Volume 18. Krystyna Wilkoszewska (ed.). Aesthetics in Action. International Yearbook of Aesthetics. Volume 18. 2014 Content The 18th…More...
"Aesthetics and Mass Culture" Proceedings of the 20th International Congress of Aesthetics Seoul National University, Seoul, Korea Organised by the…More...
Gimme Shelter. Global discourses in aesthetics contains a series of reflections on the impact of globalization on the arts and the aesthetic reflection on the arts. The authors – fifteen distinguished aestheticians from all over the world - discuss a variety of aesthetic questions brought forth by the aforementioned process of globalization. How do artistic practices and aesthetic experiences change in response to these developments? How should we articulate these changes on the theoretical level? When reflections on the significance of art and aesthetic experiences can no longer pretend to be universal, is it still possible to lay claim to a wider validity than merely that of one’s own particular culture? What type of vocabulary allows for mutual – dialogical or even polylogical – exchanges and understandings when different traditions meet, without obliterating local differences? Is there a possibility for a creative re-description of globalization? And is there a meaning of ‘the global’ that cannot be reduced to universalism and unification? Can we seek shelter in a legitimate way?
Jos de Mul is professor of Man and Culture at Erasmus University Rotterdam. He has also taught at the University of Michigan (Ann Arbor) and Fudan Univer- sity (Shanghai), and has been visiting fellow at the Institute for Advanced Study in Princeton. From 2007 until 2010 he was the President of the International Associa- tion of Aesthetics. His work is on the interface of philosophical anthropology (and its history), aesthetics, and philosophy of technology. English publications include: Romantic Desire in (Post)Modern Art and Philosophy (State University of New York Press, 1999), The Tragedy of Finitude. Dilthey’s Hermeneutics of Life (Yale Univer- sity Press, 2004), Cyberspace Odyssey. Towards a Virtual Ontology and Anthropology (Cambridge Scholars Publishing, 2010), and Destiny Domesticated. The Rebirth of Tragedy out of the Spirit of Technology (State University of New York Press, 2013). His work has been translated in more than a dozen languages. An extended CV and publication list is available at www.demul.nl.
Renée van de Vall is professor in Art and Media at Maastricht University where she is chair of the Department of Arts & Literature. She has been president of the Dutch Association for Aesthetics (2002-2006) and is currently Dutch delegate in the Executive Committee of the IAA. Her research interests are philosophical aesthetics and the phenomenology of contemporary visual art and spectatorship. She currently leads an interdisciplinary research project on the theory and ethics of the conservation of contemporary art. Some recent publications are At the Edges of Vision. A Phenomenological Aesthetics of Contemporary Spectatorship (2008); ‘A Penny For Your Thoughts. Brain-scans and the Mediation of Subjective Embodi- ment’ in R. van de Vall & R. Zwijnenberg (eds.) The Body Within: Art, Medicine and Visualisation (2009); and ‘Towards a Theory and Ethics for the Conservation of Contemporary Art’ in Art d’aujourd’hui – patrimoine de demain. Conservation et restauration des oeuvres contemporaines. (2009).
The following Guidelines are intended for the organizers of an International Congress for Aesthetics (ICA). Their aim is to enable such organizers to follow common procedures and make similar decisions concerning various recurring issues. They are to be read and interpreted in conjunction with the IAA Constitution.
(1) The aim of the ICA is the international exchange of ideas and the promotion of aesthetics.
(2) An ICA takes place every three or four years (see the IAA Constitution, Article V).
(3) An ICA is organized by an ICA Organizing Committee chosen by a member society for aesthetics or a group of individuals (in countries or regions without national or regional societies). The formal proposals to host and organize an ICA are made to the IAA Executive Committee which then selects among the proposals. The IAA Executive Committee may choose more than one proposal for an ICA but should in such a case also decide on the sequence of the ICAs.
(4) From the time of the selection of a proposal to host and organize an ICA until its realization the ICA Liaison Committee (appointed by the IAA Executive Committee and chaired by the president of the ICA Liaison Committee) serves as the main link between the ICA Organizing Committee and the IAA Executive Committee (see the IAA Constitution, Article V).
(5) In the case of a meeting of the IAA Executive Committee in the period between two ICAs, at such a meeting the representative of the ICA Organizing Committee shall report to the IAA Executive Committee on the preparations of the ICA.
(6) During the preparation of an ICA it is advisable for the ICA Organizing Committee to retain close contact with the IAA President, the IAA Secretary-General, and the IAA Executive Committee, so as to allow for additional continuous communication with the IAA.
(7) The advisable duration of an ICA is five days.
(8) An ICA is an international congress, so an appropriate number of invited speakers (at least two thirds) should be international scholars and from countries others than the host country.
(9) There are no official languages at an ICA, although it has been the custom to have English, French and German as the languages of individual ICAs.
(10)An ICA consists primarily of plenary sessions and sections. Sometimes round tables, panel discussions and conferences on individual topics are also included as integral parts of the official program. Such and related decisions are made autonomously by the ICA Organizing Committee.
(11) The ICA Organizing Committee chooses plenary and other speakers.
(12) It is a custom that during an ICA cultural events related to the venue of the ICA and the topic of the ICA are organized by the ICA organizers.
(13) The IAA Executive Committee may offer recommendations to the ICA Organizing Committee as concerns the preparations of an ICA.
(14) The ICA program must include the list of the IAA officers. The outgoing ICA officers are the official officers and representatives of the IAA until the General Meeting of the IAA (which takes place during an ICA). It is then that the incoming IAA officers take over the leadership of the IAA.
(15) The outgoing IAA President gives the opening address at the ICA.
(16) The ICA Organizing Committee schedules at least two IAA Meetings during the days the congress takes place.
(17) It is the duty of the ICA organizers to assure the publication of ICA Proceedings.
(18) It is the duty of the ICA organizers to collect the IAA membership fee for the period from one ICA to another from the ICA participants at the time when the latter pay the ICA registration fee.
(19) The registration fee is decided upon by the ICA Organizing Committee. It is advisable that it also includes, free of extra charge, the ICA Proceedings.
(20) The Honorary Presidents and Honorary Life Members of the IAA are exempt from paying the ICA registration fee. The ICA Organizing Committee is advised, if so requested, to offer a reasonable financial assistance to such persons so that they can attend the ICA.
(21) The IAA carries no financial or other responsibilities for the execution of an ICA.
(22) The ICA Organizing Committee is not financially responsible to the IAA but to those who finance its activities.
Please note that the membership rate is $ 30 for three years.
Membership rate for students for three years is $15
n.b. Those who participate in the International Congresses of the IAA (which are held every three years, the next one will be in Krakow in 2013) are automatically member of the IAA, as the fee for the three year membership of the IAA ($ 30) is included in the congress fee.
Next to the journals published by the National Societies of Aesthetics, this list also contains the names of journals in the domain of aesthetics and philosophy of art edited by individual members of the IAA, as well as journals of other organizations.
The International Association of Aesthetics/Association Internationale d’Esthétique formally came into existence in 1988 at the XIth International Congress of Aesthetics in Nottingham, England. However, the history of international association in aesthetics goes back many years. It began with the First International Congress of Aesthetics organized by Max Dessoir in Berlin in 1913. A second congress took place in Paris in 1937. Interrupted by the Second World War, the congresses resumed in 1956, when the third congress was held in Venice. From that time until 1992 with the meeting in Madrid, congresses took place at four-year intervals: in Athens in 1960, Amsterdam in 1964, Upsala in 1968, Bucharest in 1972, Darmstadt in 1976, Dubrovnik in 1980, Montreal in 1984, and in Nottingham in 1988.
Before 1984 these meetings were arranged by the Comité International d'Esthétique. Its members included many of the most eminent scholars in aesthetics representing countries with a strong tradition in aesthetics, including France, Germany, the United Kingdom, Italy, Poland, Japan, and the United States. At various times the Comité included Etienne Souriau, Mikel Dufrenne, Harold Osborne, Luigi Pareyson, Tonomobu Imamichi, Milan Damnjanovic, Thomas Munro, and many other distinguished scholars.
As interest in aesthetics increased throughout the world, this committee, which was self-appointed and self-perpetuating, became at the same time less active and unable to respond to the needs of the growing community of aestheticians. At the IXth International Congress in 1980 in Dubrovnik, the decision was made to establish an international association. A committee, partly appointed by the Comité and partly elected by the delegates present, was charged with drafting a constitution. The work of that committee was presented at the next congress at Montreal in 1984. A constitution that included membership for both national societies and individual scholars was adopted by the delegates present, and a provisional Executive Committee was elected to begin organizing the Association. Harold Osborne, who had been a member of the Comité and was instrumental in encouraging the organization of an international association, became our first President, planning was begun for future congresses and proposals made for additional activities of the Association. He has since been followed in office by Göran Hermerén, Arnold Berleant, Aleš Erjavec, Ken-ichi Sasaki, Heinz Paetzold, Jos de Mul, Curtis Carter and Gao Jianping.
Since the election of officers at its formal inauguration in 1988, the IAA/AIE has carried on its activities on a regular basis. It has continued to organize international congresses, following the meeting in Nottingham with a congress in Madrid in 1992. Increasing interest in aesthetics and a greater concern for international communication and association led the Association to enlarge the geographical scope of the congresses and to arrange them at three-year intervals, first in Lahti, Finland in 1995, in Ljubljana, Slovenia in 1998, in Tokyo, Japan in 2001, Rio de Janeiro, Brazil in 2004, Ankara, Turkey in 2007, Beijing, China in 2010, Krakow, Poland in 2013 and Seoul, Korea in 2016. The Association also expanded its activities to include publication of the IAA Newsletter and, beginning in 1996, the International Yearbook of Aesthetics. In 2019, the international congress will be held in Belgrade, Serbia.