Recasting Reproduction (1500-1800)
London
18 November, 2017

The contested concept of “reproduction” stands at a critical nexus of the conceptualisation of Early Modern artistic thought. The early modern period has been characterised by the development of novel and efficient reproduction technologies, as well as the emergence of global empires, growing interconnectedness through trade, warfare and conquest, and the rise of new markets and cultures of collecting. This ethos of innovation and cultural exchange was, however, contextualised against myriad contemporary ideologies still rooted in the values and legends of narratives of the past. Reproduction stood at the centre of this dichotomy. Set against the context of changing cultural tastes and the increasingly overlapping public and private spheres, ‘reproductions’ were involved within changing viewing practices, artistic pedagogy, acts of homage and collecting.

The idea of reproduction connotes a number of tensions: between authenticity and counterfeit; consumption and production; innovation and imitation; the establishment of archetype and the creation of replica; the conceptual value of the original and the worth of the reproduction as a novel work of art; the display of contextualised knowledge and the de-contextualisation of the prototype. At the same time, production is shaped historically through practices and discourses, and has figured as a key site for analysis in the work of, for example, Walter Benjamin, Richard Wolin, Richard Etlin, Ian Knizek and Yvonne Sheratt. Participants are invited to explore reproduction ‘beyond Benjamin’, investigating both the technical and philosophical implications of reproducing a work of art and seeking, where possible, a local anchoring for the physical and conceptual processes involved.

We welcome proposals for papers that investigate the theme of reproduction from the early modern period (c.1500-1800), including painting, print making, sculpture, decorative arts, architecture, graphic arts and the intersections between them. Papers can explore artistic exchanges across geopolitical, cultural and disciplinary divides and contributions from other disciplines, such as the history of science and conservation, are welcome. Topics for discussion may include, but are not limited to:

• The conceptualisation and processes of reproduction and reproduction
• technologies before and at the advent of ‘the mechanical’;
• Reproduction in artistic traditions beyond ‘the West’;
• The slippage between innovation and imitation;
• Part-reproduction and the changing, manipulation and developments of certain motifs;
• Problematizing the aura of ‘authenticity’ and the ‘value’ of the original, copies and collecting;
• Fakes and the de-contextualisation of a work through its reproduction;
• Reproduction within non-object based study e.g. architecture;
• Theoretical alternatives and the vocabulary used to describe the process and results of reproduction in contemporary texts.

Please send proposals of no more than 300 words along with a 150 word biography by 6 July, 2017 to kyle.leyden@courtauld.ac.uk and natasha.morris@courtauld.ac.uk.

Organised by Kyle Leyden, Natasha Morris and Angela Benza (The Courtauld Institute of Art)

Terra Digita
Cornell University
November 4-5, 2017

The changing landscape of digital mapping technology continues to open up new frontiers for exploring, manipulating, and presenting medieval maps. From using multi-spectral imaging to resurrect faded charts to building interactive tools to advance mappamundi literacy in the classroom, medievalists are more and more embracing digital tools and approaches to provide depth and access to their scholarship. To further this work, Cornell University is pleased to announce an unorthodox conference: a weekend of papers, workshops and collaboration. We hope to provoke inspiration and collaboration among medievalists working with digital mapping, and to offer a space for scholars to grow their skills. This conference will provide a multi-modular venue, combining traditional paper presentations with platform workshops and poster exhibits. It will also include dedicated spaces for active co-working, supported by Cornell University librarians and Cornell’s Digital CoLab.

Papers and Presentations

We welcome abstracts for traditional 20 minute presentations on digital humanities and medieval mapping. Possible avenues for presentations include (but are not limited to)

• interrogating the intersections of maps and text challenging our preconceptions about cartography
• exploring deep mapping
• opening new pedagogical avenues for utilizing digital humanities and maps
• questioning the possibilities/pitfalls/motivations of transposing medieval mappaemundi onto modern coordinate systems.

Workshops

In addition to the usual papers and presentations, we also invite proposals to run 75 minute workshops on tools and methods related to digital mapping (Neatline, Carto, ArcGIS, etc.) and data management. If you have skill with a platform or methodology, this is an opportunity to help push the field forward and help to curate the conversation. Your workshop will have the backing of the Cornell University Libraries for technical support, equipment, and space.

Exhibits and Posters

We welcome, as well, submissions for posters and exhibits for a display at Cornell Library’s Maps Collection. We encourage submissions from across the spectrum of medieval digital mapping.

Where to Send

Presentation abstracts of 200-300 words due by July 15 to terradigita@cornell.edu. We also invite workshop proposals containing the proposer’s relevant experience and putative subject via email ASAP (and no later than July 15). Poster proposals for the Map Room Exhibition should consist of a 150 word description of the project and, if possible, a digital draft of the exhibit contribution submitted for consideration by July 15th.

There will be a small registration fee of $10 for students and $25 for faculty to help cover expenses.