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
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
Since Plato, western philosophy has been set down a path paved by a disavowal of the sensuous, bracketed material bodies, and delimited aesthetic conceptions, leaving human beings and their built environments separated from the natural world. Such exclusions have left philosophy ill-equipped to deal with the various environmental crises we currently face, as economic rationality and utilitarian logic further de-animate the world and sharpen the human/nature distinction. Even the concept “environment” often, and ironically, brings with it implicit anthropocentric assumptions, conceptualizing, and thereby separating, the human as independent from the surrounding world and reinforcing the human/nature divide. As a result, our (mis)understandings of “nature” and “environment” may make us insensitive to and perpetuate, rather than address, climate change and other environmental catastrophes. To avoid ambiguities and clarify our understanding, we must ask: what role does Nature play within our theories and practices concerning so-called Environmental Philosophy? Furthermore, what spaces, practices, and questions are made possible when we broaden our understanding of “environment” to include a more robust conceptualization of the natural world and how the human being ought to be contextualized within it?
This conference asks how we might reorient the language and practices of philosophy in a way that can enable us to adequately respond to ongoing environmental crises. As a starting point, we propose a need to reimagine the concepts “human,” “nature,” and “environment,” as well as the reciprocal relations that constitute them. To recognize humans as natural organisms, we must reevaluate the sensuous, the material, and the aesthetic and the roles they play in our attempts to construct, understand, and preserve our environment(s). How should we make sense of our practices and our relations to those with whom we share our surroundings? How can we re-situate the human with/in the environment? Do we have the right tools to guide these investigations? How might philosophy look beyond itself—to literature, architecture, music, film, design—to better bring Environment, and thus the world, into view? In the spirit of this, we invite paper as well as project submissions from current graduate students in any discipline.
Possible Topics:
● Environmental Aesthetics: Re-Considering Beauty + the Sublime
● Environmental Justice + Restorative Justice + Transformative Justice
● Environmental Ethics + Sustainable Practices
● Diversity + Biodiversity
● Capitalism and Climate
● Eco-phenomenology
● Eco-deconstruction
● Environmental Racism/Racist Environments
● Ecofeminist conceptions of nature
● Land Rights and Property Relations
● Posthumanism + Object Ontologies
● Afrofuturism + Technological Utopias
● Environmental Ethics In Narratives
● Mastery of Nature in Philosophy
● Anarcho-primitivism
● Queer and Trans Ecologies
● Local and Global Ecologies
● Regionalisms and Globalisms in the Ecological Imagination
Confirmed Conference Keynotes:
Sandra Shapshay, CUNY Graduate Center, New York
Emanuele Coccia, École des hautes études en sciences sociales (EHESS), Paris
Dates and Location:
This conference will be held at the New School for Social Research in New York City from Thursday, April 14, to Saturday, April 16. While we (tentatively) plan to hold the conference primarily in-person we would also like to provide a hybrid option for those who would prefer to participate remotely. Following the conference, on Sunday, April 17, all participants and attendees are invited to participate in a conference hike in Cold Spring, NY (about an hour and a half north of NYC and accessible by the Metro North commuter train).
Call for Papers: Submission Procedure:
Please submit complete papers (Word Limit: 3500) and an abstract of 250 words or less by January 1st in the form of a Word attachment (.docx) or PDF to WithInEnvironments@gmail.com. Please prepare your submission for blind review by removing any identifying information from the body of the paper. In your email please include your name, affiliation, and paper title. Notification of acceptance will be sent by January 15.
Call for Projects: Submission Procedure:
Please submit a project description (Word Limit: 1000) by December 1st in the form of a Word attachment (.docx) to WithInEnvironments@gmail.com, as well as:
For Visual Arts projects: submit 5 images of your work as .jpeg.
For Performing Arts projects: submit video/ audio of your work in .mp4 format
Please prepare your submission for blind review by removing any identifying information. In your email please include your name, affiliation, and project title. Notification of acceptance will be sent by January 15.
If you have any questions please email WithInEnvironments@gmail.com
Book Panel with:
Chiara Bottici (NSSR and Lang College), Judith Butler (UC Berkeley and NSSR) and Romy Opperman (NSSR and Lang College).
Abstract:
How can we be sure the oppressed do not become oppressors in their turn? How can we envisage a feminism that doesn’t turn into yet another tool for oppression? By arguing that there is no single arche explaining the oppression of women and LGBTQI+ people, Chiara Bottici proposes a radical anarchafeminist philosophy inspired by two major claims: that there is something specific to the oppression of ‘the second sexes’, and that, in order to fight that, we need to untangle all other forms of oppression and the anthropocentrism they inhabit. On the basis of a Spinozist philosophy of transindividuality, Anarchafeminism calls for a decolonial and deimperial attitude and for a renewed awareness of the somatic communism connecting all different life forms on the planet. In this revolutionary vision, feminism does not mean the liberation of the lucky few, but liberation of the planet from both capitalist exploitation and an anthropocentric politics of domination. Either the entire planet, or none of us will be free.
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.
Sponsored by the NSSR Philosophy Department & The Gender and Sexualities Studies Institute (GSSI)
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.