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Belo Horizonte, Faculty of Philosophy and Human Sciences [FAFICH] of UFMG, October 13-16, 2015
:: Professor Cíntia Vieira da Silva [UFOP]
:: Professor Débora Pazzeto Ferreira [CEFET/MG]
:: Professor Giorgia Cecchinato [UFMG]
:: Professor Rachel Costa [Escola Guignard/UEMG]
:: Professor Rodrigo Duarte [UFMG]
:: Professor Verlaine Freitas [UFMG – coordinator]
:: Professor Virginia Figueiredo [UFMG]
:: Graduate Program of Philosophy, Federal University of Minas Gerais [UFMG]
:: Graduate Program of Aesthetics and Philosophy of Art, Federal University of Ouro Preto [UFOP]
:: Brazilian Association of Aesthetics [ABRE]
The 12th International Congress of Aesthetics- Brazil will bring into discussion three significant concepts in the panorama of philosophical reflection about art (and nature): the tragedy, the sublime, and melancholy. All three indicate contradictory movements of overtaking and surpassing the negative link between subject and object, giving origin to a great new fortune of criticism in the tradition of philosophical writings about aesthetic phenomena, from the Greek period to present day.
It was Schelling that asked how Greek reason could bear the contradictions of Greek tragedy. It was inevitable that the philosopher’s curiosity investigate the strange pleasure that humans have with fear and passion, which are undeniably painful passions. The first systematic formula of this contradictory pleasure appeared in Aristotle’s Poetics, described as catharsis. Before this, Plato had condemned the tragedy to irresistible attraction that it produced in people. In the late18th and early 19th century, especially in Germany, the ‘modern’ interpretation of tragedy was intensified, particularly in the works of philosophers such as that of Schiller, Hegel, Schopenhauer, and Nietzsche. Even today, the importance of this concept cannot be denied in our contemporary concept, as seen in Adorno, Benjamin, and Heidegger.
The controversies generated by the philosophical appropriation of a theatre ‘genre’ were not few. For some authors, as is the case of Jacques Taminiaux, it consists of a sort of ‘deviation’ in direction of the ontological, ignoring the dimension of action (praxis) that was in play in the Aristotelian concept of tragedy. For his part, Peter Szondi put forth a very original thesis: the tragedy provided the origin and the matrix of dialectic thinking. Finally, Phillipe Lacoue-Labarthe, in his interpretation of the theater of Hölderlin (whose contribution to the thinking of tragedy is, to a certain extent, unsurpassable), concluded that the sublime, this art or the theory of modern art, is perhaps nothing more than a re-creation of the tragedy.
Quite similar to that contradictory pleasure was one of the definitions that Schiller offered us of the sublime, as “serenity in the face of pain”, a feeling justified by him due to intensity of painful emotions. Therefore, it is the vivacity and intensity of representations that unleash suffering upon us, which is the very motive that gives us pleasure.
Just as with the tragedy, we can also say that the Sublime has a double origin: the first was in the third century of the Christian era, when the rhetorician Longinus wrote a treaty “On the sublime” (Peri Hupsous). In that period, it was directed towards the artist and the work, not at the general concept of beauty, for this reason Poetics and Rhetorics were written, and not Aesthetics. Longinus was exclusively concerned on training the orators of the most efficient manner to impact their ‘audience’. The second origin of the sublime was in the late 17th and early 18th century, in Classical France, when in 1674 the writer and art critic, Nicolas Boileau, known for his conservatism, alleged Boileau-Despréaux, published, along with his The Art of Poetry, a surprising translation of the treatise of Longinus. This, very likely, provoked the reappearance of the sublime in reflections of art, making it return to be, as Jean-Luc Nancy would say, ‘in fashion’.
The sublime left France as a product of Classical rationalism and arrived in Dublin already totally transformed by a sensualist and empiricist aesthetics. In 1757, the Irishmen Edmund Burke published his famous Philosophical Enquiry into the origin of our ideas of the sublime and beautiful. As could have been predicted, all of these adventures resulted in a strengthening of the question of the sublime, which, returning to the continent (European and ‘metaphysical’, but was ready to produce its ‘Critique’), only caused it to grow and solidify. For this reason, in 1790, when Kant published his Critique of the Power of Judgment, which with the reflections appears as systematized and divided into two contrasting analytical accounts: of Beauty and of the Sublime. If beauty is associated with ‘disinterested pleasure’, the sublime is characterized by a contradictory sentiment, marked equally by pleasure and displeasure. If beauty indicates a soothing feeling of harmony between man and nature, the sublime shows an enemy nature, an adversary to men that physically frights him. If beauty is a sentiment of the aesthetic pleasure, sensitive in the proper sense, the sublime is a sentiment, which, by its connection to morality, demands more of an Anti-aesthetics (as suggested by Deleuze) rather than an Aesthetics.
If just as tragedy and the sublime both express contradictory movements of the spirit, they have in common the fact of confronting us with an object or a nature that challenges us in our coherent positivity. We are called to a tense, living and conflicting dialogue with a reality alien to the habitual form of thinking and daily rituals. At the moment that the movement was radically internalized, impelled by a substantial and radical loss of an object, the sublime and the tragedy appear to converge in melancholy. With Greek origins, a combination of melas (black) and cholis (bliss), ‘melancholy’ does not designate only a long state of pathological depression, but a subjective state of our creative processes as well. It is referenced to in plastic arts, such as paintings by Albrecht Dürer and Goya, in literature, such as the works of Machado de Assis, and recently in film, an example being Lars von Trier’s “Melancholia”.
Sarah Kofmann explains in her book The Melancholy of Art that all beauty and artistic production is inexorably connected to a melancholic principle, defined by the absence of an object. In fact, if we follow the famous idea of Sigmund Freud that in melancholy the shadow of the object falls on the subject, in contemporary art the subject renounces ‘melancholically’ the mimetic/representative object as the principle that grants artistry or at least minimal condition of possibility to the artistic work. At the same time the inapprehensible loss of the object could push the subject into the background of paralyzing swirl, simultaneously, it can instigate an aesthetic elaboration that surpasses the subjective and obscure closing towards the elaboration of a new object, that is, the artwork, which transpose all the contradictory movement of the soul onto the stage of its imagetic/imaginary objectivity.
Considering the trajectory of these concepts, which even today are maintained in contemporary debates about aesthetic, the International Congress – The Tragic, the sublime, and melancholy, intends to approach some of their most pertinent aspects, being each one separately or in the context of their multiple interconnections. In this sense, the conference has amounted to a series of organized events, since 1993, through the Research Group of Aesthetic and Philosophy of Art, in the Graduate Program of Philosophy at UFMG (lately undertaken with the Master’s Program of Aesthetic and Philosophy of Art of UFOP and with the Association of Aesthetic of Brazil – ABRE): “Death of art, today” (1993), “Beauty, sublime, and Kant” (1995), “The lights of art” (1997), “Catharsis” (1999), “Mimesis and expression” (2001), “Aesthetic theory” (2003), “The aesthetic dimension” (2005), “Aesthetics of dislocation” (2007), “Dislocations in art” (2009); “Image, imagination, fantasy: Twenty years without Vilém Flusser” (2011) and “Taste, interpretation and critique” (2013). As the past three events of this series, the forthcoming will also be realized in conjunction with the Graduate Program of Aesthetic and Philosophy of Art of UFOP.
The conference will be composed of presentations by invited researchers in the mornings of all days. The afternoons will be reserved for the presentations and panel discussions which will be followed by debates not only focused on the main topic (being the tragedy, the sublime, and melancholy) in the strict sense, but also about the following related sub-topics:
:: The Greek tragedy
:: Theories of tragedy
:: The tragic and the sublime in Schiller
:: The sublime and contemporary art
:: The tragedy and modern and contemporary dramas
:: Melancoly in the arts
:: The uncanny in literature
:: Literature of the absurd
:: The sublime and sublimation
:: The culture industry
:: Art and psychoanalysis
:: Art and politics
:: Registration fee: U$80 for professors and U$40 for students
:: World limit of presentations: 2,500 words
:: Registration calendar:
– basic [without presentation]: September 1st- October 13th;
– presenters: send abstract submission: April 15th to June 15th;
– announcement of selected presentations: June 30th;
:: Virginia de Araujo Figueiredo [UFMG]
:: Suzanne Kogler [Universität für Musik und darstellende Kunst Graz]
:: Christian Bauer [Hochschule Würzburg-Schweinfurt]
:: Peter Pelbart [PUC-SP]
:: Jeanne Marie Gagnebin [UNICAMP/PUC-SP]
:: Roberto Machado [UFRJ]
IAA International Yearbook 2013 (Volume 17).
Jale Erzen & Raffaele Milani (eds.) Nature and the City. Beauty is Taking on a New Form.Sassari 2013.
The city, too, is landscape. We can leave it by going into nature exchanging the urban for the rural, but we can also enter the city to live within the architecture and contemplate its forms. Every architectural structure is a landscape and promotes an educational or paedeumatic relationship between the spirit and the environment. Our gaze and our bodies activate a certain way of contemplating that promotes the interchange between the external perception of the physical world and an internal seeing, which is the psychic perception of the visual image. There is a close relationship between the aesthetic experience of the natural environment and that of the urban landscape. In the same way that humankind lives on the earth so, too, it lives in the city.
"Eyes and Gazes in Philosophy and Arts"
directed by Atsushi Okada (Kyoto University) and Giuseppe Patella (University of Rome Tor Vergata) March 2-3, 2015 University of Rome Tor Vergata Via Columbia 1
00133 Rome (Italy).
From the President
We just enjoyed a beautiful and busy autumn, and now winter is here with its own kind of beauty. In Beijing these days you may hear mention of ‘APEC blue’ - an expression of hope that air pollution will be eventually controlled. In keeping with the spirit of this idea, many Beijing residents show pictures through We Chat, a micro-electronic communication channel, of the beauty of cities free of pollution. Recently, I visited Beihai Park (North Sea Park), and Summer Palace in Beijing, and found that without pollution, Beijing is indeed a very beautiful city.
Concerning the city, I recall Heinz Paetzold’s view that our interest in beauty began with the countryside while aesthetics as a subject originates from cities. Now more and more people come into cities across the world. This movement is even more obvious in China, where hundreds millions of people are moving to cities. The migration from countryside to cities has been and continues to be the greatest change in China. China began as a country traditionally consisting of farmers. In such a rapid development of cities, aesthetics becomes of crucial importance, since they should provide beautiful places for living. The beauty of cities should not just be the symbol of wealth, nor simply a place for the exhibition of science and technology. Cities are places for people to live, rather than merely places for enjoying the views of skyscrapers. We need the skylines of cities, but also livability.
Over the past several months, I have travelled to conferences both in China, and in Australia, Germany, Britain and Russia. I was happy to visit Yasnaya Polyana, home of Leo Tolstoy, and the Frankfurt Institute for Social Research. In the respective conferences, we discussed issues including the news media, ecological aesthetics, and the aesthetics of cities.
In other news: the United States is now offering Chinese citizens a ten-year visa. Similarly, friends from US can also obtain a ten-year visa for visits to China. This change allows for much greater flexibility in making travel plans between the USA and China. I hope that our friends from Europe can also soon enjoy the same travel conveniences.
The IAA officers and our colleagues in Belgrade are now preparing our Executive Meeting and the IAA interim Conference in Belgrade (June 25-28, 2015). I will be happy to meet IAA delegates and guests in Belgrade where we will gather to discuss important issues in connection with our association and the pursuit of research in aesthetics.
Recently, the Chinese Society for Aesthetics elected new leadership, and I have been chosen as president of the society. Our next national congress is in the May in Chengdu (a city some of you visited in 2006). I hope we can all meet again soon at a conference in a beautiful Chinese city.
Gao Jianping, IAA President
The University of Belgrade - Faculty of Architecture and the Society for Aesthetics of Architecture and Visual Arts Serbia (DEAVUS) are pleased to announce the Call for papers for the IAA Conference 2015.
The 2015 Interim meeting of the Executive Committee of the International Association of Aesthetics (IAA) will take place June 26-28 2015 at the amphitheater of the University of Belgrade - Faculty of Architecture in Belgrade. The theme of the Conference is “Revisions of Modern Aesthetics”. We would like to invite all researchers and scholars interested in this topic to participate in the conference with a paper.
One of the important topics of contemporary global culture is the revision of modernism and its corresponding theories, aesthetics and philosophies. That is why we proposed for the Belgrade’s Conference the title “Revisions of Modern Aesthetics”.
Reviewing the history of modernity and especially aesthetic transformations in the 20th century are challenging issues for contemporary society and culture. We live in a world of permanent change; a world of desire to get out of the global crisis into the new world of unexpected modernity. Therefore, the project, research, emancipation and the new are the important questions. Through the paradigmatic models of modernity we will try to construct a theoretical, aesthetic and philosophical platforms for contemporaneity. The concept of the conference is developed in four sessions:
The first session deals with the revision, reconstruction and research of modernist theories of space and architecture. The aim is to show the viability of space and architecture in the changing world.
Session chair: Dr. Jale Erzen, professor, Middle East Technical University Faculty of Architecture, Ankara.
The second session deals with questions on the status of contemporary aesthetics that transformed the crisis of modern aesthetics into the expansion of aesthetic thinking, politicization of sensuality and discovering new aesthetic experiences and knowledges.
Session chair: Dr. Ales Erjavec, professor, Slovenian Academy of Sciences and Arts - Institute of Philosophy at Scientific Research Center, Ljubljana.
The third session, relying on the idea of “historical distance”, indicates a comparison of medieval and modern in arts.
Session chair: Dr. Vladimir Mako, professor, University of Belgrade - Faculty of Architecture, Belgrade.
The fourth session enters in the field of the fluidity, uncertainty and phenomenological transformation of the society of global spectacle and media totality.
Session chair: Dr. Misko Suvakovic, professor, University of Arts - Faculty of Music, Belgrade.
The Conference “Revisions of Modern Aesthetics” aims to initiate the discussion from the field of contemporary philosophical and applied aesthetics about who we are today compared to the past in relation to the future. Aesthetics has a right to these fundamental questions.
• Dr. Vladimir Mako, professor, University of Belgrade - Faculty of Architecture, Belgrade
• Dr. Misko Suvakovic, professor, University of Arts - Faculty of Music, Belgrade
• Dr. Vladimir Stevanovic, assistant professor, Faculty of Media and Communications, Belgrade
• Dr. Aleksandar Ignjatovic, professor, University of Belgrade - Faculty of Architecture, Belgrade
• Dr. Vladan Dokic, professor, University of Belgrade - Faculty of Architecture, Belgrade
• Mr. Branko Pavic, professor, University of Belgrade - Faculty of Architecture, Belgrade
• Dr. Ales Erjavec, professor, Slovenian Academy of Sciences and Arts - Institute of Philosophy at Scientific Research Center, Ljubljana
• Dr. Jale Erzen, professor, Middle East Technical University - Faculty of Architecture, Ankara
• Dr. Raffaele Milani, professor, University of Bologna - Institute of research on the cities, Bologna
• Dr. Gao Jianping, professor, Chinese Academy of Social Sciences - Institute of Literature, Beijing
• Dr. Tyrus Miller, professor, University of California - Division of Humanities, Santa Cruz
• All submitted papers will be presented during the Conference. More information will follow after paper submission.
• All accepted abstracts will be published in the Conference Proceedings book.
• A selection of papers will be published in the Serbian Architectural Journal (www.saj.rs).
• Abstract submission due: March 31, 2015.
• Paper submission due: May 31, 2015.
• Registration fee for participants: May 31, 2015.
• Registration fee for visitors: June 13, 2015.
Conference: June 26-28, 2015.
Art in & of the Streets
Date: March 5th - 7th, 2015
Location: New York City
Hosts: The Pratt Institute & New York University
Possible topics include but are not limited to the following:
This conference is funded through generous gifts from:The American Society for Aesthetics and The Pratt Institute.
University of Antwerp & VU-University Amsterdam
September, 18-20, 2014, Antwerp
Ricoeur can be called the philosopher of all dialogues. He engaged virtually all the great movements of thought, entered into debate with scientists, and voices his concerns in the public debate. He never sought to engage in polemics but tried to engage seemingly unbridgeable positions or thinkers in a fruitful dialogue. Ricoeur was not a radical thinker in search of extremes, but rather committed to mediate between conflicting philosophers and streams of thought, therein lies part of his originality and creativity. Where others sees dichotomy, he sees dialectic. In this regard one cannot but note how often Ricoeur uses the word between (entre) in the titles of his articles, always in search of connections, confrontations, and unexpected syntheses between thinkers who have preceded him. He really is a thinker of the between.
But does Ricoeur’s ‘dialogical approach’ not result in a harmonization of often diverging positions? Is Ricoeur able to hear the radicalness of certain insights? Is it possible that his hermeneutical philosophy takes away the sharpness of certain problems in current religious, political and philosophical debates? Might it even be the case that he did not hear certain voices, precisely because they resist synthesis? This conference inquires what happens to Ricoeur’s hermeneutical approach if we confront it with its limits.
The conference will address topical philosophical, socio-political and religious issues, from a Ricoeurian perspective, but in conversation with other, more ‘radical’ thinkers
Possible topics include:
Justice and the Struggle for Recognition: Justice is an important concept in Ricoeur’s work, first of all, as an ethical concept. For Ricoeur, justice is a way of establishing peace, both in concrete relations to others, as on the level of institutions. In The Course of Recognition, Ricoeur however shifts the focus on political philosophy, and, in so doing he creates a tension in his understanding of justice. On the one hand, he agrees with Hegel and Honneth that justice is a justification for violence that is part of “the struggle for recognition”. On the other hand, Ricoeur also points again to the role of justice for peace. As he argues with Marcel Hénaff, in the exchange of gifts for instance, the parties involved proof their recognition to one another, and, in this sense, they maintain a peaceful relationship. This session aims at investigating the tension between justice and recognition in Ricoeur’s work, and especially in The Course of Recognition
see also: http://www.eurosa.org/esa2014/
On behalf of the members of the Korean Society for Aesthetics, I am greatly honored to hold the 20th International Congress for Aesthetics in Seoul, the capital of the Republic of Korea, under the auspices of the International Association for Aesthetics (L’Association Internationale d’Esthétique). The Congress will be held on the campus of Seoul National University from the 24th (Sunday) to the 29th (Friday) of July, 2016. SNU is the most prestigious university in the Republic of Korea (South Korea) and home to the only Department of Aesthetics in the country.
The Korean Society of Aesthetics, the most authoritative nationwide society in the field, was established in September, 1968, being the first association for aesthetics in the Republic of Korea. With a 47-year tradition, the now more than 300 members of the KSA are actively engaged in a broad range of aesthetic subjects across the Asian, Analytic, and European traditions, including theories of painting, the aesthetics of music and film, and sociological aesthetics. Our members also play major roles in the various artistic and cultural fields in Korea. Many members of the KSA earned their Ph. D. degrees abroad, mainly from the USA, Germany, and France in the West, and China and Japan in the East. As a result, the academic climate of the KSA is comprehensive and well-informed, and the Society is very well-equipped to deal with aesthetics in an international context. With such broad backgrounds, we are confident in our ability to host a very successful Seoul ICA.
The theme of the Seoul Congress is “Aesthetics and Mass Culture.” The Congress will focus on the various aesthetic aspects of mass culture, which, due to the rapid development of information technology, has become one of the most prominent of contemporary cultural phenomena. We are all familiar with the idea of globalization and with developments in information technology. We have been told that, thanks to the internet and other modes of information technology, there are a few, if any, places isolated from the rest of the world today. The importance of globalization, one of whose symptoms is the overwhelming flow of information, is not just that we can learn more about other countries, other people, and other cultures, but also that we become more likely to be influenced by other cultures, especially their ways of life. To try to understand and, in some cases, to accept other cultures and life styles often results in a change of one’s own view of life, even one’s own view of the world, which also includes one’s conception of the arts and sensibilities to the aesthetic. But the revolution of information technology also raises the philosophical or aesthetic issue of mass art and mass culture, which, we think, deserves serious discussion. We hope that the Congress will achieve many fruitful results from the many urgent aesthetic questions arising as a result of these phenomena.
In addition to these questions, the Seoul Congress, as with all other Congresses, will be open to every traditional subject of aesthetics and we welcome papers and panel proposals devoted to all fields of aesthetics. The Congress will consist of several panels and round tables, along with dozens of sessions, including sessions for individual artistic genres. The Organizing Committee will choose the topics for some events, but the rest will be open to the general members of the IAA.
It is my promise that we will devote all our efforts to the success of the Seoul Congress. In the name of all the members of the Korean Society for Aesthetics, I hope to see you all in Korea next summer.
Prof. Chong-hwan Oh
(President of the Organizing Committee for 2016 ICA,
Seoul National University, Seoul, Republic of Korea)
Editors Note: As we look forward to upcoming events in Belgrade Serbia, June 2015, and the next International Congress of Aesthetics to be held in Seoul, Korea, Summer 2016, it may be informative to review the conference report of the organizing committee of the centennial Congress entitled Aesthetics in Action that was held in Krakow, Poland last summer. This report was inadvertently omitted from IAA Newsletter #43 published in January 2014 and its belated inclusion here reminds us of the professionalism required to plan and execute our association’s related meetings. Sebastian Stankiewicz and Lilianna Bieszczad co-authored this Organizers Report.
After meetings in Tokyo, Rio de Janeiro, Ankara, and Beijing, the International Congress of Aesthetics (ICA) returned to Europe for the first time in 21st century. Krakow, Poland was the site of the centennial Congress (19. ICA 2013) and its theme, Aesthetics in Action, emphasized the dynamic changes in the discipline of aesthetics.
The Congress was organized by Polish Society of Aesthetics, Jagiellonian University, and International Association for Aesthetics. Organizing an international event of this stature required the cooperation not only of Poland’s aesthetic circles and academic communities but also government institutions including the Ministry of the Culture and National Heritage of Republic of Poland, the Ministry of the Science and High Education Republic of Poland, and the Office of the Mayor of Krakow, Jacek Majchrowski. The Honorary Committee included professors representing all of Poland’s aesthetic communities: Grzegorz Dziamski, Bohdan Dziemidok, Maria Go?aszewska, Leszek Koczanowicz, Teresa Kostyrko, Alicja Kuczy?ska, Iwona Lorenc, Teresa P?kala, Ewa Rewers, Piotr J. Przybysz, Tadeusz Szko?ut, Grzegorz Sztabi?ski, Irena Wojnar, and Anna Zeidler-Janiszewsk?. The Organizing Committee, under direction of Prof. Krystyna Wilkoszewska, directly participated in the preparations of all the many and varied the Congress events included: Rafa? Delekta (Academy of Music in Krakow), Antoni Porczak (Academy of Fine Arts in Krakow), Krzysztof Lenartowicz (Tadeusz Ko?ciuszko Krakow University of Technology), Alicja Panasiewicz (Pedagogical University of Krakow), Stanis?aw Hry? (Andrzej Frycz Modrzewski Krakow University), and from the primary host institution Jagiellonian University, Jaros?aw Górniak, Micha? Bohun, Lilianna Bieszczad, Jakub Petri, Sebastian Stankiewicz and Ewa Chudoba.
International and intercultural atmosphere of the Congress assured the number of abstract submissions received would be high. There were over 500 submissions from 56 countries. Congress attendance was 460 which included aestheticians who presented their papers as well as participated in the Congress events.
The Opening Ceremony on June 22,2013 was held in the Auditorium Maximum of the Jagiellonian University. Guest and participants were welcome by the organizers and representatives of cooperating institutions: Rector of the Jagiellonian University Prof. Wojciech Nowak, President of the IAA Curtis L. Carter, President-Elect Prof. Gao Jianping, Dean of the Department of Philosophy of Jagiellonian University, Prof. Jaros?aw Górniak, President of the Polish Society of Aesthetics Prof. Krystyna Wilkoszewska, and Vice-Mayor of Krakow, Magdalena Sroka, s well as Vice-Rectors of Jagiellonian University, Prof. S. Kistryn and Prof. A. Mania, and members of the Honorary Committee. Rector of Jagiellonian University announced the Congress to be open, was followed by the Presidential Lecture of Curtis L. Carter entitled, Aesthetics and the Arts in Action. This theme continued in round table discussion: Past and Future of the ICAs – a Hundred Years. In the afternoon, the ceremony continued in the Krakow Philharmonic Hall, starting with Arnold Berleant’s plenary panel and culminating with the Inaugural Concert performed by Beethoven Academy Orchestra conducted by Jacek Kaspszyk. During the concert there were presented two compositions arranged in one work: Aisthesis Symphony (2013) by Karol Nepelski and Ignacy Feliks Dobrzy?ski’s Overture to the opera Monbar (1838). The Opening Ceremony concluded with reception in Krakow City Hall, Wielopolski Palace, where participants were greeted by Jacek Majchrowski, Mayor of Krakow. Jacek Majchrowski and Curtis L. Carter responded as representatives of the Congress.
The Organizing Committee formed several types of sessions including two new kinds of sessions: first innovation were plenary panels, organized by invited by the Committee scientists and secondly, panel sessions, which were submitted by participants. In addition, participants presented papers in sessions and there were numerous other round-table discussions as well as poster sessions. The most popular plenary panels highlighted the new important directions in the development of aesthetics. These panels were Arnold Berleant’s Aesthetic Engagement , Wolfgang Welsch’s Aesthetics Beyond Aesthetics, Richard Shusterman’s Somaesthetics, and Aleš Erjavec’s Aesthetics and Politics.
Other sessions and round-table discussions included: Past and Future of the ICAs – a Hundred Years, with chair: Aleš Erjavec (Slovenia) with Curtis L. Carter (USA), Gao Jianping (China), Miško Šuvakovi? (Serbia), Bohdan Dziemidok (Poland), Chong-hwan Oh (Korea), Arnold Berleant (USA), Zsolt Batori (Hungary). The second round-table discussion, Aesthetics in 20th Century Poland, included Polish representatives Zofia Rosi?ska and Krystyna Wilkoszewska, with participants from other countries including: Zdenka Kalnicka (Czech Republic), Gao Jianping (China) and Joseph Margolis (USA). The last discussion was accompanied by a publication of a great interest of Congress participants, presenting achievements of Polish aesthetics, 20th Century Aesthetics in Poland, Edited by Krystyna Wilkoszewska.
Particular interest attracted panel sessions. Among 20 submitted, six panels were connected in pairs creating bigger theme units: interpretation panels (organized by Joseph Margolis and Noel Carroll, both USA); bio-art panels (organized by Polona Tratnik, Slovenia and Ingeborg Reichle, Germany); changes in culture and arts (Marcin Rychter, Poland, and Kenneth Stikkers, USA). Other sessions and their organizers included: Global Aesthetics and Chinese Aesthetics (Eva Wah Man, Hong Kong); Applied Social Art: The Potential of Art and Criticism after March 11, 2011 (Akiko Kasuya, Japan); Aesthetic Accounts on Japanese Pop-culture (Hisashi Muroi, Japan); The Artful Species: Aesthetics, Art, and Evolution (Stephan Davies, Australia, Jerzy Luty, Poland); Aesthetics and Landscape (Raffaele Milani, Italy, Yuko Nakama, Japan); Spatial Perception and Aesthetics of Court and Garden (Jeongil Seo, Korea); Cyberaesthetics – the Phenomena of Electronic Art (Michal Ostrowicki, Poland); Art in Action (Maja Piotrowska-Tryzno, Poland); Participatory Art: Ethics and Politics (Michael Kelly, USA); Artification (Yrj? Sep?nmaa, Finland); The Perfomativity of Images in the Social Context (Aleksandra ?ukaszewicz-Alcaraz, Poland); Between Loss and Repetition. Creativity as Response to Death as the Negative Muse (Bogna J. Obidzinska, Poland); Polish Music and Modernity (Teresa Ma?ecka, Poland); Rediscovering Susanne Langer’s Relevance for Contemporary Aesthetics and Theory of Art (Adrienne Dengerink Chaplin, Great Britain).
Other participants presented their papers ordered in ten diverse topics: Aesthetics – Visions and Revisions; Changes in Art – Past and Present; Aesthetics in Practice – the Aesthetic Factor in Religion, Ethics, Education, Politics, Law, Economy, Trade, Fashion, Sports, Everyday Life etc.; Aesthetics and Nature: Evolutionism, Ecology, Posthumanism…; Body Aesthetics – Soma and Senses; Art and Science; Technologies and Bio-technologies in Aesthetics and Art; Architecture and Urban Space; Cultural and Intercultural Studies in Aesthetics; The Sphere of Transition – Transections, Transformations, Transfigurations in Culture, Aesthetics and the Arts.
According to the number of submissions, it can be pointed out that the dominant interests were within the contemporary field of aesthetics. The largest number of submissions were in the theme of Vision and Revision and Aestetics in Practice (100 and 64 respectively). There was also great interest in new phenomena in the arts, such as bio-art. All of the presentations were performed simultaneously in nine areas of the Auditorium Maximum, and also – during two Congress days – in Collegium Maius of Jagiellonian University, and in the Bunkier Sztuki Gallery of Contemporary Art.
ART IN ACTION: The Krakow Congress was held under the banner of Aesthetics in Action, supplemented by the Organizing Committee in artistic part of the Congress, by analogical phrase Art in Action. The last slogan marked almost all artistic events organized during the Congress. The two most important events were to be: Inaugural Concert, which was held in Opening Day in the Krakow Philharmonic Hall and the projection of Krzysztof Wodiczko’s War Veterans Projection held in the night at the Main Market. During the Inaugural Concert, prepared by the Academy of Music in Krakow, City Hall Office, and Philharmonic Hall, there have been heard a composition of a young composer Karol Nepelski’s Aisthetic Symphony (2013) put together with Ignacy Dobrzy?ski’s Overture to the opera Monbar (1838). The works have not been performed one after the one, but arranged by Nepelski in one piece, and supplemented by elements of performance art. The word “aesthesis” and “aesthetics” were encoded in melodics and harmonics of the composition. The work have been performed by Beethoven Academy Orchestra conducted by Jacek Kaspszyk,.
The second event initiated by the Organizing Committee, have been realized, thanks to the support of the City Hall Office, by team of the Museum of Contemporary Art in Krakow (MOCAK). The Wodiczko’s projection consisted of white words display on the wall of the City Hall Tower, armored car as a source of the displayed images and sounds effects, and the very sound effects. Words displayed on tower wall were extracts from statements of war veterans and members of their families. All statements were played simultaneously as an audible material supplemented by light flashes and sounds of explosions or gunshots. It should be added, that next day after projection, Wodiczko presented his lecture concerning more theoretical issues.
Another artistic event very popular among Congress participants and Krakow citizens and tourists, was an exhibition of Eduardo Kac Lagoglyphs in Bunkier Sztuki Gallery of Contemporary Art. The theoretical issues were undertaken by the artist and Wolfgang Welsch on two occasions; the first time during a meeting in Bunkier Sztuki Gallery mediated by its director, Piotr Cyprya?ski, and secondly, in an entirely academic environment of a plenary panel held in Auditorium Maximum. The exhibition in Bunkier Sztuki Kac developed some ideas derived from his work of the transgenic rabbit, centered around visual and poetic dimensions of a language presenting his graphic and multimedia works. Within media works the artist employed the Google Earth application and, next to ready-made graphic works, he decided to make a site specific mural for the occasion.
There were also other artistic events in the building of Auditorium Maximum available for Congress participants. Mostly there have been events marked in their structure by such notions like interaction, activity, being in process. One of such event was an audio-visual installation Behind the Wall by Marek Cho?oniewski, artist connected with two Krakow universities: the Academy of Music in Krakow and Academy of Fine Arts. The installation have been a most noticeable artistic action, because it was performed in a space of the Auditorium Maximum underground where met participants during lunch, coffee breaks, and a the Congress reception. Other artistic events were performed by masters and their students of two universities: the Department of Arts of Pedagogical University of Krakow and Academy of Arts in Szczecin. Events organized by the former were: an exhibition of bio-art Plantomorphs, held partly in medial form in the Auditorium and partly concerning live forms on the roof of the main building of the Pedagogical University (Laboratorium Gallery); and also Garage Sale organized by students from the Roombook group, who realized an idea of artistic interventions taken upon objects exchanged with people visiting their workshop in the Auditorium underground. Instead Academy of Arts events consisted of: students’ films screening on TV monitors in halls of the Auditorium, an exhibition of sculptures made as copies of objects depicted on the photos above them, an action Rest for Hours with fully equipped tent providing a rest space for participants of the Congress, and finally, an installation activated in an elevator made by artist ?ukasz Sk?pski, whose title Music from Trash meant music taken from the artist’s trash folder on his computer. Actions of both universities were supervised by curators: Prof. Halina Cader-Paw?owska, from the Pedagogical University, Prof. ?ukasz Sk?pski and Aleksandra ?ukaszewicz-Alcaraz, PhD, from the Academy of Arts in Szczecin.
INSTITUTIONAL COOPERATION: The 19. ICA Krakow 2013 became a great challenge for both Polish communities, academic and cultural. According to the tradition of ICAs, Congress of Aesthetics have always been an opportunity to present an artistic and cultural heritage of the country which organized the event. In fulfilling this tradition the Organizing Committee engaged all Polish aesthetic academic communities and both the scientific and cultural institutions of the city of Krakow. Thanks to the organizers efforts, the Congress received also very broad support from institutions of the state, as well as, from local authorities. In particular, the most fruitful cooperation was with the office of the Mayor of Krakow and Krakow City Hall. The Organizing Committee was given a support in producing the two most important artistic events: the Inaugural Concert with participation of the Beethoven Academy Orchestra conducted by Jacek Kaspszyk in the Krakow Philharmonic Hall and Krzysztof Wodiczko’s War Veteran Projection. Moreover, Jacek Majchrowski, the Mayor of Krakow, invited the Congress participants for the reception held in Krakow City Hall, the Wielopolski Palace, and the Mayor Office made possible promotion of the Congress among citizens of Krakow and great number of tourists, printing posters of the centennial conference and giving them public space. Film clips announcing the conference event were seen on the television monitors included on city-wide trams and buses.
The organizers engaged many of Krakow’s scientific and cultural institutions thus fulfilling all organizers intentions to make the Congress fully representative of Poland’s and Krakow’s aesthetic, scientific, and cultural communities. One result of this cooperation was the publication, 20th Century Aesthetics in Poland, edited by Krystyna Wilkoszewska. It has received broad interest from all the participants of the Congress.
Among universities involved in cooperation with the Organizing Committee, before others it should be underlined the Academy of Music in Krakow and its very important contribution to the organization of the Inaugural Concert and a plenary panel held in the Philharmonic Hall. Other universities participation in the organization of the Congress include: Andrzej Frycz Modrzewski Krakow University and the Dean of the Department of Architecture and Arts Prof. Stanis?aw Hry? who announced a student contest for Congress visual identification (won a student of painting, Joanna Krzempek), the Department of Arts of the Pedagogical University of Krakow, and also the Academy of Arts in Szczecin. The last two participated mainly in the organization of artistic events.
Among Krakow cultural institutions very important role played the Museum of Contemporary Art in Krakow (MOCAK) with its director, Masza Potocka, who took the care of the practical production of Wodiczko’s projection, and who also invited Congress participants for cocktail party in the museum building and to visit all open exhibitions.
Equally important role played the Bunkier Sztuki Gallery of Contemporary Art with its director Piotr Cyprya?ski. The result of the cooperation have been the exhibition Lagoglyphs by Eduardo Kac, held during the Congress week, and also the meeting with Wolfgang Welsh and the artist. There were also held some of the scientific sessions of the Congress, making Bunkier Sztuki one of the three scientific spots of the Congress, among Auditorium Maximum and the oldest Jagiellonian University building of Collegium Maius.
In addition to Congress participants having the opportunity to visit Krakow’s near-by historical sites, the Museum of the Japan Arts and Technology also took a part organizing an afternoon reception and guided tour of the museum.
Other Krakow cultural institutions and museums opening their institutions to Congress participants included Director Zofia Go?ubiew invitation to the National Museum in Krakow and Director Micha? Niezabitowski invitation to see the Undergrounds of the Main Market which is part of the Historical Museum of City of Krakow.
The Organizing Committee of the 19. ICA 2013 Krakow hopes that the Congress contributed to strengthening the connection among all the aesthetic communities from around the world, to further the exchange of ideas among young and experienced scholars and also to increase our mutual academic and professional contacts with the hope that this connection will enhance cooperation among individuals and institutions.