About this Event
Wednesday, September 11, 2019 6:15 – 8:45 pm at Columbia University
With Professor Amy Allen and Bernard E. Harcourt
Readings include:
Foucault, Michel. “Nietzsche, Genealogy, History.” In The Foucault Reader, ed. Paul Rabinow, 76-100. New York, Pantheon Books, 1984.
_____. “Nietzsche, Freud, Marx.” In The Essential Works of Michel Foucault: Power, ed. James D. Faubion, trans. Robert Hurley et al., 277-278. New York: New Press, 2000.
Harcourt, Bernard E., “The Illusion of Influence: On Foucault, Nietzsche, and a Fundamental Misunderstanding” (May 24, 2019). Columbia Public Law Research Paper No. 14-627 (2019). Available at SSRN: https://ssrn.com/abstract=3393827
These events are free and open to the public. Please RSVP.
The syllabus is available here.
This essay tries to develop a “black radical Kantianism” – that is, a Kantianism informed by the black experience in modernity. After looking briefly at socialist and feminist appropriations of Kant, I argue that an analogous black radical appropriation should draw on the distinctive social ontology and view of the state associated with the black radical tradition. In ethics, this would mean working with a (color-conscious rather than colorblind) social ontology of white persons and black sub-persons and then asking what respect for oneself and others would require under those circumstances. In political philosophy, it would mean framing the state as a Rassenstaat (a racial state) and then asking what measures of corrective justice would be necessary to bring about the ideal Rechtsstaat.
Response by César Cabezas Gamarra.
Presented by the German Idealism Workshop
About this Event
Wednesday, September 25, 2019 6:15-8:45 pm at Columbia University
Professor Axel Honneth and Bernard E. Harcourt discussing the early Frankfurt School, specifically Max Horkheimer’s 1937 essay, “Traditional and Critical Theory,” and Theodor Adorno’s 1931 essay, “The Actuality of Philosophy.”
This event is co-sponsored by the Columbia Maison Française.
Readings include:
Horkheimer, Max. “Traditional and Critical Theory, in Horkheimer, Max. Critical Theory: Selected Essays. New York: Continuum, 1992.
Adorno, Theodor W. “The Actuality of Philosophy.” Telos 1997, no. 31 (1997): 120-133.
These events are free and open to the public. Please RSVP.
The syllabus is available here.
Columbia University’s Department of Philosophy, the Morningside Institute, and the Thomistic Institute invite graduate students in philosophy, theology/religious studies, literature, and related disciplines to submit papers for “The Moral Imagination of the Novel.” The conference will examine the ways in which individual novels and the novel as a literary genre can be understood both to depict the search for moral, philosophical, and religious truth and to engage in this very search themselves. Is the novel a realistic or idealistic genre? Can novels expand our sense of moral possibilities? Can they contract them?
The conference will begin with four twenty-minute graduate student papers on Friday, October 4, followed by talks that day and the next from faculty. Confirmed speakers include:
Paul Elie (Georgetown)
Ann Astell (Notre Dame)
Thomas Pavel (Chicago)
Lauren Kopajtic (Fordham)
Dhananjay Jagannathan (Columbia)
Limited financial assistance is available to defray the cost of travel for student presenters, but students are encouraged to seek funds from their own institutions as well.
One-page proposals should be emailed to Molly Gurdon at mcg2197@columbia.edu by Saturday, August 31 to be considered. Invitations to present papers will be sent by Friday, September 6. Submissions should not contain any identifying information except for a title, but the author’s institution and program, along with the title of their proposed submission, should be noted in the e-mail submission.
Scholars working under the broad umbrella of New Materialism have offered compelling reappraisals of the ways in which we know, interact with, and exist in the world. This scholarship also intersects with recent work on music and sound, which raises rich sets of questions regarding human agency, material, ethics, aesthetics, embodiment, and the subject/object dichotomy, among other issues.
We invite scholars working in the humanities, arts and sciences to submit proposals for papers and performances that engage with the themes of sound and new materialism, broadly construed. We welcome work that adopts historical, technological, analytical, philosophical, materialist, and creative vantage points, among others. Overall, this conference will direct these diverse disciplinary and methodological perspectives towards convergent and critical issues, creating new, interdisciplinary lines of enquiry and generating original research.
The one-day conference will consist of panels that comprise of papers with short reflections by a moderator, as well as an evening concert that includes opportunities for discussion. The concluding concert of work that engages with these themes from creative perspectives will afford attendees with an opportunity to consider and discuss issues concerning sound, material, and agency in a forum that contrasts with, but also complements, our events during the day. Conference participants are strongly encouraged to attend both the daytime and evening portions of the conference.
Proposals are called for:
Paper presentations of 20 minutes with 10 minutes of Q&A.
Artistic presentation of 20 minutes with 10 minutes of discussion
Submission: Proposals of no more than 500 words (300 words for artistic presentation) should be submitted as a PDF by August 14th 2019 to jc5036@columbia.edu
and include “NMAS Submission” in the subject line. If you’re applying for an artistic presentation please include three representative 2 minute audio/video examples. Please also include the title of your proposed paper and anonymize your submission. Include your name, affiliation, and contact information in the body of the email, and also nominate any audio/visual requirements for your paper or performance.
This will be the third (and, time permitting, some material from the fourth) of a series of lectures that I aim to write up formally as a book. We will begin with a brief review of the most familiar theory of Chinese aesthetics: works of art are the products of sensitive human beings who cannot suppress their sincere responses to emotional stimuli. If art is understood as a sincere statement of this kind by a great genius, it stands to reason that, by correctly interpreting the work, one can communicate with that genius’s mind (xin 心) even after his or her death–and, likewise, that an artist today can communicate with audiences yet unborn. Art is thus timeless and offers the possibility of incorporeal immortality. If there is extra time, I will also survey two interrelated phenomena that I call meta-criticism and meta-writing (since there are no technical terms for them in Chinese). Meta-criticism, i.e. criticism of criticism, is a major feature of Chinese theories about art. Meta-criticism must be related to meta-writing, or the practice of writing about writing while exemplifying the very styles and techniques that one recommends: for example, artfully rhyming a couplet about rhyming.
With responses from: SANDRA SHAPSHAY (Hunter College, CUNY)
The Fall dates for the Comparative Philosophy seminar:
September 20 – Justin Tiwald (San Francisco State University)
October 11 – Richard Kim (Loyola University, Chicago
November 8 – Sungmoon Kim (City University of Hong Kong)
December 6 – Paul R. Goldin (University of Pennsylvania)
More details (such as titles, abstracts, and respondents) to follow. Looking forward to seeing you soon.
Hagop Sarkissian
Associate Professor & Chair, Department of Philosophy, The City University of New York, Baruch College
Associate Professor, Department of Philosophy, CUNY Graduate Center
Co-Director, Columbia Society for Comparative Philosophy
https://www.cbs.columbia.edu/cscp/
Reading and discussing The Human Condition by Hannah Arendt
Reading and discussing Orientalism by Edward Said
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.
Artificial intelligence (AI) promises to automate and scale solutions to perennial accessibility challenges (e.g., generating image descriptions for blind users). However, research shows that AI-bias disproportionately impacts people already marginalized based on their race, gender, or disabilities, raising questions about potential impacts in addition to AI’s promise. In this talk, Cynthia Bennett will overview broad concerns at the intersection of AI, disability, and accessibility. She will then share details about one project in this research space that led to guidance on human and AI-generated image descriptions that account for subjective and potentially sensitive descriptors around race, gender, and disability of people in images.