We live in an era of aesthetics. Art has become both pervasive and powerful – it is displayed not only in museums and galleries but also on the walls of corporations and it is increasingly fused with design. But what makes art so powerful, and in what does its power consist?
According to a widespread view, the power of art – its beauty – lies in the eye of the beholder. What counts as art appears to be a function of individual acts of evaluation supported by powerful institutions. On this account, the power of art stems from a force that is not itself aesthetic, such as the art market and the financial power of speculators. Art expresses, in a disguised form, the power of something else – like money – that lies behind it. In one word, art has lost its autonomy.
In his talk, Markus Gabriel rejects this view. He argues that art is essentially uncontrollable. It is in the nature of the work of art to be autonomous to such a degree that the art world will never manage to overpower it. Ever since the cave paintings of Lascaux, art has taken hold of the human mind and implemented itself in our very being. Thanks to the emergence of art we became human beings, that is, beings who lead their lives in light of an image of the human being and its position in the world and in relation to other species. Due to its structural, ontological power, art itself is and remains radically autonomous. Yet, this power is highly ambiguous, as we cannot control its unfolding.
Markus Gabriel holds the chair for Epistemology, Modern and Contemporary Philosophy at the University of Bonn and is also the Director of the International Center for Philosophy in Bonn as well as the director of the Center for Science at Thought at Bonn.
Presented by The New School for Social Research and Philosophy Department and it is co-sponsored with the Liberal Studies Department.
This paper considers Cornelius Castoriadis’s articulation of social imaginary significations with an emphasis on their link to the radical imaginary. Castoriadis wrote on social imaginary significations for more than thirty years, and his understanding of them changed significantly during this time, yet this is not reflected in debates on his work. The paper argues that there are three distinct phases in his reflections. The first phase can be dated 1964-1970. This early phase is characterized by Castoriadis’s break from Marx and subsequent settling of accounts with Marxism. Central to Castoriadis’s critique of Marx was the recognition of history (or: the social-historical) as the domain of meaning and unmotivated creation as the work of the radical imaginary. Importantly, Castoriadis also considered the intertwining of the imaginary with the symbolic, on the one hand, and with social doing, on the other. Castoriadis’s approach in this early phase can be considered phenomenological in the broad sense that Merleau-Ponty gave it in the Phenomenology of Perception. The second phase is dated 1970-1975; that is, the period in which Castoriadis wrote the second part of The Imaginary Institution of Society wherein he announced his turn to ontology. This is his most self-contained and systematic articulation of social imaginary significations. Castoriadis extends and develops his notion of magma in relation to social imaginary significations and emphasizes the social imaginary creation of a world ex nihilo as an ontological creation, whilst the radical imaginary is presented as a part of his emergent general ontology of à-être. The third ‘kaleidoscopic’ phase is dated 1976-1997 and may be understood as a period of consolidation and expansion. Although his basic understanding of social imaginary significations did not dramatically alter (although further developments are visible), his thought went in a myriad of different directions and patterns – hence kaleidoscopic — that nonetheless shaped a wider background against which his elucidation of social imaginaries were configured. His reconsideration of the sacred, the ‘ground power’ of institutions, and the development of a poly-regional ontology of the for-itself were key to this changing background. The paper will conclude with a critical engagement with the implications of the changing permutations of the imaginary element for Castoriadis’s thought.
Dr. Suzi Adams is Senior Lecturer in the College of Humanities, Arts, and Social Sciences at Flinders University and permanent External Fellow at the East-Central European Institute for Philosophy, Charles University (Prague). She is a founding co-ordinating editor of the Social Imaginaries refereed journal and book series, and from October-December 2019, was an inaugural Senior Research Fellow at the Humanities Centre for Sustainable Futures at the University of Hamburg. She has published widely in the social imaginaries field, including most recently Social Imaginaries: Critical Interventions (Eds. Suzi Adams and Jeremy Smith), 2019, Rowman and Littlefield International, London. She is currently writing a monograph entitled Castoriadis and the Imaginary Element (forthcoming with Rowman and Littlefield International).
The 23rd Annual CUNY Graduate Student Philosophy Conference invites graduate students to submit their work engaging with philosophical topics and traditions that consider or bridge the analytic/continental divide. The analytic/continental division typically assumes contrasting notions of what philosophy ‘is’ and what it ought to be. The divide also describes the varying methodologies employed when we practice philosophy. Whether it refers to meta-philosophical commitments or strategies used, the divide can do exactly that – divide. When concerned with the nature of philosophy and how one ought to conceive of the practice the stakes can be high; when we ask, “What counts as philosophy?” we implicitly ask, “What doesn’t ‘count’ as philosophy?” This conference aims to explore issues that need to be explored by the philosophical community at large, especially when the legitimacy of certain practices are under scrutiny. The conference also aims to create a space where we can learn to ask better questions concerning the nature of our academic practices, the traditions we draw from, the methodologies we employ, and the topics we consider.
Keynote speaker: Talia Mae Bettcher (California State University, Los Angeles)
We are particularly interested in papers from all areas of philosophy that:
- explore the meta-philosophical or sociological questions concerning the analytical/continental divide without exclusionary border-policing. Is such a divide legitimate? What has motivated this divide? What are the advantages and disadvantages of maintaining the divide? How can we bridge or dismantle the divide? Etc.
- broadly engage with the question of “what can philosophy be?” How can philosophy establish fewer borders and more bridges?
- engage with philosophers (i.e. Rorty, Badiou, Williams, etc.), philosophical topics (i.e. race, gender, coloniality, etc.), and/or traditions (i.e. critical race theory, feminist philosophy, queer theory, postcolonial/decolonial theory, etc.) that have always or currently do bridge the analytic/continental divide, again without exclusionary border-policing.
- explore the analytic/continental divide in an interdisciplinary manner drawing from sociology, critical psychology, gender studies, race studies, literature, history, the arts, etc.
The conference is committed to providing a platform for marginalized persons and topics in the discipline. In answering some of the questions presented we highly encourage papers regarding, among other topics: critical race theory, feminist philosophy, queer theory, trans philosophy, and disabilities studies. Speakers from marginalized groups in the discipline are strongly encouraged to submit. Any abstracts that aim to discredit already marginalized philosophers or philosophies are strongly discouraged.
What can science teach us about how we perceive and understand art? How can art help us understand ourselves and each other? In this event, the Zuckerman Institute explores the interactions between our brains and the artistic world, finding connections and parallels between art and science.
Event Speakers
Please visit the event webpage to view the speaker list.
Event Information
Free and open to the public, registration is required by January 28, 2022. This event will also be live-streamed. Please email zuckermaninstitute@columbia.edu with any questions.
This talk is part of the Stavros Niarchos Foundation Brain Insight Lecture series hosted by Columbia’s Mortimer B. Zuckerman Mind Brain Behavior Institute and supported by the Stavros Niarchos Foundation.
Eva Bockenheimer. Frederica Gregoratto. Thimo Heisenberg. Axel Honneth. Rahel Jaeggi. Gal Katz. Frederick Neuhouser. Andreja Novakovic. Angelica Nuzzo. Johannes-Georg Schülein. Italo Testa.
April 22-23 Time TBA
*In-person event
Please join us for a talk by Eric-John Russell (Universität Potsdam), who will present chapters from his recently published book, Why Everything is as it Seems: Hegel and Debord. Jacob McNulty (University College London) will provide a response followed by a Q&A with our audience.
Guy Debord has been called many things: pseudo-philosopher, nihilist, filmmaker, megalomaniac, strategist, third-rate Mephistopheles. His book The Society of the Spectacle (1967) has fallen into a similarly motley reception, frequently enveloped within the discourses of postmodernism, media and cultural studies, and avant-garde art history. My research however, dispenses with such narratives and instead offers a sustained examination of the concept of the society of the spectacle through the two pillars upon which Debord understood his own work as a critical theory of society: Marx’s critique of political economy and Hegel’s speculative philosophy. It is the latter that will be the focus of my paper, first by offering some introductory remarks on Debord’s theory of the spectacle but then arguing that it precisely the speculative dimension of Hegel’s dialectic that remains central for Debord’s diagnosis of twentieth century capitalism, with emphasis placed on the importance of Hegel’s Wesenslogik. I will conclude with the historical significance of Debord’s “heretical Hegelianism,” specifically as an intervention within the atmosphere of the French Hegelianism of the interwar and postwar period.
15 Feb, 4pm:
James Kreines (Claremont McKenna)
From Shapeless Abyss Towards Self-Developing Thought: Taking Hegel on Spinoza Seriously
@ The New School, Room L502, at 2 W 13th Street
Guests and visitors policies at the New School can be accessed via this website. You will have to download CLEAR and upload proof of vaccination or the results of a rapid test. Please try to arrive 15 minutes earlier so we can help you in case of complications.
Feb 24:
Georg Spoo (Freiburg)
Grounds and Limits of Immanent Critique: Kant, Hegel, Marx
@ Columbia
Mar 3:
Heikki Ikaheimo
Hegel, Humanity, and Social Critique
@ Zoom
Mar 24:
Stephen Howard (KU Leuven)
Kant’s Late Philosophy of Nature: The Opus Postumum
@ Columbia
Apr 11:
Karin de Boer
Does Kant’s Antinomy of Pure Reason Amount to an A Priori History of Rational Cosmology?
@ Columbia
Apr 15, 4pm:
Eva von Redecker
Co-sponsored by the New School Graduate Student Conference
@ The New School
Apr 21:
Giulia Battistoni
NAture, Life, Organizm: The Legacy of Romanticism and Classical German Philosophy in Jonas’ Philosophical Biology
@ The New School
This conference aims to initiate dialogues between philosophy and the arts. Philosophers and thinkers/ scholars across disciplines of humanities and social sciences will meet with artists and scholars from a wide variety of visual and visual artistic disciplines, including painting, photography, and literature, as well as travel, dance, and fashion. Rather than taking art as a mere object of philosophical study, this conference will explore the manifold confluences and intersections of philosophy and art, exploring how each can become the object of the other and how the boundary between the philosophical and the artistic can be sharpened or blurred. The motive is specifically to explore the “visual” and “movement” element in art of, and in everyday life and theorize it – both philosophically and critically.
Co-sponsored by: Office of Deans: New School for Social Research and School of Art & Design History & Theory; University Student Senate and Graduate Faculty Student Senate
Schedule and Location
The conference will meet on The New School campus in New York City.
On March 24th, we will meet in room B500 at 65 W 11 Street.
On March 25th, we will meet in Starr Foundation Hall UL105 at University Center (63 Fifth Avenue).
Following is the schedule for both days, (please see the website for details on panels and speakers):
11:00 am Panel 1 Speaker presentations.
12:00 pm Panel 1 roundtable and audience Q&A.
1:15 pm Lunch break.
2:15 pm Panel 2 Speaker presentations.
3:15 pm Panel 2 roundtable and audience Q&A.
4:30 pm Evening reception with free food and drinks for attendees!
This conference aims to initiate dialogues between philosophy and the arts. Philosophers and thinkers/ scholars across disciplines of humanities and social sciences will meet with artists and scholars from a wide variety of visual and visual artistic disciplines, including painting, photography, and literature, as well as travel, dance, and fashion. Rather than taking art as a mere object of philosophical study, this conference will explore the manifold confluences and intersections of philosophy and art, exploring how each can become the object of the other and how the boundary between the philosophical and the artistic can be sharpened or blurred. The motive is specifically to explore the “visual” and “movement” element in art of, and in everyday life and theorize it – both philosophically and critically.
Co-sponsored by: Office of Deans: New School for Social Research and School of Art & Design History & Theory; University Student Senate and Graduate Faculty Student Senate
Schedule and Location
The conference will meet on The New School campus in New York City.
On March 24th, we will meet in room B500 at 65 W 11 Street.
On March 25th, we will meet in Starr Foundation Hall UL105 at University Center (63 Fifth Avenue).
Following is the schedule for both days, (please see the website for details on panels and speakers):
11:00 am Panel 1 Speaker presentations.
12:00 pm Panel 1 roundtable and audience Q&A.
1:15 pm Lunch break.
2:15 pm Panel 2 Speaker presentations.
3:15 pm Panel 2 roundtable and audience Q&A.
4:30 pm Evening reception with free food and drinks for attendees!
Our friends from Université de Paris Panthéon-Sorbonne return for a third installment of their symposium Arts & Pragmatism: From Ordinary Aesthetics to Post Creation.
This day-long symposium will be chaired by Yann Toma and Sandra Laugier. From the organizers:
We have noticed it during the two previous symposia of our program: the pragmatist philosophy and in particular Dewey defends the idea that aesthetics must not only be considered as the search for truths about art and its creations but also as what concerns the experience of the persons with an artwork (a sensitive and active experience). The reception would thus be the dynamic experience of an incarnated observer, acting, feeling in his senses and his affects what is the work and what it makes him feel.
The political stake of the pragmatist aesthetics is to make sure that the strong aesthetic experiences remain open and accessible to the largest public and become even a «matter of ordinary conversation». It is then a matter of thinking about shared experience as a transmission of values, an important phenomenon for the moral, political, “educational” reflection of adults» (Cavell 1979, 1981, Shusterman, Laugier 2019, 2023, Gerrits 2020). Thus, this question of pragmatism addresses societal issues that concern all audiences, not just from a broadcast/transmission perspective. By focusing on experience and agency, this way of approaching pragmatism involves the cultural audience in a broad way to the point where it engages mediums such as television and in general digital cultures.
The concept of Post-Creation, insofar as it plays a form of exteriority to an original Creation, has all its place in a world where the strong aesthetic experiences remain open and accessible to a wider public. It is a question of placing the creation beyond what is biased, in the heart of a form of Third State of the artistic act in charge of a heuristic and critical potential, towards a form extracted from the zone of influence of the world of the art as such. The idea of Post-Creation tends towards the universal that would be the fact of conceiving the creation beyond any not institutionalized academism. We will see how a possible emulation between the ordinary aesthetic and the shared experience of the Post-Creation is articulated and played, where the experience of the creation produces knowledge and transforms what is out of the specific field of perception of the art in so many new acting and reflexive spaces. In that, the influence of the artistic creation on whole sections of the society, domains of perception until now inaccessible, becomes a stake of opening which results from the transformation of a form of ordinary aesthetics in a Post-Creation freed from the aesthetic channels of the contemporary art.
Program:
10:30AM : Opening Yann Toma, Sandra Laugier and François Noudelmann
11:00AM – 1:00PM : Panel I Pragmatism and the Project of an Ordinary Aesthetics
Chair : Yann Toma
Andrew Brandel (Penn State University) From the Aesthetics of the Everyday Life to Ordinary Aesthetics.
Barbara Formis (Panthéon-Sorbonne University) Doings and redoings of the Identical.
Sandra Laugier (Panthéon-Sorbonne) Ordinary Creation and Shared Culture.
Emmanuel Kattan (Columbia University) What happens when nothing happens: Chantal Akerman, Francis Ponge, Marisa Merz and the emergence of time.
1:00PM – 3:00PM : Lunch Break
3:00PM – 6:00PM : Panel II Pragmatism, Post-Creation
Chair : Sandra Laugier
Yann Toma (Artist/Panthéon-Sorbonne University) Post-Creation, a new way of making creation
The example of L’Or bleu.
Jung Hee Choi (artist and author of «Manifest Unmanifest») Dream House.
Dan Thomas (United Nations Global Compact), The importance of Art and Perception in the Diplomatic Way.
Warren Neidich (Artist and Founding Director Saas-Fee Summer Institute of Art) The Brain Without Organs and the Ecocene.
This event is organized with the support of Université Paris 1 Panthéon-Sorbonne, Politique scientifique program, and La Maison Française at New York University