Wednesday, October 9 American Opening Reception Valley Overlook, 4th Level 7:00 – 10:00pm Society for Thursday, October 10 Feminist Caucus Committee Lunch Aesthetics South Mountain, 2nd level 1:15 – 2:45pm th Preregistration a must! 77 Annual Meeting Richard Wollheim Lecture Eileen John October 9 – 12, 2019 Paradise Valley, 2nd level 6:00 – 7:00pm Sheraton Phoenix Downtown Reception: Valley Overlook, 4th Level 340 North 3rd Street 7:00 – 8:30pm
Phoenix, Arizona Friday, October 11 Diversity Committee Lunch South Mountain, 2nd level 1:15 – 2:45pm Preregistration a must!
Arthur Danto Memorial Lecture Natalie Diaz Heard Museum 6:00 – 7:30pm Reception to follow.
Saturday, October 12 The program is also available via the Grupio app, or at Business Meeting and Lunch www.groupio.com/asa2019 nd Paradise Valley, 2 level The ASA thanks Wiley Blackwell Publishing 1:30 – 2:45 for its support of this meeting. All meeting participants welcome!
Thursday, October 10 Camelback A Camelback B Alhambra Paradise Valley
9:00 – 11:00 9:00 – 11:00 9:00 – 11:00 9:00 – 11:00 Understanding(:) the cognitive value of Kant’s antinomy of taste Perceptible authenticity: The role of style Panel: Morality, race, and environment in literature Reed Winegar, Fordham recognition in aesthetic appreciation Western films Jeremy Page, Uppsala Comments: Hanne Appelqvist, Helsinki Lisa Giombini, Roma Tre Comments: Jonathan Weinberg, Arizona` Comments: Joseph Kassman-Todd, Berkeley Dan Flory, Montana State A sensus communis approach to Kant’s Cynthia Freeland, Houston Indeterminacy, identity politics, and antinomy of taste Perceptual presence, perceptual constancy, Thomas Wartenberg, Mount Holyoke literature Aaron Franklin, Santa Cruz and the aesthetic temporality of style Stephanie Ross, Missouri-St Louis Comments: Thomas Cantone, New School Jordan Kokot, Boston University Comments: Carl Plantinga, Calvin Comments: Jeanette Bicknell, Indep. scholar Comments: John Carvalho, Villanova Chair: Samantha Matherne, Harvard Chair: Grant Tavinor, Lincoln Chair: Larry Shiner, Illinois-Springfield Chair: Carolyn Korsmeyer, Buffalo
11:15 – 1:15 11:15 – 1:15 11:15 – 12:15 11:15 – 1:15 Panel: Revisiting Suzanne K. Langer’s Performance art and the disappearing body Arendt’s Kantian political philosophy, and Fiction, pretense, and virtual reality aesthetics: Philosophical new key and Rossen Ventzislavov, Woodbury how it avoids a feminist critique Mark Silcox, Central Oklahoma virtual form in aesthetics Comments: Thomas Adajian, James Madison Steven Haug, Santa Cruz Comments: Karolina Wisniewska, Arizona Comments: Sue Spaid, Independent Scholar Thomas Leddy, San Jose State Skin: On living canvases and their artworks Towards an account of virtual realism Eva Kit Wah Man, Hong Kong Baptist Julia Minarik, Manitoba Chair: Stephanie Ross, Missouri-St Louis Grant Tavinor, Lincoln Lona Gaikis, Academy of Fine Arts, Vienna Comments: James Mock, Central Oklahoma Comments: Kate Thomson-Jones, Oberlin Iris van der Tuin, Utrecht Chair: Eva Dadlez, Central Oklahoma Chair: Chris Bartel, Appalachian State Chair: Cynthia Freeland, Houston 1:15 – 2:45 Feminist Caucus Committee Lunch Preregistration required! Location: South Mountain
2:45 – 5:00 2:45 – 5:00 2:45 – 3:45 2:45 – 5:00 Do artists work for a living? Artistic labor as Back to the secondary quality analogy: Panel: Feminist Caucus Committee Musical continuants and musical a philosophical concept Edith Landesmann-Kalischer’s Moderate repeatability Karen Gover, Bennington Objectivism about Aesthetic Value Andrea Pitts, UNC-Charlotte Peter Alward, Saskatchewan Comments: Darren Hudson-Hick, Furman Samantha Matherne, Harvard Darla Migan, Vanderbilt/Bard Comments: Wesley Cray, Texas Christian U Comments: Sonia Sedivy, Toronto Understanding site-specific art Chair: Gemma Argüello Manresa, UNAM The ontology of musical versions: Elisa Caldarola, Università di Padova In support of value empiricism in aesthetics Introducing the hypothesis of nested types Comments: Glenn Parsons, Ryerson Nathan Smith, Duke Nemescio Garcia Carril Puy, Granada Comments: Servaas van der Berg, UBC John Fisher Memorial Prize Winner Chair: Kathleen Desmond, Central Missouri Comments: David Davies, McGill Chair: Alex King, University at Buffalo Chair: Ted Gracyk, Minnesota St. Moorhead
6:00 – 7:00 Richard Wollheim Lecture Eileen John, Warwick Paradise Valley 7:00 – 8:30 Reception! Valley Overlook Friday, October 11 Camelback A Camelback B Alhambra Paradise Valley
9:00 – 11:00 9:00 – 11:00 9:00 – 11:00 9:00 – 11:00 Panel: Latinx aesthetics Are artworks necessarily artifacts? Panel: Aesthetic normativity Is poetry fiction? Tim Juvshik, UMass-Amherst Anna Christina Ribeiro, Texas Tech Ann Marie Leimer, Midwestern State Comments: Stephen Davies, Auckland Robbie Kubala, Santa Cruz Comments: Alan Kim, Stony Brook Guisela Latorre, Ohio State Errol Lord, Penn Laura Perez, Berkeley Three histories of art Antonia Peacocke, Stanford The role of poetry in Daoist texts Frank Boardman, Worcester State Phillip Barron, Connecticut Chair: Mariana Ortega, Penn State Comments: Ivan Gaskell, Bard Grad Center Chair: Andrew Huddleston, Birkbeck Outstanding Student Paper Winner Comments: Hannah Kim, Stanford Chair: Mary Wiseman, CUNY Grad Center Chair: John Gibson, Louisville
11:15 – 1:15 11:15 – 1:15 11:15 – 1:15 11:15 – 1:15 Aesthetic properties without perception The temporality of paintings Empathic listening and imaginative Moral monsters: The cognitive pleasures of Steve Humbert-Droz, Fribourg Mark Gatten, Toronto resistance in trauma narratives imaginative resistance Outstanding Student Paper Winner Comments: Paloma Atencia-Linares, UNAM Zoe Cunliffe, CUNY Graduate Center Sai Ying Ng, CUNY Graduate Center Comments: Umrao Sethi, Brandeis Chayes New Voices Award Winner Comments: Cheryl Frazier, Oklahoma Interpreting pictures Comments: Christopher Williams, NV-Reno You really can see fictional characters Hoyeon Lim, New School Upstanding stand-up: How stand-up differs Nick Wiltsher, Uppsala Comments: John Brown, Maryland Imaginative resistance and care from fiction Comments: James Hamilton, Kansas State Emine Hande Tuna, Santa Cruz Eva Dadlez, Central Oklahoma Chair: Frank Boardman, Worcester State Comments: Matt Strohl, Montana Comments: Katie Tullmann, Northern AZ Chair: Julian Dodd, Manchester Chair: Stephanie Patridge, Otterbein Chair: James Mock, Central Oklahoma
1:15 – 2:45 Diversity Committee Lunch Preregistration required! Location: South Mountain
2:45 – 5:00 2:45 – 3:50 2:45 – 3:50 2:45 – 5:00 “Interpretive authenticity” and the content Invited Lecture on Stanley Cavell Conceptualizing race through Diamela Aesthetic attention and the freedom of the of musical works Eltit’s decolonial feminist aesthetics imagination Andrew Kania, Trinity Being attuned: Cavell on philosophy and Monique Roelofs, Hampshire/Amherst Jessica Williams, South Florida Comments: Jonathan Neufeld, Charleston aesthetic judgment Comments: Gertrude J. González de Allen, Comments: Keren Gorodeisky, Auburn Arata Hamawaki, Auburn Spelman College Heuristic devices in music The murder of Mitys: Causality and Matteo Ravasio, Peking University Chair: Antonia Peacocke, Stanford Chair: Charles Peterson, Oberlin coincidence in narrative logic Comments: Jenefer Robinson, Cincinnati Ira Newman, Mansfield Comments: Christine Thomas, Dartmouth Chair: Garry Hagberg, Bard Chair: Rachel Zuckert, Northwestern
6:00 – 7:30 Arthur Danto Lecture Natalie Diaz Heard Museum 7:30 – 9:00 Reception and tours!
Saturday, October 12 Camelback A Camelback B Alhambra Ahwatukee
9:00 – 11:00 9:00 – 11:00 9:00 – 11:00 9:00 – 11:00 Panel: Ethical responses to fiction Autonomy and aesthetic engagement Ally aesthetics Aesthetic explanation and its selectivity Thi Nguyen, Utah Valley Jeremy Fried, Oklahoma Moonyoung Song, Maryland-College Park Adriana Clavel-Vasquez, Sheffield Comments: Brandon Polite, Knox Comments: Anne Eaton, Illinois-Chicago Comments: Maria José Alcaraz León, Murica Panos Paris, Cardiff Nils-Hennes Stear, Southampton Aesthetic testimony, authenticity, and On “Open Casket” (2016): The Herme- Visual hybrids, visual metaphors, and non- Robin Zheng, Yale-NUS emotion neutics of Abstraction and the Networked conceptual aesthetic perception Shannon Brick, CUNY Graduate Center Politics of (Artworld) Representation Michalle Gal, Shenkar College Chair: James Harold, Mt Holyoke Chayes New Voices Award Winner Darla Migan, Vanderbilt/Bard Comments: David Friedell, UBC Comments: Aaron Meskin, Georgia Comments: James Haile III, Rhode Island Chair: Daniel Nathan, Texas Tech Chair: James Hamilton, Kansas State Chair: Szu-Yen Lin, Chinese Culture Univ.
11:15 – 1:15 11:15 – 1:15 11:15 – 1:15 Panel: Art and moral revolution Vandalizing art Panel: Diversity Caucus Committee Sondra Bacharach, Victoria-Wellington Halifu Osumare’s Dancing in Blackness John Gibson, Louisville Comments: John Dyck, Auburn Lydia Goehr, Columbia Nadine George-Graves, Ohio State Kenneth Walden, Dartmouth Taking aesthetic obligations seriously Susan Manning, Northwestern Anthony Cross, Texas State Halifu Osumare, UC Davis Chair: Peg Brand Weiser, Arizona Comments: Robert Stecker, Cent. Michigan Chair: Aili Bresnahan, Dayton Chair: Shelby Moser, Azusa Pacific
1:15 – 2:45 Business Meeting and Lunch All participants are welcome! Location: Paradise Valley
2:45 – 5:00 2:45 – 5:00 2:45 – 5:00 2:45 – 5:00 Panel: Dominic Lopes’s Being for Beauty Themes in literature: Universalism and Non-Standard Emotions and Aesthetic Panel: Aesthetics of Urban Environments skepticism Understanding Robert Hopkins, NYU Szu-Yen Lin, Chinese Culture University Irene Martínez Marín, Uppsala Zed Adams, New School Brian Soucek, UC Davis Comments: Erich Hatala Matthes, Wellesley Comments: Lorenza D’Angelo, Syracuse Rebecca Kukla, Georgetown Rachel Zuckert, Northwestern Sanna Lehtinen, Helsinki Comments: Dominic Lopes, UBC Aesthetic transformative experiences Invitation and aesthetic communication Elizabeth Scarbrough, Florida International Saul Fisher, Mercy College Nick Riggle, University of San Diego Chair: James Shelley, Auburn Comments: Laura Knoop, William Paterson Comments: Michel-Antoine Xhignesse, UBC Chair: Remei Capdevila, Texas Rio Grande
Chair: Hans Maes, Kent Chair: Susan Feagin, Temple
Dear Participants, Program Committee Gemma Argüello Manresa, Univsidad Nacional Autónoma Out of respect for our speakers, unless you receive their de México express approval beforehand, please do not use any visual Chris Bartel, Appalachian State University or audio recording devices during their presentations. Aili Bresnahan, University of Dayton Enforcement is the responsibility of the session chairs, as Remei Capdevila, University of Texas Rio Grande Valley directed by the speakers. Andrew Huddleston, Birkbeck, University of London Alex King, University at Buffalo The ASA reserves the right to take still photographs of John Kulvicki, Dartmouth College (Chair) events at the Annual Meeting, for possible publication on Mariana Ortega, Pennsylvania State University its web site, newsletter, or other official publications. By Charles Peterson, Oberlin College attending such events, attendees are granting permission Elisabeth Schellekens Dammann, Uppsala University to the ASA to be included in such photographs. James Shelley, Auburn University
The ASA Policies on Discrimination, Harassment, and Officers Respectful Behavior are in effect for this meeting. The full President: Susan Feagin, Temple University text is available here: https://bit.ly/2WQraLD Vice President: David Davies, McGill University Past President: Kathleen Higgins, Univ. of Texas at Austin Please wear your name tag at all times at the meetings to Secretary Treasurer: Julie Van Camp, Cal State Long Beach show that you are registered. Only persons who have JAAC Editor: Ted Gracyk, Minnesota State University registered are welcome at ASA meeting events, receptions, JAAC Editor: Robert Stecker, Central Michigan University morning breaks, and luncheons. Trustees For the most up-to-date information about this meeting, María José Alcaraz León, University of Murica please check the Meetings page on the ASA web site: John Gibson, University of Louisville https://bit.ly/2G2bHCv Keren Gorodeisky, Auburn University Ted Gracyk, Minnesota State University (ex officio) Any schedule changes will be available on the Meetings Robert Hopkins, New York University web page and on the Grupio app. Jonathan Neufeld, College of Charleston Anna Christina Ribeiro, Texas Tech University The ASA fully complies with the Americans with Monique Roelofs, Hampshire College/Amherst College Disabilities Act. If you need any special arrangements, Robert Stecker, Central Michigan University (ex officio) please let us know at your earliest opportunity at Paul C. Taylor, Vanderbilt University [email protected] Upcoming Meetings Sincerely, Pacific: Berkeley City Club, Berkeley CA, March 20-21, 2020 The Trustees Eastern: Courtyard Marriot, Philadelphia, April 17-18, 2020 Rocky Mountain: Drury Plaza, Santa Fe, July 10-12, 2020 2020 Annual Meeting Hilton Crystal City, Washington, DC, November 11-14 2021 Annual Meeting Hyatt Regency, Montreal, QC, November 17-20 2022 Annual Meeting Embassy Suites, Portland, OR, November 16-19
Abstracts of Accepted Papers
Peter Alward, University of Saskatchewan through demonstrations of open-endedness. In this fresco in the Sistine Chapel and Pietà Vaticana are SS. Musical Continuants and Musical Repeatability paper, I examine the Daoists’ use of poetic techniques Is SS art a proper art category (like e.g. comedy or Musical works are multiple in the sense that they have such as metaphorical language, rhetorical shifts, and poetry) or is it, rather, just an just umbrella term used a plurality of performances, none of which can allusion to conclude that the features of poetry which to design works that may only bear very loose individually be identified with the works themselves. cause many Western philosophers (beginning with resemblances to each other and may even have been Two prominent approaches to musical ontology Plato) concern are the very features that Daoist authors produced in different epochs and cultures? In this designed to explain this feature of musical works are depend upon. paper, assuming that, if SS art is a proper art category, the type-token model and the continuant-stage model. then it designs an art genre, I identify some key Frank Boardman, Worcester State University features usually possessed by SS works and make some In this paper, I argue that the continuant-stage model Three Histories of Art remarks on the historical span of SS art and the can explain musical repeatability by invoking an Historicism about art is subject to charges of circularity peculiarity of SS works of installation art. independently motivated work-unifying continuity and bootstrapping when art-historical narratives rely relation. Insofar as a performance conforms to a on the meaning-predications that they themselves Anthony Cross, Texas State University performance plan that falls within the range of vindicate. Here I offer a solution to this problem by Taking Aesthetic Obligations Seriously flexibility permitted by the performance tradition that distinguishing between – and prioritizing among – Taking aesthetic obligations seriously raises a number governs the work, it yields access to the work. And even three distinct kinds of art history. These histories, the of questions: how are such obligations grounded? And if the entirety of a musical work is not present during a “intentional,” “psychological/ anthropological,” and what makes them aesthetic? I argue that such performance of it, all of its sonic properties may still be “style” histories, correlate to three distinct senses of obligations are grounded in a particular kind of present; and experiencing all of a work’s sonic “meaning” in art. I conclude by giving some reasons for commitment to one’s existing relationship with an properties is what hearing all of a work consists in. prioritizing the style history as we craft, discuss, and aesthetic object—rather than in a self-promise, or in a teach art-historical narratives. more general commitment to integrity. I then concede Sondra Bacharach, Victoria University of Wellington that there is nothing distinctively “aesthetic” about Vandalizing Art Shannon Brick, CUNY Graduate Center aesthetic obligations, besides the fact that they involve Is vandalism ever permissible? Yes. Mere vandalism Aesthetic Testimony, Authenticity, Emotion aesthetic objects. The upshot, I argue, is that aesthetic may never be permissible, because it destroys art. But, This paper offers an explanation of why there is a obligations can acquire the same status and importance this paper argues that not all vandalism is purely “norm of use” with respect to aesthetic testimony – a as other, more familiar forms of commitment. destructive. I consider two kinds of vandalism which norm that prevents us from relying on knowledge result in new art - replacement vandalism and additive gained by aesthetic testimony. The explanation is Zoe Cunliffe, CUNY Graduate Center vandalism. Ai Wei Wei’s smashed Han dynasty urns framed in terms of the higher-order value of Empathic Listening and Imaginative Resistance in involves creating something aesthetically valuable out authenticity. One is authentic when one forms Trauma Narratives of a grotesque act of destruction. Likewise, additive evaluative beliefs by relying on one’s own evaluative In this paper, I explore how the first-personal vandalism destroys the original art by adding new art, activity. We forego authenticity when we rely on narratives of trauma victims can achieve morally as the Chapman brothers do to Goya’s prints. These aesthetic testimony, hence we should not do so. I argue pertinent benefits for both victims and those that works are powerful, because they seem to destroy Goya, that, in the evaluative domain, cognitive emotions are attend to the narratives. I delineate three morally without physically damaging them. All three forms of particularly valuable because they enable us to know significant functions of victims’ stories. First, vandalism prevent us from experiencing the original we are being authentic. narratives serve a reparative role for those whose art. Rightly or wrongly, though, we excuse vandals experiences they represent; second, they have the when they leave art behind for us to appreciate. Elisa Caldarola, Università di Padova capacity to expand moral understanding; and third, Understanding Site-Specific Art they facilitate empathy with others. The achievement of Phillip Barron, University of Connecticut Scholars are currently calling ‘site-specific’ (SS) a wide these moral features depends upon an empathic The Role of Poetry in Daoist Texts variety of artworks. For instance, Kwon (2002) connection between victim and listener – my aim is to Poetry’s importance to the Daoist tradition goes beyond considers SS works as diverse as Andre’s metal plates elucidate the demands of empathic listening. presenting philosophical content in verse. Authors of installations, Fraser’s gallery talks, Holt’s public the Dao de Jing and the Zhuangzi make their claims sculptures, and ‘community art’ projects, while Gillgren about philosophy of language, not with proofs, but (2017) argues that Michelangelo’s Last Judgement Abstracts of Accepted Papers
Eva Dadlez, University of Central Oklahoma common sense, presented in the fourth moment of Mark Gatten, University of Toronto Upstanding Stand-Up: How Stand-Up Differs from taste, secures this universalization. I then go on to The Temporality of Paintings Fiction (and How Neither is Immune to Ethical Criticism) argue that our common sense can be understood as part Philosophers of art have traditionally made a One standard defense of Daniel Tosh, Andrew Dice Clay, of the supersensible substratum. distinction between the arts of time (music, poetry, Bernard Manning, and other stand-up comedians who drama, dance) and the arts of space (painting, have been accused of crossing moral lines is that the Jeremy Fried, University of Oklahoma sculpture, architecture). This distinction, however, responses they elicit belong to an aesthetic rather than Ally Aesthetics ignores the many ways in which painting, sculpture, a moral domain to which standard methods of ethical My aim in this paper is to discuss what I am calling ally and architecture can have temporal aspects. In this evaluation are inapplicable. I will argue first, that aesthetics and to eventually suggest a set of necessary, paper I focus on paintings. I argue that our fictionality doesn’t confer immunity to ethical criticism though not necessarily sufficient, considerations for understanding and appreciation of paintings require a and, second, that the stance adopted by the stand-up the creation of successful instances of ally art. My certain competence at seeing the depicted scene as part artist is not fully analogous to a fictive one. Whatever method in doing so mainly is two-fold, with some slight of a temporally extended event. I then consider how the case with respect to the adoption of an alternative diversions along the way. First, I want to study the case this characterization of one temporal aspect of persona, the stand-up artist can refer in his or her of Dana Schutz’s Open Casket, which I am treating as a paintings, although it is in a sense correct, risks pronouncements to the actual world in a way that a paradigm example of a failed attempt at ally aesthetics. conflating painted images with a certain way of seeing fiction does not. I first describe the creation, display, and reception of photographs, and it is thereby in danger of missing Open Casket and attempt to locate the reasons that what is special about paintings. Saul Fisher, Mercy College Schutz’s work failed to achieve her allying intent. In Aesthetic Transformative Experiences doing so, I identify some baseline criteria that a work of Lisa Giombini, Roma Tre University A range of aesthetic transformative experiences raise ally aesthetics must meet in order to possibly be Perceptible Authenticity: The Role of Style Recognition difficulties for characterizing, ahead of the accepted as successful, including meeting some in Aesthetic Appreciation transformation, how our thinking about aesthetic audience response standards. Since the mid-Sixties, philosophers have debated over evaluations may change. I build on L A Paul’s notion of the aesthetic value of authentic art-objects and their transformative experiences as yield problems of pro- Michalle Gal, Shenkar College perfect replicas. ‘Originalists’ argue that authenticity, jection relative to rational choice—such as utility-based Visual Hybrids, Visual Metaphors, and Non-Conceptual the quality of an object being of undisputed origin or decisions regarding having a child, calculated before Aesthetic Perception authorship, is a necessary condition for aesthetic and after actually having a child. While aesthetic This essay characterizes the perception of the visual experience, since an artwork’s appreciation transformative experiences are unlikely to produce hybrid, which is an extreme nonetheless paradigmatic presupposes its correct identification. ‘Anti-originalists’ rational choice problems of such magnitude, they yield aesthetic composition, and well established in art. The retort that we have no art-relevant reason to favor domain-specific changes of similar character as relate essay presents four main claims: 1. The perception of originals over visually-indistinguishable duplicates. To to future possible aesthetic mindsets and worldviews. visual hybrids is of a non-conceptual mental content this extent, they claim, ‘there is no identification Such changes generate special problems for aesthetics kind, since the original categories or concepts of the without (prior) evaluation’. Drawing from this debate, I and traditional models of aesthetic education. components are not combined into one, and their argue that aesthetic appreciation does not necessarily properties are not attributed to each other. 2. Language require judgement of authenticity. There are instances, Aaron Franklin, UC Santa Cruz freezes the hybridity of the visual hybrid into however, in which authenticity does intrude upon Power of Judgment A Sensus Communis Approach to Kant’s Antinomy of conceptuality. 3. Given that language has a freezing aesthetic evaluation, namely when style recognition is Taste effect in the case of an extreme visual phenomenon involved. In these cases, errors in attribution reduce In this paper, I aim to answer the following questions such as the hybrid, it is all the more restraining in the object’s impact and jeopardize aesthetic about Kant’s Antinomy of Taste in his Critique of the moderate artistic compositions, such as visual appreciation altogether. : 1) What specific concept does Kant metaphors. In those, nonconceptuality emerges from have in mind when discussing the indeterminate, relatively organized compositions, forms and relations, indeterminable concept that secures the and from a dependence of objects and their properties universalization of judgments of taste? 2) What role on perceptual context. 4. Thus, the non-conceptualist does the supersensible substratum play in the terminology is useful for the analysis of aesthetic antimony? I present a textual case for why the idea of a perception in general and its relation to language. Abstracts of Accepted Papers
Karen Gover, Bennington College will conclude with reflections on play and the effects of Andrew Kania, Trinity University Do Artists Work for a Living? Artistic Labor as a decolonial feminist praxis as they may be uniquely “Interpretive Authenticity” and the Content of Musical Philosophical Concept (although not exclusively) cultivated in aesthetic Works As philosophers of art, we tend to focus on the products experience. Julian Dodd has recently defended “interpretive of artistic creativity and not on the process or the authenticity” – the injunction to perform a work producers. I argue that the concept of artistic labor is Steve Humbert-Droz, University of Fribourg insightfully – as a constitutive norm of Western- an overlooked but essential element in our Aesthetic Properties without Perception classical-music performance practice. He argues that philosophical thinking about art and aesthetics. And I According to the default position in aesthetics, interpretive authenticity may conflict with “score- will ultimately argue that, as a concept, our aesthetic properties are partially grounded on compliance authenticity” – the injunction to play the understanding of artistic labor is replete with tensions, perceptual properties, which we access through our notes in the score – and thus that performers may imagination contradictions, and paradoxes. At the same time, senses. Literary artworks seem to challenge the reasonably favor interpretive authenticity over score however, our intuitions and assumptions about the perceptual view. In response to this, Advocates of the compliance. I argue that Dodd’s argument has nature of artistic labor underwrite many of our perceptual view argue that we access the aesthetic untenable implications for the nature of musical works, philosophical theories and even our laws regarding the properties of literary artworks through perceptual in particular for the theories of musical ontology and relation between artists and their artworks. . In this paper, my purpose is to put content to which Dodd himself subscribes. pressure on the perceptual view enriched by perceptual Steven Haug, UC Santa Cruz imagination. I do so by focusing on an "extreme" case; Jordan Kokot, Boston University Arendt’s Kantian Political Philosophy, and How it the phenomenon of aphantasia: the inability to create Perceptual Presence, Perceptual Constancy, and the Avoids a Feminist Critique and entertain mental images. Drawing from reports of Aesthetic Temporality of Style Like a handful of other philosophers, Hannah Arendt aphantasics subjects on "what it is like" for them to Samantha Matherne has argued that the aesthetic pulledPower a of political Judgment philosophy out of Kant’s writings, read literature. And given their manifest ability to be concept of style offers a solution to the problems of who never seriously developed one himself. Arendt’s caught up by some (though not all) aspects of literary perceptual presence and constancy while sidestepping approach is unique in that she develops a Kantian artworks, I conclude that they can access some aes- the problem of the unity of perception. While her political philosophy based on Kant’s Critique of the thetic properties – narrative properties. Such pro- account successfully describes the stylistic component , a work devoted to providing an perties, however, can be accessed/ appreciated without of object perception, it inadequately accounts for how it analysis of taste. In this analysis, Kant proposes a resorting to perception or perceptual imagination. is made available for perceivers. Key to answering this disinterested approach to judgments of taste. This question is recognizing that the unity of persons can position has been criticized by feminist philosophers Tim Juvshik, University of Massachusetts, Amherst also be understood in terms of style. To make this for ignoring situatedness, the fact that all judgments Are Artworks Necessarily Artifacts? position clear, I explore an aspect of Merleau-Ponty’s are made from the position of our particular social Morris Weitz has argued that artworks aren’t philosophy largely overlooked by Matherne, the situation. The task of this paper is to demonstrate that necessarily artifacts because a piece of driftwood can be relationship between style and time. Styles are patterns the Kantian political philosophy developed by Arendt is moved from a beach to an art gallery and so is art of coherency through time manifested via not subject to this critique. without being an artifact. Weitz assumes that developmental difference. Styles are permeable in that artifactuality requires intrinsic physical modification, they natively allow for the integration of aspects of Amelia Hruby, DePaul University which Stephen Davies defends in support of Weitz. I other styles, and persons themselves are composed of Decolonizing “Play”: Lugones’ World-Traveling and argue that this is incompatible with cases of artifacts styles. Consequently, the problem perceptual presence Loving Perception in Aesthetic Experience that were either only extrinsically modified or that is a species of the problem of how stylistic elements of This paper explores Maria Lugones’ conceptions of underwent no modification at all. I then consider the perception are absorbed into the stylistic features of playfulness, “world”-travelling and loving perception role physical modification plays in our practices and human persons. on an aesthetic register. Through the description and suggest it’s to improve an object either aesthetically or interpretation of two works of art that successfully and functionally, which involves evaluative, rather than unsuccessfully interrogate marginalization and engage constitutive norms. viewers across cultural/colonial contexts, the author endeavors to understand how works of art may serve as sites of decolonial coalition construction. The paper Abstracts of Accepted Papers
Hoyeon Lim, New School for Social Research how these two epistemic tools (a, b) can help the Julia Minarik, University of Manitoba Interpreting Pictures appreciator to meet (1, 2). Skin: On Living Canvases and their Artworks John Kulvicki argues that the way in which viewers In this paper, I argue that tattoos on living human assign contents to picture surfaces is constrained in a Samantha Matherne, Harvard University canvases are ontologically different artworks than their distinctive way; viewers rarely interpret pictures as Back to the Secondary Quality Analogy: Edith perceptually identical counterpart tattoos on dead differing in terms of the design-content relation. I Landesmann-Kalischer’s Moderate Objectivism about human skin canvases. I begin with a thought argue that we experience pictures as resembling each Aesthetic Value experiment that shows a difference between the two other and the constraint Kulvicki discusses concerns Moderate objectivism about aesthetic value attempts to artworks, I then show that this difference stems from more the way we compare pictures than the syntactic- combine a recognition of the seemingly objective status the personality of the living human canvas acting as an semantic relation of pictorial representation. of aesthetic value as part of the world with a abstract part of the relevant tattoo artwork. I then recognition of its essential connection to the response defend the point that the personality of the living Szu-Yen Lin, Chinese Culture University of subjects. In defending this view, theorists, like human canvas is an important part of the relevant Themes in Literature: Universalism and Skepticism McDowell and Wiggins, have drawn on the alleged tattoo artwork, leading me to conclude that artworks on There have been attempts to identify universal and analogy between secondary qualities and aesthetic living canvases are ontologically different than their recurrent themes in literature, and these give direct value. However, prospects for this view have been counterpart artworks on dead canvases given that they support to the claim that there are universal themes in called into question in light of the disanalogy between have different parts. This leads me to conclude that one literature. The aim of this essay is to cast doubt on such perceptual and aesthetic judgments with respect to someone dies, any artwork-tattoos that they had go out support by presenting several worries about the normativity and autonomy. I argue that the early of existence to be replaced by new perceptually similar position I call story "universalism." Particular phenomenologist, Edith Landmann-Kalischer provides artworks. emphasis is put on the version espoused by Georges a more satisfying defense of moderate objectivism that Polti, for his work in this regard is representative. My avoids these disanalogies. Ira Newman, Mansfield University conclusion is that story universalism has poor The Murder of Mitys: Causality and Coincidence in prospects. This conclusion also undermines Literary Darla Migan, Vanderbilt University/Bard CCS Narrative Logic Darwinism which sees universal themes in literature as Dana Schutz’s “Open Casket”: The Hermeneutics of I consider the events described by Aristotle (Poetics 9) inviting a biological explanation. Abstraction, Mimetic Gestures, Memes, and the in which the murderer of Mitys is killed by a statue of Networked Politics of (Artworld) Representation Mitys, which accidentally falls on the killer while the Irene Martínez Marín, Uppsala University Dana Schutz’s painting “Open Casket” (2016, Oil on killer is looking at it. While agreeing with Gregory Non-Standard Emotions and Aesthetic Understanding canvas 99 x 135 cm; collection of the artist), selected Currie (and Aristotle) that this event sequence shows I start by showing that any account of art appreciation for the 2017 Whitney Biennial, sparked controversy that narrative coherence does not entail causal understood as a form of ‘aesthetic understanding’ around whether the subject matter of anti-Black coherence, I disagree with Currie’s explanation. Currie requires, (1) a grasp of the reasons that make the claim violence is an appropriate object of study for a White traces narrative coherence to the story world itself; I about the good-making features of an artwork true, (2) artist. I argue that Schutz misunderstood the stakes of argue this is only sometimes the case. Often narrative providing an explanation that demonstrates handling the U.S. racial imaginary in her articulation of coherence is traceable not to the story world, but to the understanding. According to this view, to appreciate is several related historical events: the lynching of meanings projected by the literary work responsible for to understand why the features that we recognize as Emmett Till in 1955, Mamie Till’s decision to circulate creating the story world. The Mitys example illustrates contributing to the aesthetic value of the object are an image made of her son’s open casket (an important this. good-making features. My argument will reveal that the catalyst for the U.S. Civil Rights movement), and modes non-standard emotions, being this higher cognitive of image circulation since the original publication of Sai Ying Ng, CUNY Graduate Center emotions such as curiosity, courage, awe, and the photograph. Schutz’s underdeveloped work Moral Monsters: The Cognitive Pleasures of Imaginative admiration, can play a significant epistemic role in our performatively attempts to mimic Mamie Till’s Resistance appreciative practices since they: (a) help us focus our decision, resulting in a failed activation of politically Moral monsters – as I shall call them – are fictional attention in a deliberate way, and (b) place the informed art that puts pressure on finding new criteria characters who have moral flaws that are appreciator in a state of second-order awareness of for aesthetic judgments as social-historical forces incomprehensible by our moral norms, yet we find one’s mental states. I conclude the paper by showing converge in a contemporary public sphere organized cognitive pleasures in contemplating. In this paper, I through social media networks. argue that moral monsters can be deliberately created Abstracts of Accepted Papers to elicit imaginative resistance, and are sometimes ontologies offer the best explanation of the repeatable Anna Christina Ribeiro, Texas Tech University aesthetically meritorious if crafted to create confusion nature of works of music. However, I show that Is Poetry Fiction? about prevailing moral norms, thereby allowing for traditional type/token theories, which only distinguish The ancient Greek word poiesis, from which ‘poetry’ possibilities of social change. between two levels of objects, face two problems when derives, means ‘making it up’; this might suggest that applied to the phenomenon of musical versions. Firstly, in Antiquity poetry was considered fiction. The more Thi Nguyen, Utah Valley University they are not able to accommodate the familiar intuition recent notion of a ‘poetic persona’ suggests a similar Autonomy and Aesthetic Engagement of our musical practices that the work versioned is approach. Yet the number of poems where the I offer a new account of the value of autonomy in repeated in its versions’ performances. Secondly, they presumed persona and the author seem to collapse into aesthetic judgment: the engagement account. In are not able to distinguish between two different one is too large to make this generalization credible. aesthetic life, we value the activity of forming phenomena of our practices: the phenomenon of a Drawing on examples of war poetry, love poetry, and judgments more than the resulting judgments. In this work’s versions and the phenomenon of works inspired praise poetry, I challenge that model of interpretation way, the practice of aesthetic appreciation has a by, or derived from, other works. These undesirable that would make poems fictional tout court, arguing motivational structure similar to that of playing a game consequences are entailed, under traditional two-level that most lyric poems are best regarded as nonfiction — where we aim at winning, but winning isn’t the type/token theories, by the nature of types as point: playing is. The engagement account provides a ontologically thin entities. I defend that the hypothesis Nicholas Riggle, University of San Diego new resolution to a puzzle regarding aesthetic of nested types, a multiple-level type/token theory, can Invitation and Aesthetic Communication testimony. Why don’t we defer to aesthetic experts, as avoid these two problems while preserving the The familiar peculiarities of aesthetic communication— we do with scientific experts? Because the value of theoretical virtues of traditional two-level type/token especially acquaintance, testimony, and aesthetic appreciation is to be found in the activity of theories and structural monism –the most widely disagreement—strongly suggest that some form of forming aesthetic judgments, not in having correct shared view about the individuation of musical works, expressivism is true. Through a close (though not ones. The account also resolves a tension between according to which musical works are individuated by exclusive) look at acquaintance phenomena, I argue autonomy and cognitivity in aesthetic judgment. We one, and only one, sound structure. that a new hybrid theory of aesthetic communication is pursue correctness not for the sake of the correctness superior to expressivism. On this view the illocutionary itself, but for the sake of bringing about a certain kind Matteo Ravasio, Peking University force of aesthetic claims is a hybrid of a report and an of absorbed relationship to aesthetic detail. Heuristic Devices in Music invitation to appreciate. I present the view, show how it My aim in this paper is to explore a particular way in handles acquaintance, offer two reasons to favor it over Jeremy Page, Uppsala University which extra-musical imagery might guide the expressivism, and sketch how the theory handles Understanding(:) the Cognitive Value of Literature production of music and shape our experience of it. I testimony and disagreement. This paper draws on recent work on the nature of will name ‘heuristic devices’ the various strategies by understanding (particularly Alison Hills 2010, 2016 & means of which composers, performers and listeners Monique Roelofs, Hampshire College/Amherst College 2017) in order to give an account of how (good) literary use extra-musical elements to endow the music with Conceptualizing Race through Diamela Eltit’s Decolonial works embody understanding of their subject matter. It musical properties and appreciate them, focusing Feminist Aesthetics then argues for an account of the reader’s engagement particularly on expressive properties. I start by offering In Diamela Eltit’s 1988 novella The Fourth World, the with the work which demonstrates how the reader can some concrete examples from the musicological and city of Santiago de Chile—including its inhabitants— be justified in allowing their understanding of a subject philosophical literature. I then discuss some prominent goes up for sale. Eltit’s exploration of the specter of all- matter to be changed in line with the author’s relations between heuristic devices occurring at out commodification illuminates the entwinements of presentation of the subject matter. In arguing for these different levels of engagement with music aesthetics and race under finance capitalism. This views, I overcome four worries which arise for accounts (composition, listening, performance). Finally, I essay draws out three philosophical implications for of the cognitive value of literature. suggests that resemblance theories of musical the aesthetics-race relation: (1) the role of an expansive expressiveness may have mistaken accessory conception of racial identity; (2) a notion of aesthetic Nemesio Garcia Carril Puy, Universidad de Granada imaginative processes (that is, heuristics) for a agency as a critical site of transformed racial existence; The Ontology of Musical Versions: Introducing the fundamental characterisation of the experience of and (3) a call for multimodal forms of address to Hypothesis of Nested Types expressive music. counter neoliberal rationality. These points both This paper explores the ontological nature of musical emerge from and support the novel’s distinctive versions. I assume the widespread view that type/token decolonial feminist aesthetic. Abstracts of Accepted Papers
Stephanie Ross, University of Missouri, St. Louis the object. These alternatives aim to avoid the so-called these senses are materially distinct and of differing Indeterminacy, Identity Politics, and Literature heresy of separable experience (Budd) or separable usefulness and credibility. In this paper I investigate some puzzles that arise in value (Shelley), which allows, for instance, that non-art creating, appreciating, and critiquing narrative works objects could cause experiences similar to those art Emine Hande Tuna, Santa Cruz of literature. Because literature inevitably leaves objects do. However, by defending the strong empirical Imaginative Resistance and Care countless details of the fictional world unspecified, we theory against four objections, this paper argues that The scope of imaginative resistance (IR) is an ongoing must fill them out in our imagination. But how can we the heresy is in fact far from detrimental to aesthetic debate. While some, let’s call them “Exclusivists,” perform this task for characters and situations far valuation. Indeed, by accepting the heresy and thereby argue that its scope is limited to the normative domain removed – by race, class, ethnicity, gender, sexual adjusting our notion of value in aesthetics, we obtain (Gendler 2000, 2006), others, let’s call them orientation, religion, and more – from us? I look to a an understanding of aesthetic experience that better “Inclusivists,” argue for the inclusion of counter- recent account of mindreading to provide some agrees with testimony. descriptive claims to the list of IR triggering claims indication of how this can be accomplished. (Yablo 2002; Weatherson 2004). Inclusivity seems less Moonyoung Song, University of Maryland, College Park attractive due to its seeming allegiance with a more Mark Silcox, University of Central Oklahoma Aesthetic Explanation and its Selectivity restrictive interpretation of IR, which takes it to result Fiction, Pretense, and Virtual Reality It is commonplace in aesthetics that an object having from an inability. I propose an alternative interpret- In “The Virtual and the Real” David Chalmers defends certain non-aesthetic properties explains it having a tation of IR which endorses Inclusivity while rejecting metaphysical realism about virtual objects against the certain aesthetic property. One interesting feature of the construal of IR in terms of an inability. I will argue view that VR environments are best thought of as such an explanation is its selectivity—it cites only some that the cause of IR can be traced to our general “fictional worlds.” I argue that the plausibility of his of the non-aesthetic properties on which the aesthetic unwillingness to violate what we care about. Given that argument depends upon the suppression of a crucial property supervenes. Hence a question arises as to what we care about is not limited to what is moral or ambiguity in how philosophers talk about objects as what principle governs such selection. I propose a evaluative, we will end up getting a more inclusive “fictional.” Sometimes, the term is used to refer to selection principle that mirrors L.R. Franklin-Hall’s theory that might satisfy the doubters of Inclusivity. objects inhabiting the possible worlds described by selection principle for causal explanation, according to certain kinds of narratives. But some metaphysicians which causal explanation selects those factors that Rossen Ventzislavov, Woodbury University also characterize problematic types of abstract entities maximize the ratio of delivery (the degree to which the Performance Art and the Disappearing Body (e.g. numbers, universals) as fictional because of the explanans stabilizes the explanandum) to cost (the The human body is essential to performance art both as acts of pretense involved in referring to them in non- amount of information an explanation contains). an expressive medium and a locus of aesthetic narrative language games. Claims about the existence appreciation. This has made it tempting for artists and of virtual objects, I propose, in fact belong to a much Grant Tavinor, Lincoln University theorists to assume a level of authentic corporeal broader class of philosophically contentious assertions Towards an Account of Virtual Realism presence, immediacy and intimacy in the exchange that are best interpreted as occurring within the That VR media are realistic, and even more realistic between performer and audience. My study questions context of (principally aesthetic) discourse about the than other traditional forms of depictive media, has this assumption and its philosophical background. I value of gameplay. sometimes been claimed to be a “common-sense” view. use Dewey’s theory of experience to identify some It is tempting to frame a new concept of virtual realism unproductive tendencies in our thinking about the Nathan Smith, Duke University to refer to cases where a virtual world overwhelms its human body that persist in philosophical aesthetics In Support of Value Empiricism in Aesthetics users with a sense of the reality of the items, places and and art criticism until today. This paper advocates for strong value empiricism in people they encounter within it. Yet, the notion of Judgment aesthetics. The view holds that the particular “virtual realism” might also seem like an oxymoron. Jessica Williams, University of South Florida phenomenal character of an experience both makes it “Virtual” implies that something is not a real instance Aesthetic Attention and the Freedom of the Imagination an aesthetic experience (as opposed to another sort of of its kind, but merely has the powers or capacities of The “free play” of imagination and understanding is experience) and determines its aesthetic value. This is that thing. What is it for something to be virtually central to Kant’s account of beauty in the Critique of in contrast to objective theories of value where value realistic? Indeed, is the concept even a sensible one? In . Although Kant insists that the imagination and individuation are taken to lie in the object (namely, this paper I analyse the several senses in which virtual is free and self-active in the experience of natural a work of art) and weak empirical theories where value media might be claimed to be realistic and argue that beauty, he also claims that it is constrained by the form is taken to lie in experience but individuation to lie in of the object it apprehends. In what sense, then, is the Abstracts of Accepted Papers imagination free? In this paper, I argue that, on Kant’s Submitted Panel expand our empathic and other morally relevant view, although the imagination is bound to the form of Ethical Responses to Fiction affective-cognitive capacities. the object, the subject is free to direct her attention to Adriana Clavel-Vasquez, University of Sheffield aspects of the object’s form that are different than Nils-HennesPlace Stear, University of Southampton Submitted Panel those to which she would attend for practical or Robin Zheng, Yale-NUS Revisiting Suzanne K. Langer’s Aesthetics: cognitive purposes. The last two decades have seen renewed interest in Philosophical New Key and Virtual Form in Aesthetics narrative artworks addressing ethical questions, Thomas Leddy, San Jose State University Nick Wiltshire, University of Antwerp especially in film and television. Works like The Good Eva Kit Wah Man, Hong Kong Baptist University You Really Can See Fictional Characters , Breaking Bad, and Mad Men have moral Lona Gaikis, Academy of Fine Arts, Vienna In recent work on the question of how to characterize questions among their core themes. While critics often Iris van der Tuin, Utrecht University and explain our experience of film, two broad positions discuss such works’ ethical aspects, the moralism As Thomas Leddy puts correctly, Susanne Langer’s idea are discernible. The first position, more popular and debate in philosophy has, ironically, stagnated. That is of virtual space expressed in Feeling and Form has been perhaps better-developed, has it that fictional films until recently, when a number of new papers (including under-recognized in recent years. The panel proposes to occasion some sort of imaginative seeing of the events, the panellists’) have begun revitalizing the topic. revisit the philosophical sources, the originality and locations, and people represented. The second position Continuing this development, this panel addresses the the theoretical frame work of Susanne Langer’s has it that there is no such imaginative seeing morally relevant experiences such works and other aesthetics as a new key, and check out its contemporary involved: even with fictional films, there is a fictions provide, examining the ethical aspects of the implications through expanded reading. It involves two respectable sense in which a viewer straightforwardly broad range of cognitive-affective responses they papers tracing the influences that Langer’s sees those things that the film represents. This paper is prescribe. philosophical aesthetics are under (Cassirer, a modest contribution to the cause of the second Fictional narratives often invite participants to engage Whitehead, and more) and two papers reviewing position. I argue that viewers’ experience of actors, on in ethically charged imaginings. This is not merely Langer’s specific discussion of the art forms music and screen and stage alike, is such that they see the because they include ethical content, but sometimes dance, in which her distinguished, in-depth line of characters that the actors are portraying. I argue for because they require fully engaged participants to thought is comprehensible. this position by means of a slippery slope from adopt ethical perspectives. Specifically, such Thomas Leddy compares Langer’s philosophy to that of deception to acting, and explain it with reference to imaginings call for ethically inflected cognitive- her contemporaries (Dewey, Goodman, Danto) and perceptualism about other minds. I then answer several affective responses towards narrated events and singles out her notion of art as discontinuous potential objections. characters. experience in everyday life as main difference. This Papers in this panel investigate whether such contrasts positions mainly informed by pragmatism in Reed Winegar, Fordham University imaginings are ever intrinsically wrong; whether they her field. He further emphasizes the distinctive feature Kant’s Antinomy of Taste are ever ethically evaluable qua responses to fiction; of virtuality in her theory, which suggests linkage In the 3rd Critique, Kant resolves the antinomy of taste and some of the works prescribing such imaginings. rather than segregation of the orders of the primary by appealing to an indeterminate concept of the Zheng & Stear argue that some imaginative acts are and secondary illusions therein mentioned. Leddy supersensible. Paul Guyer has argued that this appeal intrinsically wrong in virtue of what is being done with points out the innovativeness of Langer’s reading and represents an unwarranted introduction of metaphysics them, which depends on the interplay between the its contemporary revelation. Iris v.d. Tuin extracts the into Kant’s theory. I defend Kant against this criticism imaginative attitudes they prescribe to participants and generative idea in Langer’s ontology of differing art by arguing that Guyer’s own interpretation of Kant’s the contexts in which they are performed. In contrast, forms and contrasts this with her notion as being account of pleasure ultimately entails an appeal to an Clavel-Vázquez argues that such responses are never embedded in a single philosophical project with others. indeterminate concept of the supersensible. Moreover, I ethically evaluable qua responses to fiction because V.d. Tuin’s reading is based on Langer’s personal show that Kant’s appeal to the supersensible does not fictional narratives as such do not refer to real entities, mentioning of an extended bibliography (with Bell, Fry, constitute an illicit turn to pre-Critical metaphysics; and only prescribe make-believe attitudes not Bergson, Croce, Baensch, Collingwood, Cassirer) in instead, it belongs to Kant’s criticism of the traditional indicative of appreciators’ characters. Paris examines which she positions herself. This poses questions in metaphysical inference from natural beauty to God’s rough-hero works arguing that, contrary to appearance, Langer’s interpretation and outset. Both will relate existence. such works are morally meritorious; by exploiting their theoretical engagement to artistic perspectives as features specific to television series, they exercise and well.
Abstracts of Accepted Papers
Further developing the notion of Langer as art theorist implicit critique of that practice, as well as how this Invited panel with emphasis on musical form, the other two papers film’s presentation of race undermines that critique. Author-meets-critics: Dominic Lopes’s Being for Beauty deal with contemporary discussions and examples that Flory will offer a general theory of how racialized Robert Hopkins, NYU relate to Langer’s theory of arts. Eva Man continues the disgust functions in standard portrayals of Native RachelBeauty Zuckert, Northwestern analysis of primary and secondary illusions in dance Americans in classical Hollywood Westerns. He will Brian Soucek, UC Davis performance and distinguishes a particular shift in its also link this theory to recent work on implicit racial Embedding aesthetic value within a vast array of virtual quality. She discusses Langer’s theory based on bias. Freeland will analyze the links between the socially-coordinated aesthetic practices, Being for examples from today’s dance choreographers in post- environment and morality in three revisionist Westerns explains how a thing’s having aesthetic value colonial Hong Kong that suggest an advancement of directed by and starring Clint Eastwood. Plantinga, who Langer’s theory of dance. Her reading puts Langer’s has previously written on Westerns, disgust, and Clint lends weight to what an agent aesthetically should do, suggestion of pure virtual form under social context, Eastwood, will then offer comments on these how beauty isn’t and is related to pleasure, how providing possible dimensions in understanding the presentations and raise issues that might be pursued in appreciation stands to other aesthetic acts, and how related shift in form and illusions. Lona Gaikis will give the question and answer portion of the session. beauty functions in a life well-lived. a further understanding of how Langer conceives and uses the term ‘feeling’ that appears so prominently in Invited Panel her philosophic oeuvre. She will draw attention to and Aesthetics of Urban Environments contextualize the particular meaning of musical form Zed Adams, New School and relate this to a shift in art theory: a growing Rebecca Kukla, Carleton attention to the import of sound and musics in the arts. Sanna Lehtinen, Helsinki These papers expand the reading of Langer’s aesthetics Elizabeth Scarbrough, Florida International to contemporary media art and academic cultures. Around 4.2 billion people, or 55 percent of the world’s Critical reflection is the key in all contributions. The population, lives in urban areas; this percentage is diverse papers allow a cross over review of expected to rise to 68 percent by 2050. The urban continuity/discontinuityNew Key of modernity and post setting thus constitutes the living environment for a modernity related to Langer’s discussion. The basic references in this panel are Langer’s two representative growing global population and not only its social, works, Feeling and Form (1953) and Philosophy in a cultural, political, and practical aspects, but also its (1942). The order of presentation is set aesthetic ones have an influence on our lives on a daily according to the proposed content and relation. It puts basis. Like its inhabitants, urban environments are the discussion of the virtual form of dance and feeling constantly changing and adapting themselves to new in music in the middle, and places the philosophical circumstances while preserving traces from the past. tracing and critical reflection at the beginning and the All these transformations are reflected aesthetically. ending of the panel. This panel explores aesthetic features of urban environments and illustrates some of the current Submitted Panel research in the field, specifically on urban ruins, urban Morality, Race, and Environment in Western Films art, and urban sustainability. Dan Flory, Montana State University Cynthia Freeland, University of Houston Carl Plantinga, Calvin College Thomas Wartenberg, Mount Holyoke College We propose a panel that will explore a number of related aesthetic and philosophical issues raised by Hollywood Westerns. Wartenberg will investigate how John Ford’s 1962 The Man Who Shot Liberty Valance suggests history is often “made” in the West and Ford’s