Previous congresses of the IAA

Previous congresses of the IAA

Congresses

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By Jos de Mul

         I     Berlin (Germany), 1913        II     Paris (France), 1937       III     Venice (Italy), 1956       IV    Athens (Greece), 1960       …

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Volume 18. Krystyna Wilkoszewska (ed.). Aesthetics in Action

Volume 18. Krystyna Wilkoszewska (ed.). Aesthetics in Action

Yearbooks

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By Zoltan

Volume 18. Krystyna Wilkoszewska (ed.). Aesthetics in Action. International Yearbook of Aesthetics. Volume 18. 2014   Content   The 18th…

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ICA 2019 – Belgrade, Serbia, 22-26 July 2019

ICA 2019 – Belgrade, Serbia, 22-26 July 2019

News

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By Zoltan

ANNOUNCEMENT   The 21th International Congress of Aesthetics 2019 (ICA 2019) will be held in Belgrade, Serbia, from July 22…

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The IAA currently consists of  29 collective  members, i.e. national societies for aesthetics, and approximately 600 individual members. The main aim of the IAA is to give institutional recognition to aesthetics as a field of humanistic knowledge, to encourage and promote inquiry into aesthetics, and to disseminate its findings. The IAA does this by publishing the IAA Newsletter (published on this website), an IAA Yearbook (in 2010 volume no. 14 appeared) and organizing international congresses: the last four being those in Rio de Janeiro in 2004, Ankara in 2007, Beijing in 2010, and Krakow in 2013. The  2016 congress will be in Seoul, South Korea. All scholars interested in philosophical or other kinds of aesthetics and in related areas such as art history, comparative literature, musicology, visual arts, cultural studies. etc., are invited to become members of our Association, thus joining a community of aestheticians which has institutionally existed for almost a century.

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Newsletter No.39 is available! You can download it here.

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The International Congress of Aesthetics is held every three years under auspices of the International Association for Aesthetics and is a main event in aesthetics worldwide. The 19th, Jubilee Congress will take place in Krakow, July 21-27, 2013. For additional information, subscription etc., please visit the congress website The final Congress Program is now available!

From the President

Springtime in Beijing was, this year, too short. Short and very busy. Some of our good friends visited here, including Ken-ichi Sasaki, Curtis, Carter and Ales Erjavec, and I was very happy to meet them. I will enjoy seeing all of you in between the regular meetings of our Congresses.

Recently, I have attended several conferences in China and elsewhere. In early April, I went to Hangzhou for a symposium on the theoretic significance of Chinese ink-wash painting hosted by Pan Gongkai. We had a very good discussion there on the famous West Lake garden, a place traditionally called "Paradise on Earth" in China. Our friends, Curtis Carter, Richard Shusterman and Peng Feng, gave excellent presentations there. We also met other scholars including François Jullien and Cheng Chung-ying. Two topics discussed were especially interesting and deserve mention here: first, the physical brushwork as the traces of human action to signify the feeling and emotion, or states of mind of the painters, and second, the brushwork as the evidence of the painter's character as a morally exemplary human being. These two concepts represent two interrelated ways of thinking about and interpreting Chinese ink-wash painting.

A little later in April, I went to Chengdu (The city where many of us met in 2006. I hope you still remember this city where the Executive Committee meeting of IAA voted to approve Beijing as the venue for the 2010 IAA Congress). At this 2014 Chengdu conference, two key concepts attracted the attention of the participants. First, contemporary literary theory and secondly, its trans-cultural travel. "Contemporary" and "contemporarity" are important concepts because people are considering the possibilities to go beyond the post-modern and post-modernism. The introduction of so many different theories into China has contributed to confusion among Chinese scholars. They now wish to return to their own ways of living and artistic practices. Their aim is to find possibilities for focusing on their own practices while continuing to introduce the theories from abroad. Secondly, the matter of the trans-cultural travel of theories is important. During the 20th century, many theories have become influential internationally. Most of them originated from Europe and became internationally influential by way of their  reception and development in the USA. Now, as theories travel to China, it is hoped that their reception and development here can become theoretically significant and fruitful in the future as well.