BEGIN:VCALENDAR PRODID:-//Grails iCalendar plugin//NONSGML Grails iCalendar plugin//EN VERSION:2.0 CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/London:20230918T140000 DTEND;TZID=Europe/London:20240520T170000 SUMMARY:Introduction to Aesthetics UID:20240328T125504Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London DESCRIPTION:
INTRODUCTION TO AESTHETICS
\nPROGRAM
\nThis course is structured in four parts &ndash\; (1) aesthetics and sense perception\; (2) speculative aesthetics\; (3) poetics\; and (4) experimental aesthetics &ndash\; \;and analyses a series of aesthetic concepts and phenomena &ndash\; such as aesthetic experience\, aesthetic judgement\, aisthesis\, art\, aura\, beauty\, emotion\, empathy\, imagination\, perception\, sublime\, and taste &ndash\; \;from both a speculative aesthetic perspective and an experimental aesthetic perspective. Whereas speculative aesthetics is the study of aesthetic concepts based on the use of pure reason\, experimental aesthetics &ndash\; a field of psychology founded by Gustav Theodor Fechner in the 19th century &ndash\; is the study of aesthetic phenomena that takes into account empirical evidences from disciplines such as biology\, experimental psychology\, and neurophysiology.
\nRead more about the course here: https://www.fcsh.unl.pt/outros-cursos/introduction-to-aesthetics/
\nThe course will be entirely in English and is intended for undergraduate\, postgraduate\, and doctoral students. \;
\nTeacher: Dr. Fabio Tononi
\nDeadline: 8 September 2023
\nCOSTS
\nFor information about the application process and costs\, see: https://www.fcsh.unl.pt/outros-cursos/introduction-to-aesthetics/
\nFor further questions\, contact fabiotononi@fcsh.unl.pt
ORGANIZER;CN=Fabio Tononi: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=America/Chicago:20240405T140000 DTEND;TZID=America/Chicago:20240406T170000 SUMMARY:Weatherford College 6th Annual Philosophy of Religion and the Environment UID:20240328T125505Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:America/Chicago LOCATION:225 College Park Drive\, Weatherford\, United States\, 76086 DESCRIPTION:The world\, it seems\, is at a crossroads regarding environmental responsibility. While religion is often seen as antagonistic to environmental concerns\, there is a rich history of religion&rsquo\;s engagement with nature\, our use of resources\, and human responsibility of stewardship and care for the environment. From Judeo/Christian scriptural traditions in Genesis\, Psalms\, Luke\, and Romans to Hindu scriptural traditions in the Yajurveda\, many religions embed care for creation in its religious laws. Furthermore\, religious figures such as John Calvin\, while anthropocentric in his thinking\, also endorsed human responsibility toward the environment. As recently as the 1970&rsquo\;s The National Council of Churches and the National Association of Evangelicals called for environmental conservation. Now\, however\, the environment has been weaponized and politicized in ways that muddy the waters which seemed so clear to many throughout history. To what extent do religious aims and environmental concerns become at odds or align? Is there common ground from which people of differing religious views can discuss these matters? Must we choose between progress and the environment or is there a path forward that preserves both our way of life as a species and the world we inhabit? In light of questions like these\, Weatherford College is again pleased to host the 6th annual Philosophy of Religion Conference on the theme &ldquo\;Philosophy of Religion and the Environment\,&rdquo\; on April 5-6\, 2024.
ORGANIZER;CN=Gregory Trickett: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=America/Los_Angeles:20240406T090000 DTEND;TZID=America/Los_Angeles:20240407T170000 SUMMARY:The California Ideology Conference UID:20240328T125506Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:America/Los_Angeles LOCATION:Santa Cruz\, United States ORGANIZER;CN=Cara Greene;CN=Kyle Proehl;CN=Shaun Terry: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Rome:20240407T234500 DTEND;TZID=Europe/Rome:20240407T234500 SUMMARY:Forma e interpretazione. Prospettive estetiche ed ermeneutiche UID:20240328T125507Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Rome LOCATION:Via Sant'Ottavio 20\, Torino\, Italy\, 10123 DESCRIPTION:[English Below]
\nCentro Studi Filosofico-religiosi &ldquo\;Luigi Pareyson&rdquo\;
\nSeminario annuale - Edizione 2023/2024
\n\n\nProspettive estetiche ed ermeneutiche
\n\nUniversità\; di Torino\, 4-5 giugno 2024
\n\nIl problema della forma è\; al centro degli interessi della filosofia sin dalle sue origini. La nozione di forma si sviluppa a partire da una serie di contrapposizioni - forma e materia\, forma e contenuto\, forma e sostanza - e intreccia la sua storia con numerosi altri vocaboli fondamentali del lessico filosofico: la forma è\; a seconda dei casi «\;essenza»\;\, «\;schema»\;\, «\;categoria»\;\, «\;figura»\;\, e assume la funzione di ciò\; che unifica il molteplice\, dello sfondo universale che costituisce il terreno comune per accomunare gli elementi particolari\, ma anche della struttura permanente che sopravvive alle modificazioni della materia.
\nV'è\; una prima nozione di forma\, e di formale\, sviluppata in particolare da Kant\, che indica la dimensione che precede ogni esperienza e ogni contenuto particolare\, ed è\; quindi propriamente universale\; è\; solo su questo terreno che può\; svolgersi la matematica\, con la sua pretesa di validità\; universale. L&rsquo\;universale formale ha anche una struttura relazionale: esso nasce con una presa di distanza originaria dall&rsquo\;esperienza in generale\, e si attua di volta in volta nelle prese di distanza concrete che realizziamo. Questa presa di distanza non annulla la concretezza: la sospende nella sua immediatezza\, nella sua pressione vitale\, e così\; le permette di trasporsi su questo nuovo piano in cui può\; coesistere con altri. Così\; l&rsquo\;universale formale sia nel suo originarsi che nel suo attuarsi resta in relazione con la concretezza. La riflessione su questa dimensione universale è\; resa particolarmente opportuna dalla condizione di pluralismo culturale che caratterizza il mondo di oggi.
\nGià\; nel pensiero antico il concetto di forma ha uno statuto molto complesso e variegato. La forma non è\; solo un'astrazione\, ma è\; ciò\; che anima il vivente\, ciò\; che vi è\; di più\; proprio al cuore di ogni cosa. La forma dell'oggetto è\; il suo destino\, il suo fine\, ciò\; che gli dà\; senso e che definisce le condizioni della sua possibilità\;\, del suo nascere e del suo perire.
\nTra il XVIII e il XIX secolo il pensiero moderno - in particolare tedesco - raccoglie con grande sensibilità\; questa ricchezza della nozione di forma\, in quel momento cruciale che segna la nascita dell'estetica come noi la intendiamo ancora oggi\, e dunque dell'idea moderna di arte\, ma anche delle scienze naturali come la biologia\, la botanica\, la zoologia e l'antropologia. Il concetto di forma diventa la nozione che permette di tenere insieme natura e cultura\, vita e tecnica\, nascita e creazione.
\nIn questo contesto la nozione di forma si fa plastica\, dinamica: pensare il mondo significa pensare la vita delle forme\, il loro mutare\, svilupparsi\, interagire nei meravigliosi quanto misteriosi processi della natura\, come anche nelle idee degli artisti e degli artigiani. Le forme - naturali\, artificiali\, simboliche - hanno una storia: per questo esse vanno ricostruite\, interpretate\, mostrate nel contesto della loro genesi e del loro sviluppo. D'altra parte\, l'interpretazione stessa si vincola alle forme su cui si applica: le forme strutturano i nostri modi di intendere\, comprendere e agire\, offrendosi come nello stesso tempo come condizione e posta in gioco dell'interpretazione. Mettendo in relazione forma e interpretazione\, inoltre\, quest'ultima si emancipa dal terreno linguistico e testuale alla quale in genere è\; ricondotta\, aprendosi ad altri fondamentali ambiti della vita\, quali la dimensione dell'immagine\, della materia\, della natura e della tecnica.
\nIl mondo contemporaneo è\; un dilagare di forme che si sovrappongono\, si scontrano\, entrano in relazione e si trasformano: in questo contesto così\; caotico\, l'ermeneutica possiede gli strumenti per mostrare la pregnanza della dimensione formale\, e produrre un'analisi critica che riguarda non solo i discorsi\, ma anche gli oggetti\, le pratiche\, i saperi\, le configurazioni simboliche della nostra epoca.
\nL&rsquo\;edizione 2023/2024 del seminario internazionale del Centro Studi Filosofico-religiosi &ldquo\;Luigi Pareyson&rdquo\; sarà\; dedicato dunque al rapporto tra forma e interpretazione. Al centro del dibattito\, ovviamente\, verrà\; posta la nozione di &ldquo\;formatività\;&rdquo\;\, concetto centrale nel pensiero di Luigi Pareyson e dell&rsquo\;estetica del &lsquo\;900.
\nModalità\; di partecipazione
\nSono gradite proposte d&rsquo\;intervento relative ai seguenti temi (o altri correlati):
\n● \; \; \; \; \; Il problema della forma\, in termini storici o teoretici.
\n● \; \; \; \; \; Il rapporto tra estetica ed ermeneutica.
\n● \; \; \; \; \; Il tema della formatività\; in Luigi Pareyson e nella tradizione a lui legata.
\n● \; \; \; \; \; Il rapporto tra estetica e filosofia pratica.
\n● \; \; \; \; \; Il problema della forma in relazione ai media e alle tecnologie contemporanee.
\nPer le/i candidate/i selezionate/i saranno coperte le spese di viaggio e di alloggio.
\nLe candidature devono essere inviate via mail all'indirizzo pareyson@unito.it entro il 7 aprile 2024. Nella mail devono essere inseriti in forma di allegato:
\n● \; \; \; \; \; Un CV accademico.
\n● \; \; \; \; \; Un abstract (max. 500 parole) comprensivo di titolo.
\nSono accettati contributi in Italiano e in Inglese.
\n\n
Centro Studi Filosofico-religiosi &ldquo\;Luigi Pareyson&rdquo\;
\nAnnual Seminar - 2023/2024
\n \;
\n\nAesthetic and Hermeneutic Perspectives
\n\nUniversity of Turin\, 4-5 June 2024
\n\nThe problem of form has been central to the interests of philosophy since its origins. The notion of form developed from a series of oppositions - form and matter\, form and content\, form and substance - and intertwined its history with numerous other fundamental words in the philosophical lexicon: form is\, depending on the case\, "essence"\, "scheme"\, "category"\, "figure"\, and assumes the function of that which unifies the multiple\, of the universal background that constitutes the common ground for uniting particular elements\, but also of the permanent structure that survives the modifications of matter.
\n\nThere is a first notion of form\, and of formal\, developed in particular by Kant\, which indicates the dimension that precedes all experience and all particular content\, and is therefore properly universal\; it is only in this domain that mathematics\, with its claim to universal validity\, can take place. The formal universal also has a relational structure: it is born with an original taking of distance from experience in general\, and is realised from time to time in the concrete taking of distance that we realise. This taking of distance does not erase concreteness: it suspends it in its immediacy\, in its vital pressure\, and thus allows it to transpose itself onto this new plane in which it can coexist with others. Thus the formal universal both in its origin and in its realisation remains in relation to concreteness. Reflection on this universal dimension is made particularly opportune by the condition of cultural pluralism that characterises today's world.
\n\nAlready in ancient thought\, the concept of form has a complex and varied status. Form is not just an abstraction\, but is what animates the living\, what is at the very heart of everything. The form of the object is its destiny\, its end\, what gives it meaning and defines the conditions of its possibility\, its birth and its perishing.
\n\nBetween the 18th and 19th centuries\, modern thought - particularly German - took up this richness of the notion of form with great sensitivity\, at that crucial moment that marked the birth of aesthetics as we still understand it today\, and thus of the modern idea of art\, but also of the natural sciences such as biology\, botany\, zoology and anthropology. The notion of form becomes the notion that holds nature and culture\, life and technology\, birth and creation together.
\n\nIn this context\, the notion of form becomes plastic\, dynamic: thinking the world means thinking the life of forms\, their changing\, developing\, interacting in the marvellous and mysterious processes of nature\, as well as in the ideas of artists and craftsmen. Forms - natural\, artificial\, symbolic - have a history: that is why they must be reconstructed\, interpreted\, shown in the context of their genesis and development. On the other hand\, interpretation itself is bound to the forms on which it is applied: forms structure our ways of understanding\, comprehending and acting\, offering themselves as both the condition and the stake of interpretation. By linking form and interpretation\, moreover\, the latter emancipates itself from the linguistic and textual domain to which it is generally led\, opening up to other fundamental spheres of life\, such as the dimension of image\, matter\, nature and technology.
\n\nThe contemporary world is a deluge of forms that overlap\, collide\, relate and transform: in this chaotic context\, hermeneutics possesses the tools to show the poignancy of the formal dimension\, and to produce a critical analysis that concerns not only discourses\, but also the objects\, practices\, knowledge\, and symbolic configurations of our era.
\n\nThe 2023/2024 edition of the international seminar of the "Luigi Pareyson" Centre for Philosophical-Religious Studies will therefore be dedicated to the relationship between form and interpretation. At the centre of the debate\, of course\, will be the notion of "formativity"\, a central concept in the thought of Luigi Pareyson and 20th century aesthetics.
\n\nHow to participate
\n\nWe welcome proposals concerning the following themes (or other related ones):
\n\n● \; \; \; \; \; The problem of form\, in historical or theoretical terms.
\n● \; \; \; \; \; The relationship between aesthetics and hermeneutics.
\n● \; \; \; \; \; The theme of formativity in Luigi Pareyson and in the tradition linked to him.
\n● \; \; \; \; \; The relationship between aesthetics and practical philosophy.
\n● \; \; \; \; \; The problem of form in relation to contemporary media and technologies.
\n\nTravel and accommodation expenses will be covered for the candidates.
\n\nApplications must be sent by email to pareyson@unito.it by April 7th 2024. The email must include as an attachment:
\n\n● \; \; \; \; \; An academic CV.
\n● \; \; \; \; \; An abstract (max. 500 words) including title.
\n\nContributions in Italian and English are accepted.
\n ORGANIZER;CN=Alessandro De Cesaris;CN=Graziano Lingua;CN=Maurizio Pagano;CN=Alice Iacobone;CN=Paolo Furia: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Vienna:20240412T110000 DTEND;TZID=Europe/Vienna:20240412T170000 SUMMARY:Philosophies of Nostalgia UID:20240328T125508Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Vienna LOCATION:Universitätsstraße 7\, Vienna\, Austria\, 1010 DESCRIPTION:The conference\, &ldquo\;Philosophies of Nostalgia\,&rdquo\; poses the following research core question: What can philosophy tell us about nostalgia? \;While nostalgia has become a topical issue within both society and scientific research\, philosophy has tended to remain rather mute on the phenomena. \;The event proceeds from the hypothesis that philosophy can shed light on the structure and experience of nostalgia by asking questions such as: What\, if any\, are the invariant structures that define nostalgia? To what extent is nostalgia conceptually and experientially separable from homesickness? What role does nostalgia play in generating and impeding health and illness? And to what extent does the current model of nostalgia accurately shed light on the actual experience of nostalgia? \;
\nProgramme:
\n11:00: Welcome
\n11:15-12:00: Manu Sharma (University of Vienna)\, "Monolingual Slippages: The Coloniality of Hindu Right Wing Nostalgia."
\n12:00-12:45: Christina Schü\;es (Universitä\;t zu Lü\;beck)\, "Existential negation and (Dis-)placement. A Temporal-Phenomenological Perspective."
\nLunch break (90 min)
\n14:15-15:00: Giacomo Croci (Medizinische Hochschule Brandenburg )\, "Nostalgia as a Paradigm for Social Ontology."
\n15:00-15:45: Michela Summa (University of Wü\;rzburg)\, &ldquo\;Ambiguities of Nostalgia: In Praise of Imperfection.&rdquo\;
\nCoffee break
\n16:15-17:15: Tobias Becker (FU Berlin): "Yesterday: A New History of Nostalgia." [Book discussion\, Harvard 2023]
\n17:15: Conclusion \;
ORGANIZER;CN=Dylan Trigg;CN=Gleissner Leyla Sophie: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Paris:20240412T110000 DTEND;TZID=Europe/Paris:20240413T170000 SUMMARY:Aesthetics of Consciousness UID:20240328T125509Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Paris LOCATION:Rue Sainte-Croix de la Bretonnerie\, Paris\, France\, 75004 DESCRIPTION:There is no registration fee\, but the physical space is limited to 35 people\, so if you would like to attend\, please email theuriah@gmail.com. The program is this:
\nApril 12
11-12:30 Elisabeth Schellekens (Uppsala)\, &ldquo\;Experiencing Experience Aesthetically: On the Contemplation of Consciousness&rdquo\;
2-3:30 Takuya Niikawa (Kobe)\, &ldquo\;From Aesthetic Perception to Aesthetic Introspection&rdquo\;
3:30-5 Nick Young (Genoa)\, &ldquo\;The Aesthetic Appreciation of Experience&rdquo\;
5:30-7 Anna Giustina (Valencia)\, &ldquo\;Consciousness Aesthetics?&rdquo\;
April 13
9:30-11 Enrico Terrone (Genoa)\, "The Color Patch: How the Aesthetic Appreciation of Consciousness Contributes to the Aesthetic Appreciation of the Universe"
11-12:30 Daniel Shea (Austin)\, &ldquo\;Aesthetically Valuable Hallucinations&rdquo\;
2-3:30 Madeleine Levac (Berkeley)\, &ldquo\;Aesthetic Appreciation of Conscious States: Risk and Reward&rdquo\;
3:30-5 Robert Hopkins (NYU)\, &ldquo\;Susanne Langer's Aesthetics of Consciousness&rdquo\;
The next Film-Phil Lisbon Seminar (2023-2024) will be led by Lucy Bolton (Queen Mary University of London\, United Kingdom) who will talk about &ldquo\;The desecration of the beautiful star: death and the female biopic&rdquo\;. The session is hybrid and will be held on April 24 at 3 PM (Lisbon time)\, at Colé\;gio Almada Negreiros (room SE1) and online\, via Zoom. \;
\nABSTRACT
\nEdgar Allen Poe wrote that\, &ldquo\;The death of a beautiful woman is\, unquestionably\, the most poetical topic in the world&rdquo\; (1846). It is a notion that is borne out by the many biopics that focus on Marilyn Monroe\, who died at the age of 36 in circumstances that provoke conspiracy theories to this day. It is also the case that there is a perennial fascination with the ageing of stars and their attempts\, successful or otherwise\, to disguise ageing appearances. Marlene Dietrich refused to allow Maximillian Schell to film her at all for his biographical film about her\, confining him to audio recordings and thereby preserving her famed reclusiveness. In this paper\, I will argue that the death of a beautiful film star is indeed a draw for filmmakers\, but it is their suffering and decline that is the preferred attraction. From Frances to Blonde\, Joan of Arc to Seberg\, the desire to supposedly reveal the true suffering behind the feminine faç\;ade drives most star biopics about women. The result of this tendency is to skew phenomenological encounters with the star character towards tragedy and trauma\, rather than success\, celebration\, or simply daily life. Using the performance phenomenology of Sobchack\, and the celebrity studies of Jermyn &\; Homes\, I will propose a framework for understanding the salacious appeal of women&rsquo\;s death and destruction in the star biopic.
\nLucy Bolton is Professor of Film Philosophy at Queen Mary University of London\, where she teaches and researches film and philosophy and film stardom. She has published widely in these fields and is currently working on a monograph titled \;Philosophies of Film Stardom: Ethics\, Aesthetics\, Phenomenologies \;for Edinburgh University Press. She is co-editor of \;Lasting Screen Stars: Images that Fade and Personas that Endure\, author of \;Contemporary Cinema and the Philosophy of Iris Murdoch\, and of \;Film and Female Consciousness: Irigaray\, Cinema\, and Thinking Women. She co-edits the book series \;Visionaries: the Work of Women Filmmakers\, with EUP.
\nFunded by the European Union (ERC\, FILM AND DEATH\, 101088956). Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Research Council Executive Agency. Neither the European Union nor the granting authority can be held responsible for them.
ORGANIZER;CN=Susana Viegas: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/London:20240426T090000 DTEND;TZID=Europe/London:20240426T170000 SUMMARY:Wild Play UID:20240328T125512Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London LOCATION:Nottingham\, United Kingdom\, NG7 2RD DESCRIPTION:Many games\, sports\, and leisure activities take place in artificially constructed and safely controlled environments. However\, it is not hard to find aspirations for liberation from the monotony of our domesticated existences\, expressed in desires for &lsquo\;wilder&rsquo\; leisure. From children&rsquo\;s activities promoted as wholesome muddy antidotes to screen time\, to urban axe-throwing experiences marketed at pseudo-deviant stag night parties\, sometimes we yearn to escape into what Jack Halberstam calls &ldquo\;unbounded and unpredictable spaces&rdquo\; that we believe (rightly or not) offer sources of opposition to &ldquo\;modernity's orderly impulses&rdquo\;. (2020) \;
\nMain Speakers: \;
\nProfessor Quill R Kukla\, Kennedy Institute of Ethics at Georgetown University\, "Power Play\, Play Spaces\, and the Edges of Sexual Consent" \;
\nKarl Egerton\, University of Nottingham\, &ldquo\;The riddle of the forager&rdquo\; \;
\nSasha Garwood\, University of Nottingham\, &ldquo\;From athletocracy to wild swimming: love\, sexuality\, and Edwardian masculinity&rsquo\;?&rdquo\; \;
\nActivities as diverse as climbing rugged mountains\, exploring broken-down buildings\, and building fantastical dens in woodlands may all be conceived of as different examples of wild play but what does it mean to be wild?
\nThe workshop\, hosted by the PoP! Network\, will be primarily in person\, but there may be limited options to attend online if there is a particular need.
\n \;
If you have any questions please feel free to email us at PoP@nottingham.ac.uk \;  \;
&ensp\;&ensp\;Call for Abstracts: Thinking with Tea &ndash\; Cross-cultural Reflections
\n \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; 02-03 September 2024 \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;
\n \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; University of Jyvaskyla\, Jyvaskyla\, Finland
\nTea has played a significant role in fostering cultural exchange between different regions and traditions throughout history. While tea has taken root in various forms in many cultures\, mos are likely to associate the practice with China\, its progenitor\, or Japan\, its cultivator. Yet\, tea has a strong global presence and has flourished within Great Britain\, the Americas\, parts of Africa\, Turkey and in Russia to name a few. \;
\nOur conference\, \;Thinking with Tea &ndash\; Cross-cultural Reflections \;aims to explore these myriad forms tea has taken where it has flourished. Specifically\, as our title suggests\, the conference&rsquo\;s goal is to \;think with \;tea: In which ways has tea inspired thinking and how can these ways of thinking inform philosophy in the present? Further\, \;we invite interrogation of the limits of philosophical thinking from the point of view of tea as a corporeal practice that operates beyond/before/between thought and its propositional analysis and forms of truth. The aim of the conference is thus twofold: To explore philosophical thought in relation to tea from the historical perspective\, and to investigate how ways of thinking with tea can be put into practice within philosophy. \;
\nThe conference \;Thinking with Tea \;encourages scholars to think geographically in broad terms about and with tea. As such\, scholars are encouraged to draw from their own cultural and philosophical backgrounds to create novel philosophical approaches to thinking with tea.
\nThe submissions may concern\, without being limited to\, the following themes:
\nTea culture\, history of tea\, and the philosophy of tea in the various regions where it has taken root.
\nNovel and creative applications of tea practice into/as philosophical thinking.
\nPhilosophical reflections on the meaning of tea in everyday life.
\nEthical\, aesthetic\, existential or phenomenological analysis and/or critique of tea practice \;
\nThe role of women\, feminist analysis and gender narratives in tea cultures \;
\nInter-cultural dialogue between tea practice and/or tea philosophy.
\nCritical interrogation into tea practice and issues of gender\, race\, class and colonialism. \; \;
\nPhilosophic
\nal interpretations of major figures/masters\, aesthetic or practice innovators in tea history. \; \;
\nExploration into actual or possible innovations in contemporary tea practice and their philosophical implications. \; \;
\nDepiction of the tea ceremony in art\, cinema\, literature\, and contemporary media
\nSubmission guidelines
\n-  \; Deadline for abstracts: April 30th\, 2024
\n-  \; Notification of acceptance by email: May 15th\, 2024
\n-  \; Length of abstract: 250&mdash\;500 words
\n-  \; Language of the conference: English
\n-  \; Keywords: Please include 5 to 10 keywords with your abstract
\nSubmit to: anttoni.e.a.kuusela@jyu.fi
\nIf interested in attending the conference but not presenting\, please contact the above email address for registration.
ORGANIZER;CN=Anttoni E.A Kuusela: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Rome:20240515T070000 DTEND;TZID=Europe/Rome:20240515T070000 SUMMARY:Enhancing Artistic Experience in Hybrid Environments UID:20240328T125514Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Rome LOCATION:La Spezia\, Italy DESCRIPTION:International Conference
\nEnhancing Artistic Experience in Hybrid Environments
\nsponsored by the EU research project:
\nThe &ldquo\;Communities and Artistic Participation in Hybrid Environments&rdquo\; Project (CAPHE)
\nHORIZON-MSCA-2021-SE-01
\n15 &ndash\; 17 May 2024
\nConservatorio Puccini La Spezia\, Italy
\n[possible participation: live and online]
\nExploring Multifaceted Dimensions
\nArt has been perpetually mirroring our evolving society from its very dawn\, and today\, the engagement of art with technology\, community\, and engineering provides an unprecedented opportunity to analyze the technologized society through the lens of art. As we navigate the realms of virtual and augmented reality\, we witness a transformative landscape challenging traditional artistic forms\, stimulating new forms of artistic creation and reception triggered by hybrid technologies &ndash\; both VR and AR &ndash\; and inviting ethical considerations into our creative practices. The CAPHE Project is committed to exploring these uncharted territories\, seeking contributions that delve into the convergence of artistic expression and technology in the context of hybrid environments.
\nUsing the term &ldquo\;artistic experience&rdquo\; we refer to experiences that appear to be concerning the art\, either from the side of the creative process or from the side of &ndash\; also creative &ndash\; reception of art. Hybrid environments are understood as environments formed in different proportions from the online\, digital\, and physical layers of reality. The international conference will be structured into two parts each day\, with formal lectures in the morning and poster presentations and performances in the afternoon.
\n1. The formal lectures will explore various aspects of enhancing artistic experiences within hybrid environments\, covering topics such as artistic expression in virtual and augmented reality\, community involvement\, innovations in online artistic experiences\, including art-based research\, advancement in technologies\, and the aesthetic experience in such hybrid environments.
\n2. The afternoon sessions\, featuring poster presentations and performances\, will dynamically showcase projects related to creating inclusive\, hybrid\, and transformable spaces of social-artistic experiences via electronic media. These presentations will particularly focus on experiences using platforms like Spatial and delve into social-artistic experiments\, with special attention to performing arts\, gender issues\, and the inclusion of marginalized social groups. The aim is to bridge the gap between theory and practice\, offering a rich exploration of practical applications\, artistic creations\, and technological innovations in the realm of hybrid environments.
\nFormal Lectures
\nThe range of topics for the formal lectures includes\, but is not limited to\, the following questions:
\n1. Artistic Expression in Virtual and Augmented Reality
We encourage presentations unraveling the unique possibilities offered by virtual and augmented reality across various artistic disciplines\, including music\, visual arts\, and performative arts:
❖ Exploration of innovative artistic processes within virtual and augmented reality.
\n❖ Impact of virtual and augmented reality on traditional artistic forms and techniques.
\n❖ The role of spatial and immersive technologies in enhancing artistic expression.
\n❖ Challenges and opportunities in creating art within virtual and augmented environments.
\n❖ Collaborative and interdisciplinary approaches in virtual and augmented reality art.
\n2. Community Involvement and Participation in Hybrid Artistic Environments
Art is a collective experience\, and the hybrid environment offers a canvas for new forms of community engagement:
❖ Examination of community-driven artistic initiatives in hybrid environments.
\n❖ Inclusivity and diversity in collaborative art projects within hybrid spaces.
\n❖ Case studies on successful community engagement through hybrid artistic experiences.
\n❖ The impact of hybrid environments on democratizing access to artistic participation.
\n❖ Ethical considerations in community-centered artistic endeavors within hybrid spaces.
\n❖ The hybrid art market: digitalization of assets and currencies\, immersiveness of art auctions\, and de-materialisation of value
\n3. Innovations in Online Artistic Experiences
\nThe digital landscape has redefined how we live and consume art. Presentations in this category
\ncould explore innovations in online artistic experiences and the impact of these innovations on
\ntraditional artistic forms:
\n❖ Analysis of emerging trends in online artistic experiences and exhibitions.
\n❖ Virtual galleries and their influence on the perception of art.
\n❖ The fusion of traditional and digital artistic mediums in online spaces.
\n❖ Accessibility and audience engagement in online artistic platforms.
\n❖ Environmental considerations in the digital display of artistic creations.
\n4. Advanced Technologies and Creative Intersections
\nThis section is dedicated to exploring the creative intersections between advanced technology\, and
\nvirtual and augmented reality\, without limiting to specific categories. We invite contributions that
\nexplore technological innovation as a means to enhance the artistic experience:
\n❖ Integration of artificial intelligence in artistic creation and interpretation.
\n❖ Robotic and AI-driven art installations: Challenges and possibilities.
\n❖ The intersection of augmented reality with robotics in immersive art experiences.
\n❖ Legal and ethical implications of advanced technologies in the creation and appreciation of art.
\n❖ Collaborative projects between artists and technologists in pushing creative boundaries.
\n5. Philosophical and aesthetic implications of artistic production realized in hybrid environments
\n❖ Hybrid environments as a challenge for contemporary philosophy of art and aesthetics
\n❖ Transformation of aesthetic experience in AR and virtual spaces: immersive experience and
\ncontemporary concepts (engaged aesthetics\, somaesthetics\, etc.)
\n❖ Sensorial imaginings in hybrid environments
\n❖ The ontological status of the artwork in hybrid spaces
\n❖ Taste\, aesthetic judgment\, and art criticism in the hybrid art world
\nThese areas are not exhaustive\, and contributors are encouraged to explore innovative and \; interdisciplinary approaches within the broader themes of each section. The goal is to stimulate diverse perspectives and foster a rich dialogue on the enhancement of artistic experiences in a hybrid environment. \;
\nPoster Presentations and Performances
\nThe range of topics for the poster and practical presentations includes\, but is not limited to\, the following questions:
\na. Creation of an inclusive\, hybrid\, transformable space of social-artistic experience via electronic media\, including the Spatial platform \;
\nPosters can explore projects that shape inclusive and transformable artistic spaces through the use of electronic media\, with a particular focus on experiences on platforms like Spatial. Performances can showcase practical and interactive experiences embodying this concept\, highlighting the social and artistic dimension of creating hybrid spaces.
\nb. Performing and researching social-artistic experiments\, mediated with the use of electronic media in online and augmented reality technologies\, and with special regard to performing arts\, gender issues\, and excluded social groups:
\nPosters can delve into research and projects involving social-artistic experiments\, with a specific focus onperforming arts\, gender issues\, and the inclusion of marginalized social groups. Performances should provide tangible examples of these experiences\, showcasing how the use of electronic media in hybrid contexts\, including the Spatial platform\, can enrich and transform social-artistic interactions.
\nAccepted formats
\n1. Presentations in the format of formal lectures must be at most 20 minutes\, leaving 10 minutes for a Q&\;A session. Contributors who will not be able to attend the Conference in person are welcome. Online presentations will be facilitated.
\n2. Posters will be displayed in the common gallery and each presenter will be given up to 15 minutes in which to supplement the contents with additional explanations.
\n3. Performances will be assigned 30-minute slots for action and interaction with the presenter.
\nSubmission and Participation Deadlines
\nFor formal lectures: Extended abstracts (up to 400 words)
\nFor posters: Short abstracts (up to 300 characters)
\nFor performances: Summaries (up to 300 characters)\, including any technical and space requirements.
\nSubmissions should be sent by 15 February 2024\, to the following address: cfp@caphe.space
\nAccepted presenters may choose to participate either in person at the Conservatorio Puccini La Spezia or virtually online.
\nImportant Dates
\n● Submission Deadline: 15 February 2024
\n● Notification of Acceptance: 15 March 2024
\n● International Conference: 15\, 16\, 17 May 2024
\nWe eagerly anticipate your valuable contributions\, fostering a dialogue on the convergence of artistic experience and technology in our ever-evolving hybrid environment. Sincerely\, \;
\nCP International Conference Organizers
\n ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Rome:20240515T090000 DTEND;TZID=Europe/Rome:20240517T170000 SUMMARY:Enhancing Artistic Experience in Hybrid Environments UID:20240328T125515Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Rome LOCATION:La Spezia\, Italy DESCRIPTION:International Conference
\nEnhancing Artistic Experience in Hybrid Environments
\nsponsored by the EU research project:
\nThe &ldquo\;Communities and Artistic Participation in Hybrid Environments&rdquo\; Project (CAPHE)
\nHORIZON-MSCA-2021-SE-01
\n15 &ndash\; 17 May 2024
\nConservatorio Puccini La Spezia\, Italy
\n[possible participation: live and online]
\nExploring Multifaceted Dimensions
\nArt has been perpetually mirroring our evolving society from its very dawn\, and today\, the engagement of art with technology\, community\, and engineering provides an unprecedented opportunity to analyze the technologized society through the lens of art. As we navigate the realms of virtual and augmented reality\, we witness a transformative landscape challenging traditional artistic forms\, stimulating new forms of artistic creation and reception triggered by hybrid technologies &ndash\; both VR and AR &ndash\; and inviting ethical considerations into our creative practices. The CAPHE Project is committed to exploring these uncharted territories\, seeking contributions that delve into the convergence of artistic expression and technology in the context of hybrid environments.
\nUsing the term &ldquo\;artistic experience&rdquo\; we refer to experiences that appear to be concerning the art\, either from the side of the creative process or from the side of &ndash\; also creative &ndash\; reception of art. Hybrid environments are understood as environments formed in different proportions from the online\, digital\, and physical layers of reality. The international conference will be structured into two parts each day\, with formal lectures in the morning and poster presentations and performances in the afternoon.
\n1. The formal lectures will explore various aspects of enhancing artistic experiences within hybrid environments\, covering topics such as artistic expression in virtual and augmented reality\, community involvement\, innovations in online artistic experiences\, including art-based research\, advancement in technologies\, and the aesthetic experience in such hybrid environments.
\n2. The afternoon sessions\, featuring poster presentations and performances\, will dynamically showcase projects related to creating inclusive\, hybrid\, and transformable spaces of social-artistic experiences via electronic media. These presentations will particularly focus on experiences using platforms like Spatial and delve into social-artistic experiments\, with special attention to performing arts\, gender issues\, and the inclusion of marginalized social groups. The aim is to bridge the gap between theory and practice\, offering a rich exploration of practical applications\, artistic creations\, and technological innovations in the realm of hybrid environments.
\nFormal Lectures
\nThe range of topics for the formal lectures includes\, but is not limited to\, the following questions:
\n1. Artistic Expression in Virtual and Augmented Reality
We encourage presentations unraveling the unique possibilities offered by virtual and augmented reality across various artistic disciplines\, including music\, visual arts\, and performative arts:
❖ Exploration of innovative artistic processes within virtual and augmented reality.
\n❖ Impact of virtual and augmented reality on traditional artistic forms and techniques.
\n❖ The role of spatial and immersive technologies in enhancing artistic expression.
\n❖ Challenges and opportunities in creating art within virtual and augmented environments.
\n❖ Collaborative and interdisciplinary approaches in virtual and augmented reality art.
\n2. Community Involvement and Participation in Hybrid Artistic Environments
Art is a collective experience\, and the hybrid environment offers a canvas for new forms of community engagement:
❖ Examination of community-driven artistic initiatives in hybrid environments.
\n❖ Inclusivity and diversity in collaborative art projects within hybrid spaces.
\n❖ Case studies on successful community engagement through hybrid artistic experiences.
\n❖ The impact of hybrid environments on democratizing access to artistic participation.
\n❖ Ethical considerations in community-centered artistic endeavors within hybrid spaces.
\n❖ The hybrid art market: digitalization of assets and currencies\, immersiveness of art auctions\, and de-materialisation of value
\n3. Innovations in Online Artistic Experiences
\nThe digital landscape has redefined how we live and consume art. Presentations in this category
\ncould explore innovations in online artistic experiences and the impact of these innovations on
\ntraditional artistic forms:
\n❖ Analysis of emerging trends in online artistic experiences and exhibitions.
\n❖ Virtual galleries and their influence on the perception of art.
\n❖ The fusion of traditional and digital artistic mediums in online spaces.
\n❖ Accessibility and audience engagement in online artistic platforms.
\n❖ Environmental considerations in the digital display of artistic creations.
\n4. Advanced Technologies and Creative Intersections
\nThis section is dedicated to exploring the creative intersections between advanced technology\, and
\nvirtual and augmented reality\, without limiting to specific categories. We invite contributions that
\nexplore technological innovation as a means to enhance the artistic experience:
\n❖ Integration of artificial intelligence in artistic creation and interpretation.
\n❖ Robotic and AI-driven art installations: Challenges and possibilities.
\n❖ The intersection of augmented reality with robotics in immersive art experiences.
\n❖ Legal and ethical implications of advanced technologies in the creation and appreciation of art.
\n❖ Collaborative projects between artists and technologists in pushing creative boundaries.
\n5. Philosophical and aesthetic implications of artistic production realized in hybrid environments
\n❖ Hybrid environments as a challenge for contemporary philosophy of art and aesthetics
\n❖ Transformation of aesthetic experience in AR and virtual spaces: immersive experience and
\ncontemporary concepts (engaged aesthetics\, somaesthetics\, etc.)
\n❖ Sensorial imaginings in hybrid environments
\n❖ The ontological status of the artwork in hybrid spaces
\n❖ Taste\, aesthetic judgment\, and art criticism in the hybrid art world
\nThese areas are not exhaustive\, and contributors are encouraged to explore innovative and \; interdisciplinary approaches within the broader themes of each section. The goal is to stimulate diverse perspectives and foster a rich dialogue on the enhancement of artistic experiences in a hybrid environment. \;
\nPoster Presentations and Performances
\nThe range of topics for the poster and practical presentations includes\, but is not limited to\, the following questions:
\na. Creation of an inclusive\, hybrid\, transformable space of social-artistic experience via electronic media\, including the Spatial platform \;
\nPosters can explore projects that shape inclusive and transformable artistic spaces through the use of electronic media\, with a particular focus on experiences on platforms like Spatial. Performances can showcase practical and interactive experiences embodying this concept\, highlighting the social and artistic dimension of creating hybrid spaces.
\nb. Performing and researching social-artistic experiments\, mediated with the use of electronic media in online and augmented reality technologies\, and with special regard to performing arts\, gender issues\, and excluded social groups:
\nPosters can delve into research and projects involving social-artistic experiments\, with a specific focus onperforming arts\, gender issues\, and the inclusion of marginalized social groups. Performances should provide tangible examples of these experiences\, showcasing how the use of electronic media in hybrid contexts\, including the Spatial platform\, can enrich and transform social-artistic interactions.
\nAccepted formats
\n1. Presentations in the format of formal lectures must be at most 20 minutes\, leaving 10 minutes for a Q&\;A session. Contributors who will not be able to attend the Conference in person are welcome. Online presentations will be facilitated.
\n2. Posters will be displayed in the common gallery and each presenter will be given up to 15 minutes in which to supplement the contents with additional explanations.
\n3. Performances will be assigned 30-minute slots for action and interaction with the presenter.
\nSubmission and Participation Deadlines
\nFor formal lectures: Extended abstracts (up to 400 words)
\nFor posters: Short abstracts (up to 300 characters)
\nFor performances: Summaries (up to 300 characters)\, including any technical and space requirements.
\nSubmissions should be sent by 15 February 2024\, to the following address: cfp@caphe.space
\nAccepted presenters may choose to participate either in person at the Conservatorio Puccini La Spezia or virtually online.
\nImportant Dates
\n● Submission Deadline: 15 February 2024
\n● Notification of Acceptance: 15 March 2024
\n● International Conference: 15\, 16\, 17 May 2024
\nWe eagerly anticipate your valuable contributions\, fostering a dialogue on the convergence of artistic experience and technology in our ever-evolving hybrid environment. Sincerely\, \;
\n\nCP International Conference Organizers
\nMay's Film-Phil Lisbon Seminar (2023-2024) will be led by Bernd Herzogenrath (Goethe University of Frankfurt\, Germany) who will talk about &ldquo\;The Way of All Flesh: Decasia and Death of|as Film&rdquo\;. The session will be held on May 15\, 2024\, at 15:00 PM (Lisbon time) Room CAN SE1 and Online.
\nABSTRACT Bill Morrison&rsquo\;s 'Decasia' has death and decay already in its title. This talk focuses on the nexus of film\, death\, and materiality. Film is by default seen as a representation of time and its passing &ndash\; 'Decasia' goes a decisive step further by focusing on the temporality of|in the filmic material. The medium 'film' seems most fitting to test such an of Material Culture and Media Studies\, since film has entertained a most complex relation to time and death from its early beginnings onward: film promised to [re]present temporal dynamics &ndash\; and the temporality of things &ndash\; directly\, unmediated\, a paradox that gives rise to the different &lsquo\;strategies&rsquo\; of what Deleuze calls the movement-image and the time-image respectively. Such a representation\, however\, is not only an effect of a perceptive illusion\, but also of the repression of the very materiality of film itself. If such an interest in the possibilities of the celluloid had already driven much of the 60s avant-garde [Brakhage\, Jacobs\, etc.]\, 'Decasia' in addition does not only focus on film&rsquo\;s &lsquo\;thingness\,&rsquo\; but also its own\, particular &lsquo\;mortality&rsquo\;. Put together from found footage and archive material in various states of &lsquo\;dying\,&rsquo\; this film reveals the &lsquo\;collaboration&rsquo\; of decay and matter as in itself &lsquo\;creative\,&rsquo\; and ultimately produces a category that I will call the matter-image and that\, he argues\, neither Deleuze&rsquo\;s movement-image\, nor his time-image completely grasp: here\, time\, death and matter produce their own filmic image.
\nBIO Bernd Herzogenrath is Professor of American literature and culture at Goethe University of Frankfurt am Main\, Germany. He is the author of \;'An Art of Desire: Reading Paul Auster' \;(1999) and \;'An American Body|Politic: A Deleuzian Approach' \;(2010) and editor of \;'The Farthest Place: The Music of John Luther Adams' \;(2012) and \;'Deleuze|Guattari &\; Ecology' \;(2009). His latest publications include the collections \;'The Films of Bill Morrison. Aesthetics of the Archive' \;(2017)\, \;'Film as Philosophy' \;(2017)\, and \;'Practical Aesthetics' \;(Bloomsbury\, 2020).
\nFunded by the European Union (ERC\, FILM AND DEATH\, 101088956). Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Research Council Executive Agency. Neither the European Union nor the granting authority can be held responsible for them.
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Sofia:20240515T230000 DTEND;TZID=Europe/Sofia:20240515T230000 SUMMARY:Varieties of Representations UID:20240328T125517Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Sofia LOCATION:1504 Sofia\, 15 Tsar Osvoboditel Blvd.\, Sofia\, Bulgaria DESCRIPTION:The Bulgarian Society for Analytic Philosophy together with the Philosophy Department at Sofia University and the Institute for Philosophy and Sociology at Bulgarian Academy of Sciences are pleased to announce a forthcoming conference under the title \;&ldquo\;Varieties of Representations&rdquo\;. The conference will take place on September13-15\, 2024 at Sofia University\, Bulgaria.
\nKeynote Speakers:
\nEdouard Machery (University of Pittsburgh\, USA)
\nBence Nanay (University of Antwerp\, Belgium)
\nOlivia Sultanescu \;(University of Concordia\, Canada)
\nMihailo Antovic (University of Ni&scaron\;\, Serbia)
\nSubmission Guidelines
\nThe conference aims at creating a vision of how novel theories in philosophy\, cognitive science\, linguistics and neurobiology influence our understanding of the concept of representation. We invite abstract submissions addressing any aspect of the topic with special emphasis on reconsideration of representations in light of recent ideas in philosophy and cognitive science.
\nThe submitted abstracts should be between 300 and 500 words. All submissions are to be prepared for a double-blind review. Please submit your abstract with a short biographical note attached in a separate document. All submissions should be suitable for presentation of approximately 20 minutes in length. After each presentation\, speakers will have 10 minutes for Q&\;A. \;Please note that selected papers of the conference will be published in a thematic issue of Balkan Journal of Philosophy\, in 2025.
\nThe deadline for submissions is May 15th\, 2024. Notification of acceptance will be sent until mid-June.
\nPlease submit your proposal at: \;bsap.bg@gmail.com
\nRegistration Deadline: August15th\, 2024
\n \;
\nPlease direct any questions regarding the submission process to Madelaine Angelova-Elchinova at: \;m.angelova-elchinova@phls.uni-sofia.bg
\nThis is an in-person only event.
\nParticipation fee: 15 Euro
ORGANIZER;CN=Madelaine Angelova-Elchinova;CN=Marina Bakalova;CN=Rosen Lutskanov: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/London:20240515T230000 DTEND;TZID=Europe/London:20240515T230000 SUMMARY:Borders and Frontiers in Philosophy and Film: ISPiF annual meeting UID:20240328T125518Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London LOCATION:London\, United Kingdom DESCRIPTION:Theme: Frontiers and Borders in Philosophy and Film
\nAbstract Deadline: May 1\, 2024
\nSubmission Guidelines and Instructions:
\nExtended abstracts should be 500-750 words\, with standard font and margins.
\nDeadline: The deadline for receipt of abstracts is \;May 1\, 2024. Any submission received after midnight Pacific time on this date will not be considered. Notification of acceptance will be provided mid-May.
\nIf accepted\, final papers\, no longer than 15 pages\, double spaced\, must be provided by July 15th in order to be distributed to all participants in advance of the symposium. This is crucial to the format and success of the symposium\, where authors will be provided only 10-12 minutes to summarize\, emphasize\, or further develop the contents of the full essay. This condensed presentation time\, combined with all participants reading each accepted paper and viewing relevant films in advance\, is intended to allow substantial time for questions and discussion following each presentation.
\nPlease send all submissions as either a Word or PDF attachment to: \;ispifconference@gmail.com
\nISPiF invites abstracts that address these (and other) questions concerning borders and frontiers in the philosophy of film:
\n&ldquo\;Border&rdquo\; Identities: To be and not to be\; ambiguous personal identities\; ambiguous belonging\; the border of life and death\; non-binary beings and modes of existence
\nLiminal Spaces: \;Borderlands\; spaces between\; existence on the margins\; indefinite\, emerging and dissolving borders
\nThe Human and the Other-than-Human: Human/animal relations\; human/AI relations\; defining/upsetting the limits of the human
\nInside-Out: \;Breaking down the walls that separate us\; incarceration
\nTransgression of boundaries: \;Rebellion\; revolution\; escape from confinement\; resistance
\nImmigration and Migration: \;Challenges to citizenship\; journeys to new lands\; hope\, despair and the promised land\; visions of the homeland
\nThe Frontier Myth: \;The Western\, American expansionism\, the &lsquo\;final frontier&rsquo\; and science fiction\; shifting landscapes of the frontier\; the gunslinger and individualism
\nNew Frontiers: \;New developments in technology\; the emergence of artificial intelligence\; imagining new futures and landscapes\; space exploration
\nColonization and Colonialism: \;Portraits of Indigeneity\; settler myths\; constructions of otherness\; American founding myths
\nClosing of the Frontier: \;The &lsquo\;anti-Western&rsquo\; Western\; the inescapable city\; unimaginable futures\; apocalyptic nightmares
\nGeographical Borders: \;The War film and national identity\; gangster films and portraits of immigration\; cosmopolitanism
\nViolence and Borders: \;Tribalism\; Patriotism\; xenophobia\;
\nTemporal Boundaries: \;Relations between past\, present and future\; experiences of temporality
ORGANIZER;CN=Alain Beauclair: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Athens:20240522T090000 DTEND;TZID=Europe/Athens:20240523T170000 SUMMARY:Workshop on Stones and Lives: The Ethics of Protecting Heritage in War UID:20240328T125519Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Athens LOCATION:Athens\, Greece DESCRIPTION:The destruction of heritage in war has attracted considerable attention in recent years. In response\, heritage organisations urge the development and better implementation of international laws on heritage protection. In their new book\, \;Stones and Lives: The Ethics of Protecting Heritage in War \;(OUP\, 2024)\, Helen Frowe and Derek Matravers argue that any such laws or policies will require combatants to choose between safeguarding heritage and safeguarding other goods\, including human life. It thus rejects the view\, common among heritage professionals\, that the apparent choice between protecting heritage and protecting lives presents a false dichotomy. Drawing on contemporary work on the ethics of war\, Frowe and Matravers develop an account of the permissible protection of heritage in war. Amongst other things\, they consider the different ways in which heritage might contribute to individual flourishing\, the role of consent in justifying the imposition of risk on combatants and civilians\, the permissibility of forcefully defending heritage and what\, if anything\, could compensate for the loss of heritage in war. The result is a novel\, restrictive account that challenges the current trend of calling for the greater protection of heritage in war. This interdisciplinary workshop will bring together philosophers and researchers in cognate disciplines to discuss the themes and claims of the book.
\n \;
\nSpeakers
\nHelen Frowe \;(Philosophy\, Stockholm University) \;Derek Matravers \;(Philosophy\, Open University) \;Ruth Young \;(Archaeology\, University of Leicester) \;Cé\;cile Fabre \;(Philosophy\, Oxford University) \;Ammar Azzouz \;(Geography and the Environment\, Oxford University) \;Shuk Ying Chan \;(Political Science\, University College\, London) \;Roger O&rsquo\;Keefe \;(Law\, University of Boccini) \;Andreas Carlsson \;(Philosophy\, Inland Norwegian University) \;Gerald Lang \;(Philosophy\, Leeds University) \;Paul Newson \;(History and Archaeology\, American University of Beirut) \;Daniel Schwartz \;(Political Science\, Hebrew University of Jerusalem) \;David Garrard \;(Built Environment\, Oxford Brookes).
\nThe workshop is open to all and free to attend. However numbers are limited\, so participants must register in advance via \;SCEWP&rsquo\;s \;website not later than the \;7th \;of May. The workshop papers will engage directly with the book\, which will be made available to all registered participants. All enquiries to \;helen.frowe@philosophy.su.se \;. \;
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123133Z DTSTART;TZID=Europe/Helsinki:20240523T100000 DTEND;TZID=Europe/Helsinki:20240524T170000 SUMMARY:The “Other Side” of Scaffolding and Niche Construction UID:20240328T125520Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Helsinki LOCATION:Seminaarinmäki\, Lyhty\, Jyväskylä\, Finland DESCRIPTION:The &ldquo\;Other Side&rdquo\; of Scaffolding and Niche Construction
\n \;Inn current philosophy of mind\, scaffolding and niche construction theories explain how we engineer and interact with our environments to influence our thinking\, feeling\, and behavior. This discussion has typically focused on the ways in which external resources are intentionally used for individual or collective benefit &ndash\; for example\, when one navigates with the help of Google Maps or when urban design provides city inhabitants with equal access to public goods. To counterbalance this positive view\, researchers have recently begun to investigate how environmental resources can likewise be engineered and employed to undermine\, subvert\, or take advantage of people (see\, e.g.\, Slaby\, 2016\; Coninx &\; Stephan\, 2021\; Carvalho &\; Krueger\, 2023\; Timms &\; Spurrett\, 2023). Such \;hostile \;or \;negative \;scaffolding may be found\, for instance\, in social media use that ostensibly promotes feelings of belonging but is simultaneously utilized by its owners to exploit the platform&rsquo\;s users. Another promising strand of research in this area examines the significance of the \;unconscious \;mind (see\, e.g.\, Saarinen\, 2024\; Taipale &\; Saarinen\, forthcoming). Indeed\, if we grant that both unconscious contents (like fantasies\, wishes\, and amorphous experiential elements) and unconscious operations \;(like repression\, splitting\, and other defenses) can play a crucial role in our scaffolding and niche construction activities\, the overall picture becomes much more complicated than previously assumed.  \;
\nThe workshop focuses on these and other underexamined aspects of scaffolding and niche construction phenomena: \;on their &ldquo\;other side&rdquo\;\, as it were. The aim is to diversify and enrich our understanding of the various factors that shape how we &ndash\; as embodied and environmentally situated beings &ndash\; come to think\, feel\, and behave as we do. The event is open to everyone but is in-person only\; no registration is required. For more information\, please contact Jussi Saarinen: \;jussi.a.saarinen@jyu.fi.  \;
\n \;Program
\nThursday\, May 23  \;
\n10.15&ndash\;10.30 \; \;Opening words (Jussi Saarinen &\; Joona Taipale)  \;
\n10.30&ndash\;11.30 \; \;Achim Stephan (Osnabrü\;ck University): \;Complexities of Mind Invasion
\n11.30&ndash\;12.30 \; \;Sabrina Coninx (Vrije Universiteit Amsterdam): \;Narrative Niches and the Construction of Suffering  \;
\n12.30&ndash\;14 \; \; \; \; \; \; \;Lunch  \;
\n14&ndash\;15 \; \; \; \; \; \; \; \; \; \; \; \;Joel Krueger (University of Exeter): \;Affective Scaffolding and Affective Injustice  \;
\n15&ndash\;16 \; \; \; \; \; \; \; \; \; \; \; \;Giulia Piredda (&\; Jacopo Pallagrosi) (IUSS Pavia):Affectivity on Four Legs: Dogs as Affective Scaffolds  \;
\n16&ndash\;16.30 \; \; \; \; \; \; Tea and coffee  \;
\n16.30&ndash\;17.30 \; \;Ida Rinne (University of Jyvä\;skylä\;): \;Affective \;Niche Construction and Children&rsquo\;s Agency in Childhood Communities  \;  \;
\nFriday\, May 24  \;
\n10.30&ndash\;11.30 \; \;Michael Wheeler (University of Stirling): \;Designing for Disruption: Smart Scaffolding\, Intrusive Spaces and Art that makes you Think  \;
\n11.30&ndash\;12.30 \; \;John Sutton (University of Stirling): \;Place and Memory: Disruptions and Constructions  \;
\n12.30&ndash\;14 \; \; \; \; \; \; \;Lunch  \;
\n14&ndash\;15 \; \; \; \; \; \; \; \; \; \; \; \;Tom Roberts (University of Exeter): \;Negative Aesthetic Niche Construction  \;
\n15&ndash\;15.30 \; \; \; \; \; \; \;Tea and coffee  \;
\n15.30&ndash\;16.30 \; \;Jussi Saarinen &\; Joona Taipale (University of Jyvä\;skylä\;): \;Scaffolding in the Dark: On the Unconscious Dimensions of Affect Regulation  \;
\n16.30&ndash\;16.45 \; \;Closing words  \;  \;
\nThe workshop is co-organized by Jussi Saarinen and Joona Taipale\, and funded by \;the \;Academy of Finland \;projects &ldquo\;Asymmetric Encounters: Intersubjectivity and the Sense of Boundaries&rdquo\; and &ldquo\;Situated Mind and Artistic Creativity&rdquo\;\, \;and the \;Kone \;Foundation \;project \;&rdquo\;Experiential Demarcation: Multidisciplinary Inquiries into the Affective Foundations of Interaction)&rdquo\;:https://www.jyu.fi/en/projects/asymmetric-encounters-intersubjectivity-and-the-sense-of-boundarieshttps://www.jyu.fi/en/projects/situated-mind-and-artistic-creativity
ORGANIZER;CN=Jussi A. Saarinen;CN=Joona Taipale: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Berlin:20240527T100000 DTEND;TZID=Europe/Berlin:20240528T170000 SUMMARY:Auburn-Uppsala aesthetics workshop UID:20240328T125521Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Berlin LOCATION:Biskopsgatan 3\, Uppsala\, Sweden DESCRIPTION:The third of a series of Auburn-Uppsala aesthetics workshops\, with an anything-aesthetic programme\, including two visitors from Auburn.
\nSchedule TBC.
\nEveryone welcome. Attendees external to Uppsala are requested to register by emailing nicholas.wiltsher@filosofi.uu.se before May 13th. Registration is free&mdash\;we might even buy you lunch.
\nQuestions about accessibility accommodations\, or indeed anything else to Nick Wiltsher.
ORGANIZER;CN=Nick Wiltsher: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/London:20240531T090000 DTEND;TZID=Europe/London:20240531T090000 SUMMARY:"Cinema and Philosophy: Exploring the Intersections of Time\, Identity\, Ethics and Aesthetics" UID:20240328T125522Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London DESCRIPTION:Dear Colleagues\,
\nWe are pleased to invite you to contribute to a Special Issue entitled &ldquo\;Cinema and Philosophy: Exploring the Intersections of Time\, Identity\, Ethics and Aesthethics&rdquo\;.
\nMedia and thinking are intimately related. Our memory\, perception\, and cognition are not just a given\, being weightless\, immaterial processes taking place purely mentally behind the walls of our skull\, but also always already rest on a medial basis. As Nietzsche claimed\, &ldquo\;Our writing equipment takes part in the forming of our thoughts:&rdquo\; From here\, we can derive the media-philosophical insight that a new medium makes us think differently. Media thus reveal themselves as the body or\, better\, the different bodies of thought. It is important to note these bodies are not retroactive to those thoughts that they materialize\, just as the microscope is not retroactive to the discovery of bacteria: media are coextensive to the thoughts they allow. Media generate potentialities of thought\, make things &ldquo\;thinkable&rdquo\; in different\, medium-specific ways. Thinking thus does not take place within the confines of our skull only&mdash\;thinking is non-centered\, taking place on multiple levels and in feedback loops. Thus\, media philosophy in general and film philosophy in particular are events\, even praxes\, rooted in the horizon of media themselves. They take place through and within the media in question.
\nThis Special Issue attempts to bring film studies and philosophy into a productive dialogue without assigning the role of a dominant and all-encompassing referee to one of these disciplines. Rather\, it is about relating the diverse entry points&mdash\;the many colors of the spectrum&mdash\;toward each other in a fertile manner in order to establish\, ultimately\, a media philosophy that puts the status\, the role\, and the function of the medium&mdash\;here\, film&mdash\;into a new perspective. No longer are the representational techniques of the medium at the center of inquiry but rather its ability to &ldquo\;think&rdquo\; and to assume an active role in the process of thought\, in finding alternative and differentiating point(s) of view (and thoughts). With such an approach\, the medium film presents itself as possessing &ldquo\;agency\,&rdquo\; and the dialogue between film and philosophy might be negotiated anew: film is not the illustration of external and &lsquo\;proper philosophical&rsquo\; propositions&mdash\;film can do thinking\, film can do philosophy.
\nWe are looking for essays that draw some light on the various connections between film and philosophy\, in particular film as philosophy\, as doing philosophy with other means\, in another realm. How can film (as both movement-image and time-image) do a film-specific philosophy of time? What are the ethics (and/or aesthetics) proper to the medium film? What is a &lsquo\;filmic stance&rsquo\; on questions of identity?
\nThe fundamental question\, however\, is not whether film actually is (indistinguishable from) philosophy but how these two &ldquo\;disciplines&rdquo\; can get into a dialogue\, a fruitful encounter&mdash\;how far they entertain (or can enter into) some kinds of &ldquo\;elective affinities.&rdquo\;
\nThe field that these prospective essays chart will&mdash\; by necessity&mdash\; be one of multiple logics\, approaches\, and perspectives that may even be incompatible to a certain extent. But\, this is by no means something negative\, but something operative\, provocative\, and ultimately useful. It is our hope that the reader will see for themself.
\nWe request that\, prior to submitting a manuscript\, interested authors initially submit a proposed title and an abstract of 200&ndash\;500 words summarizing their intended contribution. Please send it to the guest editors (herzogenrath@em.uni-frankfurt.de\; \; buhurcuyusuf@gmail.com) or to the Philosophies editorial office (philosophies@mdpi.com). Abstracts will be reviewed by the guest editors for the purpose of ensuring proper fit within the scope of the Special Issue. Full manuscripts will undergo double-blind peer-review.
\nWe look forward to receiving your contributions.
\nProf. Dr. Bernd Herzogenrath
Guest Editor
Il problema della forma è\; al centro degli interessi della filosofia sin dalle sue origini. La nozione di forma si sviluppa a partire da una serie di contrapposizioni - forma e materia\, forma e contenuto\, forma e sostanza - e intreccia la sua storia con numerosi altri vocaboli fondamentali del lessico filosofico: la forma è\; a seconda dei casi «\;essenza»\;\, «\;schema»\;\, «\;categoria»\;\, «\;figura»\;\, e assume la funzione di ciò\; che unifica il molteplice\, dello sfondo universale che costituisce il terreno comune per accomunare gli elementi particolari\, ma anche della struttura permanente che sopravvive alle modificazioni della materia.
\nV'è\; una prima nozione di forma\, e di formale\, sviluppata in particolare da Kant\, che indica la dimensione che precede ogni esperienza e ogni contenuto particolare\, ed è\; quindi propriamente universale\; è\; solo su questo terreno che può\; svolgersi la matematica\, con la sua pretesa di validità\; universale. L&rsquo\;universale formale ha anche una struttura relazionale: esso nasce con una presa di distanza originaria dall&rsquo\;esperienza in generale\, e si attua di volta in volta nelle prese di distanza concrete che realizziamo. Questa presa di distanza non annulla la concretezza: la sospende nella sua immediatezza\, nella sua pressione vitale\, e così\; le permette di trasporsi su questo nuovo piano in cui può\; coesistere con altri. Così\; l&rsquo\;universale formale sia nel suo originarsi che nel suo attuarsi resta in relazione con la concretezza. La riflessione su questa dimensione universale è\; resa particolarmente opportuna dalla condizione di pluralismo culturale che caratterizza il mondo di oggi.
\nGià\; nel pensiero antico il concetto di forma ha uno statuto molto complesso e variegato. La forma non è\; solo un'astrazione\, ma è\; ciò\; che anima il vivente\, ciò\; che vi è\; di più\; proprio al cuore di ogni cosa. La forma dell'oggetto è\; il suo destino\, il suo fine\, ciò\; che gli dà\; senso e che definisce le condizioni della sua possibilità\;\, del suo nascere e del suo perire.
\nTra il XVIII e il XIX secolo il pensiero moderno - in particolare tedesco - raccoglie con grande sensibilità\; questa ricchezza della nozione di forma\, in quel momento cruciale che segna la nascita dell'estetica come noi la intendiamo ancora oggi\, e dunque dell'idea moderna di arte\, ma anche delle scienze naturali come la biologia\, la botanica\, la zoologia e l'antropologia. Il concetto di forma diventa la nozione che permette di tenere insieme natura e cultura\, vita e tecnica\, nascita e creazione.
\nIn questo contesto la nozione di forma si fa plastica\, dinamica: pensare il mondo significa pensare la vita delle forme\, il loro mutare\, svilupparsi\, interagire nei meravigliosi quanto misteriosi processi della natura\, come anche nelle idee degli artisti e degli artigiani. Le forme - naturali\, artificiali\, simboliche - hanno una storia: per questo esse vanno ricostruite\, interpretate\, mostrate nel contesto della loro genesi e del loro sviluppo. D'altra parte\, l'interpretazione stessa si vincola alle forme su cui si applica: le forme strutturano i nostri modi di intendere\, comprendere e agire\, offrendosi come nello stesso tempo come condizione e posta in gioco dell'interpretazione. Mettendo in relazione forma e interpretazione\, inoltre\, quest'ultima si emancipa dal terreno linguistico e testuale alla quale in genere è\; ricondotta\, aprendosi ad altri fondamentali ambiti della vita\, quali la dimensione dell'immagine\, della materia\, della natura e della tecnica.
\nIl mondo contemporaneo è\; un dilagare di forme che si sovrappongono\, si scontrano\, entrano in relazione e si trasformano: in questo contesto così\; caotico\, l'ermeneutica possiede gli strumenti per mostrare la pregnanza della dimensione formale\, e produrre un'analisi critica che riguarda non solo i discorsi\, ma anche gli oggetti\, le pratiche\, i saperi\, le configurazioni simboliche della nostra epoca.
\n\nL&rsquo\;edizione 2023/2024 del seminario internazionale del Centro Studi Filosofico-religiosi &ldquo\;Luigi Pareyson&rdquo\; sarà\; dedicato dunque al rapporto tra forma e interpretazione. Al centro del dibattito\, ovviamente\, verrà\; posta la nozione di &ldquo\;formatività\;&rdquo\;\, concetto centrale nel pensiero di Luigi Pareyson e dell&rsquo\;estetica del &lsquo\;900. \;
ORGANIZER;CN=Alessandro De Cesaris;CN=Graziano Lingua;CN=Maurizio Pagano;CN=Alice Iacobone;CN=Paolo Furia: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Berlin:20240610T090000 DTEND;TZID=Europe/Berlin:20240612T170000 SUMMARY:New approaches to evaluative discourse UID:20240328T125524Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Berlin LOCATION:Umeå universitet\, Umeå\, Sweden\, 907 28 DESCRIPTION:What distinguishes evaluative discourse from non-evaluative discourse? By virtue of what meaning mechanisms are specific terms and phrases evaluative? What are the similarities and differences between different types of evaluative terms? \;
\n \;
\nThe last twenty years have given rise to a host of new approaches to these issues. For instance\, in the discussion of predicates of personal taste\, assessment relativism has been developed to accommodate phenomena such as faultless disagreement. In metaethics\, a variety of new formal semantic and metasemantic theories have been put forth as a response to embedding problems for expressivism about moral terms. In the surging discussion of slurring terms\, socio-linguistic aspects of meaning have been appealed to in order to explain their evaluative force. The aim of the conference is to explore how such new approaches to evaluativity in language can be developed\, criticized or generalized to other evaluative domains. \;
\nFor questions: \;
\n\nkatharina.felka@uni-graz.at
\nnils.franzen@umu.se
\n ORGANIZER;CN="Nils Franzén";CN=Katharina Felka: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/London:20240615T200000 DTEND;TZID=Europe/London:20240615T200000 SUMMARY:Crossing borders. De Martino and the Arts UID:20240328T125525Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London DESCRIPTION:CoSMo. Comparative Studies in Modernism
\nhttp://www.ojs.unito.it/index.php/COSMO
\nCROSSING BORDERS: DE MARTINO AND THE ARTS
\nN.26 (June 2025) \;
\n*
\nCall For Papers
\nIn recent times\, scholarly research on Ernesto De Martino&rsquo\;s work has given rise to a forceful revision of the intellectual and scientific figure we had inherited from previous years\, starting from the fifties up to at least the end of the past century. Relevant insights have emerged from a new comprehensive view of De Martino&rsquo\;s oeuvre\, when scholars started exploring areas lying outside the author&rsquo\;s specific fields of research\, such as folklore\, magic\, myth\, and under-privileged cultures. Fresh interpretations have revealed a structurally open-ended and problematical kind of work\, impelling scholars to revise its meanings and limits. So modern has De Martino&rsquo\;s cultural enterprise proved as to stimulate people from diverse horizons and cultures to reinterpret and translate his work\, performing a &ldquo\;translating gesture&rdquo\; (Charuty)\, which retroacts on\, and enhances his original texts with new perspectives\, and moving from one language to another has widened possible readings of his texts. International conferences have added new aspects to the interdisciplinary nature of his explorations\, and widened the range of his reception. On the literary side\, De Martino is known to be critical\, yet fascinated by European &ldquo\;crisis&rdquo\; literature\, i.e.\, the great modernist artistic creations. Although some trends and authors from early and late twentieth century are not part of his preferences\, one can reasonably and fruitfully investigate upon the astonishing and remarkable affinities connecting him with our recent and contemporary scene\, not only on the Italian side\, as Carlo Ginzburg has demonstrated.
\nTherefore\, one could reasonably conjecture that De Martino&rsquo\;s theoretical and methodological experimental thinking has been somehow grounded in\, and moulded by the various artistic languages he employed in his research. Whether recording the forms of popular and vernacular singing\, of mourning lamentations\, or musical cathartic rituals\, De Martino constantly comes to rely on all sorts of aesthetic practices which\, incidentally\, are not foreign to his &ldquo\;theatrical calling&rdquo\;\, i.e.\, his readiness to understand and display human frailties\, with important consequences for the manifold artistic practices related to such experiences. It goes without saying that in order to retrieve and report on the forms of cultural heritage of the peoples he was studying\, De Martino necessarily made use of direct field recordings of oral testimonies\, employed photography and film in order to both chronicle and circulate his research\, deftly rehearsing and anticipating\, if unwittingly\, the artistic side of such practices: one can only think of American and European photography\, reportage and film-reportage of l&rsquo\; entre-deux guerres\, which not only chronicled but invented the realities they were engaged in. Likewise\, he would resort to radio broadcasting (1953-54) to publicize his works&rsquo\; more specialistic topics among a wider audience\, thus experimenting in several artistic techniques introduced by the new media and paralleling the new forms of theatrical performance\, that enriched\, or were still enriching the range of new artistic fields in the twentieth century (reportage\, montage\, cinema\, photography\, performance). In all this\, De Martino enhances the very peculiarities of each aesthetic language\, thanks to his keen sensibility for the concrete plurality of artistic practices\, the specificity of their media\, the new formal solutions and techniques required to achieve new ranges of expression. To sum up\, De Martino encounters various kinds of aesthetic languages\, he constantly implements them so that they may further his research\, and studies them as relevant documents both in their historical and their anthropological status.
\nAll these areas will be dealt with in a CoSMo issue by the title De Martino and the Arts/De Martino e le arti due to appear in June 2025. The editors invite proposals for papers focusing on the crossroads between various clusters of themes\, various traditions\, disciplinary areas\, and points of interest\, in English\, Italian\, or French. We encourage contributions to &ldquo\;cross borders&rdquo\;\, venturing in unexpected ground\, discovering unforeseeable links and original parallels\, starting from the assumption that possible new interpretations of De Martino&rsquo\;s works may profit from a sustained attention to recent\, or less recent exploits in the world of art. Proposals may centre around the wider domains of Word\, Image\, Performance\, covering the more specific fields of life writing\, reportage\, cinema\, photography\, music\, visual arts\, performance\, etc.. We will consider proposals addressing\, but not limited to\, the following topics:
\nIf you are interested in submitting a paper\, please let us have a short abstract (250 words) in English along with a brief bio-bibliography\, by 15 June 2024\, sending it to the issue&rsquo\;s editors&rsquo\; addresses:
\nRoberto Dainotto  \;(dainotto@duke.edu)\,
\nFrancesco Lesce (francescolesce.uni@gmail.com)
\nLuisa Sampugnaro (luisa.sampugnaro@unito.it).
\n\nWe will select paper proposals and let you know by the end of July 2024.
\nContributions should not exceed 8.000 words (including spaces\, bibliography\, and footnotes) and will be peer-reviewed.
\nFinal contributions are due by 15 December 2024.
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Lisbon:20240619T150000 DTEND;TZID=Europe/Lisbon:20240619T170000 SUMMARY:THE FILM-PHIL LISBON SEMINARS: ANNA ELSNER UID:20240328T125526Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Lisbon LOCATION:Colégio Almada Negreiros/Faculdade de Ciências Sociais e Humanas – NOVA FCSH room SE1\, Lisbon\, Portugal\, 1099-032 DESCRIPTION:June's Film-Phil Lisbon Seminar (2023-2024) will be led by \;Anna Magdalena Elsner (University of St. Gallen\, Switzerland) who will talk about &ldquo\;Documenting Dying or Capturing Care? The Afterlives of Palliative Care in French End-of-Life Documentaries&rdquo\;. The session will be held on June 19\, 2024\, at 15:00 PM (Lisbon time) Room CAN SE1 and Online.
\n\nABSTRACT At the heart of this talk are three documentaries about end-of-life care in France: Les yeux ouverts (Fré\;dé\;ric Chaudier\, 2010)\, Une maison au bord du monde (Pascal Cesaro\, 2018) and Les Equilibristes (Perrine Michel\, 2020). My aim is to explore how these documentary films engage with palliative care\, the medical subspecialty which since Cicely Saunders&rsquo\;s pioneering work in the 1970s has become medicine&rsquo\;s main modality of dealing with death. Engaging with conceptual questions of the auto-documentary and ethnographies of care and vulnerability\, I seek to untangle how the ethics of documentary filmmaking meets and collides with care ethics in the specific contexts of the portrayed institutions and their particular caring practices in the face of death. Highlighting how the films can be viewed as a commentary on societal engagements with dying\, as well as oscillating between idealization and criticism of the philosophy of palliative\, I explore the idea of an end-of-life documentary as an act of relational co-creation. As such\, the practice of filmmaking partakes in Cicely Saunders&rsquo\;s totalizing view of pain and care\, but also traces some of its limitations with regard to recent developments in political debates about end-of-life care in France.
\n\nBIO Anna Magdalena Elsner is Associate Professor of French Studies and Medical Humanities at the University of St. Gallen\, Switzerland. She is PI of the ERC project AssistedLab (assistedlab.ch)\, which engages with the aesthetics\, laws\, and ethics of assisted dying. Most recently she has co-edited Literature and Medicine (Cambridge University Press 2024) and The Proustian Mind (Routledge 2022).
\nFunded by the European Union (ERC\, FILM AND DEATH\, 101088956). Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Research Council Executive Agency. Neither the European Union nor the granting authority can be held responsible for them.
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/London:20240620T100000 DTEND;TZID=Europe/London:20240621T170000 SUMMARY:Art\, Imagination and Morality UID:20240328T125527Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London LOCATION:Trinity College\, Oxford\, United Kingdom\, OX1 3BH DESCRIPTION:This conference aims to bring into dialogue graduate and early-career researchers working in Aesthetics\, Ethics and Philosophy of Mind to discuss the various philosophical issues that occur at the intersections of Art\, Imagination and Morality.
\nThe conference will feature two keynote speakers\, Dr. James Grant (Oxford University) and Dr. Ella Whiteley (Sheffield University)\, in addition to eight accepted papers from a mixture of graduate students and early-career researchers which will receive comments from faculty.
\nPlease see our Call for Papers\, linked at the top of this page.
\nThis conference is supported by the Aristotelian Society\, the British Society of Aesthetics\, the Mind Association\, the Society for Applied Philosophy\, and Trinity College\, Oxford.
ORGANIZER;CN=Zoe Walker;CN=Alex Fisher: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Paris:20240623T090000 DTEND;TZID=Europe/Paris:20240627T170000 SUMMARY:Panel “Rethinking the Form-Matter Nexus after the Material Turn” - 36th Congress of the Comité international d’histoire de l’art (CIHA) UID:20240328T125528Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Paris LOCATION:Lyon\, France ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Prague:20240624T090000 DTEND;TZID=Europe/Prague:20240625T170000 SUMMARY:After Kant: What do art and literature owe to Kant? UID:20240328T125529Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Prague LOCATION:Pátkova 2137/5\, Praha\, Czech Republic\, 182 00 DESCRIPTION:Call for Applications
\nConference Title: After Kant: What do art and literature owe to Kant?
\nLocation: Prague\, Czechia\; \;
\nDate: 24 - 25 June \; 2024
\nFaculty of Humanities\, Charles University \;
\nThe Faculty of Humanities at Charles University is pleased to announce its international conference\, After Kant: What do art and literature owe to Kant?\, to be held in Prague\, Czechia on 24 - 25 June 2024. Ph.D. researchers\, scholars\, and M.A. students are invited to submit papers for consideration to participate in the event.
\nOn the occasion of the 300th anniversary of Kant&rsquo\;s birth\, we want to pay attention to his influence on subsequent thinking about beauty and art\, and thus discuss his impact on philosophy of art and aesthetics\, from the thinkers and creators of the Romantic tradition (e.g. Schleiermacher\, Novalis\, Schlegel) and Idealism (e.g. Hö\;lderlin\, Schelling\, Hegel)\, to the post-Hegelian philosophers (e.g. Schopenhauer\, Kierkegaard\, Nietzsche)\, to 20th-century authors of different traditions and positions.
\nWe expect contributions that are clearly grounded in Kant's philosophy\, whether theoretical or practical\, in his anthropology or political philosophy\, and that relate to Kant either positively\, by simply applying and developing his ideas\, or\, on the contrary\, critically and polemically. We are indeed open to the widest possible range of approaches and authorial positions from which we aim to show retrospectively the great influence and impact of Kant\, which we wish to celebrate. Contributions need not deal exclusively with Kant's legacy in philosophy\, but may also discuss Kant&rsquo\;s impulses and echoes in works of literature\, art\, film and other media. \;
\nDay 1: 24 June 2024
\nKeynote Speaker: Ian Alexander Moore\, Ph.D.\, Assistant Professor of Philosophy at the \; Loyola Marymount University in Los Angeles\, CA.
\nDay 2: 25 June 2024
\nKeynote Speaker: Dr. James D. Reid\, Professor of Philosophy at Metropolitan State University of Denver in Denver\, CO.
\nLanguage: Czech\, English. \;
\nFormat: Hybrid (in-person and online).The conference program&rsquo\;s thematic sessions will be scheduled in advance. Selected conference papers should not exceed 30 minutes. (Presentation: 20 mins.\, followed by 10 mins. of Q&\;A) \;
\nSubmissions of Applications: Abstracts not exceeding 300 words should be sent as a Word document of PDF (.doc\, .docx\, .pdf) toafterkant300@gmail.comstrictly before 20 February 2024. Submissions should be prepared for anonymous review. Please send the author's name\, affiliation\, and contact information in a separate file. \;
\nNotification of acceptance will be sent by 1 March 2024.
\nRegistration: No registration fee is required. However\, please be advised that funding for participation should be secured independently.
\nPublication:Selected papers will be considered for publication in a special issue of the Philosophical Journal\, published by the Academy of Sciences of the Czech Republic\, in 2025. The main text of the paper should not exceed 8000 words.
\nFor general inquiries about the conference\, please contact: \;
\nafterkant300@gmail.com \;
\nWe look forward to your participation in our conference.
\nKind regards\,
\nConference Organizers:
\nDoc. Mgr. Ale&scaron\; Nová\;k\, Ph.D.\, Brice Cantrell\, Shawn Christopher Vigil\, Tatia Basilaia
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/London:20240630T090000 DTEND;TZID=Europe/London:20240630T090000 SUMMARY:Kitsch: New Perspectives on a Controversial Aesthetic and Cultural Phenomenon / ESPES. The Slovak Journal of Aesthetics UID:20240328T125530Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London DESCRIPTION:Kitsch: New Perspectives on a Controversial Aesthetic and Cultural Phenomenon
\nGuest Editor
PD Dr. Lisa Katharin Schmalzried (Universitä\;t Hamburg)
In his seminal essay\, &ldquo\;Avant-Garde and Kitsch\,&rdquo\; Clement Greenberg underscores how widespread kitsch has become since the Industrial Revolution. His assertion\, made in 1939\, remains as pertinent today as ever\, with kitsch intertwining with artworks\, design objects\, and everyday items and practices. The ubiquity and diverse manifestations of kitsch in contemporary culture suggest that it embodies an aesthetic and cultural phenomenon emblematic of (post-/late-) modernity. For philosophers exploring aesthetic\, cultural\, and societal themes\, delving into the realm of kitsch becomes a compelling pursuit.
\nIn 1912\, Pazaurek characterized kitsch as the antithesis of genuine and ingenious art&mdash\;tasteless trash for the masses\, ignorant of any ethical\, logical\, or aesthetic demands\, indifferent to any transgressions against materials\, techniques\, or art forms\, and masquerading as valuable while remaining cheap. This tone persisted in subsequent years\, with critics highlighting kitsch&rsquo\;s profound aesthetic\, epistemic\, ethical\, and/or political deficiencies. However\, the 1960s witnessed a shift in attitudes toward kitsch. Disapproval waned. Furthermore\, kitsch critics now faced accusations of cultural pessimism\, conservatism\, or sexism. Kitsch even infiltrated the art world\, giving birth to kitsch art. In 2002\, Liessmann finally concluded that bad taste is now good taste. Debates persist regarding whether kitsch art is truly kitsch or merely serves as ironic or quoted commentary on kitsch. And many philosophers\, art critics\, and the general public continue to disdain kitsch. Despite the enduring negative perception of kitsch\, it is a remarkable fact that many people enjoy\, like\, and even love kitsch. Given kitsch&rsquo\;s mass appeal\, are kitsch critics just anti-hedonic\, or might their criticisms hold validity? \;
\nThe special issue aims to gather diverse perspectives on kitsch as a controversial contemporary aesthetic and cultural phenomenon. While we primarily invite philosophical submissions\, we also welcome interdisciplinary or artistic contributions. Submissions may explore questions such as: \;
\nHow can one define kitsch\, and should one attempt to do so? \;
\nWhat is the relationship between kitsch and art? How do different theories on (good) art change the outlook on kitsch?
\nHow does kitsch intersect with mass and popular art?
\nIs kitsch truly a phenomenon of (post-/late-)modernity\, and why?
\nWhat historical perspectives provide fruitful insights into kitsch?
\nWhat are post-colonial\, feminist\, and/or intersectional perspectives on kitsch? \;
\nShould (all) kitsch be criticized on aesthetic\, epistemic\, moral\, and/or political grounds?
\nWhat is the relationship between kitsch\, propaganda\, and totalitarianism?
\nShould one feel guilty when indulging in kitsch pleasures? Is kitsch pleasure always a guilty pleasure?
\nTypes of Contributions
\nResearch articles are original contributions that initiate a debate\, offer a point of view on current trends in aesthetics and the philosophy of art\, or introduce a scholarly discussion. Contributions to the Research articles section should not exceed 7\,500 words (including bibliography). Please add an abstract of no more than 150 words. \;
\nInterviews portray leading figures&rsquo\; lives and work in contemporary kitsch and art debates. Contributions to the interviews section should not exceed 3500 words. If one wants to conduct an interview\, please discuss the proposal with the editors before submission. \;
\nTranslations include seminal essays in different languages newly translated into English. The translated essays are selected based on their relevance for developing new perspectives on kitsch. Contributions to the Translations section should not usually exceed 7\,500 words. Please contact the editors before working on a translation. \;
\nStylistic Guidelines
\nLanguage of Contribution: English.
\nThe complete formatting instructions are available at:shorturl.at/ftESY. We will return submissions which do not comply with these instructions to the author(s).
\nAll submissions will undergo a double-blind review process.
\nTimeline
\nSubmission deadline: \; June 30\, 2024
\nPublication date: December 2024
\nSubmission via espes.ff.unipo.sk.
\nIf you have any questions\, please contact the editors at:espes@ff.unipo.sk
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/London:20240701T090000 DTEND;TZID=Europe/London:20240701T090000 SUMMARY:Contingency in Global Aesthetic and Artistic Practices – Studi di estetica. Italian Journal of Aesthetics UID:20240328T125531Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London DESCRIPTION:The editors of the journal Studi di estetica. Italian Journal of Aesthetics and the guest co-editors of the thematic section of issue 3/2024\, Zhuofei Wang and Zoltá\;n Somhegyi invite submissions to investigate the topic of Contingency in Global Aesthetic and Artistic Practices.
\nPlease\, find further details on the website of the journal: http://journals.mimesisedizioni.it/documenti/sde/cfp-SdE-3-2024.pdf
\nPlease send your submissions to:sophie_wang2008@yahoo.com\,zoltansomhegyi@yahoo.co.uk
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=America/Denver:20240714T080000 DTEND;TZID=America/Denver:20240716T170000 SUMMARY:Annual Meeting of the Rocky Mountain Division of the American Society for Aesthetics UID:20240328T125532Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:America/Denver LOCATION:Drury Plaza — 828 Paseo de Peralta\, Santa Fe\, United States\, 88001 DESCRIPTION:The 40th Annual Meetingof the Rocky Mountain Division of the American Society for Aesthetics will take place at the Drury Plaza Hotel in Santa Fe\, New Mexico\, July 12&ndash\;14\, 2023.
Manuel Davenport Keynote Address:  \;Sandra Shapshay
\nSandra Shapshay is a Professor of Philosophy at the City University of New York (with appointments at Hunter College and the CUNY Graduate Center). With Jonathan Gilmore\, she is the co-editor of the Journal of Aesthetics and Art Criticism. She obtained her PhD from Columbia University and taught at Indiana University Bloomington before coming to CUNY in 2019. Her research focuses on contemporary intersections of aesthetics and ethics&mdash\;especially with respect to public commemorative artworks such as monuments and memorials as well as the aesthetic appreciation of nature--and is informed by 19th century philosophy (with focus on Schopenhauer and Kant). Recent publications include: &ldquo\;What is the Monumental?&rdquo\; Journal of Aesthetics and Art Criticism (2021)\, &ldquo\;A Two-Tiered Theory of the Sublime&rdquo\; British Journal of Aesthetics (2021)\, &ldquo\;Kantian Approaches to Ethical Judgment of Art&rdquo\; in the Oxford Handbook of Art and Ethics\, ed. James Harold (forthcoming). \; Shapshay has also published widely in 19th c. German philosophy\, for example\, a recent monograph Reconstructing Schopenhauer&rsquo\;s Ethics: Hope\, Compassion\, and Animal Welfare (Oxford University Press\, 2019).
\n
Michael Manson Artist Keynote Address: Reuben Ellis
Dr. Reuben Ellis&rsquo\;s academic career spans more than 35 years and has included teaching literature and writing courses&mdash\;particularly creative writing and journalism&mdash\;as well as courses in interdisciplinary studies and innovative field-based courses focusing on the relationship between literature and place. He joined the Woodbury faculty in 2010 as a member of the Writing Department and became Chair of the Department in 2013. He was named Interim Dean of the College of Liberal Arts in 2018. Dr. Ellis is a practicing scholar and creative writer. His books include Vertical Margins: Mountaineering and the Landscapes of Neo-Imperialism\; Stories and Stone: Writing the Ancestral Pueblo Homeland\; Beyond Borders: The Selected Essays of Mary Austin\, a book of poems\, Formula\, as well as many published essays on literature and writing and works of fiction\, poetry\, and creative non-fiction. Dr. Ellis enjoys spending time in the wild and open spaces of the American southwest. When he is not working with students and colleagues in the College\, he can be found&mdash\;or not found&mdash\;somewhere past the last road.
\n
Submission Guidelines (March 15\, 2024 Deadline)
We welcome presentations in all fields and disciplines pertaining to the history\, application\, and appreciation of aesthetic understanding. We are always particularly interested in research involving interdisciplinary and intercultural approaches emphasizing the natural and cultural character of the American Southwest.
\nThe conference will be organized into 1.5-hour sessions with each of three speakers allotted 20 minutes to present and 10 minutes for Q &\; A. The Division&rsquo\;s practice is to invite proposals in the form of abstracts for papers that speakers wish to present. The abstract must be no more than 250 words and offer a formal summary of the work to be presented. Panel proposals must consist of three papers and include each participant&rsquo\;s abstract.
\nProposals must be submitted in Word or PDF format by March 15 to Ley David Elliette Cray (asarockymountain@gmail.com). Although you need not be an ASA member to submit\, everyone who presents at the conference must register and also be an ASA member in good standing.
\n
Acknowledging the History and Heritage of Santa Fe\, New Mexico
Our conference is annually held in Santa Fe\, New Mexico\, a region still recognized as Oga Po&rsquo\;geh\, meaning &ldquo\;White Shell Water Place\,&rdquo\; by the people of Tatsú\;geh Oweengeh (Tesuque Pueblo). This region was inhabited for thousands of years by the communities of the Northern and Southern Tewa\, and it is richly described in the oral traditions of the Nambe Pueblo\, the Diné\;\, Cochiti\, Tao\, and Hopi Pueblos.
\nThe area referred to as Santa Fe was occupied four centuries ago by the Spanish\, and this occupation involved displacement of people indigenous to the region. This occupation brought immigrants from Spain\, Mexico\, Greece\, and Portugal to this area\, and resulted in the enslavement of (according to ecclesiastical records) Aa\, Apache\, Diné\;\, Kiowa\, Pawnee\, Paiute\, and Ute peoples. Many more enslaved people were simply recorded as &ldquo\;Mexican Indians.&rdquo\; \;
\nAs a conference\, we acknowledge this indigenous and colonial history\, and we pledge allyship to the peoples and traditions colonial practices have harmed and violently displaced. The Rocky Mountain Division of the American Society for Aesthetics will strive to perpetuate the stories of the indigenous people who call Santa Fe their ancestral home\, and we see acknowledgement of these realities as a first step toward equity for these peoples.
\n
Oga Po&rsquo\;geh Essay Prize
Because of our commitment to the traditions and history of Santa\, Fe\, we have a specific interest in the aesthetics of indigenous and Latinx communities geographically adjacent to our division. To this end\, we are excited to announce the Oga Po&rsquo\;geh Essay Prize. We are interested in essays of 3000 words devoted to Latinx and/or Native American indigenous art practice and cultural thought. This prize is not merely devoted to traditions and peoples of the American Southwest\, as our division extends into the Rocky Mountain region of Canada. Thus\, we encourage submissions devoted to Canadian First Nation aesthetics as well. Essays may draw from a wide variety of disciplinary perspectives\, but they should advance and advocate for greater representation from these communities and to promote allyship and shared understanding\, both within the academy and beyond.
\nWinners of this prize will receive a $500 award and their conference fee will be waived. The winner will be asked to read their essay in a special session of the program. Those who wish to apply for the prize must submit an abstract \;by March 15 \;and a complete essay by May 1 to Ley David Elliette Cray (asarockymountain@gmail.com).
\n
Graduate Student in Philosophy Essay Prizes \;
The Center for Philosophical Studies (CPS) at Lamar University will again be offering its Best Graduate Student in Philosophy Essay Prizes\, ranging from $125 to $175\, depending on fiscal conditions for 2023. \;These prizes will be available only to graduate students officially pursuing an M.A. or Ph.D. in Philosophy. Dr. Arthur Stewart\, CPS Director\, and Professor James Mock\, of the University of Central Oklahoma\, will serve as referees.
\n
Competition Procedure
Submit your abstract to Ley David Elliette Cray (asarockymountain@gmail.com) by March 15. Upon acceptance to the program\, contact Dr. ArthurStewart (afstewart@lamar.edu) \;and Professor James Mock (jmock@uco.edu) with your abstract\, information about your degree aspirations and academic affiliations\, and documentation of your official status in M.A. or Ph.D. programs in Philosophy. Finally\, submit your completed essay to Drs. Stewart and Mock by May 1. The referees&rsquo\; decisions will be announced by May 15.
\n
Irene H. Chayes Travel Fund
The American Society for Aesthetics has provided the Division with an annual lump sum of $1000 to support travel to the meeting for persons with papers accepted for the program who have no other access to professional travel funds at their teaching institution(s) during the academic year.
\nEligibility Requirements
\nEligible persons include faculty members\, independent scholars\, and students. You must be a member of ASA in good standing in the calendar year of the paper submission and presentation and you must register for the meeting. Finally\, if you have some access to travel funds from your institution but prefer to use it for a different meeting\, you are not eligible for a Chayes Travel Grant this year.
\nApplication Procedure
\nSubmit your abstract to Ley David Elliette Cray (asarockymountain@gmail.com) by March 15. Upon acceptance to the program\, contact Dr. ArthurStewart (afstewart@lamar.edu) and Professor James Mock (jmock@uco.edu) with a statement expressing your desire to be considered for a Chayes travel grant and an explanation of why you are eligible. The Division&rsquo\;s review committee\, composed of Drs. Stewart and Mock\, will make the final decisions on who receives a travel grant and for what amount by May 1.
\n
Funding from the British Society of Aesthetics
The British Society of Aesthetics has a program that provides travel grants for full-time students and recent PhDs to present their work at an aesthetics meeting not sponsored by BSA. That includes all four ASA divisional meetings. If you are eligible for those funds\, it will be possible to combine grants from both BSA and ASA Chayes funds for your travel. \;
\n
Fund-Raising Initiative
The RMASA is now raising additional funds to support travel for people who lack institutional support. Donations of any size\, large or small\, are most welcome! If you are interested in donating\, you may do soonline at the ASA website.
\n
Registration Fees
Regular Registration: $135 (early bird rate\, up to one week prior to the conference\; $5 surcharge for onsite registration)
\nEmeritus Faculty and Graduate Students: $75
\nTo register for the conference\, please go to:https://aesthetics-online.org/
\n
Hotel Rates
The deadline for reserving hotel rooms is June 9th. The room rates (for single/double/quad) at the Drury Plaza Hotel for registered ASARMD conference attendees is $249/night.
\nThe conference room rate will be extended for guests arriving/departing three days pre/post conference dates\, based on availability.
We carefully studied options and surveyed our members\, and the overwhelming majority preferred staying in Old Town Santa Fe\, even with the increase in room rate compared to previous years (which remains discounted compared to the current public rate.)
Conference Goals
\nThe aim of this conference is to investigate how works of art\, and certain kinds of aesthetic practices or aesthetic experiences\, can be of existential importance to people.
\nConsider the following examples. A poem can offer consolation and support in difficult times. A film can trigger an epiphany and turn one&rsquo\;s values upside down. Falling in love with a painting can change the direction of someone&rsquo\;s life. Writing poetry can give meaning to one&rsquo\;s existence and have a profoundly therapeutic effect. Witnessing a stunning sunset can become one of the most cherished moments of one&rsquo\;s life. Finally\, being a foodie\, a fashionista\, or a jazz lover can be so important to a person as to be constitutive of their identity.
\nUntil recently\, few authors within the field of contemporary aesthetics have directly addressed the existential importance of art and aesthetics. But this is changing. A growing number of philosophers are now seeking to explore issues like the ones listed above. This has led some to posit the emergence of a new subfield\, entitled &ldquo\;existential aesthetics.&rdquo\; The goal of the proposed conference is to improve our understanding of the work being done in this area\, explore its significance\, and facilitate further and more focused philosophical activity in this direction.
\nConfirmed Speakers
\nAntony Aumann (Northern Michigan University)
\nKathleen Higgins (University of Texas\, Austin)
\nAlex King (Simon Fraser University)
\nHans Maes (University of Kent)
\nSandra Shapshay (Hunter College\, CUNY)
\nYuriko Saito (Rhode Island School of Design)
\nCall for Papers
\nWe invite submissions on any topic that relates to existential aesthetics. Papers should not exceed 5000 words and should be accompanied by a 100-word abstract and a page with your contact details. Please prepare your submission for anonymous review. You can email your papers as a PDF to Antony Aumann (aaumann@nmu.edu). The submission deadline is February 1\, 2024. Communication of acceptance or rejection will be made by March 15\, 2024.
\nA selection of the papers presented at the conference will be collected in a book\, edited by the conference organizers.
\nPossible Topics
\nRelevant research questions include (but are not limited to):
\nGraduate Student Travel Grants
\nWe encourage graduate students to submit a paper. The two best graduate submissions by ASA student members will be awarded a graduate student travel grant of up to $650 to help cover travel expenses.
\nRegistration\, Travel\, and Accommodations
\nGenerous grants from the American Society for Aesthetics and Northern Michigan University have enabled us to cover food and lodging expenses for the duration of the conference. Registration will also be free for all participants. Unfortunately\, we cannot cover other travel expenses (with the exception of the two graduate student awards mentioned above). Marquette is served by the Sawyer International Airport\, which is a twenty-minute drive from the university. For additional details\, contact Antony Aumann (aaumann@nmu.edu).
\nPlanning Committee
\nConference submissions will be reviewed by the members of the planning committee:
\nMegan Altman (Cornell College)
\nAderemi Artis (University of Michigan\, Flint)
\nAntony Aumann (Northern Michigan University)
\nRyan Kemp (Wheaton College)
\nHans Maes (University of Kent).
\nSheryl Tuttle Ross (University of Wisconsin\, La Crosse)
\nRobert Stecker (Central Michigan University)
\nAdditional details
\nThe organizers fully support the goals of the Gendered Conference Campaign (GCC) and will seek to ensure the recruitment and participation of women and members of other historically-underrepresented and excluded groups.
\nWe gratefully acknowledge financial support from The American Society for Aesthetics and Northern Michigan University. \;
ORGANIZER;CN=Antony Aumann;CN=Hans Maes: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/London:20240829T090000 DTEND;TZID=Europe/London:20240831T170000 SUMMARY:Borders and Frontiers in Philosophy and Film: ISPiF annual meeting UID:20240328T125534Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London LOCATION:London\, United Kingdom DESCRIPTION:Theme: Frontiers and Borders in Philosophy and Film
\nAbstract Deadline: May 1\, 2024
\nSubmission Guidelines and Instructions:
\nExtended abstracts should be 500-750 words\, with standard font and margins.
\nDeadline: The deadline for receipt of abstracts is \;May 1\, 2024. Any submission received after midnight Pacific time on this date will not be considered. Notification of acceptance will be provided mid-May.
\nIf accepted\, final papers\, no longer than 15 pages\, double spaced\, must be provided by July 15th in order to be distributed to all participants in advance of the symposium. This is crucial to the format and success of the symposium\, where authors will be provided only 10-12 minutes to summarize\, emphasize\, or further develop the contents of the full essay. This condensed presentation time\, combined with all participants reading each accepted paper and viewing relevant films in advance\, is intended to allow substantial time for questions and discussion following each presentation.
\nPlease send all submissions as either a Word or PDF attachment to: \;ispifconference@gmail.com
ORGANIZER;CN=Alain Beauclair: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/London:20240901T230000 DTEND;TZID=Europe/London:20240901T230000 SUMMARY:Video Games and Virtue Theory: Level Up Your Character UID:20240328T125535Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/London DESCRIPTION:We invite submissions to be part of an edited volume on video games and virtue theory. While the volume currently isn&rsquo\;t under contract\, Routledge has expressed interest in it. This volume has three related aims:
\nAlso\, please note that we will be hosting an in-person conference on the Philosophy of Video Games\, AFK in Florida\, in Feb (exact date coming soon). While the conference and the edited volume are evaluated separately\, if you&rsquo\;d like your abstract to also be considered for the conference\, please let us know in the submission.
\nDetails
\nEditors: Sarah Malanowski &\; Nicholas Baima
\nContact Email: \;NBaima@fau.edu
\nDue Date: Sept. 1\, 2024
\nExtended Abstract Length without references: No longer than 1\,000 words
\nBio: No longer than 500 words
ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Helsinki:20240902T090000 DTEND;TZID=Europe/Helsinki:20240903T170000 SUMMARY:Thinking with Tea - Cross-cultural Reflections UID:20240328T125536Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Helsinki LOCATION:Keskussairaalantie 2\, Jyväskylä\, Finland\, 40600 DESCRIPTION:Tea has played a significant role in fostering cultural exchange between different regions and traditions throughout history. While tea has taken root in various forms in many cultures\, mos are likely to associate the practice with China\, its progenitor\, or Japan\, its cultivator. Yet\, tea has a strong global presence and has flourished within Great Britain\, the Americas\, parts of Africa\, Turkey and in Russia to name a few. \;
\nOur conference\, Thinking with Tea &ndash\; Cross-cultural Reflections aims to explore these myriad forms tea has taken where it has flourished. Specifically\, as our title suggests\, the conference&rsquo\;s goal is to think with tea: In which ways has tea inspired thinking and how can these ways of thinking inform philosophy in the present? Further\, we invite interrogation of the limits of philosophical thinking from the point of view of tea as a corporeal practice that operates beyond/before/between thought and its propositional analysis and forms of truth. The aim of the conference is thus twofold: To explore philosophical thought in relation to tea from the historical perspective\, and to investigate how ways of thinking with tea can be put into practice within philosophy.
ORGANIZER;CN=Anttoni E.A Kuusela: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Madrid:20240907T110000 DTEND;TZID=Europe/Madrid:20240908T170000 SUMMARY:Womanjarrés: Interdisciplinary Festival on Women and Mode in the Rural World UID:20240328T125537Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Madrid LOCATION:C/ San Isidro\, 5\, Manjarrés\, Spain\, 26315 DESCRIPTION:CALL FOR PARTICIPATION
\nIn 1950\, German philosopher Martin Heidegger published the book Off the Beaten Track. This book included a chapter entitled &lsquo\;The Origin of the Work of Art&rsquo\;\, a compendium of aesthetical reflections created by the author during the 30s. On those pages\, there is a discussed artistic motif: the painting A Pair of Shoes\, created by Vincent van Gogh in 1886 and nowadays guarded at the Van Gogh Museum in Amsterdam. Following Heidegger\, those shoes are the boots of a female peasant\, whose only aesthetical credit was their labor value\, that is\, their estimation as workforce transformed into a second-hand object through its pictorial representation. From that moment on\, a Byzantine dispute on the identity of the owner of the painted boots and the meaning of the still life\, if a pair of shoes could be defined as such\, took place. The most eminent aesthetes of the occidental canon &mdash\;from Schapiro to Derrida&mdash\; participated in that debate\, which was exhibited in 2009 at the Wallraf-Richartz Museum in Cologne.
\nForty-nine years after the publication of Heidegger&rsquo\;s Off the Beaten Track\, in 1999\, Griselda Pollock published Differencing the Canon: Feminism and the Writings of Art&rsquo\;s Histories\, an essay which did not directly refer to Vincent van Gogh&rsquo\;s A pair of Shoes\, but in fact included another painting from the same author: Peasant Woman\, Stooping\, Seen from Behind. In this second debate\, the dialectic vocabulary was not any longer about workforce (Arbeitskraft)\, value in use (Gebrauchswert) or exchange value (Tauschwert). It was about cultural Marxist terms and their reception and iconological interaction following the Critical Frankfurt School &mdash\;relation among the sex\, gender\, and class systems in order to explain the symbolic connection between animality and body language chosen by Vincent van Gogh to represent the female worker&mdash\;.
\nIf we attend to this tradition in the European Humanities debate\, previous to 2030 Agenda\, we remark that the rural context appears as an unavoidable space of intersectional discussion in contemporary Aesthetics\, where multiple categories of analyses and work-methodologies take place: iconology\, cultural studies\, philosophical aesthetics\, critical studies\, design theory\, mode theory\, ethnography\, anthropology\, sociology\, political theory. Despite this conceptual spaciousness\, a reiterative unconscious topic appears in the yet different considerations made by Heidegger and Pollock: the idea that rural world only gains its aesthetical value if its roughness and precariousness are ennobled by its artistic representation and the pertinent cultural critic made by high academic instances. Is that perspective a prejudice or rather a confirmed reality? What does rural feminine beauty mean? Does such an aesthetical category even exist? Can we reduce the aesthetical value of rural context to the production of basic goods and needs?
\nFrom these opening questions\, the organizing crew of this festival publishes this call for participation. We are looking for proposals in multiple formats that join mode\, design of ornaments and philosophical reflections on the topic of this festival: women and mode in the rural world.
\nPOSSIBLE RESEARCH AND CREATION LINES
\n- \; \; \; \; \; \; \; \; \; Rural existentialism: life in a village\, vacuity\, boredom\, solitude\, and ugliness.
\n- \; \; \; \; \; \; \; \; \; Rural mode and marital status: widows\, married\, divorced\, and single women in the rural context.
\n- \; \; \; \; \; \; \; \; \; Revitalization and renovation of popular mode designs and folkloric elements. \;
\n- \; \; \; \; \; \; \; \; \; Harvest and farming modes\, tools\, and times.
\n- \; \; \; \; \; \; \; \; \; Domestication and savagery in rural context.
\n- \; \; \; \; \; \; \; \; \; Design\, materials\, and textures for the rural work mode.
\n- \; \; \; \; \; \; \; \; \; Sustainable mode and rural world.
\n- \; \; \; \; \; \; \; \; \; Feminist and queer rural living and life-styles.
\n- \; \; \; \; \; \; \; \; \; Mode and Sundays in a village.
\n- \; \; \; \; \; \; \; \; \;Rural elegance and power architectures in the rural world: town hall square\, school\, church\, bar\, football court\, cemetery\, fountain. \;
\nPARTICIPATION MODE
\nYou should submit your proposal to the following mail: aroblegordo.manjarres@gmail.com. The Word or PDF document should include the following sections:
\n- \; \; \; \; \; \; \; \; \; Name of the participant
\n- \; \; \; \; \; \; \; \; \; Personal web page (in case that the participant has one)
\n- \; \; \; \; \; \; \; \; \; Institutional affiliation (it is not mandatory\; you can present your work as an independent researcher and creator)
\n- \; \; \; \; \; \; \; \; \; Proposal&rsquo\;s title
\n- \; \; \; \; \; \; \; \; \; Participation format: clothes design\, ornament design\, photography\, video\, theoretical contribution&hellip\;
\n- \; \; \; \; \; \; \; \; \; Explanation and theoretical justification of the design/proposal (up to 400 words)
\n- \; \; \; \; \; \; \; \; \; Short curricular biography (up to 200 words)
\nCLOSING DATE FOR THE RECEIPT OF PROPOSALS: May 15th 2024
\nORGANIZING INSTITUTIONS: Institute of Riojan Studies\, Fat Oak Association Manjarré\;s.
ORGANIZER;CN=Victoria Mateos de Manuel: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Zurich:20240909T090000 DTEND;TZID=Europe/Zurich:20240913T170000 SUMMARY:XII. International Congress of the German Society of Aesthetics – The Media of Art/The Arts of Media UID:20240328T125538Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Zurich LOCATION:Fribourg\, Switzerland DESCRIPTION:So-called 'media art' has been around not only since technical media began to intervene in the art world\; there has never been media-free art. There is no art that does not express itself in certain media\, be it image\, sound\, light\, space or language. There is no art that does not rely on marble and chisel\, colour and canvas\, pen and paper\, sound waves and screen\, bits and bytes. Neither media nor materials are ever external to a work of art\; rather\, aesthetic meaning only arises through the respective medial-material configuration and would be invalid without it. The XII. Congress of the German Society for Aesthetics will focus on the question of the media of the arts: Can the arts be understood differently or better if we look at them in the light of their media? What distinguishes the arts from one another? Does each art genre have its own medium? What does media specificity mean in the tradition\, from Lessing to Greenberg\, and what does it mean today\, in the age of artistic "entanglement" [Verfransung] (Adorno) and of multiple hybrid forms? Modernist attempts to return art to its pure\, illusion-free medium stand in contrast to more recent developments in which intermediality\, cross-over and transmedial practices set new standards. Despite all the invocations of a 'post-medial condition'\, the classic question remains impellent: to what role material qualities play in form-shaping processes and to what extent the different contexts of manifestation influence the circulation of signs.
\nAll DGÄ\; members are invited to submit proposals on this topic\, whether from a historical or contemporary\, systematic or applied perspective. Some topics will be the 'obstinacy' of iconic\, choreographic\, cinematic or architectural artefacts\, to name but a few\, about the analogue/digital difference\, the media prerequisites in the mass production and reproduction of art and about the function of media in dissemination\, commentary and archiving\, right up to their use in the artistic creative processes themselves\, for example in the context of AI-generated art. It will be discussed what consequences this has for classic aesthetic concepts such as originality\, authorship or creativity - does AI art even exist and if so\, how can it be specified? - to the exorbitant ecological footprint of supposedly dematerialised phenomena such as NFT and crypto art.
\nIn this respect\, the focus of the congress is not only on the media in the arts\, but also - in a kind of reverse entanglement - on the function of the arts in context of media. If it is true that aesthetic objects\, situations and events make it particularly easy to understand that form and content\, medium and message cannot be separated from each other\, what insights does this provide for media processes in general? What does it mean for the prevailing transparency paradigm of mediality when works increasingly discover the sensual-aesthetic potential of media that no longer make themselves transparent in favour of what is depicted? Do not other\, previously unseen sides become recognisable precisely in the design features? If all art is to be regarded as media art in this sense\, then it must do so insofar as it works with media in a reflexive and critical way and shows how they work. Art without media is empty\, that much is beyond question\, but conversely\, can it also be said that media without art is blind? The congress provides an opportunity to debate the relevance of aesthetic thinking for mass media societies.
\nWe welcome contributions on the topic of "Media of the Arts / Arts of the Media" from all areas of theoretical and practical aesthetics\, from the perspective of individual arts as well as from media studies and art sociology\, from artistic research\, art education and inter- and transcultural aesthetics.
ORGANIZER;CN=Emmanuel Alloa;CN=Alessandro De Cesaris;CN=Lilian Kroth: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Sofia:20240913T090000 DTEND;TZID=Europe/Sofia:20240915T170000 SUMMARY:Varieties of Representations UID:20240328T125539Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Sofia LOCATION:1504 Sofia\, 15 Tsar Osvoboditel Blvd.\, Sofia\, Bulgaria DESCRIPTION:The Bulgarian Society for Analytic Philosophy together with the Philosophy Department at Sofia University and the Institute for Philosophy and Sociology at Bulgarian Academy of Sciences are pleased to announce a forthcoming conference under the title \;&ldquo\;Varieties of Representations&rdquo\;. The conference will take place on September13-15\, 2024 at Sofia University\, Bulgaria.
\nKeynote Speakers:
\nEdouard Machery (University of Pittsburgh\, USA)
\nBence Nanay (University of Antwerp\, Belgium)
\nOlivia Sultanescu \;(University of Concordia\, Canada)
\nMihailo Antovic (University of Ni&scaron\;\, Serbia)
\nSubmission Guidelines
\nThe conference aims at creating a vision of how novel theories in philosophy\, cognitive science\, linguistics and neurobiology influence our understanding of the concept of representation. We invite abstract submissions addressing any aspect of the topic with special emphasis on reconsideration of representations in light of recent ideas in philosophy and cognitive science.
\nThe submitted abstracts should be between 300 and 500 words. All submissions are to be prepared for a double-blind review. Please submit your abstract with a short biographical note attached in a separate document. All submissions should be suitable for presentation of approximately 20 minutes in length. After each presentation\, speakers will have 10 minutes for Q&\;A. \;Please note that selected papers of the conference will be published in a thematic issue of Balkan Journal of Philosophy\, in 2025.
\nThe deadline for submissions is May 15th\, 2024. Notification of acceptance will be sent until mid-June.
\nPlease submit your proposal at: \;bsap.bg@gmail.com
\nRegistration Deadline: August15th\, 2024
\n \;
\nPlease direct any questions regarding the submission process to Madelaine Angelova-Elchinova at: \;m.angelova-elchinova@phls.uni-sofia.bg
\nThis is an in-person only event.
\nParticipation fee: 15 Euro
ORGANIZER;CN=Madelaine Angelova-Elchinova;CN=Marina Bakalova;CN=Rosen Lutskanov;CN=Danica Rados: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=Europe/Belgrade:20241125T090000 DTEND;TZID=Europe/Belgrade:20241126T170000 SUMMARY:Kant's Critical System UID:20240328T125540Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:Europe/Belgrade LOCATION:University of Rijeka\, Rijeka\, Croatia DESCRIPTION:The aim of the conference is to bring together scholars working in any domain of Kant&rsquo\;s philosophy in order to explore the invaluable and incalculable legacy of Kant&rsquo\;s opus and its impact on development of analytic philosophy. We are interested in exploring the intersection of Kant&rsquo\;s three Critiques in order to understand how they complement\, or contradict\, each other\, and to analyze the systematicity in Kant&rsquo\; philosophical thinking. We also invite papers that deal with less prominent elements of Kant&rsquo\;s system\, such as his anthropology or his theory of education\, in order to explore his influence on development of humanities\, its themes\, methodologies and aims. Furthermore\, we are interested in exploring how Kant&rsquo\;s views impact contemporary scholars&rsquo\; work in areas such as aesthetic education\, cognitive sciences\, moral and political philosophy and psychology.
\nThe conference will take place at the University of Rijeka\, November\, 25th and 26th 2024.
\nParticipants of the conference will be invited to submit their papers to the special issue of the Croatian Journal of Philosophy dedicated to the conference.
\nThe conference will also feature an Author Meets Critics section on Lara Ostarić&rsquo\;s recent book\, The Critique of Judgment and the Unity of Kant's Critical System (Cambridge University Press\, 2023). If you are interested in participating (with a paper)\, please indicate this in your email.
\nWe invite submissions for 30 minute presentations\, followed by 15 minutes of Q&\;A. If you are interested in presenting your work\, please send the title and the abstract of 300 &ndash\; 500 words by June 15th 2024 to Iris Vidmar Jovanović (ividmar@ffri.uniri.hr) Notification of acceptance will be sent out by July 1st. There is no conference fee.The conference is organized as part of the research project Aesthetic Education through Narrative Art and its Relevance for the Humanities.
\nContact person: Iris Vidmar Jovanović (ividmar@ffri.uniri.hr)
ORGANIZER;CN="Iris Vidmar Jovanović": METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20240328T123134Z DTSTART;TZID=America/Chicago:29990101T033000 DTEND;TZID=America/Chicago:29990201T120000 SUMMARY:POSTPONED - Creativity and Improvisation in Thought\, Practice\, and Mind: An Interdisciplinary Conference UID:20240328T125541Z-iCalPlugin-Grails@philevents-web-6f97df9687-7c6q9 TZID:America/Chicago LOCATION:6001 Dodge Street\, Omaha\, United States\, 68182 DESCRIPTION:*Please note that this event has officially been postponed. More information will be made available asap in the near future*
\nMany human cognitive capacities and processes may be deployed creatively\, from unique choices made for oneself up through novel cultural shifts. Similarly\, large swaths of our daily lives are taken up with performing spontaneous\, on-the-fly\, and unplanned activities that are\, in a word\, improvised. \; Charting out the nature of both creativity and improvisation\, taken individually or together\, remains an open and pressing issue. In this conference\, we will delve into various philosophical\, theoretical\, empirical\, and interdisciplinary issues that are related to creativity and improvisation. A non-exhaustive list of related questions and themes for this topic include:
\n- What is the relationship between improvisation and creativity?
\n- What is the relationship between creative activity and well-being?
\n- What is the best way to model individual and collective creativity?
\n- Is creativity in the arts the same thing as in other domains\, such as in science or business?
\n- What are the pros and cons of different scientific operationalizations of creativity and improvisation?
\n- Provide a conceptual analysis of creativity and/or improvisation.
ORGANIZER: METHOD:PUBLISH END:VEVENT END:VCALENDAR