CfP: Symposium "Cohabitation -Worlding the Sinophonecene and Planetary Aesthetics in Contemporary Art", Sat. 3rd June 2023, online (zoom (original) (raw)
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Symposium "Cohabitation -Worlding the Sinophonecene and Planetary Aesthetics in Contemporary Art"
Symposium "Cohabitation -Worlding the Sinophonecene and Planetary Aesthetics in Contemporary Art", 2023
This is the comprehensive concept, programme, abstracts and biographical information of the 2nd International Gathering of the Research Network for Modern and Contemporary Art (ReNetMoCoCA). It takes the shape of a day-long online-Symposium on "Cohabitation" and worlded approaches to planetary aestehtics in contemporary art stemming from the Sinophone world. Taking the concept of the "Sinophonecene" as a starting point, 10 speakers and panel discussions, 1 keynote speaker and the organizers will explore creative responses located in the greater Chinese region to the global climate crisis, late capitalist extractivism, and environmental pollution.
2021
BOOK REVIEW BY SIXIANG WANG S cholars of premodern and early modern East Asia have in recent years renewed their attention to cultural practices that endow the region with its analytical and historical coherence. A cosmopolitan intellectual effort, Rethinking the Sinopshere: Poetics, Aesthetics, and Identity Formation addresses these shared practices from the tenth to the nineteenth century, with contributions from leading scholars in the United States, China, Korea, Singapore, and the Netherlands. This is the second volume in a two-volume series edited by Nanxiu Qian, Richard J. Smith, and Bowei Zhang. Whereas the first volume covers questions of circulation, the intersections of gender, class, and religion, and the evolution of these practices in the twentieth century, this second volume is devoted to literary interactions, historical motifs (both also covered in part 1 of this volume), and the evolution of aesthetic and poetic forms (the focus of part 2). The "Sinosphere," as conceived throughout this book, denotes the "cultural sphere of Chinese written characters" sustained by circulations of people, books, ideas, and, most importantly, texts. Rejecting the center-periphery model that inevitably defaults to Sinocentrism, the volume focuses on the productive transformations that occur when texts move beyond "local, regional, and 'national' boundaries" (p. xx). For instance, in the Japanese narrative histories that com
Introduction: Chinese Aesthetics in the Contemporary World
Journal of Chinese Philosophy, 2020
Looking back at the reason why Western scholars in modern times demanded the birth of philosophical aesthetics, we can assess what role "Chinese aesthetics" should play in today's academic environment. As well known, by the time Alexander Baumgarten (1714-1762) coined the new term "aesthetics" in his master's thesis (1735), the field of aesthetics, which had not been given a name yet, was already flourishing in European academia and life. 1 Reflecting the growing interest in artistic experience and sense perception of people at that time, Baumgarten endorsed human experience as an important source of knowledge. Ironically, however, he put this field in a secondary position by defining it as "the logic of the inferior faculty of cognition" and "the art of the analogue of reason." 2 Aesthetics arrived much later in China as part of the modern educational curriculum, but soon received an enthusiastic welcome. Contrary to the European intellectuals, who were reluctant to regard aesthetics as an essential discipline, Chinese intellectuals assumed aesthetics as a core academic framework for explaining Chinese intellectual history. Therefore, the so-called "culture fever (wenhua re 文化熱)" of the late 1980s China, which was a large-scale debate about the criticism and succession of Chinese tradition, can also be referred to "aesthetics fever (meixue re 美學熱)" by nature. On the one hand, this fever was auspicious in that the Chinese have noticed a modern discipline that takes emotion and experience seriously. On the other hand, the huge writings resulting from the fever were mainly consumed in China and hardly caused any chemistry with Western aesthetics. Three decades later, I believe that we are now able to soberly reevaluate the topics that have been discussed in the field of Chinese aesthetics thus far. The holistic nature of Chinese aesthetics, which
Chinese Aesthetics in the Contemporary World
Journal of Chinese Philosophy, 2020
Looking back at the reason why Western scholars in modern times demanded the birth of philosophical aesthetics, we can assess what role "Chinese aesthetics" should play in today's academic environment. As well known, by the time Alexander Baumgarten (1714-1762) coined the new term "aesthetics" in his master's thesis (1735), the field of aesthetics, which had not been given a name yet, was already flourishing in European academia and life. 1 Reflecting the growing interest in artistic experience and sense perception of people at that time, Baumgarten endorsed human experience as an important source of knowledge. Ironically, however, he put this field in a secondary position by defining it as "the logic of the inferior faculty of cognition" and "the art of the analogue of reason." 2 Aesthetics arrived much later in China as part of the modern educational curriculum, but soon received an enthusiastic welcome. Contrary to the European intellectuals, who were reluctant to regard aesthetics as an essential discipline, Chinese intellectuals assumed aesthetics as a core academic framework for explaining Chinese intellectual history. Therefore, the so-called "culture fever (wenhua re 文化熱)" of the late 1980s China, which was a large-scale debate about the criticism and succession of Chinese tradition, can also be referred to "aesthetics fever (meixue re 美學熱)" by nature. On the one hand, this fever was auspicious in that the Chinese have noticed a modern discipline that takes emotion and experience seriously. On the other hand, the huge writings resulting from the fever were mainly consumed in China and hardly caused any chemistry with Western aesthetics. Three decades later, I believe that we are now able to soberly reevaluate the topics that have been discussed in the field of Chinese aesthetics thus far. The holistic nature of Chinese aesthetics, which