Thursday 21st March 2019, 5pm – 7pm
Wednesday 13th March 2019, 5pm – 7pm
The Aesthetics Research Centre at the University of Kent (Canterbury, UK) is organising a reading group on "Black Reconstruction in Aesthetics". A new article by Professor Paul C. Taylor written for debates in Aesthetics. The aim of the reading group is to facilitate discussion and critical reflection on the paper. The session will be convened by ARC director Dr. Michael Newall and PhD candidate Alice Helliwell.
Debates in Aesthetics is inviting short papers in response to “Black Reconstruction in Aesthetics”, please see the CFP on their website.
Participation is open to all
Date: 27 February 5-7pm, location tbc
This essay uses the concept of reconstruction to make an argument and an intervention in relation to the practice and study of Black aesthetics. The argument will have to do with the parochialism of John Dewey, the institu- tional inertia of professional philosophy, the aesthetic dimensions of the US politics of reconstruction, the centrality of reconstructionist politics to the Black aesthetic tradition, and the staging of a reconstructionist argument in the film, “Black Panther” (Coogler 2018). The intervention aims to address the fact that arguments like these tend not to register properly because of certain reflexive and customary limits on some common forms of philosophical inquiry. The sort of professional philosophy I was raised to practise and value tends not to be particularly inclusive and open-minded, especially when it comes to subjects that bear directly on the thoughts, lives, and practices of people racialized as black. Black aesthetics, by contrast, is an inherently ecumenical enterprise, reaching across disciplinary and demographic bound- aries to build communities of practice and exchange. Hence the need for an intervention: to create the space for arguments and the people who work with them to function across disciplinary and demographic contexts.
The session will be live-streamed on Youtube Live to allow for remote participation via chat.
Why Film Studies Needs More Fine-Grained Emotion Terms …and Why Phenomenology Might Help
Dr Julian Hanich (University of Groningen)
Monday 15th October 2018, at 5pm in the Lupino Screening Room, Grimond Building, University of Kent
In this talk I will make a threefold proposal: I claim that (a) film studies, due to an overly strong focus on a few standard emotions, lacks a fine-grained lexicon of emotions spectators experience when watching films, that (b) it would be beneficial for research conducted in the field to introduce more granular and well-defined emotion terms and that (c) the specific subfield of ‘phenomenology of emotions’ might help. Drawing on my previous studies on different forms of fear, disgust and being moved, I will try to elucidate why the phenomenology of emotions has specific resources to contribute.
Dr Julian Hanich is an Assistant Professor of Film Studies in the Department of Arts, Culture and Media at the University of Groningen, The Netherlands.
The Norms of Realism and the Case of Non-Traditional Casting
Dr Catharine Abell (University of Manchester)
Wednesday 3rd October 2018, at 5pm in Grimond Lecture Theatre 3, University of Kent
Realism is a property that representational artworks can exhibit. This paper is concerned with realism in perceptual narratives: narrative representations that convey their contents at least partly perceptually. It addresses the conditions under which realism constitutes an artistic merit in a perceptual narrative by identifying the artistic norms of realism that govern them. By providing accounts of these norms, it enables the identification of errors in our evaluations of realism. To demonstrate the evaluative errors to which we are prone, it focuses on the practice of non-traditional casting, cases of which are often claimed to violate norms of realism. It identifies a variety of errors in judgements of instances of non-traditional casting’s conformity to the norms of realism. It explains the source of these errors, some of which are relatively systematic and widespread. It then provides a general specification of the resources and skills required correctly to evaluate perceptual narratives according to their realism.
Tuesday 13th February 2018, at 6pm in Keynes Seminar Room 11, University of Kent
According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas paintings and drawings acquire their depictive content from their maker. CTP is widely affirmed, by philosophers, film-theorists and early pioneers of the photographic medium. A persistent worry about CTP is that it leaves no interesting role for the photographer in the production of their pictures and, as a corollary, is incompatible with an aesthetics of photography. In this talk, I do three things. First, I amend CTP with Fred Dretske’s distinction between triggering and structuring causes. Second, I argue that CTP so amended is far from incompatible with an aesthetics of photography, but illuminates two aesthetic interests we may take in such pictures, focussing on photographic portraiture and street photography. Third, I show how reflection on the aesthetics of photography serves to support aesthetic anti-empiricism: the view that the aesthetic value of artworks consists, either wholly or partially, in achievement rather than sensory pleasure.
Dan Cavedon-Taylor is currently a lecturer in philosophy at the University of Southampton. His research focuses on philosophy of mind and aesthetics. Some of his most recent publications include: ‘Reasoned and Unreasoned Judgment’ (British Journal of Aesthetics 2017) and ‘Photographic Phenomenology as Cognitive Phenomenology’ (British Journal of Aesthetics 2015).
Keynote by Professor Elisabeth Schellekens at Interact – British Society for Aesthetics Postgraduate Conference, 7-8 February 2015
Aesthetic Experts, Guides to Value
Keynote by Dominic McIver Lopes at Interact (British Society for Aesthetics) at the INTERACT Postgraduate Conference, 7-8 February 2015
Chair: Shelby Moser
- ‘Affective Representation of Aesthetic Properties — Kris Goffin, Ghent University
- The Role of Emotions in the Experience of Inanimate Objects’ Expressiveness’ —Marta Benenti, University of Turin
- ‘The Temporality of Aesthetic Experience: A Neurophilosophical Approach’ —Carlos Vara, Universitat Pompeu Fabra
- The Diversity of Counter-Moral Fictions and the Ethical Criticism of Art — Adriana Clavel Vazquez, University of Sheffield
- Can we be Romantic about Narratives? Rediscovering a Context for Actual Intentions in Aesthetics —Mary Edwards, University College Cork
- Ryle on Make-believe: An Evaluation of the Treatment of Imagination in The Concept of Mind for Aesthetical Theories of Fiction — Guillaume Schuppert, Les Archives Henri Poincaré
- What Constitutes Architecture’s High Art Status — Rebecca Wallbank, Durham University
- On the Difference between Categories of Artworks and Nature; A Critique of Allen Carlson’s Unified Aesthetics — Mami Aota, The University of Tokyo
- Structural Monism for Musical Works — Nemesio Garcia-Garril, University of Granada
- Aesthetic Powers and Adverbials — James Matharu, St Cross College, University of Oxford
- Wink-Wink, nudge-nudge. Stylistic indicators of irony in cartoons — Dieter Declercq, University of Kent
- The Phenomenology of Dance: Husserlian and Post-Husserlian Approaches — Emma Lowe, KU Leuven, Belgium
- Technology’s Instances: The digital Re-configuration of Dance Work Ontology — Hetty Blades, Coventry University
• Professor Peter Kivy (Rutgers)
• Professor Emily Brady (Edinburgh)
• Assoc. Professor Eileen John (Warwick)
• Professor Peter Lamarque (York)
With the support of: The British Society of Aesthetics
This one-day symposium focuses on (and takes its title from) Peter Kivy’s new book De Gustibus: Arguing About Taste and Why We Do It (Oct 2015, OUP). Kivy will be joined by Emily Brady, Eileen John, and Peter Lamarque, who will respond to Kivy’s book in an ‘author meets critics’ format.
Peter Kivy is a pre-eminent figure in Anglo-American philosophy of art. His numerous monographs and essays constitute a sustained and significant contribution to aesthetics, and in particular to the fields of aesthetics of music and literature. Kivy’s new book, De Gustibus, turns to meta-aesthetic issues about the assumptions and purposes underlying disputes about matters of taste.
In it he casts light on a new problem in aesthetics: who do we dispute about taste when there are no ’actions’ we wish to motivate? He asks, “whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other?” Kivy’s claim is that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact.