We believed that aesthetics is a way of cutting any crisscrossing between cultural roles and social discrimination ones. The problem today and post to the state of great confusion quite salient in self-shaking state, has become intense. We consequently must deliver art from aesthetics not as a discourse but as an identification system that aesthetics put it on art. The question is how to interpret “art concern” as one of the main crises? Art is losing its strongholds; it has become hard for art to preserve its place within cultural production.

Argument

We believed that aesthetics is a way of cutting any crisscrossing between cultural roles and social discrimination ones. The problem today and post to the state of great confusion quite salient in self-shaking state, has become intense. We consequently must deliver art from aesthetics not as a discourse but as an identification system that aesthetics put it on art. Concern that art undergoes today is the paradigm around which the meeting is built. This concern that’s displaced from aesthetics and migrated to practice sphere.

The question is how to interpret “art concern” as one of the main crises? Art is losing its strongholds; it has become hard for art to preserve its place within cultural production. And as it loses importance, the “cultural geography” changes its mapping along with its data and changes the actants. Not only that, but also the paradigm included by art has become flabby due to the interference of aesthetics and since then art has never constituted a genuine call only inside its closed field. All that art has achieved is that it made its techniques well known without its ontological feature.

There is another type of concern, that is, art today fails to take from courage only its ritual side: but it has conceded its permeation aspect and settled issues with boundaries and that’s due to. First, because of deficiency in research for modern art. Second, owing to the legal frameworks that art agreed upon to ensure salvation, we must invent new forms of practice. Forms here do not refer to the external. “Aspect of objects but to the essence as the Greeks put it ”idea To preserve its ontological place, art has to create new thinking circles. This can only be achieved through its clinging to modernism. It should be that “thinking process”. It should be out of the “self-sufficiency”. The wide range of the image could be a hindrance to creativity and the search for “innovative ways”. Creativity in the space of nothingness can be labelled ”thinking circles“.

In reality, this is what we find in the artistic field including drama, cinema and visual arts. Impregnation can be the main theme of arts for decision making purpose to establish new geography of ”Art concern“ is but ”thinking concern“ here for a different language that can only be structured in a ”void space" invented for new alternatives capable of going beyond the crisis space where art is stuck. A kind of elusiveness that can never be predicted.

The topics of the symposium

These issues form the focus of the scientific symposium of this forum, which we raise in the following themes:

1. Art amid strict paradigms and freedom of conscious management of the world issues.
2. Humanizing arts facing today's radical threats.
3. Arts as eternal circles for human problems and the search for new thinking alternatives.
4. Evolution of arts systems amid technological changes.
5. Categorizing arts production as cultural and commercial or from artistic legacy to artistic production.

The conference objectives

• An opportunity for research and exploring new views about arts.
• New thinking spheres: overview of artists main interest focus.
• Categorizing arts releases and identifying the main challenges.
• Gathering all interested artists and debating arts concern at the university.

Submission guidelines

1. Research must be original and not presented before.
2. Researchers must stick to the scientific criteria according to APA guidelines. 3. No less than 15 pages and not exceeding 25 pages including references and index using word 365.
3. All research should include an abstract in English and another in Arabic.
4. All papers in Arabic, French and English are accepted.
5. The research paper and its summary should be written in (Word): in font (adobe naskh medium16) for Arabic and (Calibri corps 12) for French and English.
6. Co-authored communications are not accepted.
7. Targeted participants: university teachers, researchers, academicians, and experts.

Please fill this participation form

before 15 December 2022.

Participation in the symposium will be through direct attendance and via the Zoom app.

Arabic, French and English are the official languages of the conference

Participation advantages

• The higher Institute of music and theatrical art can publish accepted papers without prior permission.
• Participants get an electronic copy of the conference proceedings and a participation certificate.
• Accepted papers will be published in an ISBN book and in scientific revues, in the democratic Arab center, Germany. The magazine will publish the conference proceedings.
• Research papers reflect their authors point of view solely. The authors assume full responsibility in case of academic and scientific deficiency.

Important dates

• Deadline of submission of abstracts 15 December 2022.

• Participants get informed January 2^nd, 2023.
• Submission of papers February 28, 2023.
• Jury results and comments March 30, 2023.
• Release of the final program April 15, 2923.
• Conference will be held on the 27, 28 and 29 of April 2023.

Research papers must be sent by the Participation link:

Forum e-mail arts.concern.colloque2023@gmail.com

Organizers

• The University Of Jendouba, Tunisia. 
• The Arab Democratic Centre for Strategic Studies, Berlin, Germany.

The Forum Presidency

Dr. Riadh Zammel, The director of the higher Institute of music and theater in El Kef, The University of Jendouba, Tunisia.

Honorary Presidency

• Prof. Wahid Saafi, Faculty of Humanities (9 Avril), Tunisia.
• Dr. Ammar Sharaan, The Arab Democratic Centre for Strategic Studies Berlin, Germany.

Scientific Committee

The scientific committee Chairman: Pr. Ibrahim Jedla, Faculty of Humanities, Manouba, Tunisia

The scientific symposium coordinator: Dr. Ali Chamseddine, The higher Institute of Arts and Crafts, Gabes, Tunisia

The Reviewers

Theatre and theatrical arts

• Pr. Ahmed Aissi, Mostaghanem University, Algeria.
• Pr. Talal Darjeni, Beirut University, Lebanon.
• Pr. Moussa Amari, Tripoli University, Libya.
• Pr. Majdi Fareh, Tunis University.

Music and Musical sciences 

• Pr. Mourad Siala, Sfax University.
• Pr. Helmi Nsir, Sfax University.
• Pr. Anis Meddeb, Tunis University.

Cinema and audiovisual 

• Pr. Ridha Bouabid, Carthage University 
• Pr. Jawhar Jammoussi, Mannouba University.
• Pr. Radhouane Maazoun, Mannouba University 
• Pr. Morched Sahnoun, Mannouba University

Fine and visual arts 

• Pr. Sana Jammali, Sousse University
• Pr. Mohamed Ben Hammouda, Sfax University.
• Pr. Imen Med Ali Faraj, Tripoli University, Libya.

The General coordinator and publication responsible Dr. Riadh Zammel

The higher Institute of music and theatrical arts, Kef.

Jendouba University

The organizing committee

Universities’ coordinator

Dr. Mouna Tayachi, The Higher Institute of Music and Theatrical arts, Kef.

The committees’ coordinator

Dr. Yassine Ouni, The Higher Institute of Music and Theatrical arts, Kef.

Communication and media: M. Bassem Sandi, the higher Institute of physical education and sports, Kef. M. Najeh Missaoui, the press Institute, university of Manouba, Tunisia. M. Soufien Arfaoui, the higher Institute of music, university of Tunis.

Follow up and evaluation: Dr. Samir Abidi, the higher Institute of Humanities applied studies, Kef.

Dr. Mohamed Kchaou, the higher Institute of music and theatrical arts, Kef.

Social networks: Dr. Abdallah Hammami ,the higher Institute of humanities applied studies, Kef.

Mme. Raja Bedhiafi, Ministry of culture. M. Yessine Jridet, the higher Institute of music and theatrical arts, Kef. Scientific network: Dr. Faten Ridene, the higher Institute of music and theatrical arts, Kef. Reception and hosting: Dr. Imen Samet, the higher Institute of music and theatrical arts, Kef. Dr. Adel Bouallegue, the higher Institute of music and theatrical arts,Kef.

Dr. Feten Hamdi, the higher Institute of physical education and sports, Kef. Students’ artistic project: “Bubbles” Dr. Leila Issa, the higher Institute of arts and trade, Siliana, university of Jendouba. Dr. Arwa ben jaafar, the higher Institute of mulimedia, university of Mannouba. Dr. Omar Aloui, the higher Institute of music and theatrical arts, Kef. Presentations and programming: Dr. Saifeddine Ferchichi, the higher Institute of music and theatrical arts, Kef. Dr. Hatem Maroub, the higher Institute of music and theatrical arts, Kef. Dr. Feten Hamdi, the higher Institute of physical education and sports, Kef.

Sponsoring: Dr. Adel Bouallegue, the higher Institute of music and theatrical arts, Kef. Dr. Saifeddine Ferchichi, the higher Institute of music and theatrical arts, Kef. Dr. Abdalla Hammami, the higher Institute of Humanities applied studies, Kef. Mme. Raja Bedhiafi, Ministry of culture.

Administrative staff the higher Institute of music and theatrical arts, Kef M. Ibrahim Cherni - Mme. Habiba Gatri

Mohamed Guesmi - Mme. Lobna Briki M. Ridha waari - Mme. Sonia Abidi Mme. Oula Ferchichi - M. Souheil Tebbassi M. Faouzi Abidi - M. Jamel b. Arfa.