A Philosophy of Computer Art

Special Issue: Philosophy of Computer Art

The APA Newsletter on Philosophy and Computers and the ASA Newslet- ter have worked together to publish a series of joint special issues on the influence of computers on art, a project started by Ewa Bogusz-Boltuc, including the articles by Dom Lopes and Derek Matravers.

From the Author’s Perspective: A Philosophy of Computer Art

Dominic McIver Lopes

From the invention of the press, to the elevator, acrylic paint, and the electric guitar, AMERICAN SOCIETY technological progress has helped drive changes in long established art forms (in these for aesthetics cases, literature, architecture, painting, and music), but entirely new art forms (such as the movies) also spring from new technologies. As everybody knows, computers are having An Association for Aesthetics, a profound impact on the long-established arts, but A Philosophy of Computer Art proposes Criticism and Theory of the Arts the bold thesis that computer art is a new art form. It bets that making a case for this thesis sheds light on computer art – and perhaps on the arts more generally. Vo l u m e 29 Nu m b e r 1 SPRING 2009 The book begins by using two conceptions of computer technology to distinguish what may be called “digital art” from “computer art” and to then argue that digital art is not 3 Sorting out the Value of New an art form. Art Forms, by Derek Matravers Since computers handle information in a common digital code, usually binary code, they are all-purpose representation devices. We use them to make, manipulate, transmit, and display text, music, sound, and images, whether alone or combined in multimedia. Many 5 News from the National scholars explore the varied and far reaching implications of this for the established arts. Office Yet digital stories are still stories, digital images remain images, and digital music is a kind of music. “Digital art” names the disjunction of digital stories, digital images, digital music, and the like. 6 Aesthetics News According to another conception, computers compute. They are designed to run computational processes – to carry inputs into outputs by following formal rules, or algorithms. 7 Conference Reports Works of “computer art” take advantage of computational processing to achieve interactivity. For example, Sustained Coincidence by Rafael Lozano-Hemmer detects the location 8 Calls for Papers of its users and controls a series of lights to ensure that they cast overlapping shadows on the gallery wall. The artist reports that “the piece is inspired by phantasmagorias on the one hand and surveillance and digital analysis on the other.” Its operation relies on 11 Upcoming Events a computer that gathers information on the work’s users and follows an algorithm to maintain an environment with certain features. In this way, the actions of users help to 15 Active Aestheticians shape how the work goes. The main elements of a good description of Sustained Coincidence show up in a definition of computer art. An item is a work of computer art just in case (1) it is art, (2) it is run on a computer, (3) it is interactive, and (4) it is interactive because it is run on a computer. Clauses (3) and (4) distinguish works of computer art like Sustained Coincidence from works of digital art like Jeff Wall’s A Sudden Gust of Wind or the musical compositions of David Cope’s EMI. Only the first of these is interactive. What does that mean? A work is aesthetics-online.org interactive just in case it prescribes that the actions of its users partly generate its display.

Spring 2009 1 Its display? The display of any work of art is some pattern or structure this variation means something. Stepping into Sustained Coincidence, I that’s designed in part by the artist and that we attend to in order to notice first that the lights inevitably follow me and then that, no mat- ascertain the work’s meaning and aesthetic features. In La Grande Jatte, ter what I do, they bring my shadow into contact with the shadows the display is a marked surface, in Blow-Up, it is any of a number of of others. I get this far only by gauging the effect of my actions on screenings, and in “It Don’t Mean a Thing,” it is any of a number of the current display of the work and thereby scoping out the space of performances. The display of Sustained Coincidence includes any of possible displays that the work generates. Once I do that, I begin to a number of patterns of illumination and cast shadows. Since these appreciate the work itself – as what has those possible displays (fig. are generated in part by its users, the work is interactive, and this 1). Of course, anyone is free to appreciate each display as unique, interactivity is mediated by computational processing. Sustained without regard to the fact that it realizes one of many possible faces Coincidence a work of computer art, if it is a work of art. of the work. However, to do that is to fail to appreciate the work as using computational processing to achieve interactivity. To see why computer art is a new art form, consider why digital art is not. A kind of art is not an art form unless it is an appreciative art kind. Computer art users markedly differ from the audiences for traditional Works in an art kind share some features in common. Works in an apart works. Members of these audiences experience and interpret stories, preciative art kind are normally appreciated for having those features: images, and songs, but computer art users do something more: they they make up a contrast class for purposes of appreciation. Viewed appreciate works by generating their displays. This suggests to some in the context of twentieth- century painting, Broadway Boogie-Woogie that users are artists and it suggests to others that users perform com- is restrained, but it is ebullient when viewed against the background puter art works. Neither suggestion is correct, though each contains a of other paintings by Mondrian, so twentieth-century painting and grain of truth. Whereas users help generate the work’s displays, only the Mondrian oeuvre are different appreciative art kinds. The same the artist creates the item that has those many, variable displays (she goes for digital images and digital songs. We normally appreciate a often does this in part by writing some code for the computational digital image like Wall’s A Sudden Gust of Wind in a contrast class that process that the work runs on). And whereas a performer uses his includes arbitrarily any digital image, and we normally appreciate a knowledge of a work to generate a performance of it, a computer sonata by EMI in contrast with arbitrarily any digital song. However, automates display-generation for users, so that they can discover the we do not normally appreciate A Sudden Gust of Wind with digital work by exploring its many displays. That said, both artists and users songs like the sonata by EMI in mind. We do not appreciate it as make displays of computer art works. More interestingly, users are like digital art in the most generic sense. Digital art is not an appreciative performers in being objects of appreciative attention. We appreciate art kind, so it is not an art form. Frost/Nixon in part by attending to Frank Langella’s performance in the role of Richard Nixon. Likewise, I appreciate Sustained Coincidence This argument does not imply that the fact that A Sudden Gust of in part by attending to myself in the act of generating some of its Wind has a digital display is irrelevant to our appreciation of it. On possible displays. Unless I do this, I don’t really appreciate it as an the contrary, we are right to appreciate it as a digital image. Yet we interactive work. lose nothing by doing without the idea that we are to appreciate it as digital art. More importantly, the point of the argument is to bring There now exist thousands of works like Sustained Coincidence. Some out what is needed to defend the claim that computer art is an art are installations, but others are more closely allied with sculpture, form. The task is to show that it is an appreciative art kind. (If it is an imaging, story-telling, poetry, music, or architecture. What they share appreciative art kind, then it is an art form, because it is not plausible in common is that they take advantage of computational processing that it is any other kind of appreciative art kind. For example, it is to achieve interactivity. They comprise an art form if we appreciate not likely to be a genre.) these works, in the way just described, as works of computer art.

No work is interactive unless its display can vary depending what its An account of computer art should provide a framework for criticism. user does, and that means its display differs from user to user. That is The book suggests that specifically computer art criticism refers to why a hunk of marble or a written text are not interactive. Moreover, facts about a work’s computer-based interactivity as reasons for its having a merit or flaw. The book also answers several widespread and rather influential critiques of computer art. One of these is that good art promotes active thought, but computer art inhibits active thought, so computer art fails artistically. At first glance, this argument is surprising, for interaction often seems to require quick witted responses, and if the user does nothing, there will be no display from them to enjoy. However, “active thought” is often defined narrowly as distanced contemplation. The complaint is that users who interact with computer art works get so caught up in the moment – in the feedback loop with the machine – that distance is hard to achieve. Indeed, the very cognitive burden that interactivity places on the user precludes distance. In this respect, computer art compares with video games, which seem to demand real-time responses that block opportunities for leisurely reflection. However, this critique misses a point stressed above. Granted that users get caught up in the flow of their interactions, appreciating the work as generating a range of displays requires stepping back from any single interaction. Immer- sion in a single display is consistent with – and might even be needed for – distanced contemplation of the work itself. Other critiques of Figure 1 computer art can be answered in a similar way, by a careful study

2 ASA Newsletter of its nature. it, is such as to block works in the medium being of value. In this short paper I would like to take a slightly broader view than those The book closes by discharging the assumption built into the defini- represented in the four arguments he considers. There are two reasons tion of computer art that works like Sustained Coincidence are works for doing so. The first is that I have a hunch that this broader view of art. The case is not terribly hard to make, but the level of difficulty is, in part, what underlies the intuition (if one has that intuition) ratchets up if we take seriously the comparison in the previous para- that computer art cannot be valuable. The second is that it throws graph between computer art and video games. Video games are run some light on the question (also considered by Lopes) as to whether on computers, they are interactive, and they are interactive because computer art is genuinely a new art form, or merely a vehicle for they are run on computers. So if they are art, then they are computer presenting works in traditional art forms. The problem is not to do art. The trouble is that the easy case for counting computer art as art with the computer aspect of computer art, but simply to do with it then applies to video games and it turns out that video games are art. being a new art form. One response is to retrace our steps and reject the assumption that Sustained Coincidence and its kin have art status. A more interesting The argument is this. Objects that consist of paint smeared over response recognizes that Grand Theft Auto stands to Sustained Coinci- stretched canvas can, in our tradition, be vehicles for meaning. Is dence as tagging stands to Joseph Albers, as Dune stands to Ulysses, there something about this type of object that made it inevitable that it as Die Hard stands to Black Narcissus, or as Feist stands to Strauss. If should play this role, or is it a matter of historical contingency? Richard video games are the popular end of computer art, computer art is not Wollheim calls this ‘the bricoleur problem’ (Wollheim 1980: sec. 22, a niche phenomenon, and it might be worthwhile considering what 23, 63). There are certainly some qualities of the matter of paintings we can learn about computer art from video games. that make it suitable for the task: it is fairly stable, it endures, it is not consumed during appreciation and so forth. However, more is The argument for the thesis that computer art is a new art form brings needed if we are to throw light on the fact that paintings are vehicles out how much it differs from other art forms. It takes advantage of for meaning: namely, that we are able to place this painting in the computational processing to achieve user interaction with a highly context of other, previous, paintings. variable display, and its users engage in appreciative activities that go beyond those of traditional spectators. The common confusion of There are both more specific and less specific versions of this argument. digital art and computer art obscures what is groundbreaking in the The more specific is famously associated with Ernst Gombrich. Our latter. Computer art is not just for nerds with an interest in aesthet- understanding of Mondrian’s Broadway Boogie-Woogie is informed by ics. If computer art is an art form, then it affords an opportunity to it being the case that ‘the name Mondrian conjures up the expecta- fit together many of the components of a complete philosophy of an tion of severity, of an art of straight lines and a few primary colours art form: a definition of the art form, an ontology, a framework for in carefully balanced rectangles’. This being so, ‘the boogie-woogie criticism, and an account of its status as art. picture gives indeed the impression of gay abandon’. However, were we to believe the picture were by Severini – ‘who is known for his futuristic paintings that try to capture the rhythm of dance music in works of brilliant chaos’ – our understanding would be very different (Gombrich 1977: 313). Thus the question of which oeuvre we should use as a background is going to arise for any individual work Sorting Out The Value of of computer art. New Art Forms The question itself does not seem unanswerable. If the work is one in a number by the same artist, we can use that artist’s oeuvre as a Derek Matravers background for comparison. The oeuvre might be limited, which might detract from the content of the work, but some oeuvre (not matter In his forthcoming book on computer art, Dominic Lopes writes that how limited) will help. Alternatively, one might look to the genre of ‘few generations in all of human history have been lucky enough to computer art as a background. Within this background, some works witness the birth of a new art form’. We are that lucky, of course, will be relatively dynamic, some relatively static and so on. and that form is computer art. Lopes defines computer art works (Computer Art Forms) as follows: The more interesting issue is why computer art (considered as computer art – I will from henceforth take this qualification as given) is CAF: an item is a computer art work just in case (1) it’s art, (2) it’s meaningful. Which of Lopes’ clauses allows meaningfulness in? The made by computer, (3) it’s interactive, and (4) it’s interactive because two places are either (1), or (2) and (3). I shall take the last of these it’s made by computer. first as it is clearly the more interesting. Why should our interactivity with a computer, which is grounded in the work being made by a In an illuminating journey, he then explores various ramifications of computer, make that interactivity meaningful (as opposed to simply this definition, including what he calls ‘the value question’: What is being interactivity)? The broader argument is that what makes an the value of computer art works? This is intriguing ground because interactive sequence meaningful is its historical context. there is a view, among many, that computer art forms are not valuable. This could, of course, be simply a conservative resistance to Let me consider one of the pieces of work described in Lopes’ change, or it could be grounded in solid argument. Lopes gallantly book: grants his opponents the more respectable position, and considers four arguments to the effect that computer art is not of value. He finds Scott Snibbe, Boundary Functions, 1998. When you and your compan- all of these wanting, and thus concludes that computer art is not in ion step onto a slightly raised platform, a line is projected onto the principle valueless, but rather – like all art – needs to be considered floor halfway between you. As more people join in, more lines are on a case-by-case basis. drawn, creating an irregular tiled pattern. Try as you might – and some children who have just stepped in are trying very hard – you Lopes’ argument focuses on the whether computer art, as he defines cannot step outside your boundary. Someone remarks that Boundary

Spring 2009 3 Functions was the title of the doctoral thesis of Theodore Kaczynski, rently discussed. (Wollheim 1980: 152) the Unabomber. However, that might be a bit too quick. What if, instead of trying to Let us say that what the interaction consists in is trying (and failing) be describe the property in such a way that we pick out only those to step outside your boundary. What makes this meaningful in the possessed by past works of art, we import clause (1) of CAF? That way in which it is meaningful? In other words, what makes it dif- is, the context is ways in which works of art (and not, for example, ferent from (for example) trying to get out of a hole into which one holes) have solved the problem of exemplifying our being hopelessly has fallen? Put crudely, the argument is as follows. This is only one trapped. Then one would be considering the way in which this work way of putting it; the point could be made in other ways (and let me of art (Boundary Functions) exemplified the sense of being hopelessly apologise now for the crude art criticism). The work is trying to solve trapped as compared to how other works of art have exemplified that a problem: how to covey a sense of being hemmed in, in ways one can- sense. How it was done could exhibit a great deal more flexibility, as not escape. It does this by making it the case that our moving has the the description of the property is no longer being used to specify the effect of redrawing the boundary in a way where we are still hemmed relevant context. Hence, the way Boundary Functions does it could be in in our new position. The first move in explaining what makes this compared (perhaps) to Berthe Morrisot’s and Mary Cassatt’s paint- reflective and interesting, as opposed to merely irritating is that this ings, with their constricted pictorial space, convey a sense of women ‘solution’ to the problem is seen in the context of other solutions to being trapped in the domesticity and mores of late eighteenth century the same problem. However, this is not enough, as included in such bourgeois society (Pollock 1988); or to Arthur Miller’s Death of a Sales- solutions would be those which would enable one to get out of a hole man conveys a sense of hopeless entrapment in the ever decreasing where the rim collapses every time you get enough of a grip to haul circles of Willie Loman’s options and opportunities. In addition to the yourself upward. Such comparisons are not going to invest Boundary successes, we could also bring into the context some less successful Functions with meaning. We could try to specify the problem more attempts: perhaps Richard Serra’s Matter of Time installation at the precisely, such that the context of comparison includes only works of Guggenheim in Bilbao, which was just too big to be clever. The moral art. However, the specification would have to be precise enough to here is that the value question and the art question are not distinct; we pick out precisely the way in which past works of art achieved this; need an answer to the second to sort out an answer to the first. I am in other words, it would have to talk about forms specific to art. sure Lopes will have interesting things to say on this connection in his final chapter, ‘The Art Question’. Sadly for me, it remains unwritten However, the problem with new media being meaningful then becomes in the draft from which I have been working which means, of course, apparent. If the properties that make the work in the new medium that I will need to buy the book. Clever fellow, that Lopes. meaningful are the properties the new medium has in common with the art of the past, the meaningful properties of a new medium are not those which make it new, but rather those it takes over from (Endnotes) older media. This would incline us to think the burden of meaning for computer art is borne by its traditional elements; the value of 1 The book is in its early stages, and quotations are from the computer art lies in its being a vehicle for works in more traditional typescript that Lopes was generous enough to show me. I hope media. This argument seemed to underpin the point Roger Scruton any readers of my piece might be spurred into buying what was trying to make to Tracy Emin in the 1997 Turner Prize debate, looks to be an excellent treatment of the subject. and can be found explicitly in Richard Wollheim, writing in 1968, 2 A debate memorable for the fact that Emin and Scruton had a who makes the same point about a then current ‘new medium’ (he fascinating (albeit short) exchange, before Emin wandered off was writing in 1958): the set, having clearly had a great deal to drink.

In its secondary occurrence the question [why is this particular stuff Gombrich, E. (1977). Art and Illusion: A Study in the Psychology of or process and accredited vehicle for art?] is raised in a context in Pictorial Representation. London, Phaidon. which certain arts are already going concerns. It will be apparent Pollock, G. (1988). ‘Modernity and the Spaces of Femininity’. Art in that, when the question is raised in this second way, the answer Modern Culture: An Anthology of Critical Texts. F. Frascina and J. it receives will in very large part be determined by the analogies Harris. London, Phaidon, 1992: 121-135. and disanalogies that we can construct between the existing arts Wollheim, R. (1980). Art and Its Objects. Cambridge, Cambridge and the art in question. In other words, the question will benefit University Press. from the comparatively rich context in which it is asked. It is, for instance, in this way that the question, Is the film an art? is cur-

2009 John Fisher Memorial Prize Goes to Michael Newall

The Journal of Aesthetics and Art Criticism is pleased to announce that this year’s Fisher Prize has been awareded to Michael Newall of the School of Drama, Film, and Visual Arts at the Univer- sity of Kent, for his paper, “Pictorial Resemblance.” The next Fisher Prize will be awarded in 2011.

4 ASA Newsletter are asked to pay for six months: $35 for ryone should make their own travel arrange- a regular U.S or Canadian membership; ments. At registration, there will be a “rebate $41.50 for an international membership; form” and the National Office will send a $17.50 for a U.S or Canadian student mem- check for $75. bership; $20 for an international student membership; and $17.50 for a U.S or Ca- Change in Membership Renewal Dates nadian emeritus membership, and $20 for an international emeritus membership. You The American Society for Aesthetics is will then be paid up through 2009. You will changing from a membership renewal date be billed again for JAAC Vol. 68 for the next that corresponds to the Number of The Jour- News From The full year. nal of Aesthetics and Art Criticism to one that corresponds to the Volume Number, i.e. National Office • If your renewal date has been in October, from four separate renewal dates to a single you are asked to pay for three months. Susan Feagin has announced that the win- annual renewal date. This change will not af- $17.50 for a regular U.S or Canadian mem- ner of the 2009 John Fisher Memorial Prize fect when you receive JAAC, which is mailed bership; $20.75 for an international mem- is Michael Newall, for his paper, “Pictorial directly by Wiley/Blackwell on a quarterly bership; $8.75 for a U.S or Canadian stu- Resemblance.” Dr. Newall received his PhD basis. Anyone who joins the ASA after the dent membership; $10 for an international in 2004 from Flinders University, and he first quarter may request the back issues student membership; and $8.75 for a U.S teaches at the School of Drama, Film and for the current year by paying the full annual or Canadian emeritus membership, and $10 Visual Arts at the University of Kent. He has membership fees. for an international emeritus membership. accepted our invitation to read his paper You will then be paid up through 2009. 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Spring 2009 5 I apologize for this one time inconvenience. lar, the ESA website will soon start to host tage. Please email the Secretary Kathleen It will be worth it in the long run in the ac- an integrated online calendar informing the Stock at with an curacy of our records and the cost to the public about events in aesthetics organized introductory letter listing relevant experience, Society for mailing. by its institutional members. a c.v., and a reference from your supervisor or tutor. It is not too early to start making your plans ASAGE Call for Reviewers for Denver! The American Society for Aesthetics Gradu- British Society for Aesthetics Ph.D. Stu- Dabney Townsend ate E-journal (ASAGE) is putting together a dentship Award Secretary-Treasurer database of raduate student reviewers. Any American Society for Aesthetics student interested in reviewing for the journal The British Society of Aesthetics proposes to P.O. Box 915 should visit and register as award up to one Ph.D. studentship full-time Pooler, GA 31322 a reviewer by clicking on ‘Register’ at the top maintenance grant of £13,000 (or within the Telephone: 921-748-9524 of the page. Potential reviewers must then fill City of London or the Metropolitan Police 912-247-5868 (cell) out the Volunteer Reviewer Application Form district: £15,000) plus tuition fees up to a e-mail: . Faculty members can for up to 3 years. The studentship is de- web site: www.aesthetics-online.org nominate reviewers by sending the potential signed to support a promising philosopher reviewer’s full name and e-mail address to in aesthetics and the philosophy of art, who . does not have other means of support, by enabling him or her to pursue full time Aesthetics News doctoral research. Candidates for the stu- CSU Long Beach 2009 Summer Travel dentship should already be accepted on to a Course on Philosophy of Art Ph.D.programme at a British university at the British Society of Aesthetics Seeks New time of application, to research on a subject Executive Member Enrollment for academic credit is open to that falls within the remit of the British Society anyone, as enrollment is through the Open of Aesthetics. It is a condition of application The British Society of Aesthetics Executive University. You do not need to be an admitted to the BSA that candidates are eligible to ap- Committee is seeking at least one new mem- student at CSULB. 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It is envisaged that the The European Society for Aesthetics successful candidate will complete a Ph.D. The British Society of Aesthetics Seeks or be very close to completion at the end of The ESA’s aim is to promote academic re- Postgraduate Web Editor the award period. search in aesthetics and the theory of art, with a strong focus on high quality research The BSA is looking for a postgraduate web Applications should consist of a CV, a state- done in Europe. It is open to all schools and editor to regularly update the postgraduate ment of proposed research (max 1500 traditions and hopes to serve as a discussion part of its website: . The site houses the Postgradu- proposed research relates to your previous where, as well as an umbrella organization for ate Journal of Aesthetics (), currently edited by Louise TWO references are received by the Society website can be found here: . Individual membership is will not involve any work on the journal or its directly by your referees). All of the above free and open to all people (whether inside associated web areas. Rather, the editor will must be sent in electronic form (word or pdf) or outside of Europe) interested in aesthet- create and regularly update a separate, com- via email to: Kathleen Stock, BSA Secretary: ics. An easy-to-use online registration form plimentary area with news, events, links, and . Applicants can be found on the society’s website. The other items of interest to the postgraduate should also ensure that an official letter is ESA also offers institutional membership for community in Aesthetics. It is not anticipated sent confirming acceptance of the candidate Europe-based societies, journals, institutes that this should take more than two hours on to the Ph.D. programme in the department and research groups with the explicit purpose a week. Reasonable financial remunera- in which the candidate proposes to hold the to further research or education in aesthetics. tion will be offered, paid by the hour. Appli- studentship. This letter must either be sent In the near future, the ESA will begin to offer cants should be postgraduates working in in electronic form to Kathleen Stock as above its institutional members the opportunity to philosophical Aesthetics at a UK University. or via post to: Kathleen Stock, Department provide information about themselves and Though no technical knowledge is required, of Philosophy, University of Sussex, Falmer, about their activities (e.g., their meetings and a working knowledge of basic HTML is desir- Brighton, BN1 9QN. The application deadline conferences) on the ESA website. In particu- able. Other relevant experience is an advan- is 30 April, 2009. Short-listed candidates

6 ASA Newsletter will be invited to submit written work of up philosophical approaches represented and ment and Disembodiment of Music.” She to a maximum of 8000 words after this date. the arts discussed. There were sessions on explored it through a rich series of images The BSA will endeavour to communicate the philosophy of film, photography, literature, from art history, and traced themes related the result of the competition to applicants by visual art, theater, music and comics, as well to music and the contest of the arts from the end of July, but no later than the end of as on Chinese art and art across cultures. antiquity to the present day. August. The BSA reserves the right not to Several papers dealt with Kantian aesthetics, make an award. and several touched on the relation between Professor Carolyn Korsmeyer of the Univer- art and ethics. sity at Buffalo (SUNY) brought the meeting to a satisfying close on Saturday with her lively On Friday afternoon, in a variation on the “au- and original plenary lecture, “Chasing Auras”, Conference Re- thor meets critics” theme, a panel of news- in which she suggested that the notion of an paper arts critics discussed Noël Carroll’s art work’s or artifact’s aura, first introduced by ports recent book On Criticism and the practice Walter Benjamin, might be usefully explicated of criticism with Professor Carroll. During a in terms of the philosophically neglected second set of panels on Saturday morning sense of touch. Professor Korsmeyer’s and afternoon, neuropsychologists Andrea lecture was followed by a reception at the ASA Eastern Division Meeting Halpern and Anjan Chatterjee and philoso- hotel, after which many conferees retired to Philadelphia, PA phers Christopher Bartel and John Kulvicki a local restaurant, Patou, for dinner and jazz 3-4 April 2009 discussed recent findings in the cognitive performed by Aesthetic Attitude, featuring neuroscience of music and visual art, and ASA members Phil Alperson, John Carvalho The American Society for Aesthetics held its their relevance to questions in philosophical and Casey Haskins. Eastern Division meeting on April 3rd and aesthetics. 4th at the Best Western Independence Park Next year’s conference organizers, elected Hotel in Old City, Philadelphia. Approximately Conferees traveled to Temple University’s at the division’s business meeting, will be Bill seventy people from the US and Canada at- center-city campus on Friday evening to hear Seeley and Tiger Roholt. tended the conference. David Clowney (Row- Columbia University professor Lydia Goehr an University) and Bill Seeley (Bates College) deliver Temple’s annual Beardsley Lecture. David Clowney served as program co-chairs. The program Her topic was “Broken Strings, Dismembered Bill Seeley for the meeting was wide ranging both in the Bodies: Paragonal Theses on the Embodi-

The 2009 Summer Institute for Diversity in Philosophy Rutgers, The State University of New Jersey, 5-12 July 2009

This seven day program is designed to introduce undergraduate students from diverse back- grounds to the various areas of specialization within the discipline of philosophy, give students a better idea of what graduate studies in philosophy is about, and explore various views about what it means to be a professional philosopher. Up to fifteen students will be given the opportunity to interact in formal and informal settings with a group of talented graduate students and distinguished faculty members from a number of universities. Eligible students must demonstrate how their experiences and background foster greater diversity in the discipline of philosophy and be full-time students in a college or university in the United States. The Insti- tute will provide travel, room and board, and a $200 stipend.

Applications must be completed and submitted to the 2009 Summer Institute for Diversity in Philosophy and postmarked no later than May 1, 2009, or apply online at .

For more information, please contact: Professor Howard McGary, Philosophy Department, Rut- gers University, 26 Nichol Avenue, New Brunswick, New Jersey 08901-2882. Tel.: 732-932-9861 ext. 141; email: ; or Ms. Mercedes Diaz (same address). Tel.: 732- 932-9861 ext. 124; email: .

Spring 2009 7 acquire some general geographic knowledge firmed by email in a matter of days. Unless Calls for Papers about these countries, relatively little is known otherwise stated in this Call for Papers, the about what happens there in terms of produc- Instructions for Authors on the journal’s web- tion of knowledge and cultural artifacts, in page are adopted for this issue: . Open Court Popular Culture and Philosophy ing addresses precisely this situation in an Series attempt to bridge the gap of intellectual com- Deadline: 1 May 2009 Matthew Turner (ed.) munication between Eastern and Western Europe. Its plan is to map out the complex This is a general call for abstracts for a forth- intellectual landscape, the major intellectual SPSCVA at the APA Eastern Division Meet- coming volume in the Open Court Popular debates and their historical origins, as well ing Culture and Philosophy series. The volume as the current marketplace of philosophical December 27-30, 2009, New York City, NY- will focus on The Dark Tower side of Stephen ideas in the countries of the Eastern Europe. Marriott Times Square King’s oeuvre, which includes not only the This issue aims at offering insights into the seven novels in the series, but the other recent (or not so recent) history of “the East- The Society for the Philosophic Study of novels and stories that are related to The European mind” and its many facets, as well the Contemporary Visual Arts (SPSCVA) Dark Tower: Insomnia, Hearts in Atlantis, The as into what takes place philosophically right invites papers to be presented at its divi- Stand, etc. Approaches can also include the now in these places. It also seeks to point to sional meeting held in conjunction with the recent adaptation to comics/graphic novels the specific contributions that East-European Eastern divisional meeting of the American as well. Possible topics can cover any area thinkers might have to the shaping of a new, Philosophical Association. Papers may ad- of philosophy, which include, but are not more comprehensive European intellectual dress any topic that involves the connection limited to, discussions about the relationship project. between philosophy and the visual arts: film, between possible worlds and the real one; photography, video, or other aesthetic me- personal identity, self-identity, and divided We invite submissions dealing with the his- dia. Presentations should be 20-25 minutes personalities; ka - fate, freedom, and destiny; tory and the current state of philosophy and (10-12 pages in length; 2500-3000 words). the religious dimension of Roland’s faith in the philosophically minded disciplines in the Participants must be currently paid members the Tower; the clash between good and evil countries of the Eastern Europe, some as- of the SPSCVA. (You do not need to be a - Roland vs. the Crimson King; whether Ro- pects of which have been pointed to above. member of the SPSCVA to submit a paper for land’s approach to his quest is an ethical or Interdisciplinary approaches (combining, for consideration.) Submissions should be made virtuous one; and the role that beauty plays example, philosophy, critical theory and intel- by e-mail to the Eastern Division coordinator as a motivational factor for the ka-tet. lectual history) are particularly encouraged. Christopher Grau at . Please note that - in the spirit of ANGELAKI, Submission guidelines: Deadline for ab- a journal of “theoretical humanities” - we use Deadline: 10 May 2009 stracts: 1 May 2009. Deadline for first drafts throughout the term “philosophy” in a broad of accepted papers: 15 July 2009. If you are (Continental and interdisciplinary) sense. interested in contributing, or have any ques- Alice in Wonderland and Philosophy tions about the project, feel free to contact Submisison Guidelines: Length: 5000-7000 The Blackwell Philosophy and Pop Culture the editor at the following address: Matthew words. All submissions should be in English. Series W. Turner, Assistant Professor of Philosophy, Apart from essays, we also invite proposals Richard Davis (ed.) FH 234, Francis Marion University, P.O. Box for a small number of book reviews - on the 10054, Florence, SC 29502, (843) 661-4695, theme of the issue - and translations of (short) Abstracts and subsequent essays should be . philosophical texts by major East-European philosophically substantial but accessible, philosophers. Interested authors should ap- written to engage the intelligent lay reader. Deadline: 1 May 2009 proach the Guest Editor with a short proposal Contributors of accepted essays will receive offering a brief description of the book/trans- an honorarium. Possible themes and topics lation in question & explaining their relevance might include, but are not limited to, the fol- The Unbearable Charm of Frailty. Phi- for this special issue of ANGELAKI. However, lowing: “Down the Rabbit Hole”: Perception losophizing in/on Eastern Europe: Inter- the Guest Editor’s initial approval of the book and Reality in AiW; “A Place Where Everyone national Conference review/translation proposals should not be Knows Your Name – or Not!”: Alice, Names A Special Issue of ANGELAKI—The Journal taken as a guarantee that their book reviews/ and Naming; Word Games and Long Tails: of the Theoretical Humanities translations will be accepted for inclusion in The Ambiguities of Language and Life in Guest Editor: Costica Bradatan (The Honors the special issue. Manuscripts and Notes, AiW; Cheshire Grins and Other Decaying College, Texas Tech University) typed double-spaced, should be submitted Objects: The Status of Non-Being in AiW; to the Guest Editor as e-mail attachments, “Growing Up – and Down”: Alice and the ANGELAKI hereby invites contributions on using Microsoft Word. The author’s full ad- Phenomenology of Body; The Meaning of the topic of “Philosophizing in/on Eastern dress should be supplied as a footnote to the Meaning: Derrida and Rorty in Wonderland; Europe.” This special issue is scheduled title page. Manuscripts should be prepared in “Who in the World Am I?”: Self-Knowledge for early 2010. Over the last several years accordance with the MLA Citation Style. You and Mistaken Identity in AiW; A World of European Union has welcomed a number of can submit your contributions to: (with “For the Angelaki issue” Rights; “I Was a Different Person Then”: to belong to the “Eastern bloc.” While, thanks in the subject line). Please allow at least 4-6 Memory, Change, and Personal Identity in to the influence of mass-media, tourism, im- months for the review process and editorial AiW; Sense and Nonsense: Wittgenstein, migration, etc., Western Europe has come to decisions. Receipt of materials will be con- Language Games, and Wonderland; Wishing

8 ASA Newsletter it Were Some Other Time: The Mad Hatter, 11th International Kant Congress following: Is Peter Parker a philosopher?; Is Clocks, and Temporal Passage; Caterpil- Pisa, Italy there room for God in the universe of Spider- lars and Contradictions: How Logic Fares 22 - 26 May 2010 Man?; Peter Parker, Spider-Man, and the in a World of Lunacy; How Not to Lose Your problem of personal identity; Does Peter Head: Politics and Persuasion in the Queen’s The general topic of the congress is “Kant Parker, post spider-bite, become something Court; “Give Your Evidence”: Alice, Athens, and Philosophy in a Cosmopolitan Sense”. other than human?; The Amazing Spider- and the Apology of Socrates; Existential Alice This topic refers to the “cosmopolitan con- Man and genetic therapy; Peter Parker, : Being and Nothingness in Wonderland; The cept” (Weltbegriff, conceptus cosmicus) of Ben Reilly, and the Clone Wars: flesh of my Zen of Alice; “One Pill Makes You Larger …”: philosophy. According to Kant, philosophy in flesh?; Just how does Spidey-sense work?; Alice and Drug Culture. a cosmopolitan sense concerns that which Does Peter really have a choice?; Aunt May necessarily interests everyone. Philosophy and moral wisdom; Do Peter’s book smarts Submission Guidelines: Deadline for ab- in this sense is the “science of the relation of have anything to do with moral wisdom?; The stracts (100-500 words) and CV(s): 18 May every cognition to the essential ends of hu- scope of responsibility: should Peter feel guilt 2009. Submission deadline for accepted man reason”. This cosmopolitan sense of phi- over the death of Uncle Ben?; Great power, papers: 3 July 2009. Kindly submit by e-mail losophy provides the opportunity for reflection responsibility, and the foundations of obliga- (with or without Word attachment) to: Richard on the meaning and function of philosophy in tion; Is Peter virtuous, or just continent?; Is Davis . its relation to every form of knowledge and Mary Jane morally superior to Peter?; Doc- to every aspect of human life. The congress tor Octopus and the passions; Peter Parker, Deadline: 18 May 2009 will consider all aspects of Kant’s philosophy. adolescence, and moral maturity: why is However, contributions on Kant’s concept Peter so insecure?; What makes a hero?; Is of philosophy will be especially welcomed. Spider-Man a deontologist, a virtue ethicist, Screen Acting: Theory and Philosophy Sessions are planned on the following topics: or neither?; Character and responsibility for (1) Kant and the philosophical tradition, (2) one’s character: the case of Harry Osborn; Despite the recent groundswell of interest in Theory of cognition and logic, (3) Science, Character and moral transformation: the the area of screen acting, there have been mathematics, and philosophy of nature, (4) case of Harry Osborn; The Spider-Man vil- few publications that offer concentrated Ontology and metaphysics, (5) Ethics, (6) lains and consequentialism; Pride and the considerations of what film acting is in and of Law and justice, (7) Politics and history, (8) anti-hero; Spider-Man and the problem of itself. In the interests of laying the ground for Anthropology and psychology, (9) Religion evil: where does the Venom Symbiote really future screen performance studies, propos- and theology, (10) Aesthetics, (11) Kant’s come from?; Spider-Man, the Venom Sym- als are invited for original essays for a new concept of philosophy, (12) Kant’s heritage, biote, and moral purification; Spider-Man, anthology on the theory and philosophy of (13) Kant and the Leibnizian tradition, (14) Sandman, and forgiveness; Is Mary Jane a screen acting. The primary aim of the collec- Kant and Schopenhauer (in collaboration feminist?; Peter Parker, equality, and friend- tion is to provide theoretical and philosophical with the Schopenhauer-Gesellschaft). Every- ship: can a superhero have non-superhero grounding to the phenomenon of screen act- one interested is encouraged to participate. friends?; Gwen Stacy: superheroes and ing by investigating a number of basic ques- Authors will be notified by 31 December death; J. Jonah Jameson and obsession; tions regarding its nature. The secondary 2009 as to whether their paper has been The Daily Bugle, media, and manipulation; purpose is to bring a greater level of specifi- accepted. Plenary session papers and par- Uncle Ben, Aunt May, and what makes a city to the language used to describe acting allel session papers will be published in the family; Fathers and sons: what happened to conceptually, and correspondingly, to analyze congress proceedings. Further information the Osborns?; Superheroes and the limits of the work of an actor with a greater degree of on the congress and on the registration will community; Superheroes, exceptional types, precision. The anthology will be organized be made available on the congress web- and the common good: the Green Goblin vs. around specific questions from varying theo- site. Until the official congress website is Spiderman; and the unmasking of Spider- retical and philosophical traditions. Some of launched, requests for information can be Man; Peter Parker and life as narrative. these questions may include: What is screen addressed to the President of the Società acting? What is the necessary aptitude and Italiana di Studi Kantiani, Prof. Claudio La Submission Guidelines: Deadline for ab- conditions that enable a subject to act? What Rocca, email: , Università di Genova, Facoltà di Scienze 2009. Deadline for first drafts of accepted acter and work? How might we describe the della Formazione, C.so A. Podestà 2, 16128 papers: 1 September 2009. Deadline for final relationship between actor and audience? Genova, Italy. Website: Kindly submit by e-mail (with or without Word in relation to an actor’s work? What kind of attachment) to J.J. Sanford: . analysis of performance? How do notions of performance change depending on context Spider-Man and Philosophy Deadline: 1 June 2009 (non-fictional instances) and subject (ani- The Blackwell Philosophy and Pop Culture mals, children, animation, etc.)? Contacts: Series Bohdan Nebesio Jonathan J. Sanford (ed.) The Copenhagen Neuroaesthetics Confer- and Aaron Taylor . ence: International Conference Abstracts and subsequent essays should be 24-26 September 2009, Copenhagen, Den- Deadline: 29 May 2009 philosophically substantial but accessible, mark written to engage the intelligent lay reader. Contributors of accepted essays will receive Neuroaesthetics is a fairly new field of inquiry. an honorarium. Possible themes and top- This conference is convened to discuss the ics might include, but are not limited to, the state of the art of the field. It will bring to-

Spring 2009 9 gether a number of leading researchers work- Ecological Aesthetics and Environmental architecture; and philosophical implications ing on all aspects of neuroaesthetics. The Aesthetics in Global Perspective: Interna- of newer building technologies. conference will include sessions on Visual tional Conference Art, Music, Literature, Dance and Film, Aes- Shandong University Research Center for Submissions should preferably be under thetic Preferences, Neuropsychology of Art, Literary Theory and Aesthetics 7500 words and in accord with the general Experimental Aesthetics, and Evolutionary The Eastern Campus of Shandong University, guidelines for submissions (see “Submis- Aesthetics. It will also offer an opportunity to No.27 Shandanan Road, Jinan, P.R. China sions” on the JAAC website ). Send submissions electronically Speakers include: Beatriz Calvo-Merino (UCL as email attachments or by regular mail to Institute of Cognitive Neuroscience), Anjan Organizing Committee Chairs: Zeng Fanren both guest editors, indicating clearly that Chatterjee (University of Pennsylvania), Ellen (Professor and director of Research Center your submission is for the special issue on Dissanayake (University of Washington), Karl for Literary Theory and Aesthetics, Shang- the aesthetics of architecture: Prof. David Grammer (Ludwig-Boltzmann-Institute for dong University), Arnold Berleant (Professor Goldblatt, Denison University, Granville, Ohio Urban Ethology), Torben Grodal (University of (Emeritus) of Philosophy, Long Island Uni- 43023, and Prof. Copenhagen), Andrea R. Halpern (Bucknell versity, USA). Roger Paden, Department of Philosophy, University), Alumit Ishai (University of Zürich), George Mason University, Fairfax, VA 22030, Stefan Koelsch (University of Sussex), Hel- Papers: The conference paper abstract . mut Leder (University of Vienna), David should be submitted by 30 July 2009. A for- Miall (University of Alberta), Marcos Nadal mal letter of invitation will be sent based on Deadline for Submissions: 18 January 2010 (Universitat de les Illes Balears), Martin Skov the abstract. Abstracts should be about 300 (Copenhagen University Hospital Hvidovre), words prepared in Microsoft Word or compat- Christa Sütterlin (The Max-Planck-Society), ible format. Submission of complete papers British Society for Aesthetics Essay Oshin Vartanian (DRDC Toronto), Edward is strongly encouraged. Selected papers will Prize Vessel (NYU Center for Neural Science), and be considered for publication after the con- Dahlia W. Zaidel (UCLA). ference. Please use the following format for The British Society of Aesthetics is running your paper abstract: an essay prize competition, open to young We invite researchers, especially students, Paper Title; Name and professional title; Affili- researchers in aesthetics. The winning au- interested in neuroaesthetics to submit an ation; E-mail Address; Abstract of 300 words; thor will receive £500 and an opportunity to abstract before 1 June 2009. Accepted Keywords, 3-5. present the paper at the Society’s annual abstracts will be included in poster sessions conference. The winning essay will normally located on the first two days of the confer- Contact: Cheng Xiangzhan, Professor and be published in the British Journal of Aesthet- ence. We especially encourage submissions assistant director of Shandong University ics. The aim of the prize is to encourage and based on experimental data. Send abstracts Research Center for Literary and Aesthetics, reward new talent in the field of aesthetics. consisting of no more than 500 words to China; Tel: 86-531-88364608(O), 86-531- The amount of the Prize is £500. The Prize . 82915233(H), 1385 3185 913 (cell phone); is intended to foster the development of the Email: . field of aesthetics. The competition is open Deadline: 1 June 2009 to anyone who has not been employed as Deadline: 30 July 2009 lecturer (or equivalent) at a higher education institution for more than five years. Persons The Philosophy of Computer Games: In- in doubt about their qualifications are encour- ternational Conference The Aesthetics of Architecture: A Special aged to consult the secretary of the British 13-15 August 2009, Oslo, Norway Issue of The Journal of Aesthetics and Society of Aesthetics in advance. Entrants Art Criticism must include with their entry a statement We hereby invite scholars in any field who Guest Co-editors: David Goldblatt, (Denison indicating how they qualify. Entry is not lim- take a professional interest in the phenom- University) and Roger Paden (George Mason ited to members of the BSA nor to residents enon of computer games to submit papers to University). of the United Kingdom. The essay may be the international conference “The Philosophy on any topic in aesthetics or the philosophy of Computer Games 2009”, to be held in Submissions on any philosophical subject of art. The essay should be a maximum of Oslo, Norway, on 13-15 August 2009. Ac- related to architecture are welcome, but spe- 7,500 words (about 25 double-spaced typed cepted papers will have a clear focus on phi- cific interests for this special issue include pages). The panel of judges will comprise losophy and philosophical issues in relation the following topics: the status of architecture members of the Executive Committee of the to computer games. They will also attempt in aesthetics and philosophy; architecture’s British Society of Aesthetics and one of the to use specific examples rather than merely relationship to the other arts (for example, Editors of the British Journal of Aesthetics. invoke “computer games” in general terms. materially, when buildings store, display The winning essay will normally be published We invite submissions focusing on, but not or present other art forms; and concep- in the British Journal of Aesthetics, and it is limited to, the following three headings: Fic- tually, when terms—such as ‘audience,’ a condition of entry to the Prize competi- tionality and Interaction, Defining Computer ‘craft,’ ‘structure,’ or ‘narrative’—are used in tion that the essay has not been (and will Games, and Ethical and Political Issues. discussions of architecture and other arts); not be until the result of the competition Notification of accepted submissions will be how architecture helps to make a place (for are announced) submitted for publication sent out by 10 June 2009. example, places interior to and around build- elsewhere. If, in the opinion of the judges, ings) and helps to determine a form of life (for no essay that merits publication in the BJA is Deadline: 1 June 2009 example, its relationships to ethics, self, com- submitted, the prize will not be awarded. The munity, environment, the city, and nature); the decision of the judges is final. The winning cultural role of anonymous and vernacular author will have the opportunity to read the

10 ASA Newsletter paper at the 2010 annual conference of the Philosophy and/as Literature Conference Society. If the author is an enrolled student, For inquires and other correspondence, con- King’s College London, Strand, London they will be automatically eligible for a BSA tact: Dr. Linda Dove, President, ASA/RMD, 5-6 May 2009 postgraduate conference subsidy. The win- 1431 E. Mendocino St., Altadena, CA 91001, ner’s name will be announced in the British Home: (626) 296-1913, email: ; or Dr. James Mock, Vice “The Idea of Hamlet,” Niklas Forsberg (Upp- President, ASA/RMD, Department of Hu- sala): “Running Out of Arguments: On Iris Submissions should be clearly identified manities and Philosophy, Box 184, College of Murdoch “Resorting” to Literature,” Craig as entries for the BSA Essay Prize and be Liberal Arts, University of Central Oklahoma, Taylor (Flinders): “Literature, Value and Ambi- sent electronically to the Secretary of the 100 North University Drive, Edmond, OK guity,” Joanne Waugh (South Florida/Tampa): BSA, Kathleen Stock: email: . Entries should be in . public Revisited,” Nora Hämäläinen (Hel- English, and should not exceed 7,500 words sinki): “Literature, Moral Realism and Rorty,” in length (including footnotes). Each entry Ingrid Vendrell Ferran (Geneva): “Unamuno”s must be accompanied by an abstract not ex- Pro and Contra: Ethical Values in Litera- Philosophy of Tragic Passions,” Sophie Djigo ceeding 150 words. Entries that are too long ture? (Amiens): “Satire and Moral Perfectionism or without an abstract will not be considered. Interdisciplinary Workshop at the University in Musil’s Novel,” Abigail Bright (Oxford/ Essays should be prepared for blind review of Tuebingen London): “What would be the significance and should follow guidelines for submissions 23-25 April 2009 of identifying features of reasoning intrinsic to the British Journal of Aesthetics. Each to philosophy but not to philosophical litera- entry should contain a separate title page giv- Within the framework of this workshop is- ture?” Manolis Simos (Cambridge): “Remarks ing the name, institution and address of the sues concerning the ethical assessment of on the Concept of a Literary Philosophy,” author. Candidates should supply evidence works of literature will be discussed from a Julia Peters (Berlin) “Self-Knowledge, Teleol- that they are eligible for the prize. Essays philosophical as well as a literary perspective. ogy and Involuntary Memory: On a Hegelian will not be considered for the prize if they Philosophers have recently provided contro- Element in Proust’s Recherche,” Torsten are currently under consideration by another versial answers to the question whether, if at Pettersson (Uppsala): “The Decay of Dying: journal or competition. No non-winning essay all, moral criteria should play any role in as- Questioning the Detective Novel from the will be considered for publication in the BJA sessing pieces of art. With regard to literature Viewpoint of Moral Philosophy,” Mikel Burley unless it has been separately submitted to the following questions ensue: In which way (Leeds): “Philosophizing Through Grief: C.S. that journal. are ethical topoi and issues inscribed in liter- Lewis’s A Grief Observed (With Several Al- ary works of art? What are the poetological lusions to Wittgenstein),” Stefano Marino Deadline: 1 February 2010 consequences of ethical claims on literature (Bologna): “Theodor W. Adorno: Philosophy as is predominantly the case in Russian cul- as More Than Just a Kind of Writing,” and ture. The novels The Brothers Karamazov María José Alcaraz León (Murcia): “Respond- by Fedor Dostoyevsky and The Man without ing to Fiction as a Form of Self-Knowledge.” Qualities by Robert Musil will serve as a Attendance at the conference is free. Coffee, primary point of reference. Speakers include tea and lunch will be provided. If you wish to Gottfried Gabriel, Berys Gaut, Peter Goldie, attend please e-mail Christopher Hamilton at Upcoming Events and Matthew Kieran. Participation is free of , indicating charge, but the number of participants is lim- whether you wish to attend for one or two ited and registration is required. Please con- days, and, if for only one day, whether this tact: . will be Tuesday or Wednesday. The American Society for Aesthetics Rocky Mountain Division Meeting Santa Fe, New Mexico 10-12 July 2009 British Society of Aesthetics (North) Con- Views from the Grand Tour: On Cinema ference and Architecture: A panel in the American Keynote Address: Donald Kuspit, Distin- University of Edinburgh Association for Italian Studies Annual 24 April 2009 guished Professor of Art History and Phi- Conference St. John’s University, Manhattan Campus losophy, SUNY at Stony Brook, speaking on: Speakers include: John Mullarkey (University 7-10 May 2009 “Aesthetic Transcendence.” Artist at Work: of Dundee) on “The Non-Ontology of the Im- Jacquelyn McBain, represented by Littlejohn age: Thinking without Philosophy,” Jerrold Over the centuries, grand tourists have pro- Contemporary, Inc., NYC. Levinson (University of Maryland) on “Toward duced numerous literary and artistic works a Non-Minimalist Account of Aesthetic Ex- that disseminated knowledge and captured The conference will take place at the his- perience,” Cain Todd (Lancaster University) the imagination of Italy. How has cinema, an toric Hotel St. Francis, which is centrally on “Fiction, Emotion, Knowledge,” and Lisa art form that emerged during the fin-de-siècle located, a block from the main Plaza, at 210 Jones (University of St Andrews) on “How and is uniquely adept at capturing archi- Don Gaspar Ave, Santa Fe, New Mexico Robust is the Work of Art?” All welcome. This tectural and town planning configurations, 87501-2195. Reservations may be made by event is free, but please register by 13th April depicted the Grand Tour cities? Panelists will calling the Hotel St. Francis at (505) 983-5700 by contacting Cathy Campbell at . and architecture, be it formal, structural, aes- the organization) to . The Hotel’s website is: . Alberto Zambenedetti

Spring 2009 11 and Gaoheng Zhang , concerned with philosophical, historical, of which is crucial to achieving a sustain- Department of Italian Studies, New York critical, and theoretical issues. With its focus able society. For additional information see University. on interdisciplinary topics and concerns, the . Questions about the IAPL, since its founding in the mid-1970s, program? Email Dan Philippon at Questions about the conference Art, Aesthetics, and the Sexual the most vital and exciting developments at site and field sessions? Email Richard Pick- The Aesthetics Research Group the intersection of philosophy and literature. ard at . University of Kent, Canterbury, UK The association’s annual meetings provide 21-22 May 2009 a unique opportunity for dialogue and the exchange of ideas, the articulation of contem- Word and Music Studies: Seventh Interna- Many pictures, still and moving, in high art porary themes and topics, the exploration of tional Conference (2009) and demotic culture, in Western culture and various expressive arts, and the production Vienna globally, incorporate sexual imagery and of new theoretical discourses. For more in- 10-13 June 2009 themes. This conference will explore different formation see . approaches within philosophical aesthetics to The International Association for Word and such images, including those typically classi- Music Studies (WMA) takes pleasure in an- fied as pornography and erotica around which Eighth Biennial ASLE Conference: “Island nouncing its Seventh International Confer- much of the existing philosophical literature Time: The Fate of Place in a Wired, Warm- ence to be held at the University of Music and focuses. Invited speakers include David ing World” Performing Arts Vienna from June 10 to 13, Davies, Susan Dwyer, Jerrold Levinson, Alex University of Victoria, British Columbia 2009. Previous conferences have been held Neill, Elisabeth Schellekens, Kathleen Stock, 3-6 June 2009 biennially in Graz, Ann Arbor, Sydney, Berlin, and Cain Todd. For more information, please Santa Barbara and Edinburgh with confer- visit: The Association for the Study of Literature ence proceedings published in the associa- or contact the conference organizers: Hans and Environment (ASLE) invites proposals tion’s book series, Word and Music Studies Maes () or Michael for its Eighth Biennial Conference, to be held (WMS). Proceedings from the most recent Newall (). June 3-6, 2009, at the University of Victoria, conference in Edinburgh are due in 2009. in British Columbia, Canada, on the theme of Scholars active in all areas of Word and Mu- “Island Time: The Fate of Place in a Wired, sic Studies will participate in the Vienna con- The University of Warwick Graduate Con- Warming World.” We seek proposals for ference, which, like its predecessors, will be ference in Philosophy and Literature papers, panels, roundtables, workshops, devoted to two themes, the second of which, Warwick and other public presentations connecting “Surveying the Field”, is a regular feature; the 26 May 2009 language, nature, and culture. As always, conference will also again include a “Word we welcome interdisciplinary approaches; and Music Studies Forum” section. For more Sponsored by the Department of Philosophy readings of environmentally inflected fiction, information see < http://wordmusicstudies. and the Centre for Research in Philosophy, poetry, and creative nonfiction; and propos- org/events.htm>. Literature and the Arts. Keynote Speaker: G. als from outside the academic humanities, R. F. Ferrari (UC Berkeley) The conference including submissions from artists, writers, will conclude with a lecture by Professor G. practitioners, activists, and colleagues in Second International Conference Archi- R. F. (John) Ferrari (Classics, Berkeley). the social and natural sciences. This year’s tecture and Phenomenology Professor Ferrari is the author of Listening theme uses the conference’s temporal and Kyoto Seika University, Japan. to the Cicadas: A Study of Plato’s Phaedrus spatial location on Vancouver Island as a 26-29 June 2009 (Cambridge UP) and City and Soul in Plato’s metaphor for the past and future of place Republic (University of Chicago), and the generally. In particular, it reflects the fact that In continuation of the First Architecture and editor of the Cambridge Companion to Plato’s ASLE’s first conference outside the U.S. is a Phenomenology Conference which was held Republic. Further queries should be sent fitting location to consider how the Internet in Haifa, Israel during May 2007, the Second to Eileen John at . our different identities, nations, and commu- gy Conference explores diverse relationships nities), as well as how the threat of climate between phenomenology and architecture. change is affecting our interpretation of texts For additional information see the conference The International Association for Philoso- and cultures, not to mention the material website at: . Brunel University, West London, England sion “you’re now on island time,” the theme 1-7 June 2009 suggests our interest in exploring intersecting questions of time and place, and of isolation The Second Annual Conference of Film The conference theme for the 2009 meet- and community, in a global era in which there and Philosophy ing of IAPL is Double | Edges: Rhetorics- are no longer any “islands” of nature outside University of Dundee, Scotland Rhizomes-Regions. The International Asso- of history and technology. Indeed, time ap- 16-18 July 2009 ciation for Philosophy and Literature is dedi- pears to be running out as we seek ways to cated to the exchange of ideas and scholarly address ecological disasters that risk turning Keynote speakers: Alain Badiou (Ecole Nor- research within the humanities. Founded to the planet as a whole into another “Easter male Supérieure, Paris), Edward Branigan provide a context for the interplay of Philoso- Island.” For this reason, we also urgently (University of California, Santa Barbara), phy, Literary Theory, and Cultural / Aesthetic wish to consider the interconnected subjects Caroline Bainbridge (Roehampton Univer- / Textual Studies, the IAPL brings together of indigeneity, race, and social justice, in sity), Martin McQuillan (University of Leeds). scholars from the full range of disciplines the Americas and globally, the engagement Building on the success of last year’s inau-

12 ASA Newsletter gural conference at UWE, Bristol, the second is possible. It has been seen as character- meet, without obliterating local differences? Is annual Film-Philosophy Conference contin- istic of modernity’s orientation around the there a possibility for a creative re-description ues in its aim to be the major international individual and as a means of counteracting of globalization? And is there a meaning of forum for scholars from both disciplines to the rationalisations of modern life. This two ‘the global’ that cannot be reduced to univer- examine all aspects of this interdiscipline, day-conference will investigate the many and salism and unification? Can we seek shelter both historical and contemporary, practical conflicting relationships between aesthetics in a legitimate way? and theoretical. As last year, there is no and modernity. In particular, the 250th an- specific conference theme, and proposals niversary of Schiller’s birth in 1759 seems a In the last decade, the IAA has developed are invited on any conjunction between film timely point to reflect on the German tradition into a truly international forum. In 2003 the and philosophy. For more details, contact Dr. of socio-cultural and aesthetic theory and International Congress was held in Rio the John Mullarkey,email: . to the Frankfurt School and beyond, in which and five continents; the 2007 International Schiller played such a seminal role. Co- Congress in Ankara counted participants Ordinators: Professor Steve Giles, Dr Jerome from 42 countries, many of them from Africa, The British Society of Aesthetics 2009 An- Carroll and Dr Maike Oergel (University of the Middle East and Asia. The IAA has made nual Conference Nottingham). Contact: Jerome Carroll . topics and this DAF conference will continue 4-6 September 2009 this emergent tradition. For further information contact: Renée van de Vall, via email: Plenary Speakers: Dominic McIver Lopes Gimme Shelter: Global Discourses in . (University of British Columbia), James Shel- Aesthetics ley (Auburn University). The 2009 William Dutch Aesthetics Federation: International Empson Lecture will be given by Martin Association for Aesthetics Seventh International Conference on the Gayford, author of The Yellow House: Van Amsterdam, Netherlands Book Gogh, Gauguin, and Nine Turbulent Weeks 8-10 October 2009 The University of Edinburgh, Edinburgh, in Arles (Fig Tree). Programme Co-Chairs: Scotland Stacie Friend and Aaron Meskin See or contact Aaron process; it affects social and cultural dimen- Meskin, Senior Lecturer,Department of Phi- sions of life. Not only money and goods, The Book Conference serves as an inclusive losophy, University of Leeds, Leeds, LS2 but also people wander around and so do forum for examining the past, current and 9JT . these globalization processes is the tendency ognition that although the book is an old me- to seek shelter, as it were, in the supposed dium of expression, it embodies thousands stability of traditionally defined identities of years’ experience of recording knowledge. International Merleau-Ponty Circle 34th and beliefs. It can be questioned whether The pervasive influence of this experience Annual Conference: The Experience and traditional cultures were ever closed and continues to shape newer forms of infor- Expression of Space homogeneous, territorially defined wholes; mation technology, while at the same time Mississippi State University School of Archi- through contemporary media, however, the providing a reference point for innovation. tecture geographical boundaries between cultures The Book Conference not only considers the 10-12 September 2009 seem to dissolve rapidly in favour of other, book and other information technologies as less clear-cut ones defined by religious, artifacts or discrete objects, it also examines Keynote speakers: Suzanne Cataldi (South- political or life-style preferences. Internet, other key aspects of the information society, ern Illinois University, Edwardsville), Helen in particular, has enabled dissemination of including publishing, libraries, information Fielding (The University of Western Ontario, professional and amateur cultural production systems, literacy, and education. Broadly London), Alberto Pérez-Gómez (McGill Uni- and consumption on an unprecedented scale, speaking, the Conference engages the inter- versity, Montreal). For further information, providing new venues of cultural exchange relation between changes in thought, crea- see , or contact Rachel McCann () or Patricia M. affected by global processes, but the global tion technologies. The Book Conference wel- Locke ([email protected]). might acquire different meanings in different comes a wide range of participants from the localities. In this context, the discourses of world of books including authors, publishers, aesthetics and philosophies of art need to printers, librarians, IT specialists, book retail- Aesthetics and Modernity from Schiller face some central questions. How do artistic ers, editors, literacy educators, and academic to Marcuse practices and aesthetic experiences change researchers and scholars from all disciplinary Institute of Germanic and Romance Studies, in response to these developments and how traditions. The Conference includes plenary University of London are these changes adequately articulated presentations by accomplished researchers, 10-11 September 2009 theoretically? When reflections on the signifi- scholars and practitioners, as well as numer- cance of art and aesthetic experiences can ous paper, workshop and colloquium pres- From Schiller to Marcuse, the aesthetic di- no longer pretend to be universal, is there still entations. Presenters may choose to submit mension has been conceived among other a possibility to lay claim on a wider validity written papers for publication in the fully things as a kind of moral forum, a critical than merely that of one’s particular culture? refereed International Journal of the Book. If mirror for society, an outlet for otherwise What type of vocabulary allows for mutual you are unable to attend the Conference in impermissible drives, and as a dimension in dialogical or even polylogical exchanges person, virtual registrations are also available which a more affirmative mode of existence and understandings when different traditions which allow you to submit a paper for referee-

Spring 2009 13 ing and possible publication in a fully refereed For further information contact by email Charles Darwin and the 150th Anniversary academic Journal. Full details of the Con- . of the publication of “Origins of Species” at ference are to be found at the Conference San Diego State University, 20-22 November website: . 2009. For more information, contact: Mark 150 Years of Evolution -- Darwin’s Impact Wheeler, Symposium Chair Department of on the Humanities and Social Sciences Philosophy, SDSU (619) 594-6706 or by 31st Annual Nietzsche Society Meeting San Diego University, California email: . with the Society for Phenomenology and 20—22 November 2009 Existential Philosophy Arlington, Virginia 150 Years of Evolution -- Darwin’s Impact 29 October, 2009 on the Humanities and Social Sciences is a symposium in honor of the 200th Birthday of

Call for Papers: The Aesthetics of Architecture A Special Issue of The Journal of Aesthetics and Art Criticism

Guest Co-editors: David Goldblatt (Denison University) and Roger Paden (George Mason University)

Submissions on any philosophical subject related to architecture are welcome, but specific interests for this special issue include the following topics:

• the status of architecture in aesthetics and philosophy • architecture’s relationship to the other arts (for example, materially, when buildings store, display or present other art forms; and conceptually, when terms—such as ‘audience,’ ‘craft,’ ‘structure,’ or ‘narrative’—are used in discussions of architecture and other arts) • how architecture helps to make a place (for example, places interior to and around buildings) and helps to determine a form of life (for example, its relationships to ethics, self, community, environment, the city, and nature) • the cultural role of anonymous and vernacular architecture • philosophical implications of newer building technologies

Submissions should preferably be under 7500 words and in accord with the general guidelines for submissions (see “Submissions” on the JAAC website, ). Send submissions electronically as email attachments or by regular mail to both guest editors, indicating clearly that your submission is for the special issue on the aesthetics of architecture:

Prof. David Goldblatt, Department of Philosophy, Denison University, Granville, OH 43023, and Prof. Roger Paden, Department of Philosophy, George Mason University, Fairfax, VA 22030

Deadline for Submissions: 18 January 2010

14 ASA Newsletter by Goldsmiths College of the University of research.org/. Active London, gave a public lecture there on 15 January 2009. The title of his lecture was ANNA CHRISTINA RIBEIRO has been Aestheticians “Shostakovich’s Secret.” His most recent awarded an Andrew W. Mellon Foundation/ book, Antithetical Arts, was published by Woodrow Wilson National Fellowship Foun- TSION AVITAL has published the Chinese Oxford University Press (2009). dation Career Enhancement Fellowship for edition of his book Art Versus Nonart: Art Junior Faculty to take a year’s leave from Out of Mind, originally published in English The new volume, The Idea of Creativity, co- university duties to work on a manuscript on by Cambridge University Press (2003). The edited by MICHAEL KRAUSZ, DENIS DUT- the philosophy of poetry, whose working title Publisher of the Chinese edition is The Com- TON, and KAREN BARDSLEY, published by is Poetry among the Arts. The fellowship runs mercial Press, Beijing (2009). E.J. Brill (Amsterdam), Is being offered at a from June 2009 to June 2010. production-cost discount for use in the class- ARNOLD BERLEANT will be the keynote room. Contributors include: Margaret Boden, From the University of Minnesota Press: speaker at the international conference on Larry Briskman, John Carvalho, David Dav- TIMOTHY MURRAY has published Dig- “Arts and Terror” at Ohio University on 15-17 ies, Berys Gaut, Rom Harré, Carl Hausman, ital Baroque: New Media Art and Cinematic May 2009. His paper is entitled, “Art, Terror Albert Hofstadter, Ian Jarvie, Arthur Koestler, Folds; 336 pages (2008). ANDREA LISS and the Negative Sublime.” Michael Krausz, Peter Lamarque, Thomas has published Feminist Art and the Mater- Leddy, Paisley Livingston, Michael Polanyi, nal; 200 pages (2009). JANE BLOCKER ROBERT R. CLEWIS published The Kantian Dean Simonton, and Francis Sparshott. has published Seeing Witness: Visuality and Sublime and the Revelation of Freedom with the Ethics of Testimony; 192 pages (2009). Cambridge University Press (2009). JERROLD LEVINSON, Visiting Leverhulme JOHN TAGG has published The Disciplinary Professor in the Philosophy of Art, delivered Frame: Photographic Truths and the Cap- JAMES C. KAUFMAN published Creativity a series of nine lectures entitled “Key Con- ture of Meaning; 432 pages (2009). JOHN 101, Springer Publishing Company, Softcover cepts in Aesthetics,” the Leverhulme Lecture PEFFER has published Art and the End of 242 pages (2009). series for The Aesthetics Research Group, at Apartheid, 368 pages (2009). the University of Kent, January-April, 2009. The eminent American scholar PETER KIVY, More information on the Aesthetics Research Professor of Philosophy at Rutgers Univer- Group can be found at: http://www.aesthetics- sity, recently awarded an Honorary Doctorate

Important Change in Membership Renewal Dates

The American Society for Aesthetics is changing from a membership renewal date that corresponds to the Number of The Journal of Aesthetics and Art Criticism to one that corresponds to the Volume Number, i.e. from four separate renewal dates to a single annual renewal date. This change will not affect when you receive JAAC, which is mailed directly by Wiley/Blackwell on a quarterly basis. Anyone who joins the ASA after the first quarter may request the back issues for the current year by paying the full annual membership fees. For more information, please see “News From The National Office” on p. 5 of this issue of the Newsletter.

Spring 2009 15 American Society for Aesthetics Non-Profit Organization Armstrong Atlantic State University U.S. POSTAGE 11935 Abercorn Street PAID Savannah GA USA SAVANNAH GA Permit No. 1565 31419

ASA Newsletter e d i t e d b y Sondra Bacharach, David Goldblatt, and Henry Pratt 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 David Goldblatt, Department of Philosophy, Denison University, Granville, OH 43023, or Henry Pratt, Department of Philosophy and Religious Studies, Marist College, 3399 North Road, Poughkeepsie, NY 12601,

Deadlines: November 1, April 15, August 1

16 ASA Newsletter