edu/philosophy/sjp/philcal.html)

May 16-18, 2003
International Society of Phenomenology, Fine Arts and Aesthetics
Harvard Divinity School
Theme: Beauty, Truth, Goodness; Aesthetics at the Crossroads
Abstracts due: November 15, 2002
Contact: Patricia Trutty-Coohil, Creative Arts, Siena College 515 Loudon Rd., Loudonville, NY 12211

 

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

THE AESTHETICS OF AGRICULTURE

The Fifth International Conference on Environmental Aesthetics
Häme Polytechnic Lepaa, Hattula, Finland. 5-8 August 2003

http://www.msl.fi/default.asp?address=1.x

The Fifth International Conference on Environmental Aesthetics is being held at the Häme Polytechnic Lepaa, near the historic town of Hämeenlinna in the heart of Finland's agricultural south. The conference will take place in beautiful natural surroundings on the shores of Vanajavesi, in premises around an old manor house where horticulturists have been trained since 1910. As a cultural environment with a rich heritage of its own, Lepaa provides an ideal setting for the conference. The theme for the conference is the aesthetics of cultivated agricultural environments from the perspectives of their productivity, rural lifestyle issues, and prospects for the future. Open cultivated fields form the basis of cultural landscapes in rural areas. The aesthetics of other types of landscapes that typically surround farmland, such as forests, inland waters and peatlands, have been examined in previous conferences. The hand of man is much more clearly noticeable in agricultural landscapes. Our cultural history is indeed dependent on the development of cultivation.

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BSA Annual Conference

THE BRITISH SOCIETY OF AESTHETICS ANNUAL CONFERENCE 2003
ST EDMUND HALL, OXFORD,
SEPTEMBER 12th TO 14th, 2003

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Culture and the Mind
2nd - 5th July 2003,
University of Sheffield

http://www.shef.ac.uk/~phil/AHRB-Project/YearTwoConference.html

This interdisciplinary conference will investigate the interaction of culture and the innate mind. To what extent are mature cognitive capacities a reflection of particular cultures and to what extent are they a product of innate elements? How do innate elements interact with culture to achieve mature cognitive capacities? How do minds generate and shape cultures? How are cultures processed by minds?

 

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Two symposia are planned, on theories of artistic style and theories of depiction respectively, at the Australasian Association of Philosophy
Conference to be held at the University of Adelaide, from July 6th-July 11th 2003. Other papers on topics in aesthetics will be organised into an aesthetics stream.
For details please see:
http://www.adelaide.edu.au/philosophy/AAP2003/
Jennifer A. McMahon
Philosophy
Adelaide University, AUSTRALIA 5005
Ph : +61 8 8303 5296
Fax : +61 8 8303 3396
e-mail:
jenny.mcmahon@adelaide.edu.au
Home page:
http://www.adelaide.edu.au/philosophy/people/jmcmahon/

 

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FEMINIST THEORY AND MUSIC 7: CROSSING CULTURES/CROSSING DISCIPLINES will
take place Thursday July 17th through Sunday July 20th, 2003 at Bowling
Green University in Bowling Green, Ohio.
One focus of this year's conference will be feminist theory in
cross-cultural perspective. How have feminist political concerns shaped,
and been shaped by, ethnomusicology, ethnographic approaches, and
multicultural music pedagogy? As always, the FT&M Conference welcomes
contributions drawing on feminism, women's studies, LGBT or queer studies,
area studies/ethnic studies (eg. Africana, Asian, Latin American) and
gender studies from all disciplinary perspectives of musical inquiry.
We invite proposals for 20-minute paper presentations in the form of an
abstract of about 200 words. We will also consider proposals for
alternative formats such as panel/forum discussions and
lecture-performances. Such proposals should give a clear account of the
nature of the session and the names and roles of the participants in under
500 words.
All proposals must be received by March 7, 2003. Please email your
proposals to
zsherinian@ou.edu. Paper proposals sent in the mail will not
be accepted. Performance tapes for lecture-performances should be sent to
Mary Natvig, College of Music, Bowling Green State University, Bowling
Green, Ohio, 43403.
The 13th meeting of GRIME (Gender Research in Music
Education-International) will be held in conjunction with FT&M7. A web
site for FT&M7 will be available soon.
Program Committee
Zoe Sherinian, Chair
Elizabeth Gould
Fred Maus
Deborah Wong
Eileen Hayes
Sara Cohen
Carol Hess
Mary Natvig, Local Coordinator

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AESTHETICS & POLITICS
Sixth Annual Conference for the Society for European Philosophy University of Essex 9th-11th September 2003
During the last two centuries, the relationship between aesthetics and politics has been the subject of much philosophical debate within the European tradition. In this conference we are interested in exploring the various ways in which art and conceptions of the political intersect, conflict or in other ways engage with one another. Contributions relating more generally to problems in European philosophy are also welcome. Plenary Speakers: Karl Ameriks (Notre Dame, USA), Alain Badiou (ENS, Paris), Lydia Goehr (Columbia, USA), Peter Osborne (Middlesex, UK). In addition to the plenary presentations, the conference will have panels, each comprising two or three speakers. The panel sessions will be one and a half hours long, and each presentation should last no more than 20 minutes. [Speakers who are able to pre-arrange panels and propose papers as a group will also be considered.] The Society invites papers relating to various aspects of the conference title and to European philosophy more generally. Suggested themes include:
- Memory
- Representation
- Transgression
- Subjectivity
- Experience
- Visuality
- Singularity
- Truth
- The aesthetic and the anti-aesthetic
SEP Conference Organizing Committee
C/O Dr Espen Hammer
Department of Philosophy
University of Essex
Wivenhoe Park
Colchester
CO4 3SQ
United Kingdom
e-mail:
sepconf@essex.ac.uk
All participants must be registered. Registration details together with a registration form can be found at the conference website:
http://www.essex.ac.uk/philosophy/sep/index.htm
Messages to the list are archived at
http://listserv.liv.ac.uk/archives/philos-l.html.
Other philosophical resources on the Web can be found at
http://www.liv.ac.uk/Philosophy/philos.html

 

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"TOURISM & PHOTOGRAPHY: STILL VISIONS CHANGING LIVES", an international academic conference organised by CENTRE FOR TOURISM & CULTURAL CHANGE and SCHOOL OF CULTURAL STUDIES at Sheffield Hallam University, UK. The conference will be held in Sheffield, United Kingdom, 20-23 July 2003.
A multi-dimensional approach to tourism & photography: Social and human scientists of various disciplines (art history, sociology, anthropology, geography, aesthetics, etc) have been investigating different dimensions of photography for many years. Although the 'taking' of photographs is one of the most characteristic and symbolic moments in tourism, relatively little attention has been given to this particular relationship. In terms of tourist experience, it appears as a way to create visual narratives of both journeys, places, peoples and objects that collectively and individually comprise the tourist gaze. In terms of social and symbolic interaction, it operates a political economy of signs by constructing and re-constructing, inventing and re-inventing visual representations of places, spaces and histories. In terms of local and social identity, photographic images represent a "test" of peoples' ethnic and cultural self-awareness.
Why do tourists take photos of certain things and not of others? Why do tourists take photos at all? How do photos build places, how do they change places and shape lives? How are photos used to define people and territories? How do locals negotiate photographic images of themselves? The aim of "Tourism & Photography: Still Visions - Changing Lives" is to explore these questionings from different disciplinary perspectives. Themes of interest to the conference include:
- Through the Lens: Camera - Tourist Relationships
- Photographic Pioneers in the Evolution of Tourist Destinations
- Inventing and Re-inventing Landscapes for Tourism
- Framing Beauty for Visitors
- Commercial Photography and the Tourist Brochure
- Photographs as Triggers for Tourist Memory
- Representing Places, Peoples and Pasts
- Negotiating Cultural Identity
- Resisting the Captured Image
David Picard
Centre for Tourism & Cultural Change and School of Cultural Studies
Sheffield Hallam University
City Campus - Howard Street
Sheffield S1 1WB, UK
d.picard@shu.ac.uk

 

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The Friedrich Nietzsche Society

13th Annual Conference

Nietzsche, Art and Aesthetics

University of Warwick, UK

12th - 14th September 2003

http://www.warwick.ac.uk/philosophy/conferences/fns/

 

 

10 (internet source: e-mail)

II Seminario Internacional

"Gracián y sus conceptos"

La Coruña

3-5 July 2003

directed by Dr. Emilio Blanco and Dra. Elena Cantarino

Universitat de València

http://www.baltasargracian.net

 

 

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ST EDMUND HALL, OXFORD, SEPTEMBER 12th TO 14th, 2003
Conference Programme

BRITISH SOCIETY OF AESTHETICS ANNUAL CONFERENCE 2003
ST EDMUND HALL, OXFORD, SEPTEMBER 12th TO 14th
PROVISIONAL PROGRAMME

Friday, September 13th
Mid-day onwards. Collect keys and programme from porter's lodge.

3.30 - 4.10 Coffee in the Old Dining Hall. Welcome to Conference and organisational information.
4.10 - 4.45 The Death of the Humanities - Stein Olsen (Hong Kong)
4.45 - 5.20 Ethics in Language: The Case from World Literatures Pradeep Dhillon (Illinois)
5.20 - 5.55 Imagining and Ethical Concepts Kathleen Stock (Lancaster)
5.55 - 6.30 Getting to See What the Critic Sees: On Retiring, a Bad Idea in Aesthetics Daniel Kaufman (Southwest Missouri)
6.30 - 7.05 Musical Expression Antony Pryor (Goldsmiths, London)
7.05 - 7.35 Sherry (Front Quad if dry, Old Dining Hall if wet)
7.35 Dinner

Saturday, September 14th

8.00 - 8.30 Breakfast
9.00 - 9.35 Art as a Source of Knowledge About Ideology Derek Matravers (Open University)
9.35 - 10.10 Do Aesthetic Theories Fail? Danto's Argument from Indiscernibility Revisited Diarmuid Costello (Oxford Brookes)

SYMPOSIUM ON THE WORK OF TERRY DIFFEY

10.10 - 10.45 Contribution from Graham McFee (Brighton)
10.45 - 11.15 Coffee
11.15 - 11.50 Contribution from Peter Lamarque (York)
11.50 - 12.50 Overview Terry Diffey (Sussex)
1.00 Lunch
1.35 - 4.30 Free

GUEST SPEAKERS

4.30 - 5.30 Imagination in Classical Greek Aesthetics Anne Sheppard (Royal Holloway, London)
5.30 - 6.30 Erotic Art and Pornographic Pictures- Jerrold Levinson (Maryland)
7.30 till late Special Dinner (New dining hall)

Sunday, September 15th

8.00 - 8.30 Breakfast
9.00 - 9.35 Notions of the Aesthetic and of Aesthetics Lars-Olof Åhlberg (Uppsala)
9.35 - 10.10 Originality and Value- Christopher Bartel (Research student: King's, London)
10.10 - 10.45 Identification, Interpretation and Construction: A Response to Carroll's Theory of Identifying Narratives Katerina Reed-Tsocha (Oxford)
10.45 - 11.15 Coffee
11.15 - 11.50 Can Anything Resemble Anything in Depictive Art? Nick McAdoo (Open University)
11.50 - 12.25. Imagination, Perception and Action- Identification in the Visual Arts Bence Nanay (Research student: Berkeley)
12.30 - 1.00 British Society of Aesthetics AGM
1.00 Optional lunch for those who have ordered it.

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Belo Horizonte, 9.-12. September 2003
University of Minas Gerais
Theoria Aesthetica <Adorno>. International Congress
http://www.fafich.ufmg.br/~taesthet/english.htm

 

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Zürich, 16.-18- September 2003
Universität Zürich
Gesellschaftstheorie und Ästhetik bei Theodor W. Adorno. Eine Tagung zum 100. Geburtstag von Theodor W. Adorno
Beiträge von u.a. Alexander García Düttmann, Stefan Müller-Doohm, Gernot Böhme, Hans-Ulrich Gumbrecht, Zvi Rosen.
Philosophisches Seminar der Universität Zürich
Institut für Soziologie und Sozialforschung der Universität Oldenburg
http://www.uni-oldenburg.de/fopro/adorno/Tagung.htm :

Über die Schwierigkeit, nein zu sagen
Gesellschaftstheorie und Ästhetik bei Theodor W. Adorno
Am 11. September 2003 wäre Theodor W. Adorno 100 Jahre alt geworden. Dieses Datum ist Anlass für einen Kongress an der Universität Zürich, um sich der Frage zu widmen, ob einer der wirkungsmächtigsten Denker des letzten Jahrhunderts noch Zeitgenossenschaft beanspruchen kann. Nicht alleine die anhaltende Rezeptionsgeschichte, die Herausgabe der Nachgelassenen Schriften sowie die weltweit wachsende Literatur über Leben und Werk dokumentieren das Anregungspotential von Adornos kritischer Theorie. Vielmehr sind es die Brennpunkte seiner Geschichtsphilosophie und Erkenntnistheorie selber, die zu Kontroversen herausfordern. Was bedeutet es, Ästhetik als Gesellschaftstheorie zu begründen? Wie ist das Programm einer nachmetaphysischen Philosophie zu beurteilen, deren Ziel darin besteht, den Beschädigungen des Lebens nachzugehen, die aus den Fortschritten der Naturbeherrschung resultieren?

Die übergreifende Thematik des Kongresses gilt dem, was als existentieller Impuls von Adornos Denken angesehen werden kann: Nein zu sagen. Die Reflexion der Schwierigkeiten, mit denen ein solcher Nonkonformismus des Denkens konfrontiert ist, ist Agens seines Werks, dem der Autor ein anderes Schicksal zugedacht hatte, als dreißig Jahre nach seinem Tod in den klassischen Kanon der Philosophie eingereiht zu werden. Das Prinzip einer Kritik, die sich immer auch gegen ihre eigenen Grundlagen richtet und ihren Inhalt mit den geistes- und zeitgeschichtlichen Erfahrungen einer Epoche verknüpft, muss für seine philosophischen, soziologischen, musiktheoretischen und literaturkritischen Schriften nicht erst zur Geltung gebracht werden. Sie sind selbst Anleitungen, das geschichtlich Vergangene vom gegenwärtigen Standpunkt aus zu aktualisieren: Die kritische Reflexion ist selbst ein Inhalt der Philosophie.

Die Fragestellung des Kongresses, welche Relevanz eine Philosophie im 21. Jahrhundert hat, die ihre eigene Existenzberechtigung aus der geschichtlichen Dauer von Leiden, Angst und Drohung begründet, soll an drei Gegenstandsbreichen von Adornos kritischer Theorie debattiert werden:

- Gegenwartskunst und ästhetische Theorie

- Populärkultur und Kulturindustrieanalyse

- Metaphysik nach ihrem Ende.

Programm
Dienstag, 16. September 2003
18.00 Uhr: Eröffnung des Kongresses

18.30 Uhr: Hauptvortrag: N.N.

Pause

20.00 Uhr: Lesungen, Aufführung von Kompositionen Adornos

Mittwoch, 17. September 2003
9.30 bis 13.00 Uhr: Round Table I (Moderation: Ulrich Stadler, Zürich)

Kunst ohne Avantgarde?

Zum Selbstverständnis ästhetischer Arbeit und avancierter Kunst

In Unternehmungen wie Picassos Guernica, Schönbergs Survivor of Warshaw liegt etwas Vergebliches. Die beiden Künstler, die einzigen fast, die es noch sind, registrieren die Unmöglichkeit einer Kunst, die sich weiter ‚entwickelt‘, ohne auf das Grauen zu reagieren; das Nichtige der Kunst, ihren objektiven Übergang in Kunstgewerbe, aber kann Kunst wirklich so auf das Grauen reagieren, wie sie es möchte? (aus einem Scribble-in Book‘, Los Angeles, ca. November 1948)
Beiträge von:

Alexander Garcia Düttmann, London; Martin Seel, Giessen; Christine Eichel, Berlin; Josef Früchtl, Münster

Mittagspause
14.30 bis 18.00 Uhr: Round Table II (Moderation: Stefan Müller-Doohm, Oldenburg)

E und U – (k)ein Gegensatz?

Kulturindustrieanalyse im Zeitalter universaler Medieninszenierung

Die "Zauberflöte", in der die Utopie der Emanzipation und das Vergnügen am Singspielcouplet genau koinzidieren, ist ein Augenblick selber. Nach der "Zauberflöte" haben ernste und leichte Musik sich nicht mehr zusammenzwingen lassen. (Der Fetischcharakter der Musik und die Regression des Hörens, 1938)

Beiträge von: (jeweils angefragt) Gernot Böhme, Darmstadt; Alexander Kluge, München; Hans Ulrich Gumbrecht, Stanford; Franz Schuh, Wien; Martin Meyer, Zürich

Donnerstag, 18. September
9.30 Uhr bis 13.00 Uhr: Round Table III (Moderation: Georg Kohler, Zürich)

Vom Standpunkt der Erlösung aus betrachtet ... . Metaphysische Hoffnung oder prinzipiell trostlos?

Das Erdbeben von Lissabon reichte hin, Voltaire von der Leibniz’schen Theodizee zu kurieren, und die überschaubare Katastrophe der ersten Natur war unbeträchtlich, verglichen mit der zweiten, gesellschaftlichen, die der menschlichen Imagination sich entzieht, indem sie die reale Hölle aus dem menschlich Bösen bereitet. Gelähmt ist die Fähigkeit zur Metaphysik, weil, was geschah, dem spekulativen metaphysischen Gedanken die Basis seiner Vereinbarkeit mit der Erfahrung zerschlug. (Negative Dialektik 1966)

Beiträge von (jeweils angefragt): Günther Figal, Freiburg i.Br.; Helmut Holzhey, Zürich; Christoph Menke, Potsdam; Zvi Rosen, Tel Aviv

14.30 Uhr: Abschlußvortrag (Hans Magnus Enzensberger, angefragt)

Parallel zum Kongress findet eine Ausstellung im Literaturmuseum Strauhof über Leben und Werk von Adorno statt, die vom Präsidialdepartement Zürich in Zusammenarbeit mit dem Frankfurter Adorno-Archiv durchgeführt wird. Außerdem werden ausgewählte Kompositionen von Adorno durch ein Ensemble der Musikhochschule Zürich aufgeführt.

 

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Donnerstag, 25. September - Sonntag, 28. September 2003
J. W. Goethe Universität Frankfurt
Internationale Theodor W. Adorno-Konferenz
Institut für Sozialforschung der Johann Wolfgang Goethe Universität in Zusammenarbeit mit dem Institut für Philosophie, dem Suhrkamp Verlag, dem Hessischen Rundfunk und der Stadt Frankfurt
Donnerstag:
15.00 Uhr Eröffnungsveranstaltung
(Hörsaal VI)
16.00 Uhr Jürgen Habermas: Freiheit und Verfügbarkeit
17.00 Uhr Plenarveranstaltung I.
Robert Pippin / Christoph Menke: Moral
und subjektiver Impuls
20.00 Uhr Jan Philipp Reemtsma:
Adorno und die Literatur
Freitag:
09.00 Uhr Plenarveranstaltung II.
Albrecht Wellmer / Lydia Goehr: Musik und Sprache
11.00 Uhr Workshops
Andrea Kern: Negative Dialektik
Joel Whitebook: Schriften zur Psychoanalyse
Gunzelin Schmid Noerr:
Dialektik der Aufklärung
14.30 Uhr Plenarveranstaltung III.
Raymond Geuss / Martin Seel: Erkenntnis und Anschauung
17.00 Uhr Plenarveranstaltung IV.
Bernard Williams / Susan Neimann:
Psychologie und Ethik
20.00 Uhr Adorno und die Medien
(Sendesaal des Hessischen Rundfunks)
Samstag:
09.00 Uhr Plenarveranstaltung V.
Tilman Allert: Mikrosoziologie der Gesellschaft
11.00 Uhr Workshops
Josef Früchtl: Ästhetische Theorie
Rahel Jaeggi: Minima Moralia
n.n.
14.30 Uhr Plenaveranstaltung VI.
Axel Honneth / Peter Wagner:
Gesellschaftstheorie

 

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http://www.uni-frankfurt.de/fb09/muwi/adorno1.htm

 
Musikwissenschaftliches Institut
Johann Wolfgang Goethe-Universität Frankfurt am Main
In Zusammenarbeit mit dem Institut für Sozialforschung, der Stadt Frankfurt am Main und der Bürgerstiftung Frankfurt veranstaltet das Musikwissenschaftliche Institut zum 100. Geburtstag des Philosophen, Soziologen, Musiktheoretikers und Komponisten Theodor W. Adorno eine Konferenz, zu der namhafte Wissenschaftler aus dem In- und Ausland gewonnen werden konnten.
Internationale Theodor W. Adorno-Konferenz 2003
Konferenz II: Musikalische Analyse und Kritische Theorie
Frankfurt am Main, 28. bis 30. September 2003
Holzhausenschloesschen, Frankfurt
Justinianstraße 5
Daß die Musik von zentraler Bedeutung für die Ästhetik Theodor W. Adornos und für seine Philosophie insgesamt ist und daß philosophische Motive entscheidend auf Adornos musikalische Schriften eingewirkt haben, ist bekannt. Die wechselseitige Beziehung von Musik und Philosophie bei Adorno ist in der Forschungsliteratur mehrfach thematisiert worden. Bekannt ist auch, daß sich das Fach Musikwissenschaft durch Adornos Schriften, vor denen es sich lange genug abgeschirmt hatte, verändert hat: Die Öffnung für Probleme und Entwicklungen der neuen Musik, zumal der Wiener Schule, das besondere Forschungsinteresse an Gustav Mahler, auch neuere Forschungen zu Beethoven, Schubert, Wagner zehren von der Rezeption der entsprechenden Schriften Adornos. Hinzu kommt der Einfluß auf wissenschaftstheoretische und methodologische Reflexionen, die durch jene enge Beziehung von musikalischer Erfahrung und einem philosophischem Denken herausgefordert wurden, welches die etablierten Fachgrenzen infragestellt. - Wenn dieses enge Verhältnis von Musik und Philosophie im Werk Adornos anerkannt wird, so ist doch ein genaueres Verständnis der methodischen Implikationen und Auswirkungen dieser Nähe auf die akademischen Disziplinen von Philosophie, Soziologie und Musikwissenschaft in ihrer jeweiligen Behandlung des Gegenstandes Musik noch zu erarbeiten. Es versteht sich auch heute nicht von selbst, daß Gesichtspunkte und Fragestellungen für die Musikwissenschaft von philosophischer Ästhetik und Soziologie zu gewinnen sind und daß diese ihrerseits nicht nur auf allgemeine Strukturen der Kunst und ihres Verhältnisses zur Gesellschaft gerichtet sind, sondern zu dem Anspruch des einzelnen Werkes vordringen und in diesem die ästhetische Bedeutung und ihre gesellschaftliche Vermittlung aufzeigen sollen. - Als Schlüssel erscheint dabei die Frage, wie Philosophie – und gerade eine in die spekulativen Traditionen des deutschen Idealismus zurückreichende wie diejenige Adornos – sich auf die spezifische Erfahrung von Musik und auf die historische Konkretion von Musikwerken bezieht, ja in der Auseinandersetzung mit diesen durchgeführt, wenn nicht sogar hervorgebracht wird. - Im Gegensatz zur traditionellen Ästhetik, die auf das Allgemeine des Schönen und der Kunst zielte und einzelne Kunstwerke tendenziell nur als Beispiele heranzog, ist für die Ästhetik Adornos die Erfahrung verbindlich, die am einzelnen Kunstwerk und in der Auseinandersetzung mit ihm zu gewinnen ist. Die Analyse des Kunstwerks wird zur Voraussetzung eines seiner Verantwortung bewußten Sprechens über Kunst. Musikanalytischen Darlegungen kommt in Adornos Schriften ein um so größeres Gewicht zu, als durch sie erst der "Rätselcharakter" aufgedeckt werden kann, um dessentwillen musikalische Kunstwerke der philosophischen Interpretation bedürfen; durch das Insistieren auf dem Einzelnen, Besonderen, Abweichenden, auf das die Analyse stößt, wird die Philosophie ihrerseits daran erinnert, daß sie der Kunst bedarf, um sich von den Subsumierungen unter das Allgemeine zu lösen. Denn die Kritik an herrschenden Ordnungen, Systemen und Kategorien durch Sichtbarmachung ihrer gesellschaftlichen Präformation ist ein wesentliches Motiv der Philosophie als kritischer Theorie. Interpretation, Kommentar, Kritik bilden das Medium der historischen Entfaltung der Werke und ihres Wahrheitsgehaltes. - Das ,,Problem" der musikalischen Analyse betrifft sowohl eine Musikwissenschaft, die geneigt ist, musikalische Analyse eher als Handwerkszeug, als Propädeutikum zu verstehen, das, obzwar unverzichtbarer Fachverstand, mit der ästhetischen, historischen, philosophischen Interpretation der Kunst in keinem internen methodischen Zusammenhang zu stehen brauche. Andererseits betrifft es eine Philosophie, die versucht, die empirische und geschichtliche Seite kunst­theoretischer Probleme, mithin auch die ,,materialen Arbeiten" Adornos, den geisteswissen­schaftlichen Einzeldisziplinen zu überlassen, die also meint, Ästhetik ohne eine spezifische, historisch und analytisch gesicherte Theorie des Kunstwerks betreiben zu können. - Es darf dabei grundsätzlich als offene Frage angesehen werden, was musikalische Analyse eigentlich ist, in welchem Sinne und welchem Grade sie wissenschaftliche Methodik beanspruchen kann und aus welchen Prinzipien, Prämissen und Zielen spezifische analytische Verfahrensweisen zu legitimieren sind. Von den analytischen Einsichten Adornos ist vieles in die musikwissen­schaftliche Forschung übernommen werden; doch wurde dabei oft die phänomenologisch beschreibende Seite der Analyse von dem kritischen Kontext gelöst und dadurch verfestigt, wenn nicht sogar verfälscht. Der Geltungsbereich und die Deutung der analytisch erfaßten Sachverhalte sind ohne diesen Kontext nicht zu haben. Adorno wußte die "werkimmanente Analyse" zu schätzen, hat aber für sie eine "zweite Reflexion" gefordert: "zweite Reflexion muß die Sachverhalte, auf die jene Analyse stößt, über sich hinaustreiben und durch emphatische Kritik zum Wahrheitsgehalt dringen." Adornos Konzept der ,,zweiten Reflexion" setzt die beiden kunstwissenschaftlichen Arbeitsbereiche miteinander in Beziehung, und verzahnt die ,,erste Reflexion" der musikalischen Analyse von Anbeginn mit der ,,zweiten" insbesondere werktheoretischen, geschichtsphilosophischen und soziologischen Reflexion. - Aufgabe des Symposions soll eine möglichst breit angelegte Vergegenwärtigung der Mittel sein, die Adorno anwendet, um die Phänomenalität von Kunstwerken methodisch einsichtig zu erschließen, ästhetische Kategorien aus technischen hervorgehen zu lassen, philosophische Perspektiven und Motive in der Sache selbst zu verankern. Es geht um die Begründung der Ästhetik Adornos in der Erfahrung von Musik, um den Zusammenhang zwischen Adornos auf das Besondere des einzelnen Kunstwerks gerichteten Arbeiten und den übergreifenden philosophischen Konzepten, um die Methoden der immanenten Kritik von Kunstwerken im Verhältnis zur Kritischen Theorie, insgesamt also um Begriff und Funktion der musikalischen Analyse im Kontext der Philosophie Adornos. - Geplant sind zwei sich ergänzende Herangehensweisen, deren eine eher von Genese und Geschichte von Adornos analytischem Verfahren ausgeht, die andere eher von dem Verhältnis von philosophischem Begriff und musikalischer Analyse.
Programm
Teil A: Musikalische Analyse und philosophischer Begriff
Sonntag, 28. September, 9.30-18.00 Uhr
Eröffnung/Einleitung
Richard Klein, Freiburg: Die Philosophie der Werke "selbst". Adornos strittiges Vermächtnis
Julian Johnson, Oxford, U.K.: Vers une analyse informelle
Max Paddison, Durham, U.K.: Komposition, Analyse, Interpretation: Das Problem der kritischen Selbstreflexion in Adornos Musikphilosophie
Mikhail Uvarov, St. Petersburg: Th.
Adorno and the philosophy of music in Russia
Robert Witkin, Exeter, U.K.: Composing society in Sonata-Form.
Analysis and Social Formation
Markus Fahlbusch, Frankfurt: Musikalische Analyse als Physiognomik
Teil B: Genese und Geschichte von Adornos analytischem Verfahren
Montag, 29. September, 9.00-18.00 Uhr
Reinhard Kapp, Wien: Der Analysebegriff der Wiener Schule
Lucia Sziborsky, Düsseldorf: Zur Genese der Musikphilosophie Adornos. Die frühen musikalischen Schriften
Regina Busch, Wien: Adornos 'analytische Befunde'
Hans-Joachim Hinrichsen, Zürich: Produktive Konstellation. Beethoven und Schubert in Adornos früher Musikästhetik
Hermann Danuser, Berlin: "Materiale Formenlehre" – ein Beitrag Adornos zur Theorie der Musik
Johannes Bauer, Berlin: Das Schweigen der Sirenen. Adornos Ästhetik und das Neue der Neuen Musik
Adolf Nowak, Frankfurt: Stimmigkeit als analytisches Kriterium
Dienstag, 29. September, 9.00-13.00 Uhr
Elvira Seiwert, Baden-Baden: "Interpretation ist eine Form". Benjamins Spur in Adornos Reproduktionstheorie und wohin sie wohl führt
Gianmario Borio, Cremona: Werkstruktur und musikalische Darstellung: Reflexionen über Adornos Interpretationsanalysen
Heinz Klaus Metzger: Zur Aufklärung des Status der Philosophie der neuen Musik
Schlußdiskussion
Stand: 18.06.2003
Rahmenprogramm im
Frankfurter Goethe-Museum
Großer Hirschgraben 23-25
Freitag, 26. 9. 2003, 20 Uhr
Adorno und seine Vorbilder
Gabriele Hierdeis, Sopran
Thorsten Larbig, Klavier
Sonntag, 28. 9. 2003, 20 Uhr
Der Liederkomponist Adorno
Carola Schlüter, Sopran
John-Noel Attard, Klavier
Montag, 29. 9. 2003, 20 Uhr
Der Komponist Adorno: Klaviermusik
Eike Wernhard, Klavier
Nähere Informationen zur musikwissenschaftlichen Tagung (28. bis 30. September): Prof. Dr. Adolf Nowak, Telefon 069/798-22183, Dr. Markus Fahlbusch, Telefon 069/798-23525, E-Mail: fahlbusch@kunst.uni-frankfurt.de

LECTURES (1)

1 (internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)
Sonntag, 21.
September 2003
Jüdisches Museum Frankfurt
»Adorno-Lerntag«. Vorträge, Diskussion, Lesung
Martin Jay: Overcoming the Stigma of the Inauthentic: Adorno's Critique of Genuineness
Yossef Schwartz: Die Geschichte einer Freundschaft: Adorno, Scholem, Benjamin
Petra Leutner: Die Kryptogrammatik des Bilderverbots bei Adorno und Celan
Friedrich Niewöhner: Jüdisches Denken und Kritische Theorie: Adorno, Horkheimer, Löwenthal

PUBLICATIONS (1)

1 (internet source: internet)

The Works of James Harris

James Harris
edited by James Harris, Earl of Malmesbury (the author’s son), 1801

2 Volumes

July/September 2003

http://www.thoemmes.com/aesthetics/harris.htm

The Thoemmes Library of Aesthetics
Quality reprints of single titles

 

PANEL DISCUSSIONS (1)

 

1 (Internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)


Freitag, 26. September 2003
Hessischer Rundfunk, Frankfurt
Adorno.
Diskussion

 

CONCERTS (1)

 

1 (Internet source: http://www.suhrkamp.de/autoren/adorno/jubilaeum/veranstaltungen.htm#a)

 
28.-30. September 2003
Goethe Museum Frankfurt
Der Komponist Adorno
Veranstaltungsreihe im Goethe Museum:
Sonntag, 28. September 2003: Adorno und seine Vorbilder
Lieder von Arnold Schönberg (Vier Lieder op. 2), Gustav Mahler, Anton von Webern (Lieder op. 4), Alban Berg (Sieben frühe Lieder) und Richard Wagner (Wesendonck-Lieder).
Gabriele Hierdeis, Sopran/Thorsten Larbig, Klavier
Montag, 29. September 2003: Der Liederkomponist Adorno
Lieder von Theodor W. Adorno: Sechs Bagatellen, Klage. Sechs Gedichte von Georg Trakl, Zwei Propagandagedichte von Brecht, Vier Gedichte von Stefan George, Sept Chansons populaires francaises arrangées pour une voix et piano, Vier Lieder nach Gedichten von Stefan George.
Carola Schlüter, Sopran/John-Noel Attard, Klavier

Dienstag, 30. September 2003
Klaviermusik
Klavierstücke von Theodor W. Adorno, Helmut Lachenmann, György Ligeti, Ludwig van Beethoven, Arnold Schönberg, Robert Schumann
Eike Wernhard, Klavier

 

April 2003 - June 2003

CALLS FOR PAPERS (1)

1 (internet source: http://www.aesthetics-online.org/)

2003 ASA Eastern Division
April 4-6, 2003, Philadelphia
Papers on any topic in aesthetics are invited, along with proposals for panels, author-meets-critics sessions, or other special sessions. Volunteers to serve as session chairs and commentators are also welcome. Presenters must be ASA members, and all participants must register for the conference. Papers should run 10 or so pages and should take no more than 20 minutes to present.
Deadline: December 1 2002 for abstracts / January 1, 2003 for papers
Kirk Pillow
Department of Philosophy
Hamilton College
Clinton NY 13323
<
kpillow@hamilton.edu>

 

2 (internet source: http://www.apa.udel.edu/apa/opportunities/conferences/2003/jun/philforum.html)

The Philosophical Forum

Issue: Ethics and Architecture
Guest editors: Michael Levine (Philosophy); William Taylor (Architecture); Kristine Miller (Landscape and Architecture)

Manuscripts should be sent to Michael Levine, The Philosophical Forum, Baruch College, 1 Bernard Baruch Way, Box 5295, New York, New York 10010. The deadline for submissions is June 1, 2003.

Authors' Guidelines: Authors are requested to send three copies of each article submitted for consideration, as well as a copy on floppy disk. The MLA Style Sheet is our general standard of form. Paper should be double-spaced, 12 pitch, and no more than 20 pages in length.

Is aesthetics the only field in philosophy relevant to architectural theory and practice, or is architecture involved in other, relatively unexamined, ways with fundamental philosophical questions? More generally, can philosophy offer theoretical correctives to architectural practice?

Specific issues concerning ethical dimensions in architecture have perhaps never been as public and as a propos to the current civic and political climate as they are now. This issue of The Philosophical Forum seeks to identify, reintroduce and emphasize the centrality of an ethical dimension into deliberation about architectural issues. It invites an examination of the theoretical aspects of the interface between architecture, and ethics-including the social and political dimension of ethics.

Ethics involves both a theory of the "right" and a theory of the "good." How then does architectural theory and design relate to theories of a just society, and the common good? How does architecture address ethical, social and political questions involved in public space projects? How is the notion of public space, and architectural projects more generally, an expression and reflection of the values, ethics and ethos of its inhabitants? What kinds of moral judgments can be made about architectural projects? What do questions about what is right and wrong in architecture tell us about the nature of architecture?

Themes relating to the ethics of architecture are implicit within larger economic, political and spatial practices. For example, a city's decision to build a new sports facility implies that this is better, in various ways, than using that money to build affordable housing, public transportation or libraries. The exclusion of certain people from public spaces (ie: teenagers, the homeless, protesters) implies that their presence impedes others ability to use these spaces in more appropriate ways. Every act of building can also be seen as an act of destroying (previous buildings, open spaces, ecosystems, view-sheds) that implies the new is better, more valuable, than the old. In fact, if eminent domain is employed in a building process the value to the public good must be legally stated.

The editors assume that ethics is not something pasted on to architectural projects as an afterthought-projects that, like it or not, relate to our past, present and especially our future. Such considerations are always intrinsic to such projects. Although often implicit, as architecture comes under scrutiny and architects held morally accountable, arguments on behalf of ethical judgments in architectural projects are increasingly being made explicit. Architecture, at its best and worst, reflects values and contributes to the construction our future selves. It also plays a significant role in intergenerational communication and understanding. What is it about architecture that allows it to function in these ways? How else, and in what more specific ways, does architecture function on ethical, social and political levels? Must architects also be philosophers? What, if anything, can philosophy learn from architecture? What happens when philosophy is confronted with the unmistakable materiality of the built environment?

Architectural theory often focuses on the object rather than the social practices that shape and are shaped by the built environment. Does looking at the ethics of architecture force a reevaluation of this tendency? Alternatively, does philosophy enable us to reexamine architectural objects in fundamentally different ways?

Can philosophy help us understand architectural history? How does architecture construct and conceive of its history and how does this change over time? How are portions of architectural canons valorized and demonized in relation to a notion of the good? How do these changes and constructions in architectural history reflect the aspirations and insecurities of an age? Architectural history and philosophical history are divided into movements. Do parallel movements in these fields reflect similar underlying moral and ethical concerns?

The public face of landscape and architecture presents questions and affords opportunities that although not new, now have a particular relevance in relation to the changing political climate. They impact on fundamental questions of democracy, integrity, character and responsibility. For example, what are the relationships between conceptions of the public realm and public space? Do both relate to similar conceptions of the public good? Is there a relationship between civic rhetoric and civic form? For example, what are the relationships between physical and philosophical structures such as the agora, commons and courtroom? The new Reichstag in Berlin, for example, is designed with an implicit moral dimension (transparency) elicited from historical considerations like the World Wars and the Berlin Wall, and explicit ethical considerations. Do rights to public spaces imply a complimentary set of responsibilities? How are these negotiated in physical environments? Is there a right to architecture?

3 (internet source: internet)

CALL FOR PAPERS
T h e S t a t e o f t h e R e a l
An Interdisciplinary Conference
Glasgow School of Art, UK
21-22 November 2003
Keynote address: Prof. Linda Nochlin, New York University
"How real can you get?"
The conference organisers propose a debate on the subject of 'the real' in aesthetic philosophy, criticism and practice. "When is representation not real?" Recent years have seen notions of reality discussed in the open. What relationship do current views developed by this discourse have with those tenets of realism and representation that once provided the foundation for aesthetic study? What are the philosophical consequences of the introduction of technologies that increasingly blur the boundaries between art and popular culture? What is the effect of aesthetic culture on Realpolitik? What has happened to the notions of social realism, verisimilitude, and the imaginary? Are they still relevant, and how have they been changed, if at all?
"Reclaiming the real."
The organizers are also interested in how notions of reality are affected by, and continue to affect, aesthetic practice in the fields of art, design, and media production. With the popularity of haptic technologies, what has happened to Œreal¹ haptics? How do practitioners and academics view older technologies in the light of their electronic avatars? With the development of notions of virtual space, what has happened to our understanding of the body, the mind, and corporeal space?
The organisers particularly welcome proposals on, or dealing with, the following related subjects: Reality and realism in Art & Design History; New media technologies ­ Virtual Reality, CGI photography and cinema, the Internet, haptic technologies; Modernity and Post-modernity/Modernism and Post-modernism; Philosophies on Œthe real¹ in popular culture; Philosophy and art/design and cultural practice; Reality television, realism in film.
Proposals for panels (no more than three papers) and workshops are also welcomed.
Deadline for abstracts: 22 April 2003
Please send abstracts of no more than 300 words to:

'The State of the Real',
Dept. of Historical and Critical Studies,
Glasgow School of Art,
167 Renfrew St,
Glasgow,
Scotland, UK.
G3 6RQ.
Abstracts may be sent by email to
real@gsa.ac.uk.

 

CONFERENCES (11)

1 (internet source: http://cas.memphis.edu/philosophy/sjp/philcal.html)

May 14-15, 2003
International Society of Phenomenology & Literature
Harvard Divinity School
Theme: The Enigma of Good and Evil: The Moral Sentiment of Literature
Abstracts due: November 15, 2002
Contact: Anna-Teresa Tymieniecka, World Phenomenology Inst., 1 Ivy Pointe Way, Hanover, NH 03755
www.phenomenology.org

 

2 (internet source: http://cas.memphis.edu/philosophy/sjp/philcal.html)

May 16-18, 2003
International Society of Phenomenology, Fine Arts and Aesthetics
Harvard Divinity School
Theme: Beauty, Truth, Goodness; Aesthetics at the Crossroads
Abstracts due: November 15, 2002
Contact: Patricia Trutty-Coohil, Creative Arts, Siena College 515 Loudon Rd., Loudonville, NY 12211

 

3 (internet source: http://www.aesthetics-online.org/)


ASA Pacific Division Annual Meeting
April 2-4, 2003, Pacific Grove, California
Papers on any topic in aesthetics are invited. Proposals are welcome for author- meets-critics sessions, panels, and symposia. Volunteers to serve as session chairs or commentators are also welcome.
Papers, accompanied by a 100-word abstract, should run 10-12 standard pages and take no longer than 20 minutes reading time. In all cases, papers must be submitted in electronic format, either by email or by disk.
Deadline: December 1, 2002
James Shelley, Program Chair
6080 Haley Center
Auburn University
Auburn AL 36849
<
shelljr@auburn.edu>

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

2003 ASA Eastern Division
April 4-6, 2003, Philadelphia
Papers on any topic in aesthetics are invited, along with proposals for panels, author-meets-critics sessions, or other special sessions. Volunteers to serve as session chairs and commentators are also welcome. Presenters must be ASA members, and all participants must register for the conference. Papers should run 10 or so pages and should take no more than 20 minutes to present.
Deadline: December 1 2002 for abstracts / January 1, 2003 for papers
Kirk Pillow
Department of Philosophy
Hamilton College
Clinton NY 13323
<
kpillow@hamilton.edu>

 

5 (internet source: http://www.ac-toulouse.fr/philosophie/nv1.htm)


L'UNIVERSITE DE PROVENCE organise, en MAI 2003, un colloque consacré à MERLEAU-PONTY: "de la perception à l'action".
Ce colloque vise à réunir un certain nombre de personnalités qui ont certes en commun une référence constante à l’œuvre de Merleau-Ponty mais aussi le souci d’y trouver les éléments pour nourrir une réflexion sur les problèmes philosophiques du monde contemporain. Au-delà des divergences d’interprétation, tout le monde s’accorde pour voir dans la philosophie de Merleau-Ponty une ambitieuse tentative de réforme des catégories classiques, menée presque toujours par le renvoi dos-à-dos des dichotomies (du théorique et du pratique, du passif et de l’actif, du sens et du non-sens) ; les deux journées de réflexion, organisées par l’Université de Provence, voudraient ainsi se focaliser sur l’unité visée de la perception et de l’action, sous toutes les formes (métaphysique, épistémologique, éthique, esthétique, politique) où elle se manifeste. En effet, cette dimension de la recherche merleau-pontienne s’est révélée particulièrement féconde à l’égard des reprises qu’elle a rendues possibles, offrant un terrain de rencontre inattendu aux approches philosophiques les plus éloignées. Plus de quarante ans après la disparition de Merleau-Ponty, alors que son œuvre est désormais largement diffusée et relue, sa volonté de rétablir le dialogues entre les disciplines et les écoles demeure encore vivante.  Les deux journées auront lieu à Aix en Provence.
Pour tout renseignement on peut déjà s'adresser à
ronald.bonan@wanadoo.fr

6 (internet source:
http://www.menc.org/networks/rnc/openforum/messages/23.html)


Fifth International Symposium on the Philosophy of Music Education
1. Submissions are invited for the Fifth International  Symposium on the Philosophy of Music Education to be held at Lake Forest College, Lake Forest, Illinois, U.S.A., June 4-7, 2003. Participants can expect to enjoy stimulating conversation in a relaxed environment and the rich cultural milieu in nearby Chicago and the Ravinia Festival. This symposium provides an important opportunity for philosophers, thought leaders, teachers, performers, composers, and others interested in reflecting on issues in music education to rethink music and music education from an international perspective. Papers should be in English, take about thirty minutes to present, and will be invited for publication in the Philosophy of Music Education Review. There are also opportunities to respond to papers. Responses are normally five to ten minutes in length with the purpose of opening up conversation regarding the papers presented. Responses may be published in the In Dialogue section of the Philosophy of Music Education Review.
Direct inquiries about paper submissions or participation as a respondent to the program committee  co-chairs Iris Yob (email:
iyob@bloomington.in.us) or Frank Heuser (email: fheuser@ucla.edu).

 

7 (internet source: http://www.sunysb.edu/iapl/)


The International Association for Philosophy and Literature
http://www.sunysb.edu/iapl/

IAPL 2003
UNIVERSITY OF LEEDS (UK) - 26-31 MAY 2003
WRITING AESTHETICS
[WRITING aesthetics / writing AESTHETICS]

 

8 (internet source: e-mail)

PRELIMINARY ANNOUNCEMENT
CONFERENCE ON NARRATIVE, ART AND MIND

LOCATION: CUMBERLAND LODGE, WINDSOR GREAT PARK
DATES: FRIDAY MAY 30 - SUNDAY JUNE 1, 2003
SPEAKERS INCLUDE:
Noel Caroll (Philosophy, Wisconsin)
Greg Currie (Philosophy, Nottingham)
Tamar Gendler (Philosophy, Syracuse)
Peter Goldie (Philosophy, KCL)
Paul Harris (Graduate School of Education, Harvard)
Jon Jureidini (Child Psychiatry, WCH, Adelaide, Australia)
Jerrold Levinson (Philosophy, Maryland)
Keith Oatley (Psychology, Toronto)
George Wilson (Philosophy, UCSB)
Registration details will be announced soon. Full total cost, including meals and accommodation will be around £220, with some student bursaries available.
For Cumberland Lodge, its location and its facilities, see
http://www.cumberlandlodge.ac.uk/>http://www.cumberlandlodge.ac.uk/
Gregory Currie
Department of Philosophy
University of Nottingham
Nottingham
NG7 2RD
Phone: +44 0115 951 5841

 

9 (internet source: http://www.apa.udel.edu/apa/opportunities/conferences/2003/may/Phenomfine.html)

The International Society of Phenomenology, Fine Arts, and Aesthetics: The Eighth Annual Conference

DATE: May 16-18, 2003

PLACE: Harvard Divinity School, Cambridge, Massachusetts

THEME: "Beauty, Truth, Goodness: Aesthetics at the Crossroads"

Abstracts due: November 15, 2002
- Full papers due: March 1, 2003
Registration fee: US $95.00 (Fee entitles you to attend the Literature Conference also)
Please sent abstracts and papers to: Professor Patricia Trutty-Coohill, Secretary General, Department of Creative Arts, Siena College, 515 Loudon Rd., Loudonville, NY 12211, USA

 

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

AESTHETICS FROM AN ANALYTICAL POINT OF VIEW
Sponsored by the Mind Association, the British Academy, and the British
Society for Aesthetics.

Chancellor's Conference Centre, University of Manchester
May 22nd- 24th, 2003

Those interested in attending this conference may wish to consult the
conference website, now available at
http://les.man.ac.uk/philosophy/aesthetic.htm.

It includes details of conference rates (including student rates), a
list of the titles of speakers' papers, and a registration form.

Dr. Kathleen Stock
Philosophy Sector,
School of Economic and Social Studies,
University of East Anglia
Norwich NR4 7TJ
Tel: 01603 593405
Email:
k.stock@uea.ac.uk

11 (internet source: http://aesthetics-online.org/events/meetings.html)

Narrative: Art and Mind

Department of Philosophy, University of Nottingham
http://www.nottingham.ac.uk/philosophy/conference.htm

May 30 - June 1, 2003

Cumberland Lodge, Windsor Great Park (near London)

12 ((internet source: http://www.sun.rhbnc.ac.uk/Music/Conferences/03-6-edu.html)

Fifth International Symposium on the Philosophy of Music Education
Lake Forest, IL, June 2003

organzized by the Royal Holloway Department of Music, University of London

http://web.rhul.ac.uk/Music/
Lake Forest College, Lake Forest, Illinois, U.S.A., June 4-7, 2003. Participants can expect to enjoy stimulating conversation in a relaxed environment and the rich cultural milieu in nearby Chicago and the Ravinia Festival. This symposium provides an important opportunity for philosophers, thought leaders, teachers, performers, composers, and others interested in reflecting on issues in music education to rethink music and music education from an international perspective.

 

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

AESTHETICS FROM AN ANALYTICAL POINT OF VIEW

Hosted by the Centre for Philosophy, University of Manchester.

Kindly supported by the British Academy, the British Society of Aesthetics and the Mind Association.

Chancellor's Conference Centre, University of Manchester

May 22nd- 24th, 2003

 

LECTURES (0)

 

PUBLICATIONS (1)

 

1 (internet source: internet)

Journal of Aesthetics and Art Criticism's 60 years - viewing a free sample issue: <http://www.blackwellpublishing.com/toc.asp?ref=0021-8529&promoid=jaac1>
The Journal of Aesthetics and Art Criticism
Published on behalf of the American Society for Aesthetics
Edited by Susan L. Feagin
Established in 1942 by the American Society for Aesthetics, The Journal of Aesthetics and Art Criticism <
http://www.blackwellpublishing.com/journal.asp?ref=0021-8529> publishes current research articles, symposia, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint. The arts are taken to include the traditional forms, such as music, literature, landscape architecture, dance, painting, sculpture, and other visual arts, as well as more recent additions, such as photography, film, earthworks, performance and conceptual art, the crafts and decorative arts, contemporary digital innovations, and other cultural practices, including work and activities in the field of popular culture.
The Journal takes a theoretical and interdisciplinary approach to the arts and aesthetic matters. The Journal and the American Society for Aesthetics also sponsor the biannual John Fisher Memorial Prize in Aesthetics in honor of John Fisher, Editor of the Journal from 1973-1988. The Prize is offered to foster the development of new voices and talent in the field of aesthetics.
Sample Contents:
Why Philosophy of Art Cannot Handle Kissing, Touching, and Crying - Nicholas Wolterstorff <
http://www.blackwellpublishing.com/issue.asp?ref=0021-8529&vid=61&iid=1&oc=&s>
Cinematic Art - Berys Gaut <
http://www.blackwellpublishing.com/issue.asp?ref=0021-8529&vid=60&iid=4&oc=&s>
Scientific Knowledge and the Aesthetic Appreciation of Nature - Patricia Matthews <
http://www.blackwellpublishing.com/issue.asp?ref=0021-8529&vid=60&iid=1&oc=&s>
Dreams in Place - Ian Hacking <
http://www.blackwellpublishing.com/issue.asp?ref=0021-8529&vid=59&iid=3&oc=&s>

 

January 2003 - March 2003

CALL FOR PAPERS (6)

1

Society for the Philosophical Study of the Contemporary Visual Arts (SPSCVA)

Panel session at the Eastern Division Meeting of the American Philosophical Association (APA)

http://www.apa.udel.edu/apa/

(Dec. 27-30, 2003, Washington, DC, Washington Hilton)

Open call for papers: Deadline March 15, 2003

Any previously unpublished paper on philosophy and the visual arts is welcome. Papers on the philosophy of film or on a specific philosophical issue in the work(s) of a particular filmmaker are especially welcome.

Send electronic abstracts/proposals to: James Harold, Eastern Division Meeting Program Chair, Mount Holyoke College jharold@mtholyoke.edu

For society information, visit www.lhup.edu/~dshaw

2 (internet source: http://www.ac-toulouse.fr/philosophie/nv2pub.htm)

NIETZSCHE, ART and AESTHETICS

International Conference of the Friedrich Nietzsche Society

http://www.warwick.ac.uk/philosophy/conferences/fns/index.htm

University of Warwick, 12th-14th September 2003

Call for papers

Nietzsche is a thinker who places art and the aesthetic at the centre of his theoretical concerns and philosophical ambitions. In this conference we are interested in exploring the role art plays in Nietzsche's thinking and across the entire span of his oeuvre, from the artist's metaphysics which informs The Birth of Tragedy to the focus on the psychology of the artist and the physiology of art which features in his later writings such as Twilight of the Idols. In addition, we wish to open up Nietzsche's thinking on art and aesthetics to an encounter with the modern tradition (Kant, for example) and to approach his work from the perspective of contemporary concerns and debates.

Confirmed Speakers include: Marco Casanova (UERJ, Rio de Janeiro), Daniel W. Conway (Penn State, USA), David E. Cooper (Durham, UK), Robert Gooding-Williams (Northwestern, USA), Beatrice Han-Pile (Essex, UK), Rachel Jones (Dundee), Nuno Nabais (Lisbon, Portugal), Matthew Rampley (Edinburgh College of Art), Aaron Ridley (Southampton, UK), Gary Shapiro (Richmond, USA), James Williams (Dundee).
The Society invites papers exploring aspects of the conference title. Suggested themes include:
Nietzsche and the Tragic
Art and Metaphysics
Nietzsche and the Individual Arts
Nietzsche and modernism; Nietzsche and postmodernism
The Will to Power and aesthetics
The Physiology of Art; The Psychology of the Artist
Nietzsche and Beautiful and/or the Sublime
The Apollonian and the Dionysian
Nietzsche and the tradition: Kant, Schiller, Schopenhauer, etc.
Nietzsche, Aesthetics and Politics
Nietzsche, Wagner and Decadence
Nietzsche's Influence on Modern Art
Art and Nihilism
Proposals together with an abstract of no more than 500 words should be sent by 1st March 2003 to:

'Nietzsche Conference Organising Committee',

Centre for Research in Philosophy & Literature,

Department of Philosophy, University of Warwick, Coventry CV4 7AL, England

Email: J.A.Rubin@warwick.ac.uk

& copy to H.A.Jones@warwick.ac.uk

 

3

University of South Carolina's Fifth Annual Comparative Literature Conference

The Desire of the Analysts

September 30, 2002
Deadline: February 13, 2003.

Keynote Speaker: Slavoj Zizek (Ljubjana) Plenary Speakers: Julia Kristeva (Paris VII) Toril Moi (Duke) Kaja Silverman (Berkeley)

Why do we continue to desire psychoanalysis? What is the nature of that desire? What can psychoanalysis teach us about the social arrangements of our increasingly globalized world, and especially, about the psychic origins of our most pressing social problems (racism, sexism, homophobia, nationalistic violence, terrorism, genocide)? Do psychoanalytic theories have anything to say about the highly dispersed identities of new information technologies ?Presentations should be broadly interdisciplinary. The conference will end with a roundtable in which we try collectively to pull together the threads of our discussion -and to assess where our desires have led us. We plan to publish selected papers from the conference in a collection of essays with a major university press. Please send abstracts of 20-minute papers by 30 September 2002 to: Paul Allen Miller, Chair, Comparative Literature Program, Humanities Building, Columbia, SC 29208. Sponsored by the University of South Carolina College of Liberal Arts, Program in Comparative Literature, Department of English and associated departments and programs. E-mail enquiries: pamiller@sc.edu

4 (internet source: http://www.british-aesthetics.org/)

Philosophical Perspectives on Art and Experience
Deadline:
21st February 2003

Department of Philosophy, University of Southampton. Fifth Annual One-Day Postgraduate Conference, 15 March 2003.

Keynote Speaker: Gregory Currie (University of Nottingham).

The purpose of this one day conference is to promote philosophical discussion about art and experience. We invite papers on aesthetics and the philosophy of art and mind. Papers should not be more than twenty minutes long. They should be submitted, either electronically or by post, no later than 21th February 2003 in a form suitable for blind assessment -i.e. with two title pages, only one of which should contain the author's name, contact details, and academic affiliation. Papers should be sent to Melenia Arouh (ma399@soton.ac.uk), or Oystein Hide (o.hide@soton.ac.uk) at the Philosophy Department, University of Southampton, SO17 1BJ. There will be no conference registration fee.

5 (internet source: http://www.british-aesthetics.org/)

Canadian Society for Aesthetics

http://www.uqtr.uquebec.ca/SCE/anglais/
http://www.uqtr.uquebec.ca/SCE/francais/
Deadline:
February 14, 2003

20th Annual Conference, Dalhousie University and King's College, Halifax 29-31 May, 2003.

The CANADIAN SOCIETY FOR AESTHETICS invites papers and/or panel proposals for its annual conference, to be held at Dalhousie University and King's College (Halifax) from May 29-31, 2003 at the Congress of the Humanities and Social Sciences Federation of Canada. Papers on any aspect of aesthetics are welcome, particularly those related to the following themes: (1) Representations of Justice; (2) History of Aesthetics; (3) Aesthetic Experience and Knowledge; (4) Definitions of Beauty; (5) Continental Aesthetics; (6) Myth, Fiction and Literature; (7) Philosophy of Architecture; (8) Cultural Theory and Aesthetics (9) Memorial Art - 11 September and beyond. Presentations of papers (approximately 2500 words) should not exceed 20 minutes. Individuals submitting proposals for papers which will not be responded to must send a one-page abstract; proposals for papers which will be followed by a response must consist of complete papers. Those interested in organizing a panel (of 3 or 4 participants) on a special topic or recent publication should send a detailed proposal, including the names and affiliations of all participants and a general abstract of the topic. Bilingual panels are welcome. Papers and panel proposals may be submitted in hard copy or via e-mail (as MS Word or .RTF attachments). Prior to submitting, participants must be fully paid-up members of the Canadian Society of Aesthetics. Papers and proposals must reach the program coordinators no later than February 14, 2003. All submissions and inquiries must be sent to one of the following program coordinators: Anglophone Coordinator: Adrienne Dengerink Chaplin. Senior Member in Philosophical Aesthetics, Institute for Christian Studies, 229 College Street, Toronto, ON, Canada M5T 1R4, achaplin@icscanada.edu. Francophone Coordinator: Denis Dumas, Dept. of Philosophy, Université d’Ottawa, C.P. 450, Succ.A, Ottawa (Ontario), Canada K1N 6N5, dumasdenis@yahoo.ca.

 

6 (internet source: http://www.aesthetics-online.org/events/asa-sfo.html)

2003 ASA Annual Meeting
October 1-4, 2003, San Francisco

The Program Committee of the American Society for Aesthetics invites submissions for presentation of papers or panels at the 61th annual meeting of the Society at the St. Francis Hotel in San Francisco. The Society welcomes submissions from persons in all arts-related disciplines, as well as from graduate students.

Papers on all topics in aesthetics are welcome. We particularly encourage submissions on the following themes:

Aesthetics and Politics
Experimental Film
Television or Video Art
Environmental Aesthetics
Aesthetics and the Consumer
Aesthetics and Cognitive Science
The Narrative
Artistic Value

Persons submitting paper or panel suggestion for review by the Program Committee must be members of the American Society for Aesthetics. Email submissions are strongly encouraged, but hard copies should be sent to ensure receipt. All submissions will be subject to blind refereeing; enclose a cover sheet and do not include identifying information in the body of the paper.

Papers will be limited to 3500 words, strictly enforced. Proposals for two-hour panel sessions are also invited. Panel proposals should describe the topic and list names and qualifications of the prospective participants. Papers should be accompanied by an abstract of no more than 150 words.

Graduate Students whose papers are accepted may apply for up to $500 of travel support. Students interested in support should identify themselves as such in order to facilitate the making of travel awards.

Deadline: February 15, 2003

Robert Stecker
Department of Philosophy and Religion
Central Michigan University
Mt. Pleasant, MI 48859

<Robert.Stecker@cmich.edu>

For further information concerning the ASA Annual Meeting please contact Curtis L. Carter, Secretary Treasurer, P.O. Box 1881 404 Cudahy Hall, Marquette University, Milwaukee, WI 53201-1881; <asastcar@marquette.edu>.

 

 

CONFERENCES (9)

 

1 (internet source: http://www.mh-hannover.de/kliniken/psychiatrie/

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Synästhesiekongress

Der genaue Ort und die Tagesordnung stehen noch nicht fest!
Sollten Sie Anfragen zu der Veranstaltung haben, wenden Sie sich bitte an die folgenden Personen, welche federführend in der Organisation sind:
Prof. Dr. med. Dr. phil. Hinderk M. Emrich

Dr. med. M. Zedler
Beginn: 22. März 2003 um 10:00 Ende:
23. März 2003 um 19:00 Ort: Medizinische Hochschule Hannover Eingeladener
Personenkreis:
Alle

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2 (internet source: http://www.aesthetics-online.org/)

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Imagining Minds
February 6-8, 2003, Claremont Graduate School, California
http://www.cgu.edu/hum/phi/easton/bradshaw/index.html

3 (internet source: http://www.aesthetics-online.org/)
Approaching the Unapproachable
March 14-16, 2003, Queen’s University, Ontario
In our contemporary world which is first and foremost encountered by way of pre-established forms of representation, how does one evoke or address the unapproachable, that which defies or underlies representation?
According to some, we are currently living in the age of visual representation, that is, in a world where everything is a priori accounted for by images. That which was previously put into words is now, most commonly, first and foremost, transmitted visually. As a result, we live according to a generalized image-repertoire.
This is also true of non-visual forms of representation. Put differently, then, while imposing a fragmented view of reality, the various forms of representation which account for our everyday most often abolish the imperceptible portion of reality. Incapable of grasping the full reality of the present, they moreover tend to efface its historical dimension. Indeed, to the questions "why?" and "for how long?" such representations provide little or no answer. Human experience as governed by pre-established forms of representation is despoiled of specificity and nuance. Under the spell of immediacy provided by contemporary forms of representation, we forget that reality cannot be reduced to the tangible and apparent.

Taking the above diagnosis as its starting point, this conference proposes to explore avenues which venture to address the obscured, imperceptible facet of reality underlying the generalized repertoire of representational forms and assumptions which constitute contemporary reality, avenues seeking to change or remedy this picture.
Deadline: September 15, 2002
Approaching the Unapproachable
Department of French Studies
Queen’s University
Kingston ON CANADA K7L 3N6
<
inappro@qsilver.queensu.ca>

 

3 (internet source: http://www.aesthetics-online.org/)
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Philosophy and the Visual Arts
March 26-30, 2003, San Francisco
April 23-26, 2003, Cleveland
The Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA) invites papers to be presented at its divisional meetings held in conjunction with the Central and Pacific Division Meetings of the American Philosophical Association (APA-Central and APA-Pacific). Papers may address any topic that involves the connection between philosophy and the visual arts: film, photography, video, or other aesthetic media.
The Society also welcomes proposals for panels, author-meets-critics, or other special sessions, as well as volunteers to serve as panel chairs and commentators. Presentations should be 20-25 minutes (10-12 pages in length). Participants must be currently paid members of the SPSCVA. The Society plans to hold two sessions at each of the upcoming APA-Central and APA-Pacific Division Meetings.
Deadline: October 1, 2002
For APA-Pacific:
Julie Van Camp
Department of Philosophy
California State University, Long Beach
1250 Bellflower Blvd.
Long Beach, CA 90840-2408
<
jvancamp@csulb.edu>
For APA-Central:
Dan Flory
Department of History and Philosophy
P. O. Box 172320
Montana State University
Bozeman, MT 59717-2320
<
dflory@montana.edu>

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

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Narrative
March 27-29, 2003, Berkeley
The Society for the Study of Narrative Literature
http://www.vanderbilt.edu/narrative/

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5 (internet source: http://cll.ncl.ac.uk/bsa/data.asp?datapage=events&navlevel=1)

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Conjunctions/Disjunctions between Aesthetics and Politics: a Society for Critical Exchange

session at the Northeast Modern Language Association convention in Boston, March 6-9, 2003.
Presentations engaging the aesthetic and the political, perhaps involving critiques or reconfigurations of aestheticism, the (im)possibility of avoiding the aesthetic dimension, or a broader engagement between philosophy and politics, theory and practice, etc, perhaps in a specific framework such as language, class, sexuality, or ethnicity. Various approaches welcome: historical or theoretical, treatments of particular moments, texts, media, or authors, etc.

Scott DeShong, Quinebaug Valley Community College, 742 Upper Maple St., Danielson CT 06239, or by e-mail to spdes@conncoll.edu

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6 (internet source: http://cll.ncl.ac.uk/bsa/data.asp?datapage=events&navlevel=1)


Second Mediterranean Congress of Aesthetics: Spaces and memory
Deadline: October 31, 2002
Tunis, March 6-8, 2003
The goal of this conference, hosted by the Association Tunisienne d’Esthétique et de Poïétique, is to dwell on the aesthetic dimension of the interaction between spaces and memories.
In terms of lived experience, space is not a given that can be reduced to its three dimensions. Instead, it shapes our perceptions and provides an inexhaustible source of myriad expressions. The perception of time and space feeds our imagination and is an essential component of our creative works and of our relationship with the world.
How, throughout the centuries, has architecture defined the specificity of certain sites and landscapes whose physiognomy then became identifiable?
How does the memory of particular places affect the creation of artistic works (literary, musical, cinematographic, visual, dramatic, etc)?
We hope that these questions and others will contribute to the enrichment of aesthetic reflection in this area.
This meeting will allow us, we hope, to better co-inhabit the world by bringing the multidimensional community of the creative act into dialogue across the various layers of the past.
Axes:
1. The creative process in the creation and recreation of space
2. Space and the imaginary (symbols, utopias, myths, celebrations, etc)
3. The aesthetic dimension of virtual spaces
4. Space, memory and intercultural exchanges.
Abstracts for proposed papers can be submitted in French, English or Arabic.
Further information for contributors or participants can be obtained from:
Professor Rachida Triki
President, ATEP
Association Tunisienne d’Esthétique et de Poïétique
B.P. 148 El Menzah 9
1013 Tunis
Tunisia
Telefax: ++216 71 88 67 88
e-mail:
Rachida.Triki@fshst.mu.tn

 

7 (internet source: http://www.sun.rhbnc.ac.uk/Music/Conferences/)


Adorno's Schubert
Cambridge, February 2003
SMA Winter Study Day
Saturday 22 February 2003
In association with the University of Cambridge, the Society for Music Analysis
presents a study day focusing on 'Adorno's Schubert'.
Speakers will include:
Jonathan Dunsby (University of Reading)
Beate Perrey (University of Cambridge)
For further information please contact:
Dr Nicholas Marston
SMA Winter Study Day
Faculty of Music
University of Cambridge
11 West Road
Cambridge
CB3 9DP
UK
Email:
njm45@cam.ac.uk

 

8 (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)


Reading Zizek Reading Film
SCS (Society for Cinema Studies)
March 6-9, 2003; Minneapolis
Deadline for Proposals: September 5, 2002
This panel invites papers that investigate the influence of Slavoj Zizek on film theory and film analysis. Possible topics may include but are not limited to: Zizek's debate with cognitive film theory; his analyses of film form or of specific directors (e.g., Hitchcock, Lynch, Kieslowski); his elaborations of Lacanian film theory; his observations on the structures of cinematic fantasy and desire; and his contributions to understanding the ideology of film.
Please submit a 50 word abstract, a 300-400 word proposal, a brief bibliography
(no more than ten sources), and a brief biographical statement by email to
jpaul01@emory.edu (or fax to 404-727-4949) by September 5, 2002. Please note
the impending deadline.
For more information on the SCS conference, please visit
www.cinemastudies.org
Jason Paul
Film Studies Program
109 Rich Building
1602 Mizell Drive
Emory University
Atlanta, GA 30322

 

 NEW (internet source: http://www.ac-toulouse.fr/philosophie/nv1.htm)

UNIVERSITÉ DE NANCY 2 DEA DE PHILOSOPHIE
Directeur : Roger Pouivet
Journée d’études Vendredi 14 février 2003

Université de Nancy 2 Campus Lettres et Sciences Humaines Salles des Actes (Bât. G)

LES PROPRIÉTÉS ESTHÉTIQUES SONT-ELLES RELATIVES ?

Programme (le programme au format rtf)

Matin (10h)

Roger POUIVET
(Université Nancy 2)
Tout ce que vous avez toujours voulu savoir sur les propriétés esthétiques et que les relativistes vous ont caché

Jean-Pierre COMETTI
(Université de Provence)
Qu'est-ce qu'être relativiste en esthétique? La question des "propriétés", les suggestions du langage et les miracles de l'ontologie

Après-midi (14h30)

Laure BLANC-BENON
(Université de Bordeaux 3)
Toute ressemblance est-elle relative ? ou la question du réalisme pictural

Marie-Dominique POPELARD
(Université de Paris 3)
Des relations esthétiques

Thierry BRIAULT
(Université de Paris 8)
Les règles pragmatiques de la plastique pure

Contact : roger.pouivet@univ-nancy2.fr

 

 

October 2002 - December 2002

CALL FOR PAPERS (6, 4 NEW) 

 

1 (internet source: e-mail)

 

postmodern de/constructions
The Departments of German Studies, American Studies, English Literature,
Political Sciences, and Sociology at the University of
Erlangen/Nuremberg, Germany, are inviting young scholars (graduates and
postgraduates) to present papers at our
5th Interdisciplinary, International Graduate Conference
at the University of Erlangen/Nuremberg
November 22 - 24, 2002
KEYNOTE ADDRESS: GAYATRI CHAKRAVORTY SPIVAK (COLUMBIA UNIVERSITY)
Postmodernism started off by deconstructing Grand Narratives; has
Postmodernism itself now turned into a Grand Narrative?
Postmodern theories are an instrument of critical analysis, but today
also its object. They can expose notions of reality and truth as
fictional constructs, but at the same time they themselves can nurture
the construction of "realities" with their own discursive rules and
mechanisms of exclusion.
Has the time come to deconstruct Postmodernism? To beat it at its own
game, or to find new approaches? Or is the critical and heuristic
potential of its practices and theories far from being exhausted?
Possible topics include, but are not limited to:
Postmodern Criticism – Criticizing Postmodernism
Postcolonialism and Empire
Marxist Criticism – PostMarxism
Constructs and Deconstructions
Language Power Discourse
Anthropological Constants – Pain, Suffering and Death
Postmodern Transcendence?
Postmodern Ethics?
Love in Times of Postmodernism
Gender, Sex & Bodies - dead or alive
Gender und Popular Culture
Cyberworlds and Human Machines
Identity: construction vs performativity
De/Constructed In/Dividuals
Hybrid Cultures
Media Analyses - Manufacturing Consent and Marketing Fun
Selfreflexive écritures
The Western Canon - Postcolonial Literatures - Discourse Analyses -
Rereadings
Commercial Art
(Hi)stories
Please register using our online submission form at
http://www.gradnet.de
The deadline for paper proposals (1-3 page abstracts) is September 15,
2002 (registration for other participants until November 15, 2002).
Panels with three to five speakers will last two to two and a half
hours. The time allocated for each paper is about10 minutes to permit
ample time for discussion.
Before the conference, each contribution (3 to 10 pages) will be posted
on our web page in order to facilitate discussion and scholarly
exchange.
The deadline for the submission of these short contributions is October 15, 2002.
Please send abstracts and short papers to "
2002@gradnet.de" in Rich Text
Format (.rtf) only.
Selected papers will be published in the conference proceedings.
The conference fee is 20 EUR.
For further information please do not hesitate to contact Kathrin
Schödel at "
info@gradnet.de".
Conference organizers:
Susanne Kollmann M.A. (English Literature, American and German Studies)
Kathrin Schoedel M.A. (German Literature, English and Linguistics)

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2 (internet source: e-mail)

  

Organised Sound
An International Journal of Music and Technology
Call for articles and works
Volume 8, Number 1
Issue's thematic title: Gender Issues in Music Technology
Date of Publication: April 2003
Publishers: Cambridge University Press
For this special issue on gender, we invite submissions in the form of
papers, short audio pieces or excerpts, and/or short audio-visual artworks,
related to gender issues.
Articles might focus on one or more of the following issues, although other
approaches are also welcome:
What is the relationship between gender and the use of contemporary
technology in pop music, electronic and computer music, experimental and
electroacoustic composition, live electronics, radiophonics, multimedia,
performance art, sound sculptures, and other sound art?
Which gender perspectives can be articulated in the composition,
production, performance, reception, interpretation or mediation of these
musical genres?
Why is there an apparent lack of women in most fields of contemporary music
technology and electronic audio art, and how does this relate to the music,
practices and interpretations?
How do musico-technological cultures relate to masculinity?
Are there feminine styles of electroacoustic composition?
How do women composers make a difference?
Guest editor Hannah Bosma will co-ordinate this issue. Please contact her
at
Hannah.Bosma@hum.uva.nl .
Deadline for submissions is December 1, 2002. Audio and audio-visual
material will be presented as part of our annual CD-ROM which will appear
with issue 8/3.
The editors, as always, welcome submissions that fall outside of the scope
of this issue's theme.
SUBMISSION DEADLINE: 1 December 2002
SUBMISSION FORMAT:
Notes for Contributors/Further Details can be obtained from the inside back
cover of published issues of Organised Sound or from:
http://uk.cambridge.org/journals/oso/
Hard copy of articles and other material should be submitted to:
The Editors
Organised Sound
Centre for Technology and the Arts
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Email submissions should be mailed to (please see SUBMISSION FORMAT above):
os@cage.york.ac.uk
Editors: Leigh Landy and Tony Myatt.
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Cort Lippe, Eduardo Miranda, Shimoda Nobuhisa, Jøran
Rudi, Barry Truax, Ian Whalley, David Worrall
ICMA Representative: Mary Simoni
International Editorial Board: Marc Battier, Laurant Bayle, Allesandro
Cipriani, Francis Dhomont, Simon Emmerson, Rajmil Fischman, David Howard,
Miller Puckette, Jean-Claude Risset, Francis Rumsey, Trevor Wishart

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3 NEW (internet source: http://www.aesthetics-online.org/)

Teaching Aesthetics
ASA Newsletter
Deadlines: November 1, April 15, August 1 annually
The ASA Newsletter invites papers and other written materials that address the teaching of aesthetics, art theory and art criticism. Submissions may include pedagogical essays; syllabi for aesthetics courses; reading lists or bibliographies; case studies; discussions of individual works of art; book, film and exhibition reviews; and reviews of new textbooks. The length of submissions should not normally exceed three thousand words.
Materials may be submitted at any time.
James Harold
Co-editor, ASA Newsletter
Department of Philosophy
Mt. Holyoke College
South Hadley, MA 01075
<
jeharold@world.oberlin.edu>
Sarah Worth
Editor, ASA Newsletter
Philosophy Department
Furman University
Greenville SC 29613
<
sarah.worth@furman.edu>

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4 NEW (internet source: http://www.aesthetics-online.org/)


Art and the Mind
Special Issue of the Monist
Works of art are cognitive devices aimed at the production of rich cognitive effects. Thus it can be argued, in the light of what is known about human cognition, that aesthetic experience is a by-product of the exercise of more fundamental cognitive faculties such as perception and imagination. Works of art, on this view, are never grasped directly. Rather, in an aesthetic experience, a subject directly perceives a certain object or event (a canvas, a display of pixels, a series of sounds), and this perception gives rise to a cognitive activity of a special, aesthetic type. Theories of art should thus address questions about the interplay of the cognitive faculties.
Papers are invited on all aspects of the relation between perception, imagination, the emotions, and aesthetic experience, and on the way in which findings in cognitive science can shed new light on art, its appreciation, and its evaluation.
Deadline: October 31, 2002
Barry Smith
Department of Philosophy
611 Baldy Hall
SUNY
Buffalo NY 14260-1010
<
phismith@acsu.buffalo.edu>

5 NEW Journal on African Philosophy
http://www.africanphilosophy.com/

CALL FOR PAPERS FOR A SPECIAL ISSUE ON:
"'Footprints Across the Globe': Popular Culture and
African/a Globalization"
Too often well-meaning analysts have bombarded us with ideas and images of how Africa has been "westernized" or "europeanized:" that which is evil and brutish is African, and that which is lofty and noble is western. While we accept some aspects of the story of "westernization" as true, there is another side to this poorly told story of global cultural influences and trends. We are interested in the rarely, sometimes grudgingly, told story of Africa's impact on the world. We are also interested in transnational popular cultural trends within Africa, where one part of Africa has tremendously influenced the popular culture of other parts of Africa. An example that comes to mind is Congolese music and dance. A critical question we are concerned with is: How have African/a cultural and intellectual traditions radically and indelibly shaped the world, and/or other parts of Africa and the Diaspora? In choosing the image of "footprints across the globe" we seek to highlight those aspects of African/a cultural influences that are the figurative "footprints" in other African/a and world cultures.
We could begin by raising basic sociological questions that go to the heart of cultural formations. What would 'democracy' in the United States actually mean, if the enslaved Africans in the Americans, in rejecting the status of chattel, had not substantively infused the concept of freedom into the concept of democracy? What kind of social vision is the concept of Ubuntu prescribing, in a world in which retributive justice is the preferred model of justice? What does the concept of Orisa tell us about communities and the transformative aspects of human psyche? How do we account for the prevalent influence and border crossings of Congolese music? What notions of freedom and societal well being does Afrobeat philosophy offer contemporary philosophy?
The International Society of African Philosophy and Studies invites papers that explore substantive philosophical contributions of African aesthetics, values, norms, systems of belief on global popular culture. Of interest are the striking worldwide influences and globalization of African values, mores, norms and cultures. Focusing on philosophy, aesthetics art, music, politics, dance, sociology, etc., collection seeks to explore ways in which the forms of African/a cultural life and expression shape, inform and influence cultures and intellectual traditions across the globe.
Suggested List of Topics:
Hip Hop: International Urban Consciousness and Youth Culture
Philosophy of SAP and Third World Impoverishment
The Cosmopolitanism of Lingala: Congolese Music on the World's Stage
The Black Gaze, Cinema and Existential Life
"Speaking with the Body": Dance, Thought and African Life Throwing Voice: Palava, Spoken World and Rap Literatures
Carnivalizing the World: Popular Spectacles and Performances
"Essentially Reggae": Themes on Social and Political Philosophy
Afrobeat, Kalakuta Republic, and Contemporary African Philosophy
Hair, Head and Body Politics
"Orisa Goes Global": New Religions and Cosmologies Tracking the Lines of Salience
Flying High: African Women and Global Trade
African/a Thought and Resistant Cultures
Monogamy versus Polygamy: Rethinking the Institution of Marriage
Tagging from Kingston to Brooklyn: Graffiti as Public Art
African Cultural Influences on White Identity
Philosophy and the Law: Impacts of African laws on "Modern Law"
Selected essays will be published in Journal on African Philosophy. Send all papers to:
Dr. Charles Peterson
Dept. of Black Studies
The College of Wooster
Wooster, OH USA 44691-2363
petersonf@hotmail.com

6 NEW (internet source: http://www.english.upenn.edu/CFP/archive/Theory/)

Call for papers
Actualities of Aura
An anthology of essays on Walter Benjamin’s concept of "Aura", to be collected and edited by Dag Petersson and Erik Steinskog, and published as a single volume in English.
This project attempts a new way of collecting and assembling investigations that are directly focused on the question of the Aura, its meaning, movement, direction, form, or, as we have chosen to phrase it in the working title, its actualities. The intention behind the project is not only to put together a number of well-written and illuminating essays in a single volume, but also to examine whether a certain strategy for assembling and organizing texts may reveal further issues pertaining to a contemporary understanding of Aura. What this strategy of composition may underscore and make explicit are configurations of what seems to be ‘re-auratized domains’ within the arts and the politics of this new millennium. We are, in other words, endeavouring to balance between the specific insights that are brought forth in each individual article, and a strategy for composing them, in such a way that the publication itself may stand a chance of becoming a tightrope between the historical what-has-been of the concept’s conception and the now-time’s time of now.
The five sections of "The Actualities of Aura" are:
1. Danger and Boredom
2. Dreams and Images
3. Force and Connection: Abilities of Reading
4. Information, Deformation, Reformation
5. Collections and Remembrance
Under the first heading we want to make space for investigations pertaining to the role of the Aura primarily in relation to modalities of experience and memory. The second division continues the theme of experience, but with another focus. There is a Kantian dimension here related to figurations of time and space. This section might also be seen as a mapping out of the images of thoughts and dreams. The third chapter locates what Benjamin, under Nietzschean influence called the field of forces. The forth heading names what we believe are strategies of formation, i.e. modalities of actualisation. The last chapter reserves a space for condensation of the tension between history, language, and visuality as they appear in today’s society. We do not conceive of these sections as watertight compartments, but rather as areas with heightened density. We hereby invite proposals or abstracts to be sent to the editors for reviewing. Deadline for abstracts (maximum 1500 words) is set to November 15., 2002. Deadline for the completed articles will be set to March 1., 2003. The finished edition will be published in relation to the Nordic Summer University, and is scheduled for publication during the summer 2003.
Abstracts are to be sent to the editors,
Dag Petersson (
dpe@kb.dk) and/or Erik Steinskog (erik_steinskog@yahoo.com)

 

CONFERENCES (7, 5 NEW)

 

1 (internet source: http://aesthetics-online.org/events/meetings.html)

 

ASA Annual Meeting
October 30-
November 1, 2002

 

2 (internet source: e-mail)

 

http://gramola.fyl.uva.es/~wfilosof/

XI Jornadas de Filosofía

ESTÉTICA Y SOCIEDAD CONTEMPORÁNEA

13, 14 y 15 de noviembre de 2002

PRESENTACIÓN

Estética y sociedad contemporánea es el título de la reunión científica promovida anualmente por el Departamento de Filosofía, Lógica y Filosofía de la Ciencia, T.H.E. de la Universidad de Valladolid, que se celebrará en la Facultad de Filosofía y Letras de dicha Universidad en noviembre del año 2002.

Bajo ese título, pretendemos emprender una revisión de la reflexión estética en nuestros días. Tradicionalmente la estética ha ido de la mano del arte. Sin embargo, hoy, en razón de la aparición de elementos novedosos en el ámbito social, la estética, en cuanto disciplina filosófica, ya no puede limitar su campo de estudio al arte. La publicidad, el diseño, la realidad virtual y otra serie de realidades que configuran de manera profunda nuestra sociedad y que se encuentran en ese límite difuso que separa el arte de lo no artístico, absorben buena parte de la práctica estética. Además, el arte contemporáneo, convertido en muchas ocasiones en una teoría sobre el arte mismo, parece hacer innecesaria la tarea de una reflexión filosófica sobre los productos artísticos. Es necesario, pues, investigar qué interrogantes plantean a la estética filosófica todas estas realidades que configuran la sociedad actual, para, de este modo, poder analizar la vigencia de conceptos tales como "arte", "belleza", "juicio de gusto", etc. y reencontrar el significado de los mismos.

Para todo ello, contaremos con la presencia de filósofos, artistas y expertos, que nos aproximarán a las distintas dimensiones del problema que pretendemos abordar.

PROGRAMA

Miércoles, 13 de noviembre

10’00-10’30: Presentación a cargo de Sixto J. Castro Rodríguez.

10’30-12’00: Conferencia. José Luis Molinuevo (Universidad de Salamanca): La estética de la sociedad audiovisual.

12’30-13’30: Sesión práctica. El Canto Gregoriano y su influencia en la estructura técnica de la polifonía medieval. Juan Carlos Asensio (Conservatorio Superior de Salamanca).

16´00-17’30: Comunicaciones.

18’00-19’00: Sesión práctica. La estructura técnica de una obra cinematográfica. José Barba (Escola de Imaxe e Son de La Coruña).

19’30-21’00: Conferencia: José Luis Téllez: ¿La estética de la música contemporánea?

Jueves, 14 de noviembre:

10’00-11’30: Sesión práctica. La estructura del texto narrativo. Pilar Rubio (Universidad de Valladolid).

12’00-13’30: Conferencia. Francisca Pérez Carreño (Universidad de Murcia): ¿Adiós a la Estética?

16’00-17’30: Comunicaciones.

18’00-19’00: Sesión práctica. La estructura técnica de una obra arquitectónica. F. Coello de Portugal (arquitecto).

19’30-21’00: Conferencia: Pendiente de confirmación.

Viernes, 15 de noviembre

10’00-11’30: Sesión práctica. La estructura técnica de una obra plástica. .Jesús Urrea (Universidad de Valladolid).

12’00-13’30: Conferencia: Ricardo Sánchez Ortiz de Urbina (Universidad de Valladolid): Estética y fenomenología.

17’00-18’30: Conferencia: Pendiente de confirmación.

19’00-20’30: Conferencia: Pendiente de confirmación..

ENTIDAD ORGANIZADORA
* Departamento de Filosofía, Lógica y Filosofía de la Ciencia, T.H.E. de la Universidad de Valladolid.

ENTIDADES COLABORADORAS

* Junta de Castilla y León

* Consejería de Cultura de la Junta de Castilla y León

* Vicerrectorado de investigación de la Universidad de Valladolid Fundación General de la Universidad de Valladolid

RESPONSABLE DE LA ORGANIZACIÓN

* Sixto José Castro Rodríguez

COMITÉ CIENTÍFICO

Philippe Cochinaux (Universidad de Louvain-La Neuve)

Fergus Kerr (Universidad de Oxford).

Juan Barba (UVA)

Javier de Lorenzo (UVA)

Alfredo Marcos (UVA)

FECHA DE REALIZACIÓN

* 13, 14 y 15 de noviembre de 2002.

NÚMERO DE HORAS
25 horas. La asistencia de los alumnos podrá convalidarse por hasta 5 créditos en el programa de doctorado "Filosofía de la cultura, de la ciencia y de la sociedad"

PLAZO DE PRESENTACIÓN DE COMUNICACIONES
Hasta el 30 de septiembre de 2002, en el Departamento de Filosofía, Facultad de Filosofía y Letras, Plaza del Campus S/N. 47011 Valladolid. (La dirección del congreso se reserva el derecho de admisión de comunicaciones)

IMPORTE DE LA INSCRIPCIÓN
Hasta el 15 de junio: 50 euros (25 para alumnos de la Universidad de Valladolid)

Desde el 15 de junio: 60 (30 para alumnos de la Universidad de Valladolid)

INSCRIPCIÓN
Centro Buendía, c/ Juan Mambrilla, 14. 47003, Valladolid (de 9 a 14 h., a partir del 16 de septiembre de 2002)

INFORMACIÓN
Departamento de filosofía, tlf. 983423129

E-MAIL
elicia@fyl.uva.es
filosof@fyl.uva.es

 .

 3 NEW (internet source: http://www.aesthetics-online.org/)

.

2002 ASA Annual Meeting
October 30-November 2, 2002, Miami
http://www.aesthetics-online.org/events/asa-annual.html

 4 TransArt V - ANYTHING ELSE

.

Ordinariat für Ästhetik und Kunstsoziologie
Univ.Prof. Dr. Éric Alliez

In Kooperation mit dem Lehrstuhl für philosophische und historische Anthropologie der Kunst, Univ.Prof. Dr. Elisabeth von Samsonow

TransArt V - ANYTHING ELSE

Symposium

14./15. November 2002

Akademie der bildenden Künste
Schillerplatz 3
A-1010 Wien

http://pages.akbild.ac.at/aesthetik/transartV.html

Wir gehen davon aus, dass die großen theoretischen Formationen, die bisher alternativ, aber auch in intrikaten Synthesen und Hybridformen, die Produktion von Kunst legitimiert haben, nämlich einerseits das "romantische Paradigma" und andererseits das "strukturalistische Paradigma", implodiert sind und in Strategien der zeitgenössischen Kunst überholt werden. Das ist für uns Anlaß, die theoretischen Rahmenbedingungen der Moderne noch einmal zu rekonstruieren und dahingehend zu befragen, ob sich in den Falten und Nischen jener erwähnten großen Paradigmata nicht doch Anderes versteckt hielt, das diese nur als anerkannte "Deckmythen" für sich hat arbeiten lassen. Das Feld der Kunst der Moderne findet also zunächst in zwei Unmöglichkeiten seine Grenzen, die jetzt vielleicht wieder in neuen Modellen der Autorschaft diskutiert werden müssen. Dabei steht vor allem zur Diskussion, ob das Psychische, der unangenehmste Aspekt des Romatizismus, nicht wieder aus der theoretischen Verbannung hervorgeholt werden sollte.

Teinehmer:
Friedrich Teja Bach, Alain Badiou, Boris Groys, Jacques Rancière, Stephan Schmidt-Wulffen u.a.

Programm und nähere Informationen ab Anfang Oktober

.

5 NEW (internet source: http://www.aesthetics-online.org/)

.

Image and Imagery. FRAMES, BORDERS, LIMITS, a multidisciplinary exploration of the intersection or interdependence of the visual, textual and oral/aural modes of expression in the arts
October 16-18, 2002, Brock University
http://www.brocku.ca/imageandimagery/

6 NEW (internet source: http://www.aesthetics-online.org/)

Aesthetics and Culture: East and West
October 18-20, 2002, Beijing
The purpose of this conference is to facilitate and activate an East-West dialogue in the aesthetic domain. The conference will focus on the following three topics:
the interaction between oriental and occidental aesthetics in the 20th century
rediscovering the modern significance of oriental aesthetics
aesthetics and intercultural dialogue
Deadline: April 15, 2002
Gao Jianping
<
jpgao@public.bta.net.cn>

.

7 BRAIN POWER: INTELLIGENCE/EMOTION/CULTURAL FANTASY
[The 12th annual KSU CULTURAL STUDIES SYMPOSIUM,
March 6-8, 2003]
Cultural critics, philosophers, and scientists have often sought to explain human intelligence and the emotions. Theorists such as Eve Kosofsky Sedgwick, bell hooks, and Martha Nussbaum have offered provisional definitions of such basic emotions as shame and love; scientists and philosophers have offered new theories to explain or "map" thought and feeling in the brain, often through evolutionary models. In all of this work, the brain is either acknowledged or refused, it is included in a wider cultural imaginary or it is contrasted with it.
For the 12th Annual Cultural Studies Symposium at Kansas State University, we invite papers that consider how intelligence, reason, and/or emotion have been located within a cultural imaginary. Specifically, how have these capacities been located in brains or some other material object (such as the humours, or computers)? How have brains themselves become cultural representations of these capacities, and more? Papers of any disciplinary, interdisciplinary, and historical periods are welcome, as well as unconventional formats or methods.
Keynote Speakers:
Katherine Hayles, author of _How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics_
Nancy Kress, author of _Beaker's Dozen_, the "Beggars" trilogy and many other works of Science Fiction.
Potential Topics:
* Artificial Intelligence
* Pop culture brains
* The linguistic turn vs. the new positivism
* "Structures of Feeling"
* Cognitive theories of the emotions
* Sentiment and sympathy
* Phrenology and galvanism
* Sociobiology, altruism and emotion
* The Memento Mori and other mystical traditions
* Medical philosophies of Galen and other pre-moderns
* Philosophy of mind
Send 1-page abstracts to:
Michele Janette
Director, Cultural Studies Program
Kansas State University English Department
106 Denison Hall
Manhattan KS, 66506-0701.
Email submissions encouraged: send to
mjanette@ksu.edu.
Deadline: October 21, 2002.

PUBLICATIONS (1 NEW)

1 NEW (internet source: e-mail)

le sommaire et l'editorial du n° 15 de "La Voix du regard" dont le titre est: "L’obscene, acte ou image?": http://www.ac-toulouse.fr/philosophie/lvr.htm#15

 

July 2002 - September 2002

CALL FOR PAPERS (2, 1 NEW)

 

1 (internet source: search engine)

 

HYLE--International Journal for Philosophy of Chemistry, Vol. 7, No. 2 (2001), pp.181-182

http://www.hyle.org/journal/issues/7/cfp_aesthetics.htm

Copyright Ó 2001 by HYLE

Call for Papers for a special issue on

Aesthetics and Visualization in Chemistry

Deadline: 31 August 2002

 

2 NEW (internet source: http://www.english.upenn.edu/CFP/archive/Film/0126.html)

 

Journal of Popular Film & Television
Guest Editor: Brian Rose, Fordham University

During the last decade, traditional television genres have been
transformed, due to new audiences, new networks, and changing
economics. The Journal of Popular Film & Television seeks essays for a
special theme issue devoted to TV Genres. Topics include, but are not
limited to the following:

The relationship between genre and audience. In what ways has
television's insatiable quest for key demographics altered the meaning
and content of traditional genres?

New channels, new genres. How has the expanded cable and satellite
universe led to the creation of new programming formats?

The economics of genre production. What impact has increasing
conglomerate control and heightened economic pressure played in
television genre production?

The tsunami of reality TV. In what ways has the unleashing of reality
TV altered the genre landscape, leading to new forms and hybrids?

International TV genres. In contrast to previous decades, American
television is now more open to formulas pioneered in other countries.
What kind of impact have imported genres made on American television?

Film genres vs. TV genres. Traditionally, television has turned to
motion pictures for series ideas and concepts. The trend has recently
been reversed, with shows as varied as The Brady Bunch to Dragnet and
Charlie's Angels appearing with varying results on the big screen. What
happens to the situation comedy and the detective show in this
transformation?

Genre theory and formulation. What has television added to the debates
concerning the definition of genre in popular culture? Can the insights
of film genre theoreticians like Rick Altman and Richard Dyer be applied
to television genres?

Submissions should be no longer than 20 pages and should conform to the
MLA style. Please include a 50-word abstract and five to seven key words
to facilitate web researchers. Send three hard copies (with
self-addressed, stamped envelope if return is desired) no later than 3
September 2002 to:

Brian Rose
Dept. of Communications and Media Studies
Room 422
Fordham University
113 W. 60th St.
New York, NY 10023

Do not submit diskettes at this time. No faxed or e-mailed submissions
please. Address all queries to Brian Rose at above address or
<
"dgany@aol.com>.

CONFERENCES (7, 2 NEW)

 

1 (internet source http://aesthetics-online.org/events/meetings.html)

 

Mysticism, Reason, Art and Literature: East West Perspectives
Society for Indian Philosophy & Religion
July 30-August 2, 2002,
Calcutta

 

 

2 (internet source: search engine)

 

Society for European Philosophy
Annual Conference 2002
"European Philosophy and the Human Condition"
Wednesday 11 to Saturday 14 September 2002.
University College Cork, Ireland.
Organisers: Tony O'Connor, Matthew Ratcliffe and Sinéad Murphy.

The aim of this conference is to open up a variety of perspectives on the
human condition, predicament or situation, and to address the broader
question of whether or not there is still a place in contemporary European
philosophy for some unitary notion of this kind. The organisers are keen to
explore the many different ways in which philosophers and others have
attempted to articulate the human condition and the various presuppositions
that have shaped philosophical understandings of what we most fundamentally
are.
Plenary Speakers
Simon Critchley (University of Essex)

Christina Howells (Wadham College, University of Oxford

Hugh Silverman (State University of New York at Stony Brook)
We encourage individuals to submit abstracts of papers suitable for inclusion in the following pre-arranged panel sessions:
The Human Condition and the Condition of Humour.
Persons and Narratives.
Culture and Embodiment.
Philosophy as Genealogy.
Gender and Identity.
Historicity.
The Aesthetic and the Political.
Science and the Natural.
The Erotic.
The Other.
Moods and Emotions.
We also encourage submissions (either complete sessions, involving two or
three participants, or individual papers) on all topics relevant to an
understanding of the human situation.
Paper and panel proposals on any other aspect of European philosophy will
also be considered for inclusion in this conference.
Panels: Please submit a title, short panel description and two or three
abstracts of around 200 words. Individual contributions: Please submit a title and an abstract of around 200 words. Be sure to include a contact address, telephone and fax numbers (if applicable) and an e-mail address with all submissions. We strongly encourage submission of papers and panels from graduate students. With this in mind, we are offering ten graduate student bursaries, intended to contribute towards travel and accommodation costs. Please contact the organisers for further details. All submissions must be received by Monday 15 April at the latest.
Please send to:
Society for European Philosophy Conference
Department of Philosophy
University College Cork
IRELAND
Or by e-mail to:
mratcliffe@philosophy.ucc.ie
Address any inquiries to:
Society for European Philosophy Conference
Department of Philosophy
University College Cork
IRELAND
Telephone:+353 21 490 2562
+353 21 490 2566
Fax: +353 21 427 6079
E-mail:
mratcliffe@philosophy.ucc.ie
t.oconnor@ucc.ie
somurphy@hotmail.com
Contributors will be notified of whether their papers have been accepted by 17 May 2002 at the very latest. The full conference programme will be available from 14 June 2002 at:
www.ucc.ie/ucc/depts/phil/SEPconference.html

 

 

3 (internet source: search engine)

 

17th Congress of the International Association of Empirical Aesthetics

ART AND ENVIRONMENT

Takarazuka University of Art and Design

4-8 August 2002

Takarazuka, Japan

http://www.iaea2002.gr.jp/

 

  

4 (internet source: http://aesthetics-online.org/events/meetings.html)

 

Environmental Aesthetics
September 27-29, 2002,
Utah State University

 

5 (internet source: e-mail)

 

XIX. Deutscher Kongress für Philosophie
"Grenzen und Grenzüberschreitungen"
23.-27. September 2002 in Bonn
Am Beginn eines neuen Jahrhunderts und Jahrtausends stehen die Gesellschaften weltweit vor selbstinduzierten Risiken und Chancen zugleich: Dem Naturbegriff des Menschen nach sind Grenzen der Machbarkeit gefallen, die ebenso erschrecken wie hoffen lassen. Wenn Menschen sich ihrer Manipulierbarkeit ohne Grenzsicherung ausliefern, brechen Dämme. Das könnte katastrophale Folgen haben, die allerdings ebenso relevant für den Kulturbegriff des Menschen sind. Diesem Begriff zufolge sind Menschen nicht nur Mitglieder der biologischen Spezies homo sapiens, sondern ebenso und zuerst Träger des kulturellen Programms Mensch. Nur als Träger dieses Programms sind Menschen rechtsfähige Lebewesen. So muss von hier aus entschieden werden, wo die Grenzen der naturalen Selbstmanipulation des Menschen gezogen werden müssen. Dieser Doppelaspekt zwingt auch die Philosophie, die ihr zugänglichen limitativen Theorien in allen ihren Disziplinen auf den Prüfstand zu stellen, um ihrer ultimativen Aufgabe als formelles Gewissen der Menschheit gerecht zu werden. Der Kongress wird solchen Grenzthemen in vielen Feldern der Condition Humaine nachgehen. Dessen Grenzen sind ja nie nur Beschränkungen, sondern auch Bedingungen der Konturfähigkeit im Ausdrucksraum.
Sektion 17: Ästhetik der Grenzen und Grenzüberschreitungen. Informationen unter: http://www.agpd2002.de

 

6 NEW (internet source: http://www.sfr-medecine-esthetique.asso.fr/Francais/Congres/Congres%20france%202002/presentation.html)

 

Cher(e) Collègue,

Après le Congrès de Médecine Esthétique à Monte-Carlo en 2000, qui fût un grand succès, la Société française de Médecine Esthétique reprend en 2002 ses habitudes, et organise à Paris les 27, 28 et 29 septembre 2002 son

23ème Congrès national de Médecine esthétique et de Chirurgie dermatologique.

Hélas pour les habitués, nous serons contraints en 2002 de quitter l'Hôtel Nikko, qui accueillait nos Congrès depuis plus de 15 ans, cet hôtel étant en travaux tout au long de cette année.
Le 23ème Congrès aura lieu à l'Hôtel Méridien Montparnasse, qui possède un très vaste et très moderne Centre de Congrès.
Ceci nous permettra pendant 3 jours d'organiser des Séances Scientifiques sur les grands thèmes de la Médecine esthétique, de la Dermatologie et de la Chirurgie Esthétique dans 2 salles de conférences, des Ateliers pratiques dans 4 salles simultanées, ainsi qu'une Exposition commerciale sur 1200m², l'ensemble accueillera 1500 participants.
De nombreux orateurs français et internationaux nous ont d'ores et déjà donné leur accord pour partager avec vous les dernières techniques de Médecine et de dermatologie esthétique.
La cuvée 2002 de notre Congrès s'annonce être d'une qualité exceptionnelle, et nous vous invitons à venir la partager.

Bien confraternellement.

Dr Jean jacques LEGRAND
Président de la S.F.M.E.

  

7 NEW (internet source: http://aesthetics-online.org/aesthetics)

 

P R O G R A M M E

of the conference

REDEFINING MUSICAL IDENTITIES

Saturday, August 31, & Sunday, September 1, 2002

in Felix Meritis, Keizersgracht 324, Amsterdam, The Netherlands

The conference Redefining Musical Identities will deal with the shifts that
occur in several dimensions of European music life at the outset of the
21st century: the cultural background of the population, the social
stratification of the concert audience, the relationship between
concert-going and other forms of entertainment, public support, and, last
but not least, the stylistic development within music.

Saturday, August 31

Chair: Rokus de Groot

10.30 Welcome, coffee

11.00 Albert van der Schoot - Back to the future Klaas de Vries - The modernist tradition
discussion

12.30 Lunch

14.00 Roger Scruton - Rhythm, the heart of music
David Matthews - Innovating musical tradition discussion

15.30 Tea

16.00 Wolfram Wagner - Cultural diversity in Vienna
Leo Samama - Orchestral practice within a multicultural context
discussion

20.00 Concert with Vera Beths (violin), Daniël Esser (cello) and Marja Bon (piano)

Theo Loevendie (1930) Ackermusik, for pianotrio (1997)
Leos Janácek (1854-1928) Sonata for violin and piano(1914/1921)
Anton Webern (1883-1945) Drei kleine Stücke op. 11, for cello and piano (1914)
Isidora Zebeljan (1967) Il circo, for piano solo (1993)
Peter Schat (1935) Genen op. 47, for violin and piano (2000)
Ljubica Maric (1909) Torso, for pianotrio (1996)

Tickets for the concert (12 Euro) are also available at Felix Meritis.

Sunday, September 1

Chair: Albert van der Schoot

10.30 Welcome, coffee

11.00 Peter Davison - The concert-hall as the spiritual centre of the community
Sander van Maas - The Politics of Religious Music
discussion

12.30 Lunch

14.00 Rokus de Groot - Reorientation in new music: western concepts of oriental spirituality
Borislav Cicovacki - Music on the margins of Europe - the case of Serbia
discussion and conclusions

15.45 drinks

This conference is a follow-up to the conference which took place on December 8, 2000, entitled Choices in new music.
That meeting sought to clarify the choices involved in creating and performing new music, and to make the criteria applied in these choices explicit. Leading representatives of Dutch music life presented their views; an extensive report is to be found in Tijdschrift voor Muziektheorie, vol. 6 nr. 1, pp. 52ff.

More information: <www.hum.uva.nl/asca> (news and events)

To register: transfer Euro 45 to Giro account no. 960779 (Albert van der Schoot, Duivendrecht), mentioning 'Registration Redefining Musical Identities'. The registration fee includes access to all lectures, admission to the evening concert, two lunches, coffee and tea.

All lectures will be given in English.

This conference is part of the research programme Musical Identities in the 21st Century (Institute for Cultural Analysis ASCA, University of Amsterdam). It is made possible by the support of SNS Reaal Fonds.


 

April 2002 - June 2002

 

CONFERENCES

 

1 (internet source: http://aesthetics-online.org/events/meetings.html)

 

American Society of Aesthetics

ASA Eastern Division Meeting
April 5-7, 2002,
Philadelphia

 

2 (internet source: http://aesthetics-online.org/events/meetings.html)

 

Community: Living with Difference in Art, Religion, and Politics
April 18-20, 2002, Viterbo University,
La Crosse, Wisconsin

 

3 (internet source: http://aesthetics-online.org/events/meetings.html)

 

Philosophy and the Visual Arts
Society for the Philosophical Study of the Contemporary Visual Arts
April 24-27, 2002,
Chicago

 

 

4 (internet source: http://www.phenomenology.org/conferences.html)

 

Twenty-sixth Conference of the International
Society for Phenomenology and Literature
Harvard University, Cambridge MA
May 8-9, 2002

The Aesthetics of Mystery
in Poetry, the Novel, Drama, and Film

Deadlines and Fees:

Abstracts: February 1, 2002
Papers: March 15, 2002
Registration Fee: $95.00 (includes the Fine Arts Conference listed below)

Contact:

Professor Anna-Teresa Tymieniecka
The World Phenomenology Institute
1 Ivy Pointe Way, Hanover NH 03755, USA

 

5 (internet source: http://www.phenomenology.org/conferences.html)

Eighth Annual Meeting
of the International Society
for Phenomenology, Aesthetics, and Fine Arts
Harvard University, Cambridge MA
May 10-12, 2002

Metamorphosis Revisited:
Fine Arts, Literature, and Aesthetics

Deadlines and Fees: Abstracts: February 1, 2002
Papers: March 15, 2002
Registration Fee: $95.00 (includes the Literature Conference listed above)

Contact:Professor Marlies Kronegger
1324 Chartwell Carriage N.
East Lansing MI 48823, USA
or

Professor Patricia Trutty-Coohill
Department of Creative Arts
Siena College
515
Loudon Road
Loudonville NY 12211,
USA

 

6 (internet source: http://aesthetics-online.org/events/meetings.html)

 

Canadian Society for Aesthetics
May 25-27, 2002,
University of Toronto

 

7 (internet source: search engine)

 

Intellectual Frontiers of Music
June 24-25, 2002,
University of Aberdeen

Session I
Gordon Graham: The Philosophical Frontiers of Music
Respondent: Daniel Shaw, Lecturer in Philosophy

 

8 (internet source: http://aesthetics-online.org/events/meetings.html)

 

Art, Mind, and Cognitive Science

June 24-August 2, 2002, Washington DC

Under the heading "teaching": Cynthia Freeland - Teaching Cognitive Science and the Arts I + II

 

 

9 NEW (internet source: e-mail)

 

Die Sprachen der Religion

Tagung der Österreichischen Gesellschaft für Religionsphilosophie

23.-25. Mai 2002

Katholisch-Theologische Privatuniversität Linz

Bethlehemstrasse 20

4020 Linz

Samstag, 25. Mai 2002

9 Uhr, Monika LEISCH-KIESL (Linz): (Bildende) Kunst als Sprache der Religion

10 Uhr, Hans-Dieter KLEIN (Wien): Abbild der kosmischen Harmonie und Expression des Glaubens

http://www.ktu-linz.ac.at/Institute/Philosophie/OeGRPh/Tagung%202002.htm

 

10 NEW  (internet source: http://www.uj.edu.pl/Phils/eng/dep/est/muz.htm)

  

The Department of Aesthetics of the Institute of Philosophy

Jagiellonian University Cracow

invites to the

29th Aesthetic Conference

Philosophy of Music

Cracow - Mogilany, May 13 - 15, 2002

The Proposed Topics of the Conference:

The problem of meaning in music
Symbol in music and music as symbol. Music as metaphor
Expression in music - music as self-expression?
Music and the emotions. Does music really move us?
The feelingsof the artist and of the listener
Content and form in music
Absolute music - music as a pure form?
Music and language - referential meanings in music
Music and fine arts - music as a representing art?
Ontology of musical work
and other

Two kinds of presentations are planned:
1. A paper of approximately 20 minutes length followed by a 10-minute discussion
2. Short statement (report) maximally 10 minutes long

Registration deadline: February 15, 2002

In order to register a paper please send an abstract (max. one page).
In order to register a short report it is sufficient to submit its title.
In case of a big number of applications the organizers reserve the right to select the papers for the presentation on the basis of the submitted abstracts.
The conference papers will be published in the conference proceedings

Registration deadline for participants without a paper: April 15, 2002

Conference fee:

With accomodation and meals: 300 zł
Students: 200 zł
Without accomodation: 150 zł, students: 50 zł
(this fee covers lunch and supper in the conference center in Mogilany)

The applications should be sent to the following address:

Krzysztof Guczalski
Zakład Estetyki, Instytut Filozofii UJ
ul. Grodzka 52, 31-044 Kraków
or by electronic mail:
uzguczal@cyf-kr.edu.pl
tel. (00 48 12) 421 22 54

 

 

January 2002 - March 2002

CALL FOR PAPERS

 

(Web-Source: http://www.ac-toulouse.fr/philosophie/appelstextes.htm#vdr14aac)

 

La Voix du regard

Avant-projet du n° 15: Esthétique de l’obscène (titre provisoire)

DATE LIMITE DE REMISE DES ARTICLES : 15 janvier 2002. Avant d'envoyer un texte sur un sujet de votre choix, informez-nous de votre projet, par courrier ou e-mail : nous devons être en mesure d'établir le sommaire prévisionnel, à partir de vos propositions, au milieu du mois de décembre. Tous les textes doivent être envoyés dactylographiés et sur disquette, accompagnés d’une sortie papier à l'adresse suivante :
LA VOIX DU REGARD
11 rue Henri MARTIN
94200 Ivry-sur-Seine
Tel /Fax : 01-46-70-88-69. E-mail :
voixduregard@9online.fr

Pour la partie "Hors sujet" : nous attendons vos propositions.
Pour la section "GALERIE", n'hésitez pas à faire appel à des artistes peu connus dont les œuvres n'ont jamais été publiées, et faites-les nous connaître.

 

 

CONFERENCES

 

(Web-Source http://www.arcart.no, excerpted)

 

ArcArt02: Art on the Edge. Reflections upon Extreme Art Practices
Tromsø 25th-27th of January 200"
Let us talk about extreme art... but how? When we use words like ghastly,
vulgar, gruesome, abominable, horrendous, tasteless, repugnant, revolting,
we describe the psychological state of the observer, but we say nothing of
the art we want to talk about: body art, living tissue as art, species art,
dirt art, art lurking in the digital labyrinths. Is it possible to find
strategies to detect, analyze and verbalize extreme art? Let's find strong
words for powerful art.
Let us talk about limits and boundaries... but where are they? One man's
roof is another man's floor, my pain is not your pain. Peer-groups define
norms, and individuals bend and break them. Until which extent can the
barriers be broken and bent? Let's find the borders of art and try to see
what lies beyond, the jenseits, the trans-art.
Yes, let's talk! Picture-makers, image-welders, New Media gurus, hard-edge
biotech and computer scientists, and softspoken academics of all flavours,
sexes, creeds and colours have been invited to participate. Now we invite
you to Tromsø to the never-ending polar night as a setting for lectures,
discussions and debates.
Program
Saturday 26.1.2001

10.00-10.45
Keynote Lecture
Stuart Bunt (AUS), Director at SymbioticA at the University of Western
Australia: " How Far Can You Go? How Far Should We Go? The Practices of
Biotechnology and Bio-Informatics as Artistic Tools "
11.45-12.15
Siv Ellen Kraft (N), associate professor, Dept. of the History of Religion,
University of Tromsø: "'No Pain, No Gain' - the Body as an Iconic
Battlefield: Rituals among 'Modern Primitives'"
Keynote Lecture
Jan von Bonsdorff (N/FIN, organizer), Professor. Dept. of Art History,
University of Tromsø: "Rhyparography, Bad Taste, Pornography, Kitsch: Art
has Transgressed Limits for Centuries - But What Limits Were They and Which
Limits Will There Be?"
Sunday 27.1.2002
9.30-10.45
Keynote Lecture
Mika Tuomola (FIN), Medialab, University of Art and Design, Helsinki:
"'It's Pretty (Extreme), But Is It Art?' - Static Emotion and Didactic
Excitement in the Digital Domain: Terror, Pity, Desire, Loathing and
Laughter"
15.15-16.00
Einar Øverenget (N), President of Humanistisk Akademi, Oslo: "The Limits of
Creativity"
Book your flight to Tromsø now! If you require help with accomodation and
hotels in Tromsø, please contact Kjell Magne Mælen at Kulturhuset Tromsø
(
kjellmagne@kulturhuset.tr.no). We have a restricted number of reduced-rate
hotel rooms at our disposition - so please be quick with your reservations!
Conference fees:
Normal: 250 NOK (32 EUR)
Students with student card: 100 NOK (13 EUR)
The fee comprises two days of lectures, two lunches, coffee four times, the
NoX reception on Friday and the concert by Biosphere.
To be payed at the reception desk upon arrival. The reception at Concert
House DRIV will be open from 11.00 Friday the 25th until Sunday afternoon
the 27th of January 2002. You will receive a name plate that doubles as
your personal pass for lunches and the concert.
Please register by e-mail at
arcart@arcart.no.
We need your name, title, e-mail, institution and/or postal address. After
registration, you will receive a snail mail letter with information about
the conference, the city of Tromsø etc. Registration will also be possible
at the reception desk upon arrival (see above). We need your early
registration for practical reasons!
For general queries please contact Gaute Barlindhaug at at
arcart@arcart.no. For queries concerning accomodation (see above) contact
Kjell Magne Mælen at Kulturhuset Tromsø (
kjellmagne@kulturhuset.tr.no).
Dr. phil. Jan von Bonsdorff
Professor
Institutt for kunsthistorie
Universitetet i Tromsø
N-9037 Tromsø
Tel. +47 77 64 56 80
mobile +47 41 69 97 63
e-mail: Jan.von.Bonsdorff@hum.uit.no
http://www.hum.uit.no/kun

 

 

(Web-source http://aesthetics-online.org/events/meetings.html)

 

American Society of Aesthetics Meeting

ASA Pacific Division Meeting

March 27-29, 2002, Pacific Grove

 

(Web-source http://aesthetics-online.org/events/meetings.html)

 

Making Sense of Emotion: Philosophies of Art, Ethics and Mind

University of Southampton, February 2002

 

(Web-source http://aesthetics-online.org/events/meetings.html)

 

Aesthetics and Philosophy of Art

Research Student Conference

May 10-11, 2002, University of Warwick

 

(Web-source http://aesthetics-online.org/events/meetings.html)

 

Society for the Philosophical Study of the Contemporary Visual Arts
March 27-31, 2002,
Seattle

 

 

LECTURES

 

 

(Web-Source http://www.philtalk.de/)

 

Dienstag, 5. März 2002, 19 Uhr

Clement Greenberg or How to Be Modern in America

Caroline Ann Jones, Professor of Art History, Boston University, z. Zt. Fellow am Wissenschaftskolleg zu Berlin. Gesprächsleitung: Prof. Dr. Karlheinz Lüdeking, Princeton

Einstein Forum, Am Neuen Markt, D-14476 Potsdam, Deutschland

 

 

PUBLICATIONS

 

(Web-Source: e-mail)

 

Christel Fricke, Zeichenprozeß und ästhetische Erfahrung, München 2001, Wilhelm Fink Verlag

 

 

(Web-Source http://www.ac-toulouse.fr/philosophie/revgen/figuresdelart.htm#last)

 

Revue d'études esthétiques dirigée par Bernard Lafargue, professeur d'esthétique à Bordeaux III.

N° 5: L'art des Figures

(500 pp. ILL.N/B. 39 Euros)
ISSN (en cours) - ISBN 2-908930-77-3

Présentation du numéro: La figure est d'abord le visage peint. Skiagraphia, elle est cette ombre portée de l'amant endormi que cerne amoureusement sur un mur la jeune corinthienne. Si le portrait retient les traits de l'aimé en partance, il porte absence et présence, plaisir et déplaisir. Pour consoler sa fille désamourée, le père potier modèle la figure de l'absent, la cuit et l'installe en imago romaine. En vain, le nouveau lare est un leurre. La légende de Pline résume admirablement l'idéal de la mimésis gréco-romaine, le fantasme de Zeuxis et de Pygmalion. Le fantasme d'une figure qui aurait la perfection du semblant et la chair du réel.
Quelques années plus tard, une autre jeune fille, Véronique, décline la version chrétienne de la figure. Le trompe-l'¦il du double dessiné devient l'impression acheiropoiete même du modèle, la vraie image du Christ. Relique d'humeurs et de sang, le suaire replié sous le mandylion est le paradigme de l'art chrétien. Et, sans doute, est-il fécond de retrouver avec Louis Marin, Georges Didi-Huberman ou Daniel Arasse ce travail de figurabilité en toute ¦uvre d'art, sous la forme d'opaque lieu virtuel,
pan, symptôme, sinthome, punctum, fragment ou dettaglio si, toutefois, on n'oublie pas la troisième légende (synthèse hégélienne?) formulée par Alberti à l'aube de la Renaissance, qui fait de Narcisse au terme pur de sa course le maître du peintre.
Faisant de l'homme son sujet de prédilection, le peintre occidental invente les figures de la liberté humaine. Figures de l'Esprit prenant conscience de lui-même comme Liberté, les figures (de proue) de l'art anticipent l'avenir, artialisent le regard et changent le monde. Or, grand nombre d'¦uvres de ces dix dernières années appartiennent à un Kunstwollen mutationniste qui dénonce l'obsolescence de la figure humaine faite à l'image d'un Dieu gréco-chrétien et suggèrent de la remplacer par le modèle plus viable du cyborg cybernaute transgénique et cloné.
A l'orée donc d'une nouvelle révolution épistémologique, le cinquième numéro de Figures de l'art se propose de retracer la théogonie de la figure humaine et d'analyser les formes les plus topiques du travail de (dé)figuration et de reconfiguration qui s'exerce avec une ingéniosité intempestive dans les oeuvres d'art.

AVANT-PROPOS
Bernard LAFARGUE: Le pouvoir des figures

I.- FIGURES DE STYLE, FIGURES DE L'ART
Jean-Gérard LAPACHERIE (Université de Pau), Figures et images: de la rhétorique aux arts plastiques
Alexandre CASTANT (Critique d'art, Paris), Figures en forme d'images: Arcimboldo, Weston, Welles
Pierre SAUVANET (Université de Bordeaux III), Figures de mots, figures d'images
Frédéric SOUNAC (Université de Strasbourg), Le piano et la table: vers un roman (dé)figuré ?

II - LA VERITE EN FIGURE
Stéphan VAQUERO (Université de Paris X), Figure et vérité chez Baltasar Gracián
Michel GUERIN (Université d'Aix-Marseille), La transparence ombreuse (la figure sans la représentation)
Mathieu KESSLER (IUFM Orléans-Tours), Figure et vérité dans la philosophie de Nietzsche
Philippe DUCAT (Université de Pau), De la possibilité d'un art à l'époque de la technique: la Figure du Travailleur et sa figuration

III - PEUT-ON FIGURER LE VISAGE?
Armand ABECASSIS (Université de Bordeaux III), Au-delà de l'image: l'interdit
Marie-José MONDZAIN (CNRS), Visage, figure de l'absence
Jean-Luc COLRAT (Paris), Entre vie et mort: Figures troubles de Giacometti, Cotan, Zurbaran
Carole TALON-HUGON (Université de Nice), Figurer les passions: La conférence générale et particulière de Charles Le Brun
Jacques COHEN (Université Paris I-Sorbonne), Figure et violence, Visage et Non-violence (art et enseignement)
Bernard LAFARGUE (Université de Bordeaux III), Des figures du visage aux visages des figures

IV - FIGURALISMES DE LA MUSIQUE
Danièle PISTONE (Université de Paris IV), Figures ravéliennes: d'une pseudo-imitation à une authentique révélation
Matthieu GUILLOT (Musicologue), Configurations esthésiques de la Présence dans l'oeuvre musicale
Raymond COURT (Université de Lyon III), Essai sur la figure
Cécile AUZOLLE (Université de Poitiers), Figures carnavalesques du premier romantisme musical
Olivier LUSSAC (Université de Rouen), Avec l'accompagnement des oiseaux chantant à l'aube (à propos de quelques figures temporelles dénuées de sens)

V - FIGURES DE L'ART
Michel ADAM (Université de Bordeaux III), Forme et figure: la pensée médiévale et l'Art
Véronique DALMASSO (Paris), La Triangulation du supplice ou les figures du Christ et des larrons dans la Crucifixion
Antonia BIRNBAUM (IUFM Strasbourg), Étranges héros de la vie moderne
Didier DAUPHIN (Bordeaux), Figures peintes et visages photographiés: Richter, Boisrond, Yvonnet
Jean-Jacques DELFOUR (Toulouse), Figurations et défigurations dans les photogrammes d'Olivier Perrot
Elodie TROUVÉ (Paris), Configuration de l'infigurable: l'ange, ou le face à face de l'etre au miroir de l'étant

RENSEIGNEMENTS, COMMANDES, ABONNEMENT /INFORMATION AND ORDERS:
PRESSES UNIVERSITAIRES DE PAU
B.U.SCIENCES
AVENUE DE L'UNIVERSITÉ
64000 PAU
Tel.: 05 59 92 33 47 (Brigitte Cupertino)
Email:
pup@univ-pau.fr

 

October 2001 - December 2001

CALL FOR PAPER (1)

 

1 (internet source: e-mail)

 

Aesthetic Yearbook 2002

Scholars interested in contributing to the 2002 AESTHETIC YEARBOOK issued by the International Association for Aesthetics (IAA/AIE), and edited by Grazia Marchianò *, are invited to send the Editor an Abstract of 20 lines, along with essential CV data, at their earliest convenience.
The general topic of the Yearbook is on Chaos and Aesthetics, namely : aesthetic implications of Chaos considered as a notion, a concept, an idea, a mental framework, an image, a terrain for aesthetic,transcendental and mystical experience in domains such as : the History of Philosophy and Aesthetic Theory East § West; Mythology, Ethnopoetics, Symbology, Literature, Poetry § Art Theory (ancient, modern, contemporary - in western, Asian, African and other indigenous traditions) ; Mathematics, Physics,Cosmology, Sociology, Taste, Habits and Manners, Natural/Cultural Environment, and Holistic Theories.
The authors of the abstracts which will be selected will be personally contacted by the Editor (e-mail :
marchiano@bccmp.com ) Abstracts not made in standard-English will not be considered.
*Dr. Prof. Grazia Marchianò is a scholar in comparative,transcultural aesthetics and East-West philosophical studies based at the University of Siena-Arezzo, Italy. She recently chaired the Indian Symposium at the XVth International Congress of Aesthetics, Makuhari, Tokyo.

 

Peter Mahr © 2008

peter.mahr