Conference in dialogue between post-disciplinary fields
Conference Date: 06-08. 05. 2019.
Conference Venue: Moholy-Nagy University of Art&Design, Budapest
Conference Hosted by: Design Culture Studies Doctoral Program at the Doctoral School of Moholy-Nagy University of Art&Design, Budapest & Hungarian Forum of Somaesthetics
Confirmed keynote speakers:
Richard Shusterman, Professor of Philosophy and English, Dorothy F. Schmidt Eminent Scholar in the Humanities, and Director for Body, Mind and Culture at Florida Atlantic University. Initiatior of somaesthetic research.
Guy Julier, Professor of Design Leadership at Aalto University, Helsinki. Former Principal Research Fellow in Contemporary Design and Professor of Design Culture at the University of Brighton/Victoria & Albert Museum. Author of founding books on design culture studies, editorial board member of the Journal of Visual Culture and Design and Culture.
Patrick Devlieger, Associate Professor in the Faculty of Social Sciences at KU Leuven, anthropologist, leading international researcher of disability studies.
See the Call for Papers for more information.
Institute of Aesthetics and Art Culture of Faculty of Arts of University of Presov in Presov and Society for Aesthetics in Slovakia (SPES) invites you after the first event of the “cycle” of international scientific conferences held on 18-20 May 2018 in the High Tatras, to a scientific conference with the theme: ‘Ends of Arts in the Aesthetic, Artistic and Philosophic Theories’.
Following the re-evaluation of the “Hegelian” theories and theories of romanticism that was dominant during the first conference (emphasis was placed on the theories and artistic realities of the 18th and 19th centuries), actual call for papers is primarily (but not exclusively) concerned with the theoretical concepts in the chronological order primarily); approaches and methods, as well as the artistic realities of the 20th and 21st centuries.
The purpose of scientific events is to turn attention to the philosophical, aesthetic, artistic and artistic-critical theories that reflect and explain or otherwise theorise artistic events in the period mentioned; methodologically justify the importance of its past, present and prejudice the future of art and its sense of man. We want to explore and critically re-evaluate those philosophical, aesthetic, arts-studies and arts-historical theories and conceptions which reason the inevitable “art history end” and “art end” in general. The conference will focus on the concepts and relevance of these theories arguments that argue for an ongoing “art history”, as well as the ongoing artistic creation and art (from the Romantic period up to present) perception significance. The organisers primarily want to focus on the relevancy and heuristic productivity of especially those aesthetic theories research, which clarify an art face from the point of view of their methodology, terms and communication with arts-studies approaches; they illuminate art ́s aestheticpotential, consequences of perception of art in consciousness, thinking and potential present- day one ́s action. The organisers look forward to turning ourattention to the theories that in their approaches argue “the future of art” and its perspective from the point of view of the creator and perceptor, the criticism of those theories that argue the various forms of “ends” of art and the emptying of its meaning; and those theories arguing the continuing development of art and its meaning in the 20th and 21st centuries.
Topic: Aesthetic theories of the 20th and 21st century reflecting the state and perspectives of art, including the potential “ends of art”
Conference date: 17th – 19th May 2019
Venue of conference: High Tatras
See the associated Call for Papers here.
The conference will be held at the University of Leeds during 23-24 May 2019. The exact location and accessibility are yet to be confirmed. Registration will open in March.
The confirmed keynote speakers are:
Dr Adriana Clavel Vázquez (University of Hull)
Professor Amy Kind (Claremont McKenna College)
Professor Aaron Meskin (University of Leeds)
This conference is organised by Alice Murphy (University of Leeds) and Andrea Blomqvist (University of Sheffield). If you have any queries, please feel free to get in contact with us! The call for abstracts can be found here.
Andrea Blomqvist: email@example.com
Alice Murphy: firstname.lastname@example.org
Sponsored by Mind and the BSA
Baudelaire and Philosophy: A Conference sponsored by the British Society of Aesthetics
5-6 June 2019, Centre for Philosophy and Critical Thought, Goldsmiths, University of London and the Institut Français
Isabelle Alfandary (Paris 3/CIPh)
Jennifer Bajorek (Hampshire)
Patrick ffrench (King’s College London)
Elissa Marder (Emory)
Adrian Rifkin (Goldsmiths)
Richard Rand (Paris)
Charles Baudelaire is a pivotal reference for debates on modernity, criticism and poetics, though in the domains of philosophy and critical theory his work is often approached solely through the prism of contemporary commentary. Baudelaire’s own engagement with the philosophical – for instance in his pairing of Joseph de Maistre and Edgar Allan Poe as critics of the metaphysics of “progress” – has also been insufficiently mined. Yet Baudelaire has been key for thinking about the transformations of the very conditions of aesthetic experience since the 19th century; his writings on the dandy and the poetic significance of intoxication, as well as his work as a critic of fine art and music, have arguably expanded notions of what counts as aesthetic experience, opening it up beyond questions of taste, value, or didactic ends. For Nietzsche, Sartre, Merleau-Ponty, Lukács, Benjamin, Lacan and others, Baudelaire reimagined the poet and the poetic as inseparable from their relations to the social, psychological, material and sexual and, as such, as figures through which such relations may be reevaluated. After Baudelaire, the urban and the technological are no longer mere themes but the very element in which aesthetic experience and poetic production take shape; after Baudelaire, the poem assumes the form of a crucible for new and altered states of “experience.” This had led to Baudelaire often being made synonymous with the notion of modernity, and in particular with the idea that novelty becomes a (or even the) key category for aesthetic experience and artistic production from the mid-nineteenth century onwards. Taking Baudelaire’s own references to philosophy seriously, this conference will also explore the complexity of the relation between the received understanding of Baudelaire as a prophet of modernity and his opposition to any idea of progress that would reduce poetic beauty to a vehicle for social and moral development.
The conference will alternate between delving into specific poetic and critical texts by Baudelaire and tackling some of the key interpretations and uses of his work within philosophy and critical theory, from Georges Bataille to Jacques Derrida, Walter Benjamin to Jacques Rancière. The conference aims to do justice to the richness, complexity and ambiguity of Baudelaire’s critical and poetic writing, to explore his relation to philosophy and the philosophical, and to interrogate his place as a synonym for a certain conception of modernity.
Selected papers will be published as an edited collection or special journal issue.
Please see the associated CFP here.
Julia Ng and Alberto Toscano, CPCT, Goldsmiths, University of London