Conference Schedule
>> Friday, 18 April 2014 — MAI (Montréal, arts interculturels)
>> Presentation abstracts available here.

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9 – 930 am — Coffee and Refreshments

930 – 940 am — Welcome and Opening Remarks

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940 – 11 am — Panel One: INNOVATION AND RESISTIVE TECHNOLOGIES (Chair: Molly Sauter)

Joshua A. Braun (Quinnipiac University), “’Bypassing the Web:’ Shell Users and Alternative Experiences of the Internet”

Daniel Browne (York and Ryerson Universities), “‘The Singularity is Near,’ Or Is It? Techno-Gnosticism and the Politics of Eschatology”

Lee Vinsel (Stevens Institute of Technology), “Dropping the I-Word: Business Historians and the History of a Concept”

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1120 – 1240 pm — Panel Two: WHAT’S NEW? ART AND PRINT IN THE TWENTIETH CENTURY (Chair: Frances Cullen)

Jessica Poon (University of British Columbia), “Provincial Imitation or Canadian Innovation? Confronting New York’s ‘Influence’ on Toronto Abstract Painting and the Painters Eleven in the 1950s”

Hugh Govan (University of Essex), “Anachronism and Environment: Towards a Concept of the Baroque in Post-Minimal Art”

Cheryl Thompson (McGill University), “From the Barbershop to the Front Page: Canada’s Black Beauty Innovators and the Community Newspapers that Made Them”

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1240 – 130 pm — Lunch

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130 – 250 pm — Panel Three: CONDITIONS OF INNOVATIVENESS (Chair: Samine Tabatabaei)

Marina Merlo (Université de Montréal), “CNN iReport and the Problems with the Rhetoric of Innovation for Citizen Journalism”

Etienne Turpin (University of Wollongong), “Open Source City Project (Jakarta Pilot Study): Innovations for Urban Resilience from a GeoSocial Intelligence Perspective”

Basak Durgun and Keil Eggers (George Mason University), “Colonizing Curriculum: The Aesthetic of Innovation in Higher Education”

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310 – 430 pm — Panel Four: SPACES OF CHANGE? (Chair: Danijela Zutic)

Frederika Eilers (McGill University), “Modernism in Miniature: Modern Vernacular Architecture (1915 – 1937) and Kitchen Technologies (1928 – 1937) of Schoenhut Dollhouses”

Eva-Maria Troelenberg (Max Planck Institute), “Medievalism as Progress? The Case of 19th Century Cairo”

Noelle Belanger (University of Illinois), “American Moon: Picturing Imperialism in Outer Space in the Nineteenth Century”

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500 – 630 — Keynote Address: Keith Moxey, “Imagining Time: The Temporality of Art’s History”

Closing Remarks

630 – 830 — Reception

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Keynote Address — Keith Moxey: “Imagining Time: The Temporality of Art’s History”

Abstract: In the context of renewed attention to the phenomenological presence of the image and its ability to determine the nature of its reception, this talk focuses on its time. What is the time of the work of art? How does it make time? We will discuss the consequences for the history of art of an approach that acknowledges the anachrony of our relation to the past in the face of a continuing need for chronology.

Keith Moxey is Barbara Novak Professor of Art History at Barnard College (Columbia University). He is the author of books on the historiography and philosophy of art history, as well as on sixteenth century painting and prints in Northern Europe. His publications include: Visual Time: The Image in History (2013); The Practice of Persuasion: Paradox and Power in Art History (2001); The Practice of Theory: Poststructuralism, Cultural Politics, and Art History (1994); Peasants, Warriors, and Wives: Popular Imagery in the Reformation (1989). He is also the co-editor of several anthologies: Art History, Aesthetics, Visual Culture (2002); The Subjects of Art History: Historical Objects in Contemporary Perspective (1998); Visual Culture: Images and Interpretations (1994); and Visual Theory: Painting and Interpretation (1991).

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We are incredibly pleased and excited to announce the presentation lineup for this year’s conference! Please click through for abstracts.

“American Moon: Picturing Imperialism in Outer Space in the Nineteenth Century”
Noelle Belanger (PhD Candidate, University of Illinois)

“’Bypassing the Web:’ Shell Users and Alternative Experiences of the Internet”
Joshua A. Braun (Assistant Professor of Interactive Media, Quinnipiac University)

“‘The Singularity is Near,’ Or Is It? Techno-Gnosticism and the Politics of Eschatology”
Daniel Browne (PhD Candidate, York and Ryerson Universities)

“Colonizing Curriculum: The Aesthetic of Innovation in Higher Education”
Basak Durgun (PhD Candidate, George Mason University) and Keil Eggers (BA Student, George Mason University)

“Modernism in Miniature: Modern Vernacular Architecture (1915 – 1937) and Kitchen Technologies (1928 – 1937) of Schoenhut Dollhouses”
Frederika Eilers (PhD Candidate, McGill University)

“Anachronism and Environment: Towards a Concept of the Baroque in Post- Minimal Art”
Hugh Govan (PhD Candidate, University of Essex)

“CNN iReport and the Problems with the Rhetoric of Innovation for Citizen Journalism”
Marina Merlo (PhD Candidate, Université de Montréal)

“Innovating Modernism in Provincial Toronto: The Painters Eleven and Abstraction in the 1950s”
Jessica Poon (PhD Candidate, University of British Columbia)

“From the Barbershop to the Front Page: Canada’s Black Beauty Innovators and the Community Newspapers that Made Them”
Cheryl Thompson (PhD Candidate, McGill University)

“Medievalism as Progress? The Case of 19th Century Cairo”
Eva-Maria Troelenberg (Research Group Leader, Max Planck Institute)

“Open Source City Project (Jakarta Pilot Study): Innovations for Urban Resilience from a GeoSocial Intelligence Perspective”
Etienne Turpin (Postdoctoral Fellow, University of Wollongong)

“Dropping the I-Word: Business Historians and the History of a Concept”
Lee Vinsel (Assistant Professor, Stevens Institute of Technology)

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INNOVATION AND ITS CONTESTANTS
CALL FOR PROPOSALS (download PDF)

DEPARTMENT OF ART HISTORY AND COMMUNICATION STUDIES
5th Annual Emerging Scholars Conference
McGill University
18 April 2014

Keynote Speaker: Keith Moxey, Barbara Novak Professor of Art History and Department Chair at Barnard College (Columbia University)

DEADLINE FOR SUBMISSIONS: 24 JANUARY 2014

The concept of innovation buttresses a paradigmatically modern Western belief in the possibility of infinite economic growth and technological progress. It is in fact a buzzword with remarkable contemporary currency, one that is instrumentalized as a constant search for new technologies, means of production, market adaptations, scientific discoveries and social changes. As a fundamental tenet in Western systems of thought, it is also – and has long been – inscribed within the West’s very view of itself as more successful and more ‘progressive’ than other societies. Note, for example, G.W.F. Hegel’s famous juxtaposition of Europe’s ever-changing art against the allegedly stagnant visual culture of India: the first modality accounted for the privileged position of the West as the locus of the emanation of universal Geist; while the latter stipulated an essentially ‘un-progressive’ timelessness in India.

The Western valuation and definition of innovation has thereby been mobilized as a justification for diverse colonial, post-colonial and now neoliberal enterprises. It operates as a smoke screen to preserve dominant power regimes both within the West and globally, concealing simultaneously the biased valuation of cultural production, and the unequal distribution of technological and scientific headway among diverse social strata. This is the case even as the current global financial crisis challenges the West’s ability to regenerate perpetually. In fact, the stakes involved in the Western impetus to innovate seem to intensify even as recent projections of economic acceleration in several non-Western countries rouse fears that the West is losing ground as innovation’s main stimulant.

The innovation paradigm is moreover implicit within the bulk of humanistic academic production. As a case in point, the Greenbergian approach to art history, which dominated much of the twentieth century, revolves indisputably around a teleology of formal innovation. Meanwhile, within a number of current academic discussions – for instance those concerning experimentation and invention in the history of science (Galison); global art history (Elkins); visual culture studies (Moxey); history of ideas (Godin); the philosophy of mondialisation (Nancy); media archaeology (Parikka); technological obsolescence (Kittler); and the aesthetics of failure (Halberstam) – innovation is tacitly treated with caution, if not skepticism.

Given this tangle of collusions and complexities, how are we to approach and define innovation in academic discourse? Is the paradigm purely a means of disarming social pressure for an all-inclusive equalized prosperity; or might it be recuperated to provide a stimulus for sustainable growth? Can we understand innovation in a broader global spectrum without falling into the trap of cultural essentialism; or does this concept perpetuate Western-centric views and mores? Can the concept of innovation be used for the analysis of historical periods; or does it figure too easily in teleological narratives?

With these questions in mind, the graduate students of McGill University’s Department of Art History and Communication Studies are opening an enquiry into the concept of innovation. We invite paper proposals addressing a broad range of academic disciplines and historical periods. Papers might address, but are by no means restricted to, the following questions:

  • Socio-economic implications of innovation. How do societies and specific agents adapt to new conditions, once their old ways of life have been destroyed?
  • The politics of innovation. Does innovation bring betterment or deprivation?
  • What are the criteria of innovation?
  • Challenging the Western canon of art built on the notions of style, progress, and originality
  • Technological progress
  • Patents
  • Is Western-centrism pervasive in the concept of innovation?
  • How does innovation affect personal identities (video games, Facebook, etc.)?
  • How is innovation different from change?
  • The contestations of innovation; the discursive counterpoints to innovation
  • Centre vs. periphery; milieus of innovation
  • Instances of anachronism masked as innovation in culture from the Middle Ages to the present day. Recurring regimes: the old in the new, the new in the old
  • Does materiality matter in innovation?
  • Temporality and innovation
  • Commodity culture and innovation

We welcome proposals for 20-minute presentations. Please send your submission in the form of a 300-word abstract and a brief CV to ahcsconference@gmail.com. All candidates will be contacted by the first week of February.

For more information, please contact ahcsconference@gmail.com

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