http://www.aah.org.uk/rss/138 Sat, 04 Feb 2012 19:25:21 +0000 Zend Framework Zend_Feed en-us http://blogs.law.harvard.edu/tech/rss http://www.aah.org.uk/job/687 http://www.aah.org.uk/job/687 Art and Science: Knowledge, Creation and Discovery 28 June – 29 June 2012, The Linnean Society, London   Call for Papers Though their academic paradigms may at first seem diametrically opposed, the association between the arts and the sciences has survived renaissances, revolutions and beyond. This intellectual conjunction has motivated artistic practice and production throughout history, forming the conceptual nucleus of some of the most stimulating forms of creative expression. By engaging with this inter-relationship, we hope to address the traditional divisions that have kept the arts and sciences as separate areas of academic enquiry, whilst at the same time questioning if such an alliance is necessary or profitable for either discipline. As well as considering general ideas of artistic and scientific collaboration, this year’s Summer Symposium will investigate the interaction between art and science throughout artistic practice, theory and history. Topics for papers could include, but are not limited to:   Artists who work directly or indirectly with science Medical and anatomical images, diagrams, and the art of science Architecture and the body Histories of collection, taxonomies, display and acquisition in the arts and sciences The role of the science of perception in the development of perspective, figuration and abstraction The idea of the modern as related to science and technology The figure of the polymath Neuroscience and histories of vision Photography between science and art Mathematics and beauty – the Golden Section Technology and the evolving dissemination of art history Science in art historical conservation and research Papers should be 20 minutes in length and abstracts of no more than 300 words should be submitted with a brief biography to: aah.art.science@gmail.com by 29 April 2012. The conference is open to all but speakers need to be student AAH members. Symposium Organisers: Arlene Leis, University of York, acl914@interfree.it Rebecca Norris, University of Cambridge, rn290@cam.ac.uk Freya Gowrley, University of Edinburgh, f.l.gowrley@gmail.com  ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/686 http://www.aah.org.uk/job/686   Meet at main entrance of the Foundling Museum at 12.30 on Saturday 25th February. Organised by the Independents Committee. All welcome.]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/662 http://www.aah.org.uk/job/662   See the AHRC website for presentations given and topics addressed at the Thursday 27th October AHRC meeting on Public Engagement. How can academics, researchers and professionals in the arts and humanities and the wider cultural sector engage the public in innovative and meaningful ways? How can they realise the benefits of public engagement - for their benefit, their students’, their organisations’, and that of the public itself? The AHRC is held a one-day event in central London on the 27th October that explored these and other questions, examining both the strategic and the practical challenges facing those working in the arts and humanities and with the help of delegates explored some practical steps towards overcoming the challenges and grasping the opportunities. The event also included a session on an upcoming AHRC call on public and community engagement (Research for Community Heritage), part of the Connected Communities programme. In addition, the results of the 2011 AHRC survey on public engagement in the arts and humanities were presented for the first time. Speakers included Professor Sarah Churchwell, (Professor of Public Understanding of the Humanities at UEA), Professor Mark Llewellyn (Strathclyde University), Sophie Duncan (Deputy Director of the NCCPE) and Philip Pothen (AHRC), among others. The AHRC Public Engagement Survey 2011 Introduction The AHRC ran a public engagement survey in March and April 2011 to gather information on arts and humanities researchers’ understanding of and activities in the area of public engagement as a means of supporting and promoting national and institutional goals in public engagement and, through them, the aspirations of researchers themselves. Findings 1. A summary of survey respondents A total of 611 respondents completed the survey, 49.4% female and 47.3% male (with the remainder not answering the question). More than four fifths (82.3%) were full-time (defined as working 35 hours or more per week), with 17.7% part-time. Just over a half of all respondents were under 40 years of age (51.9%), with 47% over 40, with the remainder not wanting to say. 36.8% have been in academia for between one and five years, 18% between six and nine years, 13.7% between 10 and 14 years and 27% for 15 years and more. 3.8% have been in academia for a year or less. There was an even distribution of the level at which respondents were in their research careers, with 28% saying they were ‘Lecturer/researcher/fellow’, 23.7% ’a Reader or Senior Lecturer’, 23.7% PhD students, 16.2% Professors or above, and 8.3% Junior fellows or Assistant researchers. Nearly two-thirds described themselves as being in involved in ‘Research and teaching’, 27.3% solely involved in research (including PhDs), 3.1% in teaching only, and 4.9% in management or administration. When asked who funded their research, 30.4% said AHRC, with 18.4% saying their institution/HEFCE/QR funding and 2.6% ESRC, 2.5% the British Academy and 2.5% another Research Council. The disciplines represented by the respondents were in the following proportions: History 19.5% English Literature 11.9 Modern Languages 8.3 Philosophy 4.4 Music 3.7 Art History 3.3 Classics and Ancient History 3.1 Heritage 3.1 Film 3.1 (etc) 2. Respondents’ understanding of public engagement The opening question of the survey was one asking for a ‘free-form’ answer – ie. not a tick box. Most answers could be gathered under three main headings: 1. One-way model. Many respondents (around a quarter) understood PE to be concerned with a one-way flow of information, knowledge and expertise, ‘transferring knowledge and ideas from the academy to the general public’, ‘outreach of popular findings,’ the ‘dissemination of research findings’, ‘making information available, etc. Some people revealed a slightly paternalistic approach to PE suggesting it was about ‘educating the public,’ ‘giving people in the public new ideas to think about’ and so on, although this was relatively uncommon among respondents. 2. ‘One-way plus’. Around a quarter of respondents understood PE to be about dissemination but with the interests, views and concerns of ‘the public’ being of central importance to the relationship. One example of this approach would be the following: ‘Convey the findings of arts and humanities research to the general public in a manner which is relevant and interesting to their concerns and experiences.’ The approach, which emphasises ‘relevance’ and the ‘needs’ of the public, suggests that some thinking has taken place about what the public wants or needs from researchers, and what this might mean for the nature of the relationship between researchers and the public. 3. Two-way dialogue. Nearly a half of respondents understood PE to be about exchange, interaction, engagement, partnership, dialogue, two-way flow (of information, knowledge etc), and even collaborating, with the public. Some indicated the benefits to researchers of engaging in this process, with a few seeing it as an opportunity to ‘learn from those outside the academy.’ Some went even further and explicitly referred to it as a means of ‘taking seriously the university’s responsibility’ to share resources. There were a few scattered – and usually pejorative - responses, including one who said PE was ‘an idea dreamt up solely to enforce obedience among academics’ while another said that it ‘means pandering to the media and politicians.’ Asked to gauge the importance of engaging with a list of public groups, 42.2% thought ‘the non-specialist public generally’ were very important, 35.1% documentary and programme makers, 34.8% policy makers and 29% schools and school teachers, with journalists (both general and arts and humanities – 27.2% and 29.9%), NGOs (18.9%) and ‘young people outside of school’ (18.5%). Nearly a third (32.1%) found the non-specialist public easiest to talk to about their research, with others being schools and school teachers (14.2%), journalists (12.8%) and policy makers (7.4%). Reasons given were that ‘they are already interested and may even initiate the contact’ (33.4%), ‘my work is relevant to them’ (18.7%) and ‘they’re the most rewarding/fun group to work with’, suggesting a pragmatism in people’s motivations for approaching public groups. Hardest groups to engage were ‘industry/business community’ (34.7%) and policy-makers (20.5%) because ‘they have ‘preconceived ideas/misconceptions’ (19.5%),‘they are not easily accessible’ (15.4%) and ‘my work isn’t relevant to them’ (15.4%). Activities most commonly undertaken in public engagement are: giving public lectures (70.1% have done this at least once in the last year) taking part in an institutional open day (66.3%), taking part in a public event/open day/dialogues (62.4%) writing for the public (61.5%) working with teachers/schools (52.4%) working closely with a museum/gallery (50.2%) At the other end of the scale 17.2% had judged competitions, 24.7% had held public exhibitions related to their research, 29.3% had engaged with NGOs, 30.1% had been interviewed on radio, 31.3% had been interviewed by a newspaper journalist, 32.1% had engaged with policymakers, 34.7% had consulted the public for the benefit of their research, and 37.6% had been involved in a public performance relating to their research. Many reported having done these activities more than five times in the previous year – the most common activities being: asking the public for content for their research (9.5%), working closely with a museum/gallery (9.2%), giving public lectures (9%) and consulting the public (8.5%). When asked what aspect of their research they considered most important to convey in their PE activities more than half (53.9%) said the ‘relevance of arts and humanities to everyday life’, while 41.9% said ‘the enjoyment of the arts and humanities’, 36.4% thought the findings of their research, and 26.1% thought the social and ethical implications of their research. The research process itself (18.3%) scored lowest. 3. Opportunities and challenges The main reasons respondents gave for engaging with the non-specialist public were: to ‘contribute to public debates about the value of arts and humanities research’ (18.3%), followed by various forms of awareness-raising: to ensure the public is better informed by art and humanities (17.2%), raising awareness about a particular subject (14.1%) and raising awareness of the arts and humanities generally (16.7%). Asked about the drawbacks of engaging with the public, almost half (43.7%) said there were no drawbacks to doing so. 16.5% said it ‘takes up time that is better used on research’, 10% said that it can ‘send the wrong messages’. Other responses included: ‘failing to get a response’, ‘media over-simplification’, ‘structures not currently in place’, ‘being misunderstood by the public, etc. Nearly a third (30.4%) said it was very important to them to engage with the public ‘in relation to the other things that you have to do in your working life’; a similar number (30.3%) said it was ‘fairly important’, 18.3% said ‘equally important’ and only 2.6% said not at all important, with 18.3% saying it was not very important. More than half (59.1%) wanted to spend more time undertaking PE activities, with another 35.8% content with the time they currently spend. Agreement was expressed with the following statements: Engagement with non-specialist audiences is personally rewarding - nearly 85% (84.9) agreed or strongly agreed with this proposition Engaging the public can help researchers forge new contacts to enhance their research - 50.5% agreed, with 27.1% strongly doing so I would be keen to take part in a PE activity that was organised by someone else – 78.3% agreed or strongly agreed I would need help to develop a PE activity around my research - 48.4% agreed or strongly agreed with this Funders of arts and humanities research should help researchers with their PE activities - 42.9% agree and another 31.4% strongly doing so. Less than 8% disagreed with this proposition Researchers have a moral duty to engage with non-specialist audiences - 32.1% agreed with a further, 23.6% strongly doing so Public engagement could enhance my career - more than two-thirds agreed with this (67.3%), and 12% disagreed or strongly disagreed. Among the statements that found general disagreement were the following: I don’t have time to engage with non-specialist audiences - 61.8% agreed or strongly disagreed, and 16.2% agreed or strongly agreed Engaging with the public is best done by... trained professionals (61.7%)... senior researchers (77.8%) My research is too specialised to make much sense to a non-specialist audience - 78.6% disagreed or strongly did so There are no personal benefits for me to engage with non-specialists groups (77.8%) The statement that received the most equivocal response was the following: Arts and humanities researchers who communicate a lot are not well regarded by their researchers – 29.6% neither agreed nor disagreed with this, while disagreement (both strong and otherwise) outweighed agreement (both strong and otherwise) by 5.4% (36.5% against 31.1%) Nearly half of all respondents (46.6%) felt that it was fairly difficult for researchers to get involved in PE activities; 35.8% said it was fairly easy and 4.4% said it was very easy, with 8% saying it was very difficult. Nearly three quarters (73.1%) said that they thought of themselves as being fairly well equipped (52.5%) and very well equipped (20.6%) to engage with non-specialist public, while just 2.5% thought themselves as being not at all equipped. 22.9% thought of themselves as being not very well equipped. On the question of training, 59.4% said they had never received training in PE, while 22.6% said they had received media training, 13.4% training on speaking to non-specialist audiences, 12.9% on writing for non-specialist audiences, while 16.8% said they had received some kind of training relating to engaging with schools and schoolchildren. 4. Obstacles and incentives Responding to a question about those factors that would encourage greater involvement in PE activities, respondents indicated that relief from other workload was the most important factor ( 44.7% saying this would encourage them ‘a great deal’), followed by ‘if it was easier to get funding’ ( 42.2%), ‘if the REF encompassed it’ (38.8), ‘if it brought money into the department (38.4%), ‘if it was easier to organise activities’ (38.3%), ‘if it helped more with my academic career’ (36.6%), and ‘if my line manager/head of department gave me more support/encouragement’ (25.9%). Delegates were asked to express in their own words what would encourage them to get involved in PE activities that engage the non-specialist public with their research. Time, money, greater recognition and support, career progression, were among the answers given – and reflected in other responses in the survey – but among further responses were the following: more responsive journalism that was actually interest in the arts and humanities and not just the demands of particular stories, greater political and media support (against a prevailing narrative of the arts and humanities not being entirely worthy of public support), greater confidence, links between HE and the wider cultural sector, mentoring, and so on. Asked to do the same for the factors that they felt were preventing them from engaging the non-academic public, the answers were similar – ie lack of time, recognition, support, resources, and so on. Others mentioned that posts were awarded on the basis of research, teaching and administration and not PE, lack of experience, lack of confidence, finding an appropriate project, ongoing debates about the value of PE, the time it takes to build relationships with communities, relevance of specific research interests, insufficient access to the public, discouragement from some elements of university management, colleagues’ ‘continuing elitism and snobbery’, and so on. In terms of the support felt by respondents’ immediate environment, the picture was generally a very positive one, with around two thirds feeling that their colleagues were either very supportive (21.4%) or fairly supportive (44.3%) and only 2.8% feeling that there was no one who supported them. There were similar results for the support felt by institutions generally with nearly two thirds feeling that they were very supportive (18.7%) or fairly supportive (46.3%), 20.6% felt their institutions were not particularly supportive, while 2.6% felt they were not at all supportive. Respondents were asked to say what would be the most valuable way that the AHRC could help with their PE activities. 41.4% said that funding would be the best way, while 19.3% suggested brokering relationships, while 13% said PE training, 8.9% said networking events, 4.6% said publicity and 2.5% support materials.]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/623 http://www.aah.org.uk/job/623   The John Fleming Travel Award is open to all undergraduate and postgraduate students studying art, art history or architecture. The aim of the award is to encourage a better understanding and exploration of the arts from around the world. The Award is to enable students to travel as a means of assisting or furthering their research. The John Fleming Travel Award is sponsored by Laurence King Publishing who offer this award of £2000 annually in memory of the art historian John Fleming, co-author with Hugh Honour, of the book, A World History of Art.  The 2011 Award went to Martin Nixon from the University of York, for his research on the baroque towns of south-eastern Sicily. His report is below: A Research Trip to the Baroque Towns of South-Eastern Sicily In 1693 a major earthquake destroyed or mainly destroyed most of the towns in the south-eastern part of Sicily, including the populous cities of Catania and Syracuse, and the subsequent rebuilding produced a huge number of architectural commissions, as well as new urban forms for some of the towns. In 2002 eight of these sites were added to the UNESCO World Heritage list under the title ‘The Baroque Towns of the Val di Noto’. Although a part of its architectural heritage has now been recognised by UNESCO, the region overall has received relatively little attention from international scholars and I hope that my research will contribute to a greater understanding of this aspect of Italian art. In October 2011, aided by the John Fleming Travel Award, I visited Sicily for a research trip. I had made a short preliminary visit earlier in the year but the greater amount of time on this trip meant I could spend several days in some of the towns, thus gaining a general familiarity with the different churches, palazzi and street layouts more quickly. I was also able to return to buildings in the same day or week, something that was very useful for making certain kinds of comparisons, rechecking details and gaining new ideas. I also spent time with some of the principal Sicilian scholars, conducted research in the archives in Palermo and Modica, and looked at published material in bookshops and libraries. The time spent in conversation with other researchers was particularly important, as was the ability to visit archives and bookshops. A lot of the existing research on the Val di Noto architecture is published in Sicily and is very difficult to find elsewhere. I began the trip in Catania, the city in the shadow of Mount Etna and one of the places that was worst hit by the 1693 earthquake. Catania was rebuilt according to a geometric layout centred on the cathedral of Saint Agatha, and from the cathedral square four long streets extend into the distance. These streets have mainly kept their Baroque facades and if one walks down the long Via Etnea when there are few people around, past the palaces and churches and through the university piazza to the cathedral piazza, it’s possible to see the kind of scenic effect that the original architects intended. The dark grey volcanic stone on the buildings and the cobblestones gives a strong unity, and the different shades of grey and frequent use of rusticated pilasters on facades distinguish the architecture of Catania from that of other parts of Sicily. It was also useful to note how the presence of the same materials, as well as certain elements of the eighteenth-century style, continued up to the first half of the twentieth century, something that I later realised was true for other parts of Sicily and which gives a certain visual continuity to many of the Sicilian townscapes. After Catania I travelled to Ragusa and Modica in the extreme south east of Sicily. At the time of the earthquake, when Sicily was under Spanish rule, this area was governed by the Counts of Modica as an autonomous fiefdom and it was useful to compare the rebuilding of the towns on this limestone plateau with what I had seen in Catania. Ragusa is a particularly interesting case of rebuilding because a new town, Ragusa Alta, was founded overlooking the site of the pre-earthquake Ragusa Ibla. After the earthquake one group of inhabitants wanted to rebuild Ragusa Ibla whereas another group saw the opportunity to move to a new site. This conflict was related to an existing rivalry between citizens owing allegiance to different patron saints and, unable to reach a compromise, one group built a new town for themselves. The two reconstructions in Ragusa, with Ragusa Alta rebuilt mainly on the existing street layout and Ragusa Alta built on a grid, and with two new cathedrals built contemporaneously but with strong stylistic differences, merit more comparative research. Further comparisons can be made with the nearby town of Modica, built along the inside walls of a gorge almost like a reverse image of Ragusa’s site on ridges above gorges. This town also experienced a disagreement between two groups owing allegiance to different patron saints and, although all of Modica was rebuilt essentially on the pre-earthquake street plan, the upper and lower areas have different cathedrals which, as with the cathedrals in Ragusa, show different stylistic emphases, particularly with regard to the facades. An often noted feature of Sicilian baroque is its use of intricate decoration and ornate mask-like figures, particularly below balconies and around windows and doorways. This decoration is found throughout the island but is particularly marked in the eighteenth and nineteenth-century mansions of the south east and I was able to photograph many examples in Ragusa, Modica, and Catania. From Modica I also travelled to Scicli, another of the UNESCO towns, to see some particularly striking examples of this intricate Sicilian stone carving. Scicli is one of Europe’s southernmost towns and, on a day when the rain poured in streams down the sides of the road, quickly dismissing any ideas of a Mediterranean arcadia, I found myself the only passenger on the bus that lurched around the hairpin bends as the driver tried to see out of the window. Upon arrival, and with the rain relenting, Scicli turned out to be a very beautiful example of a small Sicilian town and, even though it has been used as the setting for the popular Italian ‘Inspector Montalbano’ television series, one still has the feeling of exploring a little-known place. The Palazzo Beneventano in Scicli has a series of carved mask-like figures on the sides facing the street, images which may be there as guardians to ward off bad luck and which are often reproduced in surveys of Sicilian baroque. Other highlights in Scicli include the interiors of the churches of Saint Theresa and Saint John the Baptist, with their beautiful Rococo interiors and detailed ornament in delicate blue and white, and the views from the church of Saint Matthew, built on a rock overlooking the town and intended to be the main church but abandoned in the nineteenth century due to its inconvenient location. The history of the towns in the area, and in particular the conflicts over the rebuilding of Ragusa and Modica, the abandonment of the church of Saint Matthew in Scicli and similar issues in other towns such as Noto, Lentini and Avola where the sites chosen for rebuilding were too far from essentials such as water supplies, all show how architecture and urban plans were changed in accordance with the practical and social needs of the population, and also demonstrate a more general point that the needs and aspirations are not the same for all of the populace. My final stop was Palermo where I was able to see the spectacular marble interiors of the churches of the Casa Profesa and Saint Catherine as well as important eighteenth-century sculptural decoration such as the stucco by the Serpotta workshop in the oratories of Saint Zita and Saint Domenic, and compare this with what I had seen in the south east of the island. As the island’s principal city, Palermo also has archives such as the Biblioteca Centrale della Regione Siciliana where I was able to read the original copies of some architectural treatises and a rare eighteenth-century book written by one of the aristocratic patrons involved in the post-earthquake rebuilding. Palermo was also useful for the bookshops that contain a wide range of publications on my area of research. Another important part of the visit was the chance to meet Sicilian scholars, and I would like to mention here those people who generously gave their time to help me. In Ragusa I was fortunate enough to be shown round by Professor Giorgio Flaccavento and his family. Professor Flaccavento is from Ragusa and has made a lifetime study of this part of Sicily, and on our walks through Ragusa he talked about the conflicts between the different groups in the rebuilding of the town and the way that such things as small anomalies and irregularities in the outline of a piazza or the alignment of buildings can give clues to the existence of previous structures and of architectural changes over time. We also talked of how certain features of a Baroque style sometimes continued into the nineteenth century, and of the difficulty this brings to deciding any kind of concluding point to this architecture. Gaudenzia Flaccavento, who is also an architectural historian, gave some interesting insights on the rebuilding of the church of Saint John the Baptist in Ragusa Alta. In Scicli I met Professor Paolo Nifosì, another expert on Sicilian architecture. We talked about the strong tradition of stone carving found there and also about the fact that in general most research has been carried out on ecclesiastical buildings and that less has been written on the private palazzi and their decorated facades, and how the absence of archival information on these buildings has contributed to this. In Palermo, Professors Marco Rosario Nobile and Stefano Piazza of the architectural faculty were helpful and generous with their time, as were Professor Sabina de Cavi and Professor Isidoro Turdo and the staff in the rare books section of the Biblioteca Centrale in Palermo. Spending several days walking around, and living in, the sites also allows for some unexpected conversations and encounters that bring new details to one’s notice. Whilst in Ragusa with Professor Flaccavento a retired stonemason, who was passing by and had stopped on recognising the professor, told us how he had learnt to carve stone by watching and copying the other masons. No drawings or diagrams were used in teaching this skill, a survival perhaps of the way in which the earlier stonemasons and sculptors were taught. On another occasion, whilst sheltering from the rain in Scicli, a passer-by mentioned how it was difficult to see the façade of the church of Saint John the Baptist because of later buildings that were added nearby. I returned to the site and saw how these additions exemplify the fact that in architectural history we aren’t always able to see what the original architects intended. As a final example, the church of Saint Lucia in Modica was undergoing restoration and when being shown around by the sacristan who had the key, he mentioned that to prevent blocking the narrow streets the church had a separate entrance and exit, something which may also explain why the buildings façade is hidden in a small courtyard rather than facing onto the street. I returned from Sicily with a greater familiarity with the towns and their architecture and new questions to pursue that can only come through spending time at the site, conversing with people and spending time alone looking at the architecture. I am now going through all of the notes I made and the photos I took and have started thinking about my next visit in 2012. Martin Nixon. 9 November 2011. ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/619 http://www.aah.org.uk/job/619   Booking for the conference is now online. Click here to book. Student member £10 Student non-member £15 Member £15 Non-member £20 Prices include lunch and refreshments. A conference dinner in Edinburgh will take place after the conference at delegates' own cost. Programme  Download full programme including speaker biographies and paper abstracts Quite apart from stressing the perfectly inspired nature of the expressions of certain madmen, to the extent that we are able to appreciate them, we affirm the absolute legitimacy of their conception of reality, and of any action resulting from it.’ --Letter to the Head Doctors of Insane Asylums, La Révolution surréaliste. No.3. April 1925 Keynote Speaker: Dr Sabine Wieber, University of Glasgow 9.30 - 9.50  REGISTRATION 9.50 - 10.00 Organisers’ Introduction Jenny Gypaki (University of Edinburgh) Session I. Madness as Knowledge Chair: Mary Jane Boland (University of Nottingham) 10.00 - 10.20 Katy Barrett (Ph.D Candidate, University of Cambridge and National Maritime Museum) ‘This Iridescent Bubble of Knowledge’: Hogarth’s Longitude Lunatic Between Madness and Revolt 10.20 - 10.40 Ben Zweig (Ph.D Candidate, Boston University) Madness and Knowledge: The Hermeneutics of Suicide in Medieval Art 10.40 - 11.00 Q&A 11.00 - 11.30 COFFEE Session II. The Faces of Madness & Criminality Chair: Jenny Gypaki (University of Edinburgh) 11.30 - 11.50 Hazel Murray (MA Student, National University of Ireland) ‘Through the Looking Glass: The work of Cesare Lombroso, considered through the wider lens of Italian psychiatry during the nineteenth century’ 11.50 - 12.10 Agata Gomolka (MA Student, University of Warwick) The Faces of Madness: Disease and Revolt in Architectural Sculpture 12.10 - 12.30 Alexandra Tommasini (Ph.D Candidate, Courtauld Institute of Art) Morire di Classe: The Role of the Photobook in Changing Perceptions of Mental Illness 12.30 - 13.00 Q&A 13.00 - 14.00 LUNCH Session III. Revisiting Surrealist Irrationalities Chair: Catriona McAra (University of Huddersfield) 14.00 - 14.20 Lucy Form (MLitt Candidate, University of Glasgow) You Don’t Have to Be a Medium But it Helps: Mouvement Flou or Mouvement Fou? 14.20 - 14.40 Allison O’Sullivan (Ph.D Candidate, University of New South Wales) Les Belles Dames Sans Raison: Claude Cahun, Lise Deharme and ‘Hysterical’ Objects. 14.40 - 15.00 Q&A 15.00 - 15.30 COFFEE Session IV. Body Politics in Revolt Chair: Mary Jane Boland (University of Nottingham) 15.30 - 15.50 Amy Robson (MRes Candidate, Plymouth University), The Dog Days: Canine Class Contagions and Political Parodies in Victorian Visual Culture 15.50 - 16.10 Monika Winiarczyk (Ph.D Candidate, University of Glasgow), Jewish Melancholia: An Examination of the Interrelationship Between Medieval Notions of Melancholy and the Jewish Body 16.10 - 16.30 Q&A   16.30 - 17.30 Keynote Dr Sabine Wieber (University of Glasgow) Title tbc 17.30 - 18.55 DRINKS RECEPTION 19.00 DINNER (optional*) *Optional conference dinner at Spoon Café Bistro (http://spooncafebistro.co.uk/contact-us.html) - payment for the dinner will be collected on the day from those wishing to attend.   Conference organisers: Mary Jane Boland, University of Nottingham, maryjaneboland@gmail.com Jenny Gypaki, University of Edinburgh, E.Gypaki@sms.ed.ac.uk Catriona McAra, University of Glasgow, c.mcara.1@research.gla.ac.uk    Previous Conferences New Voices: Art & Tradition, 6 November 2010, University of Birmingham Art & Desire, 7 November 2009, University of York. (Full timetable, Speaker's Abstracts, Speaker's Biographies) Art & Authenticity, 1 November 2008, University of Cambridge, Newnham College ( programme) Art & Memory, Courtauld Institute of Art, London - November 2007 - programme Surface Effects, Henry Moore Institute, Leeds - June 2007 Careers Day, Tate Britain - Dec 2006 Picturing People: Image and Representation’, University of Birmingham - May 2006 University of Nottingham - November 2005 Birkbeck College - May 2005 University of Reading - November 2004 Henry Moore Institute - May 2004 Cambridge - November 2003 Loughborough - May 2003 AAH Student Conference London - November 2001 Plymouth - May 2001 Edinburgh - February 2001 Birmingham - November 2000 Sussex - May 2000 London - November 1999 Liverpool - May 1999 Nottingham - February 1999 Oxford - May 1998      ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/611 http://www.aah.org.uk/job/611   Tickets: £10 per student An exciting opportunity for students and teachers to closely engage with two great artworks of the 14th century and learn from the experts who care for them. Historic Royal Palaces Tower of London and the National Gallery have teamed up to offer your students a unique study day designed specifically to support the existing AQA A-level History of Art syllabus. The study day Students will be introduced to two rare surviving works of art made in England in the 14th century during the reign of Richard II: The Byward Tower wall painting at the Tower of London  'The Wilton Diptych' at the National Gallery Tower of London Students will have exclusive access to the Byward Tower which is not currently open to the general public. Here, students will view the wall painting in situ where they will begin to piece together the story of this rare installation. Investigative skills will be strengthened as students begin to discuss and develop a contextual understanding of why and how it was painted. National Gallery The day continues at the National Gallery with a close viewing of the Wilton Diptych and a discussion in comparison with other paintings in the Gallery’s collection. Students will then explore the techniques of pigment mixing through practical demonstrations in the Education Centre's Creative Space. A plenary at the end of the day will recap on how to apply the considered examples and relevant skills to study and exams. Curriculum links AQA AS and A2 Unit 2 HART2 – Themes in History of Art: Subjects and genres, materials, techniques and processes, form and style, historical and social contexts, patronage Unit 4 HART4 – Investigation and Interpretation: Art and Architecture in thirteenth- and fourteenth-century Europe Further information and booking Find out more about the History of Art study day in association with the National Gallery. Book your place by phone, fax, email, or via the online booking form. Full details about the three-step booking process are available at the Historic Royal Palaces booking page.  ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/591 http://www.aah.org.uk/job/591   Peer review lies at the heart of the AHRC’s operations, and we are fully committed to the principle of peer review for the assessment of proposals to our schemes and programmes. PRC members provide expert quality reviews of proposals within their areas of expertise, which inform the AHRC’s decision making processes. As well as making an important contribution to the AHRC’s peer review processes, the experience gained by membership of the College also provides benefits to individuals, departments and higher education institutions. For more information about Peer Review College membership: http://www.ahrc.ac.uk/about/PeerReview Download the 2011 Call for Nominations to the Peer Review College here  ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/581 http://www.aah.org.uk/job/581   Details of how to book: http://www.hrp.org.uk/educationsessionsotthetoweroflondon/a-levelhistorydays Historic Royal Palaces Tower of London and the National Gallery have teamed up to offer your students a unique study day designed specifically to support the existing AQA A-level History of Art syllabus. Students will be introduced to two rare surviving works of art made in England in the 14th century during the reign of Richard II: The Byward Tower wall painting at the Tower of London The Wilton Diptych at the National Gallery. Students will have exclusive access to the Byward Tower which is not currently open to the general public. Here, students will view the wall painting in situ where they will begin to piece together the story of this rare installation. Investigative skills will be strengthened as students begin to discuss and develop a contextual understanding of why and how it was painted. The day continues at the National Gallery with a close viewing of the Wilton Diptych and a discussion in comparison with other paintings in the National Gallery’s collection. It is within this setting that students will explore the techniques of pigment mixing through practical demonstrations. A plenary at the end of the day will recap on how to apply the considered examples and relevant skills to study and exams. An exciting opportunity for students and teachers to closely engage with two great artworks of the 14th century and learn from the experts who care for them. Curriculum links: AQA AS and A2 Unit 2 HART2 - Themes in History of Art: Subjects and genres, materials, techniques and processes, form and style, historical and social contexts, patronage Unit 4 HART4 - Investigation and Interpretation: Art and Architecture in thirteenth and- and fourteenth-century Europe]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/559 http://www.aah.org.uk/job/559 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/550 http://www.aah.org.uk/job/550 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/529 http://www.aah.org.uk/job/529 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/504 http://www.aah.org.uk/job/504 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/496 http://www.aah.org.uk/job/496 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/506 http://www.aah.org.uk/job/506 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/486 http://www.aah.org.uk/job/486 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/482 http://www.aah.org.uk/job/482 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/478 http://www.aah.org.uk/job/478 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/477 http://www.aah.org.uk/job/477 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/467 http://www.aah.org.uk/job/467 Careers in Art History was revised and enlarged in 2005. The 120 page book provides information about the wide range of careers available to current and prospective art historians. A full PDF is now available, free of charge. ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/459 http://www.aah.org.uk/job/459 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/421 http://www.aah.org.uk/job/421 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/420 http://www.aah.org.uk/job/420 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/411 http://www.aah.org.uk/job/411 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/410 http://www.aah.org.uk/job/410 The John Fleming Travel Award is sponsored by Laurence King Publishing who offer this award of £2000 annually in memory of the art historian John Fleming, co-author with Hugh Honour, of the book, A World History of Art . ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/409 http://www.aah.org.uk/job/409 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/391 http://www.aah.org.uk/job/391 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/364 http://www.aah.org.uk/job/364 AQA are currently advertising vacancies for Principal Examiners in: A-level History of Art (2250) HART1 - Visual Analysis and Interpretation and HART2 - Themes in History of Art. ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/353 http://www.aah.org.uk/job/353 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/344 http://www.aah.org.uk/job/344 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/343 http://www.aah.org.uk/job/343 Thames & Hudson ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/335 http://www.aah.org.uk/job/335 http://www.gradfunding.co.uk/   ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/313 http://www.aah.org.uk/job/313 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/312 http://www.aah.org.uk/job/312 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/306 http://www.aah.org.uk/job/306 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/302 http://www.aah.org.uk/job/302 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/301 http://www.aah.org.uk/job/301 Bulletin Academic are releasing a number of documents and studies on the Impact Agenda for the forthcoming REF exercise. ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/295 http://www.aah.org.uk/job/295 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/294 http://www.aah.org.uk/job/294 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/293 http://www.aah.org.uk/job/293 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/287 http://www.aah.org.uk/job/287 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/281 http://www.aah.org.uk/job/281 Tate Britain, London Saturday 6 November 2010, 10.00-16.00 ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/277 http://www.aah.org.uk/job/277 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/253 http://www.aah.org.uk/job/253 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/224 http://www.aah.org.uk/job/224 Association of Art Historians Summer Symposium Henry Moore Institute, Leeds, 24 - 25 June 2010 Architectural Objects Discussing Spatial Form across Art Histories £15 ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/218 http://www.aah.org.uk/job/218 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/199 http://www.aah.org.uk/job/199 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/183 http://www.aah.org.uk/job/183 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/182 http://www.aah.org.uk/job/182 Farlington School, Horsham, Surrey Date: Friday 12th March 2010 Start: 11.00 End 5.00 Speaker: AQA Chief Examiner, Dr. Simon Lee ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/164 http://www.aah.org.uk/job/164 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/162 http://www.aah.org.uk/job/162 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/160 http://www.aah.org.uk/job/160 Laurence King Publishing who offer this award of £2000 annually in memory of the art historian John Fleming, co-author with Hugh Honour, of the book, A World History of Art. ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/158 http://www.aah.org.uk/job/158 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/156 http://www.aah.org.uk/job/156 Research Excellence Framework (REF) The Association is closely following the debate and consulation about the form of the forthcoming Research Excellence Framework (the sucessor of the RAE) that will determine universities' research-related funding from HEFCE. The Association's official response, prepared in collaboration with the Design History Society and the Society of Architectural Historians of Great Britain, can be downloaded from here. ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/154 http://www.aah.org.uk/job/154 Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/40 http://www.aah.org.uk/job/40 New Voices conferences each year. These events provide a platform for students to present research-in-progress to an audience of their peers in an environment which combines academic rigour with a supportive atmosphere. Each event is held at a different university throughout the UK. Art & Desire University of York, 7th November 2009 Call for papers now online. Click on the following link for more information]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/20 http://www.aah.org.uk/job/20 Summer Symposium will take place at the University of Bristol 23rd - 24th June 2009.  ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/36 http://www.aah.org.uk/job/36 The Formats of Art History: The Art Book and the Exhibition Saturday 20 June 2009 10.00am – 6.15pm (with registration from 9.30am) Kenneth Clark Lecture Theatre Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN This symposium looks at the ways in which art history is presented, focusing on various book formats – from the monograph to the photo-book – and the exhibition – from curating little known masters of the Renaissance to issues in the contemporary gallery. ]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/19 http://www.aah.org.uk/job/19 AAH Initiatives Fund offers financial support for projects and events that promote and develop art history education. Any paid-up AAH member may apply for the fund. Click on the links to download a copy of the AAH Initiatives Fund Guidelines and AAH Initatives Fund Application Form]]> Sat, 04 Feb 2012 19:25:21 +0000 http://www.aah.org.uk/job/26 http://www.aah.org.uk/job/26 The Art Book Award 2008. The award went to:Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush Written by Felice Fischer with Kyoko Kinoshita, with essays by Jonathan Chaves, Sadako Ohki, and Shimatani Hiroyuki. ]]> Sat, 04 Feb 2012 19:25:21 +0000