AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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Awesome Things to Come #3: Interviews with Philosopher-Artists

For Awesome Things to Come #1 & #2 go here& here.


I’ll also be conducting interviews with philosophers who also actively work in one or more of the various Arts (or actively engage in the artistic practices thereof). The idea here is that in virtue of their being uniquely situated between the two worlds of art and philosophy, they are able to offer valuable insights into both, as well as to how work in one might figure for work in the other. To this end, I’ve thus far confirmed the following stellar line-up of Philosopher-Artists (official schedule coming soon):

Carrie Ichikawa Jenkins: The Canada Research Chair and Associate Professor at the University of British Columbia, Professorial Fellow of the Northern Institute of Philosophy, and member of the musical group The 21st Century Monads (more info here).
Keith Lehrer: Regent’s Professor (emeritus) of Philosophy at the University of Arizona, Research Professor of Philosophy at the University of Miami, and active painter & performance artist (more info here).
Troy Jollimore: Professor of Philosophy at California State University, Chico, and award-winning poet (more info here).


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Awesome Things to Come #2: Interviews with Artists

For Awesome Things to Come #1 go here.

In addition to featuring guest posts from various philosophers working or with interests in Philosophical Aesthetics,  I’ll also be conducting and featuring interviews with established artists and critics from across the Arts. The idea here is to help bridge the gulf between The Artist and The Philosopher of Art by actively engaging these artists about the various philosophical aspects of their artworks as well as the extent to which they might take such issues to figure in the production, appreciation, or evaluation of those works. To this end, I have thus far confirmed the following utterly fantastic and star-studded line-up of Artists (official schedule coming soon):

Jonathan Santlofer: Award-winning visual artist and New York Times best-selling fiction author (more info here).

Kyle Killen: Film & Television writer and producer and the author of the screenplay for the 2011 film The Beaver (2011) and the writer/creator of the critically acclaimed 2012 television series Awake (more info here).


Matthew Kadane: Musician and founding member of the indie rock bands Bedhead & The New Year (more info here & here).


David Orr: Award winning New York Times Book Review poetry critic and author of Beautiful & Pointless: A Guide to Modern Poetry (more info here).


The Sucklord: New York pop artist, designer, and creative mastermind behind Suckadelic Enterprises (more info here & here).


Rachel Hecker: Painter and 2013 Texas Artist of the Year (more info here & here)

Curtis Gannon: Emerging visual artist (more info here).




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Awesome Things to Come #1: Guest Bloggers

In addition to posting my own philosophical ruminations and commentary on Aesthetics-related goings-on in the profession, I’ll be providing a forum for philosophers at various career stages to talk about their work/interests in Aesthetics & Philosophy of Art. To this end, I’ve thus far confirmed the following truly spectacular line-up of guest bloggers (official schedule coming soon):

Catharine Abell (Manchester)

Luvell Anderson (Memphis)

Clare Batty (Kentucky)

Aili Bresnahan (Dayton)

Gabriele Contessa (Carleton)
Roy Cook (Minnesota)
Helen de Cruz (Oxford)
Simon Fokt (St. Andrews)
Karen Gover (Bennington)
Gabriel Greenberg (UCLA)
Allan Hazlett (Edinburgh)
Allison Hepola (Samford)
Darren Hick (Texas Tech)
Andrew Huddleston (Oxford)
Sherri Irvin (Oklahoma)
Andrew Kania (Trinity)
Amy Kind (Claremont McKenna)
John Kulvicki (Dartmouth)
Sam Liao (Nanyang)
Sheila Lintott (Bucknell)
Hans Maes (Kent)
P.D. Magnus (SUNY Albany)
Mohan Matthen (Toronto)
Margaret Moore (Tennessee-Knoxville)
Aaron Meskin (Leeds)
Zee Perry (NYU)
Henry Pratt (Marist)
Jesse Prinz (CUNY)
Nick Riggle (NYU)
Bill Seeley (Bates)
Sandra Shapshay (Indiana)
Nick Stang (Miami)
Mary-Beth Willard (Weber State)


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Holy shit! The 2013 Annual ASA Looks Fucking Awesome!

My heartiest congratulations to the programming committee for the 2013 Annual Meeting of the American Society of Aesthetics (Oct. 30th-Nov. 2nd, San Diego) as they’ve managed to put together not just a fantastic program (a draft of which can be found here) but quite frankly one of the strongest ASA conference programs I’ve ever seen. The Panel Line-Up alone features a dizzing array of philosophical talent both from within Philosophical Aesthetics and from without. Check out the following examples of Panelized Philosophical Bad-Assery (**starting with the obvious show-stopper**):


Panel: Editor Meet-Critics Session on Christy Mag Uidhir’s Art and Abstract Objects

Gabriel Greenberg (UCLA)
Troy Jollimore (Cal State University, Chico)
Eric Winsberg (University of South Florida)
Christy Mag Uidhir (University of Houston)
Panel: Aesthetics and the Senses
Mohan Matthen (University of Toronto)
Diana Raffman (University of Toronto)
Clare Batty (University of Kentucky)
Jenny McMahon (University of Adelaide)
Panel: Fact, Fiction or Fraud
Stacie Friend (Heythrop College)
Joshua Landy (Stanford University)
Jonathan Weinberg (University of Arizona)
Panel: Location, Location, Location
David Davies (McGill University)
Susan Feagin (Temple University)
Sherri Irvin (University of Oklahoma)
Andrew Kania (Trinity University)
Panel: The Art of Portraiture
Cynthia Freeland (University of Houston)
Jonathan Friday (University of Kent)
Hans Maes (University of Kent)
Steve Pyke (Photographer)
Jenefer Robinson (University of Cincinnati)
Panel: Author-Meets-Critics Session on Stephen Davies’ The Artful Species
John Hyman (University of Oxford)
Stephanie Ross (University of Missouri-St. Louis)
Ajit Varki (UCSD)
Stephen Davies (University of Auckland)
Panel: Law and Aesthetics
Karen Gover (Bennington College)
Aili Bresnahan (University of Dayton)
Darren Hudson Hick (Texas Tech University)
David Osipovich (Independent Scholar)
Panel: The Aesthetics of Wine
Jonathan Cohen (UCSD)
Bence Nanay (University of Antwerp & University of Cambridge)
Barry Smith (Institute of Philosophy)

Throw in a Wollheim Lecture from Gregory Currie and a sunny SoCal host city. Et voila! An ASA Annual Meeting that should not be missed. See you in San Diego!


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Ergo, An Open Access Journal of Philosophy

Below is the full CFP from the newly launched Ergo, An Open Access Journal of Philosophy, where I serve as area editor for Aesthetics & Philosophy of Art submissions. I think the addition of another top-flight open access philosophy journal (a la Philosophers’ Imprint) is great news for the philosophy profession and given Ergo‘s generalist aims, likewise great news for philosophical aesthetics by promising a great mainstream venue for high quality work in our field. I enthusiastically encourage you to consider submitting your work to Ergo.

**NOTE: There is a special place in hell reserved for philosophers who refuse referee requests from open access journals.** 



Ergo CFP


http://quod.lib.umich.edu/e/ergo 

Ergo is a general, open access philosophy journal accepting submissions on all philosophical topics and from all philosophical traditions. This includes, among other things: history of philosophy, work in both the analytic and continental traditions, as well as formal and empirically informed philosophy.

Ergo uses a triple-anonymous peer review process and aims to return decisions within two months on average.

Ergo is published by MPublishing at the University of Michigan and sponsord by the Department of Philosophy at the University of Toronto. Papers are published as they are accepted; there is no regular publication schedule.

To submit a paper, please register and login to Ergo’s editorial management system at:

http://jps.library.utoronto.ca/index.php/ergo/index

Submitted manuscripts should be prepared for anonymous review, containing no identifying information. Submissions need not conform to the journal style unless and until accepted for publication.

Submission and publication is free, but the journal essentially depends on the support of reliable reviewers returning informative reports in a timely manner. We hope that you will consider acting as referee for Ergo if asked by one of its editors. We also hope that you will consider submitting your work to Ergo.

Please share this call for papers with your colleagues!

Managing Editors
Franz Huber (University of Toronto)
Jonathan Weisberg (University of Toronto)
ergo.editors@gmail.com

Section Editors
Rachael Briggs (Australian National University & Griffith University)
Eleonora Cresto (University of Buenos Aires)
Vincenzo Crupi (University of Turin)
Imogen Dickie (University of Toronto)
Catarina Dutilh-Novaes (University of Groningen)
Kenny Easwaran (University of Southern California)
Matt Evans (University of Michigan)
Laura Franklin-Hall (New York University)
Ole Hjortland (LMU Munich)
Michelle Kosch (Cornell University)
Antonia LoLordo (University of Virginia)
Christy Mag Uidhir (University of Houston)
Julia Markovits (Massachusetts Institute of Technology)
Lionel McPherson (Tufts University)
Jennifer Nagel (University of Toronto)
Jill North (Cornell University)
Brian O’Connor (University College Dublin)
Laurie A. Paul (University of North Carolina at Chapel Hill)
Richard Pettigrew (Bristol University)
Martin Pickavé (University of Toronto)
Adam Sennet (University of California at Davis)
Nishi Shah (Amherst College)
Quayshawn Spencer (University of San Francisco)
Ásta Sveinsdóttir (San Francisco State University)
Robbie Williams (University of Leeds)
Wayne Wu (Carnegie Mellon University)
Jiji Zhang (Lingnan University)


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Call for Papers: Printmaking & Philosophy of Art

call for papers

Printmaking and Philosophy of Art

Guest Editors:
Christy Mag Uidhir and Cynthia Freeland
A Special Issue of
             
Submission on any philosophical treatment of printmaking are welcome, but papers addressing these topics are especially welcome:
  • Is printmaking an essential part of the art-historical narrative, Western or otherwise?
  • What are the implications of the relationship between print artists and master printers for issues of authorship and artistry?
  • What are the descriptive or evaluative implications of the practices of editioning, proofing, or plate striking?
  • What are the implications of printmaking practices for print ontology–whether prints are best construed as repeateable works, single-instance works, or something else entirely?
  • How do issues of originality or authenticity for printmaking compare to those for other forms of visual art?
  • What are the implications qua art (if not also qua print) of digital prints (for example, laser C-prints or inkjet Giclée prints)?
Submissions should not exceed 7,000 words and must comply with the general guidelines for submissions (see “Submissions” on the JAAC page on the American Society for Aesthetics website:www.aesthetics-online.org). Anytime after February 15, 2013, upload submissions to the JAAC online submission website, http://mc.manuscriptcentral.com/jaac, making sure they are identified as submissions for the special issue.
If you have questions please contact:
Christy Mag Uidhir, University of Houston                            
cmaguidhir@gmail.com                                                         

Deadline for Submission: 15 January 2014


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TOWARDS A GENDER-BALANCED PHILOSOPHY OF ART SYLLABUS

***UPDATED 07/31. I encourage readers to continue to send suggestions.***

Lamarque & Olsen’s Aesthetics & The Philosophy of Art: The Analytic Tradition is arguably the best general anthology in Contemporary Anglo-American Aesthetics. Unfortunately, this anthology distinguishes itself yet another way by having only 2 of its 46 articles written by women (in fact, the very same woman as it turns out). A friend of mine teaching philosophy of art for the first time recently discovered this and asked me to suggest some articles written by women with which to supplement the anthology. I’ve copied the list I sent him below so that it might be a useful resource for others in similar situations. I welcome and actively encourage readers to suggest additions in the comments section at which point I’ll update the list accordingly. However, please note that my interest lies with maximizing the number of distinct female authors rather than the number of distinct female-authored works.

  • Catherine Abell (2012). Art: What it is & Why  it Matters
  • Laurie Adams (1976). Van Meegeren v. Vermeer (from Art on Trial: From Whistler to Rothko, ch. 4)
  • Sondra Bacharach & Deborah Tollefsen (2010). We Did It: From Mere Contributors to Coauthors
  • Christine Battersby (1991). Situating the Aesthetic: a Feminist Defense
  • Karol Berger (2000). A Theory of Art
  • Peggy Zeglin Brand (1998). Disinterestedness and Political Art
  • Elisabeth Camp (2009). Two Varieties of Literary Imagination: Metaphor, Fiction, & Thought Experiments
  • Jinhee Choi (2003). All the Right Responses: Fiction Films and Warranted Emotions
  • Amy Coplan (2004). Empathic Engagement with Narrative Fictions
  • Mary Devereaux (1993). Protected Space: Politics, Censorship, and the Arts
  • Ellen Dissanayake (1992). Homo Aestheticus
  • Anne Eaton (2012). Robust Immoralism
  • Marcia Eaton (1982). A Strange Kind of Sadness
  • Susan Feagin (1983).The Pleasures of Tragedy
  • Cynthia Freeland (2007). Portraits in Painting and Photography
  • Stacie Friend (2008). Imagining Fact and Fiction
  • Tamar Gendler (2000). The Puzzle of Imaginative Resistance
  • Hannah Ginsborg (2006). Aesthetic Judgment and Perceptual Normativity
  • Lydia Goehr (1994). Political Music and the Politics of Music
  • Karen Gover  (2011). Artistic Freedom and Moral Rights in Contemporary Art
  • Karen Hanson (1990). Dressing Down Dressing Up: The Philosophic Fear of Fashion
  • Louise Hanson (2013). The Reality of (Non-Aesthetic) Artistic Value
  • Hilde Hein (1996). What Is Public Art? Time, Place, and Meaning
  • Kathleen Higgins (1991). The Music of Our Lives
  • Sherri Irvin (2005). Appropriation and Authorship in Contemporary Art
  • Amy Kind (2011). The Puzzle of Imaginative Desire
  • Carolyn Korsmeyer (1993). Pleasure: Reflections on Aesthetics & Feminism
  • Susanne Langer (1953). Feeling and Form: A Theory of Art
  • Shelia Lintott (2006). Toward Eco-Friendly Aesthetics
  • Béatrice Longuenesse (2006). Kant’s Leading Thread in the Analytic of the Beautiful
  • Catherine Lord (1977). A Kripkean Approach to the Identity of a Work of Art
  • Anna Mahtani (2012). Imaginative Resistance without Conflict
  • Mary Mothersill (1984). Beauty Restored
  • Marcia Muelder Eaton (1999). Kantian and Contextual Beauty
  • Martha Nussbaum (1990). Love’s Knowledge: Essays on Philosophy and Literature
  • Linda Nochlin (1971). Why Have There Been No Great Women Artists?
  • Anna Christina Ribeiro (2012). Aesthetic Attributions: The Case of Poetry
  • Jenefer Robinson (1994). The Expression and Arousal of Emotion in Music
  • Stephanie Ross (1998). A Century of Taste
  • Yuriko Saito (2001). Everyday Aesthetics
  • Barbara Savedoff (1989). The Art Object
  • Elaine Scarry (2001). On Beauty and Being Just
  • Eva Schaper (1978). Fiction and the Suspension of Disbelief
  • Elisabeth Schellekens (2007). The Aesthetic Value of Ideas
  • Sandra Shapshay (2012). Schopenhauer’s Aesthetics and Philosophy of Art
  • Anita Silvers (1990). Has Her(oine’s) Time Now Come?
  • Kathleen Stock (2009). Fantasy, Imagination, and Film
  • Amie Thomasson (2003). Fictional Characters and Literary Practices
  • Katherine Thomson-Jones (2005). Reconciling Cognitivism & Formalism in Aesthetics
  • Sarah Worth (2004). Fictional Spaces


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Aesthetics in the UK

**UPDATED**

What follows is an assessment of the professional state of Aesthetics with respect to faculty research at Leiter Ranked Programs in the United Kingdom. I counted only permanent faculty and so excluded visiting, emeritus, as well as affiliated faculty. Finally, faculty were counted according to two conditions which I’ve explained below (AOS, Primary). The full program/faculty list can be found at the link provided. Again, please inform me of any omissions or mistakes, as I no doubt made a few.

The AOS Condition:
  • Faculty must have (at least as indicated on department website or CV) an AOS in Aesthetics.


The Primary Condition:
  • Faculty must have an AOS in Aesthetics.
  • Faculty must work primarily within Aesthetics (i.e., have a primary research program in/commitment to Aesthetics or to have one’s body of work reasonably suggest as much).  


Aesthetics at Leiter Ranked UK Programs

# of AOS Faculty: 20
# of Primary Faculty: 15
# of Programs with at least one AOS Faculty: 13
# of Programs with at least two AOS Faculty: 5
# of Programs with three or more AOS Faculty: 2
# of Programs with at least one Primary Faculty: 9
# of Programs with at least two Primary Faculty: 5
# of Programs with three or more Primary Faculty: 1



US/UK Aesthetics Comparisons

# of Leiter Ranked US Programs: 50

# of Leiter Ranked UK Programs: 15


AOS Comparison


% with one or more: US (56%) UK (87%)

% with two or more: US (22%) UK (40%)
% with three or more: US (8%) UK (20%)
Primary Comparison
% with one or more: US (26%) UK (60%)
% with two or more: US (2%) UK (33%)
% with three or more: US (0%) UK (13%)


A Few Observations

Despite its rather poor showing stateside, Aesthetics appears to be alive and well (if not outright flourishing) in the United Kingdom.

Given my unfamiliarity with UK academic ranks, I refrained from making any junior/senior distinction (or whatever the UK equivalent might be). That said, I suspect a cursory glance at the UK programs to reveal several early career folks at the Primary level.

Aesthetics may well have a bright future, I just may need a passport to see it.