Enhancement: Cognitive, Moral and Mood; Part II
27-28 April 2020, Belgrade
Journal "Philosophical Views" as a part of the official celebration
Authors: Olivera Z. Mijušković & Carnegie Council for Ethics in International Affairs
Special thanks to Mrs. Madeleine Lynn
Carnegie Council announces its 6th annual Global Ethics Day (#globalethicsday2018) on October 17, 2018.
Inspired by Earth Day, Global Ethics Day provides an opportunity for organizations around the world to hold events on or around this day, exploring the meaning of ethics in international affairs.
We encourage academic institutions everywhere to use this opportunity to hold programs focusing on ethics, such as lectures, film screenings, debates, or panel discussions. We welcome your ideas. In the tradition of a "teach-in" model, these events will be run by each institution as it sees fit while being part of a worldwide Global Ethics Day.
Magazine "Philosophical Views" and the "World Philosophy Network" are the part of the official celebration, among the most important institutions and journals such as Ethics & International Affairs (a member of the Cambridge University Press). The most important world institutions such as the United Nations, Oxford Uehiro Centre for Practical Ethics, Harvard Kennedy School, Springer and many others were among the official participants on this celebration last two years. One of the most important world thinkers Professor Peter Singer was the main speaker on this event.
Over 50 institutions from 15 countries participated in 2016. From Germany to Brazil to Australia to Oman, universities, non-profit institutions, and civil society groups participated with teach-ins, art projects, and film screenings, covering a wide range of ethical issues. To learn more about last year's events
We invite all scholars in the field of social sciences to send us papers on the subjects of ethics. The primary will be ethics in political philosophy, but all directions of philosophy, including bioethics and international relations are welcome.
Each paper should have an abstract, specific words, original critical review, bibliographical and biographical information. The text shouldn`t be longer than 3000 words. The language is English.
Deadline for sending texts is August 1st on email:
The "Association of Heritage and Education" is honored to invite you in the International Conference on “Education and Cultural Heritage”, which will be held in June 10, 2017 in Brussels, Belgium.
The aim of the conference is to bring together a wide audience of academics, engage participants in fruitful debate and facilitate mutual understanding. An additional goal of the conference is to provide opportunities for researchers and professionals with inter-disciplinary/multi-disciplinary interests for potential cooperation.
Conference Main Topics
Educational quality and standards; Curriculum and Pedagogy; Vocational education and Counseling; Lifelong learning; Training programs; Teaching and learning relationship; Extra-curricular activities; Assessment; Pedagogic innovations; Inclusive and Special Education; etc.
Managing Heritage Resources; Heritage and Tourism; Economic Development based on Heritage, Merging Economic and Cultural Appraisals; Heritage and Museum Management in the Digital Era, Heritage and Law Protection; Culture, Religion and World Politics; Return and Restitution of Cultural Property to its Countries of Origin; Protection of cultural heritage from acts of terrorism, etc.
Social and Cultural Issues
Gender studies; Traditions and values; Emigration and Migration; Identity; Diversity; Feminism; Queerness; Taboos; Disability; Migration; Spirituality; Sexuality; Popular Culture; Digital Culture, Culture and Behavior, Childhood development and Schooling, etc.
Abstract Submission:May 10, 2017
Paper Submission: May 25, 2017
Conference: June 10, 2017 in Brussels, Belgium.
All participants are expected to contribute with an original and unpublished article, which will be published in Book of Proceedings.
Olivera Z. Mijuskovic, a Region Coordinator for Serbia, Greece, Macedonia and Croatia firstname.lastname@example.org
NOTE We welcome participants from all countries, but priority is given to the Balkan countries.
Call for Applications! GBI Summer School 2017, Global Bioethics, Human Rights & Public Policy (June19-30, 2017)
How does Performance Philosophy Act?Ethos, Ethics, Ethnography - The 3rd biennial Performance Philosophy conference
Magazine "Philosophical Views" and "Preformance Philosophy - University of Bremen"
The Academy of Sciences and the Academy of Performing Arts, Prague
Thursday 22 – Sunday 25 June 2017
Suzanne Cusick (USA)
Alan Read (UK)
Miroslav Petříček (CR)
Alice Lagaay and Hartmut Geerken (DE)
Invited dance performance:
ME-SA / BOD.Y / Renan Martins de Oliveira: Let Me Die In My Footsteps
(CR, Brazil, Slovenia)
How does Performance Philosophy Act? Ethos, Ethics, Ethnography is the 3rd biennial conference organized by the international network, Performance Philosophy, founded in 2012. An emerging interdisciplinary field of thought, creative practice and scholarship, Performance Philosophy is concerned with all aspects of the relationship between philosophy and performance, including the ideas of “performance asphilosophy” and “philosophy as performance”.
For this 3rd conference, our focus is on how performance and philosophy act, exploring the intersections of notions of ‘acting’, ‘action’, ‘activity’ and ‘activation’ across theatrical, political, behavioural and ethical contexts. Our interest revolves around three domains where different forms of “how” are co-articulated:
1) the “ethos” built into performance and/or philosophy in terms of style, stance or attitude;
2) the different renderings of “the ethical” and “ethics” questioned by performance and philosophy, e.g. virtue ethics, deontology, utilitarianism, principles of Eudaimonia, postmodern ethics, posthumanism;
3) the ethnographic linkages between performance, philosophy and the regional, cultural and political singularities, differences and forms of knowledge.
These domains return us to the 'ethos', 'ethics' and ‘ethnography’ of our research, because as Malinowski proposed, "To study the institutions, customs, and codes or to study the behavior and mentality without the subjective desire of feeling by which people live, of realizing the substance of their happiness—is, in my opinion, to miss the greatest reward which we can hope to obtain from the study of man”.
From the outset, philosophy’s aims have been formulated in close connection to ethics as well as to performative protocols and processes. One of Heraclitus’s most memorable statements, “ethos anthropos daimon“ (usually translated as “character is fate”), proposes that each human life is guided by its own ethos, however unknown or strange to the self / subject. Furthermore, understanding philosophical praxis as an art of living or care of the self is found, as Foucault noted, in Ancient Greece in the quest for Eudaimonia. The arts - Greek tragedy, musical practice, plastic and visual art making – play a significant role in these ethical practices. Interpretations of terms like ‘wellbeing’, the ‘good life’ and ‘care for the self’ however, differ vastly with regard to the roles of intentionality, embodiment, techne, will, fate, social context, happiness, pre-given normative aims, virtue hierarchies, and other values.
However, our conference does not have a purely historical focus. It incorporates systematic views which afford the treatment of recent ethical issues in connection with the arts and philosophy. We consider identity politics, as well as the ‘ethics of care’ in relation both to non-western moral perspectives (Held, Tronto, etc.) and to the encounter with otherness as it might be understood in posthuman and poststructuralist ethics and biopolitics (Massumi etc.). Attention is also paid to the relationship between ethics and music / sound / noise, where the works of e.g. Duchamp, Deleuze, Nono, Beckett, Boehme, and Cage might serve as inspiration for a looser reconfiguration of how audition affords both ethical practice and acts as a mode of performance philosophy. In addition, our conference pays tribute to two citizens of Prague – Franz Kafka and Václav Havel – whose artistic and philosophical contributions to our understanding of human nature have many ethical implications. Their work serves as a model of exemplarity and continues to provide a source of inspiration worldwide.
Our conference also questions the ethos of Performance Philosophy as such. Is there a particular notion of ethics or ethos that applies to the encounter between performance and philosophy? Did performance philosophy emerge from the capacity to maintain a creative tension and non-unification between two different domains or from the capacity to abolish artificial boundaries and produce new values, meanings and styles within a new field? Are there distinct methods for collecting materials from archival pasts as well as the present, establishing the basis for an ethnographic research highlighting the interactions between performance and philosophy? Can these ethnographies serve as behavioural or performative protocols for 'doing' philosophy?
The conference welcomes proposals from researchers working in any area of philosophy (analytic, continental, non-western, Ancient, Medieval etc.) and any area of performance (dance, theatre, music, visual art performance, the everyday, non-human, etc.) that addresses issues including but not limited to the following:
Call for proposals
The organizers welcome proposals of different formats and lengths.
1. “Standard” conference presentations = 20 minute slots [or 90 min panels]
The organizers invite proposals for 20 minute conference talks, or full panel proposals for 90 minute panels (3 x 20 mins presentations, plus 30 min for questions) that address the conference themes.
2. “No paper” presentations = 20 minute slots [or 90 min panels]
The organizers invite proposals for 20 minute presentations, dialogues or panel proposals for 90 minute panels (3 x 20 mins presentations, plus 30 min for questions). The constraint on presenters is that they must not read out a paper written in advance. Presenters may use Powerpoint or any other form of visual aid to support their presentation (though any additional presentation materials need to be provided by presenters themselves), but they must not read from a pre-written text.
3. “Doing together... Watching in the midst of doing” = 30 - 90 min workshops proposals
The organizers invite proposals for 30 - 90 minute workshops with the constraint that the majority of the session must involve the physical engagement of the participants in activities. This is not to say that the workshop cannot involve acts of observation or what Allan Kaprow called ‘watching in the midst of doing’ or formats of creative dialogues and discussions (Bohm dialogues, fishbowl conversation, OpenSpace sessions), shared games, substitutions, etc. Likewise, workshops are more than welcome to interrogate the very question of what counts as ‘physical engagement,’ the nature of the relation between participation and observation, the active and the passive and so forth.
4. Performance lectures = 20 minute slots [or 90 min panels]
The organizers invite proposals for 20 minute performance lectures or full panel proposals for 90 minute panels (3 x 20 mins presentations, plus 30 min for questions). Combining thinking and doing, this format provides opportunities to foreground processes of knowledge creation, reflect on the act of learning, consider potential pedagogical affects made possible by nontraditional methods of teaching, and many more.
5. Conditions that make possible... = up to 1h50minute slots
Aiming to provide a measure of ad libitum to the conference format and to attend closely to the processes of collective meaning making, this format asks that applicants devise a series of rules or guidelines that will lead participants into an exploration either of the Academy of Performing Arts or other parts of the surrounding area in Prague (random urban locales, river, hills, parks, negative spaces, etc.). Understood as conditions that will make possible generative forays into the spaces within and around the conference venue, these rules and guidelines can take many forms but must play within the following limits:
For all formats presenters are invited to submit 150-word abstracts, a brief biography (100 words), a chosen format and a note of any basic technical requirements (projectors, white boards, sprung floor, sound system, blackout, two theatres – for 25 and 180 spectators, conference rooms, rehearsal rooms, streets, corridors, cafés available). Full panel submissions should include 150-word abstracts for each of the presentation and a 100-word description of the overall aims of the panel, along with contact information for all participants, and the name of a primary contact.
For more information see the webpage of the conference http://performancephilosophy.ning.com/page/prague-2017
Proposals for all formats need to be submitted by Sunday 20th November 2016 (and will be answered by 20th January 2017)
Please email your proposal in one single document to the conference address email@example.com
Please ensure that you include your surname as the first word in the file name of the document you send.
Please do not send any additional documents beyond the material requested above.
Author: Performance Philosophy - University of Bremen
with the support of Olivera Z. Mijuskovic, a member of the Performance Philosophy - University of Bremen
En mi libro “El concepto de alienación según Augusto Salazar Bondy”, indaga sobre las características del ser humano alienado. Para ello, se trata la formación filosófica del peruano Augusto Salazar Bondy, sus principales influencias, tanto europeas como peruanas. Su concepción del hombre y su teoría de la alienación, indagando sobre las causas y las manifestaciones de la alienación y las posibilidades de salir de esa situación.
El libro: “Filosofía, una perspectiva crítica” es un compendio de temas sobre la Historia de la Filosofía, desde el período pre-socrático, siguiendo con el periodo sistemático, helenístico-romano, medieval, moderna y contemporánea, además que trata de las más importantes disciplinas filosóficas como Antropología filosófica, Gnoseología, Epistemología, Axiología, y Ética.
What is the Changing Media Summit?The Guardian’s Changing Media Summit is our flagship media event bringing together the industry to discuss how to rebuild trust.
The Guardian’s flagship media event, the Changing Media Summit, returns on 15 and 16 March 2017.
The event will address restoring faith in the media sector.
The growing role of social media as a distribution channel for news raises important questions around the extent to which our view of the world is being distorted by online ‘filter bubbles’.
Changing Media Summit 2016 testimonials
Readers, fed up with irrelevant and poor quality ads, are increasingly turning on adblockers to improve their online experience.
Consumers are also turning their backs on brands that offer empty big, bold promises and those that offer unrealistic, stereotypical images of perfection.
In addition, there’s a breakdown of trust between brands and agencies, with the recent rebate scandal in the US, and ongoing concern with digital ad fraud and viewability, compounding the issue.
Join more than 400 decision-makers from across the media spectrum as we debate how the industry can rebuild trust in a post-truth age.
The Guardian, Adam Davidi
With the support of Olivera Z. Mijuskovic, Editorial Board of the "Philosophical Views", a member of the several Networks and Associate Autohr of "The Guardian".
For 1000 years, philosophers and literary theorists have tried to make fullest sense of the Poetics by assuming, apparently without exception, that Aristotle conceives of poiēsis as the sophist Gorgias first did, as “(the making of) language in meter.” In Unit 1, Scott demonstrates how the treatise can be interpreted, and what perennial dilemmas can be resolved, if we instead take Aristotle to be following Plato and Diotima in the Symposium (205c). As Diotima states there, poiēsis means “(the making of) mousikē and verse,” whether mousikē means “music” in our sense or, as it can be, “music and dance” in the ancient Greek sense, as proved for Plato in the current context of theatrical art in the Laws and Alcibiades. Chapter 2 includes a revised version of Scott’s “The Poetics of Performance: The Necessity of Performance, Spectacle, Music, and Dance in Aristotelian Tragedy” (Cambridge University Press, 1999).
Moreover, in 2003, Scott argued in “Purging the Poetics” (Oxford Studies in Ancient Philosophy), reprinted here as Chapter 5, that M.D. Petruševski was right in publishing in 1954 that Aristotle could not have written the word katharsis in the famous definition of tragedy. However, Petruševski kept pity and fear and amended the clause, whereas Scott gave a brief argument why the whole catharsis clause, including pity and fear, was mistakenly interpolated into the definition by a subsequent editor. Recently, Marwan Rashed (Sorbonne) follows Scott and Petruševski but tries to amend the clause, also keeping pity and fear. In Unit 2, Scott provides the additional and seemingly insuperable evidence why pity and fear cannot be in the definition, and why those two emotions are crucial for Aristotle only for a sub-type of tragedy. Included is a rigorous rebuttal of Stephen Halliwell’s seemingly impressive critique of “Purging” from Halliwell’s Between Ecstasy and Truth (2011).
With the catharsis, pity and fear clause arguably forever banished from the treatise, Scott continues in Units 3-4 to explain what the real goal(s) of tragedy are for Aristotle and how the Northern Greek truly responds without catharsis to Plato’s attacks on tragedy and comedy (showing also how Plato himself uses catharsis extensively very favorably in his own theories). Scott continues by demonstrating the too little recognized importance of comedy for Aristotle and of catharsis in that context, and then by exploring the dangers and rewards of trying to extend the principles of musical dramatic theater to other art forms. The treatise was never intended to be literary theory, nor were most of the principles intended to be directly applicable to literature. Rather they were intended to be applied to an art form that like our Broadway musical theater and almost like our opera employs language merely as one of the elements, and not even the most important one.
All of this helps prove that tragedy for Aristotle was dramatic “musical” composition that required dance and spectacle (and of course language), showing admirable people in action, with the best tragedies being specifically Cresphontes and others that end happily, not Oedipus, which is given the same ranking in Chapter 14 that it received when Sophocles lost to Philocles, — only second prize. All of this moreover absolves Aristotle of a number of other criticisms and opens the door for a fresh appraisal of the treatise that in spite of the two long-standing fundamental misconceptions is considered to be the most influential work of literary, dramatic and artistic theory in Western culture.
Author: Performance Philosophy - University of Bremen
with the support of Olivera Z. Mijuskovic, a member of the Performance Philosophy - University of Bremen
NEW YORK SOCIETY FOR WOMEN IN PHILOSOPHY SWIPSHOP A WORKSHOP ON FEMINIST PHILOSOPHY SPRING 2017 CALL FOR ABSTRACTS
NEW YORK SOCIETY FOR WOMEN IN PHILOSOPHY &
SPRING 2017 CALL FOR ABSTRACTS
A WORKSHOP ON FEMINIST PHILOSOPHY
SWIPshop is still accepting abstracts for papers to be workshopped in the spring! We encourage philosophers at all stages – graduate students, faculty, and retired philosophers! – The deadline is Tuesday, November 1st.
See the attached CFA.
Member of the Editorial Board of the "Philsophical Views",
Professor Martin Ovens, Wolfson College, University of Oxford
invites you on
International Conference on Cross-Cultural Philosophy
11 November 2016
Converner: Dr. Gerald Cipriani
Editor-in-Chief of journals "Culture and Dialogue" & "Journal of Aesthetics and Phenomenology"