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In Defense of Beauty

Ruth Lorand

At a recent ASA meeting. upon expressing my interest in beauty and its relation to a colleague responded: "Oh, beauty is such a difficult concept, and it is so eighteenth century .... " I certainly agree with the former part, but I entirely disagree with the latter. Indeed, beauty is a difficult concept. In fact, these are the concluding words of Major, the dialogue which devoted to an inquiry into the concept of beauty. The interest in beauty was revived in the eighteenth century after its wide spread dismissal by the rationalists of the seventeenth century. Is it then an eighteenth-century concept? AMERICAN SOCIETY Beauty is as relevant now as it was at the time of Plato and of Kant simply because it has never ceased to pe of interest in everyday life. FORAESTHETICS The study of beauty, however, has fallen from grace in contemporary . Stolnitz AN ASSOCIATION FOR. AESTH HICS, observes: "We have ... to recognize that 'beauty' has receded or even disappeared from CR.iTICISM AND THEORY OF THE contemporary aesthetic theory. For, like once influential ideas, it has simply faded away" (1962: 185). And Nehamas writes: "Beauty is the most discredited philosophical notion-so discredited that I could not even find an entry for it in the index of the many books in the of art I consulted in order to find it discredited" (2000). Mothersill describes and strongly criticizes this tendency in her (1984). VOLUME 26 NUMBER 3 WINTER 2006 Beauty Restored The fact that a concept is out of fashion does not make it useless or redundant. Given the great attention, time, energy and resources that are dedicated to creatin& achieving or 3 Introducing Phllosophy Through preserving beauty in various aspects of life, it is quite clear that beauty is vital and signifi­ Film, by Hemy Pratt cant. One may disapprove of the role that beauty plays in human life, holding that" grace is deceitful. and beauty is vain" (proverbs, 31:30), but one cannot deny the phenomenon. 5 Review of Beauty has never been in exile as far as experience is concerned. And yet it is avoided or by Amy Coplan treated with contempt by contemporary philosophers. The intriguing question is, Why? Have contemporary aestheticians come to realize something that the rest of humanity has not yet discovered? 1 suspect that this is not the case. Tatarkiewicz suggests that the explanation lies in the changes that the concept of beauty News from the National Office 6 has undergone. "The Greek concept of beauty was broader than ours, extending not only to beautiful things, shapes, colors and sounds but also to beautiful thoughts and customs" (1972, 165). It may be true that contemporary professional discourse has thus Limited the 7 Conference Reports concept of beauty, but everyday discourse has not. Verbal products (idea, speeches, and stories), conducts, or .solutions to all kinds of problems are often described as beautiful. 8 Calls for Papers Kant's concept of beauty as the product of the free play of the cognitive faculties is not limited to the sensual aspect either. Tatarkiewicz is right in suggesting that if we restrict the notion of beauty, it bears little explanatory power for the variety of aesthetic experi­ Upcoming Events ence. 12 Passmore offers a different explanation. '''There is something suspect ('phoney') about 'beauty'. Artists seem to get along quite well without it: it is the cafE-haWlters, the preach­ ers, the metaphysicians, and the calendar-makers who talk of beauty.... 'Beauty' is always 15 Active Aestheticians nice; always soothing; it is what the bourgeoisie pay the artist for ... it is the refuge of the metaphysician finding a home for art in his harmonious universe .... " Thus, according to Passmore, beauty is useless and unreliable not because its range is too narrow, but rather because it serves or expresses the wrong social values. Indeed, many images of beauty have been criticized for promoting negative values such as racism, anti-feminism and the aesthetics-online.org like. However, one should not cOIlfiate certain images of beauty (those that correspond

WINTER 2006 1 to bourgeois ) with the general concept. Beauty is not always The problem is not the word but the of the concept denoted "nice" and "soothing"; it can generate pain or restlessness, as well by the word. as great joy. One person's beauty may be another person's , 2. Goodman's second argument concerning the detachment of but it does not follow that beauty (in general) is kitsch. In associat­ art from beauty, expresses the general consensus prevailing in the ing beauty with metaphysicians Passmore overlooks the fact that the last century. Goodman dismisses the idea that good art is necessar­ great metaphysicians of the seventeenth century hardly ever mention ily beautiful. He claims that, since some good works of art are ugly, beauty, let alone consider it central to their "harmonious universe"." beauty cannot be an essential feature of art. Similarly, Danto holds Spinoza, for one, regarded beauty as a subjective, irrational concept that modern art presents clear evidence that good art need not be that merely expresses the individual standpoint (Ethics, I, Appendix). beautiful (2003). Furthermore, Passmore does not explain in what sense do artists This view (which I do not accept) comes about from confusing the "get along" w ithout "it". Does it mean that artists do not use or of the work as a whole with the value of its subject matter or create beauty in their work? Even if we were to agree that beauty is its constituent parts. Kant already distinguished between the beauty irrelevant to art, there are still other aspects of life in which beauty of a given object and the beauty of the work which represents it:" A is significant. natural beauty is a beautiful thing; artificial beauty is a beautiful In his Languages of Art, Goodman briefly comments on the irrel­ representation of a thiing" (C], § 48). The beauty (or ugliness) of the evance of beauty to art appreciation. "Folklore has it that a good picture components, and the beauty (or ugliness) of the work as a whole do is pretty. At the next higher level. pretty is replaced by 'beautiful', not directly determine each other. This crucial d istinction has been since the best pictures are often obviously not pretty. But again, many disregarded by contemporary aestheticians. The fact that many of them are in the most obvious sense ugly. 1£ the beautiful excludes good, even great works of art seem to be ugly can be explained on the ugly, beauty is no measure of aesthetic merit; but if the beautiful the basis of this distinction. The fact that a work distorts conven­ may be ugly, then 'beau ty' becomes only an alternative and mislead­ tional beauty images and presents "ugly" images does not make ing word for aesthetic merit" (1968,255). Folklore, I dare say, is not the work itself ugly, just as a work that portrays beautiful objects is always wrong. Sometimes it intuitively grasps that which philosophers not necessarily beautifuL TIlis is true of art as well as of every case overlook. Yet, although I disagree with Goodman's conclusion, his where beauty is considered. A collection of beautiful flowers does reasoning deserves consideration. Goodman offers two arguments: (1) not necessarily create a beautiful bouquet. The degree of beauty of a Beauty is a confusing, and therefore useless, concept; and (2) Beauty given object-art as well as non-art-depends on the interrelation­ cannot be a key concept in art appreciation, because many (good) ships of its components, that is, its aesthetic order. In Aesthetic Order, works of art are ugly. Let us examine these arguments. a Philosophy oj Order, Beauty alld Art (2000) I have offered a detailed 1. Goodman rightly suggests that there are (at least) two ways account of this order and its relevance to art. Aesthetic order is the to understand the word "beauty": (i) "beauty" as an inclusive no­ order of the individual, not determined by general laws, unpredict­ tion that is equivalent to "aesthetic value"; (ii) "beauty" as aesthetic able and highly sensitive to changes within and without. Its value praise. The former covers the whole range of aesthetic appreciation is influenced by the values of the components that constitute it, but and includes ugliness as well as other degrees of aesthetic value. The it is irreducible to them. Thus, a work can deal with ugly materials latter indicates a rugh degree of aesthetic value, to which ugliness is and still be beautiful as a whole. an opposing pole. A brief accowlt of the great works of the past masters may reveal Is this double meaning unique to "beauty"? Clearly not. Many that art in general, not just modern art, tends to deal with disturbing, words have multiple meanings. For instance, we use" art" sometimes chaotic or painful materials, seeking to re-order them and reveal their in a classificatory sense that includes good and bad art, and sometimes significance for human experience. The beauty of Greek as an expression of praise (Dickie 1974; 1984). We would have to avoid does not lie in the loveliness of their situations. Neither the plot nor a great many words if multiple meanings were a suffi cient reason the characters of most of the scenes of Crime and Punishment can be for rendering a word useless and the concept it denotes futile. The regarded beautiful, but the novel as a whole is beautiful. The cruci­ confusion is usually resolved by context and linguistic conventions. fixion is not at all a pretty sight, yet it generated some very beautiful Furthermore, one has to distinguish between the word that may . Danto points at a by Matisse (Blue nude, 1907) have various meanings, and the concept that the word denotes in a and claims that it is a good , perhaps great, but by no given context. Words have their own history, which does not aJways means beautiful (2003, 36-37). Danto does not elaborate. Indeed, the reflect the significance of the ideas they denote. Analytic philosophers woman portrayed in the painting is not very pretty, the lines are not sometimes focus on the role of words and decide the fate of a concept delicate, and most classical conventions are violated. But the painting based on linguistic fa shions. is beautiful! Its beauty lies in its order that integrates sensual as well For example, Wittgenstein remarked that, "in real life, when aes­ as conceptual elements, and offers thereby a new interpretation of thetic judgments are made, aesthetic adjectives such as 'beautiful', these elements. Whatever makes it a good or great work also makes 'fine', etc. play hardly any role at all" (1970,3). Wittgenstein further it beautiful. states, that "right", "correct" and "precise" are more likely to be used To agree or disagree with this claim, we need to inquire into the as aesthetic praises. Whether Wittgenstein's account of "real life" is nature of beauty, however difficult this may be. [n Hippins Major Plato accurate or not, is beside the point here. Even if we were to agree demonstrates that beauty is paradoxical, illusive and complex, and yet, w ith Wittgenstein that "right", "correct" and "precise" are proper what a challenge! There are so many intriguing questions involved expressions of aesthetic value, we would still need to clarify what it here: What is beauty? What makes it a difficult concept? How does means for a piece of music to be correct or precise. I am certain that it relate to other values? What needs, if any, does it fulfill? Why is it Wittgenstein did not have in mind the correctness or precision of a so powerful in motivating people? leads his inquiry into a performance that meticulously follows the score without missing or dead end, but it does not have to end there. Mothersill argues that adding a note to it. A good musical performance is certainly not cor­ beauty is a "standing" concept "that ... is taken for granted in critical rect or precise in the same sense that a weather report or a solution discussion of the art, and ... is indispensable" (1984,247). I agree. to a mathematical equation is. If we closely analyze the role that such Beauty - vague, illusive and paradoxical as the concept may be-is adjectives play in aesthetic appreciation, we may discover that these nonetheless the essence of aesthetic experience. We may play with adjectives also have double meanings, raise questions, and create words and create synonyms in order to avoid the use of "beauty", yet difficulties, which are very similar to those that "beauty" creates. avoiding the analysis of beauty amounts to avoiding a key concept

2 ASA NEWSLETTER without which a fully integrated understanding of aesthetic experi­ ence is not possible. Introducing Philosophy Notes: Through Fzlm Danto, C. Arthur (2003). The Abuse of Beauty. Chicago and La Salle: Open Court.

Dickie, George (1974). Art and the Aesthetic: All Institutional Analysis. Henry John Pratt Ithaca, New York: Cornell University Press. As seen in a recent special issue of The Journal ofAesthetics and (vol. 64, no. 1, Winter 2006), there is currently a great deal of - - (1984).- The Art Circle. New York: Haven Publications. interest in the ways in which films can be philosophical. It is a matter of some debate whether films can actually be works of philosophy, Goodman, Nelson (1976). Languages of Art. Indianapolis and Cam­ but there seems to be widespread agreement that, at the least, films bridge: Hackett Publishing Company. can serve as concrete and provocative presentations of many of the issues about which philosophy concerns itself. With that in mind, I Mothersill, Mary (1984). Beauty Restored. Oxford: Clarendon Press. recently taught several classes that introduced students to philosophy through the use of film. What follows are some reflections on my Nehamas, Alexander (2000). "An Essay on Beauty and judgment." experiences and advice for those considering developing a similar The Threepenny Review. course. The use of film, unsurprisingly, draws students into the classroom, Passmore,j. A. (1954). "The Dreariness of Aestl1etics." In W. Elton (ed.) perhaps because they assume that the course will be entertaining (1954). Aestizetics alld Language. Oxford: Basil Blackwell, pp. 36-55. and easy. But beyond the possibility of increased enrollment, there are potential pedagogical benefits. Though most students at the Stolnitz, jerome (1962).-"Beauty: Some Stages in the History of an introductory level have never taken a philosophy course before, Idea." Journal of tile History of Ideas 22 (2): 185-204. their invol vernent in obligates them to face many of the issues that concern and challenge philosophers. Connecting Tatarkiewicz, Wladyslaw (1972). "The Great Theory of Beauty and its students' ideas about what they have seen in movies to what we study Decline." The Journal of Aesthetics and Art Criticism 31 (2): 165-180. as philosophers not only opens their eyes to a new area of academic discourse, but also makes them realize that they have dealt with these Wittgenstein Ludwig (1970) Lectures and Conversations on Aesthetics, problems before: they are not starting from scratch. Psychology & Religious , B. Cyril (ed.), Oxford: Basil Blackwell. Moreover, films can serve a common goal of an introductory philosophy course: to nurture students' abilities to think philosophi­ cally and recognize philosophy where they see it. In order to fill out their understanding of problems we encountered, my students often brought up the philosophical content of films that I had not assigned, which showed that they were beginning to find philosophy on their own. To galvanize this ability, I required, as a final project, a paper in which my students would pick a movie that we had not yet discussed and situate it within a philosophical framework. Students would Voices from the Profession explain their chosen film's philosophical import, the point of view it expressed (if any), and articulate their own standpoint with respect The column "Voices from the Profession" welcomes personal to the issues it raised. It was my hope that the skills developed in writing on works of art or culture, public policy concerning order to complete this project would carry through into and enhance the arts, issues in the profeSSion, the relationship of aes­ my students' lives beyond our classroom environment. thetics to other disciplines, politics, and the like. We are Introducing students to philosophy through film has certain seeking scholars who may be interested in contributing advantages, but it also requires the teacher to face a number of chal­ their voices to the series. Please contact the editors of the lenges in course design and implementation. Let me discuss three ASA News/etter, Sondra Bacharach and Sheila Lintott with 1. What films are you going to teach? Although this decision is questions or to express interest in writing a future column. similar to picking readings, an additional challenge is that it is much more difficult in the case of film to find something that suits your pur­ pose exactly. Some subjects that are typically taught in an introduction be After many years, Mary Devereaux is stepping down as to philosophy seem to much better suited to cinematic representa­ tion than others; finding films appropriate to other subjects may not the managing editor of the "Voices from the Profession" be possible. In my experience, there is a danger of orienting your Column. We would like to express our appreciation for her course too heavily towards problems in and epistemol­ many years as the column's founding and managing editor. ogy (the most obvious, and also most readily available philosophical films have to do with personal identity or skepticism). I learned that it is important to present films that cover a range Thank you, Mary. of different topics, and to mix up the order of topics covered. To do otherwise is to run the risk that you will give students the wrong idea about the breadth of philosophy. Once, one of my students, in proposing a paper topic, told me that she wanted to write about a film that wasn't very philosophical, but did have a good ethical problem

WINTER 2006 3 in it. Needless to say, that was rather disconcerting. they raise more than one issue that is of concern to philosophers. My In addition, students might not resonate with the same films that students, for example, found personal identity issues in practically you do, because of differences in generation and taste. For example, everything we watched, even films that I wanted to deal with in the when I used Blade Runner, most of my students reacted with vehement context of social and political philosophy. I found that it's hard to dislike (definitely not a response conducive to productive discussion). stop students from having a freewheeling discussion about topics Much to my surprise, they thought that it was incredibly boring. For that are far afield of the particular concentrations of your course; the next semester, T used l, Robot instead, but then some students felt teachers with a very linear sensibility when it comes to course design that we were studying too many recent Hollywood blockbusters. By will probably want to find a way of restricting the focus. way of contrast, ! was pleased to find out that my students did seem to Not only do films go beyond the issues you plan to address, but appreciate some offbeat choices and old films or art films that they'd the texts you assign will also inevitably go far beyond the films. For never seen before. But this is tricky: how much credit do you want example, The Matrix works well for getting students to think about to give to your students when it comes to their abilities to appreci­ the nature of and the extent to which we can know about ate the crucial aspects of the films you choose? Do you pick movies it- the central emphasis of Descartes' Meditations. But although that they've probably seen and like but which you find painful and it's relatively simple to connect The Matrix to the first and second philosophically unsophisticated (e.g., MillOrity Report or Vanilla Sky)? meditations, after that, things become much more tenuous. When I Or do you pick acclaimed masterpieces that they've probably never taught the Meditations, I found that at a certain point, I had entirely seen and may not be able to appreciate (e.g., Tile Sevellth Seal)? abandoned the film that started things off. While I did feel that the There don't seem to be any easy answers here. Furthermore, course was continuing on a good trajectory, my students had different given the differences among students from institution to institution, expectations: they thought that since this was a course in philosophy perhaps the best way to find films that work for an introductory and film, the latter should be continually informing study of the class is through trial and error (which may be cold comfort for your former. students who end up experiencing the "error" side of things). In short, there's a dilemma here. Do you watch a few films and 2. A second of problems is logistical: how are you going to trace out in a robust way the philosophical trails that they inspire? enable your students to see the films? While this issue may seem You achieve a deeper study of philosophy here, but risk losing the trivial, I found that it took considerable time and effort to arrive at a students' interest. Or do you watch more films and do short readings reasonable procedure, and even then, neither the students nor I were that are very specific to each? This might hold the students' interest completely satisfied. better, but runs the risk of cursory engagement with the philosophy, On the one hand, you could decide to show all of the films in at a level that never transcends the merely superficial. class. This would insure that aJI students were able to see the film I don't know what the optimal solution is to this or to any of the at the same time, and it wou.ld provide a nice captive audience for other challenges I've raised. But my best advice is that although discussion. In a film course that was not also an introduction to phi­ there are bound to be difficulties and setbacks, using film to introduce losophy, there would be good reason to use this method. However, students to philosophy has the potential to be a great pedagogical in a philosophy course this is likely to be impractical unless the films tool. And it's also, I should mention, a lot of . are unaccompanied by any corresponding reading material. Teaching philosophical texts is time-consuming, and you can't let the films use up all of the time you need to spend doing justice to the arguments and positions you encounter in the assigned reading. On the other hand, for several reasons, it's impractical to assign students to watch films outside class in the same way that you assign readings. Unlike the books assigned in a course, students are unlikely to own the films assigned. I suppose you could require your students to buy the films, but many students would find that economically burdensome. Films can't be put on electronic reserve like articles (yet), so you have to put hard copies on reserve. But if you have a 50" Anniversary ASA Poster large number of students who all need to see a certain film within a certain time &ame, many of them will find that the fi lm has been In 1991, at the invitation of , Saul Steinberg checked out when they want to see it. created a poster to celebrate the 50lh anniversary of The solution I arrived at was to put films on reserve, to have two the American Society for Aesthetics. From 1 Decem­ optional screenings of each outside of class, and to show short scenes ber 2006 to 4 March 2007, The Morgan Library and in class. While some students still had trouble seeing the films, and Museum, 225 Madison Ave, New York City, is host­ others would have liked to spend more time viewing films in class, ing a major retrospective of Steinberg's work, and this seemed to work better than the other possible options. among the pieces shown is the ASA poster. In 3. Finally, the most difficult problem (for me, at least): how are you addition, Arthur Danto has written an informative and going to integrate the films with the readings? One decision you'll amusing piece on the poster and its creation, which have to make is about temporal order. Do you read texts first and will appear in the November 2006 issue of ARTnews. then watch the films for illustrations? Or do you watch the films first and then study philosophical texts that make sense of the issues the The ASA still has many posters. They are availa­ films raise? In my course, I chose the latter tactic. In this way,! was ble for sale to members of the Society for $30 until able to pique my students' interest in the problems we were about March, after which they will be made available to to discuss, to an extent that may not have happened if we had read the public at an increased price. Please consult the first. After students watched each film, I had them write short papers on what they thought was of philosophical interest in it. I then used ASA website or contact the National Office at for purchasing . into the specific philosophical context of the readings. But there are complications here. Many films are rich enough that

4 ASA NEWSLETTER identifies the problems with this view through a clear and intelligent Review of Philosophy of discussion of the cognitivist approach to film theory. His essay pro­ vides an overview of a central debate in philosophy of film, while Film - Introductory Text simultaneously developing a careful argument about the meanings of spectators' emotional responses. Also in section four is an essay by Noil Carroll on the paradox of horror. In it, Carroll discusses his and Readings theory of horror, which explains why so many spectators take in horror films and why so many are fascinated by monsters. Students love Carroll's work on horror (I know this because I have taught it Amy Coplan several times) and it can be taught in conjunction with any number of recent horror films. Thomas Wartenberg and Angela Curran have put together an excellent The essays in section six consider whether or not films can be and much-needed anthology to introduce students to the philoso­ socially criticaL All three are excellent and would work well not only phy of film. It has much to recommend it, including an extremely in philosophy and film courses but also in gender studies, cultural impressive list of contributors from philosophy, film theory, and film studies, or media studies courses. Michael Ryan and Douglas Kel­ criticism, coverage of a broad range of topics in philosophy of film, lner's essay "The Politics of Representation" does an excellent job of and extremely helpful editorial material. using philosophical analyses and evaluations of Nashville (1975) and The anthology comprises twenty-seven essays organized into Missing (1985) to reveal the relationship of the aesthetic elements of seven sections, each of which addresses a key question about the films to their social and political effects. Ryan and Kellner critique nature and significance of film as an artistic and cultural medium. the widely held view that all popular film is inherently ideological These sections focus on the method of film theory, the nature of film, and discuss the limitations of avant-garde cinema. Angela Curran, the auteur theory, emotional engagement with film, film narration, in her essay on Stella Dallas (1937), develops a convincing reading films as vehicles for social critique, and what we can learn from films. of the film's narrative strategies and explains why and how the film Because the individual sections are self-contained, instructors will encourages audience members to take up a critical attitude regarding have no problem assigning them out of order or skipping some. the desirability of class ascent. One of the many strengths of this anthology is the clear and The final ;ection of the anthology focuses on whether or not we helpful editorial materiaL Each of the seven sections begins with an can learn from films. Although the first essay in the section by Stanley introduction that explains the major themes and arguments of the Cavell on It Happened One Night (1934) is important and interestin~ section's essays and identifies connections among them. Following each it will be challenging for many students, Cynthia Freeland's essay on introduction is a series of study questions. It is difficult to overstat~ realist horror, Thomas Wartenberg's essay on TIle Matrix (1999), and the value of the section introductions and study questions. Much of Joseph Kupfer's essay on Groundhog Day are all clear and engaging. the scholarship in philosophy of film and film theory is very difficult In her essay, Freeland argues that Carroll's account of horror (which to read. Wartenberg's and Curran's discussions and study questions, is discussed in his essay on the paradox of horror) will not work for on the other hand, are all clear and systematic. They provide a context realist horror, which requires us to rethink the moral assessment of for the essays and help to frame the debates and problems so as to film because of its "postmodern reweaving of the relation between make them more accessible to students. Thls is especially important reality and art." Wartenberg's essay is one of the best in the anthology. for sections two, three, and five, which focus on the nature of film, He argues that we need a better understanding of the relationship auteur theory, and film narration. In addition to the introductory between philosophy and film and critically evaluates the recent trend essays and study questions, there is a helpful list of suggestions for in philosophy of using films to illustrate philosophical concepts and further reading on each section and an excell ent index. theories. Through a discussion and interpretation of The Matrix, he The anthology begins with a section of essays by Noel Carroll, argues that film can genuinely philosophize and that film is a philo­ Malcom Turvey, and Giles Deleuze on how film should be theorized sophical medium but he insists that film's contributions to philosophy and the relationship between film and philosophy. This is an excel­ must be carefully articulate and not assumed. lent starting point. The essays in this section concern the very idea Another strength of this anthology is its showcasing of several of philosophy of film and ask questions about how we ought to debates and critical exchanges in the scholarly literature. Wartenberg develop and evaluate theories. Sections two, three, and five cover and Curran have paired several essays together that either critically traditional topics in philosophy of film and film theory and contain engage one another or focus on the same issue or problem. These an impressive number of extremely influential writings by thinkers pairings include the essays by Carroll and Turvey in section one, such as Hugo Mustenberg, Rudolf Amheim, Andre Bazin, Francois Arnheim and Bazin in section two, Sarris and Kael in section three, Truffaut, Andrew Sarris, Pauline Kael, Kendall Walton, David Bord­ and Bordwell and Chatman in section four. By grouping these essays well, and George Wilson. While there can be no question about the together, Wartenberg and Curran provide students with a sense of significance of these thinkers and their respective contributions to how the debates have evolved and how key problems are approached philosophy of film, film theory, and film criticism, these sections are by different scholars. the least accessible in the anthology (though there are a few essays, Wartenberg and Curran should be commended for inc1udingessays such as Bazin's and Sarris's, that are exceptions). Students should be from multiple traditions and that employ very different approaches. familiar with the debates on the nature of film, auteur theory, and film Very few collections have this much breadth. Cognitive film theory narration but many of the essays here will be challenging for them. may be a bit over-represented and feminist and psychoana~ytic ~m Sections four, six, and seven will be more appealing to most theory may be a bit Wlderrepresented but this is still the most mclUSlve students. These sections assemble some of the best recent work in anthology of its kind. philosophy of film, most of which wiU be relatively accessible to stu­ dents. In section four, which focuses on how films engage spectators' emotions, Carl Plantinga's essay "Spectator Emotion and Ideological Film Criticism" addresses the moral and ideological import of OUI experience of films. Plantinga fairly characterizes the received view regarding the problems with emotional responses to film and then

WINTER 2006 5 book, for cash transactions at the confer­ pared to fund a limited number of special News from the ence. Registration list for advanced registra­ projects that are deemed to be of benefit to a tions via e-mail. On-Site Registration Forms. wide range of the members and to the profes­ National Office The Local Arrangement Chair may need to sion generally. Proposals might include, but prepare additional registration materials lo­ are not limited to, conferences, special ses­ cally, though every effort wi ll be made by the sions at meetings that require extraordinary th 50 Anniversary of the American Society National Office to provide what is needed. funding, and projects to advance the study of for Aesthetics Poster Create a sheet of errata, if needed (consult aesthetics. Proposals for individual research, Program Chair for changes). Prepare name individual scholarships or fellowships, or per­ In 1991, at the invitation of Arthur Danto, Saul tags for registrants. Acquire University fold­ sonal travel will not be considered. Proposals Steinberg created a poster to celebrate the ers for registration materials to be handed require the sponsorship of a member of the th 50 anniversary of the American Society for out at registration. Assist with preparation of American Society for Aesthetics. No special Aesthetics. From December 1,2006 to March reports provided by the National Office for application form is needed, but a proposal 4, 2007, The Morgan Library and Museum, registration packets and the business meet­ should include the following information: 225 Madison Ave., New York City, is hosting a ing. Provide local information on restaurants , 1. A detailed description of the project, includ­ major retrospective of Steinberg's work, and etc. c) Tracking Conference Expenditures. ing its intended audience and anticipated among the pieces being shown is the ASA The Secretary-Treasurer will handle negotia­ outcomes. poster. In addition, Arthur Danto has written tions and arrangements with the host hotel 2. A budget, indicating sources offunding. an informative and amusing piece on the and sign for anyon-site expenditures. Any 3. A specific request for funding; normally poster and its creation, which will appear in expenditures by the local arrangements chair ASA funding will be limited and should not ex­ the November 2006 issue of ARTnews. The should be approved by the secretary-treas­ ceed 20% of the total cost, but in exceptional ASA still has many posters. They are avail­ urer and receipts provided. cases the board of trustees of the ASA may able for sale to members of the Society for The proposal should indicate what institu­ authorize other amounts. $30 until March, after which they will be made tional support will be available. No specific 4 . The name of a person responsible for ad­ available to the public at an increased rate. kind of institutional support is required, but ministering the funds and providing a written Please consult the ASA website or contact in the past, institutions have provided sup­ report to the society of the outcomes. the National Office at for purchasing information. can include in kind contributions of space, tials of the organizers (I.e. vitas, lette rs from audio-visual equipment, local transportation , institutional sponsors , etc.) and hospitality such as receptions and local Proposals will be received at any time, but Request for Proposals: American Society amenities as well as funds to help off-set action will be taken semi-annually beginning for Aesthetics Annual Meeting meeting expenses such as receptions at at the October, 2006 Annual Meeting. Dead­ the hotel, coffee in the mornings, and other lines for submitting a proposal are thus one The American Society for Aesthetics invites amenities. Institutional support need not month prior to the Annual Meeting and mid­ proposals to host a future Annual Meeting come directly from the sponsoring body; March and mid-September successively after of the Society. There is no special applica­ other sources such as foundations, gradu­ that. Applicants will be notified promptly after tion form , and informal discussion prior to ate school programs, student activities, and action by the board of trustees of the society presenting a proposal is encouraged. Each local donors should be considered. The or its deSignated committee. proposal should include the following infor­ National Office will be happy to discuss Proposals will be ranked on the basis of the mation before it is submitted to the Board of possibiliti'es with any potential donor. The breadth of interest to the ASA membership, Trustees for formal action, however. proposal should also detail availability of the likelihood of benefits to the profession, To be considered , a proposal must have transportation, hotels, and area attractions of and the of the proposal. Funding for the endorsement or sponsorship of an insti­ interest to aestheticians as well as any other proposals is contingent on the availability of tutional body - a department, center, college, reasons why the ASA should consider hold­ funds and the ASA is not committed to any or foundation. A letter inviting the Society ing its meeting in the area. specific level of funding. from the responsible administrator should The American SOCiety for Aesthetics nor­ be included in the proposal. The proposal mally rotates meetings from the East coast to shoukf specify a kJcal arrangements chair or central North America, and then to the West ASA Student Travel Grants ctJa·rs. who" normally have initiated the coast. Proposals for future meetings may be proposa _ "'be local arrangements chair is made at any time, but it normally requires at The American Society for Aesthetics desires responsib e for a I Recruiting and assigning least 18 months to make hotel arrangements. to support full time graduate students who studen {olun eers. Students receive free The 2006 meeting will be in Milwaukee. The have a paper accepted for presentation at conference attendance and 1 year free ASA rotation would indicate a 2007 meeting on the the Annual Meeting by providing a travel members"p for ther service. The National west coast, 2008 in the east, etc. Exceptions stipend. The following conditions for applica­ Office \It '!' need the arne . Address , and are possible in the case of special opportuni­ tion apply: e-ma' ado~ for each student in order to ties. 1. Student membership in the American Soci­ process theO' membership. b) Assisting in the ety for Aesthetics ($35) is required. preparation of registration materials. The fol­ 2. The maximum amount of the travel stipend lowing registration matenals be sent from Request for Proposals: American Society is limited to no more than $750. the National Office: Reports prepared by the for Aesthetics Special Projects 3. The travel stipend is limited to actual travel Secretary-Treasurer, the Editors , Division and hotel expenses (not food or per diem representatives, and members of the vari­ The Amencan Society for Aesthetics is pre- expenses) not covered by other subventions ous committees associated with the Society vi a e-mail. Conference programs. Receipt

6 ASA NEWSLETIER from alternative sources and must be sup­ building techniques dovetail in . ported by receipts. Conference Miles Kimball discussed the way that the 4. Eligibility is limited to full time graduate aesthetic expectations of 19th-century London students who are not employed in full time Reports maps gave rise to a sociopolitical concious­ teaching positions elsewhere. (Holders of ness concerning class. Benjamin Moritz graduate assistantships and fellowships are presented an early musical composition of 2006 ASA Meeting Rocky Mountain Divi­ eligible unless the assistantship or fellow­ Nietzsche's, his mazurka, and demonstrated ship covers expenses for delivering papers. sion how Nietzsche's social theory of the uberman 14-16 July, Santa Fe Graduate students on full-time temporary was resonant in the way he manipulated the or visiting apPointments or holders of dis­ mazurka's traditional aesthetics. sertation teaching fellowships at institutions Once again, the Rocky Mountain Division of other than their graduate program are not The Manuel Davenport Keynote Address was the American Society for Aesthetics held its eligible.) given this year by Professor Ann Hawkins, annual conference at the historic Hotel St. 5. Travel stipends will not normally be granted President of the College English Association, Francis in downtown Santa Fe, New Mexico, for more than three successive years. who spoke on "Marketing Beauty: The Case from 14-16 July. We enjoyed the beautiful Applications must be made to the American of Marguerite Gardiner, Countess of Bless­ summer weather of the high-desert South­ Society for Aesthetics upon notification of ac­ ington, and the Mid-Nineteenth Century Book west: sunny days with occasional afternoon ceptance of a paper by the program commit­ Trade." The Artist at Work plenary session thunderstorms. tee. A formal letter of application should state was presented by Mary Ciani Saslow, who the student's status and be supported by a is a Senior Lecturer in the Visualization Pro­ This year saw the start of new terms for two letter from the Student's graduate advisor. gram of the School of Architecture at Texas of our three officers: Arthur Stewart (our Notification of award will be made in sufficient A&M University. Her interactive power-point former Vice President) began his three-year time for registration at the conference hotel. presentation was entitled, "I Laugh In Yellow: term as President of the Division ; Linda Dove There is no pre-established limit to the The Intersection of Traditional and Digital began her three-year term as Vice President; number of travel stipends that may be award­ Media." and John Samson returned as Secretary! ed, but the American Society for Aesthetics Treasurer. may limit awards to available funds , in which We look forward to next year's conference case the maximum award may be reduced at and to the conference of 2008 , during which Activities on the 14th began with conference the discretion of the Secretary-Treasurer. we will celebrate our 25th Anniversary Year as registration and opening remarks by Vice the Rocky Mountain Division of the ASA. President Dove, as President Stewart had a Dabney Townsend last-minute family emergency and could not Secretary-Treasurer Linda Dove attend this year's conference. The program Vice President of the ASAIRocky Mountain itself covered a broad variety of topics and Division emphasized the interdisciplinary character of the Division's work. The 2006 conference program featured the following panels: Is­ sues in Aesthetics I (S.K. Wertz, George Moore, James Mock); literary Investigations I (linda Dove, Steven Salmoni, Michael Man­ son); Aesthetics and Ethics I (Eva Dadlez, Norman Fischer, Martin Donougho); Aes­ 2008 Annual ASA Meeting thetics and Ethics II (David Levine, Raphael Sassower, Frances Downing); Issues in The National Office is interested in Aesthetics II (linda Dove, John Bengson, receiving proposals for hosting the Brian Laetz, David Canter); literary Inves­ 2008 Annual Meeting. For further in­ tigations II (John Samson, Lewis Whitaker, formation, see the full announcement Miles Kimball); and Philosophy, Character, in the News from the National Office and Music (Ryan Jordan, Benjamin Moritz, section of this Newsletter, or contact Carol Gould). the National Office directly.

Although the topics, texts, and disciplines rep­ American Society for Aesthetics resented by the papers were diverse, there c/o Dabney Townsend were definite intersections that kept discus­ Armstrong Atlantic State University sions lively among all participants. To name 11935 Abercorn Street but a few examples: S.K. Wertz, George Savannah GA 31419 Moore, and James Mock engaged with the phone: (912) 921-2124 political representation of aesthetics in pa­ fax: (912) 921-5740 pers they (respectively) gave on the NEA, email: on fascism and modernist , and on two recent films depicting the Vietnam War: Pla­ toon and Full Metal Jacket. Frances Down­ ing presented a series of slides to illustrate how feminist space(s) and so-called "green"

WINfER2oo6 7 Popular Forms and Genres (including but not rent email address with your submission, as Calls for Papers restricted to: Internet video art, fan fiction and this wi ll be the primary means of notification other modes of fan partiCipation, and popular on acceptance. Please send paper submis­ music genres). sions by regular mail to: Or. John Samson, Persons submitting a paper or panel pro­ Secretary, ASAlRMD, Associate Professor of American Society for Aesthetics Eastern posal for review by the Program Committee English, Department of English, Texas Tech Division Meeting need not be members of the American Soci­ University, Lubbock, TX 79409-3091, Office: Philadelphia, Pennsylvania ety for Aesthelics, but all accepted papers re­ 806.742.2500 ext. 259. Kindly send e-mail 13-14 April 2007 quire membership before they are presented. submissions to: . Papers must be 3000 words or less, format­ For inquires and other correspondence, two Keynote speaker: Robert Stecker (Central ted for blind review and may not exceed 20 contacts: Dr. Arthur Stewart, President, ASAI Michigan University). Papers on any topic minutes reading time. Papers should be RMD, Associate Professor of Philosophy in Aesthetics are invited, as well as propos­ accompanied by an abstract of no more than & Director, Center for Philosophical Stud­ als for panels, author-meets-critics, or other 150 words. Email submissions are strongly ies, Adjunct for Graduate Studies in Piano special sessions . We welcom e volunteers encouraged (papers sent in Word or as RTF). Performance & Music Literature, Box 10023 to serve as session chairs and commenta­ Panel proposals must be submitted electroni­ Lamar University Station, Beaumont, Texas tors. All participants must register for the cally, and take the following form: (1) a Single 77706, Office: 409.880.8578 - Email: (please include "ASA" in 3000 words, and should be accompanied ture of the problem addressed and why it is of subject line); Dr. Linda Dove, Vice President, by a 100-word abstract. Electronic submis­ interest and (2) A li st of panel organizer, chair ASAlRMD, Division of Arts and Letters, Pres­ sions are strongl y encouraged (in Word or (if not the organizer), proposed speakers and cott College (mail to) P.O. Box 221 , Skull Val­ as RTF), either via email or diskette. Please their qualifications. Panel submissions may ley, Arizona 86338, Phone: 928.445.3957 send to Saam Trivedi , Program Co-Chair, at take various forms (e.g., on a theme, author - Email: . [email protected] or Department of meets critics, etc.) and formats. Philosophy, Brooklyn College, City University The ASA will provide grants of up to $750 Deadline: 15 February 2007 of New York, 2900 Bedford Ave., Brooklyn, for travel and hotel expenses of full -time NY 11210-2889. Please feel free to direct graduate students presenting papers on the questions to the Program Co-Chairs: Saam program. To be eligible students must be Feminism in Aesthetics/Philosophy of Trivedi (Brooklyn College) at or Robert Fudge (Weber Stale ested in support should identify themselves University) at . as such in order to facilitate the making of This volume is to be published by Kluwer travel awards. Academic Publishing as part of a series on Deadline for submissions: 15 January Email address for inquiries and electronic feminist philosophy. The series will include 2007 submission: Theodore Gracyk (Program five separate books on: feminism and aes­ Chair) . Mailing ad­ thetics; feminist philosophy of ; femi­ dress: Theodore Gracyk, Philosophy Depart­ nist epistemology and philosophy of science; 2007 American Society for Aesthetics An­ ment, Minnesota State University Moorhead, feminist history of philosophy; and feminist nual Meeting 1104 7th Avenue South, Moorhead, MN ethics and social and political philosophy. Los Angeles, California 56563. For further information concerning Since the ''where are the great women art­ 7-10 November 2007 ASA menibership or the ASAAnnual Meeting, ists?" volley of feminist questions that arose please visit . work in aesthetics and philosophy of art has Society for Aesthetics invites submissions grown exponentially - in terms of institutional for presentation of papers or panels at the Deadline: 10 February 2007 critiques, theoretical inquiry, activism, and 65th annual meeting of the Society at the artistic and creative practices. The aim of Sheraton Hotel Downtown, Los Angeles. The this volume is to continue and extend femi­ Society welcomes submissions from persons The American Society for Aesthetics nist work done in the area of aesthetics and in all arts-related disciplines, including gradu­ Rocky Division Twenty-Fourth Annual philosophy of art, broadly construed . The ate students. Paper submissions and panel Meeting volume welcomes (among other possible proposals may be on any area of interest Santa Fe, New Mexico approaches!) work that aims to do the fol­ related to aesthetics and the philosophy of 12-15 July 2007 lowing: revisit original questions in feminist art. The committee encourages papers and aesthetics/philosophy of art for new insights; panel proposals that address our meeting We welcome critical papers in all fields and include new and interesting work on women location of Los Angeles/Southern California, disciplines pertaining to the history, applica­ and the arts; thematize feminist perspectives and we particularly encourage submissions tion and appreciation of aesthetic under­ on embodiment, power, visual, musical, liter­ on the following themes: The Aesthetics of standing. We are always particularly inter­ ary or other forms of artistic representation; Adaptation; Hollywood: Aesthetics and "The ested in research into interdisciplinary and evaluate successes and 'next steps' for Industry"; The Urban Environment; Cultural in tercultural approaches emphasizing the feminist aims involving art and democracy Repatriation and Restitution; Varielies of natural character of the American Southwest. or plura li sm; consider feminist perspectives ; Aesthetic Properties Papers for 25 to 30 minute presentations (in­ beyond the Western lens; consider connec­ and Aesthetic Experience; Aesthetics and cluding questions and discussion) accepted tions between feminist approahces in the arts Race; Aesthetics, Politics and Cultural Cri­ for review. In addition to your surface mail and other spheres of value (ethical, political, tique; Aesthetics and Gender; Cognitive Sci­ address, please be sure to include your cur- social, SCientific, legal, religious): consider ence and Literature; ; feminist epistemological inishgts about the

8 ASA NEWSLETfER arts related to , reality and knowledge; other editorial correspondence should be ad­ at . Send papers and theory in the arts; or related projects. Dario Taraborelli, editor, Institut Jean Nicod, as an email attachment to Daniel Barnes Series editor: Elizabeth Potter; Volume edi­ 1bis, avenue de Lowendal, F-75007 Paris, either in Word tor: L. Ryan Musgrave. For furhter information email: , fax: (+33) 1 or Rich Text Format. Successful papers will or to express interest in contributing , contact 53593299 be confirmed early in Janua ry 2007. Ryan Musgrave ASAP at . Deadline: 1 December 2006 Deadline: 15 December 2006

Deadline: Early December 2006 Graduate Conference in Philosophy and Midwest Art History SOCiety Annual Con­ Literature ference Objects and Sound University of Warwick, Philosophy Depart­ Indianapolis, Indiana ment 23-25 March 2007 In recent years, research on perceptual cog­ 17 March 2007 nition directed at physical objects has been Proposals should be typed single-spaced, dominated by the studies of visual abilities. Plenary Speaker: Joshua Landy (Stanford) no longer than 250 words. Please list only However, it is reasonable to consider that "Beckett, Rorty, and the End of Philosophy". your name and institutional affiliation (no interacting wi th , and acquiring perceptual For this event, we seek papers that integrate titles). Remember to include a CY and in­ knowledge about physical objects depends both philosophical and literary concerns, and dicate your MAHS membership status. You on the relations between distinct perceptual we welcome theoretically and methodologi­ should not submit more than one abstract modalities (or possibly, on a single multimodal cally diverse approaches to these concerns. to this conference. Session chairs wil l notify perceptual system). Research on multimodal Presentations should be no longer than 25 applicants about their decisions by 8 Janu­ perceptual abilities may thus provide a key to minutes in length, and we ask that interested ary 2007. Graduate Student Submissions: the understanding of object-based cognition. students submit an abstract of no more than The Midwest Art History Society encour­ In this context, this special issue intends to 750 words. Mixed-media presentations are ages submissions from graduate students. investigate the specifiC contribution of audi­ welcome as long as the student provides The Charles D. Cuttier Graduate Student tion and sound perception to the knowledge her/his own equipment. Please Note: The Travel Stipend provides travel support to about objects. department cannot, unfortunately, cover the students presenting papers. After acceptance Guest authors: Stephen Davies, University traveling and/or accommodation expenses of the paper, please contact Randy Coleman, of Auckland, Michael Kubovy, University of of students attending the conference. Any MAHS Treasurer, at Virginia, Mohan Matthen, University of To­ person considering submitting a paper should if you would like to receive information for ronto. Submissions should be addressed bear in mind that they themselves or (prefer­ requesting support. For further information electronically to: . ably, of course) their department will have to see . Papers shou ld describe original and previ­ cover travel expenses to the UK. Abstracts ously unpublished work. Submissions must and any further queries should be sent to Deadline for proposals: 15 December 2006. be in English and should not exceed 8000 Joseph Kuzma at: . The following formats are accepted for sub­ From the Brain to Human Culture: Inter­ mission: RTF, PDF, DOC, LATEX. Authors Deadline for abstracts: 8 December 2006 sections between the Humanities and are invited to follow the stylistic guidelines, Neuroscience templates and detailed instructions available Lewisburg , Pennsylvania . Artist and Object: One Day Graduate 20-21 April 2007 Submitted papers will be reviewed by the Edi­ Conference tors and blind-reviewed by two anonymous Department of Philosophy, University of Not­ Confirmed Plenary Speakers: Andy Clark, referees. For the purpose of blind referee­ tingham Department of Philosophy, University of Edin­ ing, authors are requested not to include 23 February 2007 burgh; Professor Michael Gazzaniga, Depart­ their name or affiliation in their submitted ment of Psychology, University of California papers, but in a separate file. Each submis­ Invited Speaker: Peter Goldie (University of at Santa Barbara. Papers and/or panels are sion should consist of two distinct files: (1) A Manchester). Submissions are invited for this solicited for an interdisciplinary conference frontpage containing the title of the paper, the one day graduate conference hosted by the examining the intersections between recent name and affiliation of the author(s), as well Department of Philosophy at the University work in the humanities and neurosciences. as any acknowledgment; (2) The manuscript of Nottingham. The theme of the conference The pu rpose of this conference will be to of the paper (containing only the title, the is 'Artist and Object' allowing for a broad explore the status of this important debate at abstract and the body of the article). scope of topics in analytic aesthetics. Papers the present time. We especially encourage About the Review: Established in Geneva should be between 2500 and 3000 words papers that cross conventional disciplinary in 1989, the European Review of Philosophy (suitable for a 30 minute presentation) and lines and/or that directly address the schol­ is a peer-reviewed journal edited yearly at submitted for blind review with a detachable arly, institutional, and practical consequences the Jean Nicod Institute, Paris. It publishes cover sheet detailing the author's contact de­ of the ways in which the humanities and thematic volumes on philosophical and foun­ tails and academic affil iation. Preference will sciences are interacting at present. Papers dational issues in cog nitive science. Contact: be given to papers that stress originality and from across the whole range of both the hu­ Intending authors should make direct contact clarity of approach. Selected papers will be manities (art, religion , literature, philosophy, with the guest editors of the relevant issue considered for publication in the Postgradu­ film studies, history, languages, etc.) and by writing to: . All ate Journal of Aesthetics, which can be found neuroscience and its related fields (psychol-

WINTER 2006 9 ogy, cognitive science, phys iology, animal be­ 2007 Canadian Society for Aesthetics should include a brief abstract (120 words havior, organismal and evolutionary biology, University of Saskatchewan, Saskatoon , or less). Also include a brief biography for etc.) are welcome. Given the interdisciplinary Saskatchewan, Canada the contributors' page, should your paper nature of the panels and audience, we ask 29 - 31 May 2007 be accepted. Include all relevant contact t!:lat potential presenters be aware that they information, including a permanent e-mail will not just be addressing specialists in their The 2007 annual meeting of the CSA will address. Email submissions will not be ac­ field. Selected papers from the conference take place concurrently with meetings of cepted! Submit one disk or CD and two (2) will be considered for publication in an edited other Canadian associations, including the copies to the address below. Please note: We book in the Ape,,;us: Histories Texts Cultures Canadian Philosophical Association , as part are no longer accepting poetry submissions series from Bucknell University Press. of the 76th Congress of the Humanities and via email. If you submit your poetry via email, Please send a 500-word abstract and CV Social Sciences. Participants selected for please do not expect it to be reviewed. If your as an email attachment to : Professor John inclusion on the program are required to pay submission does not follow these guidelines, Hunter, Comparative Humanities Program, CSA membership and conference registra­ it will not be reviewed. Please email the Bucknell University, Lewisburg, PA 17837, tion fees. Graduate students whose papers editors if you have any questions: . Submissions via are included in the program are eligible for janushead.org>. Please send essays to: Edi­ regular mail will be accepted if necessary. a $300 travel subsidy (for up to four such tors Janus Head P.O. Box 1259 Amherst, NY Comments and inquiries to the above ad­ awards), and a $200 prize for the best gradu­ 14226. Further guidelines for Submissions: dress are welcome. This interdisciplinary ate student paper. Papers, panel proposals < http://www .jan u shead. org/j h g u idel i n es. conference is sponsored by the Comparative or abstracts on any topiC in aesthetics are in­ cfm>. Humanities Program at Bucknell University. vited, and especially so if addressing aspects of the theme of the Congress: Bridging Com­ Deadline for submissions: 1 February 2006. Deadline: 15 December 2006 munities: Making Public Knowledge-Making Knowledge Public. Only completed papers of 10-12 standard pages , accompanied by a Imagination and : Arts and Neu­ Conference on Depiction 150-word abstract and suitable for presenta­ rosciences Review The University of Manchester tion in fewer than 25 minutes, will be consid­ 18-19 May 2007 ered initially for inclusion in the program. Ab­ After a long period of excommunication from stracts, if submitted alone, w ill be assessed the part of scientific community, imagination Recent decades have seen philosophers de­ later and only if vacancies occur in the pro­ is now poised to benefit from an ingenious vote considerable attention to depiction, that gram. Proposals for panels upon special and fruitful combinations of theories and form of representation characteristic of figu­ topics or recent publications should include methods stemming various disciplines, such rative paintings, drawings and photographs. names and affiliations of all participants and as scientific psychology, neurology, ethology, Despite this attention, there is as yet little an abstract of the subject matter. All items biology and philosophy, generating new ideas agreement about what depiction involves. submitted for consideration must be forward­ and concepts outside the current discipli­ This conference aims to help remedy this ed both in hard-copy and as e-mail attach­ nary boundaries. With this theoretical and situation by bringing together philosophers ments (MS Word or .RTF files). Enquires or methodological exchange between research working in this area to discuss topics central submissions in English may be sent to Daniel fields, imagination and creativity gain both a to an adequate philosophical understanding B. Gallagher, Sacred Heart Major Semina ry, scientific anchoring and stimulus for the im­ of depiction . Such topics include: the nature 2701 Chicago Blvd., Detroit, MI, 48206, USA, plementation of empirical research models to and scope of depiction; its cognitive and aes­ ; submissions in evaluate the effectiveness of these concepts thetic value ; the relations between depiction French may be sent to Marie-Noell e Ryan, in informational and neurological substract. and other forms of representation; the phe­ Departement de Philosophie, Fa culte des The development in the field of cognitive nomenology of picture experience; the proc­ Arts et des Sciences Sociales, Universite de ne uroscience of tech nique s such as fMRI ess of picture production; and the mechanics Moncton, Moncton, N.B., CANADA E1A3E9, (functional magnetic resonance imaging ) to of picture interpretation . In vited speakers: . visualize changes in the chemical composi­ Robert Hopkins, The University of Sheffield; tion of brain areas during thought processes John Hyman, Oxford University; Dominic Deadline: 15 January 2007 provides powerful source of insights into the Lopes, The University of British Columbia; neural correlate of the imaginative abilities. John Kulvicki, Dartmouth Co ll ege. In addi­ The deadline for receipt of submissions is tion, the conference organizers will accept a Janus Head. A Journal of Interdisciplin­ 15 February 2007 Papers should not exceed limited number of submitted papers. These ary Studies in Continental Philosophy, 8,000 words (excluding bibliographical refer­ papers should be philosophical in content, Literature, Phenomenological Psychol­ ences, including footnotes) and should be address one or more of the topics identified ogy and the Arts submitted together with a short abstract of above, be formatted for blind refereeing, and approximately 200 words. Accepted pa­ be no more th an 5000 words long. Decisions Janus Head is currently accepting submis­ pers will appear on the website and will be to accept or reject papers will be made by the sion fo r its next open issue. Janus Head is published also as a special Issue about Arts end of February, 2007.Papers should be sent an interdisciplinary journal that places em­ and Neurosciences. Electronic submissions to: . phasis on the intersections among literature, should be sent as attachments to BOTH continental philosophy, phenomenological of the following addresses: or , Institut Jean Nicod, Arts and Neu­ 8,000 words. Fonmat requirements: APA or rosciences Review 1 bis avenue Lowendal. MLA styles. Submij one disk or CD and two 75007 Paris France. Fu rther information, (2) copies to th e address below. Your essay including th e Online Submission Details, can

10 ASA N EWSLETfER be found on the following pages: of Leeds, email: . ics: 'Aesthetics Bridging Cultures' and . 1, 2007. Notification will be made by April 1. versity (METU) For more information, contact Aaron Meskin 9-13 July 2007 Deadline: 15 February 2007 at . The conference is sponsored by the Ameri­ An appeal to aesthetics as the congenial can Society for Aesthetics, the British Society understanding of cultural and artistic expres­ NEH Summer Seminar on Scottish En­ of Aesthetics, the Centre for Metaphysics and sions and the special attitude towards the lightenment Aesthetics Mind, and the Leeds Humanities Research world, that can affect states of mind and Institute. relationships, this congress aims to bring This seminar is on Scottish Enlightenment together from as wide a world as pOSSible, Aesthetics and its German reception, and Deadline: 1 March 2007 aestheticians, philosophers of art, artists, will be directed by Paul Guyer (University of critics and those interested in all aspects of Pennsylvania) and Rachel Zuckert (North­ the arts. Plenary talks, artist presentations, western University), with guest lectures Second International Conference on Con­ panels, special artistic events, a by James Harris (St. Andrews), Alexander sciousness, Theatre, Literature, and the on the METU campus, perform­ Broadie (Glasgow), and Peter Jones (Univer­ Arts ances, film and video shows are planned. sity of Edinbugh, emeritus). The seminar will Aberystwyth, Wales, UK The XVII International Aesthetics Congress be held at St. Andrews University, Scotland, 5-7 May 2007 is organized by the SANART Association of 23 July - 10August 2007. All those interested Aesthetics and Visual Culture with the sup­ in aesthetics, the history of aesthetics, the The Department of Theatre, Film and Televi­ port of the Middle East Technical University, Scottish and German Enlightenments, and sion Studies at the University of Wales Aber­ the Faculty of Architecture, the Faculty of (more broadly) the art, literary, philosophical, ystwyth, UK, is pleased to host the Second Philosophy, and the Department of Arts. or intellectual history of eighteenth century International Conference on Consciousness, It is organized under the auspices of the Europe are encouraged to apply to partici­ Theatre, Literature, and the Arts. The confer­ International Association of Aesthetics with pate. For more information, contact Daniel ence will be held in Aberystwyth , Wales, UK, full responsibility of SANART. The METU Gross, Department of Philosophy, Northwest­ from 5-7 May 2007. Abstracts (up to 1 page) Campus which has won awards for its land­ ern University, Kresge 2-335, 1880 Campus are invited for papers relating any aspect scaping and ecological nature has many Drive, Evanston IL 60208; email: disciplines involved with consciousness stud­ outdoor and indoor swimming pools, gyms, ies) to any aspect of theatre, performance, several museums. More than a hundred Deadline for applications: 1 March 2007 literature, music, fine arts, media arts and any partiCipants can be lodged in single or double sub-genre of those. Please send the abstract rooms inexpensively, in order of application. to Dr Daniel Meyer-Dinkgrafe,

WINTER 2006 11 from Santiniketan is planned. A city tour will while source materials shou ld be collected be organized to the Anatolian Civilizations at the end of the essay. Authors working in Upcoming Events Museum, the Modern Turkish Art Museum philosophical traditions other than analytic and to the Citadel. Daily tours will be organ­ philosophy are of course welcome. As this is ASA Pacific Division Meeting ized to a traditional Turkish town and to the an entirely web-based format, essays should Pacific Grove, California Gordian city. Pre and Post Symposium tou rs be submitted via email. To avoid difficulties 28 - 30 March 2007 will be organized to Istanbul and Bursa, to the with word processing formats, we reque st Aegean Ancient Sites, to the Seljukid capital that all emailed should be saved and sent The Pacific Division of the American Society and Mediterranean and to the North of Tur­ in Rich Text Format (.rtf). Essays in an ac­ for Aesthetics will meet at the Asilomar con­ key. For further information see . member of the editorial board. Please direct 28 - 30 March, 2007. For further information all submissions and editorial questions to co ntact the program chair: James Hamilton, Deadline for abstracts: 30 March 2007 the editor via email at: . Please include "PJA" in the University, 201 Dickens Hall, Manhattan KS email subject heading. 66506, . Questions: Philosophical Work by and for Young People Deadline: Ongoing ; At least one month in advance of any regular issue Exhibition Featuring Hockey Seen: A Questions publishes philosophical work by Nightmare in Three Periods and Sud­ and for young people, including stories, es­ den Death, a multi-media performance says, poems, photographs and drawings, piece by philosopher etc. In addition, articles related to doing with choreography by Martha Armstrong philosophy with young people, reviews of Gray, music by composer John Adams, books and materials useful for doing the and drawings by Katharine Sturgis same, lesson plans (include description or Milwaukee, WI, The Haggerty Museum of Art transcripts of student responses) , classic at Marquette University thought experiments redefined/modified for 28 September 2006 - 14 January 2007 modern audience interests and demograph­ ics, transcripts of philosophy discussions, The Haggerty Museum of Art at Marquette photographs of classroom discussions, and University is pleased to present the multi­ more are sought. Images, whether photo­ media exhibition Hockey Seen: A Nightmare graphs, drawings, paintings, et al. should in Three Periods and Sudden Death by phi­ be sent as uncompressed TIFF files (with losopher Nelson Goodman. This exhibition at least 300 dpi resolution .) Written submis­ challenges the usual boundaries between sions should be sent in Word , WordPerfect, athletics and art. It will feature a video instal­ or Rich Text File formats (as .doc, .wpd, or lation of the 1980 Belgian Television pro­ .rtf). Scholarly articles should conform to the duction of Hockey Seen resulting from the Chicago Manual of for textual and cita­ collaborative efforts of Goodman, visual artist tion manners; please use footnotes rather Katharine Sturgis, choreographer Martha than endnotes. Be sure to include contact in­ Armstrong Gray, electronic music composer formation with your submissions. A copyright John Adams, and media design and technol­ release is needed for publication. All submis­ ogy specialist Gerd Stern. The exhibition wi ll sions should go to . Submissions will be reviewed tumes by Carole Swin, posters, photographs, first by the editors (Rory Kraft, Jr. and Alison and programs from the earlier presentations. Reiheld), then by the larger editorial board. The exhibition was shown during the Annual Deadline for Summer 2007 issue: 31 March Meeting of the American Society of Aesthet­ 2007 ics in Milwaukee from 25-28 October 2006. The project was initially conceived when Goodman saw the energetic live action draw­ Postgraduate Journal of Aesthetics ings of hockey scenes done by Sturgis who was inspired by hockey games that played The Postgraduate Journal of Aesthetics On­ on a black and white television . The perform­ line seek.s contributions. All essays should ance project incorporates these calligraphic be prepared for blind review. Essays are drawings as projected images while the danc­ meant to be kept short, generally aiming at ers, in hockey-like attire, blend the worlds of 2500 - 3000 words (or roughly the length of sport and fine arts. The musical score for the a 30 minute conference paper). The philo­ piece embodies the energy and adrenaline­ sophical level of essays should be such as driven tempo of a hockey game. Hockey to encourage serious and focused academic fans, dance and drama enthusiasts, as well thought at a level appropriate to postgradu­ as appreCiators of visual art will all find some­ ate's topics of interest. Also, authors are thing of interest in this exhibit. Hockey Seen asked to avoid lengthy footnotes and include evolved out of the arts education project page references within the body of the text, named Project Zero that was hosted by

12 ASA N EWSLETIER Harvard University in 1972 and focused on College and an MFA from New York Univer­ contact James Harold, Philosophy Depart­ bringing the arts to wider audiences. "A rts sity. Gray has received numerous awards for ment, Mt Holyoke College, South Haldey MA education from Goodman's perspective is her work as a choreographer. 01075, . aimed at changing and broadening human. The archive for Hockey Seen was be­ experience through engagement with visual queathed to the Haggerty Museum of Art art, dance, music, and literature and con­ upon Goodman's death in 1998 and re­ Arthur Danto's Transfiguration of the necting these experiences to other areas of sides at the Museum on the Marquette Commonplace - 25 Years Later knowledge in the sciences, the humanities University'campus in Milwaukee. The Hag­ On-Line Conference and the professional fields," said Dr. Curtis gerty Museum of Art is located at North 13th 1-31 January 2007 Carter, director of the Haggerty, who is curat­ St. and West Clybourn Avenue on the cam­ ing the exhibition. pus of Marquette University. Museum hours The First Online Conference in Aesthetics In notes apparently from Goodman's hand, are Monday - Wednesday, Friday - Saturday, wi ll be this interdisciplinary conference on Hockey Seen is described as related to his 10 am-4:30 p.m.; Thursday, 10 am-8 p.m.; Arthur Danto's Transfiguration of the Com­ wri tings as a philosopher. It is a nonverbal and Sunday, noon-5 p.m. Free parking is monplace, which this year celebrates its embodiment and illustration of some of the available in the Haggerty Museum Parking 25th anniversary. Most recent discussions of principles explained and advocated in his Lot (enter on 11th St. through Marquette Lot Danto's work have focused either on his art articles and his books Languages of Art and J). For more information ca ll Mary Dornfeld criticism or his historical claims about the end Ways of Worldmaking. He has argued that at (414) 288-1669. of art. This conference aims to focus instead the arts must be taken no less seriously on topics raised by Danto's earlier work. The than the sciences as ways of creating and conference, to be presented online in Janu­ comprehending the worlds we live in. In Evening Lecture: The Life and Extraordi­ ary 2007, will feature papers from scholars Goodman's view, Hockey Seen demonstrates nary Times of William Powell Frith in philosophy, art history, and other fields im­ how OUf whole perception and conception Victoria & Albert Museum, London pacted by Danto's work. Keynote papers will of the game alters drastically by association December 2006 be offered by Richard Shusterman (Philoso­ with the distilled dynamism of the drawings, phy, Florida Atlantic) and David Carrier (Art dance, and music. The Life and Extraordinary Times of William History, Case Western). Professor Danto will The project was first performed in Boston Powell Frith by Christopher Wood, leading close the conference with a response to the in 1972 and in Philadelphia in 1973. In 1980, authority on Victorian art will be speaking papers presented. Support for conference Hockey Seen was performed in Knokke-He­ about William Powell Frith , one of the most expenses comes from Vanderbilt University's ist, Belgium and shown on Belgian National popular and successful of Victorian artists. Robert Penn Warren Center for the Humani­ Television. The Belgian performances are The painter of the exceptionally popular ties, the Franke Institute for the Humanities considered to be the work's "crown ing mo­ Derby Day, his career spans the entire Victo­ at the University of Chicago, and the Philoso­ ment". Nelson Goodman graduated from rian age. Yet, there is to date no biography or phy Departments at Vanderbilt and Tel Aviv Harvard University in 1928. He simultane­ even art book about Frith, one of the greatest University. Please address any questions ously pursued a Ph.D. at Harvard while figures of the Victoria art world . to one of the conference organizers: Brian running a Boston art gallery. Goodman In conju nction with his new book on the cel­ Soucek (Un iversity of Chicago): , Jonathan Neufeld (Vanderbilt losophers on aesthetics and epistemology. fascinating insights into Frith's world. From University): , Michalle Gal (Tel Aviv University): Art: An Approach to the Theory of Symbols famous men and women to how he was held . (1968) is often cited as a major contribution with the utmost regard by Queen Victoria to twentieth century aesthetics. While teach­ and Prince Albert. He wi ll also share spirited ing at Harvard, Goodman established Project stories of Frith's fellow artists and tales about Display and Spectacle Zero, an interdisciplinary program linking some of the leading art dealers of the day, University of Nottingham art and education at the Harvard School painting a remarkable and absorbing picture 4-5 January 2007 of Education. In addition to Hockey Seen, of the entire Victorian period, seen through Goodman also created the multimedia pres­ the eyes of one of its greatest characters. To Art History journal and the Association of entations Rabbit Run (1973) and Variations book for you and your guests call 020 7942 Art Historians are hosting an international (1985). Katharine Sturgis worked primarily 2271 or emaH . by Deborah Cherry and Fintan Cullen (Edi­ ink sketches for Hockey Seen capture the tors of Art History), will focus on issues such energy and fast movement of the game. John as museum display, collecting, the creation C. Adams' electronic score for Hockey Seen SPSCVA at the APA Eastern Division of visual spectacles, institutional histories, was Adams' first commissioned work, made Meeting cultu ral exclusion and definitions of herit­ after the composer earned two degrees from New York age. For registration and further information Harvard University and moved from the east 27-30 December 2006 please contact, Liz Jennings, Dept of Art coast to the San Francisco Bay area. Ad­ History, University of Nottingham, Tel. 0115 ams has become one of the most renowned The Society for the Philosophic Study of the 846 7779 or email

WINTER 2006 13 College Arts Association 95th Annual SPSCVA at the APA Pacific Division Meeting Sculpture & Display Conference San Francisco, CA Henry Moore Institute New York City 3-8 April 2007 Spring 2007 14-27 February 2007 The Society for the Philosophic Study of the This twa-day international conference The 95th Annual Conference takes place at Contemporary Visual Arts (SPSCVA) holds (planned for Spring 2007) aims to bring the Hilton New York in midtown Manhattan. its divisional meetings in conjunction with the together academics, curators , architects, art­ Enjoy more than 150 sessions and panels, divisional meetings of the American Philo­ ists, designers and museum professionals to browse and shop at the Book and Trade Fair, sophical Association. For additional informa­ discuss the role of sculpture and its display in and participate in the Career Fair at the best­ tion, please contact Prof. Julie Van , the museum and gallery. It aims to look above attended CAA conference, to be held Febru­ Department of Philosophy, California State all at the reasons behind the choices of par­ ary 14-17, 2007. The Museum of Modern University Long Beach , 1250 Bellflower Blvd, ticular works and their placement; identifying Art, American Folk Art Museum, and Museum Long Beach, CA, 90840-2408, . of power, prestige and symbolic value which away from the Hilton. Major institutions such sculpture has been used to signpost over as the Metropolitan Museum of Art, the Frick recent centuries. For more information con­ Collection, the Whitney Museum of American Contestations: the 33rd Annual Confer­ tact Ellen Tait by email or by post at: Henry Moore Institute, and the Morgan Library and Museum are University of Ulster, Belfast 74 The Headrow, Leeds, LS1 3AH. also nearby. Conference attendees interested 12-14 April 2007 in contemporary art will not want to miss the Chelsea gallery district and venerable The theme for the 33rd Annual Conference Schopenhauer and the Philosophy of alternative spaces such as White Columns, has been motivated by the specific 'post­ Value, a conference on Schopenhauer's Artists Space, and the Drawing Center. For conflict' situation of Northern Ireland. Belfast, aesthetics and ethics and their contem­ further information see: . rial traces and representations of competing University of Southampton, UK historical formations are strikingly evident in 8-12 July 2007 everyday life. At a global level, contestation New Perspectives on the Panorama defines the present situation in which mani­ Nietzsche once commented that Schopen­ Yale Center for British Art, New Haven, CT, fold interests , intentions and investments hauer showed 'great knowledgeability about USA clash and grapple with each other. Art his­ the human and ail-tao-human' and a 'na­ 30-31 March 2007 torians, artists , theorists, cultural and media tive sense of reality', which were"not a little analysts are invited to think about the idea of dimmed by the motley leopard-skin of his This conference will rethink the orthodoxies contestation: How do we experience it? What metaphYSiCS (which one must first remove that currently characterize approaches to tra­ are its processes? How do we understand from him if one is to discover the real mor­ ditional 360-degree panorama paintings and it in our various areas of activity? Keynote alist genius beneath it)'. There have been broader notions of the panoramic through Speakers at the conference will be: Trinh T many studies of Schopenhauer as a meta­ an interdisciplinary con versation between Minh-ha, Filmmaker, writer, composer and physician , in which role he has commonly scholars and artists working in a wide range cultural critic. Professor of Women's Studies been found wanting, and it is arguable that of fields, including cultural geography, art and Rhetoric at the University of California, this assessment has obscured the breadth history, literary studies, architecture, theater Berkley. James Elkins, Departments of Art and profundity of Schopenhauer's insights studies, film, , and the fine arts. History, Theory and Criticism at the School of in aesthetics and ethics, which were widely Papers will explore the aesthetics of 360-de­ the Art Institute Chicago and, Ashish Rajad­ influential in the mid to late nineteenth cen­ gree painting from its inception in the eight­ hyaksha, Senior Fellow at the Centre for the tury, but whose influence since then has all eenth century to its resurgence in contempo­ Study of Culture and Society, Bangalore. For but vanished. Our aim in this conference rary practice, its relationship to architecture further information about the AAH conference is to explore Schopenhauer's theories of and film, and its social and political contexts . or to book a place please see: . spectives, govemed by the question whether British filmmaker Patrick Keiller. Speakers will they stand up better to scrutiny and deserve include Denise Oleksijczuk (School for the more prominence than contemporary ethics Contemporary Arts, Simon Fraser University, SPSCVA at the APA Central Division and aesthetics have tended to give them. British Columbia), Gretchen Bender (Univer­ Meeting Speakers: David Cartwright (University of sity of Ptttsburgh), Andreas Luescher (Bowl­ Chicago,IL Wisconsin-Whitewater, USA), Pa ul Guyer ing Green Slate University), Darcy Gri maldo 18-21 April 2007 (University of Pennsylvania, USA), Christo­ Grigsoy University of California-Berkeley), pher Janaway (University of Southampton , and Tom Gunmng (UnivelSity of Chicago). The Society for the Philosophic Study of UK), Matthias Kol>ler (Johannes-Gutenberg The conference concludes with a conversa­ the Contemporary Visual Arts (SPSCVA) University, Mainz, Germany), Jerrol d Levin­ tion , London-oosed pain'er - omothy Hy­ holds its divisional meetings in conj un ction son (University of Maryl and, USA), Alex Neill rna on "A Space for the Self: "'" by Richard with the divisional meetings of the American (University of Southampton, UK), Bernard Maxwell (yale University). The syrnposRJm is Philosophical Association. For additional Reg inster (Brown University, USA), Sandy free and open to the public; advance regIS­ information, please con tact Prof. Sander Shapshay (Indiana Un iversity, USA), Bart tration is required. For more infonnation or Lee, Department of Philosophy, Keene Slate Vandenabeel e (University of Gent, Belgium), to register: please email . . Zealand), Julian Young (University of Auck-

ASA N EWSLE1TER land, New Zealand). For more information WILLIAM IRWIN has published an edited contact: Christopher Janaway or Alex Neill , Philosophy, School of Humanities, Aestheticians pretation of Pop Culture. Contributors to the Avenue Campus, University of Southampton, vol ume include ASA members: Noel Carroll, Southampton S017 1SF, UK. ARNOLD BERLEANT and ALLEN CARL­ Ted Cohen , Ted Gracyk, Carolyn Korsmeyer, SON's The Aesthetics of Human Environ­ and Richard Shusterman. ments wi ll be published by Broadview Press The Moving Image Academics Registry in early 2007. The Aesthetics of Human En­ JENN NEILSON earned a Master of Arts in vironments complements Carlson and Berle­ aesthetics under the direction of Prof. Dom The Education Department of the British Film ant's The Aesthetics of Natural Environments Lopes at University of British Columbia and Institute (BFI) are planning to create an on­ which was published by Broadview in 2004. is presently in the doctoral program at the line registry of academic interests in moving University of Texas at Austin. image media (film, video and television) in LYDIA GOEHR and GREGG HOROWITZ re­ the UK. It would provide a useful way for aca­ cently inaugurated a new series, Philosophy, JEFFREY STRAYER's Subjects and Ob­ demics and students to network with those Social Criticism and the Arts, for Columbia jects: Art, Essentialism, and Abstraction will sharing similar interests. It would also allow University Press. The first two books in the be published by Brill in April of 2007. publishers to be more aware of current trends series are The Don Giovanni Moment: Es~ in research and anticipate this in their publi~ says on the Legacy of an Opera (Lydia Goehr CHRISTIAN HELMUT WENZEL's Introduc­ cations. With the pace of change in digital and Daniel Herwitz) and Things Beyond Re­ tion to Kant's Aesthetics: Core Concepts and technology a broader range of subjects may semblance: Collected Essays on Theodor W Problems has recently been published by now be incorporating moving image and it is Adamo (Robert HUllot-Kentor). Blackwell Publishing. important that this is reflected in the relevant research. If you feel you are committed to using moving image media, or if they have a research interest that incorporates media related-themes it would be very useful to have your details on the database. Each XVtI International Congress of Aesthetics: 'Aesthetics Bridging entry would contain a description of current Cultures' and past research projects and publications Ankara -Turkey, Middle East Technical University (METU) and contact detail s. If you are interested in 9-13 July 2007 registering please see: . An appeal to aesthetics as the congenial understanding of cultural and artistic expressions and the special attitude towards the world, that can affect states of mind and relationships, this congress aims to bring together from as wide a world as pOSSible, aestheticians, philosophers of art, artists , critics and those interested in all aspects of the arts. Plenary talks, artist presentations, panels, special artis­ tic .events, a sculpture symposium on the METU campus, perform­ ances, film and video shows are among the schedu led activities. The XVII International Aesthetics Congress is organized by the SANART Association of Aesthetics and Visual Culture with the sup­ port of the Middle East Technical University, the Faculty of Architecture, the Faculty of Philosophy, and the Department of Arts. It is organized under the auspices of the International Association of Aesthetics with full responsibility of SANART. The METU Campus which has won awards for its landscaping and ecological nature has many facilities for food and shopping as well as outdoor and indoor swimming pools, gyms, several museums. More than a hundred participants can be lodged in single or double rooms inexpensively, in order of application. Forms can be downloaded from and faxed to Jale Erzen 090 312 2107966. Payments can also be made directly to Sanart account: Yapl Kredi Bank, METUIODTU Branch, 0747-6 Account No. 3001036-3, inquiries telephone: (Jale Erzen) 090 312 2102215, or or .

For more information see .

Deadline for abstracts: 30 March 2007

WINTER 2006 15 American Society for Aesthetics Armstrong Atlantic State University Non-Profit 11935 Abercorn Street Organization Savannah GA USA U.S. POSTAGE 31419 PAID SAVANNAH GA Permit No. 1565

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ASA Newsletter EDITEO BY Sondra Bacharach and Sheila Untott ISSN 1089-1668

The Newsletter is published three times a year by the American Society for Aesthetics. Subscriptions are available to non-members for $15 per year plus postage. For subscription or membership information: ASA, Armstrong Atlantic State University, 11935 Abercorn St, Savannah GA USA 31419; Tel: 912-961 -3189; Fax: 912-961 -1395; email: .

Send calls for papers, event announcements, conference reports, and other items of interest to:

Sondra Bacharach, Philosophy Programme, PO Box 600, Victoria University of Wellington, Wellington, New Zealand, or Sheila Lintott, Department of Philosophy, Bucknell University, Lewisburg, PA 17837 USA,

Deadlines. November 1, Apnl 15, August 1

16 ASA NEWSLETTER