Call for Papers: Film-Philosophy Conference, 2019

It’s my great please to announce the CFP for the 2019 Film-Philosophy
conference to be held at the University of Brighton July 9-11.

We invites proposals for presentations on any subject related to film
and philosophy. There is no single overall theme.

Keynote Speakers:

·Dr Victor Fan
<https://www.kcl.ac.uk/artshums/depts/filmstudies/people/acad/fan/index.aspx>,
King’s College London

·Professor Janet Harbord
<https://www.qmul.ac.uk/sllf/film-studies/people/academic/profiles/harbord.html>,
Queen Mary University London

·Dr Andrew Klevan
<https://www.english.ox.ac.uk/people/dr-andrew-klevan>, University of Oxford

·Associate Professor Jane Stadler
<https://communication-arts.uq.edu.au/profile/366/jane-stadler>,
University of Queensland Australia

We invite individual 300-word abstract proposals to be submitted by *31
January 2019*.

http://www.film-philosophy.com/conference/index.php/conf/FP2019/author/submit

We use a track system that provides a number of broad headings to which
a presenter may wish to attach their submission. There is, of course, an
Open track if you feel that your paper does not fit within any of the
other tracks.

The tracks for 2019 are:

·Open

·Aesthetics

·Documentary

·Emotion and Affect

·Environment and the Screen

·Ethics

·Existentialism

·Feminism

·Film cultures online (blogging, social media, podcasting)

·Film-Philosophy and Education

·Intersectionality

·New Technologies in/of Cinema

·Phenomenology

·Philosophy of Fiction

·Politics and Film-Philosophy

·Realism

·The Film-Philosophy Canon

·Video Essays

·Workshops

We only accept *individual *proposals for presentations of 20 minutes.

*We do not accept group panel proposals *except for Workshops.

The track system allows for papers to group organically around common
themes and approaches.

We are open to workshops that have alternative and innovative formats
that provoke discussion and debate. If you have any ideas for a workshop
– in format or content – please contact the conference director
(D.Llinares@brighton.ac.uk <mailto:D.Llinares@brighton.ac.uk>) before
submitting an official abstract via the website.

We are also planning this year to audio record the keynote speakers and
various panel speakers for an audio journal to be produced after the
conference. If you do not want your paper to be recorded in this way,
please indicate on you abstract submission by putting “DO NOT RECORD” at
the end.

http://www.film-philosophy.com/conference/index.php/conf/FP2019

All abstracts will be considered by at least two members of the
conference committee and decisions will be announced in March 2019.

Accommodation information is available on the conference website.

Please contact the conference director Dr Dario Llinares, University of
Brighton: D.Llinares@brighton.ac.uk <mailto:D.Llinares@brighton.ac.uk>
with any questions.

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CFP: IX LISBON SUMMER SCHOOL FOR THE STUDY OF CULTURE

Neurohumanities: Promises & Threats
Lisbon, July 1-6, 2019
Deadline for submissions: March 15, 2019

When the US government declared the 1990s “The decade of the brain”, it aimed at raising public awareness toward the use of neuroscience for the enhancement of life quality and as a way to better address the challenges of growing life expectancy. The initiative was further supported by substantial research funding, which not only impressed public opinion but appealed to many research fields. Finding a link to brain research and the processes of the human mind, many disciplines were repositioned and adopted the “neuro” prefix, promising new insights into age-old problems by reframing them from the angle of the brain-mind continuum.

Neuroscience seeks to explain how the brain works and which neurophysiological processes are involved in complex cognitive abilities like sensation and perception attention and reasoning, memory and thought.

One of the most striking and unique features of the human mind is its capacity to represent realities that transcend its immediate time and space, by engaging complex symbolic systems, most notably language, music, arts and mathematics. Such sophisticated means for representation are arguably the result of an environmental pressure and must be accounted for in a complex network of shared behaviors, mimetic actions and collaborative practices: in other words, through human culture. The cultural products that are enabled by these systems are also stored by means of representation in ever-new technological devices, which allow for the accumulation and sharing of knowledge beyond space and across time.

The artifacts and practices that arise from the symbolic use, exchange and accumulation are the core of the research and academic field known as the Humanities. The field has been increasingly interested in the latest developments deriving from neuroscience and the affordances they allow about the conditions and processes of the single brain, embedded in an environment, in permanent exchange with other brains in an ecology that is culturally coded.

This turn of the humanities to neuroscience is embraced by many and fiercely criticized by others. The promise of the Neurohumanities, the neuroscientifically informed study of cultural artifacts, discourses and practices, lies in unveiling the link between embodied processes and the sophistication of culture. And it has the somewhat hidden agenda of legitimizing the field, by giving it a science-close status of relevance and social acknowledgement it has long lacked. Here, though, lies also its weakness: should the Humanities become scientific? Can they afford to do so? Should they be reduced to experimental methodologies, collaborative research practices, sloppy concept travelling, transvestite interdisciplinarity? Is the promise of the Neurohumanities, seen by some as the ultimate overcoming of the science-humanities or the two cultures divide, in fact not only ontologically and methodologically impossible and more than that undesirable? And how will fields like Neuroaesthetics, Cognitive Literary Theory, Cognitive Linguistics, Affect Theory, Second-person Neuroscience, Cognitive Culture Studies or Critical Neuroscience relate to the emerging omnipresence and challenges of Artificial Intelligence?

The IX Summer School for the Study of Culture invites participants to submit paper and poster proposals that critically consider the developments of the Neurohumanities in the past decades and question its immediate and future challenges and opportunities. Paper proposals are encouraged in but not limited to the following topics:

  • 4E Cognition: embodied, embedded, enacted and extended
  • performance and the embodied mind
  • spectatorship and simulation
  • from individual to social cognition
  • mental imagery
  • empathy
  • memory, culture and cultural memory
  • cognition and translatability
  • mind-body problem
  • life enhancement
  • neuro-power
  • (neuro)humanities and social change
  • AI, cognition and culture

The Summer School will take place at several cultural institutions in Lisbon and will gather outstanding doctoral students and post-doctoral researchers from around the world. In the morning there will be lectures and master classes by invited keynote speakers. In the afternoon there will be paper presentations by doctoral students.

Paper proposals

Proposals should be sent to lxsummerschool@gmail.com no later than February 28, 2019 and include paper title, abstract in English (max. 200 words), name, e-mail address, institutional affiliation and a brief bio (max. 100 words) mentioning ongoing research. Applicants will be informed of the result of their submissions by March 15, 2019.

Rules for presentation

The organizing committee shall place presenters in small groups according to the research focus of their papers. They are advised to stay in these groups for the duration of the Summer School, so a structured exchange of ideas may be developed to its full potential.

Full papers submission

Presenters are required to send in full papers by May 30, 2019.

The papers will then be circulated amongst the members of each research group and in the slot allotted to each participant (30’), only 10’ may be used for a brief summary of the research piece. The Summer School is a place of networked exchange of ideas and organizers wish to have as much time as possible for a structured discussion between participants. Ideally, in each slot, 10’ will be used for presentation, and 20’ for discussion.

Registration fees

Participants with paper – 290€ for the entire week (includes lectures, master classes, doctoral sessions, lunches and closing dinner)

Participants without paper – 60€ per session/day | 190€ for the entire week

Fee waivers

For The Lisbon Consortium students, there is no registration fee.

For students from Universities affiliated with the European Summer School in Cultural Studies and members of the Excellence Network in Cultural Studies the registration fee is 60€.

Organizing Committee

  • Isabel Capeloa Gil
  • Peter Hanenberg
  • Alexandra Lopes
  • Paulo de Campos Pinto
  • Diana Gonçalves
  • Clara Caldeira
  • Rita Bacelar

For further information, please contact us through lxconsortium@gmail.com

Interdisciplinary conference “Critical Zone” — Hamburg, Germany in February 2019.

Start Date:
Thursday, July 26, 2018 – 07:45 to Thursday, October 18, 2018 – 07:45

An international interdisciplinary conference “CRITICAL ZONE” which will take place in Hamburg, Germany on 21-22 February 2019.  Inspired by the works of Bruno Latour the conference seeks to explore the image-theoretical implications of the critical zone concept, asking i.e. what the living conditions for images in the critical zone are, whether images can be understood as mediators between earth and humans or as agents within the critical zone or how images contribute to the transformation of knowledge on climate change. Please see the call for papers below and the conference website for details: www.bildkontexte.de.


Call for Papers

Whilst, led by obvious geo- and biopolitical interests, a fierce fight over the existence and dimension of human-made climate change is taking place in the political arena, the Earth is acting unimpressed. Nevertheless, events like droughts, floodings, famines, melting glaciers and the extinction of species are striking us so directly that it seems impossible to clutch at the distancing dichotomy of nature and culture. Based on the measurable and visible extent of human impact on earth geosciences already invented a new geological era: the Anthropocene. However, its epistemes – like those of other sciences and humanities – seem disposable.

Instead of pursuing dichotomous world views or despairingly taking the escape route of climate change denial into an imagined parallel world, Bruno Latour (2017, 2018) proposes to set out for the ‘critical zone’. The ‘critical zone’ is the thin near-surface layer of earth between the bottom of the groundwater and the tops of the trees. There, rock, soil, water, air, and living organisms constantly interact and constitute through highly complex transformational processes the conditions for all terrestrial life. In this zone, Earth displays its agency relevant to humans. Now it is essential to explore this new territory to understand the inseparable interweaving of humans and terrestrial processes.

Such an exploration raises questions of visibility and display. Therefore, the conference undertakes an image-theoretical expedition into the critical zone to collect evidence to answer the following questions:

  • What are the living conditions for images in the critical zone?
  • Can images be understood as mediators between earth and humans or as agents within the critical zone?
  • Which image strategies arise to stage the new political actant ‘earth’?
  • Do there exist other animalia symbolica (Cassirer) next to humans in the critical zone?
  • How are conditions of visibility in the critical zone configured for its figurative symptoms?
  • How do images form/educate within the critical zone? Ho do they (de-)construct world views?
  • How are images involved in the transformation of knowledge on climate change?
  • How does artistic practice articulate these questions, i.e. as critical pointing gestures and transforming creators?

Please send your proposals for papers (30 minutes) and a short academic CV to Jacobus Bracker and Stefanie Johns until 31 October 2018post@bildkontexte.de. The success of this expedition is crucially dependant on its interdisciplinary composition. There is no limitation to specific periods, cultures or assemblages as – like with the preceding four conferences (http://bildkontexte.de) – historical, cultural, and social contrasts are understood as essential epistemic instruments.

Place and time: Warburg-Haus at the University of Hamburg, 21/22 February 2019.

Organisation: Jacobus Bracker (Institute for Archaeology and Cultural History of the Ancient Mediterranean, Faculty of Humanities, University of Hamburg), Stefanie Johns (Art and Visual Education, Faculty of Educational Sciences,
University of Hamburg).

See full CFP.