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...
Zoltán Somhegyi (ed.). Retracing the past. Historical continuity in aesthetics from a global perspective International Yearbook of Aesthetics. Volume 19. 2017…More...
A still increasing interest in aesthetics and also diversity and complexity of aesthetic studies can be noticed over the last couple of decades. The volume title, Transacting Aesthetics, emphasizes something active, dynamic, interactive, operative, participative, but also something what is malleable or in action, in progress, undergoing operations and whose boundaries cannot be circumscribed. Emergence of new scientific tools and methodologies, new artistic and aesthetic phenomena and/or new sources of aesthetic reflection make aesthetics an interdisciplinary or transdisciplinary sphere, wherein disciplinary convergences are privileged; reshaping the domain into a field being subjected to permanent transacting.
Jagiellonian University, Cracow, Poland
No refunds will be granted for withdrawals after this date.
Young Scholar Awards
Juhan Yoon, Seoul National University, Korea, Cognitive Value and Artistic Value of Fictional Narrative Art
Kunhong Choi, Seoul National University, Korea, Aesthetic Particularism and Presumptive Justifications
Sung, Ji Eun, Virginia Commonwealth University, USA, Thwarted Utopia: Kim Ku-lim’s Experiment on Modern Art and Life
Yuan-chieh Yang, University of Alberta, Canada, Emotion, Accessibility, and Mass Art
Hu, Xiaoyan, The University of Liverpool, England, Beyond Representation: Reconsidering Loehr’s Periodisation of Chinese Painting
Keunchang Oh, Purdue University, USA, Judgment and Frame: Two Key Concepts for Deconstructing Kantian Aesthetics
Moonyoung Song, University of Maryland, USA, Anti-intentionalism about Musical Expressiveness
Niels van Poecke, Erasmus University of Rotterdam, the Netherlands, Conversation with the Blues: on the tragic aspects of American blues music
Marie Moriguchi, Kansai University, Japan, A Drastic Change in the Shading Techniques by Renoir
Rui Li, Peking University, PRC, Surpassing Realism – Reconstructing the Film Aesthetics of Andre Bazin
Alexey Aliyev, University of Maryland, USA, What Is a Novel?
Jane Lee, The University of Tokyo, Japan, Redefining Expressivity of Postmodern Dance
Katerina Parizkova, Masaryk University, Czech Republic, The Significance of Silence and Non-sense in Appreciation of Nature
Yi-Ting Wang, University of Paris 8, France, Resiting and reformulating – mixed territorial aesthetics in Taiwan
Yukirou Murai, Kyoto University, Japan, Unison trills and chromatics in Litzt’s transcription of Schubert’s Wanderer-Fantasie – Tracing Alkan’s influence in an intertextual/medial realm
Maria Romakina, Lomonosov Moscow State University, Russia, Six Heads, Three Legs, Four Torsos: the Hybrid Human Body in Kaleidoscopic Photography and Video Projects
Ruijing Zhang, Chinese Academy of Social Sciences, PRC, The Role of Emotion in Dewey’s Expression Theory
Wang Shuo, Peking University, PRC, Zen Buddhism and Chinese Contemporary Abstract Art
Jongju Park, Seoul National University, Korea, Internet and Public Art: A Preliminary Sketch
Eunyoung Chang, Seoul National University, Korea, The perception of the specificity of a painter and a painting in the late Joseon Dynasty
New Ontologies of Art
University of Warsaw
14th - 16th December, 2016
Tiziana Andina (University of Turin)
Arto Haapala (University of Helsinki)
Jason Gaiger (University of Oxford)
The aim of this conference is to shed light on the role of ontology in contemporary aesthetics and the philosophy of art. Ontology of art is flourishing, with a plethora of papers appearing each year dedicated to this area. It is commonly believed that ontology of art is the main field in aesthetics. This is not surprising since many (if not all) aesthetic questions presuppose some level of ontological inquiry. On the other hand, lasting achievements in this area have proved elusive. The artworld constantly brings forth new art objects and practices that undermine established ontological categories and concepts. This indisputable fact is a trigger for new investigations within and beyond traditionally understood ontology of art. We warmly invite papers that reconsider the value and methods of ontology of art – broadly understood – by exploring new concepts and fields of inquiry.
No specific methodology or philosophical orientation is required in submissions.
Do we (still) need ontology of art?
How can ontology of art help in understanding or experiencing artworks?
New concepts and/or methods in ontology of art.
The ontology of emerging art forms.
The descriptivism/revisionism debate in ontology of art.
Ontology of art influenced by other disciplines such as law or science.
The conference fee for both established academics and PhD students is 20 Euros. There is also a separate (optional) fee for the conference dinner of 40 Euros.
Organizer: Adam Andrzejewski