| 8:30 – 9 a.m. | Registration and coffee |
| 9 – 9:15 a.m. | Opening remarks: Shiloh Whitney, Conference Director |
| Session 1 – Organic Affectivity and Animality Moderator: Emilia Angelova, Concordia University |
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| 9:15 – 10 a.m. | Hermanni Yli-Tepsa, University of Jyväskylä: “How to feel like our eyes: tracing the theme of instinctive affectivity in Phenomenology of Perception” |
| 10 – 10:45 a.m. | Sarah DiMaggio, Vanderbilt University: “Flesh and Blood: Reimagining Kinship” |
| 10:45 – 11 a.m. | Break |
| Session 2 – Passivity Moderator: Philip Walsh, Fordham University |
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| 11 – 11:45 a.m. | David Morris, Concordia University: “The Transcendentality of Passivity: Affective Being and the Contingency of Phenomenology as Institution” |
| 11:45 a.m. – 12:30 p.m. | Rajiv Kaushik, Brock University “Merleau-Ponty on Passivity and the Limit of Philosophical Critique” |
| 12:30 – 2 p.m. | Lunch Break |
| Session 3 – Theorizing Emotion 1: Outside-in, Inside-Outside Moderator: Duane H. Davis, University of North Carolina at Asheville |
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| 2 – 2:45 p.m. | Ed Casey, Stonybrook University: “Bringing Edge to Bear: Vindicating Merleau-Ponty’s Nascent Ideas on Emotion” |
| 2:45 – 3:30 p.m. | Ondřej Švec, Charles University Prague: “Acting out one’s emotion” |
| 3:30 – 3:45 p.m. | Break |
| Session 4 – Theorizing Emotion 2: Intersubjective Dimensions Moderator: April Flakne, New College of Florida |
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| 3:45 – 4:30 p.m. | Jan Halák, Palacky University Olomouc: “On the diacritical value of expression with regard to emotion” |
| 4:30 – 5:15 p.m. | Corinne Lajoie, Penn State University: “The equilibrium of sense: Levels of embodiment and the (dis)orientations of love” Winner of the M. C. Dillon Award for best graduate essay |
| 5:15 – 5:45 p.m. | Snack Break (light refreshments provided) |
| Thursday Keynote Introduction: Shiloh Whitney, Fordham University |
|
| 5:45 – 7:15 p.m. | Alia Al-Saji, McGill University “The Affective Flesh of Colonial Duration” |
| 8:30 – 9 a.m. | Registration and coffee |
| Session 5 – Affective Pathologies and Empathy Moderator: Lisa Käll, Stockholm University |
|
| 9 – 9:45 a.m. | Ståle Finke, Norwegian University of Science and Technology Trondheim: “Structuring Affective Pathology: Merleau-Ponty and Psychoanalysis” |
| 9:45 – 10:30 a.m. | Catherine Fullarton, Emory University: “Empathy, Perspective, Parallax” |
| 10:30 – 10:45 a.m. | Break |
| Session 6 – Eating and Breathing Moderator: Ann Murphy, University of New Mexico |
|
| 10:45 – 11:30 a.m. | Whitney Ronshagen, Emory University: “Visceral Relations: On Eating, Affect, and Sharing the World” |
| 11:30 a.m. – 12:15 p.m. | Amie Leigh Zimmer, University of Oregon: “Rethinking Chronic Breathlessness Beyond Symptom and Syndrome” |
| 12:15 – 2 p.m. | Lunch Break (and graduate student Mentoring Session in Lowenstein 810) |
| Session 7 – Critical Phenomenologies 1: Work and Freedom Moderator: Whitney Howell, La Salle University |
|
| 2 – 2:45 p.m. | Talia Welsh, University of Tennessee Chattanooga: “Toward a Critical Phenomenology of Work and Its Discontents” |
| 2:45 – 3:30 p.m. | Laura McMahon, Eastern Michigan University: “The ‘Great Phantom’: Merleau-Ponty on Habitus, Freedom, and Political Transformation” |
| 3:30 – 3:45 p.m. | Break |
| Session 8 – Critical Phenomenologies 2: The “I Can” Moderator: Cheryl Emerson, SUNY Buffalo |
|
| 3:45 – 4:30 p.m. | Kym Maclaren, Ryerson University: “Criminalization and the Self-Constituting Dynamics of Distrust” |
| 4:30 – 5:15 p.m. | Joel Reynolds, University of Massachusetts Lowell and Lauren Guilmette, Elon University: “Rethinking the Ableism of Affect Theory with Merleau-Ponty” |
| 5:15 – 5:45 p.m. | Snack Break (light refreshments provided) |
| Friday Keynote Introduction: Shiloh Whitney, Fordham University |
|
| 5:45 – 7:15 p.m. | Matthew Ratcliffe, York University “Towards a Phenomenology of Grief: Insights from Merleau-Ponty” |
| 8:30 – 9 a.m. | Registration and coffee |
| Session 9 – Feeling Beyond Humanism Moderator: Wayne Froman, George Mason University |
|
| 9 – 9:45 a.m. | Marie-Eve, Morin, University of Alberta. “Merleau-Ponty’s ‘cautious anthropomorphism’” |
| 9:45 – 10:30 a.m. | Jay Worthy, University of Alberta: “Feelings of Adversity: Towards a Critical Humanism” |
| 10:30 – 10:45 a.m. | Break |
| Session 10 – Art and Affect Moderator: Stephen Watson, Notre Dame |
|
| 10:45 – 11:30 a.m. | Veronique Foti, Pennsylvania State University. “Body, Animality, and Cosmos in the Art of Kiki Smith” |
| 11:30 a.m. – 12:15 p.m. | Rebecca Longtin, State University of New York New Paltz: “From Stone to Flesh: Affect and the Poetic Ambiguity of the Body” |
| 12:15 – 2:15 p.m. | Lunch Break (and Business Lunch at Rosa Mexicano, 61 Columbus Ave) |
| Session 11 – Voice and Silence Moderator: Gail Weiss, George Washington University |
|
| 2:15 – 3 p.m. | Susan, Bredlau, Emory University. “Losing One’s Voice: Merleau-Ponty and the Lived Space of Conversation” |
| 3 – 3:45 p.m. | Martina, Ferrari, University of Oregon. “The Laboring of Deep Silence: ‘Conceptless Opening(s),’ the Suspension of the Familiar, and the Dismemberment of the Ego” |
| 3:45 – 4 p.m. | Break |
| Session 12 – Affectivity and Language Moderator: Galen Johnson, University of Rhode Island |
|
| 4 – 4:45 p.m. | Silvana de Souza Ramos, University of São Paulo. “Merleau-Ponty and the Prose of Dora’s World” |
| 4:45 – 5:30 p.m. | Katie Emery Brown, University of California Berkeley. “Queer Silence in Merleau-Ponty’s Gesture” |
| Banquet | |
| 7 – 10 p.m. | At Salam, 104 W 13th St. |
Recently, Rebecca Kukla – among others – has argued that consent language is too narrow to adequately capture the ethical obligations and failures arising in the context of sex. Instead, she offers more nuanced scripts for the kinds of communication that occur throughout sex, not just at the beginning. I agree with Kukla that consent language is too narrow; however, I argue that she overlooks the fact that intimate personal communication requires an emotional attunement to context precisely because it cannot be fully scripted. To demonstrate this I turn to Cavell’s category of the passionate utterance which gestures at this dynamic dimension of performatives, but doesn’t deliver a detailed account. In this paper I will expand on Cavell’s idea of the passionate exchange in order to shed light on the active interpretive role of the audience, and how it contributes to performative success.
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
Abstract:
As a specific form of rights insecurity the revocability of reproductive rights manifests contradictory understandings (privative and productive) of the political status of pregnancy.
I ask how and why we should understand reproductive rights as revocable, giving a broad meaning to the term “revocability,” and suggesting a conjoined vocabulary that includes conditionality, exceptionality, and disqualifying qualification.
I ask: what kind of grammar might help us understand more specifically how the concurrent action of conflicting combinations of power (such as sovereignty, discipline, security, necropower, and neoliberal expectation) coordinate together in relation to reproductive rights-bearing, and how heterogeneous combinations of power also produce a mutual disruptiveness, even auto-critique, manifesting as conflictual embodiment.
External visitors must comply with the university’s guest policy as outlined here: https://www.newschool.edu/covid-19/campus-access/?open=visitors.
Audience members must show proof of a full COVID-19 vaccination series (and booster if eligible), ID, and remain masked at all times.
still scheduled, but zoom link for those who can’t travel: https://NewSchool.zoom.us/j/8479688193
Throughout the 21st century, philosophers of language have increasingly concerned themselves with the hateful, coercive, dehumanizing, and deadly. In particular, ‘non-ideal’ philosophers of language question whether received conceptual toolkits from philosophy of language manage to make contact with our non-ideal world at all. This paper takes up that methodological interest from a Wittgensteinian perspective. Drawing on critical interventions by Nancy Bauer, Avner Baz, Alice Crary, Cora Diamond, and Toril Moi, I argue that non-ideal philosophers of language neutralize their ideology-critical bite when they presume an authoritative force for their words by virtue of a normatively neutral conception of reason. This neutralization is driven and sustained by an idle picture of language that isolates our words from the activities into which they are woven. To make discursive phenomena available in their political import, we philosophers of language must acknowledge our own non-neutral involvement in the very discursive practices we’re theorizing – and this will require us to relinquish the entitlement to impose authoritative requirements on language through theories of meaning.
To illustrate the need for normatively non-neutral methods in philosophical practice, I focus on cases where philosophers’ curious gaze treats trans people
as fascinating objects of knowledge, as opposed to acknowledging us as interlocutors and recognizing the political stakes of our discursive practices. What inhibits the cultivation of acknowledgement, of normatively resonant modes of attention, is a picture of philosophical theorizing that forbids us from articulating our political solidarities through our work (and thus obfuscates what we ourselves are doing with words when theorizing). The non-ideal philosopher’s critical concept of idealization, seen aright in a normatively non-neutral light, exemplifies the sort of theoretical resource that is mobilized by members of marginalized groups to invite such modes of attention – to shape not only our epistemic resources, but also our senses of what matters.