Don't they mean 'The Individual Nature of Belief' ab On May 8, 2013, at 9:51 AM, [email protected] wrote:
> Oy. The initial problem here is that the topic seems to assume that there > IS a "THE nature of belief". There isn't. Ask twenty-five different people to > articulate their notion of "belief", and you're likely to get twenty-five > different descriptions of what they like to call "belief". And, indeed, > they'll all be talking about NOTIONS. There is no mind-independent entity, > "belief". > > > In a message dated 5/7/13 2:46:56 PM, [email protected] writes: > > >> btransportationb, which is ba mechanism whereby narratives can >> affect >> beliefsb If only this was useful in rush hour. >> >> -----Original Message----- >> From: Dominic McIver Lopes <[email protected]> >> To: news <[email protected]> >> Sent: Mon, May 6, 2013 11:03 am >> Subject: [AE] Fwd: CfP: Art and the Nature of Belief >> >> Begin forwarded message: >> From: Art and Belief Conference <[email protected]> >> >> Subject: CfP: Art and the Nature of Belief >> >> Date: 6 May, 2013 03:59:19 PDT >> >> Reply-To: Art and Belief Conference >> <[email protected]> >> >> Art and the Nature of Belief >> 11th-12th October 2013 >> Humanities Research Centre >> >> University of York >> >> >> Submissions of papers are invited for an international conference on >> the topic of Art and the Nature of Belief.B >> >> >> >> Invited Speakers >> >> >> Gregory Currie & Anna Ichino (University of Nottingham) >> >> >> Stacie Friend (Heythrop College) >> >> >> >> >> >> >> Allan Hazlett (University of Edinburgh) >> >> >> >> Eva-Maria Konrad (University of Regensburg) >> >> >> Peter Lamarque (University of York) >> >> >> >> Daniel Whiting (University of Southampton) >> >> >> >> Conference Theme >> >> The conference aims to bring together recent work on belief and its >> connection to truth, with issues concerning belief that arise in >> aesthetics. The question of whether we can arrive at truth, and indeed >> gain knowledge, from engaging with artworks has received much attention >> in aesthetics. However, much less has been said about the nature of the >> beliefs formed as a result of engaging with art. It seems clear that at >> least some of our experiences of artworks produce beliefs either about >> the world more generally or beliefs about significant human concerns, >> for example, moral, cultural, psychological, or political beliefs. In >> the case of literature, this might be achieved through what has been >> called btransportationb, which is ba mechanism whereby narratives can >> affect beliefsb (Green and Brock 2000: bThe Role of Transportation in >> the Persuasiveness of Public Narrativesb. Journal of Personality and >> Social Psychology. Vol. 79, No. 5, pp. 701-721, p. 701). If a reader is >> sufficiently engaged in a story, bthey may show effects of the story on >> their real-world beliefsb (Ibid). However, it is often the case that >> the nature of the attitudes which arise out of transportative >> experiences casts doubt on their belief status. They are for example, >> unstable, that is, they are not retained by subjects. Nor do they look >> like they are justified or reliable. On the basis of these features, >> philosophers of mind working on the connection between belief and truth >> may be inclined to take a non-doxastic approach to these attitudes. >> Consequently, work done on this area may pose a considerable threat to >> the idea that justified or reliable beliefs can be formed on the basis >> of engaging with art. >> >> Thus far belief theorists have had little to say about the sorts of >> issues that arise out of beliefs formed on the basis of engaging with >> art. But given that such beliefs do not always behave in the same way >> as garden-variety beliefs, which are generally agreed to be necessarily >> connected to truth, they present an interesting case to belief >> theorists, and as such they demand attention. In light of all of this, >> there is an opportunity for a significant philosophical interaction >> between aestheticians and belief theorists that not only addresses >> these issues but also illuminates the nature of belief for both parties. >> >> This interaction presents the belief theorist with pertinent questions >> regarding the status of beliefs formed as a result of engaging with art >> >> and, in turn, demands philosophers of art to further consider the >> relation between art and truth. This conference aims to address these >> issues through a collaboration of philosophers working on belief and >> aesthetics in the hope that this can illuminate the aesthetic cases >> and, potentially, impact on our understanding of the nature of belief >> itself. >> >> >> Suitable topics/questions might include but are not limited to: >> >> Are beliefs formed on the basis of engaging with artworks aimed at >> truth or governed by a norm of truth? >> >> Are some value-laden beliefs about artworks influenced by motivational >> factors?B >> >> Do beliefs formed on the basis of engaging with artworks exhibit >> transparency to truth? Are they sensitive to evidence in the same way >> or to the same degree as garden-variety beliefs? >> >> Given that pictures need not represent the world accurately, how >> reliable is a belief that is formed on the basis of pictorial >> experience? >> >> Why are we less able to form beliefs, or change our beliefs, on the >> basis of aesthetic testimony? Does aesthetic testimony count as >> evidence but has less weight than testimony in the ordinary case? Or >> does aesthetic testimony not count for evidence for aesthetic beliefs >> at all? >> >> >> >> Submissions should be 2500-3000 words in length, starting with an >> abstract of 200-300 words. Submissions should be prepared for blind >> review, be in Word format, and sent [email protected] no later >> thanFriday 19th July. Please include your name, institutional >> affiliation, and title of your paper in the body of the email. >> >> >> Papers will be double-blind reviewed. Notification will be sent out by >> mid-August. Accepted speakers will have their registration and >> accommodation for the duration of the conference paid, as well as >> travel costs up to B#100. >> >> The Mind Association has first refusal on an edited volume for their >> Occasional Series published by Oxford University Press. After the >> conference, a manuscript of the invited and submitted papers will be >> submitted to OUP. Papers cannot be guaranteed publication, all will be >> subject to the OUP refereeing process. B >> >> Any queries should be sent to the conference organisers, Helen Bradley >> and Ema Sullivan-Bissett, [email protected]. Further >> information will soon be available on the conference >> website:https://artbelief.wordpress.com/ >> >> >> >> Conference Support >> >> The conference organisers gratefully acknowledge the generous support >> of the Analysis Trust, the British Society of Aesthetics, and the Mind >> Association._______________________________________________ >> news mailing list >> [email protected] >> http://lists.aesthetics-online.org/listinfo.cgi/news-aesthetics-online.org
