Volume 18. Krystyna Wilkoszewska (ed.). Aesthetics in Action. International Yearbook of Aesthetics. Volume 18. 2014 Content The 18th…More...
University of Cyprus, July 2 – 6, 2012 The Ethical Challenge of Multidisciplinarity: Reconciling ‘The Three Narratives’—Art, Science, and Philosophy
Section I: History, Geography, Science
Workshop Title: Art and Medicine at the Intersection of the Humanities
Chair: Manfred Milz, Asst. Prof. of Art History, Design Theory, and Visual Culture, College of Fine Arts & Design, Randa M. Mostafa, Prof. of Physiology, College of Medicine, University of Sharjah, P.O. Box 27272, Sharjah University City, United Arab Emirates
Phone:+971 6 5057876, Cellular: +971 56 1070644
In recent years there has been growing interest in the relationship of Art and Medicine, as seen, for example, in the medical humanities courses offered in medical schools and by the parallel, yet less marked scholarly attention given to the subject in Art History departments.
As a relatively new field of research, Art and Medicine is situated at the intersection of the humanities, the arts, and healthcare. Distinguishing itself from the more conventional study of the cultural history of medicine, it seeks to explore the role of medicine in the various arts—literature, painting, sculpture, film, performance, music etc.—and concomitantly—to study the role of art in the medical humanities.
The inter- or more correctly, multi-disciplinary, attempt to propose a unifying perspective for the two ‘faculties’—of art and medicine—is based on both historical and modern approaches to their shared theoretical and practical features—cognitive, physiological, psychological, and phenomenological. Beyond the aesthetic notion of art as the creation of beauty, its curative powers, ascribed to its cathartic functions, have been debated since antiquity. If art has direct and indirect healing powers, it cannot but be an integral part of medical training; and, by the same token, themes and concerns of medicine—both particular and general—should gain atten-tion in the study of art history.
The main goal of this workshop is to discuss the current research status of Art and Medicine and historical and contemporary approaches to their joint study.
I invite scholars working in these and related fields to consider presenting a paper on the various aspects—historical, ethical, theoretical, practical etc.—of the issues raised by Art and Medicine at the intersection of the humanities.
Suggested topics include but are not limited to:
- Renaissance Artists Researching Human Anatomy
- Physiognomy, Facial Expression and Personality Structure
- The Divided Self: Idealist Aesthetics / Origins of Psychoanalysis and Modernism
- Self-Images of Artists as Patients: Reflective Psychopathology or Psychosomatics
- Patients’/Artists’ Exterior and Interior Battlefields
- Melancholy – Creativity’s Source and Barrier
- Neuroaesthetics: Neurology and Artistic Creativity
- Artistic Activity and Clinical Care (Expressive Arts Therapies): Enhancement of Psychological and Physical Healing through Literature, Drama, Painting, Sculpture, Music, and Dance
Dutch Association of Aesthetics
March 2 - 3, 2012, KU Leuven
Submissions on all areas of interest in aesthetics and philosophy of art are welcome. Panel proposals must be submitted by January 1, 2012, and must include a brief description of the topic, names of participants, paper titles and abstracts. Papers must be submitted as an abstract (350 words)
Submission deadline: January 15, 2012
Keynote speakers are:
Hilde Heynen (KU Leuven)
Matthew Kieran (University of Leeds)
- Members NGE: 15 euro
- Students, members NGE: free
- Students KU Leuven: free
- Non-members NGE: 50 euro *
- Students, non-KU Leuven, non-members NGE: 20 euro *
* This fee includes membership of NGE for one year
Fellow of the Research Foundation - Flanders Faculty of
Arts & Philosophy Ghent University (Belgium) Blandijnberg 2, 9000 Ghent,
+32 9 264 98 86
Marx and the Aesthetic, University of Amsterdam, May 10-13th, 2012.
Call for papers
The aim of this conference is twofold: on the one hand, to analyse the role of the aesthetic in the writings of Marx and, on the other, to examine works of art and literature which are based on, or have been directly inspired by, Marx’s writings. At the core of this conference, then, is an attempt to think the immanent relation between the aesthetic and emancipatory conceptions of politics.
Previous attempts to make sense of Marx and Engels in terms of aesthetics have either been Marxist in a very broad sense – writing as productive force, aesthetic autonomy as critique of the commodity form, the critique of aesthetic ideologies etc. - or Marxological in a naïve sense i.e., merely assembling in one volume the stray comments on art and literature that pepper Marx's and Engels' writings. The problem with the first attempt is that it simply assumes that there is a prominent lacuna with respect to the aesthetic in Marx himself and that, therefore, Marxian grammar and vocabulary were in need of radical transformation. The failure of the second approach (although these attempts call for reconsideration in their own right, since they are now all about 40 years old) was that it restricted the understanding of "aesthetics" to statements dealing explicitly with art and literature.?
Recent debates concerning the aesthetic (to be distinguished from aesthetics as a discipline), however, have allowed for a different understanding of the field. The aesthetic crosses disciplinary boundaries and cannot be restricted to specific subjects. The aesthetic is a form of thought in which a whole host of complex and interrelated issues are at stake: the orders of mind and matter, the disruptive dynamics of sense perception, expression and of metaphor, the logics of innovation and of “the event,” the indeterminate character of semiotic systems and so on. Aesthetics cannot, therefore, be restricted to art alone and does not even necessarily coincide with it. In other words, the aesthetic is in a constant state of “migration.” Authors like Nancy, Lacoue-Labarthe and Rancière, among others, have pointed out the way in which all radical attempts to theorize the political are profoundly dependent on figures of the aesthetic. The "aesthetico-political" has become a name for all aesthetic dynamics that cross (and confound) the hegemonic orders of reason and the established channels of perception.
Against this backdrop, the entire history of radical political thought must be reconsidered. Socio-philosophical and strategically political claims, which were never originally considered as aesthetic, e.g. Sohn-Rethel’s notion that "Communism is the overcoming of the separation between intellectual and manual labor,” now appear in a new light. ?The texts of Marx himself have not yet been sufficiently interpreted and reconstructed in these terms. And yet in these writings innumerable figures of the aesthetic are, so to speak, at work. From notions of an “aesthetics of production” to the "poetry of the future", from the radical modernism of bourgeois development to the very idea of “free association,” from references to Shakespeare and Dante in the original texts as well as in important translations, to the idea that bourgeois politics is nothing but a theatrical stage, the aesthetic has an undeniably prominent place in Marx's thought. ??
Conversely, Marx’s work has also become extremely rich “raw material” for artistic production. From theatre works on Capital to the Chinese attempt to stage this text as an opera, from Sergej Eisenstein’s and Alexander Kluge's attempts to make a film of Capital to Rainer Ganahl's reading seminars, from the work of Zachary Formwalt and Milena Bonilla to that of Phil Collins: these artists are producing Marx as an “aesthetic event.”
In short, in Marx the aesthetic and the political are immanently related: this conference aims to explore how.
Possible topics include, but are by no means limited to the following:
- Aesthetic Production in the Early Writings
- Marx and Engels as Historians of Literature
- Modernism in the Manifesto
- Aesthetico-Political Associationism
- Aesthetic Form and Commodity Form?
- Marx’s Method and the “Aesthetic Regime of Art”
- Revolutionary Shakespeare
- Monsters and Ghosts
- Eisenstein, Kluge and the Cinematography of Capital
- Staging Capital (Opera, Theatre)
- Brecht’s Communist Manifesto
- Images of Marx in Painting and Sculpture
- The Beauty of Communism
Keynote: Boris Groys (NYU)
Keynote: Terrell Carver (University of Bristol)
Keynote: Jochen Hörisch (Universität Mannheim)
Keynote: Kristin Ross (NYU)
Ruth Sonderegger (Akademe der Bildenden Künste, Wien)
Sven Lütticken (Vrije Universiteit, Amsterdam)
Kati Röttger (Universiteit van Amsterdam)
Josef Früchtl (Universiteit van Amsterdam)
Helmar Schramm (Freie Universität, Berlin)
Clint Burnham (Simon Fraser University, Vancouver)
Gary Teeple (Simon Fraser University, Vancouver)
Nathaniel Boyd (Jan Van Eyck Academie)
Samir Gandesha (Simon Fraser University)
Johan Hartle (Universiteit van Amsterdam)
Daniel Hartley (Justus-Liebig Universität, Giessen)
Universiteit van Amsterdam, Afdeling Wijsbegeerte
Simon Fraser University, Vancouver, Institute of the Humanities
Jan van Eyck Academie, Maastricht
Stedelijk Museum, Amsterdam
Amsterdam School for Cultural Analysis
Duitsland Instituut, Amsterdam
The conference fees will be
25 Euros for students/unwaged participants and
55 Euros for waged participants
Please send your abstract (max. 500 words) including information about institutional affiliation and field of scholarship) before January 31st to
CALL FOR PAPERS:SPSCVA at the APA Eastern Division Meeting
December 27-30, 2011, Marriott Wardman Park, Washington, DC
A reminder that submissions for Volume 16 of Film and Philosophy, a Special Interest Edition on Ethics and Existentialism, are due June 30th.
Most of the papers published in this special number on everyday aesthetics
were presented at the VIII International Summer School of Applied Aesthetics in
June 2008 in Finland. This series of summer schools and summer conferences is
organized by the International Institute of Applied Aesthetics (IIAA), based in
Lahti, Finland. We as the editors of this number are grateful to the IIAA for
giving us the opportunity to put this issue together. We thank all those who
contributed in their many different ways to making the summer school a
Published by Airiti Press.
The Scope of the Symposium
Art and Aesthetic Theories investigate and define the cultural, social and political world
views that are reflected in the works of culture and art that express meanings of human value
through their forms. Until quite recently philosophical aesthetics seemed to be mostly an
attribute of the West. In recent decades, international symposia and publications have shown
the historical and conceptual richness of art and aesthetic theories in the East and in non-
Western cultures. This symposium intends to present these diverse cultural approaches to art
and aesthetics by bringing together scholars from Asia and Europe. Accordingly, it is
observed that the theoretical foundations of contemporary art which is of Western origin are
questioned and that the Asian and Anatolian roots of its aesthetic values are discussed in
terms of creation processes. This symposium will not only deal with these issues from a
historical and contemporary perspective in which Asian, Anatolian and European art and
aesthetic theories are defined but will also try to treat the very important and actual subject of
technology in relation to art and aesthetics.
"Aesthetics, Art and Pornography: An Interdisciplinary Conference." Institute of Philosophy, London, June 16-18, 2011.
The aim of this conference is to investigate, from an interdisciplinary perspective, the artistic status and aesthetic dimension of pornographic pictures, films, and literature.
Is there such a thing as pornographic art? Or are pornography and art mutually exclusive? Can a line be drawn between these two domains of representation? Or is there perhaps some interesting overlap, some common ground worth exploring? To answer these questions certain fundamental issues in the philosophy of art need to be addressed. One cannot hope to critically examine the middle ground between art and pornography without seriously engaging with current research on the definition of art, the nature of aesthetic value, aesthetic experience, aesthetic properties, the relation between art and morality, the psychology of picture perception, and the role of imagination in art. However, more is involved than just an abstract philosophical problem. In the history of art, and especially also in the contemporary world of art (construed in the broadest sense), there are many paintings, photographs, prints, films, poems, short stories, novels and graphic novels which have been labeled `pornographic art'. Any investigation of the artistic status and potential of pornographic representations would not be complete without a careful examination of such works that consciously explore the boundaries between art and pornography.
The conference will bring together philosophers and aestheticians, art historians and film theorists, to explore these topics. This interdisciplinary approach is intended to throw new light on these general questions, and to lead to a more accurate and subtle understanding of the range of representations that incorporate explicit sexual imagery and themes, in both high art and demotic culture, in Western and non-Western contexts.
Scholars East and West are invited to explore the Interre¬lations of Philosophy, Art, and Ethics East/West. Invited Speakers include: Gao Jianping (aesthetics and literary theory), Chinese Academy of Social Sciences); Liu Yuedi (aesthetics, contempo¬rary art theory), Chinese Academy of Social Sciences; Peng Feng (aesthetics, philosophy), Peking University; Wang Chunchen (contemporary art), Central Academy of Fine Arts; Eva Man, (philosophy) Hong Kong Baptist University; Zhou Xian, (aesthet¬ics and literary theory), Nanking University; Liu Chengji (phi-losophy), Beijing Normal University); Cheng Xiangzhan, (aes¬thetics and literary theory), Shandong University; Noel Carroll (aesthetics and ethics), Graduate Center, CUNY; Stephen Davies, (philosophy, aesthetics), University of Auckland; Ivan Gaskell, (art history), Harvard University; John Lysaker, (philosophy), Emory University; Garry Hagberg (aesthetics and ethics), Bard College; Richard Shusterman (philosophy), Florida International University; Jason Wirth, (philosophy, film), Seattle University; and Mary Wiseman (comparative philosophy), CUNY. Papers from the Conference will be published in a book.
Contemporary Relevance of this Conference: The interest in literally all aspects of cultural exchanges between China and the West, from economic and trade concerns to philosophy, art, and ethics, are at the forefront and intersection of pressing contemporary issues. This conference, which brings scholars into cross-cultural conversation, aims to bring forth new insights into the conceptual and social interrelations of philosophy, art, and ethics. Examining these interwoven topics will both contribute to a global appreciation and critical analysis of the worth of philosophy, art, and ethics in Chinese and Western thought.
Opening Keynote Address and Reception: Haggerty Museum,
5:30 pm October 12, 2011
We invite you to consider submitting an abstract for the upcoming
International Congress Image, Imagination, Fantasy. Twenty years without Vilém Flusser
at Universidade Federal de Ouro Preto, Brazil.
The CALL FOR PAPERS & PARTICIPATION for the congress is available:
Please distribute widely.
Vice-President of ABRE - Associacao Brasileira de Estetica
Call for papers from Tropos. Journal of Hermeneutics and Philosophical Criticism. (Directed by Gianni Vattimo & Gaetano Chiurazzi). Tropos invites submissions of papers on topics related to creativity, between philosophy and arts. Guest editors: Alessandro Bertinetto and Alberto Martinengo.
Deadline for subimission: August 31st, 2011.