01 09 12:35:17 1996 From: martok@hrz.uni-kassel.de (Widjaja Martokusumo) Subject: Re: Aesthetics: The City as Cultural Metaphor To: dlopes@indiana.edu (by way of jospri@indo.net.id (josef prijotomo)) Date: Tue, 9 Jan 1996 14:57:12 +0100 (MEZ) Cc: um0k@rz.uni-karlsruhe.de pak josef, terima kasih atas kiriman "the city as cultural metaphor"! pengembaraan di malang (di unibraw) cukup sukses, sayang pak Anhar Setjadibrata (tugu park hotel) tidak bisa dihubungi....tidak apa itu cuma tambahan rencana koq. sekarang ini lagi mempersiapkan rencana kegiatan "pengembaraan" kedua bulan ma-ret nanti. bagaimana dengan penelitian pak josef di malang? (saya dengar dari entah pak eko atau dari pak juswadi salija) sekedar informasi di barcelona, akan ada pameran hasil sayembara dan seminar yang bertemakan tentang perumahan dan pelestarian sejarah ("housing and public space in the historical centre of barcelona"). nama acaranya UIA BARCELONA 96, diselenggarakan dalam rangka kongres ke-19 dari union international of architects, bekerja sama juga dengan unesco.acara sekitar bulan juni-juli nanti. salam, widjaja martokusumo #################################################### 01 11 14:26:49 1996 Date: Thu, 11 Jan 1996 10:50:05 -0500 To: dom lopes From: ostrow@is2.nyu.edu (Ostrow/Kaneda) Subject: Re: Aesthetics: advertising on the list > Aesthetics List Users: > >this is just to remind everyone that it's not appropriate to use this >email list, or any internet email list, to advertise. there have been a >few recent complaints about this and i have contacted the parties >responsible. i'd like to keep this list unmoderated; please observe the >rules of netiquette. > >dom lopes >__________________________________________________________ >Aesthetics Mailing List: aesthetics@indiana.edu >To Unsubscribe: majordomo@indiana.edu >List-Owner: Dominic Lopes at dlopes@indiana.edu >Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl My apologies I forgot to delete the part aboui ordering. It was meant only to announce the publication of Lusitania #70 #################################################### 01 11 14:26:45 1996 Date: Thu, 11 Jan 1996 09:27:07 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: advertising on the list Sender: owner-aesthetics@indiana.edu Precedence: bulk Reply-To: dom lopes Aesthetics List Users: this is just to remind everyone that it's not appropriate to use this email list, or any internet email list, to advertise. there have been a few recent complaints about this and i have contacted the parties responsible. i'd like to keep this list unmoderated; please observe the rules of netiquette. dom lopes __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 15 10:27:09 1996 Date: Mon, 15 Jan 1996 10:20:05 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: CFP The Body in 18th Century Literature Sender: owner-aesthetics@indiana.edu > Date: Sat, 13 Jan 1996 11:11:15 -0700 > From: jeffrey timmons > Subject: Languages of the Body I am organizing a panel for the NEASECS September 26-29, 1996 on the topic of Reading the Languages of the Eighteenth-Century Body. I would like to receive papers (or detailed proposals) by April 15 (I'd like to get responses back by the end of the school year). Please pass this on to others who may be interested. Panel: Reading the Languages of the Eighteenth-Century Body Responding to recent work on the somatic in eighteenth-century studies, this panel would like to take the opportunity to assess the direction, aims, methodology and contributions of body-criticism. Papers selected for this panel would be those that take their cue from recent critical work on the somatic in order to evaluate eighteenth-century writing on the body. Gestures, habits, manners, illnesses, life-styles, medicine, madness, and even sexuality can be said to constitute a "readerly" language that invests the body with meaning. Reading these bodily acts and ways of treating the body, eighteenth-century literature (in the wide sense of the word) and culture attached a significance to the somatic, to bodily functions and acts that rendered the body an interpretable sign. Reading these signs in the correct way was imperative. Pope's "The Dunciad," for all its perverse fascination with the excremental exploits of the grub-street writers, harnesses the body to a strict propriety guaranteed by a "correct" reading of the bathetic in relation to the "moral" aim of the work. Reading was not simply a pleasurable act but enabled didactic aims. It is my interest to explore the link between the body as a sign and the moral/didactic readings of this sign that manifest themselves upon the body. What, in other words, are the effects of reading upon the body? How does reading produce the body? How do narrative or poetic representations articulate the body within a moral scheme? How do readings of the body ground it to a moral or didactic imperative? Critical attention has increasingly focused on the body in eighteenth-century literature and culture. While the quality of this scholarship is excellent, I am interested in assessing the usefulness of the work being done in this area. It will be important, then, that proposals be informed not only by a concept of "reading" the body, but, as well, by recent scholarship on the somatic. In sum, I am interested in papers that explore theories, discourses, and cultural events concerned with the body as a "readable" language in relation to recent critical work on the eighteenth-century body. Please send papers (and detailed proposals) by April 15 to: Jeffrey W. Timmons 1201 E. Weber #B Tempe, Arizona 85281 or mnamna@imap1.asu.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 15 10:27:08 1996 Date: Mon, 15 Jan 1996 10:20:07 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: NEH Summer Seminar Sender: owner-aesthetics@indiana.edu Precedence: bulk Reply-To: dom lopes > From: "Karl D. Uitti" (26) > Subject: NEH Summer Seminar(1996) > > > Applications are invited to a six-week NEH-sponsored Summer Seminar for > College Teachers (24 June-2 August 1996). > > TITLE: "After Poststructuralism: The Individual in Contemporary French > Thought" > > This interdisciplinary seminar will treat issues that have been in the > forefront of recent French intellectual debates: the moral nature of social > protest, the relations between liberalism and consumerism, the intellectual > origins of the Western democratic system and its place in the contemporary > world, the best strategy for defending human rights, and the predicaments of > literary and artistic modernity. Since such topics are at the center of public > discourse in the United States as well as in France, the seminar will attempt > to capture the common interests of French and American intellectuals as well as > their differences. > > Applications from colleagues with a special interest in French literature and > culture, as well as those who are more generally concerned with the issues to > be treated in the seminar are equally welcome. > > APPLICATION DEADLINE:1 March 1996 > > FELLOWSHIP STIPEND: $3200 (for six weeks) > > HOUSING: available in Princeton University facilities and in area sublets > > For further information, please contact: > > Professor Thomas PAVEL > Department of Comparative Literature > Princeton University > Princeton, NJ 08544 > FAX: 609-258-1873 > E-MAIL: TPAVEL@PRINCETON.EDU > __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 15 12:24:32 1996 From: "Nancy Walkup" Organization: UNT School of Visual Arts To: aesthetics@indiana.edu, dom lopes Date: Mon, 15 Jan 1996 11:21:02 CST6CDT Subject: Aesthetics: Request for assistance in research Because of an upcoming Japanese art and culture festival that is going to be in the Dallas/Fort Worth area in 1996, our teacher institute is developing comprehensive, significant lesson plans that relate to Japanese art, culture, and aesthetics. I am searching for any information or sources on Japanese aesthetic, that would be of help. Most of the lessons we are developing will be for elementary art and classroom teachers. Thanks, Nancy Walkup Nancy Walkup, Project Coordinator North Texas Institute for Educators on the Visual Arts PO Box 5098, University of North Texas 76203 817/565-3986 FAX 817/565-4867 Walkup@art.unt.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 16 12:38:15 1996 Date: Tue, 16 Jan 1996 09:03:39 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: Home Pages Sender: owner-aesthetics@indiana.edu Precedence: bulk Reply-To: dom lopes Web Savvy Aestheticians: Do you have a home page and would you like a link to it from the Aesthetics On-Line web site? If so, send me your name, institutional affiliation and the url. I'd also ask you to make sure you have a link back to Aesthetics On-Line from your page, for the convenience of surfers. If you'd like to use the knot symbol that represents Aesthetics On-Line, a copy of the .gif file can be found at ftp.indiana.edu/pub/departments/asanl dom lopes dlopes@indiana.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 17 15:16:35 1996 From: cxjej@eiu.edu (Jo Ellen Jacobs) Subject: Aesthetics: Lyceum Series To: aesthetics@indiana.edu Date: Wed, 17 Jan 1996 13:10:25 -0600 (CST) Friday, February 9 will see the first installment in Millikin University's Lyceum Series, organized by the College of Fine Arts and funded by a grant from the Faculty Excellence Fund. Faculty from art history, theater, and music planned an interdisciplinary event around the theme "Counterrepresentations." At 7:00 p.m. in Albert Taylor Hall, three scholars from art, theater, and music will read short papers and participate in a panel discussion. In music, for example, Renee Lorraine from the University of Tennessee will speak on "Narrative and Musical Closure in *Thelma and Louise* and *The Piano*." Dr. Jody Blake will present "Afro-Fem-Centrist Critique of Primitivism in Modern Art." Professor Lorraine has also agreed to meet with a small group of students (all majors are welcome) at 3:30 that afternoon to discuss her essay "The History of Music" from the anthology *Feminism and Tradition in Aesthetics* (1995). In this somewhat satirically titled (and very readable) piece she presents examples of misogyny in music from the Dorian invasion of Greece to Mick Jagger. If you wish to attend and would like to read Professor Lorraine's essay in advance, contact Lois Sanner, secretary in the School of Music (x6300 or email), will provide you with the necessary photocopies. Millikin University is located in Decatur, IL (1184 W. Main). The phone number is 424-6227. For more information e-mail cxjej@eiu.edu. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 17 15:16:36 1996 Date: Wed, 17 Jan 1996 12:13:36 -0700 From: Barbara Wardle To: aesthetics@indiana.edu Subject: Aesthetics: Introductory Aesthetics Courses I need information on introductory aesthetics courses being offered at other institutions. We are currently developing a new course in Intro to Aesthetics, and have to prove that other institutions are offering similar courses. If you are doing this, and are willing to share, I would like to know credit hours, text used, and any other info you feel is valuable. Your help will be appreciated. Thanks, B. Wardle E-mail address: wardleba@UVSC.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 17 15:24:17 1996 Date: Wed, 17 Jan 1996 15:16:27 -0500 To: aesthetics@indiana.edu From: "Dr P.J. Phemister" (by way of dom lopes ) Subject: Aesthetics: CFP 18th Century --Forwarded from c18-l --------- > Date: Tue, 16 Jan 1996 20:58:52 -0500 > Sender: 18th Century Interdisciplinary Discussion > From: Kathy Temple > Subject: CALL FOR PAPERS--EC/ASECS > The twenty-sixth annual meeting of the East-Central/American Society for Eighteenth-Century Studies will be held at Georgetown University in Washington D.C. from October 31 to November 3, 1996. the topic is "Borders and Frontiers: Canonical, Disciplinary, Cultural, Aesthetic." The conference organizers welcome papers and panel proposals that explore, enact, create, and critique borders and frontiers in many different contexts. Abstracts, panel proposals, and inquiries will be accepted by Professors Alvaro Ribeiro, Kathryn Temple, and Dennis Todd, Department of English, Georgetown University, Box 571131, Washington, D.C. 20057-1131 U.S.A. Phone: 202/687-7422 FAX: 202/687-5445 Please feel free to e-mail proposals to us at Temple@guvax.georgetown.edu THE DEADLINE FOR ABSTRACTS AND PANEL PROPOSALS HAS BEEN EXTENDED TO MARCH 15, __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 22 12:41:18 1996 Date: Mon, 22 Jan 1996 09:56:20 -0500 (EST) From: Hock-Jiuan Heng To: dlopes@indiana.edu Subject: Request to be put in touch with Chinese aesthetics scholars Dear Dr Lopes, I would be very grateful if you could tell mhow to get in touch with people who are working in Chinese aesthetics. I'm writing a dissertation on the hermeneutic problems involved in understanding Chinese painting. Many thanks. Yours sincerely, Jiuan Heng. (hh65@columbia.edu) #################################################### 01 22 12:41:17 1996 Date: Mon, 22 Jan 1996 14:13:25 +0100 From: VLA3WOODFRA@ntu.ac.uk (Richard Woodfield - Photography) To: aesthetics@indiana.edu Subject: Aesthetics: Truth to materials Does anyone know the origins of the idea of truth to materials as it is used in the context of sculpture? Did it enter into the vocabulary through Rodin criticism, if so where? Or was it used earlier or what? All responses greatfully received. Richard Woodfield - vla3woodfra@ntu.ac.uk __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 22 17:03:15 1996 From: John_Hudson@richmond.sd38.bc.ca (John Hudson) To: ewc@yorku.ca Cc: VLA3WOODFRA@ntu.ac.uk, aesthetics@indiana.edu Subject: Re: Re: Aesthetics: Truth to materials Date: 22 Jan 1996 17:21:47 GMT Dear Evan: Thanks very much for your thoughtful response to Richard Woodfield's enquiry about sculpture- your metaphor of the hammer helps me understand problematic interdisciplinary educational undertakings. As a music specialist, I experience daily the complete misunderstanding of the purposes of music education held by other teachers, as if we speak different languages-we certainly do! Thanks - John Hudson ******************************************************** |\ John Hudson Richmond School District | \ British Columbia, Canada | (604) 668-6660 (Fax: 668-6666) M usic specialist John_Hudson@richmond.sd38.bc.ca ******************************************************** __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 01 30 11:31:39 1996 Date: Tue, 30 Jan 1996 08:26:34 -0500 To: aesthetics@indiana.edu From: "Julie C. Van Camp" (by way of dom lopes ) Subject: Aesthetics: Gallery Director Position (fwd) GALLERY DIRECTOR/MUSEUM STUDIES UNIVERSITY OF FLORIDA. Assistant Professor. Tenure Earning. Salary Commensurate w/experience and qualifications. Start August 1996. Conduct all aspects of a rigorous exhibition program for University Gallery and two smaller, subsidiary galleries; teach in the Department's Museum Studies program. Primary focus of the University Gallery is on contemporary art, the satellite galleries focus on international and non-western art and works associated with Department's instructional programs. Director has responsibility for supervision of support staff, coordination of visiting artist/scholars program, budgets, promotion and publicity. Fundraising activities include of grants and support-group activities. Requirements: Gallery or museum experience at administrative level; evidence of successful contemporary exhibitions program; experience in curation, budgets; organization, writing and communication; resource development; public outreach; and ability to teach courses in Museum Studies Program. MFA, PhD or equivalent. A/D March 1, 1996. Submit: letter of application, CV, representative publications/exhibition catalogs; twenty slides and/or appropriate documentation of exhibition installations; names, addresses and telephone numbers of three references; and SASE to: John Catterall, Chairman Department of Art, Ref: Gallery Director/Museum Studies Search, 302 FAC, University of Florida, Gainesville, Florida 32611. AA, EOE,WMA. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 05 11:32:32 1996 From: "Paul G. Beidler" Subject: Aesthetics: Illustrated Books on the Web To: VICTORIA%IUBVM.BITNET@uga.cc.uga.edu, C18-L@PSUVM.PSU.EDU, NASSR-L@wvnvm.wvnet.edu (NASSR), aesthetics@indiana.edu (aesthetics) Date: Wed, 31 Jan 1996 22:56:18 +73900 (EST) I'm collecting URLs for illustrated books that are available for reading and viewing on the web. I would like to be able to compare the strategies people have used to deal with the image/text problem. So if you know of any innovative attempts, please let me know. Many thanks in advance. Paul G. Beidler pbeidler@epas.utoronto.ca __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 06 10:01:33 1996 Date: Tue, 06 Feb 1996 14:12:54 +0000 From: kollos@cavehill.dnet.co.uk (Jonathan Walker) To: tdemarco@email.gc.cuny.edu CC: aesthetics@indiana.edu Subject: Aesthetics: Re: Muscial Aesthetics Syllabus tdemarco@email.gc.cuny.edu wrote: > > Dear Professor Walker, > I noticed that in Week 4 "Musical > Practices" you include improvisation as a topic. I am > interested to knowwhat you read about this topic, and >what is discussed about improvisation. (I am forwarding this to the list even though it is primarily personal correspondance; if it helps to revive flagging discussion on the list, it has served a purpose.) The article I linked to this topic was: The History of Remembered Innovation, José A. Bowen The Journal of Musicology, Vol. 11/2 (1993) I would expect, though, that you are already familiar with this; have you made contact with Bowen? I don't know where he's located at the moment, so perhaps he's even your supervisor. Apart from this, I am intending to write something on the subject myself eventually, but I suppose I could part with some critical notes on Bowen if you are interested (please acknowledge the source), since I expressed some important reservations concerning parts of his argument when I discussed improvisation with my students. As you will have seen from the syllabus, the discussion in week 4 takes place in the context of a longer treatment of the work-concept in music; after dealing with the various philosophical difficulties involved in pinning down that elusive notion, I wanted to emphasise to my students that musical works constitute only a tiny portion of the universe of musical practice. I discussed the great variety in the assignment of freedom and fixity to different musical parameters in other musical cultures. Indeed, I suggested that our own conception of improvisation was mainly defined in opposition to the work-concept, and that it is therefore likely to distort our study of other musical cultures if we do not treat it with circumspection. One focus of interest in this discussion was the ambivalent position occupied by jazz: since it emerged in a musical environment which itself was partly shaped by the musical work-concept, it took on certain elements of work-hood (Art Tatum, for example, came close to creating works); the institutions of music publication and of copyright sheets also helped shape jazz. This is to say that the work-concept is not completely inappropriate to discussions of jazz, whereas to import it into discussions of most other musical traditions would simply signal a fundamental misunderstanding. I wonder if you have considered the unusual degree of fixity, together with complexity, which characterises gamelan pieces? This is perhaps unrivalled outside of notated traditions. On the other hand, the presence of the musical work-concept no doubt brought about the most extreme departure from fixity, by way of reaction, in some of the "free jazz" of the last three or so decades.No other musical tradition I know of allows so much freedom, so I think that the element of reaction is of much significance here (I don't want to exaggerate this: we all know to an extent what Cecil Taylor will and won't do during a performance). I hope these scattered thoughts may be of some use; feel welcome to take this discussion further. I also ran a practical course in improvisation, and can send on details of this if you are interested; unfortunately it is no longer running due to a departmental imperative, requiring the rather sprawling list of degree course options to be pared down; the Musical Aesthetics course is still running though. By the way, I'm not "Professor" Walker, and unhappy finances at my university have served to cut down my teaching to a very meagre part-time schedule, so you needn't bother with courtesy titles. Again, do please acknowledge anything that might be of use. Good luck with the thesis, Best wishes, Jonathan Walker Queen's University Belfast U.K. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 06 10:01:04 1996 Date: Mon, 05 Feb 1996 21:43:42 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: ASA Pacific Division Meeting American Society for Aesthetics Pacific Division Meeting April 3-5, Pacific Grove, California The Pacific Division of the ASA will hold its annual meeting at the Asilomar Conference Center in Pacific Grove, California. The program will include sessions on aesthetic universals, popular culture and politics, the meaning and value of music, and the aesthetic significance of ugliness. Thursday evening we will hear a live performance of selections from an opera by Jean-Jacques Rousseau. The conference grounds are situated on the Pacific with easy access to the beach and dunes. Monterey, Carmel, Point lobos, Big Sur, Santa Cruz and San Jose are short drives away. San Francisco and Berkeley are 130 miles to the north. The conference fee is $163 for a shared room or $257 for a single room. The fee included two nights' lodging, six meals, coffee, snacks, and a wine and cheese reception. For those choosing not to stay on the conference grounds the fee is $25 plus a daily fee of $7 for use of the facilities. ****** All fees must be paid in full by February 28 ****** For a registration form contact: Sally Markowitz Philosophy Willamette University 900 State Street Salem OR 97301 office: (503) 370-6428 smarkowi@willamette.edu a copy of this notice is kept on Aesthetics On-Line http://www.indiana.edu/~asanl __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 06 14:20:43 1996 Date: Tue, 6 Feb 1996 14:09:53 -0500 (EST) From: Hock-Jiuan Heng To: aesthetics@indiana.edu Subject: Aesthetics: Chinese aesthetics I am writing a dissertation on the hermeneutic problems involved in understanding Chinese painting, and would love to hear about/from others working in this field (poetics, philosophy, aesthetics, music theory). Many thanks! __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 08 12:44:41 1996 Date: Thu, 08 Feb 1996 09:31:06 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: Bad Writing Contest The listserv PHIL-LIT is once again running the Bad Writing Contest. Please cross-post the following message on related lists for literary theory, philosophy, etc. --Denis Dutton ********************************* The PHIL-LIT Bad Writing Contest The challenge of the PHIL-LIT Bad Writing Contest is to come up with the ugliest, most stylistically awful single sentence--or string of up to no more than three sentences--out of a scholarly book or article. Ordinary journalism, fiction, etc. not allowed, nor is *translation* from other languages into English. Entries must be non-ironic, from actual serious academic journals or books--parodies cannot be admitted in a field where unintentional self-parody is so rampant. Winning entries will be checked by our research staff before prizes are awarded. Judging will be by the PHIL-LIT list founders David Gershom Myers and Denis Dutton. The winning entrant will have first choice from among the following books, second prize will be second choice, and third will have what remains. The three prize books are: A Pitch of Philosophy, by Stanley Cavell (Harvard), Strolls with Pushkin, by Andrei Sinyavsky (Yale), and Hyper/Text/Theory, edited by George P. Landow (Johns Hopkins). This is a serious contest, and an offensive one, we hope. We've fine prizes, so join the fun! Please use the subject heading "Bad writing entry" and copy the posting directly to Denis Dutton so we can keep track of the entries: d.dutton@fina.canterbury.ac.nz. The contest deadline: 1 March 1996. ********************** Anyone may join PHIL-LIT by sending the message SUBSCRIBE PHIL-LIT Your Name to: LISTSERV@TAMVM1.TAMU.EDU ********************** Dr. Denis Dutton Senior Lecturer in the Philosophy of Art Editor, Philosophy and Literature University of Canterbury Christchurch, New Zealand Phone: (03) 366-7001 Fax: (03) 364-2858 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 12 11:29:38 1996 Date: Mon, 12 Feb 1996 14:22:31 GMT+1000 From: Dan Vine Subject: Aesthetics: Aesthetics and pubic hair To: aesthetics@indiana.edu Greetings, I have two seemingly frivolous, even prurient questions: 1. What is the earliest painting in which pubic hair makes an appearance? Even Manet's _Olympia_ and _Dejeuner sur l'herbe_ scandalous enough in their own time baulk at that degree of realism. 2. Does anyone know the status or, better still, a source for the story that Ruskin was rendered impotent on his wedding night by the discovery that his wife had pubic hair? My supervisor thinks this malicious gossip and I am inclined to agree. However I am malicious enough to hope that it is not merely malicious. Actually my motives are not entirely prurient as am writing my PhD thesis on the peculiar problems raised for disinterestedness accounts of aesthetic judgement by the nude in art. Any answers would be gratefully received and duly acknowledged. Dan Vine Dan.Vine@arts.monash.edu.au Philosophy Department Monash University CLAYTON, Victoria http://www.monash.edu.au/cc/student/phi/phi246b/WWW __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 13 12:04:28 1996 Date: Tue, 13 Feb 1996 11:36:29 -0500 To: aesthetics@indiana.edu From: U Haase (by way of dom lopes ) Subject: Aesthetics: BSP Conference 1996 Announcement: The 1996 Annual Conference of the BRITISH SOCIETY FOR PHENOMENOLOGY will take place from the 29th to the 31st of March at St. Edmund Hall, Oxford. The theme of the conference is OF TRAGEDY. For further information contact: Dr. Joanna Hodge Manchester Metropolitan University Dept. of Politics and Philosophy Manchester M15 6BR THE PROGRAMME is as follows: Friday, 29th of March: 4.00 p.m. Tea and Reception 7.45 p.m.Dr. Nicholas Davey (Dundee) "Nietzsche's Transformation of the Tragic: From Spectacle to Redemption" Saturday, 30th of March: 9.30 a.m.Dr. Gordon Finlayson (York) "Aeschylos' Eumenides: the Politics of Persuasion" 11.30 a.m.Dr. Helen Chapman (Staffordshire) "Divine Remembrence: Hoelderlin, Nancy, and the Tragedy of Modernity" 5.00 p.m.Dr. Andrew Benjamin (Warwick) "Reviewing Trauerspiel: Walter Benjamin's The Origins of German Tragic Drama" 8.30 p.m.Professor Jacques Taminiaux (Louvain la Neuf) "Heidegger's two readings of Antigone" Sunday, 31st of March 9.30 a.m. Dr. Sara Beardsworth (North London) "From Tragedy to Abjection" 11.30 a.m.Professor Howard Caygill (Goldsmith College) "The Tragedy of Birth" Ullrich Haase Manchester Metropolitan University Dept. of Politics and Philosophy Cavendish Street, Manchester M15 6BR, UK Tel.: 0161-2473029; Fax.: 0161-2476312 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 02 19 16:24:20 1996 From: Mr C A Lyas Subject: Aesthetics: Frank Sibley To: aesthetics@indiana.edu Date: Mon, 19 Feb 1996 20:23:54 +0000 (GMT) You will all be sad to hear that Frank Sibley died on Sunday evening after a long illness. A memorial service will be held at a time I will communicate via this conference. Colin Lyas __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 03 20 12:06:43 1996 Date: Wed, 20 Mar 1996 09:19:47 -0500 To: aesthetics@indiana.edu From: Stephen Clark (by way of dom lopes ) Subject: Aesthetics: aesthetics and religion (fr humanist) > Date: Mon, 18 Mar 96 13:15:18 +0000 > From: iuc@grup.upf.es > Subject: Aesthetics and Religion > > Item Subject: Texto Mensaje > INTERNATIONAL SYMPOSIUM: "AESTHETICS AND RELIGION" > > The International Symposium on Aesthetics and Religion, which will take pla= > ce in > Barcelona on October 3, 4, and 5, 1996, at Pompeu Fabra University, will ha= > ve as > its goal the bringing together of scholars to discuss such topics of resear= > ch > as: "The Sensitive and the Invisible", "Voice and Prayer", "Body Language a= > nd > Ritual Dance", "The Word", and "Symbolism and Traditional Arts". > > Abstracts will be accepted in each of the different sections until March 30= > .. > Once the registration has been formalized, participants will receive the > schedule and format of the presentations, as well as other supplementary > information (hotels, travel advice, etc.). > > Persons interested in participating should fill out a registration form wit= > h > their personal information (name, address, etc.) and send it, along with an > abstract of their paper and a photocopy of the appropriate bank transfer, t= > o the > address indicated in this announcement. > > > > ORGANIZING INSTITUTIONS: > Institut Universitari de Cultura (UPF) > Sociedad Espa=F1ola de Ciencias de las Religiones (SECR) > > > COLLABORATING INSTITUTIONS: > Generalitat de Catalunya > Institut d'Humanitats de Barcelona > Istituto Italiano per il Medio ed Estremo Oriente di Roma (ISMEO) > > > TOPICS: > The Sensitive & the Invisible > Voice & Prayer > Body Language & Ritual Dance > The Word > Simbolism & Traditional Arts > > > CONFERENCE VENUE: > Pompeu Fabra University (Barcelona, Spain) > > DATE OF THE SYMPOSIUM: > October 3rd-5th 1996 > > > METHOD OF PAYMENT: > Payments must be made to Pompeu Fabra University by means of a bank transfe= > r, > stating the name of the person being registered to: > > Caixa d'Estalvis de Catalunya > C/c: 2013-0490-02-001506-69 > > Comunications: 15.000 pts. > Comunications (S.E.C.R.): 10.000 pts. > Attendants: 8.000 pts. > > Participants presenting a paper must send a photocopy of the bank transfer,= > a > registration form and an abstract of their speech before the 30th of March = > 1996. > Participants registered as attendants can send the above mentioned document= > s > until the 1st of june 1996. > > ___________________________________________________ > SEND ABSTRACTS TO: > > Prof. Amador Vega > Institut Universitari de Cultura > C/ Balmes, 132 > 08008 Barcelona (Spain) > > Fax: 34 (9)3 542 16 20 > > http://www.upf.es/iuc/index.html > mailto:iuc@grup.upf.es > __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 03 25 09:45:47 1996 Date: Mon, 25 Mar 1996 09:35:37 -0500 (EST) To: aesthetics@indiana.edu From: Sarah Rubidge Subject: Aesthetics: various 1) Does anyone on the list have experience of research degrees (M.Phil/PhD) which include practical elements (music, theatre, fine art, dance) as part of their presentation? If so I would be interested to find out what kind/s of structures are in place for, say, a thesis which addressed the philosophical issues which arose from a particular practice, or particular practices, of making art, theatre, music or dance works, and which include the results of that practice, as a portfolio, as part of the final presentation. 2)Also - does anyone out there have any references for articles written by the painter Philip Guston. The titles of any articles, etc by this man would be most welcome. thanking you in anticipation sarah _________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 03 27 18:45:24 1996 Date: Wed, 27 Mar 1996 18:09:06 -0500 (EST) From: Michael John Kelly To: aesthetics@indiana.edu Subject: Aesthetics: "People's Choice" survey I recently mailed out copies of the Komar and Melamid "People's Choice" survey to all the members of the ASA. Please return your answered surveys to me as soon as possible so I can proceed with the next steps in preparation for the 1996 ASA meeting in Montreal in October (steps which are explained in my cover letter to the survey). If any ASA members do not receive their survey within the next week, please let me know and I will correct any errors. Thanks for your cooperation. Michael Kelly __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 11 14:21:15 1996 Date: Thu, 11 Apr 1996 15:10:38 -0400 (EDT) From: Evan Cameron To: aesthetics@indiana.edu Subject: Aesthetics: Emendation: Film & Philosophy To anyone reading Volume II (1995) of FILM & PHILOSOPHY: the formula on page 93 which concludes the sentence beginning "Unfortunately, the intuitionists wished at the same time to retain the Law of Contradiction ..." should be enclosed in parentheses and preceded by a negation sign. Inserting the three signs, omitted inadvertently through a printer's error (I presume), will at least render the sentence intelligible to careful readers. Evan William CameronTelephone: 416-736-5149 York University - CFT 216 (Film)Fax: 416-736-5710 4700 Keele StreetE-mail: ewc@yorku.ca North York, Ontario Canada M3J 1P3 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 15 09:42:19 1996 Date: Mon, 15 Apr 1996 15:30:48 +0200 To: aesthetics@indiana.edu From: omar sharif Subject: Aesthetics: Aethetics and Architecture Hello, Could someone please supply me with some information about books, articles, web sites, etc that deal specifically with the aesthetics of architecture? I'm trying to conduct some research on the topic and would be very grateful for some hints. Thank you. omar __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 16 10:46:32 1996 Date: Mon, 15 Apr 1996 22:55:31 -0700 (PDT) From: Ernie Floyd Subject: Aesthetics: The Tao of Architecture To: aesthetics@indiana.edu The book is by Amos Ih Tiao Chang. I haven't read it yet but it seems that it might connect with some of my current muddy thoughts, so thanks for the tip. Ernie Floyd, Berkeley __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 18 14:25:17 1996 From: Mr C A Lyas Subject: Aesthetics: aesthetics reading To: aesthetics@indiana.edu Date: Thu, 18 Apr 1996 18:36:24 +0100 (BST) I've read the requests for advice on aesthetics introductions with fascination since I've just completed a commission to write an introduction to aesthetics to be published "world-wide" as they say, later this year. What interested me was that I wrote it in precisely the spirit that those who asked for introductory readings clearly had in mind (which was a relief!). You'll find all the big names given an exposition and an original discussion. All the topics are dealt with and I hope everyone will enjoy the annotated reading advice sections - arranged by degree of difficulty and covering everything up to 1996. It was fun doing it and I anted it to be highly instructive fun reading it. Let me have any comments and advice for future editions. I have a hunch that it is possible to write for a general audience and for professionals: let me know whether I've done it. Best regards, Colin Lyas __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 22 16:25:50 1996 Date: Mon, 22 Apr 1996 22:47:20 +0200 To: aesthetics@indiana.edu From: Jianping.Gao@estetik.uu.se (Gao Jianping) Subject: Aesthetics: Ask about Jack Spector Sorry to bother you. I want to contact with Prof. Jack J. Spector, the author of "The Aesthetics of Freud." If any of you know him, please give me his address or tell him my address. Many thanks. Jianping Gao ____________________ | Gao Jianping | | Amanuesvägen 5-401 | | S-104 05 Stockholm | | Phone & Fax: | | 46-8-165672 (home)| | Fax: | | 46-18-181589 (work)| -------------------- __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 22 18:57:28 1996 Date: Mon, 22 Apr 1996 17:57:07 -0400 (EDT) From: Michael John Kelly To: dom lopes cc: aesthetics@indiana.edu Subject: Aesthetics: Re: "People's Choice" Survey This is just a reminder to all ASA members who received a copy of the "People's Choice" survey via regular mail to send it back as soon as possible so we can begin to compile the results. The results will be represnted in paintings and discussed in words at the ASA meeting in Montreal in October. Thank you all for your cooperation. Michael Kelly __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 24 13:37:37 1996 Date: Wed, 24 Apr 1996 10:37:08 -0700 (MST) From: henry Subject: Aesthetics: Batesonian Aesthetics? To: aesthetics@indiana.edu deLurking just long enough to ask if there are any people on the list with an interest in the notions of aesthetics that were being explored by Gregory Bateson. thanks henry __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 24 14:13:32 1996 Date: Wed, 24 Apr 1996 13:56:07 -0500 To: aesthetics@indiana.edu From: dom lopes Subject: Aesthetics: names as artworks Something from the paper to think about as you grade (or take) finals: A certain five-year-old Swede may have a tough time learning to spell his name. For although it is pronounced Albin, his parents have decided it must be written: Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb11116. ... A district court fined Albin's [sic] parents $680 for not giving their son a first name.... The court had rejected the parents' name for the five-year-old despite their plea that the name was a "pregnant, expressionistic development that we see as an artistic creation." The parents said they would appeal. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 24 15:37:45 1996 Date: Wed, 24 Apr 1996 15:02:44 -0500 (EST) From: Lyle Neff To: aesthetics@indiana.edu Subject: Re: Aesthetics: names as artworks On Wed, 24 Apr 1996, dom lopes wrote: > Something from the paper to think about as you grade (or take) > finals: > > For although it is pronounced Albin, his parents have decided it > must be written: Brfxxccxxmnpcccclllmmnprxvclmnckssqlbb11116. That's much more of a stretch than the person Tom Lehrer called "Henry", spelled, "Hen3ry" -- the three is silent, you see. :) Lyle Neff, lneff@indiana.edu, Ph.D. Candidate, Musicology, Indiana University http://copper.ucs.indiana.edu/~lneff/home.html (with Libretto Homepage) **** "There are positively no historical documents of any kind on the **** **** existence of water-nymphs." Cesar Cui, 1856 **** __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 29 11:22:32 1996 Date: Mon, 29 Apr 1996 09:35:04 -0500 (EST) From: Lyle Neff To: aesthetics@indiana.edu Subject: Aesthetics: Re: query about junk mail There was a question last week from someone who had received junk mail for being a subscriber to this list; I've had that same problem. Someone named Ron on newsnet uses this as his signature: =============================================================== Anyone who sends unsolicited, commercially-oriented email to this address consents, by that act, to pay me $100 per line for proofreading services. The rate is $1000 per line for messages describing pyramid schemes or other scams. =============================================================== Maybe the rest of us should adopt it? (What good it would do, I don't know; most of the unsolicited e-mail I get has fake "from" addresses.) Lyle Neff, lneff@indiana.edu, Ph.D. Candidate, Musicology, Indiana University http://copper.ucs.indiana.edu/~lneff/home.html (with Libretto Homepage) **** "There are positively no historical documents of any kind on the **** **** existence of water-nymphs." Cesar Cui, 1856 **** __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 29 15:33:15 1996 From: "Franklin, Margery B." To: owner-aesthetics@indiana.edu Subject: Aesthetics: Batesonian Aesthetics? Date: Mon, 29 Apr 96 12:38:00 PDT Yes, I'd be interested in knowing which of Bateson's ideas/writings you are exploring, and in relation to which questions/issues...Margery Franklin ________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 04 29 17:47:26 1996 Date: Mon, 29 Apr 1996 15:53:09 CST From: "Albert W. Hayward C863HUP@SEMOVM.SEMO.EDU" To: Subject: Aesthetics: My response to junk mail In response to junk mail or advertising I send the following notice. I have read of individuals who have won in court against telephone sales people who did not respond to billing notices. Of course the party must be duly notified of an intent to bill for services: Please do not send further advertisements to this email account. As a professional my time is valuable, and I do not read unsolicited advertisements without charging a reasonable fee for my time. Rates for reading unsolicited advertisements are as follows. $120 per hour, 10 minute miminum charge of $20.00. This is the only notice you will receive. If further advertisements are received from you I will assume you accept these terms. Billing will be automatic, followed by demand for payment, followed by notice of nonpayment, and notification of appropriate credit reporting agencies. This notice does not preclude legal action taken to recover debts. Rates are subject to change. Albert Hayward, Philosophy S.E. Missouri State Univ. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 02 15:14:36 1996 Date: Thu, 02 May 1996 14:13:55 -0500 To: aesthetics@indiana.edu From: Eduard Fuehr (by way of dom lopes ) Subject: Aesthetics: upcoming architecture conference Symposium: Architecture in the Realm between Art and Everyday Life June 20th - June 21st, 1996 Universitaet, Cottbus, Germany URL:http://www.theo.tu-cottbus.de/symp.html Thank you very much Eduard __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 02 17:05:27 1996 Date: Thu, 02 May 1996 16:56:40 -0500 To: aesthetics@indiana.edu, phil-lit@tamvm1.tamu.edu, musical-aesthetics@mailbase.ac.uk From: dom lopes Subject: Aesthetics: textbook reviews wanted The American Society for Aesthetics Newsletter is looking for reviews of the following new textbooks in aesthetics/philosophy of art. Reviews by those who have used these texts in class would be preferred. However, this is not a hard and fast rule, especially since some of these books are just published. Reviews should be 1500 to 2500 words in length. Please contact me if you'd like to author a review. dom lopes dlopes@indiana.edu 1. Kathleen M. Higgins, ed. Aesthetics in Perspective (Harcourt Brace 1996). 2. Dabney Townsend, ed. Aesthetics: Classic Readings from the Western Tradition (Jones and Bartlett 1996). 3. Alex Neill and Aaron Ridley, eds. The Philosophy of Art: Readings Ancient and Modern (McGraw-Hill 1995). 4. Alex Neill and Aaron Ridley, eds. Arguing about Art: Contemporary Philosophical Debates (McGraw-Hill 1995). 5. John Bender and Gene Blocker, ed. Contemporary Philosophy of Art (Prentice-Hall 1993). 6. John Andrew Fisher, Reflecting on Art (Mayfield 1993). __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 04 09:26:26 1996 Date: Sat, 04 May 1996 15:49:11 +1200 From: Denis Dutton Subject: Aesthetics: The Traffic in Culture To: aesthetics@indiana.edu The following review can be found in the current issue of _Philosophy and Literature_ (April 1996, pp. 283-92). It appears here with permission and may be freely copied on the internet or downloaded for personal use; other paper reprint rights require further permission . _Philosophy and Literature_ is published by the Johns Hopkins University Press. Information at 1-800-548-1784 or jlorder@jhunix.hcf.jhu.edu. Copyright JHUP 1996. (I formatted this so it could go onto the anthropologists' list, but then it struck me that some aestheticians might be interested too.--D.D.) ****************************************************** Heavy Traffic by Denis Dutton It was the Reverend Sidney Smith who said, "I never read a book before reviewing it; it prejudices a man so." Thirty years ago that remark was still a joke. These days, it's a downright plausible idea, one with a distinctly postmodern ring. If the objects of experience are nothing but constructions, inventions of our cultures and mind-sets, that must go as well for all the books we read--including those books which urge this fact on us. To read them is to construct them, to write them for yourself. But wait--that can't be a fact, because facts are just prejudices too. Takes your breath away to realize how far scholarship has come. These thoughts drifted through my mind reading _The Traffic in Culture: Refiguring Art and Anthropology_, edited by George E. Marcus and Fred R. Myers (University of California Press, $48.00 cloth, $17.95 paper). It comprises a long introduction plus eleven chapters which "explore the boundaries and affinities between art, anthropology, representation, and culture, casting a critical, ethnographic light on the art worlds of the contemporary West and the ways they give value to cultural form--in short, a 'traffic' in culture." It is not easy to make out a consistent thread in the essays themselves. Carol Vance offers a fine discussion in the form of four small essays on censorship, the NEA, Jesse Helms, and so forth. There is no discernible connection with anthropology, and I cannot see why these pieces are included. Nancy Sullivan, described as a Ph.D candidate in Fred R. Myers's NYU anthropology department, struggles with her cumbersome account of the artworld in the last generation. Again, I can detect no hint of how anthropology has helped her understand the artworld. Hal Foster makes a cameo appearance of only a few pages, a kind of postmodern arabesque with lots of big words. Christopher B. Steiner revisits material presented in his book, _African Art in Transit_, which is squarely in the field, and Steven Feld agonizes about appropriation of world music into commercial music business while telling some interesting tales about a radio program he produced of music from Papua New Guinea. The feminist Judith L. Goldstein does a late-capitalist, "late-postmodernist" job on women's makeup, with much reliance on Fredric Jameson but no anthropology I can discern, despite the fact that she gave a version of it at an American Anthropological Association conference. If we really have reached "late-postmodernism" we can only be thankful. Molly H. Mullin's account of the nineteenth- and early twentieth-century enthusiasm for American Indian artifacts, on the other hand, may begin with cliches about "elite responses to the rise of consumer capitalism," but it soon settles down to a solid account of the people and problems of trying to achieve recognition of Indian handicrafts as art. This was made possible, we learn, by much devoted work from people who were multiculturalists before the word existed, white Americans whose actions were based on a love of Indian cultures and arts, rather than postcolonial theory and the school of resentment. All the issues of art vs. craft, the relation of tourism to artistic development, authenticity, and so on, were raised in the 1920s and 30s, with sophistication not often seen today. But to figure out how it all is supposed to tie together, we have to turn to the book's explanatory introduction. This is so turgidly vague that when I was done I felt like invoicing the authors for my time. These pages are peppered with half-assertions I'd half want to dispute if their meaning were plainer, and a few that are plain enough to be flat-out wrong. Among many examples: "Ironically, the very category of 'art'--as opposed to 'the arts'--goes unexamined in its own hierarchies of sense, so that various forms of popular performance, in which disinterested contemplation does not necessarily reign supreme, are excluded." Excluded? Notice that irritating passive voice: who, I'd like to know, has left popular performance unexamined and excluded? What are "hierarchies of sense"? The sentence carries no reference. In any reasonable interpretation of the terms, it's false: popular performances--from New Guinea to Bali to Africa are studied everywhere by anthropologists, ethnomusicologists, and others. As Molly Mullin hasalready made clear, it's not as though no one cared about the folk, popular arts, and classical arts of non-Western cultures till postmodernism and the contributors to this book came along. Marcus and Myers propose "a renegotiation of the relationship between art and anthropology." They want to open a new "discursive space," to challenge "hegemonies" which are "implicated" when they aren't being "inscribed" or "valorized." The emphasis in the book is constructionist: in their research Marcus and Myers are "constituting art worlds and their discursive fields as conventional"; the "primitive" is a construction, and so, according to Derrida, is Levi-Strauss's "romantic representation of pre-contact Amazonian Indians"; artworlds "make art"; artwriting constructs art, and moreover, "has created its own channels of appropriating anthropology's constructions of distinctive difference as a source of value and critique"; and ever since Kant's positing of an autonomous aesthetic domain, "the culturally constructed boundaries between aesthetics and the rest of culture have been neither stable nor neutral." Such delusions of omnipotence--hand-me-down assertions that criticism makes art, cultures are constructed by anthropologists, the conventionality of art is "constituted" by Marcus and Myers, and so on--feed the overweening sense of self-importance that pervades this introduction: we academics invent words, we make worlds. This is played over a kind of ostinato bass: universal artistic values are bad, essentialism is bad, primitivism is bad, and a distinction between high and low culture is bad. And if you have any doubts about this, it's all be proven by important people: "see Clifford 1988; Derrida 1977; Foucault 1971, 1973: Said 1978; Trinh 1989: Torgovnick 1990." In his own chapter, Fred R. Myers is not always so pretentious; at least he is fulfilling the intentions of the book in discussing the marketing and critical reception of Aboriginal acrylic paintings in America. Myers has spent time in central Australia and when he writes of the Aboriginal artists he has known he does so with affection. Despite his reliance on postmodernist rhetoric and jargon, Myers does have something substantial to say. On the one hand, the appeal of Aboriginal paintings is bound up with a romantic conception of the primitive and with the idea that this work is rooted in a place, a land, and an ancient culture. New York art-types go for this sort of thing. The paintings also superficially resemble abstract expressionism, and their ready acceptance in commercial galleries is related to this accident as well. But the resulting enthusiasm for the acrylics is tempered by doubts from many quarters about whether the paintings are adapted to a Western market, adulterated with European conceptions. There is also the suspicion that the commerce in this art represents an exploitation of naive Aboriginal people. He reviews the different attitudes toward Aboriginal art, ranging from effusive promotion to those who denounce any Western regard for the work as oriented "for the gaze of the colonizer and on terms and conditions set by the dominant culture." I wish Myers dared to take a more robust stand on some of these issues, but he plays tolerant, neutral reporter. Especially intriguing to me are remarks by the _New York Times_ critic Roberta Smith, who judged a 1988 exhibition of Aboriginal acrylics as "not work that overwhelms you with its visual power or with its rage for power; it all seems familiar and manageable." As for understanding the narrative elements which the paintings represent, "The more you read, the better things look, but they never look good enough." Myers suggests that Smith is falling back on "formalist conventions," which assess paintings according to how they organize "color and other values on a two dimensional surface." But is Smith right that these paintings somehow "never look good enough"? I suspect there is an element of truth here: too many of the acrylics are merely nice without achieving the power of, say, some New Guinea basket hooks or African masks. Is this because the cultural loading of Aboriginal work is so great that formal demands, complicated by the use of European colors, never quite receive enough attention? I don't know, but I wish I did; Myers just changes the subject. Barbara Kirschenblatt-Gimblett is not as wide-ranging as Myers, setting her sights on a wonderfully deserving target: Peter Sellers, not the lamented comedian, but the flamboyant impresario of the 1990 multinational arts festival in Los Angeles. Her message is that by failing to give viewers adequate contextual background, the festival organizers treated performances of international groups as modernist aesthetic events--happenings, so to speak. Even if this wasn't the express policy of the organizers, it was the inevitable outcome of their policies, especially as espoused by Sellers, who rejected academic knowledge to help viewers understand the events, offering instead an unmediated aesthetic experience free of what Sellers called "cultural baggage." (For cultural baggage, read "knowing something.") The most memorable passages of Kirschenblatt-Gimblett's article are simply quotations from Sellers: "One of the aims of the Festival was to remove forever the concept of ethnomusicology and ethnic studies, which at its core is offensive, and to move to another level where we didn't have to have any special parentheses around things." As for so-called experts who think they know something about those societies, Sellers says, "You're not Samoan. You can't know." On criticism: "People in those societies don't sit around explaining everything....What about societies where the highest point is in the performance, in the dance, not in talking about it afterwards?" Sellers's words betray a disconcerting confluence of attitudes you don't expect to find together, something like being a vegetarian hand-gun collector. On one side, he's anti-academic and anti-intellectual: this is a people's festival and we're not going to be lectured by a bunch of professors. Fair enough, except that it's tied, on the other side, to an ideologically correct version of multicultural politics: you can't know...you're not Samoan and anything you tried to say about Samoans would be essentializing and hegemonic, so sit down, shut up, and watch the Samoans dance. It's mildly pleasing to see such multicultural pieties spewed back at the academy, except that Sellers really is insufferable: "People had to look at stuff they did not know how to react to. That began to be an authentic experience." As Kirschenblatt-Gimblett nicely points out, this equates watching a dance of ritual healers from the Chindo Islands of Korea with watching an unintelligible avant-garde performance (I always think of _Last Year At Marienbad_). "Aficionados of avant-garde and experimental performance," she says, "can sit and watch something they don't 'understand' because of what they have unlearn--namely, the expectations, attitudes, values, and sensibility associated with establishment art forms." It is this unlearning we apply to Dada cabarets, Bauhaus puppetry, theatre of the absurd, happenings, postmodern dance, and so forth. This is hardly an acceptable model for relatively naive audiences in their first exposure to foreign musics and dance forms. Nor does it show any real respect to the performers and their cultures. The only thing authentic in such an exercise is the puzzlement it inevitably induces. Lynn M. Hart, a psychologist at the University of Montreal, writes about how paintings made by women in Uttar Pradesh are seen in different contexts. She describes the women artists in their working environment; then the appearance of one such painting in a "North American" dining-room; thence to the exhibition of another of these jyonti paintings in the Magiciens de la terre show in the Pompidou Center in Paris in 1989. Just so we won't get the wrong idea she uses "producer" instead of "artist" and "visual image" instead of "art." This is because li'l ol' ethnocentric you might otherwise have trouble appreciating that "the images and patterns themselves are based on religion, ritual, and mythic themes and derive their meaning-and their power-from the religious contexts of their production and use." (Aren't foreigners weird!) The regional aesthetic principles of this art are "different from standard Western aesthetics." The excellence of the works from an indigenous perspective "is seen to lie in the closeness of the central symbol's approximation to an ideal image, with special attention paid to the style, technique, and materials used. It is important to re-present the symbols used in an adequate way, not to improve upon them, though at the same time the image on the wall should be as beautiful and pleasing as possible"--and on it goes, all "quite distinct from Western aesthetic canons." Is it now? Has Hart ever considered the history of European art in the Middle Ages? Religious folk arts and women's arts of Europe for the three centuries prior to the present one, or the "visual images" of the Greeks, for that matter? The theology might be different, but there's not one thing she describes that can't be found in "Western aesthetics." Hart objects to the opposition between art and craft, "with art valorized and displayed in the art museum while craft, shown in the ethnographic museum, is devalorized." As for genius vs. anonymous producer, unique image vs. repetition, etc., Hart explains, "the first characteristic in each opposition is valorized while the second is devalorized"; she wants to go "beyond merely trying to reverse the pattern of valorization so that the devalorized characteristics become valorized." She thinks, along with every undergraduate who can parrot Derrida, that we should stop valorizing the very opposition itself. Now while I would not want to devalorize the valorization of devalorizing art, and would be even more reluctant to valorize the devalorization of valorizing craft, I'd like to know what would satisfy Professor Hart in all this tedious waffle. Her greatest pleasure seems to be not be jyonti paintings, nor in discussing significant theoretical issues, but in tearing strips of flesh off people who, not knowing as much as she knows, make little mistakes. The Pompidou Center curators identified the artist of their jyonti painting as "Bowa Devi," not realizing that "Devi" is an honorific, not a family name. Bowa Devi, Hart allows, would be all right in a village context, but in Paris it is an incomplete identification of little help to distinguish the artist from thousands of other Indian women. At extraordinary length, Hart explains how this prestigious art museum marked the work on the floor plan guide to the exhibit as, quel horreur, "B. Devi." Well, yes, the French do very often make hash of Indian names, but then lots of locals did it to me when I lived in India, and think of what we've all been doing to the Arabs and the Chinese for years. If belaboring such errors is the new traffic in culture, I regret to report it's nearly at a stand-still. Hart's carping about Magiciens de la terre is typical of other passages in The Traffic in Culture: any attention not paid to non-Western art is evidence of ethnocentrism. Any attention paid to non-Western art will be scoured till it is found that it is ethnocentric too. No matter what you do, some superior being, quite possibly a contributor to this anthology, will show you that--oh dear!--you've made a mess of things again. So Hart won't let go, recounting how the Pompidou curator remarks in his catalogue copy on the personal style of Bowa Devi, which is bad Western aesthetics at work, since personal style isn't that important to the female "visual image producers" of Uttar Pradesh. If he'd remarked on the strong personal style of other artists in the show, which he probably did, and had not said anything about Bowa Devi's, you can bet that would have been bad Western aesthetics too. Such pickiness also characterizes coeditor George E. Marcus's own meandering contribution reviewing an exhibition of contemporary American artists. Marcus has come to realize that there's more than a little bad faith among ambitious young artists: they want to be critical of capitalism and art-institution power structures, but also harbor desperate desires to be famous and powerful in the artworld. For their part, curators and rich collectors are happy to tidy sums for work which may be critical of an economic system that has made them what they are. Marcus drones on, pointlessly reproducing a long list of collectors and paintings they've bought which were lent to the Indianapolis show he writes about. What's the point in knowing that Don and Mera Rubell of New York are guilty of owning a Jeff Koons (_New Hoover Convertible_) and that Ruth and Jacob Bloom of Marina del Rey, California own a Chris Burden (_Warship_)? It's their money, and anyway the artists Marcus talks about seem to be the real poseurs and hypocrites, though you'll not find an hint of that idea here that isn't cloaked by Marcus in earnest euphemism. It's risible that he calls a quotation from Koons "naive"--sure, as naive as Rupert Murdoch, or Madonna. Nothing like a college professor calling a multimillionaire hustler naive. (By the way, if owning a Jeff Koons is some sort of criminal offense, it ought to be treated by the courts as I believe bigamy should be treated--no need for indictment or sentencing, as the crime is its own punishment.) But it is not just that these artists are co-opted, as they used to say, by the system; they also don't in Marcus's opinion pay enough attention to Otherness. The Other, of course, is that bloodless abstraction most cherished by angst-ridden academics. It is itself the ultimate essentialism, a postcolonial fetish in which the innumerable forms of human life which are not (genus) American (species) college professor, are melded into a focus for all of our guilt. In a discussion which includes far too many long, block quotations from other people (a lesson from Koons, perhaps), Marcus teaches us that if ambitious American artists would open their eyes to the Other, especially the Otherness of struggling third-world artists, it would be, uh...well, good for them. His "main point," when he finally gets around to it, "is that those artists who are interested in the critique of power relations within the high-culture art world might be interested in otherness, art marked by cultural, ethnic, and racial difference, or merely art excluded and unrecognized within this world, as a possible means of transforming those power relations." Indeed, they might be interested, but then again, maybe they don't give a hoot either about other cultures or about transforming power relations, especially if their paintings are being snapped up by the rich. Maybe their attitude toward the art of Otherness is that of the Aboriginal artist at the Metropolitan Museum in New York who, in Fred R. Myers's telling of the story, was informed that the Degas paintings were "not from the Dreaming." She simply decided they were therefore "rubbish." (A certain rugged integrity in that reaction, but it does show that New York artists do not have a monopoly on ethnocentrism.) In their introduction, Marcus and Myers ask, "what are the current conditions that make possible anthropological attention to Western art practices themselves?" Typically, they don't try to answer. So here is a start at specifying a few possible "conditions" for this "attention." First it's nice to have a regular paycheck and, for academics, a reasonable teaching load. Grants help. So much for the first condition. The second condition, or cause, is that anthropology has become one of the most desperate disciplines in the postmodern academy. The natives anthropologists used to study cannot be interviewed because they're busy watching reruns of _The Waltons_. Or they've moved to the city to become Pepsi salespersons and truck mechanics. What's worse, studying them is, as Peter Sellers says, offensive. What are anthropologists to do? Realizing that literary and art theory are fashionable, they decide to become "critical ethnographers" of the artworld, taken ("constituted") by them to stretch from Manhattan to Alice Springs and back to Rodeo Drive. They'll call what they're doing the "ethnographic avant-garde" (impressive jargon which might distract people from noticing the vapid amateurism of essays like Marcus's). They can then quote Foucault, Bourdieu, Derrida, Said, and especially one another, and make clear their opposition to orientalism, imperialism, so-called objectivity, disinterestedness, colonialism, racism--and even "late" capitalism, so long as they can still earn an occasional upgrade to business class. The jargon is important for effect: Myers's essay has a section entitled "My Textualization of Pintupi Practice," which is followed by "Other Textualizations." Funny, but it turns out that the section contains a description of Pintupi art-making, and the later section has descriptions by other people. But why "describe" something when you can "textualize" it? Sounds so much more important. If anthropologists work hard enough, like Marcus and Myers, they can write portentous things such as, "For what one might call an 'ethnographic avant-garde,' instead of 'whole' cultures of extreme difference in the contemporary world, whose codes and structures might be subject to perfect translation and interpretation, anthropology is faced now with an interpenetration of cultures, borders, hybrids, fragments, and the intractability of cultural difference to such authoritative interpretation....Heterogeneity has replaced pluralism. Anthropology, now aestheticized by modernism's conventions, can no longer provide a stable foundation for art's attempts to destabilize the West." If you'd like to know about the difference between heterogeneity and pluralism, what it means to aestheticize anthropology, if it's true that art ever tried to destabilize the West, or (my favorite) whoever thought that "perfect" translation between cultures was possible, don't expect to be told. Or if you insist, just "see Abu-Lughod 1993; Appadurai and Breckenridge 1988; Clifford 1988; Marcus and Fischer 1986; Myers 1988a; Rosaldo 1989; Taussig 1987." There is a significant muddle at the heart of Marcus's and Myers's project which they seem not to have noticed. They say that art and anthropology are "fundamentally overlapping discourse fields" because of their concern with culture and value, and we ought to "renegotiate" their relationship, bringing them closer together. Just as art is capable of "cultural critique," so anthropology should engage in "critical ethnographic studies." There is a difference, they admit: art is close to "large vectors of power and money," whereas "anthropology is relatively distant" from both. They don't explore this idea, and they should. True that art has rich superstars, still most artists aren't doing very well and use other work to support their art-making. Compared to this, the ten-thousand members of the American Anthropological Association look like a civil service, with only a few superstars, an unemployed underclass, and a large middle range of anthropologists on institutional salaries. But money is beside the point: Marcus and Myers should not be looking to art as their renegotiated analogue for anthropology, but art criticism, and to some extent art history. These writers are confused by supposing that art (a creative and imaginative enterprise) or the theory of art (a philosophical discipline) could be an adequate model for their new anthropology. To imagine that the plodding academic essays in _The Traffic in Culture_ bear even a distant resemblance to art, that they are capable of anything like the shocks, insights, and imaginative pleasures of art, is a ludicrous conceit. Art critics and historians, on the other hand, do in fact attempt to describe, explain, evaluate, and place into a larger cultural background the objects of their attention, as in rather different ways do anthropologists. So to their credit do some of the essays in this anthology (Mullin or Myers himself, at least in their best passages). If Marcus and Myers were to pursue the art criticism/history analogy, they would be required systematically to study the methods, forms of arguments, styles, rhetoric, ways of managing evidence, and so on of dead and living critics--writers such as Hughes, Danto, Berenson, Panofsky, or Tovey. Much more would be required here than habitual name-dropping: such critics might be set along side anthropologists such as Boas, Malinowski, Levi-Strauss, or Geertz. Equally fertile would be a systematic investigation of the indigenous critical discourse and aesthetic standards of so-called primitive societies, a project which Myers barely begins in his essay. Such a "renegotiation" of boundaries, or blurring of genres, might conceivably achieve something substantially more interesting than the tepid, second-rate postmodern theory that clogs _The Traffic in Culture_. Like so many other academics on the cultural studies bandwagon, Marcus and Myers are obsessed by theory and intellectually at sea. The jacket endorsements include the claim that the book is "contemporary critical anthropology at its best." It's depressing to realize this claim may well be true. [end] Dr. Denis Dutton Senior Lecturer in the Philosophy of Art Editor, Philosophy and Literature University of Canterbury Christchurch, New Zealand Phone: (03) 366-7001 Fax: (03) 364-2858 __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 07 15:46:44 1996 Date: Tue, 07 May 1996 13:29:23 -0700 To: aesthetics@indiana.edu Subject: Aesthetics: Architectural aesthetics Reply-To: MARCUS@ucsalf.ac.uk Hi there I thought I'd joined the aesthetics eimail list about two months ago. However I do not seem to have ever received any correspondence ! My interest is in architectural aesthetics and the judgment of such in building competitions. Anybody got any views. I do have several sytems that people have used to judge the aesthetics of buildings, and I am familiar with the work of Oostendorp and Berlyne in experimental aesthetics. Anyway it would be nice to hear from anybody out there (wherever there is!) -- Marcus Ormerod Dept: Department of Construction Surveying Phone: +44 161 745 3342Fax:+44 161 745 3475 Section: Surveying Section E-mail:Marcus.Ormerod@UCSALF.AC.UK University College Salford, Salford, M6 6PU, UK. E-mail me soon....please __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 11 18:52:22 1996 Date: Sat, 11 May 1996 18:56:05 -0400 (EDT) From: Victor Grauer To: Isabel Huizi cc: aesthetics@indiana.edu Subject: Re: Aesthetics: Works by Alexander Baumgarten English translation On Fri, 10 May 1996, Isabel Huizi wrote: > Please send information on the subjet above. > Thank you > Isabel Huizi I'm pleased to see you are interested in "the father of aesthetics," today a very unfortunately neglected and misunderstood figure. To my knowledge his major work *AESTHETICA* has never been translated into English from the original Latin. His early and very important text on aesthetics *Meditationes philosophicae de nonnullis ad poema pertinintibus* has been translated into English by K. Aschenbrenner and W. B. Holther and was published by the University of California Press in 1954. A most interesting and valuable treatment of his work is "Alexander Baumgarten's Contribution to the Development of Aesthetics," by Leonard Wessel in *Journal of Aesthetics and Art Criticism* vol. 30 no. 3. See also Marcuse's *Eros and Civilization* for a very sympathetic and enlightening discussion of Baumgarten's importance to Schiller and the Romantic struggle for human liberation. Benedetto Croce has also written sympathetically of Baumgarten but I don't have the reference handy. Otherwise, to my knowledge, very little is available. What a shame. Victor Grauer __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 14 11:16:47 1996 From: "Adam Muller" Date: Tue, 14 May 1996 10:00:10 -0400 To: phil-lit@tamvm1.tamu.edu Subject: Aesthetics: CSA Program Cc: aesthetics@indiana.edu What follows is the conference program for the 1996 meeting of the Canadian Society for Aesthetics. If anyone has any queries, please contact Adam Muller, the Program Coordinator, at shary@yorku.ca. ***1996 CSA CONFERENCE PROGRAM*** MONDAY MAY 27th Registration: 9h00-9h30 ED 203 9h30-11h45 Chair: Bela Szabados James O. Young (Philosophy, Victoria) "Relativism and the Evaluation of Art" Roger Seamon (English, UBC) "Poetry and the Concept of the Semantic Gap" Jason Holt (Philosophy, Western) "Art and the Mental Commonplace" Manon Regimbald (UQAM) TBA TH 147 11h15-13h00 Joint Session: Canadian Society for Aesthetics/Film Studies Association of Canada Postmodern Canadian Film Moderator: Lianne Maclarny Peter Urquhart (Theatre and Film, UBC) "Canadian Cinema, Parallel Cinema" Anthony Kinik (Theatre and Film, UBC) "Atom Egoyan and Jean Beaudrillard versus Guy Debord, or the Plight of the Egoyan Film Aesthetic in the Era of the Integrated Spectacle" Mary Alemany-Galaway (Film Studies, Queens) "Hyphenated Canadians: Multi-Cultural Films" ED 203 14h15-16h30 Chair: Victor Haines Tracy Punchard (English, UBC) "Oscar Wilde and Herbert Spencer: Playing With Art and Evolution" Stephen Ahern (English, McGill) "Beauty as Truth, Sympathy as Sublime: The Aestheticization of Moral Virtue in the Eighteenth-Century Discourse of Sensibility" Brian Johnson (English, Manitoba) "Lethal Apparitions: Lessing's and Le Fanu's Aesthetics of Abjection" Monique Langlois (UQAM) "L'appropriation en art actuel" ED 203 16h45-18h15 Chair: Stephen Ahern Doug Arrell (Theatre and Drama, Winnipeg) "Long Hair: Classical Music and Homosexual Panic" Eric von der Luft (Syracuse) "'Wer haengt dir im Sattel?': Is Wagner's Ring a Hegelian Circle?" James Harbeck (Drama, Tufts) "The Imaginary Other: Synthetic Interculturalism in Star Trek VI" TUESDAY MAY 28th ED 203 9h30-11h45 Member-Organized Special Session Literary Character Chair: Torsten Kehler Robert Stecker (Philosophy, Central Michigan) "Characters: Their Non-existence and Cognitive Function" Trevor Ponech (English, McGill) "Seeing and Making Believe: Visual Cognition of Motion Picture Films" David Davies (Philosophy, McGill) "Cognitive Uses of Fiction" Carl Matheson (Philosophy, Manitoba) "Experts" ED 204 13h00-14h45 Chair: Roger Seamon Victor Haines (English, Dawson) "Science and World Version Art Theory" Ira Newman (Philosophy, Mansfield) "Reviving the Mirror Metaphor: Realism and Antirealism in Art Theory" Cynthia Freeland (Philosophy, Houston) "Interpretation in Art and Science: Art as Social Knowledge" Room#TBA 13h30-16h00 Joint Session: Canadian Society for Aesthetics/Canadian Society for the Study of European Ideas Art and War Chair: Stuart Pierson Joanna Bottenberg (Modern Languages and Linguistics, Concordia) "Landscapes of War in Poetry and Painting" Wolfgang Bottenberg (Music, Concordia) "Musical Representations of War" John Mayer (Philosophy, Brock) "Reflections on Art and War" ED 203 15h00-16h45 Member Organized Special Session The Electric, Eclectic, and Dialectic: German Scientific and Literary Culture Chair: Matthew Pollard Steven Kammerer (German, Queens) "Eighteenth-Century German Anthropological Journals as Sites of Pansemiosis" Matthew Pollard (German, McGill) ""Schlegel's Electrified Male Bodies" Arnd Bohm (German, Carleton) "Christa Wolf on Science and the Aesthetics of Socialist Realism" WEDNESDAY MAY 29th ED 203 10h00-11h45 Chair: Monique Langlois Haidee Wasson (Graduate Program In Communications, McGill) "Eyewitness History: From Kennedy to King on CD-ROM" Janine Marchessault (English, McGill) "The Ontology of New Technologies" Laurie McRobert (Montreal) "Techno-art and the Essence of Technology" ED 204 13h00-15h15 Chair: Janine Marchessault Warren Shibles (Philosophy, Wisconsin) "Aesthetic Emotion" Trevor Ponech (English, McGill) "Visual Perception and Motion Picture Spectatorship" Joan Munro (Educational Policy Studies, Alberta) "Starry, Starry Night" Helene Poire (Laval) "Le trajet identitaire de l'homme-artiste: Leurre ou certitude?" ED 203 13h00-15:15 Chair: Haidee Wasson Ernestine Daubner (Art History, Concordia) "The Machine Age: Marcel Duchamp and the Dialectic of Enlightenment" Melony Ward (Toronto) "Cleaning House: Purification and Memory in Le Corbusier" Joel David Robinson (Western) "On Peter Eisenman: Architectural Confrontations with Technoscience in the Electronic Paradigm" Stephan D'Amour (Montreal) "Construction et esthetique en architecture" ED 204 15h30-18h00 Chair: Trevor Ponech Tim Thornton (Philosophy, Warwick) "Wittgenstein and the Kantian Connection Between Aesthetic and Empirical Judgement" James Hewitson (English, Toronto) "Beauty, Grace, and Scripture: The Lockean Foundation of Jonathan Edwards' Aesthetics" Hugo Meynell (Religious Studies, Calgary) "The Good of Art" Laurent Giroux (Sherbrooke) "Holderlin, le poete des dieux nouveaux: Germanie et Le Rhin" POETRY READING Alumni Lounge, 13th Floor of the Tower Readings by Carl Peters (English, Simon Fraser), Jason Holt (Western), Cecile Cloutier, and others 19h30-21h00 THURSDAY MAY 30th H-313 9h00-11h30 Joint Session: Canadian Society for Aesthetics/Canadian Philosophical Association Aesthetics and Science Chair: Roy Martinez Willie van Peer (Literary Studies, Utrecht) "Sense and Nonsense of Chaos Theory in Literary Studies" Thomas Rueger (Philosophy, Alberta) "Connections Between Experimental Science and Aesthetics in the Eighteenth Century" Respondant: Thom Heyd (Philosophy, Victoria) __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 14 15:51:29 1996 From: "Seigel, Lester" To: "'Aesthetics list'" Subject: Aesthetics: Le Huray and Day Date: Tue, 14 May 96 15:08:00 PDT I am very interested in purchasing a copy of Le Huray and Day's "Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries" (Cambridge, 1980?). I know that it has been out of print for some time. Please reply privately. Thanks. Lester Seigel Birmingham-Southern College Box 549033, Birmingham, AL 35254 lseigel@bsc.edu __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 16 09:13:02 1996 From: "M.L. KIERAN" To: aesthetics@indiana.edu Date: Thu, 16 May 1996 09:56:21 GMT Subject: Aesthetics: media ethics Media Ethics: Privacy, Public Interest and Censorship 20-21 September 1996 at the University of Leeds Conference speakers: Brian Appleyard (The Independent) David Archard (Reader in Moral Philosophy, University of St. Andrews) Martin Bell (BBC Foreign Correspondent) Gordon Graham (Regius Professor of Moral Philosophy in Scotland) Tony Hall (Managing Director, BBC News and Current Affairs) Matthew Kieran (Philosophy, University of Leeds) David Marsh (Ass. Divisional Director, Barnardo's) Mary Midgley (Philosophy, University of Newcastle) Greg Philo (University of Glasgow, Mass Media Unit) Peter Preston (former Editor in Chief of The Guardian) Judith Stamper (BBC North / Leeds University Institute of Communications) Lord Wakeham (Chairman of the Press Complaints Commission) Nigel Warburton (Philosophy, Open University) Baroness Mary Warnock D.B.E. The Centre for Business and Professional Ethics is holding a conference at the University of Leeds to bring academics and media professionals together to discuss critically: - Impartiality and problems of media bias - Rights of privacy and the public interest - Motives and journalistic Integrity - Media sensationalism and harm - Censorship, regulation and freedom of expression in a liberal society The conference is aimed at people interested in applied ethics, social affairs, media and communication studies and those practically involved in media policy, journalism or working with the media. Conference fees are stlg75 incl. lunches and light refreshments plus stlg20 for conference dinner. Students fee is stlg10 for those with a union card or supervisor's signature. B & B accommodation is available at stlg22 per night. Details and registration forms are available from: Cornelia Shirley, School of Continuing Education, Continuing Education Building, Springfield Mount, Leeds LS2 9NG Tel. 0113 233 3233 or Fax 0113 233 3240 Please pass this information on to any colleagues or friends who might be interested, Many thanks, Matthew Kieran. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 23 08:06:40 1996 Date: Wed, 22 May 1996 10:30:45 -0500 To: aesthetics@indiana.edu From: dcr (by way of dom lopes ) Subject: Aesthetics: Literature and Ethics Conference ***************************** ----------------------------- --- LITERATURE AND ETHICS --- ----------------------------- ***************************** An International Conference The University of Wales, Aberystwyth 4-7 July 1996 "The word 'ethics' seems to have replaced 'textuality' as the most charged term in the vocabulary of contemporary literary and cultural theory" (Steven Connor, TLS, 5 January 1996). Plenary Speakers: *Steven Connor (Birkbeck College, University of London) *Simon Critchley (University of Essex) *Geoffrey Galt Harpham (Tulane University) *Dan Jacobson (University College London) *Laurence Lockridge (New York University) *Ian MacKillop (University of Sheffield) *Christopher Norris (University of Wales, Cardiff) *Leona Toker (Hebrew University of Jerusalem) 60 other speakers, including: Michael Beehler (Montana SU), Michael Bell (U of Warwick), Steve Brewer (Staffordshire U), Susan Bruce (Keele U), Dan Burnstone (U of Cambridge), Janis Caldwell (U of Washington), Eva L. Corredor (US Naval Academy), Anne Cubilie (Georgetown U), Philip Davis (U of Liverpool), Ortwin de Graef (Katholiecke U Leuven), Robert Eaglestone (U of Wales, Lampeter), Richard Freadman (La Trobe U), Cynthia A. Freeland (U of Houston), Ellen G. Friedman (Trenton SC), Andrew Gibson (Royal Holloway, U of London), Richard Greaves (Liverpool Hope UC), Simon Haines (Australian National U), David P. Haney (Auburn U), Rebecca Hughes (U of Nottingham), Juliet John (U of Liverpool), Terry Keefe (Lancaster U), Alvin C. Kibel (MIT), Colleen Lamos (Rice U), Jil Larson (W Michigan U), Susan Levin (Smith C), Willy Maley (U of Glasgow), Riccardo Miguel-Alfonso (U Rovira i Virgili), Kieron O'Hara (U of Nottingham), David Parker (Australian Catholic U), Nicoletta Pireddu (UCLA), Norman Ravvin (U of Toronto), Corinne Squire (U of E London), Ceri Sullivan (U of Wales, Bangor), Dennis Taylor (Boston C), Valeria Wagner (U of Geneva). Subjects include: The uses of literature in ethical theory; the ethics of style; moral luck; Levinas; Nussbaum; Putnam; the ethics of authorship and of autobiography; the ethics of queer theory; sympathy and science; blame and blameworthiness; literature and engagement; lying and ethical agency; the ethics of postmodernism and poststructuralism; decadence; evil; the obscene onstage; Plato; Kierkegaard; Derrida; Said; testimony as art; care of the self or care of the other; Thackeray; Hemingway; Cheever; Bellow; Kundera; Klima; Shalamov; Leavis and collaboration; Conrad; Rushdie; Joyce; Beckett; intelligibility and conversation; hysterical reading; Shakespeare; weeping texts of the 1590s; Shelley; Sartre; de Beauvoir; Carlyle and race; philosophy as melancholy; ethical aporias of postcoloniality; sensibility and suffering in Rhys and Nin; the evolution of ethics in post-Darwinian fiction; the ethics of indolence; Tarkovsky; Northern Ireland; Bosnia. Provisional programme: Activities start at 7.00 pm on Thursday July 4th, with a registration/ buffet/social gathering; first set of 4 parallel sessions starts at 9.00 am on Friday July 5th; further parallel and plenary sessions till 6.30 pm; Friday evening outing; plenary and parallel sessions throughout Saturday 6th, concluding with conference banquet at 7.30 pm; sessions throughout the morning of Sunday 7th; recreational outing, Sunday afternoon. Fees: I. Registration fee (includes lunches on Friday, Saturday, and Sunday, evening meals on Thursday and Friday, and excursions on Friday and Sunday). Students GBP 35.00 / Others GBP 55.00. We also offer Day Registration (for participants who will only be attending one or two days' sessions). GBP 25.00 per day. II. Optional banquet, Belle Vue Royal Hotel, Saturday Evening, GBP 20.00. III. Accommodation at the University (Rosser Hall): single rooms only, en-suite bathroom, very conveniently placed for all conference activities. GBP 21.30 per night, including breakfast. Available for 4th/5th, 5th/6th, 6th/7th, and 7th/8th July. (If you require accommodation of another kind, let us know: a list of hotels and guest houses is available.) P.S. We are also running a smaller conference on *Consumption* in 18th and 19th century culture on June 29th-30th 1996. Further details on request. __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl #################################################### 05 27 07:47:26 1996 Date: Sun, 26 May 1996 20:22:18 -0400 To: CAAH@PUCC.PRINCETON.EDU, VRA-L@UAFSYSB.UARK.EDU, SEELANGS@CUNYVM.CUNY.EDU, H-RUSSIA@msu.edu, RUSSTHEA@uhccvm.uhcc.Hawaii.Edu, aesthetics@indiana.edu, design-research@uk.ac.mailbase, FAH@BBW.MEDIAMASTERS.COM, Arlis-L@lsv.uky.edu From: leona egan Subject: Aesthetics: Russian Art books for sale I have 40 Russian art books for sale. If interested I will e-mail list. Leona Egan __________________________________________________________ Aesthetics Mailing List: aesthetics@indiana.edu To Unsubscribe: majordomo@indiana.edu List-Owner: Dominic Lopes at dlopes@indiana.edu Aesthetics On-Line Web Site: http://www.indiana.edu/~asanl