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Greeting Jelena Toopeekoff & Jochen Briesen 

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Greeting Jelena Toopeekoff & Jochen Briesen 

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Jochen Briesen: Epistemic Aims, Artworks, and Interpretation 10:00 am - 11:15 am

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Jochen Briesen: Epistemic Aims, Artworks, and Interpretation 10:00 am - 11:15 am

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Abstract:  Is art conducive to epistemic goals such as truth, factual knowledge, moral insight, know-how, and understanding? In this talk, I will first elaborate on the systematic differences between various epistemic goals. Then I will argue that achieving these goals through art depends on what kind of symbol we consider artworks to be. What form of engagement with and interpretation of artworks do we deem appropriate? Moreover, I will demonstrate that this dependence can lead to conflict: achieving one epistemic goal through art can come at the expense of others. I will discuss these conflicts as well as some possible consequences of art education, art mediation, and curating processes. The epistemic conflicts addressed will also be situated in the context of contemporary developments in art: the ideal of autonomous art of a single “ingenious” person, in which recipients contemplatively lose themselves in various interpretation strategies, seems outdated. In contrast, for many years, there has been an increased focus on collective artistic productions, often with a strong sociopolitical agenda. How can the epistemic benefits of these developments be specified, and what epistemic costs accompany them?

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Ayşe Güleç: How to survive in exhibitions: Art mediators between situated knowledge and knowledge production 11.30 am - 12.45 pm

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Ayşe Güleç: How to survive in exhibitions: Art mediators between situated knowledge and knowledge production 11.30 am - 12.45 pm

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Abstract: tba.

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Adriana Clavel Vásquez: Failures of imagination and the values of art 14.00 pm - 15.15 pm 

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Adriana Clavel Vásquez: Failures of imagination and the values of art 14.00 pm - 15.15 pm 

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Abstract: Art is often taken to promote understanding by expanding our experiences, allowing a deeper access to other minds, and enlarging our empathic abilities. This experiential knowledge is at the centre of popular accounts of the ethical and cognitive values of art. For art to afford this experiential knowledge, the engagement with artworks needs to involve experiential imagination: an imaginative projection to different circumstances to recreate what it would be like. Nevertheless, exercises of experiential imagination are constrained by one’s embodiment, by one’s orientation toward the world. This paper examines the consequences of an embodied approach to imagination for the cognitive, ethical, and aesthetic values of art. The bad news is that if imaginative engagement with art is embodied, it is significantly constrained by who we are and where we have been. The worry is that one cannot simply imagine oneself inhabiting different circumstances because the way one responds to even imagined circumstances depends on one’s previous experiences. If that’s the case, it isn’t clear that experiential imagination can offer the relevant understanding at the heart of most popular accounts of the ethical and cognitive values of art. Moreover, this might be bad news for aesthetic value insofar as we often praise works for their complexity, insightfulness, sensibility, etc. The good news is that the embodied approach leaves enough room to rethink the values of art. We propose that artworks are valuable insofar as they exploit a tension between imaginability and unimaginability. Moreover, by highlighting the limits of our own imaginative capacities, the embodied approach can illuminate the role of artworks in bringing forward the need to rely on the second person perspective to gain insight into the minds and experiences of others. (This is joint work with María Jimena Clavel Vásquez.)

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Jelena Toopeekoff: Epistemic Injustice and Art Mediation 15.30 pm - 16.45 pm

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Jelena Toopeekoff: Epistemic Injustice and Art Mediation 15.30 pm - 16.45 pm

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Abstract: Epistemic injustice can be described as a wrong done in our practice of knowledge exchange and acquisition. The focus on the phenomenon, recently primarily discussed within social epistemology, was mainly encouraged by Miranda Fricker's book Epistemic Injustice/Power & Ethics of Knowing, where she introduces two forms of epistemic injustice: testimonial injustice and hermeneutical injustice. The former occurs when a hearer gives a deflated level of credibility to a speaker's word owed to prejudice. The latter occurs because of a gap in collective and interpretative resources. As a result, the individuals or members of a group who are unfairly disadvantaged are either unable to make sense of their own social experiences or to communicate them intelligibly to others due to the lack of conceptional resources. The premise of my talk is that both forms of epistemic injustices frequently happen in situations of art mediation. Epistemic injustice is therefore a relevant phenomenon in the practice and theory of art mediation. Firstly, I will lay out how both forms of epistemic injustice appear in situations of art mediation. Subsequently, I will discuss a well-known pessimistic Objection against aesthetic testimony.

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Iswanto Hartono & Reza Afisina (ruangrupa): Private Publics as Gesture of our Livingroom 10am -11.15 am

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Iswanto Hartono & Reza Afisina (ruangrupa): Private Publics as Gesture of our Livingroom 10am -11.15 am

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Abstract: In our talk, we want to describe the elements of the ‘lumbung’ practice (‘rice barn’) once more. Therefore we will discuss the cornerstones of our practice, such as the ruruHaus, Meydan, harvest, ecosystem, nongkrong, composting knowledge and many more. The symposium allows us to elaborate more on our account of knowledge exchange and knowledge as a resource within our artistic practice.

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Nicola Mößner: Talking (about) art 11.30 am - 12.45 pm

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Nicola Mößner: Talking (about) art 11.30 am - 12.45 pm

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Abstract: Learning about art via art-mediation implies that we acquire information via the word of others. In epistemology, this source of information is known as “testimony”. In my talk, I will offer a brief introduction to what testimony is and why it is so important to us. Furthermore, it will be discussed under what conditions it is rational to trust the word of others. Obviously, blind trust has to be avoided. Otherwise we might end up with a lot of false beliefs – either because our informant hadn’t had a clue about what she was talking about or, even worse, she intended to deceive us. These problems are related to the acceptance of testimony, but there are also difficulties connected to our practice of asking for information. More often than not, stereotypes and – sometimes even prejudices – guide our decision whom to trust and whom not to trust, as Miranda Fricker points out. This practice might then cause, what she calls, a “testimonial injustice”. In my talk, I will apply the concepts of testimony and epistemic injustice to the context of art. Can we learn something directly from art works or only indirectly via some sort of translation? Obviously, art-mediation can be regarded as a case of learning from the words of others. But what exactly can be learnt in this way? On the one hand, there is often some sort of message entailed in art works. On the other, we are also told something about the aesthetic value of such works. In what sense might such value judgments be related to instances of testimonial injustice in the context of art-mediation?

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Nora Sternfeld: 'Give her the tools, she will know what to do with them!‘ Some thoughts on learning together what doesn’t exist yet 14.00 pm - 15.15 pm

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Nora Sternfeld: 'Give her the tools, she will know what to do with them!‘ Some thoughts on learning together what doesn’t exist yet 14.00 pm - 15.15 pm

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Abstract: 'Give her the tools, she will know what to do with them!‘ The feminist London-based femme punk band Charismatic Megafauna make this plea to educational institutes, which have been more and more privatised at many places. The song addresses them despite all their entirely capitalist contradictions: they may still be able to provide the tools to transform the house of the oppressor during its occupation and/or to do something completely different with it one day. 'Give her the tools, she will know what to do with them!' At first it sounds as if the recurring rhythmic refrain-to which Jenny Moore, one of Charismatic Megafauna's singers, gives various layers of meaning on stage-contradicts Audre Lorde, when she said 'the -master's tools will never dismantle the master's house'. But Lorde didn't mean that we couldn't or shouldn't do anything with powerful knowledge. lnstead, she pointed out that alliances with silenced and marginalized positions are necessary in order to overcome the existing violent power relations. Are there any tools other than those of the master, other than those of this neoliberal world that is becoming increasingly fascist, of which there is no outside? In other words: Are there already tools from a different world here and now? How are they built? And how can they be applied? So how can we learn something that doesn't yet exist? On the one hand it seems paradoxical, but on the other hand that's precisely the point of a radical approach to education. Political learning always saw itself as a process in view of another possibility; political education always involved learning to understand the relations in order to change them: to learn to understand them in a way in which they could perhaps only be understood in a different world, while this world might become a bit more like it as a result. In turn, this can't be done alone and is only conceivable as a collective process of self-transformation.

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Nils-Hennes Stear: Imagining in Oppressive Contexts 15.30 pm - 16.45 pm (n.a.)

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Nils-Hennes Stear: Imagining in Oppressive Contexts 15.30 pm - 16.45 pm (n.a.)

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Abstract: What is wrong with the practice of blackface, the depicting of anti-Semitic stereotypes (as has happened at documenta 15), and other comparable acts of imagining? Setting aside “extrinsic” harms, such as the potentially bad effects of engaging with such imaginings, many have pointed to the immoral attitudes they invite participants to adopt. Recently, this strict view has been challenged by the lax, who claim that imaginings can only be intrinsically ethically flawed when they endorse unethical attitudes. This paper carves a space between these two views. While imaginings are not morally objectionable merely by virtue of inviting participants to adopt immoral attitudes in imagination, nor are they morally objectionable only when they endorse these attitudes. I draw on speech act theory, the sociology of oppression, and the history of blackface to articulate a three-part theory of how imaginings can come to be intrinsically ethically flawed. In broad outline, I argue that imaginings are intrinsically ethically flawed when they are oppressive, where this is understood as depending on the socio-historical context in which an imagining is realized. (This is joint work with Robin Zheng.)

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Gila Kolb: Art Mediation and other Knowledge Transfers at documenta 10:00 am -11.15 am

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Gila Kolb: Art Mediation and other Knowledge Transfers at documenta 10:00 am -11.15 am

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Abstract: The art mediation of documenta is often paradigmatic and is related to an increasingly processual, discursive concept of art since the 1990s. It appears in different names, approaches, and conceptions: Sometimes referred to as mediation, as art mediation, as maybe education or aneducation, it is positioned in confrontation with theories and practices in art and pedagogy. This is where the concept of unlearning comes into play.  How can a practice related to unlearning create, inspire, call for educational processes? And can we understand this practice a pratice of knowledge? Looking at dX, D11, d12, d(13), and d14, this talk will tell *a* story of art education-always with an eye toward how this can be applied to an art education practices. Please bring your questions towards the pratices of knowledge of art education.

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Joerg Fingerhut: Art and Transformation: The ARTIS Research Program within an Enactive Theory of the Arts 11.30 am - 12.45 pm

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Joerg Fingerhut: Art and Transformation: The ARTIS Research Program within an Enactive Theory of the Arts 11.30 am - 12.45 pm

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Abstract: In this talk, I will introduce the larger conceptual scheme and ongoing research of the EU H2020 project ARTIS (Art and Research on Transformations of Individuals and Societies) and sketch an empirically informed theory of the transformative potential of art. On a general level, the aim is to understand how cultural artifacts (architecture, film, etc.) and artworks should be seen as media that bring forth models of who we are and of what kind of society we live in (Fingerhut, 2021). More specifically, I will address how successful artworks might occupy a central role in the generation of such models because of the way they challenge our world views by providing novel forms of perceptual, emotional, and cognitive access to them. The aim of the ARTIS project is to capture these forms of engagement and to understand the underlying psychological processes. I will discuss research in psychology, cognitive neuroscience, and neuroaesthetics on art engagement and argue that and enactive theory of the mind (that highlights both our affective relation to the environment and the active role of the body) is needed to address some shortcomings of existing research in the cognitive sciences and might also be best suited to capture the power of art

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Tyuki Imamura: Harvesting and Composting Knowledge through the Practice of documenta fifteen 13.30 pm - 14.45 pm

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Tyuki Imamura: Harvesting and Composting Knowledge through the Practice of documenta fifteen 13.30 pm - 14.45 pm

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Abstract: Composting is an activation of time and space for things to dissolve, ferment, and process, with a simple sense of trust in the cyclical potential of their afterlives to enrich the soil for what comes after. In this fermentation, what we call garbage may never exist; or we may realize that it is the very foundation of what sustains the cycle of our lives. The process of earth making, that abolishes such distinctions, is a time-taking decomposition, and perhaps an analogy for us to unlearn. Can we still have trust in time to let things be, regardless of their change in status, ephemeral appearance, ostensive value, and wait until they find their ways? How can we employ the analogy of this practice to reevaluate and our method of knowledge sharing? The talk presents and examines the leaning and questions gained through the process of Composting Knowledge project initiated by ruruHaus in relation to lumbung making experiment in documenta fifteen and beyond.