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Figural uniquely offers a platform for scholars and workers of the humanities and the arts as well as the social and natural sciences to publish sayings and apophthegms that express aesthetic concerns or relate to aesthetic issues. The word "aesthetic” is not here restricted to some vague idea of beauty or formal matters; rather, the aesthetic refers to the experience of meaning (as in Hans-Georg Gadamer’s interpretation) at the crossroads of culture and sense perception (as implied in the ancient Greek etymology of the word – aisthesis). Our conception of the aesthetic goes therefore beyond the narrowing field defined by 18th century Europe.
Of course, the appearance and style of aphorisms, or any writing for that matter, are essential but only inasmuch as form and content become indistinguishable. What we care about is the Way that goes beyond skill, as Chuang Tzu would have it. We are interested in aesthetic aphorisms that find thoughtful ways to express perceptual experiences of the reality of this world and to renew such a reality through creative imagination.
The publication series does not aim at providing theoretical explanatory models or narratives of any kind; instead, we seek to publish aphorisms that are neither abstract nor figurative, but “figural,” as Gilles Deleuze defined the word when referring to painting in his Francis Bacon (1981) – aphorisms that are thought, written, and hopefully read as such.
We are pleased to announce that the work of choosing candidates of Young Scholar Awards has come to a conclusion. The following ten papers are chosen by a committee to be the winners of the awards. We herewith send our congratulations to them. Each of the winners will get 500 USD to support their trip to the 19th International Congress of Aesthetics in Krakow.
With best wishes,
Curtis Carter, President
Gao Jianping, Secretary General
Zhen Yang, “Can Gustatory Sense Be Aesthetic?” (China)
Ji Un Lee, “Digital Art” (Korea)
Barbora Bakošová, “Environmentally Engaged Art/Science Collaboration” (Masaryk University, Czech Republic)
James Garrison, “The Aesthetic Life of Power” (University of Vienna, Department of Philosophy, Austria)
Gloria Luque Moya, “Continuity between Art and Life” (University of Granada, Spain)
Sasa Hrnjez, “Kant’s Sublime” (University of Turin, Italy)
Sanna Lehtinen, “Personal Space and Everyday Aesthetic Experience” (University of Helsinki, Finland)
Cristian Hainic, “Proceduralism Heidegger” (Babes-Bolyai University of Cluj-Napoca, Romania)
Alan Elias Solis Serrano, “On Two Problems for Textualism” (Biola University, USA)
Laura Menatti, “Geophilosophy: Nature and Landscape” (University of The Basque, Spain)
The Department of Philosophy, Classics, History of Arts and Ideas welcome you to the 2013 Annual Conference of the Nordic Society for Aesthetics. The theme of the conference is “Gesture” and it will take place at the University of Oslo from May 30 – June 1, (Thursday noon through Saturday evening).
The use of gesticulation has always been a means by which human beings have expressed themselves. Being bodily rather than conceptual, its logos lie outside language. Within the fields of art and aesthetics, gesture implies an opening process as a distinctive way of cognition as well as an approach to the particular qualities of artworks. While Jean-François Lyotard associates the artwork with the processuality of gesture, Roland Barthes thinks gesture in terms of the event, and its production of effects, thus seeing gesture at once as a part of the artwork and as transgressing the work “itself”. For Theodor Adorno the gestural in music was a central topic and Ludwig Wittgenstein spoke of architecture as a gesture. Part of our aesthetic experience and of our “answer” to artworks is always gestural.
YOUNG SCHOLARS AWARDS
Curtis L. Carter, President
Gao Jianping, Secretary General
CALL FOR PAPERS
Contemporary Aesthetics is an international, interdisciplinary, online journal of contemporary theory, research, and application in aesthetics.
Contemporary Aesthetics (CA) is an international, interdisciplinary, peer- and blind-reviewed online journal of contemporary theory, research, and application in aesthetics. Contemporary Aesthetics has begun its tenth annual volume and invites submissions of articles that bear directly on contemporary aesthetic theory and concerns, as well as current reassessments of traditional issues. Articles that are primarily historical or that focus on particular art works or individual artists are not appropriate to the mission of this journal. The discussion should be accessible to an audience across disciplines and promote conversation across fields and practices. We welcome the use of visual images, auditory, or video clips to illustrate the text. The length of articles is normally no greater than 5,000 words but should not exceed 7,000 words, including an abstract and notes. Please go to http://www.contempaesthetics.org/pages/guidelines.html for more information about requirements, formatting, and guidelines for submission.
Charles University, Prague, Czech Republic, 17 – 19 June 2013
Submission deadline: 31st of January, 2013
The European Society for Aesthetics would like to invite you to submit a paper for presentation at the ESA Conference 2013. The conference will be co-organised by the ESA and the Faculty of Arts, Charles University in Prague and will take place in Prague from the 17th of June (morning) until the 19th of June 2013 (evening)
Edited by Fotis Jannidis, Gerhard Lauer and Simone Winko
Published by de Gruyter
The Journal of Literary Theory invites contributions for Vol. 7, No. 2 (2013)
SPECIAL ISSUE: AUTHENTICITY
CALL FOR PAPERS
“Values in the Environment – Relations and Conflicts”
The X IIAA International Summer Conference on Environmental Aesthetics
Lahti, Finland, 1.8.-3.8.2013.
The International Institute of Applied Aesthetics (IIAA) will arrange the X Summer Conference on Environmental Aesthetics in Lahti, Finland, 1.8.-3.8.2013. The theme of the conference is “Values in the Environment – Relations and Conflicts “
Environments are arenas for different sorts of values. Environments are valued for their beauty and aesthetic experiences they afford, but there are also moral and ecological values that need to be taken into consideration, for example, in decision-making concerning particular areas both in human and in natural environments.
Different values can also come into conflict with one another. The ecologically best environment is not necessarily the most valuable environment from an aesthetic point of view. How should the weight of the different values present in environments be assessed? Is aesthetic value in some ways inferior to other sorts of values or could aesthetic value perhaps serve as a reason for preserving parts of the environment?
There is also an interesting question about the possibility of aesthetically appreciating damaged environments. How does the morally questionable background of an environment affect its aesthetic value? Can a mine or a quarry, for example, be considered beautiful?
The value of natural environments and green spaces in urban environments on promoting human well-being has also been increasingly recognized. How should these results be taken into account in urban planning? One increasing challenge faced by urban planning is the development of more environmentally sustainable cities. Could aesthetics in some ways aid in achieving this goal?
Last July, Spain hosted the 5th Edition of the Mediterranean Congress of Aesthetics. Entitled “Art, Emotion, and Value”, it was organized by both the University of Murcia and the Technical University of Cartagena and took place in the campus of the latter. The venue of the conference was particularly unique: the old Navy Training Barracks, a stunning old military building which has recently been refurbished. Its huge windows and awnings provoked games of light and shadow in the best tradition of Mediterranean architecture, and so created a singular atmosphere that drew the admiration of all the participants. The plenary room offered impressive views over the city harbour, which could also be enjoyed in a pleasant rest room where the debates continued over the beautiful sea view. What is more, the building had a charming interior patio covered by geometrically shaped awnings where the welcome dinner and breaks were hosted.
The choice of venue was one of the many correct decisions of the Organizing Committee, all from the area of Aesthetics and Theory of Arts (University of Murcia) in collaboration with the College of Architecture and Building Engineering of the Technical University of Cartagena. They not only dealt efficiently with all the practical issues but also hosted the visitors with kind hospitality, which favoured a friendly and relaxed atmosphere. During the official Opening session, professor Dyonisis A. Zivas, from the National Technical University of Athens, and organizer of the First edition of the Congress in Greece in year 2000, thanked Matilde Carrasco and the rest of the Organizing Committee for their efforts in giving continuity to an initiative that aims to reinforce the cultural relations shared by the diverse peoples of the Mediterranean for thousands of years.
Following the line of the previous encounters, and given that the common link is a geographical space and not a particular language, the Congress had English, French, and Spanish as official languages. The participants came from various countries of the South of Europe, the North of Africa and the Middle East, but there were also people from Brazil, Canada, USA, Switzerland, or the Czech Republic, which confirms the drawing power and the consolidation of these encounters beyond the natural boundaries of the Mediterranean. This geographical diversity was combined with the multi-disciplined nature of the conference as philosophers, historians of art, researchers from communication sciences or theatre, and artists attended. It should be emphasized that many young researchers, new doctors and PhD. students participated, giving vitality to the discussions.
The Congress lasted five days, however, the large quantity of papers forced their organization in three parallel sessions and so demanded of the participants a similar division that consequently fragmented the debate. This might be the only regrettable aspect of the conference and far from being exclusive to this event, it is currently a problem in most international meetings, which could be even more serious in other more crowded fields of knowledge. We will have to learn to deal with this difficulty to reap the benefits of internationalization and multidisciplinarity.
The subject of the congress, “Art, Emotion and Value”, led to two main kinds of discussion in particular. On the one hand, the issue of the relation between art, ethics and politics, a wide debate in which many people work nowadays and which is attracting more all the time. The relation between art and politics was the main subject, for example, in the last conference organized by the Nordic Society for Aesthetics, hold last spring in Copenhagen, and it will be of others already planned for 2012. On the other hand, there was the relation between art and emotions: the analysis of the emotions expressed by artworks and the emotional responses of the public to art, a line in which the researchers of the Area of Aesthetics and Theory of Art from the University of Murcia have been working hard on for many years. However, besides these two principal issues, other papers focused on aesthetic experience and judgement, aesthetics of nature, the analysis of the role of senses in aesthetic appreciation, and so on.