2020, onward

2018-01-14
Call for Contributions

For all the sections in our journal we generally invite submissions on any issue in aesthetics and the philosophy of the arts, taken broadly. We also invite reviews of recently published books in these areas. We can request for a review copy of books with the publisher if we do not have it handy yet. Please contact our reviews editor, Arthur Cools.
Next to a general call for papers, we also invite submissions in the themes specified below. Please find the relevant deadlines for submissions to the different sections below.

Call for Guest Editors

We seek guest editors for special issues to solicit approximately 5 papers on a theme (for Articles, under anonymous peer review regime). Some of the themes are already specified, see below, but we also solicit themes for future special issues. Do no hesitate to contact us with a proposal specifying the necessity and fruitfulness of the theme that you have in mind, and, perhaps, suggesting a guest editor.
We also seek guest editors for Arts & Artists. The editorial board assists with reviewing the contributions in this section. Your selection of contributions may be in line with your own research interests.

Calls for Articles

7500 words maximum, reviewed anonymously

We welcome articles addressing questions about art and aesthetics. We particularly solicit contributions in upcoming issues of Aesthetic Investigations on the following themes.

Volume IV (issue 1)

Empirical aesthetics. (guest editor: prof. James Hamilton, with Rob van Gerwen) What are the philosophical limitations or benefits of empirical approaches to aesthetic issues, such as neuro-aesthetics, evolutionary aesthetics, psychological aesthetics, or statistic approaches? What sense does it make to art criticism to establish assumed causes for our aesthetic judgements? What should be the consequence of successful empirical approaches? (Prof. James Hamilton, Department of Philosophy, Kansas State University.)
(Deadline for submissions: December 15 2019)

Volume IV (issue 2)

The birth of the Discipline (guest editor: Prof. Endre Szécsényi, with Rob van Gerwen) We would expect papers which re-consider and re-interpret the pre-Kantian history of modern aesthetics (cca. from the middle of the 17C to the 1780s) in order to show the multifarious and multidisciplinary nature of the emerging aesthetic, to analyse the conflicts and tensions between this new type of experience and its first theoretical treatments, to offer, on the one hand, new interpretations of the familiar key-concepts of this period (including the beautiful, the sublime, the picturesque, taste, imagination, genius, originality, wit, humour, pity, laugther, sensiblity, etc.) and, on the other, some eariler not discussed key-concepts for re-shaping the scholarly discourse about this period, to demonstrate how modern aesthetic is inseparable from theology, moral and social philosophy, economy, natural jurisprudence, medicine, and, finally, to make it clear that many of aesthetic issues of this period can be seen as fruitful theoretical resources or sources of inspiration for contemporary aesthetic thinking from environmental and every day aesthetics to somaesthetics. (Prof. Endre Szécsényi, Institute for Art Theory and Media, Department of Aesthetics, Budapest, Honorary Research Fellow at the University of Aberdeen.)
Deadline for submissions: May 15 2020

Volume V (issue 1)

"Isn’t All Art Performed?"

(Guest Editors: Sue Spaid and Rossen Ventzislavov)

Deadline 15 January 2021. We strongly encourage those planning to submit longer papers to submit a 1000-word proposal to Rossen and Sue (scroll down for details) by 15 September 2020. Prompt feedback from the editors will help optimise submissions for subsequent blind review.

Historically, philosophers, pace Nelson Goodman (1968), have distinguished the performing arts and fine arts as different kinds, the former being a two-stage art and the latter a one-stage art. Andrew Kania (2011) further differentiated such relationships when he pointed out that classical music comprises both work and performance, whereas sculpture features only work and jazz music has only performance, again indicative of one- versus two-stage distinctions. Alternatively, are there good reasons to consider stable artworks such as paintings and books in terms of performance? What consequences, if any, should our answers to this question have for the nature of artistic merit, aesthetic evaluation, revolutionary power, etc.?

The goal of this forthcoming issue focused on performing artworks is not to debate one-stage vs. two-stage distinctions, but to interrogate performance more broadly. We invite curators, conductors, directors, philosophers, musicians, dancers, comedians, performance studies researchers and more to respond to our question regarding artworks and performances. By performance, we have in mind the gamut from the better known performing arts like music, theatre and dance to the narrative arts such as autofiction/self-narrative, comedy, filmmaking and showrunning to less conventional forms such as exhibitions, enacting gifts, aesthetic self-design, art criticism and photography.

The nature of performance brings up a host of questions that we anticipate writers addressing in this issue:

1) What is the relationship between performance and context? Are such terms synonymous? Is there context outside of performance?

2) Are performances of artworks a kind of self-narrative? Do we incidentally learn more about the performer than the artist who created the artwork to be performed?

3) Are improvisational jazz or dance performances ‘slice-of-life’ on-the-spot moves or examples of self-narration?
4) Is there an ‘unspoken’ relationship between artwork performances and lived experience?
5) Do photo- or video-documentations of artworks count as performances? If so, what are the constraints of these practices?
Because each issue of Aesthetic Investigations features three kinds of papers (peer-reviewed ‘articles’ (7500 words), ‘fresh’ papers offering novel angles (3500 words) and ‘art and artists’ contributions (3000 words), we welcome multiple approaches, including any of the following:
1) An analysis of portrayals of performers, such as the conductor in Mozart in the Jungle or dancers in Black Swan, Flesh and Bone, Dance Academy… ; stand-up comedians in Seinfeld, Man on the Moon, The Marvelous Mrs. Maisel or other examples portrayed in literature, television or film for ‘art and artists.’
2) An analysis of performances of artworks, such as the TV adaption of the novel I Love Dick, film adaptations of theatre such as Hedwig and the Angry Inch, Red… or Broadway’s infamous ‘jukebox musicals’ such as Mamma Mia! (ABBA), Jersey Boys (Frankie Valli), Lazarus (David Bowie), Fela! (Fela Kuti)… for either ‘fresh’ or ‘art and artists’ sections.
DETAILS
Soft Proposal Deadline: 15 September 2020 (later is ok, too)
Submissions: 15 January 2021
Response for ‘Fresh’ & ‘Art and Artists’: 1 November 2020
Response for ‘Articles’: 1 February 2021
Please follow author submissions found here: https://www.aestheticinvestigations.eu/index.php/journal/about/submissions#authorGuidelines
Feel free to contact Rossen (rossen_ventzislavov@yahoo.com) or Sue (suespaid@gmail.com) if you have further questions or want feedback along the way.

 

Calls for short papers in Arts & Artists

3000 words max.

Contributions to the Arts & Artists-section are not reviewed anonymously, and should not normally exceed 3000 words. For our Arts & Artists section we welcome short texts addressing questions about particular artists and their art. We particularly solicit papers attempting to initiate or refresh aesthetic discussion in our journal on the themes following below:

Ongoing theme for Arts & Artists essays:
Which philosophical problem(s) do you feel you are dealing with in your art today? This may be expanded to: Which philosophical problem(s) is artist X dealing with in their art today?

Volume III (issue 2)

Guest Editor ...:
Deadline for submission: April 15 2020
Is a work of art by definition a work of fiction, or are the materials used enough proof of a work’s truth? Is there truth in fiction? Is art comparable to bungee jumping, or does it automatically have a claim to truth?

Calls for short papers in Fresh

3500 words max.

Contributions to the Fresh section are not reviewed anonymously, and should not normally exceed 3500 words. For our Fresh section we welcome short texts addressing questions about art and aesthetics. We particularly solicit papers attempting to initiate or refresh aesthetic discussion in our journal on the themes of our special issues, see above with the Articles; and on the themes following below:

Ongoing theme for Fresh essays:
Why ... aesthetics / Why aesthetic ...(author to fill in the dots.)
What is your conception of aesthetics? Aesthetic Investigations requests philosophical responses (of no more than 3000 words) to our open-ended discussion on “Why ...Aesthetics”, inviting aestheticians to defend anything from evolutionary aesthetics, the reduction of aesthetics to the philosophy of perception, the tendency toward neuro-aesthetics, the search for wonder, the focus on surprise, or the objections to any of these.

Volume III (issue 2) Philosophy of film without theory

Deadline for submission: February 15 2020

Volume IV (issue 1) What are the philosophical limitations of empirical approaches to aesthetic issues?

Deadline for submission: May 15 2020
Think of neuro-aesthetics, evolutionary aesthetics, psychological aesthetics, or statistic approaches? What sense does it make to art criticism to establish assumed causes for our aesthetic judgements? What should be the consequence of successful empirical approaches?

Volume IV (issue 2) The birth of the Discipline

Deadline for submission: September 15, 2020

Volume V (issue 1) Isn’t all art performed?

(Guest Editors: Sue Spaid and Rossen Ventzislavov)

Deadline for submission: January 15 2021

We strongly encourage those planning to submit longer papers to submit a 1000-word proposal to Rossen and Sue (scroll down for details) by 15 October 2020. Prompt feedback from the editors will help optimise submissions for subsequent blind review.

Historically, philosophers, pace Nelson Goodman (1968), have distinguished the performing arts and fine arts as different kinds, the former being a two-stage art and the latter a one-stage art. Andrew Kania (2011) further differentiated such relationships when he pointed out that classical music comprises both work and performance, whereas sculpture features only work and jazz music has only performance, again indicative of one- versus two-stage distinctions. Alternatively, are there good reasons to consider stable artworks such as paintings and books in terms of performance? What consequences, if any, should our answers to this question have for the nature of artistic merit, aesthetic evaluation, revolutionary power, etc.?

The goal of this forthcoming issue focused on performing artworks is not to debate one-stage vs. two-stage distinctions, but to interrogate performance more broadly. We invite curators, conductors, directors, philosophers, musicians, dancers, comedians, performance studies researchers and more to respond to our question regarding artworks and performances. By performance, we have in mind the gamut from the better known performing arts like music, theatre and dance to the narrative arts such as autofiction/self-narrative, comedy, filmmaking and showrunning to less conventional forms such as exhibitions, enacting gifts, aesthetic self-design, art criticism and photography.

The nature of performance brings up a host of questions that we anticipate writers addressing in this issue:

1) What is the relationship between performance and context? Are such terms synonymous? Is there context outside of performance?

2) Are performances of artworks a kind of self-narrative? Do we incidentally learn more about the performer than the artist who created the artwork to be performed?

3) Are improvisational jazz or dance performances ‘slice-of-life’ on-the-spot moves or examples of self-narration?
4) Is there an ‘unspoken’ relationship between artwork performances and lived experience?
5) Do photo- or video-documentations of artworks count as performances? If so, what are the constraints of these practices?
Because each issue of Aesthetic Investigations features three kinds of papers (peer-reviewed ‘articles’ (7500 words), ‘fresh’ papers offering novel angles (3500 words) and ‘art and artists’ contributions (3000 words), we welcome multiple approaches, including any of the following:
1) An analysis of portrayals of performers, such as the conductor in Mozart in the Jungle or dancers in Black Swan, Flesh and Bone, Dance Academy… ; stand-up comedians in Seinfeld, Man on the Moon, The Marvelous Mrs. Maisel or other examples portrayed in literature, television or film for ‘art and artists.’
2) An analysis of performances of artworks, such as the TV adaption of the novel I Love Dick, film adaptations of theatre such as Hedwig and the Angry Inch, Red… or Broadway’s infamous ‘jukebox musicals’ such as Mamma Mia! (ABBA), Jersey Boys (Frankie Valli), Lazarus (David Bowie), Fela! (Fela Kuti)… for either ‘fresh’ or ‘art and artists’ sections.
DETAILS
Soft Proposal Deadline: 15 October 2020 (later is ok, too)
Submissions: 15 January 2021
Response for ‘Fresh’ & ‘Art and Artists’: 1 November 2020
Response for ‘Articles’: 1 February 2021
Please follow author submissions found here: https://www.aestheticinvestigations.eu/index.php/journal/about/submissions#authorGuidelines
Feel free to contact Rossen (rossen_ventzislavov@yahoo.com) or Sue (suespaid@gmail.com) if you have further questions or want feedback along the way.