queerfragments

Particulate arising from study

Month: September, 2013

I think my PhD dissertation will include an examination of computer rage

What a delightful object of study

Liquid Intelligence

SYLLABUS

Week 1) [Sept. 4] Introduction: Fluid Origins

Jeff Wall, “Photography and Liquid Intelligence,” in Jeff Wall, eds. T. de Duve et al (London: Phaidon, 1996), 90-93

Genesis 1:1-32 (Creation); Genesis 6:1-8:19 (Noah and the Flood); Exodus 32:1-35 (The Golden Calf)

 

Week 2) [Sept. 11] Liquid Intelligence

Jeff Wall, “Photography and Liquid Intelligence,” in Jeff Wall, eds. T. de Duve et al (London: Phaidon, 1996), 90-93

Marilynne Robinson, Housekeeping (New York : Farrar Straus Giroux, 1980) [Not in Coursepack]

Gaston Bachelard, Water and Dreams: An Essay on the Imagination of Matter [1942], trans. E. R. Farrell (Dallas: Institute of Humanities and Culture, 2006), 1-18

Zygmont Bauman, “On Being Light and Liquid,” in Liquid Modernity (Malden: Polity Press, 2000), 1-15

Film: Solaris (1972, dir. Andrei Tarkovsky; Criterion Collection, 2002) [Not in Coursepack]

Week 3) [Sept. 18] Reflection or Stain?

Richard T. Neer, “Poussin, Titian, and Tradition: The Birth of Bacchus and the Genealogy of Images,” Word & Image18, 3 (2002): 267-281

Philip Sohm, “Maniera and the Absent Hand: Avoiding the Etymology of Style,” RES 36 (1999): 100-124

Shepherd Steiner, “Ritual and the Space of Morris Louis: Unlocking ‘Openness’ via the Studio Door,” Chicago Art Journal 11 (2001): 45-56

John Milton, Paradise Lost: Book IV: 395-535, in John Milton: The Complete Poems, ed. J. Leonard (New York: Penguin, 1998)

Week 4) [Sept. 26, 2-4:30 PM; location TBC] The Unctuous Image: Master-Class with Michael Cole (Columbia)

Karel van Mander, “Preface” and “The Lives of the Brothers Jan and Hubrecht van Eyck”, in The Lives of the Illustrious Netherlandish and the German Painters [1603-4], trans. and ed. H. Miedema (Doornspijk: Davaco, 1994), 45-71

Joseph Koerner, “Not Made by Human Hands,” in The Moment of Self-Portraiture in German Renaissance Art (Chicago: University of Chicago Press, 1993), 80-126; 463-472

Michael Cole, “Cellini’s Blood,” Art Bulletin 81, 2 (June 1999): 215-235

Michael Cole, “Salt, Composition, and the Goldsmith’s Intelligence,” in Cellini and the Principles of Sculpture(Cambridge: Cambridge University Press, 2002), 15-42

Oscar Muñoz, Re/Tratohttp://thedissolve.net/video/11-re-trato-2003 [Not in Coursepack]

 

Week 5) [October 2] The Slow, Phlegmatic Image

Thomas Willis, “Of the Parts or Members of the Soul of the Brutes,” Two Discourses Concerning the Soul of Brutes, trans. S. Pordage (London, 1683), 22-29

Robert Hooke, Extract from Lectures and Discourses of Earthquakes, in The Posthumous Works of Robert Hooke, ed. R. Waller (London: S. Smith and B. Walford, 1705), 323-328

Nehemiah Grew, Musaeum Regalis Societatis: Or, A Catalogue & Description of the Natural and Artificial Rarities belonging to the Royal Society and preserved at Gresham Colledge (London: W. Rawlins, 1681), 253-4; 265-270

Walter Benn Michaels, “Photographs and Fossils,” in Photography Theory, ed. J. Elkins (New York: Routledge, 2006), 431-450

“An Experiment of a Way of Preparing a Liquor, That Shall Sink into, and Colour the Whole Body of Marble, Causing a Picture, Drawn on a Surface, to Appear Also in the Inmost Parts of the Stone,” Philosophical Transactions of the Royal Society of London 1 (1665-6): 125-127

William Cole’s correspondence with Robert Plot on shell-fish dye; in Early Science in Oxford, ed. R.T. Gunther (Oxford, 1939), Vol. XII: 230-235; 242-245; 261-265; 283-286

Undercurrents:

Michael Cole and Larry Silver, “Fluid Boundaries: Formations of the Painter-Etcher,” in The Early Modern Painter-Etcher, ed. M. Cole (University Park: Penn State University Press, 2006), 5-35 [Not in Coursepack]

Further Reading:

Martin Rudwick, The Meaning of Fossils: Episodes in the History of Palaeontology (Chicago: University of Chicago Press, 1985)

Week 6) [October 9] Liquid Power

Svetlana Alpers and Michael Baxandall, Tiepolo and the Pictorial Intelligence (New Haven: Yale University Press, 1994), 51-99 [Not in Coursepack. Available on Course Reserves]

Meredith Martin, Dairy Queens: The Politics of Pastoral Architecture from Catherine de’ Medici to Marie-Antoinette (Cambridge: Harvard University Press, 2011), 68-113

James Thompson, “Money as Sign,” in Models of Value: Eighteenth-Century Political Economy and the Novel (Durham: Duke UP, 1996), 40-86

“Perceval Meets the Fisher King,” in Lancelot-Grail: The Old French Arthurian Vulgate and the Post-Vulgate in Translation, ed. N.J. Lacy (New York: Garland, 1996), Vol. V: 107-109

Film: Chinatown (dir. Roman Polanski, 1974) [Not in Coursepack]

Further reading:

Cesare S. Maffioli, Out of Galileo: The Science of Waters 1628-1718 (Rotterdam: Erasmus Publishing, 1994), 37-89

Domenico Bertoloni Meli, “The Equilibrium and Motion of Liquids,” in Thinking with Objects: The Transformation of Mechanics in the Seventeenth Century (Baltimore: Johns Hopkins University Press, 2006), 166-189

Week 7) [October 16] Industrialization, Color-Culture and the Blushing Picture

William Hogarth, “Of Colouring,” in The Analysis of Beauty [1753], ed. R. Paulson (New Haven: Yale University Press, 1997), 87-93, and Plate II

Theresa Fairbanks Harris and Scott Wilcox, Papermaking and the Art of Watercolor in Eighteenth-Century Britain: Paul Sandby and the Whatman Paper Mill (New Haven: Yale University Press, 2006), 61-110 [Not in Coursepack. Available on Course Reserves]

Angela Rosenthal, “Visceral Culture: Blushing and the Legibility of Whiteness in Eighteenth Century British Portraiture,”Art History 27, 4 (September 2004): 563-592

Thierry de Duve, “The Readymade and the Tube of Paint,” Artforum (May 1986): 110-121

Richard L. Hills, “James Watt and Bleaching,” in Natural Dyestuffs and Industrial Culture in Europe 1750-1880, ed. R. Fox and A. Nieto-Galan (Canton: Science History Publications, 1999), 259-282

Undercurrents:

Frances Willmoth, “Surveying the Fens,” Sir Jonas Moore: Practical Mathematics and Restoration Science (Rochester: Boydell Press, 1993), 88-120 [Not in Coursepack]

Week 8) [October 23] Risky Business

Film: Eaux d’Artifice (dir. Kenneth Anger, 1953): http://youtu.be/630lqsc-Evs [Not in Coursepack]

Jennifer L. Roberts, “Copley’s Cargo: Boy with a Squirrel and the Dilemma of Transit,” American Art 21, 2 (Summer 2007): 21-41

Jennifer L. Roberts, “Failure to Deliver: Watson and the Shark and the Boston Tea Party,” Art History 34, 4 (September 2011): 675-695

Edmund Burke, “Part II,” A Philosophical Enquiry into Our Ideas of the Sublime and Beautiful: Second Edition (London: R. and J. Dodsley, 1759), 95-160

Immanuel Kant, Critique of Judgment, trans. W. Pluhar (Indianapolis: Hackett, 1987), 97-101; 114-140

Jonathan Levy, Freaks of Fortune: The Emerging World of Capitalism and Risk in America (Cambridge: Harvard University Press, 2012), 1-59 [Not in Coursepack]

Video: Francis Alÿs, Watercolor (2010): http://www.francisalys.com/public/watercolor.html [Not in Coursepack]

Undercurrents:

Ian Kenneth Steele, The English Atlantic, 1675-1740: An Exploration of Communication and Community (New York: Oxford University Press, 1986), 1-18 [Not in Coursepack]

Oct. 25-6, “Liquid Intelligence and the Aesthetics of Fluidity Conference” (McCord Museum)

Week 9) [October 30] Ingenuity, Chance and the Temporally-Evolving Chemical Object

Joshua Reynolds, “Discourse VI” and “Discourse XIV,” in Discourses on Art, ed. R.R. Wark (New Haven: Yale University Press, 1997), 93-113; 247-261

James Northcote, The Life of Sir Joshua Reynolds (London: Henry Colburn, 1810), Vol. II: 1-40

Alexander Cozens, A New Method of Assisting the Invention in Drawing Original Compositions of Landscape (London, 1785) [Not in Coursepack. Available as E-Book]

Neil de Marchi and Hans Van Miegroet, “Ingenuity, Preference, and the Pricing of Pictures: The Smith Reynolds Connections,” in Economic Engagements with Art (Durham: Duke UP, 1999), 379-412

Peter J. de Voogd, “Laurence Sterne, the Marbled Page, and ‘the use of Accidents,” Word & Image 1, 3 (1985): 279-287

Robin Kelsey, “Of Fish, Birds, Cats, Mice, Spiders, Flies, Pigs, and Chimpanzees: How Chance Casts the Historic Action Photograph into Doubt,” History and Theory 48 (December 2009): 59-76

Undercurrents:

David Bjelajac, “The Venetian Secret as the Philosopher’s Stone,” in Washington Allston, Secret Societies, and the Alchemy of Anglo-American Painting (New York: Cambridge University Press, 1997), 32-65 [Not in Coursepack]

Week 10) [Nov. 6] Fluxing and Fixing

Geoffrey Batchen, Burning with Desire: The Conception of Photography (Cambridge: MIT, 1999), 24-102 [Not in Coursepack. Available as on Course Reserves]

Thomas Wedgwood and Humphry Davy, “An Account of a Method of Copying Paintings upon Glass, and of Making Profiles,” in Art in Theory, 1648-1815: An Anthology of Changing Ideas, ed. C. Harrison et al. (Oxford: Blackwell, 2000), 1064-66

William Henry Fox Talbot, The Pencil of Nature (London: Longman et al, 1844) [Not in Coursepack. Available as E-Book]

Charles Lock Eastlake, Materials for a History of Oil Painting (London: Longman, Brown, Green & Longmans, 1847), Vol. 1: 538-546, Vol. II: 272-296

Undercurrents:

Michel Foucault, “The Limits of Representation,” in The Order of Things: An Archaeology of the Human Sciences [1966] (New York: Routledge, 2002), 235-271 [Not in Coursepack]

Week 11) [Nov. 13] Oceanic Feelings

Michael Fried, Courbet’s Realism (Chicago: University of Chicago Press, 1990), 53-84; 111-147; 209-223

Herman Melville, Moby-Dick: or, The Whale [1851] (New York: Quality Paperback Book Club, 1996), Chapters 1-3 (“Loomings” through “The Spouter-Inn”), 35 (“The Mast-Head”), 44 (“The Chart”), 55-58 (“Of the Monstrous Pictures …” through “Brit”), 74-78 (“The Sperm Whale’s Head …” through “Cisterns and Buckets”), 85 (“The Fountain”), 87 (“The Grand Armada”), 133-Epilogue (“The Chase—First Day” – end)

Levy, Freaks of Fortune, selections [Not in Coursepack]

Michel Serres, “Turner Translates Carnot,” in Calligram: Essays in New Art History from France, ed. N. Bryson (New York: Cambridge University Press, 1988), 154-165

Bonus Session/TBC: The Cold, Black Deeps

Walter Pater, “Leonardo da Vinci,” in The Renaissance: Studies in Art and Poetry (The 1893 Text), ed. D.L. Hill (Los Angeles: University of California Press, 1980), 77-101

Arthur Rimbaud, “The Drunken Boat,” in A Season in Hell and The Drunken Boat, ed. L. Varèse (New York: New Directions, 1961), 91-103

Bachelard, “Violent Waters,” in Water and Dreams, 159-185

Peter Parshall, “Darker Side of Light: Prints, Privacy and Possession,” in The Darker Side of Light: Arts of Privacy 1850-1900 (Burlington: Lund Humphries, 2009), 2-39

Further Reading:

Lena Østermark-Johansen, “Serpentine Rivers and Serpentine Thought: Flux and Movement in Walter Pater’s Leonardo Essay,” Victorian Literature and Culture 30, 2 (2002): 455-482