{"id":880,"date":"2018-03-22T11:12:39","date_gmt":"2018-03-22T10:12:39","guid":{"rendered":"https:\/\/www.unios.hr\/doktorska\/?p=880"},"modified":"2018-05-04T19:46:32","modified_gmt":"2018-05-04T17:46:32","slug":"international-conference-public-sphere-between-theory-and-artistic-intervention-including-the-phd-and-post-doc-students-conference","status":"publish","type":"post","link":"https:\/\/www.unios.hr\/doktorska\/international-conference-public-sphere-between-theory-and-artistic-intervention-including-the-phd-and-post-doc-students-conference\/","title":{"rendered":"International Conference “Public Sphere between Theory and Artistic Intervention” \u2013 including the PhD and Post-Doc Students Conference"},"content":{"rendered":"

International Conference<\/strong>
\n“Public Sphere between Theory and Artistic Intervention”<\/strong>
\n\u2013 including the <\/strong>PhD and Post-Doc Students Conference<\/strong>
\nDoctoral School of Josip Juraj Strossmayer University of Osijek (Organizer)<\/strong>
\nInterScArt \u2013 Center for Interdisciplinary Research in Arts and Humanities \u2013 The Academy of<\/strong>
\nArts (Co-Organizer)<\/strong>
\nOsijek, May 11 \u2013 12 2018<\/strong><\/p>\n

The conference is based on the recent theories of public sphere and publicness in live arts
\nafter Habermas. Its methodological framework consists in creating a creative platform for the
\nanalysis of the contemporary community oriented artistic practices, especially those depicted
\nin a post-transitional, multicultural and immersive code. The artistic practices after the fall of
\nCommunism were often interpreted as post-dependent, usually in the light of transcultural
\nand post-colonial theories. Nevertheless, public sphere approaches tends to go a bit deeper,
\nbeyond the surface of the alleged dependence upon higher political strategies and regimes of
\nartistic expression, thus creating a case-study platform for live art analysis in a broader
\ncontext. Contemporary performative and artistic activism would thus be put in the context of
\nboth, American and European neo-Avant-garde public sphere theories, with the special focus
\non the activism behind this type of self-management in art. The framework proposed is not
\nonly theoretical but it also depicts the practical aspects of the art-as-critique discourses in
\nmodern humanities, mainly performance studies, film and video art studies, live art critique,
\nmusicology, art criticism, etc. Community oriented performances, live art, in situ art and
\ninstallation activism in the sphere of counterpublics were often depicted using the post-
\nHabermas\u2019 theories of publicness, especially those of Anglo-American critics, such as M.
\nWarner, S. Benhabib, N. Fraser, or post-Marxist thinkers as Ch. Mouffe, E. Laclau, O. Negt and
\nA. Kluge, etc.<\/p>\n

Public space interventions are no less important in the field of European Studies and
\nCommunication. The impact of European integration on the legal and economic development
\nof national systems opens up space for scientific analysis of the relationship between the
\nEuropean center and the periphery, as well as the impacts that European policies have on
\nMember states and candidate countries. Therefore, we also expect papers from these
\nperspectives. Public is usually perceived as a natural feature of the social discourse,
\ndistributing unevenly its semantics across the field of humanities and social sciences.<\/p>\n

A very notion of public(s) has a certain contingency in a wide range of contexts, making it
\ndifficult to grasp beyond certain metalevels of thought and reflection. It presupposes
\ndisagreements and different kinds of struggle, subjection to a variety of social norms and
\npolitical strategies. In a way, it stands out from the concept of private but, on the other hand,
\nit reluctantly collides with the spheres of privacy and intimacy, even with the mode of thinking
\nabout life beyond fonction publique. Habermas\u2019 influential oeuvre The Structural
\nTransformation of the Public Sphere (1962) is thus considered as a starting point for
\nelaboration, but it also calls upon many other forms of revisions and theoretical frameworks.<\/p>\n

According to Habermas, public sphere theory optimizes itself by bracketing different
\nidentities, but, nevertheless, that are eager to enter in a debate or an argument on matters
\nimportant to community or common to all. Going public is not merely an act of will, whether
\nin writing, performing, or being engaged in an open statement, public opinion, critique or
\npolemical approach to art. It has to be regarded, both, as a way of contextualizing something
\nin a much bigger debate and, second, institutionalizing something others interpret as private
\nconcern. Counterpublics are constituted not only by privileging the subaltern but also by
\nemancipating their critical, even conflictual habitus. While theorizing on his thesis on public
\nsphere as an assembled body of private persons discussing matters of public concern and
\ncommon interest many authors offer an alternative historical approach, trying to overlap the
\nauthor\u2019s inconsistency with the practical politics or social pragmatism. Nancy Fraser manages
\nto eliminate four important Habermas\u2019 assumptions about the bourgeois publics: first, that it
\nis possible to bracket status differences and to deliberate “as if” their subjects are social
\nequals; second, that the proliferation of a multiplicity of competing publics is a step away from
\ngreater democracy; third, that discourse in public sphere should be restricted to some kind of
\ndeliberation about the common good, where private interest is always undesirable; and
\nfourth, that a functioning public sphere asks for a rigid separation between civil society and
\nthe politic of the state. Anyway, this conception of public sphere is considerably agonistic,
\nrevealing the very limits of rational consensus inside of the public, or \u2013 as Chantal Mouffe puts
\nit \u2013 precisely this agonistic struggle is the core of a vibrant democracy. In the agonistic
\nmodeling of public sphere there is rarely any terrain for consensus.<\/p>\n

This conference should thus reexamine some of the paradigmatic models of collision between
\nthe public sphere (and its theories) and the artistic work, subdued to emancipation,
\ninstitutionalization, participation and irruption, but not only this. Aura of art often coexists
\nwith the feeling of genuine community, but in some cases this connection is arbitrary \u2013 or it
\ndoes not function at all. Interdisciplinary habitus of this conference should, therefore, function
\nas a platform for interpretation of live art or artistic immersion in general, somewhere
\nbetween public politics and counterpublics, but also as pars pro toto of a much wider debate
\non publicness in post-global overheated (T. Hylland Eriksen) contemporary artistic practices.<\/p>\n

The conference will include open lectures by keynote and guest speakers, individual panels,
\naccording to research fields, and interdisciplinary roundtables.<\/p>\n

Panels will be dedicated to:<\/strong>
\n1. Cultural Studies and Interdisciplinary Art Research
\n2. Communication Studies
\n3. European Studies (legal, economic and political aspects of integration in national and
\nEU context)
\n4. Interdisciplinary Roundtable on Arts and Politics<\/p>\n

Program and Organizing Committee:<\/strong>
\nLeo Rafolt, J. J. Strossmayer University of Osijek
\nRobert Raponja, J. J. Strossmayer University of Osijek
\nHelena Sabli\u0107-Tomi\u0107, J. J. Strossmayer University of Osijek
\nPero Maldini, University of Dubrovnik
\nMario Vinkovi\u0107, J. J. Strossmayer University of Osijek
\nIvana \u017du\u017eul, J. J. Strossmayer University of Osijek
\nJerko Glava\u0161, J. J. Strossmayer University of Osijek
\nMaciej Falski, University of Warsaw<\/p>\n

Publishing Committee:<\/strong>
\nLeo Rafolt, J. J. Strossmayer University of Osijek
\nMario Vinkovi\u0107, J. J. Strossmayer University of Osijek
\nMira Luli\u0107, J. J. Strossmayer University of Osijek
\nIvana \u017du\u017eul, J. J. Strossmayer University of Osijek
\nPero Maldini, University of Dubrovnik
\nMaciej Falski, University of Warsaw<\/p>\n

Important Dates:<\/strong>
\nAbstract submission: April 25 2018
\nNotification of Acceptance: April 30 2018
\nConference: May 11-12 2018
\nPaper submission: June 20 2018
\nConference Proceedings will be published by: September 10 2018
\nEmail for applications: conference.ds@unios.hr<\/p>\n

Style Guidelines for Conference Abstracts:<\/strong>
\n1. Abstract must not exceed 350 words.
\n2. Please use Calibri font, single spaced, italic, 12 pt (including the title).
\n3. Indicate author\/co-author institution and contact email left aligned at the top of the
\npage.
\n4. Put the title of the paper in bold, left aligned.
\n5. Please include 5 key words or phrases that closely reflect the content of the paper.<\/p>\n

Style Guidelines for Conference Papers:<\/strong>
\n1. Papers must not exceed 10 pages in length (Calibri font, single spaced, 12 pt for the
\nmain text and 10 pt for the footnotes, including abstract, footnotes, figures,
\nreferences and appendices).
\n2. Please use Oxford citation style.
\n3. Before submitting your papers please ensure that it has been carefully read for
\ntypographical and grammatical errors. If English is not your first language, please
\nhave your paper proof-read by an English speaking person. Papers will be returned if
\nthe standard of English is not considered to be good enough for publication.
\n4. Papers should be submitted as a .doc attachment by email to the conference email.
\n5. Papers must not be sent in PDF format and should not be zipped.
\n6. Set the page size to A4 with margins of 2.54 cm all around. Do not refer to page
\nnumbers in your text as these will be changed.
\n7. Do not use multiple columns.
\n8. Put the title of the paper in bold, left aligned, at the top of the first page only.<\/p>\n

International Conference 11-12 May 2018<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

International Conference “Public Sphere between Theory and Artistic Intervention” \u2013 including the PhD and Post-Doc Students Conference Doctoral School of Josip Juraj Strossmayer University of Osijek (Organizer) InterScArt \u2013 Center for Interdisciplinary Research in Arts and Humanities \u2013 The Academy of Arts (Co-Organizer) Osijek, May 11 \u2013 12 2018 The conference is based on the recent theories of public sphere and publicness in live arts after Habermas. Its methodological framework consists in creating a creative platform for the analysis of the contemporary community oriented artistic practices, especially those depicted in a post-transitional, multicultural and immersive code. The artistic practices after the […]<\/p>\n","protected":false},"author":24,"featured_media":357,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[10],"tags":[],"coauthors":[19],"class_list":["post-880","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-obavijesti"],"publishpress_future_action":{"enabled":false,"date":"2026-05-12 19:46:52","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/posts\/880","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/comments?post=880"}],"version-history":[{"count":2,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/posts\/880\/revisions"}],"predecessor-version":[{"id":884,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/posts\/880\/revisions\/884"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/media\/357"}],"wp:attachment":[{"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/media?parent=880"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/categories?post=880"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/tags?post=880"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.unios.hr\/doktorska\/wp-json\/wp\/v2\/coauthors?post=880"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}