Enfilade

From ArtHist.net:

Re-Conceiving an Ancient Wonder: The Afterlife of the Mausoleum of Halicarnassus, 1500–1850
RWTH Aachen University, 24–26 June 2021

Proposals due by 31 January 2021

The importance of the Mausoleum of Halicarnassus for European culture is revealed by its very name, which—in many languages—has become a noun signifying any sufficiently monumental tomb. However, the Mausoleum was destroyed during the Middle-Ages, and many aspects of its appearance remain uncertain, even since the excavation of its foundations in the 1850s. During the Early Modern Period, the main sources of information on this building were thus ancient texts, which were the only references concerning the Mausoleum’s dimensions and appearance. Accurately reconstructing architecture according to brief written descriptions, however, is an impossible task. Yet, despite this difficulty or perhaps due to the liberty it offered the imagination, numerous artists, architects and antiquaries took a keen interest in the monument during the timeframe 1500–1856, mainly using Pliny’s description to suggest reconstructions, devise pictorial representations and seek inspiration for new funerary projects or monumental public architecture.

This workshop aims to examine the afterlife of the Mausoleum during this period. Being an invisible reference, the monument left far more leeway to the imagination than other, existing ancient buildings that also attracted scholarly and artistic attention, such as the Pantheon. The Mausoleum’s invisibility entails that it is not the monument itself that will be investigated here, but rather the ensemble of texts, images and architectural projects referring to this central but unknowable model. Drawing upon recent developments in the methodologies of intermediality and temporality, the project aims to add a new dimension to this discussion by focusing on a precise case study examining the evolution of several key themes over a long period.

The following questions offer a common intellectual framework for the workshop. Further research themes suggested by participants, however, will naturally be welcomed.
• How did reconstructions engage with the Mausoleum’s invisibility and the intermedial relations that it entailed between architecture, text and image?
• What differences emerge between various groups (e.g. antiquarians, architects, painters) in their interpretations of the Mausoleum and in the motivation of their interest for this structure?
• How did the Mausoleum inspire actual buildings and serious architectural projects?
• Or, inversely, imaginary pictorial vistas and stage sets?
• How did the Early Modern reception of the Mausoleum engage with the different means of architectural quotation (shape, dimensions, ornaments)?
• Why did the Mausoleum generate particular interest within specific cultural contexts?
• How, when and to what extent was the funerary function of the Mausoleum emphasised?
• What did the Early Modern Period make of the Mausoleum’s insertion into an urban context and of its relation to the surrounding landscape?
• How is the Mausoleum discussed in general histories of architecture written during the period under consideration?

While we are interested in all proposals concerning the period 1500–1850, topics from the seventeenth and nineteenth century will be especially welcome, since they remain underrepresented amongst the several key speakers already selected.

We invite scholars to submit proposals (max. 1 page) for 20-minute talks that can later be developed into full-length book chapters. Abstracts should be sent to halicarnassus@ages.rwth-aachen.de until 31 January 2021.

The workshop will be held at RWTH Aachen University on 24–26 June 2021. Funding will be available for a partial reimbursement of participants’ expenses, thanks to a grant from the German Research Foundation (DFG).

The workshop will result in a collective publication—a coherent book, rather than a loose set of articles—retracing key issues regarding the afterlife of the Mausoleum throughout the timeframe under consideration. For this purpose, we strive for an open workshop format that fosters debate and concrete ideas for a collective publishing project. We sincerely hope that we will be able to meet in person, however, if the pandemic lasts until summer 2021 we will prepare an appropriate digital format for the workshop.

Organisational Committee
Prof. Dr. Anke Naujokat (RWTH Aachen University)
Dr. Desmond Bryan Kraege (AHO Oslo School of Architecture and Design)
Felix Martin M.Sc. (RWTH Aachen University)

From ArtHist.net:

Food — Media — Senses
Philipps-Universität Marburg, 1–2 July 2021

Proposals due by 21 December 2020

The notion that eating is linked to sensuality is a commonplace. But once we take into consideration that during a meal all five senses can be involved, the relationship between eating and the senses becomes much more interesting. By eating we understand a cultural practice which includes the consumption of food as much as its preparation and presentation. Not only in the culinary art and fine dining of the last decades—for example, molecular cuisine—but also in the industrial processing of convenience food, trends of putting all five senses into relation to each other can be observed.

But this very aspect of sensuality is often ignored in the debates of the humanities or cultural science about eating and food, although aesthetics in the sense of aisthesis is one of its core subjects. Strangely enough, up until now there has been only little research on how eating relies on the interplay of the senses. This might generally be due to the fact that sensual experience has been held in high cultural regard only when initiating the creation of sense. The incorporation of the object of perception in no way seemed to be in a position to transcend the bodily, in the manner of the distanced sensory perceptions of seeing and hearing (Zechner 2013). We find here an implicit hierarchization which might be the reason for a lack of differentiated linguistic tools and of useful distinctions when it comes to tasting and smelling, the senses central to eating. While tools for capturing the visual and auditory already have been developed by scholars of musicology, art history, media studies or theater studies. A cultural science which is adequate to the cultural technique of designing food—as haute cuisine or as convenience food—is still lacking. Even the most recently booming food studies are only peripherally are concerned with the sensorially experienced aisthesis of dishes and, when concentrating on the socio-cultural functions of eating, fall back onto a wider perspective of cultural studies.

In order to acknowledge the material and media-related aspects of eating as a cultural praxis, the conference proposes to understand the various aspects of eating as a purposefully designed sensory experience. Thereby it aims to introduce, produce and discuss research tools commensurate with the sensuality of eating. First, we intend to develop ways of describing how the individual senses are addressed by food and to conceptualize their modes of interaction. As they design sensual experience the dishes prepared are to be considered as media themselves. They offer perceptive opportunities which are strongly formed by culture and in special ways address the sensory as much as sense. In addition, haute cuisine even works with textures, smells and taste nuances in an attempt to create meaning. Focusing the senses in combination with the concept of media and its heuristics is meant to permit a new perspective on dishes and eating.

The involvement of media in eating can be further differentiated. By an open concept of media—which could for instance be obtained from the ethnographic orientation of the actor-network theory—the constitutive roles of menu, cutlery, tableware and dining room can be taken into account without relegating them to the secondary role of ‘context’. In this sense, we have to describe the preparation and combination of food together with the specific choice of tableware, table decoration, furniture, interior design, music and, last but not least, the service to the table and additional media components. Also, the fine arts always have reflected on food, for example in the genre of the still life or, since Modernity, in interactive settings which take eating as a starting point for creating a Gesamtkunstwerk and reflect on the aesthetic and socio-cultural dimensions of food.

Finally, media come into play when representing and communicating eating in advance or afterwards. Under this aspect we may ask by which forms of linguistic expression, structure and imagery for example a cooking recipe is characterized, how film and television evoke the sensual experience of eating or how the oeuvre of a certain chef is represented in photo books. Complementary it has to be asked in which ways a whole media ensemble is grouped around food and its preparation, how such a media ensemble organizes perception and consequently directly feeds back onto the senses. The intrinsic logic of particular media and how it affects the presentation of food has to be taken into consideration, too.

The conference is conceived as an interdisciplinary exploration in which experts from media studies, art history, literature, sociology, ethnology, cultural studies and design studies come together for productive exchanges and share their special approaches such as gastrosophy, culinary studies and food studies. The following three thematic blocks can be defined:

1  Food as Medium

The first section focusses on the media-related qualities of eating, which is understood as a designed sensual experience. Food as a multisensory and multimodal object of perception as well as all related practices of preparation, presentation and consumption come into view. In contrast to the traditional approaches in the study of meals, we suggest an understanding of the preparation, presentation and consumption of food not as a cultural framing, but as a communicative practice which includes the meal’s design and its whole field of experience: which role is played by sensual experience when buying and preparing food? Which options are there to control the parameters of sensory experience during cooking? How is a meal arranged to let the eater have a certain experience? How is food semantically charged? Of course, specific associations are induced in food; but can we imagine other strategies as well? The analysis of happenings in the fine arts which perform and simultaneously reflect on the preparation of food as much as on its communal consumption can yield great insights. Art works not only use food and its staging as a vehicle for messages but can also convey its sociocultural implications and even reveal how the construction of culture works.

2  Food in Media

The representation of eating and the sensual experience connected to it has a long history: the interest in food’s colors and tactile surfaces is one of the major causes for the emancipation of the still life as a genre of its own. Cookbooks seek to demonstrate the preparation of meals as much as the expected pleasures by a variety of linguistic devices, specific layouts and images. Food photography in advertising and in cookbooks claims to visualize sensual experience. On product packaging, food photography can work like a serving suggestion inasmuch as it can trigger, in combination with color design etc., sensual associations. In addition, attention must be paid to the parameters of media-specific presentation and how they feed back on the cultural practice of eating. Photogenics and, recently, instagrammability highlight colorful and structured dishes. In what ways does a photogenic appearance indirectly impact on sensual experience? Visual communication as an applied science, at the service of the food industry, which deals with the relationship between packaging design and buying decisions, has to be taken into consideration.

3  Sociology and Culturality of Food

We want to explore how the sensuality of eating is treated in specific cultural contexts. It is not only about preferences—for example, for the bitter or the sour—but also about the involvement of the different senses in eating: in which cultural contexts is the sense of sight particularly emphasized? In which cultural contexts is the sense of touch addressed through texture? In addition to the findings of Claude Lévi-Strauss, not only the relation between the raw and cooked but also between the liquid, soft and solid plays a role. At this point, we would like to reflect on the sensuality of cultural and national identities. Following the discussion on a sociology of taste, as has been prominently guided by Pierre Bourdieu, we aim to identify how the relationship between sensual experience and social biography contributes to the formation of social identity. Sensual experience becomes understandable as basically socially formed; concurrently, the socio-cultural formation is recognized as a naturalized one when, for example, preferences of taste are regarded as being gender-based.

The conference is to be held July 1–2 at the Philipps-Universität Marburg in person or as a hybrid event. In view of the COVID pandemic, it is not yet possible to make definitive statements about the form of the event that can ultimately be realized. Accommodation will be financed by the organizers. Travel expenses will be covered or subsidized, depending on the cost. There are no conference fees. Proposals (of approx. 400 words) for a 25-minute presentation accompanied by a brief CV should be sent by 21 December 2020 to foodmediasenses@uni-marburg.de.

Organising committee: Christina Bartz (Paderborn), Jens Ruchatz (Marburg), Eva Wattolik (Erlangen)