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UID:20250807T235259EDT-7967wahiuh@132.216.98.100
DTSTAMP:20250808T035259Z
DESCRIPTION:Confirmed Speakers: Caroline Arscott (Courtauld Institute of Ar
 t) • Fabio Barry (University of St. Andrews) • Matthew C. Hunter (ɬ�﷬ U
 niversity) • Yukio Lippit (Harvard University) • Jeffrey Moser (ɬ�﷬ Uni
 versity) • Alexander Nemerov (Stanford University) • Jennifer L. Roberts (
 Harvard University) • Itay Sapir (UQAM)\n\nIn an influential essay\, conte
 mporary artist Jeff Wall has sketched a suggestive genealogy linking chemi
 cal photography to a range of fluid processes and their modes of “liquid i
 ntelligence.” By Wall’s telling\, wet procedures done in the dark historic
 ally connect photography to a vast\, subterranean network of primordial ac
 ts of chemical transformation like dyeing and bleaching. But\, the pull of
  liquids on art and aesthetic imagination runs deeper still. From the unct
 uous stains of Titian’s macchie to Ed Ruscha’s “liquid word” paintings—fro
 m Kenneth Anger’s filmic imagination of the Renaissance garden’s ritualize
 d\, watery flows to the “boggy\, soggy\, squitchy” picture that flummoxes 
 Ishmael at Melville’s Spouter-Inn—the urge to sound the fluid image abides
 . Where Walter Pater would explain Leonardo’s strange imaginings as like s
 ight “in some brief interval of falling rain at daybreak\, or through deep
  water\,” no less central a theorist of pictorial ontology than Leon Batti
 sta Alberti appealed to the myth of Narcissus. “What is painting\,” Albert
 i asks\, “but the act of embracing by means of art the surface of the pool
 ?”\n\nHosted through the Department of Art History and Communication Studi
 es at ɬ�﷬ and Media@ɬ�﷬\, this conference aims to themati
 ze liquid intelligence and the broader aesthetics of fluidity in which it 
 moves. Drawing together leading\, international scholars\, the conference 
 seeks to open conversations around conceptions of photography\, painting\,
  and other fluid strategies made perceptible by pushing upon liquid intell
 igence. Can an ingenuity of liquid realization be constructively compared\
 , we might ask\, to the raw\, “fluid” smarts that psychologists oppose to 
 formal\, “crystallized” intelligence? Might the theoretical heuristic of l
 iquid thinking devised for a recent\, proximate past help flush out the mo
 dalities of more distant minds responsible for\, say\, the oozing\, oil-sp
 otted glazes of medieval tenmoku tea wares or the inky insubstantiality of
  Zen patriarch portraits? If we\, like the intergalactic researchers in An
 drei Tarkovsky’s Solaris\, are influenced by the hegemonic\, fluid images 
 we study\, how might those subtle currents work to dissolve the dry media 
 genealogies and hoary theoretical constructs that continue inform much thi
 nking on relations between photography\, painting and other arts past and 
 present?\n\n \n\nFor more information\, please visit: http://liquidintelli
 genceconference.wordpress.com\n
DTSTART:20131025T130000Z
DTEND:20131027T010000Z
LOCATION:Théâtre J. Armand Bombardier\, McCord Museum\, CA\, QC\, Montreal\
 , H3A 1E9\, 690 rue Sherbrooke Ouest
SUMMARY:Conference: 'Liquid Intelligence and the Aesthetics of Fluidity'
URL:/ahcs/channels/event/conference-liquid-intelligenc
 e-and-aesthetics-fluidity-229639
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