Selected speakers:
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
The Art of Change is a bold experimental work that introduces a radically new artistic form. Starting with the traditional notion of opera as a type of work that blends music, theater, art, and design into a single form, The Art of Change brings performers and thinkers together on stage and fuses live performance with historical video footage, recorded interviews and multimedia content. All of this is woven together into a tapestry that is generative, interactive, participative, and open.
As its title suggests, the work centers on the very idea of change and presents various ways of thinking, from the very pragmatic to the most speculative, about what needs to be changed in the world today. Actors, singers, instrumentalists, designers, and philosophers come together, with the audience, to speculate on this question and the many ways in which it can be answered.
The libretto, by philosopher Chiara Bottici, is the result of a process in which an initial text was developed through a collective authoring process that unfolded on Public Seminar – an online journal of ideas, politics and culture supported by The New School.
No two performances of The Art of Change are the same. Spoken dialogues within each performance are analyzed and processed on the fly through software which captures and develops the melodic and rhythmic patterns of speech to generate instrumental scores for the musicians and electronics. What is more, each evening features two guests – a thinker and a musician – who bring new perspectives and their unique vision to the work.
Performances:
January 16th, 8pm
January 17th, 5pm & 8pm
January 18th, 5pm & 8pm
January 21st, 8pm
Creative Team:
Jean-Baptiste Barrière, Concept, Video Design & Composition
Chiara Bottici, Libretto
Ashley Tata, Stage Direction
Timo Rissanen, Costume Design
Abigail Hoke-Brady, Lighting Design
Thomas Goepfer, Sound & Video Design
Camilla Hoitenga, Flutes Solo
Levy Lorenzo, Creative Technologist, Percussion
Actors, singers and instrumentalists of The New School’s College of Performing Arts: Hayley Boggs, William Desbiens, Youngwoo Jeon, Kalun Leung, Timmy Ong, Yeji Pyun, Samuel Rachmuth, Veronica Richer, Jane Skapek (assistant director), Zachary Sebek, Alexander Theiss, Jackie Traish, Yunnan Xu
Guest Artists:
January 16: Simon Critchley, philosopher and Joan La Barbara, musician
January 17: Cinzia Arruzza, philosopher and Rebekah Heller, musician
January 18: Dmitri Nikulin, philosopher and Ross Karre musician
January 21: Jamieson Webster, psychoanalyst and Joan La Barbara, musician
“Artificial Intelligence: Implications for Ethics and Religion” is an exciting one-day conference to be held on January 30, 2020, at Union Theological Seminary (UTS) in New York, in conjunction with the Jewish Theological Seminary of America (JTS), the Riverside Church and the Greater Good Initiative.
New technologies are transforming our world every day, and the pace of change is only accelerating. In coming years, human beings will create machines capable of out-thinking us and potentially taking on such uniquely-human traits as empathy, ethical reasoning, perhaps even consciousness. This will have profound implications for virtually every human activity, as well as the meaning we impart to life and creation themselves. This conference will provide an introduction for non-specialists to Artificial Intelligence (AI):
What is it? What can it do and be used for? And what will be its implications for choice and free will; economics and worklife; surveillance economies and surveillance states; the changing nature of facts and truth; and the comparative intelligence and capabilities of humans and machines in the future?
Leading practitioners, ethicists and theologians will provide cross-disciplinary and cross-denominational perspectives on such challenges as technology addiction, inherent biases and resulting inequalities, the ethics of creating destructive technologies and of turning decision-making over to machines from self-driving cars to “autonomous weapons” systems in warfare, and how we should treat the suffering of “feeling” machines. The conference ultimately will address how we think about our place in the universe and what this means for both religious thought and theological institutions themselves.
UTS is the oldest independent seminary in the United States and has long been known as a bastion of progressive Christian scholarship. JTS is one of the academic and spiritual centers of Conservative Judaism and a major center for academic scholarship in Jewish studies. The Riverside Church is an interdenominational, interracial, international, open, welcoming, and affirming church and congregation that has served as a focal point of global and national activism for peace and social justice since its inception and continues to serve God through word and public witness. The annual Greater Good Gathering, the following week at Columbia University’s School of International & Public Affairs, focuses on how technology is changing society, politics and the economy – part of a growing nationwide effort to advance conversations promoting the “greater good.”
Schedule
Introduction to AI: 9:00 – 10:30 a.m.
Mark C. Taylor (Moderator)
Chair, Department of Religion, Columbia University. A leading figure in debates about post-modernism, Taylor has written on topics ranging from philosophy, religion, literature, art and architecture to education, media, science, technology and economics.
Daniel Araya
Consultant and advisor to companies within tech industry, focusing on innovation, public policy, and business strategy, chairs annual conference on Technology, Knowledge, and Society for Commonground Publishing.
Michael Kearns
Professor in the Computer and Information Science Department at the University of Pennsylvania, where he holds the National Center Chair, as well as the departments of Economics, Statistics, and Operations, Information and Decisions (OID) in the Wharton School; Founding Director of the Warren Center for Network and Data Sciences; faculty founder and former director of Penn Engineering’s Networked and Social Systems Engineering (NETS) Program, external faculty member of the Santa Fe Institute; author, The Ethical Algorithm.
Vikram Modgil
Founder of Pi Square AI – a decision design company specializing in AI based systems & algorithms, IoT, Augmented Reality & Robotic Process Automation; founder of The Good AI org to drive awareness and consciousness towards transparency in AI.
Ethical Implications: 10:30 a.m. – 12:00 p.m.
Serene Jones (Moderator)
A highly respected scholar and public intellectual, the Rev. Dr. Serene Jones is the 16th President of the historic Union Theological Seminary in the City of New York. The first woman to head the 182-year-old institution, Jones occupies the Johnston Family Chair for Religion and Democracy. She is a Past President of the American Academy of Religion, which annually hosts the world’s largest gathering of scholars of religion. She is the author of several books including Trauma and Grace and, most recently, her memoir Call It Grace: Finding Meaning in a Fractured World. Jones, a popular public speaker, is sought by media to comment on major issues impacting society because of her deep grounding in theology, politics, women’s studies, economics, race studies, history, and ethics.
Thomas Arnold
Researcher at Tufts University Human-Robot Interaction Laboratory (HRILab) working on AI ethics and human-robot interaction while drawing upon background in philosophy of religion and theology. Lecturer, Tufts University Department of Computer Science; PhD. ABD Committee on the Study of Religion, Harvard University; Co-author, “Ethics for Psychologists: A Casebook Approach,” (Sage, 2011); Member, IEEE Global Initiative for Ethical Considerations in Artificial Intelligence and Autonomous Systems.
Brian Green
Director of technology ethics at the Markkula Center for Applied Ethics, Santa Clara Univ. His work is focused on the ethics of technology, including such topics as AI and ethics, the ethics of technological manipulation of humans, the ethics of mitigation of and adaptation towards risky emerging technologies, and various aspects of the impact of technology and engineering on human life and society, including the relationship of technology and religion (particularly the Catholic Church). Green teaches AI ethics in the Graduate School of Engineering and formerly taught several other engineering ethics courses. He is co-author of the Ethics in Technology Practice corporate technology ethics resources.
Michael J. Quinn
Dean of the College of Science and Engineering at Seattle University. In the early 2000s his focus shifted to computer ethics, and in 2004 he published a textbook, Ethics for the Information Age, that explores moral problems related to modern uses of information technology, such as privacy, intellectual property rights, computer security, software reliability, and the relationship between automation and unemployment. The book, now in its eighth edition, has been adopted by more than 125 colleges and universities in the United States and many more internationally.
Wendell Wallach
Consultant, ethicist, and scholar at Yale University’s Interdisciplinary Center for Bioethics, where he has chaired the Center’s working research group on Technology and Ethics. Senior advisor to The Hastings Center, fellow at the Center for Law, Science & Innovation at the Sandra Day O’Connor School of Law (Arizona State University), fellow at the Institute for Ethics & Emerging Technology. Author, A Dangerous Master: How to keep technology from slipping beyond our control and Moral Machines: Teaching Robots Right From Wrong.
Ethical/religious implications: 12:30 – 2:00 p.m.
John Thatamanil (Moderator)
Associate Professor of Theology & World Religions, John eaches a wide variety of courses in the areas of comparative theology, theologies of religious diversity, Hindu-Christian dialogue, the theology of Paul Tillich, theory of religion, and process theology. He is committed to the work of comparative theology—theology that learns from and with a variety of traditions. Professor Thatamanil’s first book is an exercise in constructive comparative theology. The Immanent Divine: God, Creation, and the Human Predicament. An East-West Conversation provides the foundation for a nondualist Christian theology worked out through a conversation between Paul Tillich and Sankara, the master teacher of the Hindu tradition of Advaita Vedanta.
Levi Checketts
Adjunct professor at Holy Names University, PhD in ethics with focus on theological and technological issues.
Mark Goldfeder
Orthodox Rabbi, fellow at Emory University’s Center for the Study of Law and Religion, working on a book with Yeshiva University on robots in the law tentatively titled “Almost Human.”
Ted Peters
Distinguished Research Professor of Systematic Theology and Ethics, Graduate TheologicalUniversity; His systematic theology, God – The World’s Future, now in its 3rd edition, has been used as a text book in numerous seminaries around the world. For more than a decade he edited Dialog, A Journal of Theology. Along with Robert John Russell he is the co-founder and co-editor of the journal, Theology and Science, at the GTU’s Center for Theology and the Natural Sciences. Ordained pastor in the Evangelical Lutheran Church in America.
Jason Thacker
Associate Research Fellow and Creative Director at The Ethics and Religious Liberty Commission of the Southern Baptist Convention. He is also the author of The Age of AI: Artificial Intelligence and the Future of Humanity. He writes and speaks on various topics including human dignity, ethics, technology, and artificial intelligence. His writing has been featured at Christianity Today, The Gospel Coalition, Providence Journal, Light Magazine, and many more.
religious and theological implications: 2:00 – 3:30 p.m.
Arnold M. Eisen (Moderator)
Chancellor of the Jewish Theological Seminary in New York. Since taking office in 2007, Chancellor Eisen has transformed the education of religious, pedagogical, professional, and lay leaders for North American Jewry, with a focus on graduating highly skilled, innovative leaders who bring Judaism alive in ways that speak authentically to Jews at a time of rapid and far-reaching change.
Vincent Bacote
Associate Professor of Theology and Director of the Center for Applied Christian Ethics at Wheaton College in Wheaton, Illinois. Professor Bacote‘s areas of teaching and research include theology and culture, theological anthropology, and faith and work. His numerous published works include The Political Disciple: A Theology of Public Life and Erasing Race: Racial Identity and Theological Anthropology – Black Scholars in White Space. Professor Bacote is a graduate of the Citadel, holds a master’s degrees in divinity from Trinity Evangelical Divinity School, and a master’s degree in philosophy and PhD in theological and religious studies from Drew University.
Robert Geraci
Professor of Religious Studies at Manhattan College and author of Apocalyptic AI: Visions of Heaven in Robotics, Artificial Intelligence, and Robotics (Oxford University Press, 2010), Virtually Sacred: Myth and Meaning in World of Warcraft and Second Life (Oxford University Press, 2014), and Temples of Modernity: Nationalism, Hinduism, and Transhumanism in South Indian Science (Lexington 2018).
Noreen Herzfeld
Reuter Professor of Science and Religion at St. John’s University and The College of St. Benedict where she teaches Computer Ethics and Doing Ministry in a Technological Age. She is the author of In Our Image: Artificial Intelligence and the Human Spirit; Technology and Religion: Remaining Human in a Co-Created Age; andThe Limits of Perfection; and editor of Religion and the New Technologies.
Hannah Reichel
Associate Professor of Reformed Theology Princeton Theological Seminary. She holds degrees in divinity and economics. Interests and work includes poststructuralist theory, scriptural hermeneutics, political theology, surveillance studies, feminist and queer theologies.
Our 12th annual workshop will take place entirely on-line. The workshop will focus on the topic of “Expanding the Early Modern Canon.” We are calling for papers on figures, topics, texts, and genres that have been standardly neglected within the study of early modern philosophy; e.g., women philosophers, philosophy of education, letters, and novels.
Please submit anonymized abstracts of 250-500 words to newyorkcityearlymodern@gmail.com by April 1st, 2022.
Speakers:
Organisers:
Details
The workshop, which is now in its 12th year, aims to foster exchange and collaboration among scholars, students, and anyone with an interest in Early Modern Philosophy (roughly the period from 1600-1800). This year’s workshop will be entirely online. We are calling for papers on figures, topics, texts, and genres that have been standardly neglected within the study of Early Modern Philosophy (e.g., women philosophers, philosophy of education, letters, and novels).
Please submit anonymized abstracts of 250-500 words to newyorkcityearlymodern@gmail.com by April 1st, 2022.
Is feminism in crisis? Recently, in the United States and abroad, historic events rendered ever more precarious the lives and well-being of people marginalized by their sex, gender, race, and class, often in complexly intersecting and regionally specific ways. The rise of right-wing populism transnationally and attacks on reproductive rights, for example, exacerbate the challenges feminists confront. At the same time, as external conditions shift, feminism’s own faultlines continue to deepen. Feminism’s rising trans-exclusionary contingent, certain feminists’ hesitancy to reckon with complicity in racial and colonial violence, and the ongoing cooptation of feminism by neoliberalism signal serious internal fractures.
As feminism faces external and internal pressures, how can philosophy help us understand this moment of potential crisis and what, if anything, can philosophy do to address it? To devise answers to these urgent questions, we welcome contributions that focus on:
1. The relation between feminism and philosophy, including how feminism should intervene in philosophical debates, and how philosophy should intervene in feminist debates;
2. Questions concerning the nature and practice of gender, sex, sexuality, race, class, and disability that draw on feminist literatures or methodologies;
3. Perspectives that integrate different feminist traditions to build intersectional and transnational feminist coalitions;
4. Analyses of discourses on sex, gender, sexuality, race, class, and disability in media, law, and the sciences;
5. Translating feminist views on sex, gender, sexuality, race, class, and disability into public policy and social advocacy.
We welcome contributions from scholars working in philosophy and who draw on a variety of disciplinary perspectives. Scholars of all identities, especially those from groups underrepresented and/or marginalized in academia, are encouraged to submit contributions.
Please send anonymized abstracts of up to 500 words to cunygc.philosophy.conference@gmail.com, along with any questions you may have. The deadline for submissions is September 7th.