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PresentationThe 13th International Congress of Aesthetics &#8211; Brazil, entitled &#8220;Os fins da arte&#8221;, aims to highlight recurring themes in the history of philosophical aesthetics, elaborating the already constant ambiguity in its title, namely: &#8220;fins&#8221;. The term refers to the millenarian discussion about the uses of art in the past, present, and future. This takes on the important question about the autonomy of art and the regime of its heteronomy that not only asserted itself in its beginnings, but still imposes itself in the form of market demands tending to disfigure the original impetus of important aesthetic manifestations. On the other hand, the concept of &#8220;os fins&#8221; opens discussion to the numerous formulations of a possible end of art, as echoed by G.W.F. Hegel in Lectures on the Philosophy of Art, &#8220;&#8230;the conditions of our present time are not favorable to art&#8230;In all these respects art, considered in its highest vocation, is and remains for us a thing of the past&#8221;Sub-themesThe invited speakers will present during the morning sessions throughout the entire event. The afternoons will be reserved for the selected panels and individual presentations, to be followed by the debates that will surround not only the principal theme (os fins da arte) stricto sensu, but will also be relevant to the following sub-themes:&#160; Engaged art&#160; Aesthetics and politics&#160; Popular culture&#160; Aesthetics and diversities&#160; Death and art&#160; Ethics and aesthetic&#160; Post-history&#160; Art and psychoanalysis&#160; Art and Brazilian reality&#160; The future of art&#160; Culture industryConference presenters:&#160;early registration with abstract sent for election: April 1st to May 30th;&#160;selected papers announced: June 23rd;&#160;Final registration: June 17th to September 30th.Pre-registration for paper presentations and are per individual:&#160;https://docs.google.com/forms/d/e/1FAIpQLSejNhXO4uV3M2Me_ICpDippO-g7vRNCyvHrwFADBNawLbUMSg/viewform?c=0&#38;w=1Please note: all registration fees are in Brazilian Reais and are per individual.Registration fees for presentersUntil July 1st: R$200 for professors; R$120 for students.From July 2nd to September 30th: R$250 for professors; R$160 for students.&#160;Registration for non-presenters: R$60,00&#160;Registration can be individual, or jointly in panels, which consist of a small, round table, with three presentation with a clear theme. Mini-round table panels should send a pre-registration form for each paper and one for the entire panel (which will have its own text in the program with summaries);&#160;Word limit for paper presentations (for both individual and each one of the panels): 2,500 words;&#160;Papers can be held in English, Portuguese or Spanish.Invited Key note SpeakersDavid Lapoujade (Universit&#233; Paris-I Panth&#233;on-Sorbonne- Paris, France)David Lapoujade is a philosopher and Professor at the Universit&#233; Paris 1 &#8211; Panth&#233;on-Sorbonne. He is a specialist in pragmatism, Anglo-American philosophy, and contemporary philosophy. Professor Lapoujade has written extensively on the work of Gilles Deleuze, William James, Henri Bergson, Henry James, and Emerson. Some of his publications include, amongst others: Aberrant Movements (2017), and editions of Deleuze&#8217;s Two Regimes of Madness (2007) and Desert Islands (2004).Jacob Rugozinski (Universit&#233; de Strasbourg- Strasbourg, France)Jacob Rugozinski is a Professor at the University of Strasbourg. Previously, he has worked as the program director at the Coll&#232;ge interantional de philosophie and as a professor at the University of Paris 8. His principal publications include: Le don de la Loi : Kant et l&#8217;&#233;nigme de l&#8217;&#233;thique, Presses Universitaires de France, 1999; Faire part : cryptes de Derrida, Lignes &#38; Manifestes, 2005, reprinting Lignes, 2014; Le moi et la chair : introduction &#224; l&#8217;ego-analyse, Cerf, 2006; Ouvrage collectif, D&#233;rives pour Guy Debord, Van Dieren, 2011; Gu&#233;rir la vie. La passion d&#8216;Antonin Artaud, Cerf, 2011; Ils m&#8217;ont ha&#239; sans raison. De la chasse aux sorci&#232;res &#224; la Terreur, Cerf, &#8220;Passages&#8221;, 2015.Rodrigo Duarte (Universidade Federal de Minas Gerais- Belo Horizonte, Brazil)Rodrigo Duarte completed his doctorate degree in Philosophy at Universit&#228;t Kassel in Hesse, Germany. Since 2006, he is a Professor in the Philosophy Department at the Federal University of Minas Gerais. He was the president of the Brazilian Association of Aesthetic (ABRE) from May 2006 to October 2014. He published, in addition to numerous articles and contributions to collections, in Brazil and abroad, amongst others, the following books: Teoria cr&#237;tica da ind&#250;stria cultural (Editora UFMG, 2003), Dizer o que n&#227;o se deixa dizer. Para uma filosofia da express&#227;o (Argos, 2008), Deplatzierungen. Aufs&#228;tze zur &#196;sthetik und kritischen Theorie (Max Stein Verlag, 2009), Ind&#250;stria Cultural: uma introdu&#231;&#227;o (FGV, 2010), A arte (Martins Fontes, 2012). P&#243;s-hist&#243;ria de Vil&#233;m Flusser: g&#234;nese-anatomia-desdobramentos (Annablume, 2012) and Varia Aesthetica. Ensaios sobre arte &#38; sociedade (Relic&#225;rio Edi&#231;&#245;es, 2014).Cliff Korman (UNIRIO-Rio de Janeiro, Brazil)Clifford Hill Korman (Cliff Korman) is a pianist, composer, and researcher. He holds a doctorate degree in Music-Jazz Arts Advancement (Manhattan School of Music, 2012; Thesis: Improvising in the Symphonic Jazz Orchestra, in conjunction with his own composition &#8220;Interventions&#8221;) and a Master&#8217;s degree in Music Arts: Specialization in Jazz Performance (The City College of New York, 1996). Currently, he serves as an Adjunct Professor at the Federal University of the State of Rio de Janeiro (UNIRIO), where he coordinates of the research group &#8220;Improvisa&#8221; and a project to digitize the archive of Brazilian icon Paulo Moura. Additionally, Professor Korman teaches the courses Keyboard Harmony, Harmony in Popular Music, and Improvisation Techniques. His other research interests include: the history and practice of the Brazilian popular piano; pedagogy and studies of music popular; and, the global circulations of jazz. He serves in the Graduate Program of Music and the PROEMUS of the Center of Letters and Arts of UNIRIO, and in PPGM in the School of Music- UFMG as an external collaborator where he orientates in the line of Performance. His publications include, amongst others: Pushing at Boundaries The Path of a Brazilian Instrumentalist and Paulo Moura`s Hepteto and Quarteto: Sambajazz as Brazilogical popular instrumental improvised music. He studied in New York, his hometown, with masters of Jazz Ronald Hanna, Barry Harris, Ron Carter, Kenny Barron and David Liebman. His musical career presentations with Brazilian artists such as Paulo Moura, Toninho Horta, Milton Nascimento, Leny Andrade, Astrud Gilberto, Nelson Faria, and Henrique Cazes, in addition to performances with the pianists Wagner Tiso, Gilson Peranzzetta, and Cristov&#227;o Bastos.Alessandro Bertinetto (Universit&#224; degli Studi di Udine- Udine, Italy)Alessandor Bertinetto is currently an Assistant Professor of Aesthetics at the University of Udine. After October 2017, he will serve as an adjunct professor at the University of Turin. He was a DAAD researcher in Munich (Ludwig-Maximilians Universit&#228;t M&#252;nchen) and fellow of the Alexander von Humboldt foundation in Berlin (Freie Universit&#228;t, Berlin). He worked as a research fellow at the universities of Heidelberg, Munich, Vienna, Autonomous University of Madrid and Murcia. He is a member of the executive committee of the European Society of Aesthetics and the scientific committee of the Colloquia Evia International Philosophy and several other research centers. His main areas of research include, amongst others: German idealism, philosophy of music, Aesthetics, continental and analytical, hermeneutics, phenomenology, the theory of subjectivity and philosophy of art, philosophy of music, creativity and improvisationM&#225;rcia Cristina Ferreira Gon&#231;alves (UERJ- Rio de Janeiro, Brazil)M&#225;rcia Cristina Ferreira Gon&#231;alves is currently an Associate Professor in the Department of Philosophy at the State University of Rio de Janeiro. She completed her BA at the State University of Rio de Janeiro (1985), MA at the Federal University of Rio De Janeiro (1991), and PhD a the Free University of Berlin (1996). She has completed postdoctoral fellowships at the Albert Ludwigs University of Freiburg (Breisgau, Germany) and the Technical University of Berlin (Germany). She is a member of the Brazilian Hegel Society (SHB), the International Schelling Society (Internationnalle Schelling-Gesellschaft), and research groups of Hegel and Aesthetics of ANPOF. Some of her publications include, amongst others: &#8220;O Belo e o Destino. Uma Introdu&#231;&#227;o &#224; Filosofia de Hegel&#8221; (Loyola, 2001) and &#8220;Filosofia da Natureza&#8221; (Cole&#231;&#227;o Passo a Passo. Zahar, 2006).M&#225;rcio Suzuki (USP -S&#227;o Paulo, Brazil)M&#225;rcio Suzuki earned his doctorate in Philosophy from the University of S&#227;o Paulo. Since 1990, he has worked as a Professor at the same university. His research interests focus on German Idealism and Romanticism. He is currently studying the relationship between philosophy and literature. He has has published numerous titles from to Portuguese by Friedrich Schiller and Traduziu in&#250;meros livros, dentre os quais, destacam-se: Poesia Ing&#234;nua e Sentimental de F. Friedrich Wilhelm Joseph Schelling. Professor Suzuki has published articles and collection contributions in Brazil and abroad which include, amongst other: O G&#234;nio Rom&#226;ntico (S&#227;o Paulo: Iluminuras, 1998) and A forma e o sentimento do mundo. Jogo, humor e arte de viver na filosofia do s&#233;culo XVIII (S&#227;o Paulo: Editora 34, 2014).G&#252;nter Gebauer (Freien Universit&#228;t Berlin-Germany)G&#252;nter Gebauer is a philosopher, sports scientist, linguist, and a Professor at Freie Universit&#228;t Berlin. Additionally, he served as a visiting professor in Paris, Strasbourg, and Hiroshima. Amongst other books, his publications include: Der Einzelne und sei gesellschaftliches Wissen (1981), Historische Anthropologie (1989), Mimesis. Kultur-Kunst-Gesellschaft (1996), Spiel, Ritual, Geste (1998) und Poetik d&#234;s Fussballs (2006).Event Organizers and scientific committeeProfessor Dr. C&#237;ntia Vieira da Silva (UFOP-Ouro Preto, Brazil)Professor C&#237;ntia Viera da Silva holds an MA (2000) and PhD (2007) in Philosophy from the State University of Campinas. She is currently an Adjunct Professor at the Federal University of Ouro Preto. Also, she is vice-president of the Brazilian Association of Aesthetics and coordinator of a Deleuze research group. She edits, in collaboration with Professor K&#225;tia Maria Kasper, the Revista Alegrar. Her research interests include, amongst others: modern and contemporary philosophy, philosophy of difference, the body as a philosophical question, corporality, image and it aesthetic implications, and epistemology.Professor Dr. Debora Pazetto Ferreira (CEFET/MG-Belo Horizonte, Brazil)Professor Debora Pazetta Ferreira holds degrees in Philosophy and Plastic Arts from the Federal University of Santa Catarina, the State University of Santa Catarina, and the Federal University of Minas Gerais. During her doctoral studies, she completed a joint-research project at Panth&#233;on-Sorbonne University -Paris 1 with a scholarship from CNPq. She is a member of the board of ABRE - Brazilian Association of Aesthetics, and a researcher at GEPTT - Group of Studies and Research in Work and Technology. Her main areas of research include, amongst others: aesthetics and philosophy of art, philosophy of technology, art criticism, and visual arts.Professor Dr. Giorgia Cecchinato, Coordinator (UFMG &#8211; Belo Horizonte, Brazil)Giorgia Cecchinato holds a PhD in Philosophy from the Ludwig-Maximilians-Universit&#228;t in Munich, where she was a researcher and teaching assistant from 2007 to 2008. Additionally, she was a researcher at the Universit&#224; degli studi di Padova (2008-2009). Currently, she is an Assistant Professor at the Federal University of Minas Gerais. Her work is in the area of Modern Philosophy, with emphasis on the following themes: Kant, German Idealism, and 18th-century philosophy. She is the author of the book Fichte und das Problem einer &#196;sthetik (W&#252;rzburg, 2009).Professor Dr. Marco Ant&#244;nio Alves (CAPES/UFMG- Belo Horizonte, Brazil)Professor Marco Ant&#244;nio Alves holds a PhD from the Federal University of Minas Gerais. His doctoral thesis earned the UFMG Prize for Outstanding Thesis and an honorable mention by CAPES in 2015. During his studies, he completed a research internship in Paris, at the EHESS(&#201;cole des hautes &#233;tudes en sciences sociales), under the orientation of Professor Roger Chartier. Currently, he is scholar in the Graduate Program of Philosophy at UFMG. He has taught at the undergraduate and graduate level in various universities including: the Federal University of Minas Gerais, Milton Campos Faculty of Law, Jesuit Faculty of Philosophy and Theology and State University of Montes Claros (Unimontes). His main areas of interests include: Foucault, authorship, cyberspace, argumentation theory (Perelman and Habermas), and authorship rights.Professor Dr. Rachel Costa (CAPES/UFOP -Ouro Preto, Brazil)Rachel Costa is currently a scholar (PNDP) in the graduate program of Aesthetics and Philosophy of Art at the Federal University of Ouro Preto. She earned her MA and PhD from the Federal University of Minas Gerais, part of which she completed in the Universit&#233; Paris 1 -Pantheon-Sorbonne in Paris. She was a postdoctoral researcher at the Braude College of Engineering in Israel, in art and technology.Professor Dr. Rodrigo Duarte (UFMG- Belo Horizonte, Brazil)Rodrigo Duarte holds a PhD in Philosophy from the University of Kassel and, since 2006, he works in the Department of Philosophy at the Federal University of Minas Gerais (Brazil). He was president of the Brazilian Association of Aesthetics (ABRE) from May 2006 to October 2014. He has published, in addition to numerous articles and contributions in collections, in Brazil and abroad, among others, the following books: Teoria cr&#237;tica da ind&#250;stria cultural (Editora UFMG, 2003), Dizer o que n&#227;o se deixa dizer. Para uma filosofia da express&#227;o (Argos, 2008), Deplatzierungen. Aufs&#228;tze zur &#196;sthetik und kritischen Theorie (Max Stein Verlag, 2009), Ind&#250;stria Cultural: uma introdu&#231;&#227;o (FGV, 2010), A arte(Martins Fontes, 2012). P&#243;s-hist&#243;ria de Vil&#233;m Flusser: g&#234;nese-anatomia-desdobramentos (Annablume, 2012) eVaria Aesthetica. Ensaios sobre arte &#38; sociedade (Relic&#225;rio Edi&#231;&#245;es, 2014).Professor Dr. Verlaine Freitas (UFMG- Belo Horizonte, Brazil)Professor Freitas holds an M.A in Philosophy (1987) from the Pontifical Catholic University of Rio de Janeiro and PhD in Philosophy from the University of Sciences and Humanities of Strasbourg (1994). He completed postdoctoral research fellowships at Boston College (2003) and Marc Bloch University in Strasbourg (2010). Currently, he is a full Professor at the Department of Philosophy at the Federal University of Minas Gerais. Between 2003 and June 2008, he was editor of Kriterion Magazine. Between 1997 and 2009, he was a CNPq (B1) researcher. Professor Freitas&#8217;s research interest include: art and ontology, poetics in German Idealism, and contemporary aesthetics.Professor Dr. Virginia Figueiredo (UFMG- Belo Horizonte, Brazil)Professor Figueiredo holds an M.A. degree (1996) and a PhD in Philosophy (2001) from the Federal University of Minas Gerais. She completed a postdoctoral fellowship at the University of Windsor, Canada (2011). Currently, she is an Associate Professor at UFMG and a CNPq researcher. Professor Figueiredo published the book Adorno e a arte contempor&#226;nea, in addition to translating works by German and English-speaking authors. Her areas of interest include:aesthetics, psychoanalysis and mass culture, addressing the works of Immanuel Kant, Friedrich Nietzsche, Sigmund Freud and Theodor Adorno. She is the author of the blog Refra&#231;&#245;es.About Belo HorizonteBelo Horizonte is the capital of the state of Minas Gerais, as well as Brazil&#8217;s third largest metropolitan area. The city, originally conceived and planned in the late 19th century, offers a vibrant cultural scene and welcoming academic forum. Local restaurants and Botecos (street bars) demonstrate the state of Minas Gerais&#8217;s strong culinary heritage, that is one of the most celebrated in the country. It is home to urban structure and landscape design projects Brazil&#8217;s renowned Modernist architect, Oscar Niemeyer. Belo Horizonte is nestled between cultural epicenters such as the historic city of Ouro Preto and the Inhotim Center of Contemporary Art, both of which can be easily accessed by public transportation.The 13th International Congress of Aesthetics - Brazil will be held in the Department of Philosophy at the Federal University of Minas Gerais in Pampulha. Also known as the Lake District, Pampulha, was recently named a UNESCO World Heritage Site. The region, in addition to the University, is home to some of Oscar Niemeyer&#8217;s greatest works, entertainment, hotels, shopping, and outdoor recreational activities. The region is easily accessible from Belo Horizonte&#8217;s city center by public transportation.Apresenta&#231;&#227;oO 13&#186;. Congresso Internacional de Est&#233;tica &#8211; Brasil, intitulado &#8220;Os fins da arte&#8221; visa p&#244;r em relevo temas recorrentes na hist&#243;ria da est&#233;tica filos&#243;fica, elaborando a ambiguidade j&#225; constante no seu t&#237;tulo, a saber: &#8220;fins&#8221; entendidos como&#160;finalidades, o que remete &#224; milenar discuss&#227;o sobre os usos que a arte teve, tem e ter&#225;, a qual remete &#224; ainda importante quest&#227;o acerca da autonomia da arte e do regime de sua heteronomia que n&#227;o apenas se imp&#244;s nos seus prim&#243;rdios, mas ainda se imp&#245;e na forma de exig&#234;ncias mercadol&#243;gicas tendentes a desfigurar o &#237;mpeto original de importantes manifesta&#231;&#245;es est&#233;ticas. Por outro lado, o enfoque sobre &#8220;os fins da arte&#8221; remete &#224;s in&#250;meras formula&#231;&#245;es da discuss&#227;o sobre um poss&#237;vel t&#233;rmino da arte, a partir da marcante p&#225;gina dos&#160;Cursos de est&#233;tica&#160;de G.W.F. Hegel, segundo a qual &#8220;&#8230; nosso presente n&#227;o &#233;, segundo o seu estado geral, favor&#225;vel &#224; arte. Em &#160;todas essas rela&#231;&#245;es a arte &#233;&#8218; e permanece, segundo o aspecto &#160;de &#160;sua mais alta determina&#231;&#227;o, algo passado para n&#243;s&#8221; (Vorlesungen &#252;ber die &#196;sthetik, Suhrkamp Verlag, p. 25).Nos que tange &#224; discuss&#227;o sobre poss&#237;veis prop&#243;sitos de objetos est&#233;ticos, pode-se dizer que ela &#233; t&#227;o antiga quanto a pr&#243;pria reflex&#227;o sobre a arte, reportando-se, por exemplo, a v&#225;rios di&#225;logos de Plat&#227;o, sendo suas passagens mais conhecidas aquelas de&#160;A rep&#250;blica, nas quais o fil&#243;sofo externa as suas suspeitas sobre as artes imitativas, tendo em vista o seu poder potencialmente enganador, com os seus preju&#237;zos na forma&#231;&#227;o dos cidad&#227;os do que seria uma&#160;p&#243;lis&#160;perfeita. Subjaz a esse ponto de vista a convic&#231;&#227;o sobre os efeitos educativos da arte nas pessoas, o que sinaliza uma de suas finalidades espec&#237;ficas, a saber, a m&#250;sica &#8211; arte das musas &#8211; ao lado da gin&#225;stica como principais m&#233;todos para a educa&#231;&#227;o dos cidad&#227;os. Ainda na filosofia cl&#225;ssica grega, na&#160;Po&#233;tica&#160;de Arist&#243;teles, reencontra-se uma concep&#231;&#227;o de prop&#243;sito da arte na &#234;nfase dada &#224;&#160;catarse&#160;como propiciadora de purifica&#231;&#227;o do &#226;nimo, mediante a experi&#234;ncia do terror e da compaix&#227;o. Ainda no final da Antiguidade, Hor&#225;cio, em sua&#160;Ars Poetica, declarava que os poetas querem ser &#250;teis ou deleitar (&#8220;Aut prodesse volunt aut delectare poetae&#8221;), chamando a aten&#231;&#227;o para os poss&#237;veis usos da arte.Na Idade M&#233;dia, em que a cultura como um todo se encontrava submetida &#224; f&#233; crist&#227;, as manifesta&#231;&#245;es art&#237;sticas, de um modo geral, eram concebidas como meios&#160;ad majorem Dei gloriam, tendo portanto o prop&#243;sito expl&#237;cito de celebrar e mesmo aumentar a gl&#243;ria de Deus. Mesmo em per&#237;odos j&#225; avan&#231;ados, como na &#233;poca de S&#227;o Tom&#225;s de Aquino, a verdadeira perfei&#231;&#227;o de uma obra de arte &#8211; sua&#160;perfectio prima&#160;&#8211; residia na adequa&#231;&#227;o &#224; sua finalidade, sendo que sua beleza formal era tida como secund&#225;ria &#8211; era entendida como&#160;perfectio secunda.Foi a partir do Renascimento, com a concep&#231;&#227;o de virtuosismo art&#237;stico, que, n&#227;o apenas na pr&#225;tica dos criadores, mas na discuss&#227;o dos te&#243;ricos, come&#231;a a surgir a ideia de que as belas artes podem n&#227;o estar submetidas a prop&#243;sitos imediatos, tendo suas obras um tipo de valor intr&#237;nseco, n&#227;o subordinado a finalidades externas. Esse ponto de vista, cujo debate se estendeu pelos s&#233;culos subsequentes, certamente atingiu um cume filos&#243;fico com as concep&#231;&#245;es do &#8220;prazer desinteressado&#8221; no ju&#237;zo de gosto e da &#8220;conformidade a fins sem fim&#8221; na&#160;Critica da faculdade do ju&#237;zo, de Immanuel Kant e influenciou toda a est&#233;tica posterior, ao longo dos s&#233;culos XIX e XX, com repercuss&#245;es at&#233; esse nosso in&#237;cio do s&#233;culo XXI, corporificadas, como j&#225; se assinalou, nas discuss&#245;es contempor&#226;neas sobre a autonomia da arte.Algo semelhante ocorre com o outro significado contido na express&#227;o &#8220;os fins da arte&#8221;: o progn&#243;stico hegeliano sobre um poss&#237;vel fim da arte repercutiu em toda a est&#233;tica, desde o in&#237;cio do s&#233;culo XX at&#233; o presente, com manifesta&#231;&#245;es mais ou menos expl&#237;citas em obras de Gyorg Luk&#225;cs, Martin Heidegger, Walter Benjamin, Theodor Adorno, Herbert Marcuse, Gianni Vatimo e Arthur Danto, dentre outros.Tendo em vista a trajet&#243;ria dessas duas concep&#231;&#245;es de &#8220;fim&#8221; da arte, as quais at&#233; hoje preservam sua import&#226;ncia nos debates contempor&#226;neos sobre a est&#233;tica, o&#160;Congresso Internacional Os fins da arte&#160;pretende abordar alguns dos seus aspectos mais pertinentes, seja em cada uma delas separadamente ou nas suas diversas interrela&#231;&#245;es poss&#237;veis.Vale lembrar que esse congresso se soma &#224; s&#233;rie de eventos organizados, desde 1993, pela Linha de Pesquisa em Est&#233;tica e Filosofia da Arte, do Programa de P&#243;s-Gradua&#231;&#227;o em Filosofia da UFMG (a partir de 2009 realizados juntamente com o Mestrado em Est&#233;tica e Filosofia da Arte da UFOP e com a Associa&#231;&#227;o Brasileira de Est&#233;tica &#8211; ABRE): &#8220;Morte da arte, hoje&#8221; (1993), &#8220;Belo, sublime e Kant&#8221; (1995), &#8220;As luzes da arte&#8221; (1997), &#8220;Katharsis&#8221; (1999), &#8220;M&#237;mesis e express&#227;o&#8221; (2001), &#8220;Theoria Aesthetica&#8221; (2003), &#8220;A dimens&#227;o est&#233;tica&#8221; (2005), &#8220;Est&#233;ticas do deslocamento&#8221; (2007), &#8220;Deslocamentos na arte&#8221; (2009); &#8220;Imagem, imagina&#231;&#227;o, Fantasia. Vinte anos sem Vil&#233;m Flusser&#8221;, (2011) &#8220;Gosto, interpreta&#231;&#227;o e cr&#237;tica&#8221; (2013) e &#8220;O tr&#225;gico, o sublime e a melancolia&#8221; (2015).Sub-temasO congresso consistir&#225; em um conjunto de palestras realizadas por pesquisadores convidados durante a parte da manh&#227; de cada um dos dias. As tardes ficar&#227;o reservadas &#224; apresenta&#231;&#227;o de comunica&#231;&#245;es e pain&#233;is inscritos por ades&#227;o, seguidos de debates, que versar&#227;o n&#227;o apenas sobre o foco principal (os fins da arte)&#160;stricto sensu, mas tamb&#233;m acerca dos seguintes sub-temas a ele relacionados:Arte engajadaEst&#233;tica e pol&#237;ticaCultura PopularEst&#233;tica e diversidadesMorte da arte&#201;tica e est&#233;ticaP&#243;s-hist&#243;riaArte e psican&#225;liseArte e realidade brasileiraO futuro da arteInd&#250;stria culturalInscri&#231;&#245;esPer&#237;odo de inscri&#231;&#227;o:Para ouvintes: &#160;01 de setembro a 17 de outubro;Com apresenta&#231;&#227;o de trabalho:&#8211; pr&#233;-inscri&#231;&#227;o com envio de resumo para sele&#231;&#227;o:&#160;01 de abril a 30 de maio;&#8211; resultado dos trabalhos selecionados:&#160;23 de junho;&#8211; inscri&#231;&#227;o definitiva:&#160;17 de junho a 30 de setembro.Pr&#233;-inscri&#231;&#227;o para apresenta&#231;&#227;o de trabalhos:Formul&#225;rio de inscri&#231;&#227;o para submiss&#227;o de resumo clique&#160;aqui.Valor das inscri&#231;&#245;esAt&#233; 01/07/2017: R$200 para professores e R$120 para estudantesDe 02/07/2017 a 30/09/2017: R$250 para professores e R$160 para estudantesValor da inscri&#231;&#227;o para ouvintes: R$60,00Pode-se fazer inscri&#231;&#227;o individual, ou conjunta, nos pain&#233;is, que constituem uma mini-mesa-redonda, com tr&#234;s apresenta&#231;&#245;es que possuem uma clara afinidade tem&#225;tica; ao fazer a inscri&#231;&#227;o conjunta, deve-se enviar uma ficha de pr&#233;-inscri&#231;&#227;o de cada comunica&#231;&#227;o e uma do painel (que ter&#225; um texto pr&#243;prio no caderno de resumos);Limite dos textos das comunica&#231;&#245;es definitivas (tanto individual quanto de cada um dos pain&#233;is): 2.500 palavras;Comiss&#227;o cient&#237;fica e organizadoraProfa. Dra. C&#237;ntia Vieira da Silva (UFOP)Possui gradua&#231;&#227;o em Filosofia pela Universidade Estadual de Campinas (1996),&#160;mestrado em Filosofia pela Universidade Estadual de Campinas (2000) e doutorado pela&#160;Universidade Estadual de Campinas (2007). &#201; professora adjunta no Departamento de&#160;Filosofia da Universidade Federal de Ouro Preto. &#201; vice-presidenta da Associa&#231;&#227;o&#160;Brasileira de Est&#233;tica. Coordena o GT Deleuze, ligado &#224; ANPOF. Edita, em colabora&#231;&#227;o&#160;com a Prof&#170; K&#225;tia Maria Kasper, a Revista Alegrar. Tem experi&#234;ncia na &#225;rea de&#160;Filosofia, com &#234;nfase em Filosofia Moderna e Contempor&#226;nea, atuando principalmente&#160;nos seguintes temas: filosofia da diferen&#231;a; o corpo como quest&#227;o filos&#243;fica;&#160;corporeidade, imagem e suas implica&#231;&#245;es est&#233;ticas, &#233;tico-pol&#237;ticas e epistemol&#243;gicas;&#160;teoria espinosista dos afectos.Profa. Dra. Debora Pazetto Ferreira (CEFET/MG)Professora no Centro Federal de Educa&#231;&#227;o Tecnol&#243;gica de Minas Gerais &#8211; CEFET/MG. Possui gradua&#231;&#227;o em Filosofia pela Universidade Federal de Santa Catarina &#8211; UFSC (2007) e gradua&#231;&#227;o em Artes Pl&#225;sticas pela Universidade Estadual de Santa catarina &#8211; UDESC (2010). Possui mestrado em Filosofia pela Universidade Federal de Santa Catarina (2010) e doutorado em filosofia pela Universidade Federal de Minas Gerais &#8211; UFMG, na linha de pesquisa de Est&#233;tica e Filosofia da Arte. De novembro de 2012 a outubro de 2013, realizou o doutorado sandu&#237;che na Universidade de Paris 1, Panth&#233;on-Sorbonne, com bolsa do CNPq. &#201; membro da diretoria da ABRE &#8211; Associa&#231;&#227;o Brasileira de Est&#233;tica, e pesquisadora do GEPTT &#8211; Grupo de Estudos e Pesquisa em Trabalho e Tecnologia Principais &#225;reas de atua&#231;&#227;o: est&#233;tica e filosofia da arte, filosofia da tecnologia, cr&#237;tica de arte, artes visuais.Profa. Dra. Giorgia Cecchinato (UFMG &#8211; coordenadora)Giorgia Cecchinato (Padova, 1974) possui gradua&#231;ao em Filosofia pela Universit&#224; degli studi di Padova (2001) e doutrorado (2009) em Filosofia pela Ludwig-Maximilians-Universit&#228;t em Munique. Foi Pesquisadora e encarregada de ensino na Ludwig-Maximilians-Universit&#228;t em Munique (2007-2008) e bolsista DAAD na Universidade Federal do Paran&#225;. Foi pesquisadora na Universit&#224; degli studi di Padova (2008-2009). Atualmente &#233; professora adjunta de est&#233;tica na UFMG Atua sobretudo na &#225;rea de Filosofia Moderna, com destaque nos seguintes temas: Kant, Idealismo alem&#227;o, filosofia do s&#233;culo 18, em suas implica&#231;&#245;es est&#233;ticas e morais. &#201; autora da monografia Das Problem einer &#196;sthetik bei Fichte, W&#252;rzburg, 2009; e de outros ensaios e artigos sobre quest&#245;es e problemas do Idealismo alem&#227;o.Prof. Dr. Marco Ant&#244;nio Alves (CAPES/UFMG)Doutor em Filosofia pela UFMG (2014), tendo a tese recebido o Pr&#234;mio UFMG de Teses e Men&#231;&#227;o Honrosa do Pr&#234;mio CAPES de Tese 2015. Mestre em Filosofia pela mesma institui&#231;&#227;o (2005). Graduado em Direito (&#202;nfase em Ci&#234;ncia e Filosofia do Direito) e em Filosofia, ambos tamb&#233;m pela UFMG. Realizou entre agosto de 2010 e julho de 2011 um est&#225;gio de pesquisa doutoral em Paris, na EHESS (&#201;cole des hautes &#233;tudes en sciences sociales), sob orienta&#231;&#227;o do Prof. Roger Chartier. Atualmente &#233; pesquisador de p&#243;s-doutorado (bolsista PNPD/CAPES) no Programa de P&#243;s-Gradua&#231;&#227;o em Filosofia da UFMG. Tem experi&#234;ncia como professor de gradua&#231;&#227;o e/ou p&#243;s-gradua&#231;&#227;o em diversas institui&#231;&#245;es: Universidade Federal de Minas Gerais (UFMG), Faculdade de Direito Milton Campos, Faculdade Jesu&#237;ta de Filosofia e Teologia (FAJE), Pontif&#237;cia Universidade Cat&#243;lica de Minas Gerais (PUC Minas), Universidade Estadual de Montes Claros (Unimontes) e nas Faculdades Promove. Trabalha nas &#225;reas de Filosofia Contempor&#226;nea, Filosofia Pol&#237;tica e Teoria e Filosofia do Direito. Temas prediletos: Foucault, Autoria, Ciberespa&#231;o, Teorias da Argumenta&#231;&#227;o (Perelman e Habermas) e Direito de Autor.Profa. Dra. Rachel Costa (CAPES/UFOP)&#201; mestre e doutora pela Universidade Federal de Minas Gerais &#8211; UFMG pela linha de Est&#233;tica e Filosofia da Arte, com a disserta&#231;&#227;o Imagem e Linguagem na P&#243;s-hist&#243;ria de Vil&#233;m Flusser e a tese Tr&#234;s quest&#245;es sobre a arte contempor&#226;nea. Fez doutorado sandwich na Universit&#233; Paris I &#8211; Pantheon-Sorbonne em Paris. E p&#243;s-doutorado no Braude College of Engineering em Israel, em arte e tecnologia. Foi professora de Filosofia da Arte na Escola Guignard-UEMG e de teoria e hist&#243;ria da arte na EBA-UFMG. Atualmente &#233; bolsista de PNPD do Programa de p&#243;s-gradua&#231;&#227;o em Est&#233;tica e Filosofia da Arte da UFOP. Organizou livros e eventos, tem artigos publicados e trabalha como cr&#237;tica e curadora independente.Prof. Dr. Rodrigo Duarte (UFMG)Rodrigo Duarte &#233; doutor em Filosofia pela Universidade de Kassel e, desde 2006, Professor Titular do Departamento de Filosofia da UFMG. Foi presidente da Associa&#231;&#227;o Brasileira de Est&#233;tica (ABRE) de maio de 2006 a outubro de 2014. Publicou, al&#233;m de numerosos artigos e contribui&#231;&#245;es em colet&#226;neas, no Brasil e no exterior, dentre outros, os seguintes livros:&#160;Teoria cr&#237;tica da ind&#250;stria cultural&#160;(Editora UFMG, 2003),&#160;Dizer o que n&#227;o se deixa dizer. Para uma filosofia da express&#227;o&#160;(Argos, 2008),&#160;Deplatzierungen. Aufs&#228;tze zur &#196;sthetik und kritischen Theorie&#160;(Max Stein Verlag, 2009),&#160;Ind&#250;stria Cultural: uma introdu&#231;&#227;o&#160;(FGV, 2010),&#160;A arte(Martins Fontes, 2012).&#160;P&#243;s-hist&#243;ria de Vil&#233;m Flusser: g&#234;nese-anatomia-desdobramentos&#160;(Annablume, 2012) eVaria Aesthetica. Ensaios sobre arte &#38; sociedade&#160;(Relic&#225;rio Edi&#231;&#245;es, 2014).Prof. Dr. Verlaine Freitas (UFMG)Possui gradua&#231;&#227;o (1994), mestrado (1996) e doutorado (2001) em Filosofia pela Universidade Federal de Minas Gerais; fez est&#225;gio de P&#243;s-doutorado na University of Windsor, Canad&#225; (2011). Atualmente &#233; professor associado da UFMG e pesquisador do CNPq. &#201; autor do livro &#8220;Adorno e a arte contempor&#226;nea&#8221;, al&#233;m de organizador de outras obras sobre est&#233;tica. Traduziu textos de autores alem&#227;es e de l&#237;ngua inglesa. Trabalha principalmente os temas: est&#233;tica, psican&#225;lise e cultura de massa, abordando as obras de Immanuel Kant, Friedrich Nietzsche, Sigmund Freud e Theodor Adorno. &#201; autor do blog&#160;Refra&#231;&#245;es.Profa. Dra. Virginia Figueiredo (UFMG)Possui gradua&#231;&#227;o em Hist&#243;ria (1978) e mestrado em Filosofia (1987) pela Pontif&#237;cia Universidade Cat&#243;lica do Rio de Janeiro; doutorado em Filosofia pela Universit&#233; des Sciences Humaines de Strasbourg (1994); p&#243;s-doutorado no Boston College (2003) e na Universit&#233; Marc Bloch de Strasbourg (2010). Professora titular do Departamento de Filosofia da Universidade Federal de Minas Gerais. Entre dezembro de 2003 e junho de 2008, foi editora da Revista Kriterion. Entre 1997 e 2009, foi pesquisadora do CNPq (1B). Trabalha principalmente na &#225;rea de Est&#233;tica, com &#234;nfase nos seguintes temas: Arte e Ontologia, Po&#233;ticas no Idealismo Alem&#227;o e Est&#233;ticas Contempor&#226;neas.