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2011 ASA Rocky Mountain Division Meeting
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The Rocky Mountain Division held its 28th annual meeting in the Hotel St. Francis in downtown Santa Fe. The weather, as is normal, was splendid and the Saturday evening reception well attended. The dropping away of those whose papers were accepted but whose travel funds were cut remains a problem. We are holding at eighteen presented papers for this year as for last.

Division President Linda Dove has completed her three year term as division president and James W. Mock began his new term at the end of the business meeting. After extensive discussions, it was agreed upon to change the conference venue to Hotel Santa Fe, which offered a desirable “package” for the annual meeting, is conveniently located, although not in the center of downtown as was the Saint Francis, and will be less costly for conference participants. It was also agreed that the division contracts and financial records will now all flow through ASA treasurer Dabney Townsend and the ASA national office.

The eighteen presentations accorded with the long-standing interdisciplinary focus of the division. The program panels were: Material and Spiritual Illuminations (Michael Greene, “Vincent van Gogh’s Problematic,” and Cornelia Tsakiridou, “Aesthetic Reflections on Divine Illumination in Orthodox Christianity and Islam”); The Aesthetics of Self (Sarahh Woolwine, “Systematicity in the Critique of Judgment: The Emergence of a Unified Subject,” and Lawrence Rhu, “The Bright Leaves of Ross McElwee”); The Aesthetics of Ruins (James Janowski, “Bamiyan’s Broken Buddhas: Ruined or Restorable?,” Reuben Ellis, “Packing the House: The Function of Human Beings in Representations of Pre-Contact Puebloan Ruins in Southwestern Landscape Photography and Literature,” and Martin Donoughho, “Anarchitecture, or Ruins in the Perspective of Philosophy”); Philosophical Considerations (James Mock, “Hume and Hogarth on Matters of Taste,” David Conter, “Is Poetry More Philosophical than History?” and Roger Paden, “Evolutionary Aesthetics and Nietzsche’s Philosophy of Art”); Art, Music, and Form (S.K. Wertz, “What Led to Formalism? Flaubert’s Account of Sentimentalism,” and John Samson, “Sidney Lanier’s Water Music”); The Aesthetics of Social Media and Situational Context (Heidi Silcox, “Placement Matters: The Situational Significance of Street Art,” Raphael Sassower, “Mediated Immersion; Contemporary Artistic Expressions,” and Eva Dadlez, “Do Vampires Have More Fun? Role-Playing Games, Imaginative Immersion, and Moral Complicity”); Storied Landscapes of the West (Norman Fischer, “The Ongoing Santa Fe Ernest Thompson Seton Exhibit and the Birth of Animal Rights in North America,” George Moore, “The Time Machine: Traveling the Spaces of the American West,” and Allison Hagerman, “Mapping the Invisible: Digital Cartography and Metaphor in Cultural Landscapes”). Abstracts of the papers are available on the division’s website:

The session chairs, as is traditional, managed the timing of presentations and discussions with uniform excellence. Thanks are offered to: S. K. Wertz, James Mock, Allison Hagerman, Martin Donougho, Cornelia Tsakiridou, Michael Manson, Elizabeth graham, Shannon Samson, and Reuben Ellis.

The Friday afternoon Manuel Davenport Keynote Address, “From the Aesthetics of Ruins to the Ruins of Aesthetics,” was presented by Robert Ginsberg, Director, International Center for the Arts, Humanities, and Value Inquiry. The Saturday afternoon Artist at Work presentation, “For a Photon There Is Only the Present,” was by Sally Weber, Resonance Studio, Austin, Texas.

James Mock

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