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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
Dear Colleagues and Candidates for Young Scholar Award,
I am pleased to announce that the deadline for the application for Young Scholar Award has been extended till 20 May 2016.
The Organisers of ICA 2016 Seoul encourage all interested colleagues to submit their paper for consideration.
Please, find further info on the submission criteria here, or by clicking on this link:
Call for Papers and Panels: Engagement: Symposium for Philosophy of Dance and Performance
We invite scholars to submit abstracts for an interdisciplinary symposium investigating philosophy and dance. Featuring live performances and keynote speakers from the fields of ballet, modern, and popular dance, aesthetics, philosophy of art, dance theory, choreography, and multi-media dance; the symposium will also include interdisciplinary panels for scholars, practitioners, and students, and will result in a book and two special issues of scholarly journals. Invited keynote speakers include, Julie Van Camp, Arnold Berleant, Richard Shustermann, Robert Crease, and Barbara Montero. The performing dance companies will be Mark Morris Dance Company (Brooklyn, New York), Erick Hawkins Dance Company (NYC, New York), and ARCOS (Austin, Texas).
We plan an exploration of aspects of dance that impact our understanding of what it means to be a human being, through discussion and dialogue as well as practice and performance. There will be workshops and master-class sessions held in conjunction with the symposium.
Please note: We invite individual papers, as well as panels of professors and students.
Papers are to be limited to 20 minutes to allow time for discussion. Please submit a 250-300 word abstract, and a CV or professional bio.
Panels will be scheduled for 1-hour, and can include 3-5 participants. Please submit a 500-600 word abstract of your topic and panel, along with the names and short bios or CVs of panel participants.
What: Engagement: Symposium for Philosophy of Dance and Performance Where: Texas State University, San Marcos, Texas
When: September 8 - 10, 2016
Submit Proposals and Learn More: www.txstate.edu/philosophy/SymposiumPhilosophyDancePerformance.html
Submission Deadline June 1, 2016
Current Sponsors: Texas State University Division of Dance, Texas State University Department of Philosophy, Texas State University College of Fine Arts and Communication, and the American Society for Aesthetics.
CALL FOR PROPOSALS EDITOR OF THE IAA YEARBOOK
THE PUBLICATIONS COMMITTEE OF THE INTERNATIONAL ASSOCIATION FOR AESTHETICS
INVITES PROPOSALS FOR EDITOR OF THE YEARBOOK OF THE INTERNATIONAL ASSOCIATION FOR AESTHETICS VOLUME 19
The topic is open to any subject relevant to international scholarship in Aesthetics.
Please submit proposals to the the IAA Publications Committee for consideration of the IAA Executive Committee meeting by June 1, 2016.
Proposals recommended by the Publications committee will be reviewed at the Executive Committee of IAA at their meeting in July 2016.
Proposals to include:
Subject of the proposed Volume
Tentative list of proposed Authors
Name, Curriculum Vitae, and Institutional Affiliation of Editor
Source of Institutional Support
Department of Philosophy Marquette University 1217 West Wisconsin Avenue, Milwaukee, Wisconsin 54233 USA
See Attached Policy Statement
The fifth volume of the ICA Cracow 2013 proceedings, titled “Transacting Aesthetics”, edited by Sebastian Stankiewicz will appear online soon. The volume will contain the contributions of the following authors:
Sebastian Stankiewicz, Adam Dzidowski, Scott Contreras-Koterbay, Lukasz Mirocha, Collin Pointon, Hülya Toksöz Sahiner, Malgorzata Szyszkowska, Pol Capdevila, Norihide Mori, Elzbieta Staniszewska, Vladimir Konecni, Jakub Votroubek, Carolyn Korsmeyer, Adam Chmielewski, Takashi Sugiyama, Heon Kim, Ksenia Fedorova, Saša Hrnjez, Katya Mandoki, Piotr Mróz, James Garrison, Ariyuki Kondo, Eleni Leontsini, Jia Chen, Elena Tavani, Vera Stegman, Yoko Tsuchiyama, Miri Isaka
Call for Papers
The Nordic Society of Aesthetics Annual Conference
26-28 May 2016
Uppsala University (Sweden)
Philosophy, Imagination, and the Arts
Noel Carroll (CUNY Graduate Center)
Stacie Friend (Birkbeck College, University of London)
Jason Gaiger (The Ruskin School of Art, University of Oxford)
Lydia Goehr (Columbia University)
From whichever perspective we approach the realm of the arts, the imagination has long been considered central to our experience and understanding of it. In some contexts, the purposeful exercise of the imagination is held to be intimately bound up with the role of art and thus also with why we value it in the first place. But has this link between the imagination and the arts come to be felt so surely that we have begun to under-theorize it and take it for granted?
There are at least two pressing reasons to re-examine the relation between the imagination and the arts. First, in the last couple of decades, considerable progress has been made in our understanding of the imagination and its applications. Developments in the philosophy of mind, for example, have equipped us not only with a taxonomy of several different kinds of imagination, but also an enhanced grasp of how the imagination feeds into creativity, mental imagery and our general cognitive architecture. But have these advances been sufficiently introduced into the discourse of aesthetics? Do practitioners, theorists and philosophers working in the arts need to look more closely at our concepts of the imagination?
Second, much 21st-century art challenges our imagination in new and often uncharted ways. How should we approach today’s artworks and with what tools do we best appreciate it? Does the imagination play an increased, decreased or simply different role in the art of today, and how might such changes necessitate revisions to the concepts of art with which we operate in practice and theory? Does the imagination play a different kind of role in different kinds of art and, if so, what are the ramifications for theories purporting to unify the arts?
Proposals for papers on these and other questions related to the theme of Philosophy, Imagination and the Arts are warmly invited.
Conference venue: Department of Philosophy, Uppsala University, Sweden.
Notification of acceptance: 1st April 2015.
Non-presenting participants are also welcome. (NB Please register before 1st May 2016.)
For more information: http://www.filosofi.uu.se/research/conferences-and-workshops/#2016