The philosophical traditions of India offer contemporary researchers an unparalleled and mostly untapped resource for fresh thinking about attention, its relations to mind and world. From Nyāya manas-theory to the extensive Buddhist theories about attention’s relationship with consciousness, and from precise taxonomies of the varieties of attention to discussions about the norms governing attention, epistemic, moral, and practical, the wealth and sophistication of Indian analysis is astounding. Our workshop will look at the ways in which Indian, including Buddhist, philosophical theory can enrich contemporary discussion, and there will be presentations by a world-class panel of speakers.
We hope too that this workshop will serve as a catalyst to Indian philosophical studies in the New York area. The workshop is open to everyone, free and without registration, and the program is here.
April 25, 2019|DAY 1
8:45 am – 9:00 am
Coffee & Welcome (Jonardon Ganeri NYU)
9:00 am – 10:45 am
Panel 1. Attending to Oneself
Chair: Nic Bommarito (Buffalo)
9:00 am – 9:50 am
Sharon Street (NYU, via video conferencing)
“On Recognizing Oneself in Others: A Meditation-Based Response to Mackie’s Argument from Queerness”
9:55 am – 10:45 am
Muhammad Faruque (Fordham)
“Attending to Oneself: Muḥammad Iqbāl and his Indian Contemporaries”
10:45 am – 11:00 am
Morning Break
11:00 am – 12:45 pm
Panel 2. Attention and Affect
Chair: Joerg Tuske (Salisbury)
11:00 am – 11:50am
Evan Thompson (British Columbia)
“Affect Biased Attention and Concept Formation”
11:55 am – 12:45 pm
Sonam Kachru (Virginia)
“Attention and Affect: A View from Indian Buddhist Philosophy”
12:45 pm – 2:00 pm
Lunch Break
2:00 pm – 3:45 pm
Panel 3. Decision and Exclusion
Chair: Emily McRae (New Mexico)
2:00 pm – 2:50 pm
Arindam Chakrabarti (Stonybrook)
“Deciding to Attend and the Problem of Disjunctive Attention”
2:55 pm – 3:45 pm
Catherine Prueitt (George Mason)
“At the Limits of Pain: Attention, Exclusion, and Self-Knowledge in Pratyabhijñā Śaivism.”
3:45 pm – 4:00 pm
Afternoon Break
4:00 pm – 5:45 pm
Panel 4. The Ethics of Attention
Chair: Eyal Aviv (George Washington)
4:00 pm – 4:50 pm
Curie Virag (Edinburgh)
“Attention as Cognitive Resonance”
4:55 pm – 5:45 pm
Shalini Sinha (Reading)
“The Ethics of Attention in Śāntideva and Simone Weil”
April 26, 2019|DAY 2
10:15 am – 10:30 am
Coffee
10:30 am – 12:15 pm
Panel 5. Self-Awareness and Attention
Chair: Payal Doctor (LaGuardia)
10:30 am – 11:20 am
Amit Chaturvedi (Hong Kong)
“Phenomenal Priority and Reflexive Self-Awareness: Watzl meets Yogācāra”
11:25 am – 12:15 pm
Nilanjan Das (University College London)
“Śrīharṣa on Self-knowledge and the Inner Sense”
12:15 pm – 1:30 pm
Lunch Break
1:30 pm – 3:15 pm
Panel 6. Mindfulness and Justification
Chair: Bryce Huebner (Georgetown)
1:30 pm – 2:20 pm
Georges Dreyfus (Williams)
“But What is Mindfulness? A Phenomenological Approach”
2:25 pm – 3:15 pm
Anand Vaidya (San Jose)
“Attention and Justification”
3:15 pm – 3:30 pm
Afternoon Break
3:30 pm – 5:15 pm
Panel 7. The Wandering Self
Chair: Adriana Renero (NYU)
3:30 pm – 4:20 pm
Carolyn Jennings (UC Merced)
“From Attention to Self”
4:25 pm – 5:15 pm
Zac Irving (Virginia)
“Harnessing the Wandering Mind”
Efforts to diversify philosophy, at the curricular level, often focus on increasing the content covered in a semester: i.e., making room for more women on the syllabus, making room for more non-Western texts and thinkers, etc. Similarly, efforts to diversify philosophy, at the professional level, often focus on making room for marginalized topics and/or members of under-represented groups at conferences, in anthologies, and among faculty (both in terms of demographics and research specializations). This all serves to create an antagonistic situation where marginalized voices must fight to be heard and those in the discipline must make “tough choices” about where to cede precious resources such as syllabus space, publication credits, and faculty hires. I suggest that part of the antagonism, at least in the case of Asian philosophy, arises because we are trying to fit non-European texts and thinkers into disciplinary structures that are themselves designed to accommodate a Eurocentric model for philosophy. By “disciplinary structures” I mean the philosophical canon and historical narrative as well as departmental course offerings, curricular requirements for majors and minors, classroom pedagogical practices, and academic research methodologies. Truly transformative change must take place at the structural level. In this brief talk, I consider the scope of such changes, in concrete terms, and raise questions about the effects these changes would have on the disciplinary identity of philosophy as we know it today.
With a response from:
Andrew Lambert (College of Staten Island, CUNY)
Critique is an assertion of values pitted against a state of affairs. To say that things should not be the way they are–to respond to questions such as ‘Why do I think this political or economic arrangement is wrong (and why should I care?)?’ implies an ethical stance. Critique thus draws together fact and value, domains that a long tradition of moral thought has argued exist on distinct planes. For there are dimensions of political life that are incomprehensible without this conjunction between ethical motivations and social realities. But if they are to have political consequences, such questions cannot be confined to private introspection. Scale matters. This talk looks at the articulation between everyday interactions and social movements to show the interplay among the first, second, and third person stances that characterize ethical life. Drawing ethnographic examples from American feminism and Vietnamese Marxism, it considers some of the ways in which ethical intuitions emerge, consolidate, and change, and argues that objectifications and the reflexivity they facilitate help give ethical life a social history.
Conference Schedule
10AM Teddy Seidenfeld – Conditional Probability, Conditionalization, and Total Evidence
11AM Eleonora Cresto – Beyond Indeterminate Utilities. The Case of Neurotic Cake-Cutting
11:20AM Ignacio Ojea Quintana – Unawareness and Levi’s Consensus as Common Ground
11:40AM Rush Stewart – Uncertainty, Equality, Fraternity
1PM Nils-Eric Sahlin – Levi’s Decision Theory: Lessons Learned
1:45PM Wilfried Sieg – Scientific Theories as Set-Theoretic Predicates?
2:45PM Panel Discussion – Learning from Levi
Abstracts available in attached documents under “Supporting material.”
Memorial
A memorial service will be held at 5PM at St. Paul’s Chapel on the Columbia campus. Reception to follow on the 7th floor of Philosophy Hall.
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