<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><br><blockquote type="cite"><br><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:HyphenationZone>21</w:HyphenationZone> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:ApplyBreakingRules/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:UseFELayout/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id=ieooui></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} </style> <![endif]--><p class="MsoNormal"><font size="2"><strong><span></span></strong></font></p><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "><font size="2"><strong>ANIMALS IN ART AND PHILOSOPHY, with Raimond Gaita keynote lecture<span></span></strong></font></div><div><br class="webkit-block-placeholder"></div><p class="MsoNormal"><font size="2"><span>TUESDAY 24 APRIL</span></font></p><p class="MsoNormal"><font size="2"><span>Dear all</span></font></p><p class="MsoNormal"><font size="2"><span>The second symposium in the series <strong>In Flesh and Blood:</strong> <strong>Animals in Art and Philosophy</strong> run by the Centre for Ideas at the Faculty of the </span><span>Victorian</span><span> </span><span>College</span><span> of the Arts (</span><span>University</span><span> of </span><span>Melbourne</span><span>) will take place on Tuesday, 24 April.<span> </span></span></font></p><p class="MsoNormal"><font size="2"><span>The draft program is as follows:</span></font></p><p class="MsoNormal"><strong><font size="2"><span>Morning:<span> </span></span></font></strong></p><p class="MsoNormal"><font size="2"><span>10.30</span><span> – </span><span>1.30:</span><span><span> </span><strong>Animals, the law and politics</strong></span></font></p><p class="MsoNormal"><font size="2"><span>Speakers: Justin Clemens, Cressida Limon, Connal Parsley and Marc Trabsky </span></font></p> <ul style="margin-top: 0cm"><li class="MsoNormal"><font size="2"><span>Justin Clemens, 'Man is a swarm animal'</span></font></li></ul><p style="margin-left: 35.4pt; text-align: justify" class="MsoNormal"><font face="times" size="1"><span style="font-size: 10pt">What is it about ‘man’ that makes him a candidate for politics and the political? What makes human being-together a properly <em>political</em> question and not just a question of species-activity or genetic determinism? In this presentation, I examine a pun of Jacques Lacan. This is <em>S1, l’essaim</em>; S-one, the swarm. To date, this pun has, at best, been taken as a suggestive metaphor; at worst, as just another meaningless word-game, entirely typical of Lacan. My argument is that — if sometimes a pun is indeed just a pun — this pun is more than that. In fact, it provides a concept that bears centrally upon the relationship between technology, politics, language and psychoanalytic formalisation. At the end we find, indeed, that, for the later Lacan, man is indeed a swarm animal.</span></font></p> <ul style="margin-top: 0cm"><li class="MsoNormal"><font size="2"><span>Cressida Limon, 'Animal Inventions: Haraway’s dog, Derrida’s cat and Spidergoats-in-law lives'</span></font></li></ul><p style="margin-left: 35.4pt; text-align: justify" class="MsoNormal"><font face="times" size="2"><span style="font-size: 10pt">In this presentation I consider the links between the invention of animals in the creation stories of <em>Genesis</em> and the contemporary practices of patenting animal life forms as intellectual property.<span> </span>The question of law’s invention of animals will be addressed via a consideration of other animal inventions: Haraway’s dog and Derrida’s cat have something to teach us about intellectual property.<span> </span></span></font></p> <ul style="margin-top: 0cm"><li class="MsoNormal"><font size="2"><span>Connal Parsley, '<em>Border</em>: law's traditions, cinema's possibilities, and the representation of the animal (and the human)'</span></font></li></ul><p style="margin-left: 35.25pt; text-align: justify" class="MsoNormal"><font face="times" size="2"><span style="font-size: 10pt">This paper considers aspects of the role that the representation of the animal has had in the formation of the human person in the juridical tradition, aspects which I suggest are reflected in the representation of animals in contemporary film and literature. Through a discussion of the recent film <em>Border </em>(Armenia, 2009)<em>,</em> and drawing on the work of Giorgio Agamben and Roberto Esposito, this paper asks about cinema's possibilities for a different use of the representative apparatus and a different approach to the human's knowledge of both itself and animals</span></font></p> <h1 style="margin: 0cm 0cm 0.0001pt 36pt; text-indent: -18pt; line-height: 150%"><font size="2"><span style="font-size: 12pt; line-height: 150%; font-family: Symbol; font-weight: normal"><span>·<span style="font: 7pt 'Times New Roman'"> </span></span></span><span><span style="font-size: 12pt; line-height: 150%; font-family: 'Times New Roman'; font-weight: normal">Marc Trabsky, 'Law in the Slaughterhouse'</span></span></font></h1><p style="margin-left: 35.25pt; text-align: justify" class="MsoNormal"><font face="times" size="2"><span style="font-size: 10pt">My aim in this paper is to explore how sacrifice becomes in the specificity of a spatial history an activity of place-making and a practice of lawfulness. I maintain that the relationship between law and the animal is inextricable from the human activity of place-making and moreover critical animal law needs to account for the different traditions of ordering space. </span><span style="font-size: 10pt">I therefore gesture towards a jurisprudential reading of the situation of the animal by tracing the sacrificial rituals that guarantee the lawfulness of the place of the slaughterhouse.</span><span style="font-size: 10pt"></span></font></p><p class="MsoNormal"><font size="2"><span><br> <strong>Afternoon:</strong></span></font></p><p class="MsoNormal"><font size="2"><span>2.00 – </span><span>4.30</span><span> pm</span><span>: <strong>Keynote Lecture by Pr Raymond Gaita</strong> (</span><span>University</span><span> of </span><span>London</span><span> and </span><span>Australian</span><span> </span><span>Catholic</span><span> </span><span>University</span><span>) discussing themes raised by his book <em>The Philosopher's Dog</em>.</span></font></p><p style="text-align: justify" class="MsoNormal"><font face="times" size="2"><span style="font-size: 10pt">The first of the themes I would like to discuss develops a claim that Cora Diamond makes in her seminal paper ‘Eating Meat and Eating People’. She argues that discussion of the significance of the fact that human beings are animals, and more generally part of nature, often betrays a misunderstanding of the nature and importance of the ethically inflected ways we speak of human beings in, as Diamond puts it, “our life with language”.<span> </span>In most discussions of these matters, philosophers prefer to speak of persons or of rational agents.</span><span style="font-size: 10pt"></span></font></p><p style="text-align: justify" class="MsoNormal"><font face="times" size="2"><span style="font-size: 10pt"> Looking especially at the later sections of Wittgenstein’s <em>Philosophical Investigations,</em> I develop in <em>The Philosopher’s Dog</em> what I dubbed a ‘naturalism of surfaces' — an account of the importance of the living human body, its many inflexions and </span><span style="font-size: 10pt">demeanours</span><span style="font-size: 10pt"> in response to other human beings and animals, to the development of concepts as basic as sensation and thought.<span> </span>This kind of naturalism — one that accords great importance, for example, to the fact that we are creatures of flesh and blood, with faces and eyes — enables us to give the right account of why we cannot doubt that dogs have sensations and that they do not think about the problems of philosophy. It also yields a better account than is usually offered in philosophy and science of what should count <span> </span>as anthropomorphic projection onto animals of qualities that are distinctively human (at least on this planet). </span></font></p><p style="text-align: justify" class="MsoNormal"><font size="2"><font face="times"><span style="font-size: 10pt">But the importance of the concept ‘human being’ to understanding ourselves, what we have on common with other animals and what sets us apart from them, is complex and many layered. We understand this fully, I suggest, only in a cognitive realm that I have called ‘the realm of meaning’. It is a realm in which we strive to see things as they are rather than as they appear, for example, from a sentimental, anthropocentric or anthropomorphic perspective of ourselves on our relation to nature; it is a form of ‘seeing things as they are’ in which form and content, thought and feeling cannot be separated. That being so, I argue that philosophers and scientists should be more appreciative of the importance of art to our understanding of human beings, other animals and the many forms of their relations to one another. </span></font><span style="font-size: 10pt"></span></font></p><p class="MsoNormal"><font size="2"><span>Discussion will follow. </span></font></p><p class="MsoNormal"><font size="2"><span>4.40:<span> </span>David Shea, 'Biomimicry in Design and Architecture'</span></font></p><p class="MsoNormal"><font size="2"><span><br></span></font></p><p><font size="2"><strong><span style="font-family: Arial">Venue: Federation Hall, VCA, </span></strong><strong><span style="font-family: Arial">234 St</span></strong><strong><span style="font-family: Arial"> Kilda Road</span></strong><strong><span style="font-family: Arial">, Southbank</span></strong><span style="font-family: Arial"></span></font></p><p class="MsoNormal"><font size="2"><span style="font-family: Arial">ALL WELCOME.<span> </span>NO REGISTRATION NOR ANY COST.</span></font></p><p class="MsoNormal"><span><font size="2">Inquiries:<span> </span><a href="mailto:louiseburchill@orange.fr">louiseburchill@orange.fr</a></font> </span><span></span></p></blockquote></div><br><div apple-content-edited="true">
<span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Dr. Ashley Woodward<br>The Melbourne School of Continental Philosophy <br><a href="http://www.mscp.org.au">www.mscp.org.au</a><br>Editor, Parrhesia: A Journal of Critical Philosophy <br>www.parrhesiajournal.org<br>website: http://users.tpg.com.au/phallacy/ashleywoodward/ashley_woodward.html</div></span></span>
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