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
How can we know what it’s like to be someone else? Classical Indian philosophers found the answer in theater, arguing that it’s not just a form of entertainment, but a source of knowledge of other minds. In this talk, I’ll explore how this theme is developed in Śrī Śaṅkuka (c. 850 CE) and examine the reasons his views were rejected in the later tradition. I’ll argue that those reasons are unsound, and that we can see why by turning to contemporary studies of the relationship between knowledge and luck.
Jonardon Ganeri is the Bimal. K. Matilal Distinguished Professor of Philosophy at the University of Toronto. He is a philosopher whose work draws on a variety of philosophical traditions to construct new positions in the philosophy of mind, metaphysics and epistemology. His books include Attention, Not Self (2017), a study of early Buddhist theories of attention; The Concealed Art of the Soul (2012), an analysis of the idea of a search for one’s true self; Virtual Subjects, Fugitive Selves (2020), an analysis of Fernando Pessoa’s philosophy of self; and Inwardness: An Outsiders’ Guide (2021), a review of the concept of inwardness in literature, film, poetry, and philosophy across cultures. He joined the Fellowship of the British Academy in 2015, and won the Infosys Prize in the Humanities the same year, the only philosopher to do so.
This series is curated and co-presented by Brooklyn Public Philosophers, aka Ian Olasov.
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.
Keynote: Naomi Zack (Lehman College, CUNY)
One of philosophy’s original questions still plagues us: to what extent are beings the same and to what extent do they differ? Arising in thinkers as diverse as Parmenides, Aquinas, and De Beauvoir and in arenas from social and political philosophy to phenomenology and metaphysics. This conference aims to gather graduate student scholars from a variety of specializations to discuss their work on identity and difference. Some of the many questions we may pursue together are the following:
What constitutes identity and difference? What makes someone who they are? How do we understand ourselves to be alike enough to communicate, yet different enough that we must work to understand another’s point of view? How do identity and difference shape belonging–within a community, within a social institution, within a political structure? Similarly, how do differences among the members of a group enrich the identity of that collective? How might overlapping identities of an individual give rise to one’s sense of self? How does identity inform a given group’s philosophical thought? How might one form their identity and sense of self when, as in the case of many marginalized groups/ minorities, the “self” is oppressed?
These questions additionally motivate ontological considerations. To what extent can we describe two objects that are in fact identical? What grants an object’s or a person’s identity over time: metaphysical characteristics, temporal continuity, or certain brain states? Upon what aspects of an entity do we predicate differences? When are two things metaphysically or logically identical? Are mereological composites more than the sum of their parts? Are they identical to matter? To what extent do beings differ from Being? How might experiences or acts of reason help ground an identity claim such as A=A?
Other questions broadly related to “Identity and Difference” are also welcome.
Please submit a 300-500 word abstract prepared for blind review to fordhamgradconference@gmail.com in PDF format. In the body of the email, please include:
- Name
- Paper title
- Institutional Affiliation
Submissions are due by Friday, December 30, 2022. After anonymous review, applicants will be notified by Tuesday, January 17, 2023. Presentations will be limited to 20 minutes.
The conference will take place in person on March 3-4, 2023 on Fordham University’s Rose Hill campus located at 441 East Fordham Road, Bronx, NY 10458.
For questions, please contact the conference organizers at fordhamgradconference@gmail.com