Contact Professor Gooding-Williams for more info.
The NYU Center for Bioethics is pleased to welcome submissions of abstracts for its 1st Annual Philosophical Bioethics Workshop, to be held at NYU on Friday, April 3, 2020.
We are seeking to showcase new work in philosophical bioethics, including (but not limited to) neuroethics, environmental ethics, animal ethics, reproductive ethics, research ethics, ethics of AI, data ethics, and clinical ethics.
Our distinguished keynote speaker will be Frances Kamm.
There will be four additional slots for papers chosen from among the submitted abstracts, including one slot set aside for a graduate student speaker. The most promising graduate student submission will be awarded a Graduate Prize, which includes coverage of travel expenses (up to $500, plus accommodation for two nights) as well as an award of $500. Please indicate in your submission email whether you would like to be considered for the Graduate Prize.
Please submit extended abstracts of between 750 and 1,000 words to philosophicalbioethics@gmail.com by 11:59 pm EST on Friday, January 24, 2020. Abstracts should be formatted for blind review and should be suitable for presentation in 30-35 minutes. Notification of acceptance will take place via email by Friday, February 14, 2020.
When submitting your abstract, please also indicate whether you would be interested in serving as a commentator in the event that your abstract is not selected for presentation. We will be inviting four additional participants to serve as commentators.
NEW SCHOOL FOR SOCIAL RESEARCH PHILOSOPHY GRADUATE CONFERENCE
Keynote Speakers: Cary Wolfe (Rice) and Lori Gruen (Wesleyan)
This conference seeks to explore the relationship between animals and their environs, as well as the philosophical traditions that speak to these complex notions. We invite participants to question if and how philosophy’s treatment of animals and their environs can help us make sense of our current ecological situation. How have considerations of habitat, dominion, and domesticity determined the (ethical, ontological, rhetorical) status of animals? Conversely, how have presuppositions about “the animal” informed what environs are proper to “man”? What would it mean for an animal to be “at home” in the current world? Can philosophical approaches to animals be more than an instrumentalizing procedure? How will climate change alter not only the vitality of a species but the very grounds from which it lays claim to a home?
We welcome paper submissions of no more than 2500 words, that are prepared for a blind review, and suitable for a 15-20 minute long presentation.
Email your submission (in PDF format) to tns.animalhouse@gmail.com with “Animalhouse Submission” in the subject line. In your email, please include the following details: (a) author’s name; (b) paper title; (c) institutional affiliation; (d) contact information; and (e) abstract of no more than 250 words. Please do not include your name on the paper you are submitting. The deadline for submissions is December 31, 2019. Accepted speakers will be notified by February 1, 2020.
Questions can be directed to Aaron Neber at tns.animalhouse@gmail.com.
For updated program information and full CFP, see: https://animalhouse2020.weebly.com/
https://philevents.org/event/show/77650
Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s view is a promising resource for developing a model of aesthetic humility. However, prima facie, Kant’s aesthetics may seem like an unpromising starting point for this endeavor. At the very least, aesthetic humility has not been discussed as part of his aesthetic framework. What is more, some have worried that far from promoting aesthetic humility, Kant’s approach promotes aesthetic arrogance instead. Nevertheless, I claim that a closer look at Kant’s position provides a compelling model of aesthetic humility that sheds light not only on the self- and other-directed attitudes it involves, but also on how aesthetic humility can serve as a corrective to the vices of aesthetic arrogance and aesthetic servility.
Registration is free but required. A registration link will be posted and shared closer to the event date.
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.
Since Plato, western philosophy has been set down a path paved by a disavowal of the sensuous, bracketed material bodies, and delimited aesthetic conceptions, leaving human beings and their built environments separated from the natural world. Such exclusions have left philosophy ill-equipped to deal with the various environmental crises we currently face, as economic rationality and utilitarian logic further de-animate the world and sharpen the human/nature distinction. Even the concept “environment” often, and ironically, brings with it implicit anthropocentric assumptions, conceptualizing, and thereby separating, the human as independent from the surrounding world and reinforcing the human/nature divide. As a result, our (mis)understandings of “nature” and “environment” may make us insensitive to and perpetuate, rather than address, climate change and other environmental catastrophes. To avoid ambiguities and clarify our understanding, we must ask: what role does Nature play within our theories and practices concerning so-called Environmental Philosophy? Furthermore, what spaces, practices, and questions are made possible when we broaden our understanding of “environment” to include a more robust conceptualization of the natural world and how the human being ought to be contextualized within it?
This conference asks how we might reorient the language and practices of philosophy in a way that can enable us to adequately respond to ongoing environmental crises. As a starting point, we propose a need to reimagine the concepts “human,” “nature,” and “environment,” as well as the reciprocal relations that constitute them. To recognize humans as natural organisms, we must reevaluate the sensuous, the material, and the aesthetic and the roles they play in our attempts to construct, understand, and preserve our environment(s). How should we make sense of our practices and our relations to those with whom we share our surroundings? How can we re-situate the human with/in the environment? Do we have the right tools to guide these investigations? How might philosophy look beyond itself—to literature, architecture, music, film, design—to better bring Environment, and thus the world, into view? In the spirit of this, we invite paper as well as project submissions from current graduate students in any discipline.
Possible Topics:
● Environmental Aesthetics: Re-Considering Beauty + the Sublime
● Environmental Justice + Restorative Justice + Transformative Justice
● Environmental Ethics + Sustainable Practices
● Diversity + Biodiversity
● Capitalism and Climate
● Eco-phenomenology
● Eco-deconstruction
● Environmental Racism/Racist Environments
● Ecofeminist conceptions of nature
● Land Rights and Property Relations
● Posthumanism + Object Ontologies
● Afrofuturism + Technological Utopias
● Environmental Ethics In Narratives
● Mastery of Nature in Philosophy
● Anarcho-primitivism
● Queer and Trans Ecologies
● Local and Global Ecologies
● Regionalisms and Globalisms in the Ecological Imagination
Confirmed Conference Keynotes:
Sandra Shapshay, CUNY Graduate Center, New York
Emanuele Coccia, École des hautes études en sciences sociales (EHESS), Paris
Dates and Location:
This conference will be held at the New School for Social Research in New York City from Thursday, April 14, to Saturday, April 16. While we (tentatively) plan to hold the conference primarily in-person we would also like to provide a hybrid option for those who would prefer to participate remotely. Following the conference, on Sunday, April 17, all participants and attendees are invited to participate in a conference hike in Cold Spring, NY (about an hour and a half north of NYC and accessible by the Metro North commuter train).
Call for Papers: Submission Procedure:
Please submit complete papers (Word Limit: 3500) and an abstract of 250 words or less by January 1st in the form of a Word attachment (.docx) or PDF to WithInEnvironments@gmail.com. Please prepare your submission for blind review by removing any identifying information from the body of the paper. In your email please include your name, affiliation, and paper title. Notification of acceptance will be sent by January 15.
Call for Projects: Submission Procedure:
Please submit a project description (Word Limit: 1000) by December 1st in the form of a Word attachment (.docx) to WithInEnvironments@gmail.com, as well as:
For Visual Arts projects: submit 5 images of your work as .jpeg.
For Performing Arts projects: submit video/ audio of your work in .mp4 format
Please prepare your submission for blind review by removing any identifying information. In your email please include your name, affiliation, and project title. Notification of acceptance will be sent by January 15.
If you have any questions please email WithInEnvironments@gmail.com
We are excited to announce a public talk featuring Elie During as part of French philosopher Gaston Bachelard’s 60th death anniversary. On the face of it, The Dialectic of Duration, Gaston Bachelard’s 1936 essay, is a pungent—if often unfair—criticism of the Bergsonian doctrine of time and creative evolution. The constructive side of this Anti-Bergson has received less attention: it implies a genuine poetics of time based on the intuition of the sporadic and oscillatory nature of becoming. Bachelard’s rhythmic theme is consistent with the idea of “surrationalism” introduced that same year as a formal counterpart to the surrealist experiments carried out on the fringes of conscious experience. Inspired by the explosive potential of scientific revolutions already celebrated in Le Nouvel Esprit Scientifique, the surrationalist project can be interpreted as that of a poetics of reason. André Breton believed it would “act simultaneously as a stimulant and restraining influence” (“Crisis of the Object”). Insights from the scientific investigation of time as well as poetic and musical experience will help us see how this double action is in keeping with the eruptive dynamics of imagination and reason, as much as with Bachelard’s ideal of “self-surveillance”.
Elie During is an Associate Professor of Philosophy at the University of Paris Ouest. His research focuses on the philosophical implications of relativity theory. His publications include an introduction to Poincaré’s philosophy of science (La Science et l’Hypothèse, 2001), an essay on the nature of time (The Future does not Exist, 2014), two critical editions of Bergson, a coedited volume on contemporary metaphysics of realism (Choses en soi, 2018, English translation forthcoming from Edinburgh University Press), and most recently a critical edition of Bachelard’s Dialectique de la durée (2021).
Organized by
Julie Beauté, Aix-Marseille Université, ADES (France)
Alexander Campolo, Durham University (UK)
Jeanne Etelain, New York University (USA)
Sam Kellogg, New York University (USA)
Alexander Miller, Ghent University (Belgium)
Pierre Schwarzer, New York University (USA)
Meg Wiessner, New York University (USA)
Advance Registration Required; RSVP details coming soon
La Maison Française is pleased to host the second symposium of Arts and Pragmatism. Join us for two days of fascinating talks and encounters at the intersection of philosophy and artistic practice under the direction of Sandra Laugier and Yann Toma.
with the support of Panthéon Sorbonne University, Politique scientifique program, Global Works and Society, Liberal Studies, and La Maison Française at New York University.
Full program details to follow.
*We are so excited to welcome the general public back to most events at La Maison Francaise of NYU. Instructions for attending events in-person will be confirmed shortly before each event. Please note that NYU requires all visitors to provide official proof (in English) that they are fully vaccinated and boosted against COVID-19. Additional details to follow.
Generative art made with algorithms has existed since the early days of computing in the 1960s. In recent years, a new strand of generative art has emerged: AI-generated art, which leverages the recent progress of artificial intelligence to create artworks. Unlike old-fashioned generative art, AI-generated art is not produced with an explicit set of programming instructions provided by human artists; instead, it involves training an algorithm on a dataset so that it can later produce artworks (images, music, or video clips) using its own internal parameters that have not been explicitly defined by a human. This process raises fascinating questions at the intersection of computer science, art history, and the philosophy of art. At a superficial level of analysis, AI-generated art seems to offload much of the creative impetus of art production to the machine, requiring minimal intervention from the artist. On closer inspection, however, it involves a novel process of curation at two key stages: upstream in the selection of the dataset on which the algorithm is trained, and downstream in the selection of the outputs that should qualify as artworks. Instead of replacing human artists with computers, AI-generated art can be understood as a new kind of collaboration between mind and machine, both of which contribute to the aesthetic value of the final artwork.
This seminar will bring together AI artists and philosophers to explore the significance of this new mode of art production. It will discuss the implications of AI-generated art for the definition of art, the nature of the relationship between artists and tools, the process of digital curation, and whether AI systems can be as creative as humans.
Event Speakers
- Sougwen Chung, artist and researcher
- Helena Sarin, visual artist
- Anne Spalter, digital mixed-media artist
- Katherine Thomson-Jones, Professor of Philosophy at Oberlin College
- Moderated by Raphaël Millière, Presidential Scholar in Society and Neuroscience at Columbia University
Event Information
Free and open to the public. Registration is required via Eventbrite. Registered attendees will receive an event link shortly before the seminar begins.
This event is hosted by the Presidential Scholars in Society and Neuroscience as part of the Seminars in Society and Neuroscience series.
The Center for Science and Society makes every reasonable effort to accommodate individuals with disabilities. If you require disability accommodations to attend a Center for Science and Society event, please contact us at scienceandsociety@columbia.edu or (212) 853-1612 at least 10 days in advance of the event. For more information, please visit the campus accessibility webpage.