CALL FOR PAPERS: De-coincidence in arts. A challenge or a solution? “Art Inquiry” 2025
De-coincidence in arts. A challenge or a solution? “Art Inquiry” 2025
In his publication entitled De-coincidence: Where Art and Existence Come From/Dé-coincidence: D'où viennent l'art et l'existence, the modern world-famous French philosopher François Jullien incorporates the concept of de-coincidence (French: dé-coïncidence) in scientific discourse. He relates the concept to a process/situation in which reality and identity stop being perceived as stable and unambiguous (“glued” – coincidental with each other, as the philosopher claims), but instead open up to new possibilities and interpretations (becoming de-coincidental).
Jullien points out that both art and existence are inextricably connected with the process of dé-coïncidence – departure from the established order towards novelty and discovering the unknown. Especially in art, stable forms and identity are broken, which opens space up to novelty and creativity. What has seemed unchangeable is challenged and thus becomes fluid and open to reinterpretation. It is the existential dimension of art that is expressed through its ability to discover new aspects of existence, while creativity as a process of dé-coïncidence makes the artist, opening to the unknown, create new forms of expression and meaning.
The editors would like to proudly point out that the 2025 issue of the “Art Inquiry magazine” will be unique in that it will open with a text by Professor Jullien on his thoughts on the concept of de-coincidence in the context of art.
As an addition to and expansion of the research field, we are looking forward to papers that engage in creative dialogue with Jullien's thought, especially in the areas of:
1. Creativity as a process of de-coincidence
For Jullien, the creative process in art is a key example of de-coincidence. When creating, the artist frees themselves from imposed schemes, norms and established patterns. Through de-coincidence, the artist crosses the boundaries of previous modes of expression, discovering new forms that were previously inaccessible. Art thus becomes a constant process of discovery and creation of new possibilities.
As a seasoned sinologist, Jullien uses the example of traditional Chinese painting, where the process of creating a work of art does not rely on imitating nature, but capturing the “force of life” (qi), which is dynamic and changeable. Creativity here is a process of dé-coïncidence – the artist does not reproduce what they see, but discovers new ways of expressing this dynamic force. Thus, not only the work of art, but the act of creation itself becomes a moment of dé-coïncidence, where the artist discovers new forms of expression.
2. Transcending the unambiguous
De-coincidence is about transcending unambiguity - that is, the state in which everything has a fixed place and meaning. Jullien sees art as an opportunity to go beyond these unambiguous frameworks, toward multiple interpretations, multidimensionality and complexity. Art becomes a space where nothing is definitively defined, and each element can be seen from different perspectives.
3. The existential dimension of art – Art as discovering the unknown in existence
Jullien stresses that art is a medium that allows one to discover new aspects of existence that are usually covered up or overlooked in everyday life. In art, dé-coïncidence takes place – a detachment from a routine perception of the world, which enables a deeper understanding of one's own existence. For example, in abstract painting, the artist does not attempt to reproduce reality but rather explores unknown dimensions of being that can shed new light on the experience of existence.
4. Art as a reflection on fragility and the passing of life
Jullien refers to art as a way to reflect on the fragility of human existence. An example is vanitas art, whose central theme is the motif of passing and death. In this context, art not only reflects, but also evokes dé-coïncidence – it confronts the viewer with the inevitable aspect of existence, forcing them to rethink the value and meaning of life.
5. The role of chance and unpredictability in the creative process
Jullien notes that creativity is often the result of random events that lead to unexpected results. The process is an example of dé-coïncidence, where the artist, instead of sticking to predetermined plans, opens up to chance, which allows the new to emerge. In musical creation, for example, improvisation is the moment when the artist allows dé-coïncidence, creating something that did not exist before and was not planned.
6. Breaking down stability
Jullien argues that art is a moment when de-coincidence takes place, i.e., a departure from the established order, structure or meaning. In art, stable forms and identities are broken down, which opens up space towards novelty and creativity. What seemed unchangeable is challenged and thus becomes fluid and open to reinterpretation.
7. Art as a space for dialogue
Through de-coincidence, art becomes a place of dialogue – both with itself and with others. The work of art, which results from the process of de-coincidence, does not have a single definitive interpretation, but invites a continuous exchange of thoughts and experiences. The recipient of art becomes a co-creator of its meaning, which reinforces the dynamics of openness to new possibilities.
The articles should be interdisciplinary, combining aspects of art, culture, philosophy and social sciences. Case studies, field research and theoretical reflections are encouraged. In the latest issue of the “Art Inquiry” magazine we assume, as does the translator of the philosopher's books into Polish, Ewa Hetka-Marynowicz, that: “delving into the content of what François Jullien conveys to us will result in numerous references to one’s own reflections, research, action in the fields of practice” (F. Jullien, Ponownie otworzyć możliwości: de-koincydencja i kolejne życie. Wybór tekstów WUŁ, Łódź 2024, p. 32).
Aneta Pawłowska
Paulina Sztabińska-Kałowska
Please send your paper proposals by 31st March 2025 (the title and a short abstract). Upon acceptance, we will be waiting for finished papers in English (with attached abstracts and key words in Polish and English, and a bio note in English) until 30th June 2025. Please send your proposals to the email address of the Chief Editor (aneta.pawlowska@uni.lodz.pl) or her Deputy (paulina.sztabinska@uni.lodz.pl).
