Monday 12th: Propaganda, Pornography, Pictures, and Persuasion
It is a curious fact about the philosophical literatures on both propaganda and pornography that they tend to talk about these phenomena as if they were primarily linguistic. Yet by far most pornography today is pictorial and most propaganda has a significant pictorial component. This paper aims to shift the focus in the conversations to pictures and begins to think through some of the implications of this shift singulair dosage. In particular, I’ll be developing a peculiarly pictorial model of persuasion that better suits the work that pornography and propaganda can do. Along the way, I’ll use some examples of highly persuasive pictures from the Italian Renaissance.
A philosophical conference on the aesthetics and ethics of video games. 24-25 June 2016, University of Kent, Canterbury.
Video games have become one of the most popular forms of entertainment today. Many of them possess a wide array of artistic and aesthetic qualities and there is growing consensus now that they constitute an emerging new art form. At the same time, video games have raised important ethical questions and the debate on their moral status and impact has now gone well beyond the traditional academic context and community.
This international conference, organised by the Aesthetics Research Centre, will seek to explore relevant connections between the ethics and aesthetics of video games, thereby also drawing on insights from the philosophy of mind, philosophy of information, and feminist philosophy.
9.15 – 9.45 Registration (coffee & tea provided)
9.45 – 10.00 Welcome
10.00 – 11.00 Shelby Moser, University of Kent. Can My Avatar Teach Me?: VR Gaming and Empathy.
11.00 – 12.15 Jon Robson, University of Nottingham, The Beautiful Gamer? On the Aesthetics of Videogame Performances.
12.15 – 2.00 Lunch (not provided)
2.00 – 3.30 Paper Sessions
2.00 – 2.30 C. Thi Nguyen, Utah Valley University. Games and the Aesthetics of Instrumentality.
2.30 – 3.00 Jack Davis, UCL. Fictional Immorality.
3.00 -3.30 Stephanie Patridge, Otterbein University. Where Are All the Women? On Videogames, Gender, and Invisibility.
3.30 – 4.00 Break (coffee & tea provided)
4.00 – 5.15 Mari Mikkola, Humboldt-Universität (Berlin). Objectification and video games: A Feminist Examination.
5.15 – 6.30 Aaron Meskin, University of Leeds. Videogames and Creativity.
7.30 Conference dinner at The Parrot
10.00 – 12.00 Paper Sessions
10.00 – 10.30 James Camien McGuiggan, University of Southampton. Manipulation and Indeterminacy in Video Games.
10.30 – 11.00 Kathryn Wojtkiewicz, City University of New York Graduate Center. More than Moral: Sexism as an Aesthetic Flaw in Video Games.
11.00 – 11.30 Al Baker, The University of Sheffield. The Extra Credits Machine: Videogame ontology and the role of the player
11.30 – 11.45 Break (coffee & tea provided)
11.45 – 12.15 Nicolas Olsson-Yaouzis, UCL. Should feminists play Grand Theft Auto V?
12.15 – 12.45 Richard Woodward & Nathan Wildman, University of Hamburg. Video Games, Interactivity, and Fictional Incompleteness.
12.45 – 2.15 Lunch (not provided)
2.15 – 3.30 Katherine Thomson-Jones, Oberlin College. Understanding Interactivity in Art, Videogames, and Art Mods.
3.30 – 4.45 Kendall Walton, University of Michigan. Me, Myself and My Avatar.
Confined Projections is a curatorial design project by Eleen Deprez, postgraduate research student in History and Philosophy of Art look at here now.
As part of the International Festival of Projections (March 2016) we built six contemporary Mutoscopes with work of contemporary artists and filmmakers. A mutoscope is an early motion picture device. The device is hand-operated by one person at a time showing a reel of 1000 images. This project investigated the conjunction of public/private, visibility/invisibility, and proximity/distance in the film experience. The Mutoscope dominated the coin-in-slot peep-show business in Britain during the turn of the century. Operating on the same principle of a flipbook —showing a reel of 1000 images— the device is hand-operated by one person at a time. The viewer is thus able to influence the cinematic temporality of the film, creating his/her own unique viewing experience in a tactile relationship with the cinematic apparatus.
Thursday 3rd March 2016, 9:30am – 4pm, Darwin Lecture Theatre 3, University of Kent
This one-day symposium focuses on the intimate relationship between cinema, embodiment, and pornography. By bringing together an interdisciplinary range of speakers, originating from disciplines such as philosophy of art, film and media studies, and cultural studies we investigate the relationship between cinema and the senses. From investigating the “cinema of attractions” in early cinema, to the “haptic visuality” apparent in intercultural and feminist film, and “body genres” such as horror, melodrama, and pornography; in very different ways film scholars have argued against the conventional emphasis on vision and visibility and in favour of an understanding of embodied spectatorship. In relation, recent research in analytic aesthetics has focused on the multimodality of perception as well as definitions of erotic art and pornography. This symposium explores in what ways different pornographies engage with the sensate, tactile, and visceral experience of sexuality. By instigating a dialogue between scholars from different approaches we hope that this symposium will advance scholarly engagement with the “carnal aesthetics” of pornography.
9.30am – 9.45
Opening remarks by Dr Hans Maes, Senior Lecturer, History of Art, University of Kent
9.45 – 10.45 Clarissa Smith – Professor of Sexual Cultures in the Centre for Research in Media & Cultural Studies University of Sunderland “More Than Just Flesh: The Porn Performer’s Body in Action”
10.45 – 11.45 Ingrid Ryberg – Filmmaker and postdoctoral researcher at the Department of Media Studies of Stockholm University “Feeling Wasteland: Utopianism and Backwardness in Queer Porn”
11.45 – 12.00
Coffee and tea
12.00 – 13.00 Petra van Brabandt – Lecturer at the St Lucas School of Arts Antwerp “Wet Aesthetics and Queer Pornography”
13.00 – 14.00
Lunch (not provided)
14.00 – 15.00 Eliza Steinbock – Assistant Professor and postdoctoral researcher at the Film and Literary Department of Leiden University “Look! But also, Touch! Theorizing Images of Trans Eroticism Beyond a Politics of Visual Essentialism”
15.00 – 16.00
Panel Discussion with Eliza Steinbock, Petra van Brabandt, Ingrid Ryberg, Clarissa Smith, and Pandora Blake.
The symposium and film screening are two of the components that make up the cross-disciplinary project Confined Projections, which is part of the International Festival of Projections taking place at the University of Kent 18-20 March 2016. The project also includes the exhibition of six custom-made mutoscopes, showing work by national and international artists and filmmakers. Taking the mutoscope as leitmotiv, this project investigates the tension between public and private, visibility and invisibility, and proximity and distance in the film experience, revealing interesting connections between this early form of cinema and more recent developments in erotic filmmaking.
With the generous support of:
The British Society of Aesthetics
The Aesthetics Research Centre, University of Kent
The Centre for Film and Media Research, University of Kent
Wednesday 24th February, 5pm – 7pm, Grimond Lecture Theatre 2 (GLT2), University of Kent
The Value of Creativity
Creativity is generally regarded as an invariably valuable trait. But is that true? There seem to be cases of ‘dark’ creativity: for instance, a torturer may be creative, but his creativity makes the world a worse place. I develop a definition of ‘creativity’ in terms of an agential disposition to produce new things that are valuable of their kind, and employ this account to show that creativity has instrumental value, final value (value as an end), but only conditional value, i.e., it is valuable only under some circumstances. I also argue for a constitutive connection between creativity and spontaneity and show how spontaneity contributes to the value of creativity. An upshot of the argument is that sometimes enhancing creativity is a bad thing.
Ideas for a Phenomenology of the Collective Cinema Experience
Isn’t watching a film with others in a cinema crucially different from watching a film alone? When we laugh together, this amplifies the enjoyment. When we watch a film in communal rapt attention, this can intensify the experience. When annoyed by talking neighbors, we are distracted. Attending a film in a cinema implies being influenced by others – an influence that is particularly noticeable once affective responses play a role. Film scholars have almost always taken the relation between individual viewers and films as default. However, this is an artificial abstraction click here to investigate. Without considering the effects of collective viewing our understanding of the cinema experience remains incomplete. This talk tries to sketch some ideas toward a phenomenology of the collective cinema experience.
Professor Julian Hanich is Assistant Professor of Film Studies at the University of Groningen. From 2009 to 2012 he held a position as postdoctoral research fellow at the interdisciplinary research center “Languages of Emotion” at the Freie Universität Berlin. He studied North American Studies and Film Studies in Berlin, Berkeley and Munich and was a visiting researcher at UCLA and the University of Amsterdam. In 2010 he published a monograph on the phenomenology of fear at the movies, entitled Cinematic Emotion in Horror Films and Thrillers. The Aesthetic Paradox of Pleasurable Fear (Routledge). He also co-edited a volume of the German online journal Nach dem Film on Laughter in the Movie Theater and a book on filmic suggestion and the viewer’s imagination entitled Auslassen, Andeuten, Auffüllen. Der Film und die Imagination des Zuschauers (Fink). His articles have appeared in Screen, Projections, Necsus, Cinema Journal (forthcoming), Film-Philosophy,Movie, Jump Cut, The New Review of Film and Television Studies, Psychology of Aesthetics, Creativity and the Arts,Montage/AV, Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft and Amerikastudien/American Studies.
‘Framing television: the dramatic implications of aspect ratio’
Within television studies, and even within television aesthetics, ‘aspect ratio’ is frequently overlooked or naively characterised. Yet it plays a fundamental, determining role in forming and framing television’s dramatic spaces and in turn, its stories and meanings. A balanced reappraisal of television’s varied aspect ratios and its impact upon TV’s unique dramatic and aesthetic possibilities can enhance our close analyses and further our understanding of television’s fascinating ‘art history’.
In this paper I will challenge some residual myths, misunderstandings and preconceptions about TV’s aspect ratios and their spatial properties. I would like to counter prevailing pro-widescreen rhetoric, by tracing some of the dramatic and aesthetic qualities of 4:3 that have been lost in the movement to 16:9; in pursuit of this, I’ll consider the example of Marion and Geoff (BBC, 2000 & 2003). I aim to make the case for more overt and sustained attention to be paid to aspect ratio within television aesthetics.
Dr Sarah Cardwell is Honorary Fellow in the School of Arts, University of Kent, where she was previously Senior Lecturer. She is the author of Adaptation Revisited (MUP, 2002) and Andrew Davies (MUP, 2005), as well as numerous articles and papers on film and television aesthetics, literary adaptation, contemporary British literature, and British cinema and television. She is a founding co-editor of ‘The Television Series’ (MUP), Book Reviews editor for Critical Studies in Television, and on the advisory board for the new series ‘Adaptation and Visual Culture’ (Palgrave Macmillan).
Agency, Authorship and the Appreciation of Television
Lecturer in Film and Television Studies, University of Queensland
22 June 2015, MLT2
Chair: Murray Smith
This paper addresses a puzzle regarding the creation and appreciation of television. Recent scholarship has made it clear that the material production of television is a fundamentally collaborative enterprise. Particularly in the case of serial television drama, an astonishing number of “above the line” workers like writers, producers, and directors and “below the line” workers like cinematographers, art directors, sound designers, and editors contribute to the creation of an overall series. This essentially collaborative nature of television production has led some theorists to conclude that television (and sometimes film) is therefore essentially collectively authored (Caldwell 2008; Gaut 2010). While others have questioned whether such contributors have the proper control or authority to be regarded as authors (Livingston 2009), I focus on another problem with this view — namely, the problem of properly attributing blame to those individuals responsible for the relevant features of artistically and ethically flawed works. However, even weaker views (e.g. Livingston 2009), according to which film is only sometimes collectively authored, don’t translate as satisfactory accounts of collective authorship in television. I argue that inasmuch as Livingston’s account of joint-authorship is indebted to Bratman’s work on shared agency (1999, 2014), it cannot account for collective creation in hierarchically-organized groups like television production teams. And yet it seems like the appreciation of television as an art form requires some concept of authorship. I offer a number of desiderata any account of television authorship must meet, and I suggest that although authorship rarely obtains in television, we can, in most appreciative contexts, make do by simply speaking of “agency.”
Ted Nannicelli is Lecturer in Film and Television Studies at the University of Queensland. He is the author of A Philosophy of the Screenplay (2013) and co-editor of Cognitive Media Theory (2014). He is currently working on a new book, Appreciating the Art of Television: A Philosophical Perspective, to be published by Routledge.
This conference will bring together philosophers and aestheticians, art historians and film theorists to investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature. Its interdisciplinary approach is intended to lead to a more accurate and subtle understanding of the range of representations that incorporate explicit sexual imagery and themes, in both high art and demotic culture, in Western and non-Western contexts.
Martin Kemp – History of Art, Oxford University (Emeritus Research Professor)
Jerrold Levinson – Philosophy, University of Maryland
Jesse Prinz – Philosophy, City University of New York
Elisabeth Schellekens – Philosophy, University of Durham
Stephen Mumford – Philosophy, University of Nottingham
Pamela Church-Gibson – Film & Cultural Studies, University of the Arts London
David Davies – McGill University