General Call for Papers
Argumenta has now a new Editorial Board. You can check it here.
The Editorial Board of Argumenta invites scholars in the disciplines listed below to submit a paper, according to the rules of the Journal listed in this page. In order to submit a paper, please click on the “Submit your paper” button on the Home page of the journal. Papers will be double-blind refereed and, if accepted, published in the first available issue. Here is the list of disciplines within which the journal will consider submissions:
- History of Analytic Philosophy
- Philosophical Logic
- Philosophy of Action
- Philosophy of Language
- Philosophy of Law
- Philosophy of Mathematics
- Philosophy of Mind
- Political Philosophy
Argumenta is the official journal of the Italian Society for Analytic Philosophy (SIFA). It is published in English twice a year only in electronic version, and has already benefitted from the cooperation of some of the most distinguished Italian and non-Italian scholars in all areas of analytic philosophy.
All the contributions will undergo a standard double-blind refereeing procedure.
Fiction and Imagination as Grounds for Counterfactual Reasoning, Scientific Modeling, and Thought Experiments
Submission deadline: April 30th, 2020
Notification of acceptance: July 30, 2020
In recent times, a huge debate has arisen as to the role of imagination, especially in its relation with fiction, in shaping modal, philosophical, and scientific reasoning. Counterfactual discourse involves the consideration of unreal scenarios, whether possible or even impossible. Both philosophy and science make reference to thought experiments, which seems to be like short fictional stories. And scientific models may be compared with games of make-believe, insofar as the latter mobilize physical objects as props for imaginary characters. In this special issue, we want to primarily address the following topics:
· Does fiction mobilize some specific form of imagination?
· Is there a real divide between fictional and nonfictional works?
· In what sense does imagination support counterfactual reasoning?
· Is practical reasoning counterfactual reasoning?
· Are thought experiments a form of fictional narration?
· Are scientific models really related to pretence play?
Articles must be written in English and should not exceed 8000 words. For the presentation of their articles, authors are requested to take into account the instructions available under Information for Authors. Submissions must be suitable for blind review. Each submission should also include a brief abstractof no more than 250 words and four keywords for indexing purposes. Notification of intent to submit, including both a title and a brief summary of the content, will be greatly appreciated, as it will assist with the coordination and planning of the special issue.
For any query, use please the following addresses: email@example.com or firstname.lastname@example.org or email@example.com
Ritorno alle origini: genesi ed evoluzione del pensiero di Martin Heidegger
Submission Deadline: 30 April 2020
Intorno agli anni ’20 del XX secolo, Martin Heidegger va maturando una riflessione sull’«essere» che, avvalendosi del metodo fenomenologico, darà luogo ad una nuova ontologia. Essere e tempo, pubblicato nel 1927, si presenta anche come l’esito di un processo di gestazione che nei corsi e negli appunti delle lezioni, nei testi di conferenze e nel materiale inedito che lo precedono, può ancora trovare risorse e sollecitazioni per il riattraversamento di un pensiero la cui radicalità non ha smesso di interrogare storici e filosofi. In questi anni, peraltro, appare centrale l'intreccio con alcune questioni più marcatamente teologiche (si pensi alle interpretazioni paoline o allo studio dell'antropologia agostiniana) non solo rispetto ad una più generale comprensione dell’orizzonte speculativo dell’ermeneutica heideggeriana, ma anche rispetto alla domanda circa la storicità dell'esistenza e l'irruzione del tempo kairologico nella vita effettiva (come avviene nella prima comunità cristiana), con la conseguente ridefinizione del senso dell’essere non più come semplice presenza o ousia, ma come parousia: la questione del senso si carica di una peculiare tonalità drammatica in cui aleggia la tentazione di convertire l’“inquieta preoccupazione” che caratterizza ogni vita effettiva in una metafisica “acquietante”. La progressiva ontologizzazione del lessico heideggeriano che vira dalla nozione di «vita» a quella di «essere» dopo la chiamata a Marburgo nel 1923 o che produce una più spiccata attenzione alla questione della «differenza», pone rilevanti interrogativi non soltanto riguardo a continuità o discontinuità del pensiero heideggeriano, ma anche rispetto agli “effetti” che questo pensiero ha prodotto (e continua a produrre) nel dibattito filosofico del nostro tempo. Si tratterà allora, al di là delle comunque pertinenti analisi di filologia heideggeriana, di riconsiderare il progetto teorico di un pensiero che, nelle sue prime movenze, si è interessato ai dibattiti fenomenologici come a quelli teologici, nel tentativo di comporre fratture e conflitti come, ad esempio, quello del periodo friburghese tra l’elemento fattuale della vita e la categorializzazione del vissuto, ovvero il contrasto tra la “matrice oscura” della soggettività e l’aspetto semantico o ideale o intenzionale presente nell’esistenza effettiva. La pubblicazione ormai quasi integrale dell’intera opera di Martin Heidegger (in cui, è bene rammentarlo, lo stesso filosofo è tornato più volte retrospettivamente sulla genesi del suo percorso di pensiero), permette di ripensare criticamente una produzione teorica che, come mostrano proprio gli scritti che precedono Essere e tempo, aveva assunto la dimensione storica dell’individuo come orizzonte unico dell’esperienza possibile articolata nelle forme di una fenomenologia della vita e che, lentamente e a partire da più o meno esplicite «svolte», si incamminerà verso il tentativo di oltrepassare il lessico e i concetti della metafisica tradizionale.
Il “Bollettino filosofico” indica alcuni possibili temi:
- Ermeneutica della fatticità
- l’ontologia della vita
- il problema della “differenza”
- il confronto con la teologia
- dis-occultamento e fede
- l’appropriazione dell’improprio e la storicità dell’esistere
- problemi lessicali e concettuali nel confronto con la tradizione
- la critica al progetto fenomenologico
- dalla fenomenologia all’ontologia fondamentale
Gli autori interessati a pubblicare i loro lavori sono invitati a spedirli via e-mail allegati in formato WORD e PDF al Direttore della rivista, Prof. Pio Colonnello (firstname.lastname@example.org) e alla Redazione (email@example.com).
Si prega di allegare sia una versione del contributo anonima intitolata «Manoscritto» sia una «Pagina Copertina» separata in cui siano indicati il nome completo degli Autori, una breve nota bio-bibliografica, l’Università o l’Istituto di appartenenza e i recapiti.
Gli articoli potranno essere scritti in italiano, inglese, francese, tedesco e spagnolo, e non dovranno superare le 50.000 battute; il manoscritto dovrà inoltre contenere un abstract in italiano e in inglese che non superi le 150 parole. Ogni proprietà del file che potrebbe identificare l’Autore deve essere rimossa per assicurare l’anonimato durante la procedura di referaggio.
I contributi verranno inviati a uno o più reviewer indipendenti secondo la procedura del double blind peer review. I reviewer potranno richiedere all’Autore di un contributo, se accettato, di modificarlo o migliorarlo per la pubblicazione. Per la procedura di selezione iniziale, non vi sono linee guida circa la formattazione. Nel caso in cui il contributo venga accettato per la pubblicazione in Bollettino Filosofico, verrà richiesto all’Autore di produrre una versione finale che rispetti le linee guida scaricabili qui:
La deadline per l’invio degli articoli è il 30 Aprile 2020. Il numero della rivista verrà pubblicato entro dicembre 2020 (annata XXXVI).
Per ulteriori informazioni rivolgersi all’indirizzo: firstname.lastname@example.org
RIVISTA DI ESTETICA
Aesthetics of Contemporary Work: Depictions, Narratives, Conceptualization
Deadline for submission: May 2, 2021
Advisory Editors: Angela Condello (University of Messina), Tiziano Toracca (University of Turin, University of Gent), ZHAO Kuiying (University of Nanjing)
Mail to: email@example.com; firstname.lastname@example.org; tiziano.toracca@Ugent.be; email@example.com; firstname.lastname@example.org
This issue aims at analysing the depiction and conceptualization of contemporary work in the fields of art and philosophy. By addressing “contemporary work” we refer to a temporal phenomenon (i.e. to the idea of work as it is perceived in the era of globalization) and we thus encourage submissions concerning artworks (performative arts, figurative arts, comics, photography, literature, cinema, tv series, web series) or concerning philosophical re-conceptualizations of the world of work over the last forty years (1980-2020).
Work is today among the most debated themes in public discourse not only because it represents an anthropological aspect of continuity of human action and one of the main forms of social recognition and exchange (especially starting from the re-evaluation of work that occurred in the Middle Ages, with the birth of the middle class in contrast to aristocracy), but also because it has gone through radical transformations whose reasons and consequences are at the centre of a pluri-disciplinary, international and political debate.
The concepts of “work” and “labour” today are often used not properly: this is proved by the large bibliography produced on these themes as well as the fact that the meaning of the terms ‘work’ and ‘labour’ is far from clear and thus hard to categorize. Labour appears to be a stratified phenomenon mixing hyper-modern elements with hyper-arcaic ones; that crosses all modernity; that is based on formal, logic and positive parameters but that at the same times implies emotional, uncountable symbolic elements (e.g. fatigue, happiness, realization), forms of representation, concepts like identity or social status.
It is a loose category, which links together very different phenomena all far in reality (in space and time) and in our imaginary.
The issue welcomes papers addressing the following questions:
- To which extent can we define human action according to the criteria defining the working life
- How does work distinguish man from other species (if it does)?
- What is the opposite of work? Otium? Freedom?
- How can the exemplary worker be depicted? As a citizen?
- Which myths and symbolic structures are at play in similar representations?
Articles must be written in English and should not exceed 40.000 characters, notes and blank-spaces included.
The Senses of Smell: Scents, Odors and Aromatic Spaces
Submission Deadline: June 30, 2020
Advisory Editors: Nicola Perullo (University of Pollenzo), Elena Mancioppi (University of Pollenzo)
Mail to: email@example.com
It is often said that smell is not essential for civilized and urban life. Nevertheless, private environments as well as public spaces, bodies, objects and food are increasingly deodorized and/or scented. In fact, in everyday experiences, the sense of smell is a driving force of human behavior and has a pivotal role in orientating emotional reactions, expectations, choices, preferences, and judgments.
Since the eighties of the 20th century, a new interest, both in human and in natural sciences, seems to have been flourishing in order to recognize its processes, functions and effects. Many studies have shown its relevance in identity formation, social life, bodily health and psychological well-being, and olfaction turns out to be deeply influential in the perceptual engagement with the environment and in the relationship with the otherness and the familiar.
However, in philosophy, with exceptions, the sense of smell is still a marginal and accidental object of inquiry. It is mainly linked to subjectivity, recollection, idiosyncratic association, intuition and sagacity. From a phenomenological and aesthetic perspective, odors are temporary and transient phenomena; furthermore, they are difficult to grasp also by language and taxonomy, as difficult attempts throughout history to fix stable classification and terminology show.
This issue of “Rivista d'Estetica” has two main aims. On the one hand, to shed light on potentialities, inconsistencies, cognitive features and aesthetic values of olfactory perception; on the other, to suggest interpretations of smells and flavors understood as affective stimuli used not only in arts (for example theatre and performance art), but also in culinary practices, space and product design, chemical industry, perfumery, etc.
Articles must be written in English and should not exceed 40.000 characters.
Art and the End-of-art. The continental roots in Danto’s philosophy of art
Submission Deadline: May 2nd, 2020
Advisory Editors: Francesco Lesce (University of Calabria), Luisa Sampugnaro (University of Calabria), Lorenzo Vinciguerra (University of Amiens)
Mail to: firstname.lastname@example.org and email@example.com
The most famous writings by Arthur C. Danto published since the early Eighties have given rise to various reactions in the philosophy of art and in the aesthetic debate. A rich literature and many initiatives focused on his studies about art testify to this. To a large extent this success depends on the originality of dantian theses on the self-reflexive accomplishment of art and about the rise of a democratic “pluralism” characterizing the post-historical period. Beyond the strong link with the Analytic aesthetics under which Danto develops the artwork ontological question, it’s necessary to recognize the author broadly has fallen into debt with ‘continental’ philosophy. Plato, Kant, Hegel, Nietzsche, Kojève are among the most famous names into the wide constellation of the author’s references, in which European philosophy is anything but marginal. This issue of Rivista di Esteticaaims to interrogate the continental roots of Danto’s philosophy of art. More specifically, it intends rethinking the way in which Danto takes advantage of this tradition finding in its context the criteria to reach a theoretical foundation of contemporary art. Two main problematic axes will therefore need to be interrogated: a) the crux of the relationship between essence and history concerning art; b) the way, the quality and the articulation of the aesthetic experience of which Danto highlights the cognitive factor as a key one. Both these axes unfolds a problematic legacy that this number intends to analyze. Rivista di Esteticaencourages submissions on these and related questions. Articles must be written in Italian and should not exceed 40.000 characters, notes and blank-spaces included.
NEW! Experimental Film, Video Art, and the Borders of Cinema
A British Society of Aesthetics Synergy Conference
Queen Mary University of London, November 5-6, 2020
Noël Carroll, Distinguished Professor of Philosophy, City University of New York.
Holly Rogers, Reader in Music at Goldsmiths, University of London.
Erika Balsom, Senior Lecturer in Film Studies and Liberal Arts, King's College London.
Péter Forgács, Media Artist and Independent Filmmaker.
This conference aims to highlight the contribution of experimental films and video art to contemporary culture. For this purpose, one should emphasize the way in which experimental films and works of video art differ from paradigmatic films, as well as the way in which experimental film and video art, as appreciative categories, differ from one another. The idea is to realize a synergy between, on the one hand, the research carried out in analytic aesthetics on notions such as appreciative category, art form, medium, and genre (cf. Walton 1970, Davies 2004, Gaut 2010, Friend 2012, Lopes 2014, Abell 2015), and, on the other hand, the historical and stylistic research, as well as the artistic and critical practice, in the domains of experimental film and video art (cf. Sitney 2002, Dixon and Foster 2002, Michelson 2017).
Most often, the starting point for film historians and theorists is that experimental film should be primarily construed as oppositional to the mainstream fiction film. However, it would be worthwhile to push our understanding of experimental cinema by overcoming negations: instead of speaking of experimental cinema in “non” terms (non-narrative, non-mainstream, non-commercial…), finding terms which says something substantive about it. One suggestion is to think of these films as challenging cognition and providing lessons in perception (Peterson 1994, Michelson 2017, Taberham 2018) or even providing maximal imaginative engagement.
In analytic aesthetics, experimental film, video art, and their connection have been mainly discussed in the debates concerning the ontological nature and the definition of film. Scholars such as Noël Carroll (1996, 2008), Trevor Ponech (2006) and Berys Gaut (2010) have proposed accounts of the moving image that are aimed to be broad enough to include experimental films and even works of video art. Yet, some of these seem still capable of challenging these attempts to capture the ontology and the definition of film (cf. Walley 2007, Wartenberg 2010). All this indicates that it might be worth relating the ontological investigation on film to the research on the nature and the variety of appreciative categories, especially those of experimental film and video art. This means combining philosophical analysis of abstract notions such as form of art, medium, and genre with the study of the concrete historical development of experimental film and video art. This is what this interdisciplinary conference aims to do.
Topics for papers and pre-constituted panels may include but are not limited to:
- What distinguishes experimental films and works of video art from paradigmatic films?
- What distinguishes experimental film from video art?
- How are experimental film and video art are related to domains of contemporary art such as conceptual art, performance art, installation art?
- Where should we appreciate experimental films and works of video art? In movie theaters or in art galleries? How does the screening-location bear upon appreciation?
- Experimental film and video art as challenges to film definitions
- The effects of the transition from analogical to digital technologies in experimental film and video art
- The role of sound and music in experimental film and video art
- Abstract moving images in experimental film and video art
- The (missing) place of narrative in experimental film and video art
- Paradigmatic experimental films and works of video art that help us to better understand the categories to which they belong.
- The role of perception, imagination, and emotions in experimental film and video art
- Which categories of art (e.g. genre, subgenre, medium, artform), are the most appropriate to conceptualize experimental film and video art?
- Possible intersections with other genres/art forms: documentary, amateur film, advertising, videoclip, videogames.
- Specific movements in experimental film and video art.
- Notable artists in experimental film and video art (e.g. Maya Deren, Jonas Mekas, Stan Brakhage, Andy Warhol, Malcolm Le Grice, Péter Forgács, Bill Viola, Shirin Neshat, Nam June Paik, Richard Serra, Matthew Barney).
- National traditions in experimental film and video art.
- The relevance of gender/race/class/ethnicity/sexuality in experimental filmmaking and video art.
Dr Mario Slugan (Queen Mary University of London)
Dr Enrico Terrone (Universitat de Barcelona)
CALL FOR ABSTRACTS
Please submit proposals at: https://easychair.org/conferences/?conf=aefis20
Submissions should be done as PDF files prepared for blind review. Thus, please just indicate "see PDF" in the "Title" and "Abstract" fields of the EasyChair form.
Questions about submissions can be emailed to: firstname.lastname@example.org
The deadline for receipt is Friday July 3, 2020.
Speakers will be notified of decisions Friday July 31. There will be no conference fees. Upon selection, it will be possible to apply for bursaries for early career researchers.
The conference is open to both individual papers or pre-constituted panels (with 3 speakers each and a chair).
In the case of individual papers, please submit abstracts between 500 and 1000 words (references included) together with a title and 5 keywords.
In the case of pre-constituted panels, the conveners are asked to submit a panel proposal including the title, a 300- to 500-word justification for the panel and 300- to 500-word abstracts (references included) for each of the three presentations making up the panel accompanied by a title and 5 keywords. Also included should be names and institutional affiliation for the three presenters and the name, institutional affiliation, contact details, and institutional affiliation for the chair. Panel conveners will be also requested to conform to the Good Practice Policy making sure that at least two of the panelists (including the convener/chair) are female.
In line with the Good Practice Policy of the British Philosophical Association and the Society for Women in Philosophy, the conference organizers have already ensured gender parity among keynotes and will do their best to do so for the other conference delegates. To offset unconscious biases against accepting female work demonstrated in different fields in recent studies, the papers will be blind-reviewed.
We hope for an edited volume to result from the conference. In case of publication the organizers as editors will also ensure that women are well represented.
MANCEPT Workshops, Sept 9-11, 2020
Human Rights: Grounds, Substance, Protection
Convenors: Ruxandra Ivanescu (Manchester) and Davide Pala (Manchester)
Human rights play a pivotal role in contemporary political discourse. They are indeed usually invoked to stress that every individual is owed a certain kind of treatment as a matter of basic or fundamental justice. The violation of these rights, therefore, signals that a very serious injustice has been committed. Recently, for instance, human rights have been employed to denounce the situation of citizens of war-torn countries such as Syria, the criminalisation of LGBT individuals qua LGBT individuals in some Eastern European countries, the severe poverty and famine suffered by people in developing countries, as well as the significant effects of climate change on its victims. In addition to this, we’re also currently facing a global emergency, that is, the COVID-19 pandemic, which arguably puts the human rights of many people across the globe at great risk.
While many political philosophers would likely agree that the cases above uncover human rights violations, they would disagree, at a fundamental level, about issues such as the origins of these rights, their exact content, and about who has to do what when it comes to their protection, etc. More specifically, philosophical disagreement about human rights can cover the following questions:
- What are the grounds of human rights? Should human rights be understood as political artefacts mainly constraining states’ actions vis-à-vis their citizens, or are we rather entitled to human rights simply in virtue of our nature? And if the latter, what is the rights-endowing property?
- What human rights are we entitled to? For example, do we have a human right to democracy? Is there a human right to certain social relations?
- Who should count as a rights-holder? Is it only individuals who can possess human rights, or could they be held by groups too?
- What is the main function of human rights? Are they standards for state legitimacy, or grounds for intervening in states’ affairs, or do they have a different function altogether?
- Who is the primary duty-bearer when it comes to the protection of human rights? Is it any capable agent, or rather states in the first place, and, if so, why? Moreover, when primary duty-bearers fail, who has the remedial duties to uphold them? Do international institutions also have some primary duties?
- What is the most appropriate response when human rights are violated? What are the conditions under which military intervention is justified?
- What role do human rights play during times of emergencies? What can be demanded from governments and international organisations? Will the emergency created by the COVID-19 pandemic make us rethink who the primary duty-bearers are in terms of securing human rights? What are the appropriate economic responses to this crisis, which likely undermines the social human rights of many?
Our panel aims at bringing together scholars who work on human rights from a broad range of perspectives, and at furthering the debates that surround them. We therefore welcome contributions that address, but are not limited to, the questions above.
Please submit a 500-words abstract of your paper prepared for blind-review by the 25th May 2020. We aim to respond within two weeks. All abstracts and enquiries about the workshop should be sent to email@example.com
We aim to allow for 25 minutes per presentation and 25 minutes for Q&A.
We look forward to reading your abstracts and please contact us if you have any questions!
4th Annual International Multi-Disciplinary Conference 2020
University of Malta Junior College, 16-18 September 2020
Paper proposal/Poster and bio-note 30 June 2020
Full poster submission 31 August 2020
Full paper and abstract for publication in online proceedings 31 August 2020
We invite papers of a multi-disciplinary nature according to the following areas of knowledge and
- Social & Human Sciences
- Arts & the Humanities
- Sustainability & the Environment
- Medical & Health Sciences
- Law & Human Rights
- Maths & Physics
Papers/posters presented in the conference might be submitted for publication in the journal
Early Bird registration and payment 31 July 2020
Standard registration and payment 31 August 2020
Late registration and payment 15 September 2020
For details pertaining to submissions, registration procedures and conference regulations, please refer
to the Conference Policy and Regulations document (2020).
Ġ.F. Abela Junior College, Ġużè Debono Square, Msida MSD 1252, Malta
Tel +356 2590 7244 Fax +356 21 243036
Download the Cfp
2020 SILFS Prize for Women in Logic and the Philosophy of Science
Submission deadline: 31 May 2020
The Italian Society for Logic and the Philosophy of Science (SILFS), in order to promote and support the contribution of underrepresented groups to the fields of logic and the philosophy of science, establishes a prize called “SILFS Prize for Women in Logic and the Philosophy of Science”.
Eligibility: all scholars who recognize themselves as women, irrespective of their role, institution, and/or nationality.
Applicants are requested to submit an original work (not previously published) written in English (Max 10.000 words, abstract and references not included) on any relevant topic of logic or the philosophy of science broadly conceived; proposals connected to topics and approaches that the community of logicians and philosophers of science would recognize as novelties with respect to its mainstream scientific production are particularly welcome.
Papers should be prepared for blind review and sent in a pdf format to the Secretary of the SILFS, Giuseppe Sergioli: firstname.lastname@example.org