What can science teach us about how we perceive and understand art? How can art help us understand ourselves and each other? In this event, the Zuckerman Institute explores the interactions between our brains and the artistic world, finding connections and parallels between art and science.
Event Speakers
Please visit the event webpage to view the speaker list.
Event Information
Free and open to the public, registration is required by January 28, 2022. This event will also be live-streamed. Please email zuckermaninstitute@columbia.edu with any questions.
This talk is part of the Stavros Niarchos Foundation Brain Insight Lecture series hosted by Columbia’s Mortimer B. Zuckerman Mind Brain Behavior Institute and supported by the Stavros Niarchos Foundation.
This talk explores the reflexive nature of consciousness, which consists primarily in the fact that a state of consciousness has a reflexive relation to the subject who has that state, so that the subject can typically be aware of itself as having that state. Comparing Kant’s, Fichte’s, and selected contemporary analytic theories of this reflexivity shows that there is a crucial difference in the way the relation between form (or mode) and content of a state of consciousness is conceived. The first part examines Kant’s formal theory of consciousness: reflexivity is understood not in terms of a self-referential content resulting from a reflection on the state of the subject, but as the universal transcendental form that any content must have in order to be representationally significant and potentially conscious to the subject. The second part examines Fichte’s departure from Kant in his theory of a self-positing consciousness: in the original act of self-positing, the mere form of reflexivity is turned into a self-referential content that determines the subject as an object from the absolute standpoint of consciousness. The third part examines analytic theories that explain the reflexivity (or what is often called the subjective character) of consciousness on a model of mental indexicality. These theories tend to reduce reflexivity to an objective constituent of content that, although often implicit, can be read off from the subject’s contextual situatedness in nature. In conclusion, Kant’s theory can be understood as a moderate, human-centered kind of perspectivism that navigates between Fichtean absolute subjectivity and a naturalist absolute objectivity.
Registration is free but required. A registration link will be shared via email with our department mailing lists a few weeks before the event. Please contact Jack Mikuszewski at jhm378@nyu.edu if you did not receive a registration link.
The Philosophy Department provides reasonable accommodations to people with disabilities. Requests for accommodations should be submitted to philosophy@nyu.edu at least two weeks before the event.
This conference aims to initiate dialogues between philosophy and the arts. Philosophers and thinkers/ scholars across disciplines of humanities and social sciences will meet with artists and scholars from a wide variety of visual and visual artistic disciplines, including painting, photography, and literature, as well as travel, dance, and fashion. Rather than taking art as a mere object of philosophical study, this conference will explore the manifold confluences and intersections of philosophy and art, exploring how each can become the object of the other and how the boundary between the philosophical and the artistic can be sharpened or blurred. The motive is specifically to explore the “visual” and “movement” element in art of, and in everyday life and theorize it – both philosophically and critically.
Co-sponsored by: Office of Deans: New School for Social Research and School of Art & Design History & Theory; University Student Senate and Graduate Faculty Student Senate
Schedule and Location
The conference will meet on The New School campus in New York City.
On March 24th, we will meet in room B500 at 65 W 11 Street.
On March 25th, we will meet in Starr Foundation Hall UL105 at University Center (63 Fifth Avenue).
Following is the schedule for both days, (please see the website for details on panels and speakers):
11:00 am Panel 1 Speaker presentations.
12:00 pm Panel 1 roundtable and audience Q&A.
1:15 pm Lunch break.
2:15 pm Panel 2 Speaker presentations.
3:15 pm Panel 2 roundtable and audience Q&A.
4:30 pm Evening reception with free food and drinks for attendees!
This conference aims to initiate dialogues between philosophy and the arts. Philosophers and thinkers/ scholars across disciplines of humanities and social sciences will meet with artists and scholars from a wide variety of visual and visual artistic disciplines, including painting, photography, and literature, as well as travel, dance, and fashion. Rather than taking art as a mere object of philosophical study, this conference will explore the manifold confluences and intersections of philosophy and art, exploring how each can become the object of the other and how the boundary between the philosophical and the artistic can be sharpened or blurred. The motive is specifically to explore the “visual” and “movement” element in art of, and in everyday life and theorize it – both philosophically and critically.
Co-sponsored by: Office of Deans: New School for Social Research and School of Art & Design History & Theory; University Student Senate and Graduate Faculty Student Senate
Schedule and Location
The conference will meet on The New School campus in New York City.
On March 24th, we will meet in room B500 at 65 W 11 Street.
On March 25th, we will meet in Starr Foundation Hall UL105 at University Center (63 Fifth Avenue).
Following is the schedule for both days, (please see the website for details on panels and speakers):
11:00 am Panel 1 Speaker presentations.
12:00 pm Panel 1 roundtable and audience Q&A.
1:15 pm Lunch break.
2:15 pm Panel 2 Speaker presentations.
3:15 pm Panel 2 roundtable and audience Q&A.
4:30 pm Evening reception with free food and drinks for attendees!
Our friends from Université de Paris Panthéon-Sorbonne return for a third installment of their symposium Arts & Pragmatism: From Ordinary Aesthetics to Post Creation.
This day-long symposium will be chaired by Yann Toma and Sandra Laugier. From the organizers:
We have noticed it during the two previous symposia of our program: the pragmatist philosophy and in particular Dewey defends the idea that aesthetics must not only be considered as the search for truths about art and its creations but also as what concerns the experience of the persons with an artwork (a sensitive and active experience). The reception would thus be the dynamic experience of an incarnated observer, acting, feeling in his senses and his affects what is the work and what it makes him feel.
The political stake of the pragmatist aesthetics is to make sure that the strong aesthetic experiences remain open and accessible to the largest public and become even a «matter of ordinary conversation». It is then a matter of thinking about shared experience as a transmission of values, an important phenomenon for the moral, political, “educational” reflection of adults» (Cavell 1979, 1981, Shusterman, Laugier 2019, 2023, Gerrits 2020). Thus, this question of pragmatism addresses societal issues that concern all audiences, not just from a broadcast/transmission perspective. By focusing on experience and agency, this way of approaching pragmatism involves the cultural audience in a broad way to the point where it engages mediums such as television and in general digital cultures.
The concept of Post-Creation, insofar as it plays a form of exteriority to an original Creation, has all its place in a world where the strong aesthetic experiences remain open and accessible to a wider public. It is a question of placing the creation beyond what is biased, in the heart of a form of Third State of the artistic act in charge of a heuristic and critical potential, towards a form extracted from the zone of influence of the world of the art as such. The idea of Post-Creation tends towards the universal that would be the fact of conceiving the creation beyond any not institutionalized academism. We will see how a possible emulation between the ordinary aesthetic and the shared experience of the Post-Creation is articulated and played, where the experience of the creation produces knowledge and transforms what is out of the specific field of perception of the art in so many new acting and reflexive spaces. In that, the influence of the artistic creation on whole sections of the society, domains of perception until now inaccessible, becomes a stake of opening which results from the transformation of a form of ordinary aesthetics in a Post-Creation freed from the aesthetic channels of the contemporary art.
Program:
10:30AM : Opening Yann Toma, Sandra Laugier and François Noudelmann
11:00AM – 1:00PM : Panel I Pragmatism and the Project of an Ordinary Aesthetics
Chair : Yann Toma
Andrew Brandel (Penn State University) From the Aesthetics of the Everyday Life to Ordinary Aesthetics.
Barbara Formis (Panthéon-Sorbonne University) Doings and redoings of the Identical.
Sandra Laugier (Panthéon-Sorbonne) Ordinary Creation and Shared Culture.
Emmanuel Kattan (Columbia University) What happens when nothing happens: Chantal Akerman, Francis Ponge, Marisa Merz and the emergence of time.
1:00PM – 3:00PM : Lunch Break
3:00PM – 6:00PM : Panel II Pragmatism, Post-Creation
Chair : Sandra Laugier
Yann Toma (Artist/Panthéon-Sorbonne University) Post-Creation, a new way of making creation
The example of L’Or bleu.
Jung Hee Choi (artist and author of «Manifest Unmanifest») Dream House.
Dan Thomas (United Nations Global Compact), The importance of Art and Perception in the Diplomatic Way.
Warren Neidich (Artist and Founding Director Saas-Fee Summer Institute of Art) The Brain Without Organs and the Ecocene.
This event is organized with the support of Université Paris 1 Panthéon-Sorbonne, Politique scientifique program, and La Maison Française at New York University
When someone is in a conscious state, must they be aware of that state? The Buddhist philosopher Dignāga offers a brilliant route to answering this question by leveraging the role awareness might play as a constraint on memory. I begin by clarifying his strategy and what conclusions it might be used to establish. Here I examine different candidate directions of explanation between consciousness and inner awareness. I interpret the metaphor of consciousness as a lamp that lights itself, and use the metaphor to distinguish between his view and contemporary higher-order theories of consciousness. I then turn to explain why the memory argument fails. The first main problem is that, contrary to Dignāga’s contemporary defenders, there is no good way to use the argument to reach a conclusion about all conscious states. The second main problem is that the proposed awareness constraint on memory is highly problematic, in tension both with ancient objections as well as current psychology.
With responses from Lu Teng (NYU Shanghai)
We are pleased to announce that the 26th annual meeting of the Association for the Scientific Study of Consciousness will be held at New York University on June 22-25, 2023.
Submissions for talks and posters are now open with a deadline of February 15, 2023. Conference registration will open in early 2023.
Keynote speakers, symposia, tutorials, and housing have now been arranged, as specified below.
Please direct any inquiries to ASSC26@nyu.edu.
We hope to see you soon in New York!
Ned Block and David Chalmers, Conference Directors
The philosophy of art, as practiced in the western world, has tended to have two divided homes: in analytic philosophy and continental philosophy. Within the analytic tradition, the philosophy of art has recently undergone a revival with the emphasis on perception. This has more closely aligned art theory to science and questions of biology as well as to issues within psychology. The continental tradition has traditionally drawn upon phenomenology’s first-person experience with its ties to embodied perception as well as the social and historical concerns of the social aspect of art. In the realm itself of visual art, the state of (so-called) post-post modernism has resulted in both the dissolution of belief in progress and even, according to some art critics, a lamentable stagnation. But many philosophers of the last century, beginning with Walter Benjamin, Adorno, Nelson Goodman, etc., have suggested that art needs to be thought of within its social, pragmatic, or epistemological functions, suggesting perhaps a need to think of art outside the confines of modernism’s stylistic revolutions and formalist issues. Relatedly, the pluralism within science could be accessed as model for this enterprise. Multiple views on a phenomenon are required due to the complexity of the enterprise, and the practice of both making art and of perceiving it might be in that category. This conference seeks to bring these strands, the analytical and the continental ones, together and evaluate how to move forward with art theory in an age of globalization.
We welcome submissions on these possible questions:
1. Should we value a diversity of perspectives in art theory? If so, what is the value? If not, why not?
2. Are there aspects of art that we presume to be universal that are, in fact, culturally situated?
3. How should different ways of experiencing art be characterized?
4. What is the epistemological function of art?
5. How does the monetary role in art affect both the artist and the perceiver of art?
6. How do the mechanics of seeing (e.g., gist perception, peripheral vision, etc.) affect how we experience art?
7. How does the practice of making art relate to the first-person experience?
8. What role does Husserl’s “bracketing” have in the viewing or making of art?
9. Are there specific non-western traditions that provide a better explanatory solution for the role of art than have the competing paradigms of continental and analytic?
We welcome your participation and look forward to your contributions. Papers should not extend over 45 minutes. Q & A are 15 minutes.
To submit anonymized abstract BY JULY 15, 2024: papers: https://docs.google.com/forms/d/e/1FAIpQLSe5c9bmoBYb3hCAb0YWWfzV0BLWbhig2PD5VeKU358VA3RKGw/viewform?usp=sf_link