Redakcja

Redaktor naczelny

Leszek Sosnowski

Zastępcy redaktora naczelnego

Dominika Czakon

Natalia Anna Michna

Sekretarz redakcji

Anna Kuchta

Członkowie redakcji

Marcin Lubecki

Miłosz Markiewicz

Adrian Mróz

Call for Papers

Improvisation in Contemporary Art 54 (3/2019)
Powrót

Editor: Adel-Jing Wang (Zhejiang University, China) and Rafał Mazur (Independent researcher, Poland). Submission Deadline: March 31, 2019.

It can be assumed with a substantial degree of probability that improvisation has been used in art since the beginning of the latter’s existence, particularly in the performing arts, such as music or theatre. Historically speaking, when it comes to Europe, the use of improvisation has been documented since the Renaissance, for example in the theatre: commedia dell’arte. In music, too, from this period, one can observe interest, which has substantially persisted until modern times, in improvisation as an element of performance practice. In non-European cultures as well, improvisation was and still is present: Indian music, Japanese Noh (nō) theatre, etc.

However, without overly exaggerating, we can say that the twentieth century, in comparison to previous epochs, represented an ‘improvisation explosion’ in artistic practices. Improvisation became an important method of practice in virtually all fields of art, e.g. action painting, performance, and contact improvisation (dance), gaining particularly strong significance in musical practices. Improvisation even became a determinant of some of the musical genres which arose in the twentieth century, such as blues, jazz, rock music, and many others originating therefrom. In addition, two artistic practices appeared in the second half of the twentieth century in which improvisation was used in a radical form: in academic experimental music (Stockhausen’s intuitive music) and in extra-academic sound activities (free/spontaneous improvised music, associated with the iconic figure of Derek Bailey). In artistic environments, organisations and associations dealing with improvised and intuitive art emerged (e.g. DIMC, http://intuitivemusic.dk/intuitive/eimc.htm), along with academic institutes studying the phenomenon of improvised activity (e.g. the International Institute for Critical Studies in Improvisation at the University of Guelph, http://improvisationinstitute.ca/) and academic journals focusing on improvisation in art (e.g. Critical Studies in Improvisation, http://www.criticalimprov.com).

On the threshold of the third decade of the twenty-first century, we wish to take a look at improvisation in contemporary art. What is the current significance of this creative method? What is the status of research on improvised art as well as on improvisation as a mode of operation in general? Is improvised art developing, or, following its twentieth century explosion, has a period of stagnation begun? Has improvisation influenced the understanding of art, thus differentiating it from the traditional paradigm? Has improvised art created its own distinctive forms, can it be captured by means of the categories we apply to non-improvisational art, or does it perhaps require new creative as well as new theoretical tools?

These are just a few of the questions that we wish to answer in a volume of The Polish Journal of Aesthetics devoted to the contemporary approach to improvisation. Additionally, we are open to any suggestions on topics related to improvisation in contemporary art. We are particularly interested in the practice of improvisation and reflections thereon within cultural areas for which it represents a new experience – areas which for various reasons did not take part in the twentieth-century boom of improvisational art, such as the countries of Eastern Europe or China.

We invite submissions from theoreticians in all areas of art and researchers studying models of activity, as well as from practitioners – artists who are actively involved in improvisation within the framework of their activities. We seek cross-sectional, descriptive, theoretical, and analytical texts as well as personal reflections, descriptions of method, etc. We would like the volume Improvisation in contemporary art to serve as a kind of insight into the practice of improvisation in art being practised today and into reflections on that art.

Submission deadline: March 30, 2020.

We invite all Authors to read the instructions, ‘For Authors’, and make sure that each article is complete (including an abstract, keywords, a bibliography, and note on the author) at the time of submission.


Revisiting Historical Intersections in Art and Aesthetics 59 (4/2020)
Powrót

Editor: Zoltán Somhegyi (University of Sharjah, United Arab Emirates). Submission Deadline: March 30, 2020.

One of the most intriguing fields in art and aesthetic research is the investigation of cross-historical connection points: works of art reinterpreting earlier pieces or referring to previous creations. At the same time, our knowledge and experience of contemporary art and aesthetic discourse is essential for new readings of classical pieces, since recent works can often shed new light on older ones, even on partially neglected productions, and contribute to the reconsideration of their aesthetic value.

Although inspiration from previous art historical periods is not a new phenomenon, in the past few decades we have seen a growing interest in the proper scholarly examination of these recurrences and historical interconnections. Art and architecture historians, philosophers of art and even practicing artists investigate the aesthetic implications of earlier periods, styles and movements: Salvatore Settis with regards to Antiquity, Umberto Eco about the “new” Middle Ages, Else Marie Bukdahl on the actuality of the Baroque, Robert Rosenblum on the significance of Romanticism on abstract art, Hal Foster’s surveys on the relationship between pre-war and post-war avant-gardes and Benjamin Buchloh’s considerations on historicity to name but a few. Besides the academic theoreticians’ work, also artists, designers, curators and gallerists experiment with the mixing of temporal segments in exhibitions, biennials and even in commercial art fairs.

This thematic volume aims to investigate both of the above aspects: on the one hand examining cross-historical references, direct or indirect influences between art pieces, as well as changes of meaning, significance, aesthetic value and evaluation in actual art production through this awareness of temporal interconnectedness. On the other hand the survey is also directed to the critical re-reading of aesthetic and art historical concepts, theories and interpretations related to the characteristics and reasons of these temporal recurrences, and to the continuous fascination of revisiting previous production.

We invite submissions surveying all forms and branches of visual and performing arts, architecture and design. Papers investigating previously lesser-researched areas, intercultural topics and “non-Western” examples are particularly welcome. Possible questions can be related, but not limited, to the following aspects:

 

- signs, reasons and significance of the recurrence of previous periods in later and contemporary art;

- contemporary reinterpretations of earlier works or artists’ oeuvres in actual production, and the hermeneutical implications of this process;

- the possible ways of “using” the understanding deriving from contemporary pieces for the interpretation of earlier works and for their aesthetic evaluation;

- critical evaluation and/or historical survey of such exhibitions, biennials and art projects that have had a strong cross-historical focus;

- a re-reading and critical examination of theoretical works analysing the recurrence – or the critique of recurrence – of earlier periods, styles and movements.

 

Submission deadline: March 30, 2020.

We invite all Authors to read the instructions, ‘For Authors’, and make sure that each article is complete (including an abstract, keywords, a bibliography, and note on the author) at the time of submission.


Behavioral Aesthetics. Techne–Desire–Savoir-faire 52 (1/2019)
Powrót

Editors: Daniel Ross (Universidad de Investigación de Tecnología Experimental Yachay, Ecuador) and Adrian Mróz (Jagiellonian University in Cracow, Poland). Preface with Anaïs Nony (Florida State University). Submission Deadline: September 30, 2018.

pjaestheticsuj@gmail.com

Issue “Behavioral Aesthetics. Techne–Desire–Savoir-faire”, 52 (1/2019). Editors: Daniel Ross (Universidad de Investigación de Tecnología Experimental Yachay, Ecuador) and Adrian Mróz (Jagiellonian University in Cracow, Poland). Preface with Anaïs Nony (Florida State University).

This issue will explore answers to the question “what does art do?” rather than “what is art?”. Topics on behavioral modernity, psychology, ethics, politics, sociology, economics or axiology, the philosophy of technology, culture, the philosophy of art, media, video games, memes, and education or other interdisciplinary/transdisciplinary are all welcome as well as any others related to the behavioral dimension of aesthetics. We invite authors to explore the expansion of the notion of the aesthetic to include the ancient Greek (αἴσθησις, aisthesis) meaning of sensibility, sentience, and perception. Thus, the issue is not limited to art, but invites reflections on the various practices and behaviors involved with the aesthetic such as decision making, playing, desire, acting, judging, evaluating, the problem of intimacy, and also the body or soma, feeling, sensation, the ability to suffer, trans and ecstasy, trans-formative powers, symbolism and symbolic violence, synesthesia, anesthesia, and so on. This also encompasses new perspectives on the notion of art as experience, as well as any arts (τέχνη, techne) embodying knowledge (ἐπίσταμαι, epistemai) of doing or making (savoir faire). Furthermore, we would appreciate articles that address the problem posed by the Greek (φάρμακον, pharmakon) in art, as not only as drugs, poisons and medicines, but also as the painter’s paint, scapegoats (social catharsis–φαρμακός, pharmakós), cosmetics, magic talismans and spells, songs, charms and enchanting, as well as rites and rituals.

We may not agree on what art is in a strict metaphysical or ontological definition, but we act as if we do, since works of art and anti-art are commonly considered to be results of action. To behave could be looked at as a joining of being and having, to contain oneself, to be-have, sich behaben, or se porter. Such a “behavioral stance” explores methods of analysis of the manipulative, regulating, and steering aspect (ethics, politics, markets, and economy) of the aesthetic and arts, searching for neobehavioral points of view on symbols and sensation as well as inter-behavioral and intra-behavioral aspects on relations and relationships like in view of new materialism or through the concept of intra-action. Some anticipated topics include:

        Techne incorporates the philosophy of technics and technology in addition to traditionally understood art. What is the role of technology in aesthetics today? How do they impact our habits? How do they create systems of value and evaluation? How do laboratory technologies like brain-Internet connections, brain-to-brain connections, the SciFi hive-mind, or modern Artificial Intelligence impact art? What are the technics of aesthetics?

        The aspect of desire would not only include problems of will, but also of attention, care, forgetting and lack. What does the aesthetic do with desire? What does desire do with behavior? How are art, desire, and behavior related? Is art addictive? Can designer drugs be works of art? How is desire (distraction) depicted in art, such as the narcotic soma of Huxley’s Brave New World.

       The notions of savoir-faire and can-do denote an active rather than passive form of achieving artistic or aesthetic affect, perhaps in opposition to simple behavioral drives, like the ones behind market values. What forms of knowledge are gained from artistic experience? Does the aesthetic wrought capabilities? What is the relationship between behavior and stimuli? Is a work of art the mind itself?

The search for the know-how of how to live (savoir vivre) and the can-do in response to such questions is an issue faced by all living in contemporary hyper-industrial culture and society. We hope to provide some reflection that will give society an ability to shape its own aesthetic habits.

Submission deadline: September 30, 2018.

We invite all Authors to read the instructions, ‘For Authors’, and make sure that each article is complete (including an abstract, keywords, a bibliography, and note on the author) at the time of submission.

Numer bieżący
50 (3/2018)
Instytut Filozofii, Uniwersytet Jagielloński
http://pjaesthetics.uj.edu.pl/
e-ISSN 2544-8242
ul. Grodzka 52, 31-044 Kraków
pjaestheticsuj@gmail.com