{"id":7788,"date":"2024-02-19T16:07:12","date_gmt":"2024-02-19T16:07:12","guid":{"rendered":"https:\/\/conselhodecultura.uma.pt\/?page_id=7788"},"modified":"2024-10-15T10:02:04","modified_gmt":"2024-10-15T09:02:04","slug":"x-encontro-iberico-de-estetica","status":"publish","type":"page","link":"https:\/\/conselhodecultura.uma.pt\/en\/x-encontro-iberico-de-estetica\/","title":{"rendered":"X Encontro Ib\u00e9rico de Est\u00e9tica"},"content":{"rendered":"

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Call for papers<\/h2>\n

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From the concept of beauty and of art, through anti-aesthetic positions in modern art and the linguistic turn during the 1980s, all the way to recent defences of a post-conceptual art, much of western tradition is structured around the tension between theoretical reflection and artistic practice.\u00a0 The X Iberian Meeting on Aesthetics<\/em> aims to promote debates around these questions, by proposing a return, problematisation and possible redefinition of the concepts aisthesis<\/em> and poiesis <\/em>– exploring movements of connection, permeability, reciprocity, and circularity between the two terms.<\/p>\n

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The first starting point is aiesthesis, <\/em>understood as both the reception of the sensible and the theoretical reflection on such reception. The second, arriving from the Aristotelian legacy, is poiseis, <\/em>read as a creative act in the broadest sense of the term. These concepts necessarily bring forth another problematic: that of the relations between theory and praxis in what concerns the interruption, influence, and contamination between the field of theory and artistic practice. These dynamics substantiate in activities where aesthetics is directly or indirectly applied, such as curating, art history, aesthetic-artistic education, and art criticism, as well as in research, academic and otherwise, carried out by artists.<\/p>\n

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The contamination between theory and practice can also result in a double condition, i.e. an ontological simultaneity: with authors such as Friedrich Nietzsche, Ludwig Wittgenstein and Jean-Fran\u00e7ois Lyotard emerges the figure of the philosopher-artist<\/em>. With Marcel Duchamp, Joseph Beuys, Hito Steyerl or Art&Language, appears the figure of the artist-philosopher. In turn, in art criticism and curating, the likes of works by Rosalind E. Krauss, Mike Kelly, Nicholas Bourriaud or Olwui Enwezor can be seen as poiesis<\/em>.<\/p>\n

Evoking such examples, we invite researchers working on the field of aethetics<\/em> and related areas to submit proposals on the following scope of themes:<\/p>\n

\u00a0<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a01- The philosopher as producer.<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a02- The artist as thinker.<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a03 – an Art without theory?<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a04 – Curating as aisthesis<\/em> and poiesis.<\/em><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a05 – Art Criticism as aisthesis<\/em> and poiesis.<\/em><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a06 – Aesthetic experience and artistic experience.<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a07 – Aesthetic education and poiesis<\/em> lead education.<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a08 – Aisthesis<\/em> and poiesis<\/em>: aesthetics versus philosophy of art.<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a09 – The aestheticisation and artification of today\u2019s world.<\/p>\n

\u00a0 \u00a0 \u00a010 – The place of poiesis<\/em> and aisthesis<\/em> in the context of artificial intelligence.<\/p>\n

\u00a0 \u00a0 \u00a0<\/p>\n

\u00a0<\/strong><\/p>\n

KEYNOTE SPEAKERS<\/strong><\/p>\n

Cristina Azevedo Tavares (Universidade de Lisboa)<\/p>\n

Gerard Vilar (Universidad Aut\u00f3noma de Barcelona)<\/p>\n

Tales FREY (Cia. Excessos | CEHUM \u2013 Portugal)<\/p>\n

\u00a0<\/strong><\/p>\n

ORGANIZING COMMITEE<\/strong><\/p>\n

Carlos Valente (Universidade da Madeira)<\/p>\n

Jo\u00e3o Gon\u00e7alves (Universidade da Madeira)<\/p>\n

Rosa Ben\u00e9itez (Universidad de Salamanca)<\/p>\n

Teresa Norton Dias (Universidade da Madeira | CRIA-NOVA FCSH \/ IN2PAST)<\/p>\n

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SCIENTIFIC COMMITEE<\/strong><\/p>\n

Carmen Rodr\u00edguez Mart\u00edn (Universidad de Granada)<\/p>\n

Jos\u00e9 Ant\u00f3nio Domingues (Universidade da Beira Interior)<\/p>\n

Jos\u00e9 Carlos Pereira (Universidade de Lisboa)<\/p>\n

Juan Evaristo Valls Boix (Universidade Complutense de Madrid)<\/p>\n

Magda Polo (Universidad de Barcelona)<\/p>\n

Miguel \u00c1ngel Rivero G\u00f3mez (Universidad de Sevilla)<\/p>\n

N\u00e9lio Concei\u00e7\u00e3o (Universidade Nova de Lisboa)<\/p>\n

Nuno Fonseca (Universidade Nova de Lisboa)<\/p>\n

Raquel Cascales Torn\u00e9 (Universidad de Navarra)<\/p>\n

Sabela Zamudio (Universidade da Madeira)<\/p>\n

Susana Viegas (Universidade Nova de Lisboa)<\/p>\n

V\u00edtor Magalh\u00e3es (Universidade da Madeira)<\/p>\n

\u00a0<\/strong><\/p>\n

TECHNICAL COMMITEE<\/strong><\/p>\n

Cristina Camacho (Universidade da Madeira)<\/p>\n

Gabinete de Comunica\u00e7\u00e3o e Marketing (Universidade da Madeira)<\/p>\n

\u00a0<\/strong>\u00a0<\/strong><\/p>\n

PROCEDURES<\/strong><\/p>\n

Abstracts (max. 500 words)<\/p>\n

Bibliography (max. five references)<\/p>\n

Five keywords<\/p>\n

Brief biography (max. 200 words)<\/p>\n

Abstracts must be sent to the following email: eie.funchal@mail.uma.pt<\/a><\/p>\n

The selection will be made considering the scientific quality of the proposals and their connection with the theme of the conference and the proposed research avenues.<\/p>\n

The presentation time for communications will be 20 minutes followed by a 10-minute open discussion.<\/p>\n

The official languages will be Portuguese, Spanish, and English.<\/p>\n

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IMPORTANT DATES<\/strong><\/p>\n

\u00a0 \u00a0– Deadline for abstract submission: May 3<\/p>\n

\u00a0 \u00a0– Acceptance notification: from June 3<\/p>\n

\u00a0 \u00a0– Speaker\u2019s registration: from June 3 to July 14\u00a0<\/p>\n

\u00a0 \u00a0– Programme disclosure: from July 22<\/p>\n

\u00a0 \u00a0– Attendees registration deadline: October 20<\/p>\n

\u00a0 \u00a0– Conference dates: October 24 – 26, 2024<\/p>\n

REGISTRATIONS<\/strong><\/p>\n

\u00a0 \u00a0– Registration as a speaker: 70\u20ac<\/p>\n

\u00a0 \u00a0– Registration as a speaker member of SEyTA: 50\u20ac<\/p>\n

\u00a0 \u00a0– Registration as an attendee: 50\u20ac<\/p>\n

\u00a0 \u00a0– Registration as an attendee member of SEyTA or student: 40 \u20ac<\/p>\n

SUPPORT SCHOLARSHIPS FOR DOCTORAL STUDENTS\u00a0<\/strong><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0– We have three scholarships to offer in the amount of \u20ac200 each. Any PhD candidate member of SEyTA or doctoral students working in Portugal, whose\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 thesis is evidenced to be related to the conference, is eligible.\u00a0<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0– Scholarships will be awarded a posteriori, upon the presentation of the certificate of participation to SEyTA<\/p>\n

\u00a0<\/strong><\/p>\n

CONTACT<\/strong><\/p>\n

eie.funchal@mail.uma.pt<\/a><\/p>\n

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Call for papers From the concept of beauty and of art, through anti-aesthetic positions in modern art and the linguistic turn during the 1980s, all the way to recent defences of a post-conceptual art, much of western tradition is structured around the tension between theoretical reflection and artistic practice.\u00a0 The …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":[],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["pt","en"],"languages":{"pt":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/pages\/7788"}],"collection":[{"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/comments?post=7788"}],"version-history":[{"count":208,"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/pages\/7788\/revisions"}],"predecessor-version":[{"id":8896,"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/pages\/7788\/revisions\/8896"}],"wp:attachment":[{"href":"https:\/\/conselhodecultura.uma.pt\/en\/wp-json\/wp\/v2\/media?parent=7788"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}