In this talk, I will sketch a theory of skill, which puts control at the center of the account. First, I present a definition of skill that integrates several essential features of skill that are often ignored or sidelined on other theories. In the second section, I spell out how we should think of the intentions involved in skilled actions and in the third section, I discuss why deliberate practice and not just experience, repetition, or exposure is required for skill development. In the fourth section, I claim that practice produces control and go on to spell out the notion of control relevant for a theory of skill. In the final section, I briefly outline three kinds of control that develop as a result of practice and which manifest the skillfulness of skilled action. They are strategic control, attention control, and motor control.
Presented by SWIP-Analytic
We discuss two approaches to life: presentism and futurism. The first one, which we are identifying with the Buddha, is to live in the present and not to allow the future to hinder us from living in the ever present now. The second one, which we will identify with Karl Popper, is to think before we act, and act now for a better future. We will discuss various aspects of presentism and futurism, such as Ruth Millikan’s Popperian animal, the psychologist Howard Rachlin’s social and temporal discounting, and even the popular but controversial idea, YOLO (you live only once). The purpose of this talk is to contrast one with the other. The central question of ethics is: How should one live? Our variation on that question is: When should one live? We conjecture that the notion of flow, developed by Csikszentmihalyi, may be a better optimal choice between these two positions.
This work, which is joint with Jongjin Kim, is to appear in the Journal of Buddhist Ethics.
Logic and Metaphysics Workshop:
September 2 GC Closed NO MEETING
September 9 Yael Sharvit, UCLA
September 16 Ole Hjortland and Ben Martin, Bergen
September 23 Alessandro Rossi, StAndrews
September 30 GC Closed NO MEETING
October 7 Dongwoo Kim, GC
October 14 GC Closed NO MEETING
October 21 Rohit Parikh, GC
October 28 Barbara Montero, GC
November 4 Sergei Aretmov, GC
November 11 Martin Pleitz, Muenster
November 18
November 25
December 2 Jessica Wilson, Toronto
December 9 Mark Colyvan, Sydney
December 16 MAYBE A MEETING; MAYBE NOT
We live in an era of aesthetics. Art has become both pervasive and powerful – it is displayed not only in museums and galleries but also on the walls of corporations and it is increasingly fused with design. But what makes art so powerful, and in what does its power consist?
According to a widespread view, the power of art – its beauty – lies in the eye of the beholder. What counts as art appears to be a function of individual acts of evaluation supported by powerful institutions. On this account, the power of art stems from a force that is not itself aesthetic, such as the art market and the financial power of speculators. Art expresses, in a disguised form, the power of something else – like money – that lies behind it. In one word, art has lost its autonomy.
In his talk, Markus Gabriel rejects this view. He argues that art is essentially uncontrollable. It is in the nature of the work of art to be autonomous to such a degree that the art world will never manage to overpower it. Ever since the cave paintings of Lascaux, art has taken hold of the human mind and implemented itself in our very being. Thanks to the emergence of art we became human beings, that is, beings who lead their lives in light of an image of the human being and its position in the world and in relation to other species. Due to its structural, ontological power, art itself is and remains radically autonomous. Yet, this power is highly ambiguous, as we cannot control its unfolding.
Markus Gabriel holds the chair for Epistemology, Modern and Contemporary Philosophy at the University of Bonn and is also the Director of the International Center for Philosophy in Bonn as well as the director of the Center for Science at Thought at Bonn.
Presented by The New School for Social Research and Philosophy Department and it is co-sponsored with the Liberal Studies Department.
The Eastern Study Group invites submissions for its 17th annual meeting to take place at Fordham University on Saturday and Sunday, May 2-3, 2020. Our host this year is Reed Winegar.
Keynote Speakers: Patricia Kitcher (Columbia)
Please send all abstracts electronically to Kate Moran, kmoran@brandeis.edu
Please submit a detailed abstract (1,000–1,200 words) with a select bibliography. Submissions should be prepared for blind review and include a word count. Please supply contact information in a separate file. If you are a graduate student, please indicate this in your contact information.
The selection committee welcomes contributions on all topics of Kantian scholarship (contemporary or historically oriented), including discussions of Kant’s immediate predecessors and successors. Presentation time is limited to 30 minutes, followed by 30 minutes of discussion.
The best graduate student paper will receive a $200 stipend and be eligible for the Markus Herz Prize. Women, minorities, and graduate students are encouraged to submit. Papers submitted for the Herz prize should not exceed 6,000 words.
Papers already read or accepted at other NAKS study groups or meetings may not be submitted. Presenters must be members of NAKS in good standing.
ENAKS receives support from NAKS and host universities.
For questions about ENAKS or the upcoming meeting, please contact Kate Moran (kmoran@brandeis.edu) or consult the ENAKS website at www.enaks.net.
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!
Anja Jauernig’s recently published The World According to Kant (Oxford, 2021) defends an interpretation of Kant’s critical idealism as an ontological position, according to which Kant can be considered a genuine idealist about empirical objects, empirical minds, and space time. Yet in contrast to other intentional objects, appearances genuinely exist, which is why Kant can also be considered a genuine realist about empirical objects, empirical minds, and space and time. This book spells out Kant’s case for critical idealism thus understood and clarifies Kant’s conception of appearances and things in themselves in relation to Kant’s Leibniz-Wolffian predecessors.
Anja Jauernig (NYU)
Bio:
Anja Jauernig is Professor of Philosophy at New York University. She obtained her Ph.D. from Princeton University, and held academic positions at the philosophy departments of the University of Notre Dame and the University of Pittsburgh before coming to NYU. Her research interests include Kant, Early Modern Philosophy, 19th and early 20th century German Philosophy, Aesthetics, and Animal Ethics.
Patricia Kitcher (Columbia)
Bio:
Patricia Kitcher is Roberta and William Campbell Professor Emerita of Humanities and Professor Emerita of Philosophy at Columbia. She has written two books on Kant’s theory of cognition and the self and is editor of the Oxford Philosophical Concepts volume on The Self.
Andrew Chignell (Princeton)
Bio:
Andrew Chignell is Laurence S. Rockefeller Professor in Religion, Philosophy, and the University Center for Human Values at Princeton. Prior to that he was a Professor of Philosophy at Penn and Associate and Assistant Professor in the Sage School of Philosophy at Cornell. His research interests are in early modern philosophy (especially Kant) and in philosophy of religion, moral psychology, epistemology, and food ethics. From 2020-2023 he served as President of the North American Kant Society.
Desmond Hogan (Princeton)
Bio:
Desmond Hogan is Professor of Philosophy at Princeton University. He received his Ph.D. from Yale University. His research interests include metaphysics, philosophy of science, ethics, and aesthetics, with a focus on the modern period and nineteenth century.
We are seeking submissions for our 14th annual conference hosted in Spring, 2024.
Send abstracts to newyorkcityearlymodern [at] gmail.com by December 8, 2023.
https://philevents.org/event/show/114750
Speakers:
Organisers:
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