“Everyone is female”—this is the first of several “untenable claims” presented by Andrea Long Chu in her forthcoming book Females: A Concern (Verso, 2019). Drawing inspiration from Valerie Solanas’s SCUM Manifesto and her forgotten play Up Your Ass, this lecture in numbered theses whips through a variety of ugly objects (films, manifestos, performance art, psychoanalysis, porn, and the alt-right) to give a portrait of femaleness as a universal category of self-ablation against which all politics—even feminist politics—revolts.
Andrea Long Chu is a writer and critic completing her doctorate at New York University. Her writing has appeared, or will soon, in n+1, Boston Review, The New York Times, New York, Artforum, Bookforum, Chronicle of Higher Education, 4Columns, differences, Women & Performance, TSQ, and Journal of Speculative Philosophy. Her book Females: A Concern is forthcoming this year from Verso.
People in Support of Women in Philosophy is a group dedicated to the advancement of women and those who experience marginalization within the field of philosophy. Our group meets weekly to workshop papers, help members prepare for conference presentations and seminars, host guest speakers, and in general celebrate the work of our women and gender-non-conforming colleagues and mentors. Men are welcome and encouraged to take part as allies.
Many philosophers have suggested that the aim of imaginative philosophical inquiry is not to provide right answers, but right questions. This means demonstrating why certain questions are meaningless, based on false assumptions, or become senseless when posed in a wrong context. The question in my title appears to be a good candidate for this type of philosophical inquiry and I will try to show why. However, I will also argue that posing the question is nevertheless important, perhaps not for moral philosophy, but for feminist politics.
The argument proceeds in three stages. In the first section, I will discuss Gabrielle Meagher’s article, Jstor, Spring 2002, ‘Is it Wrong to Pay for Housework?’. I will contend that rather than posing this question as an abstract philosophical question, it is crucial to place it in the specific historical and socio-economic context in which we encounter it today. A thorough politico-economic analysis of paid housework should then open our eyes to the fact that feminists need to make demands that are not merely ameliorative but embody a radically emancipatory future for all women. In the second section, I will critically assess one such demand, the idea of universal basic income (UBI) – a monthly income paid by the government to each member of society regardless of income from other sources and with no conditions attached. My contention is that a feminist demand for UBI could contribute to the attempts to tackle the deep causes behind the growing socio-economic disparities between women, as well as improving the status of unpaid care work, but only in the context of a feminist revolution of everyday life. In the third section, I will ask what such a revolution might entail and return to the question of individual choice. While I insist that scapegoating women who pay other women for housework misses the real political problem, I will nevertheless conclude by suggesting that there are compelling political reasons for feminists to answer the question in my title with a resolute yes.
The Department of Politics at The New School for Social Research is sponsoring its 8th Annual graduate student conference on the concept, history, practices and implications of radical democracy.
This year, we invite abstracts and panel proposals that deal with the questions of feminist and radical democratic theory.
The last couple of years gave rise to new democratic movements. This new stage of grassroots democratic protests in countries such as US, Brazil, Argentina, Spain or Poland has been centered around feminist issues including sexual harassment, abortion law, domestic violence, and gender inequality. The Women’s March against Trump and International Women’s Strike present only two examples of the recent and global feminist wave. Why does the current wave of political mobilization in the US, Argentina, or Brazil have a feminist face? How does it differ from earlier democratic movements, including the movements of Occupy Wall Street and Black Lives Matter? What distinguishes this new wave from other feminist struggles from the past? Finally, what issues, reactions, and obstacles do contemporary feminists face in various places around the world? Our conference aims to address this set of questions.
We welcome papers that engage with the concept of feminism and its meaning, discuss the role of feminist and gender issues within the democratic tradition, as well as elaborate on the history of feminist politics. We particularly invite papers that propose a critical analysis of contemporary feminisms, elucidating their issues, dangers, and political potential.
Proposals should not be limited to this list, on the contrary, we encourage interdisciplinary papers and panels utilizing or critiquing the concepts of feminism and radical democracy from the point of view of post- anti- or de-colonialism, queer theory, indigenous studies, disability studies, or critical race theory
Please submit your paper or panel abstracts by March 8, 2019, to radicaldemocracy@newschool.edu.
http://www.radicaldemocracy.org/
https://philevents.org/event/show/70334
Ian Hacking wrote that probability is a Janus-faced concept with one face looking toward the world and the other toward the mind. The face looking toward the world is central to laws and explanations in physics (especially quantum mechanics and statistical mechanics) and the special sciences. The face looking toward the mind is central to epistemology and decision theory. This conference concerns both aspects and especially their relation to each other. What is probability that it possesses both aspects? This three-day conference will focus on answering this and related questions.
There is no registration fee and attendance is open to all; however, RSVP is required. Please RSVP here before Oct 15, if you plan to attend. All are welcome!
General information is available here.
Conference Organizers
Barry Loewer (Rutgers)
Denise Dykstra (Rutgers)
Invited Participants
David Albert (Columbia)
Valia Allori (NIU)
Katie Elliott (UCLA)
Ned Hall (Harvard)
Carl Hoefer (Barcelona)
Jenann Ismael (Columbia)
Christopher Meacham (Amherst)
Wayne Myrvold (Western)
Richard Pettigrew (Bristol)
Jack Spencer (MIT)
Schedule Overview
(A detailed schedule is available here.)
Thursday, October 24
- 3:00 – 6:00: Metaphysics of Objective Probability: Ned Hall (Harvard); Jenann Ismael (Columbia).
Friday, October 25
- 9:00 – 9:50: Breakfast in the philosophy department
- 9:50 – 10:00: Welcome & Introductory Remarks (Barry Loewer)
- 10:00 – 1:00: Chance: Katie Elliott (UCLA); Christopher Meacham (Amherst).
- 1:00 – 2:30: Lunch
- 2:30 – 5:30: Probabilities in the Special Sciences: Carl Hoefer (Barcelona); Wayne Myrvold (Western Ontario).
Saturday, October 26
- 9:00 – 10:00: Breakfast in the philosophy department
- 10:00 – 1:00: Chance-Credence Principles: Richard Pettigrew (Bristol); Jack Spencer (MIT).
- 1:00 – 2:30: Lunch
- 2:30 – 5:30: Typicality and the Statistical Postulate: David Albert (Columbia); Valia Allori (NIU).
Please contact the conference organizers (LawsAndChanceProject@gmail.com) if you have any questions.
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