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Tenth International IAWIS/AIERTI Conference
and Twenty-First Annual Scottish Word and Image Group Conference

Riddles of Form: Exploration and Discovery in Word and Image


NB: Some sessions have altered since this was drawn up. Please refer to the Programme for the most up-to-date version

1. Science and Portraiture: Showing Knowledge, Constructing Identities, Establishing Differences

Organisers: Dr Valerie Mainz (University of Leeds, UK), Professor Laura Malosetti Costa (Instituto de Altos Estudios Sociales 'UNSAM', Buenos Aires, Agentina), Professor Griselda Pollock (University of Leeds, UK).

If portraiture is the privileged space of the representation of the human face qua face as site of identity, subjectivity and presence, how does this form traverse the boundaries between biography and description, between the representation of difference, between the educated and the unlearned, the good and the evil, the esteemed and the dangerous - and establish distinctions between ethnicities, social classes and nationalities? This session seeks to address the complex configurations and meanings of the human face in literature and visual imagery at the intersection with non-aesthetic, scientific modes of classification and knowledge production that equally deploy word and image for different ends to those apparently pursued in aesthetic and cultural practices of representation classified as portraiture. Can such distinctions be maintained? What interests do they disguise?

If the aesthetic in portraiture has been critically linked to plays of power and privilege across race, gender, class and nationality, the scientific has claimed to pursue 'knowledge' through visual attentiveness and transcription indifferent to such rhetorically conveyed hierarchies and asymmetries. Yet both sites are loci of simulation, invention and emphases that have effects both ideological and political. This session calls for papers that both address, and perhaps shift, on the one hand, the bifurcation between word/image constructions in art and science and, on the other, discover their convergence in order to re-examine, case by case, the complexity of representations of the face, faciality and visualized otherness beyond the confines of genre categories which 'naturalize' the portrait.

2. A Sketch of the Universe: the Influence of D'Arcy Thompson's On Growth and Form

Organiser: Matthew Jarron (University of Dundee, UK)

By attempting to explain the extraordinary complexity of life through fundamental laws of physics and mathematics, D'Arcy Thompson not only changed our understanding of biology but also had a profound impact on numerous other areas including cybernetics, anthropology, geography, art and architecture. For example, a clear line of descent can be drawn from the mathematical biology of D'Arcy Thompson to Alan Turing's universal machines and on to today's computer-generated special effects technology. This session will explore the variety of influences that D'Arcy Thompson's On Growth and Form (through its unique combination of word and image) has had in these and other fields.

3. Graphic adaptation and historic literary fiction: re/vision, remediation and discovery

Organiser: Simon Grennan (University of Chester, UK)

Although comic strip adaptations of historic literary fiction are commonplace, in the great majority they have been historically motivated either by pedagogy or by hagiography. The pedagogic approach assumes that narrative drawing is more accessible to children than text. The hagiographic approach assumes that the source text is an original to which adaptations must aspire by overcoming the limits imposed by their own media

Increasingly, a number of comic strip adaptations of historic fiction have appeared to interrogate the process of adaptation from literary text to narrative drawing itself, turning the adaptation process into a method of enquiry into some of the central issues of both remediation, narrative drawing and historiography: the relationships between specific texts and new images and concepts of authenticity, record and narrative voice relative to history.

Such approaches to the adaptation of historic novels make visible the ways in which the process of adaptation itself engenders a fuller understanding of historic texts and their production. Frequently, they visibly manipulate the reading experience through techniques of juxtaposition, anachronism and visual revision, prompting reflections upon the impact of diverse media on the practice of history, for example: Marcel Broodthaers 1969 'Un coup de dés jamais n'abolira le hansard', Dino Battaglia's adaptations of Maupassant stories and Catherine Anyango's 2010 'Heart of Darkness'.

This session will aim to focus in detail upon a) both the technical processes of adaptation, or the ways in which new technologies inform the development of approaches to historic texts, and b) upon the conceptual strategies and rationales of adaptors. As a related topic, it will also hope to discuss current trends in the understanding of the roles of contemporaneous illustration in historic literary fiction.

The session's central questions and consequent call for papers will focus upon i) comic strip adaptation's rationalisation of visual equivalents for literary narrative voices, ii) upon the influence of moving image conventions on storyboards, points of view, pace and information management and iii) upon conceptions of time revealed in contemporary adaptations of nineteenth century novels in particular

4. Exploration in Word and Image in the Studio Practice

Organiser: Véronique Plesch (Department of Art, Colby College, Maine USA)

Artistic practice is of course fundamentally exploratory; but what role does the verbal play in this exploration? From artist statements to talks, and from grant applications to teaching, how do artists conceive of a verbal expression meant to convey a visual body of work? What verbal expressions, both from the artist and from readings in literature, criticism, philosophy, etc., enter into the creative process and with what goals in mind? And finally, how does the awareness of the difference between verbal and visual discourses help in this exploratory endeavor?

5. Exploring Neuroscience and Word-and-Image Studies: Theoretical Efficacy and Affective Response

Organiser: Lauren S. Weingarden (Florida State University, Tallahassee, FL, USA)

During the past decade, neuroscientists and art historians have collaborated in the exploration of the mind-body responses to visual-cum-artistic imagery. In art history, new interdisciplinary rubrics have emerged from this venture, namely, neuroarthistory and neuroaesthetics. Parallel explorations have also informed literary theory and criticism under the rubrics of cognitive poetics and literary neuroscience. At the heart of each discipline, the firing of neurons has replaced the infinite semiosis (Eco) of signifiers. Yet neuroscience and word-and-image relations remain an unexplored territory. In this session, we explore the efficacy of neuroscience, and its literary and art historical variants, from the side of the viewer's/reader's reception. That is, how do the neuroscientific models offer a way of approaching the experiential/embodied effect of word-and-image objects? Can neuroscience help us to better articulate both (pre-cognitive) sensory impressions and (pre-linguistic) transformative affects of word-and-image relations? To what extent does neuroscience reify the old rivalry between the sister arts? In the absence of raw neurological data, responses to these questions and others may be speculative or hypothetical. However, paper topics should use individual case studies as the basis for speculating the efficacy of neuroscience in relation to word-and-image studies.

6. Tourist Visions

7. Interiors: Charting Inner Spaces in Word and Image

Organisers: Guido Furci (Ecole Normale Superieure ; Paris III - Sorbonne Nouvelle, France): Marco Bernini (University of Durham, UK)

Inner experience is a cross-disciplinary subject of research par excellence. However, each discipline attempting to explore this zone of experience deals with a problem of accessibility to the subjective, first-person dimension of inner worlds. To overcome the descriptive closure of inner experience every discipline has adopted a wide range of explanatory and exploratory strategies. From a geographical atlas of inner experiences (Klare and van Swaaij, 2000) to the metaphorical images employed in philosophy to describe the mind (such as the "Cartesian theatre" in Dennett, 1991), from fictional techniques by means of which literary narratives rendered inner processes (Cohn, 1983) to empirical methods that cognitive science has devised to enhance introspection (Hurlburt and Schwitzgebel, 2007), an extensive array of solutions have been applied to open inner boundaries. With special attention to the spatial domain (and to the spatial strategies of rendition) of inner experiences, this session aims at charting modes of exploration (metaphorical, visual, verbal, empirical) upon which both science and the humanities draw as resources for crossing the frontier between outer and inner spaces. Particularly welcome are proposals addressing the relationship between outer world and inner world, the ways in which the former serves as experiential background or analogical repository for the latter. Comparative approaches focusing on the two-way relationship between science and the humanities in exploring inner spaces will be of great interest as well.

Intérieurs : cartographier les espaces du dedans

Toute discipline s'essayant à l'exploration de l'univers individuel d'un sujet se heurte au problème de l'accessibilité du " je ". Afin de dépasser les limites descriptives inhérentes à l'expérience intérieure, l'on a recours à un large éventail d'outils susceptibles d'en étendre les champs d'explication et d'investigation. De l'atlas géographique des expériences intérieures (Klare et van Swaaij, 2000) aux images métaphoriques employées par la philosophie pour décrire les processus mentaux (cf. entre autres le concept de " théâtre cartésien " utilisé par Dennet, 1991), des techniques au moyen desquelles les narrations fictionnelles rendent compte des mouvements de la conscience (Cohn, 1983) en passant par les stratégies utilisées par les sciences cognitives pour mettre en lumière l'introspection (Hurlburt et Schwitzgebel, 2007), une large palette de solutions ont été exploitées pour figurer le soi. En portant une attention spécifique à la manière dont les expériences intimes se lient au domaine de l'espace (et aux stratégies de spatialisation qui permettent d'en représenter le rayon d'action), notre session aura pour but de dresser une cartographie des ressources et des modes d'exploration (métaphoriques, visuels, verbaux, empiriques) grâce auxquels les sciences humaines aussi bien qu'expérimentales s'efforcent de franchir les frontières qui séparent le " dehors " du " dedans ". Seront particulièrement bienvenues les propositions abordant, d'une part, les relations entre monde extérieur et monde(s) intérieur(s), d'autre part, la manière dont le premier peut fonctionner comme paysage de l'expérience et comme lieu de projection analogique pour le(s) second(s). Les approches comparatistes insistant sur le dialogue et les échos établis entre sciences humaines et sciences expérimentales feront également l'objet de la plus vive attention.

Bibliographie orientative :
Dennet, D. 1991. Consciousness Explained. London : Penguin.
Cohn, D. 1983. Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction. Princeton: Princeton University Press.
Klare, J., and van Swaaij, L. 2000. Atlas of Experience. London: Bloomsbury.
Hurlburt, R. T., and Schwitzgebel, E. 2007. Describing Inner Experience? Proponents Meet Skeptic. Cambridge: MIT.

8. Epistemological Allegiances: Art and Science as Unfaithfully Faithful Mediators of One Another

Organiser: Christa-Maria Lerm Hayes (Ulster School of Art, University of Ulster, N. Ireland)

From John Latham's burnings of encyclopaedias to demonstrate against the one-dimensional misrepresentation of scientific knowledge in that format to artists like Ecke Bonk, Jürgen Partenheimer and Royden Rabinowitch, who share a sustained engagement with scientists and their work: artists do not just subvert instances of simplistically understood science, but forge epistemological allegiances with scientists and share in their analysis and critique of epistemological and institutional practices across art and the sciences. (Rabinowitch's engagement with Lee Smolin'sThe Trouble with Physics would be an example).

dOCUMENTA (13), Kasssel 2012 has propelled awareness of the epistemologically symbiotic relationship between art and science into the public consciousness to an extent that seemed hitherto impossible. Can we consider the ever-changing relationships between art, the word and the sciences differently, now that Bildwissenschaft has critiqued the image's widespread use as supposedly unproblematic evidence for or locus of scientific findings (andBildwissenschaft is becoming better known in the English-speaking world: Elkins, Naef eds,What is an Image?)? What are the implications for the word (the writing about art, images and science) now that art and science both privilege obliqueness and become unfaithfully faithful mediators of one another? Can similar conclusions be drawn from an investigation of the relationship between literary writing and science?

This session seeks contributions from those invested in these questions on any side. The "Artistic Research" debate is of course pertinent to the theme, as are curatorial approaches, such as that taken by dOCUMENTA (13), to exhibit artwork and scientific experiments side by side. Philosophical papers or those considering a renewed interest in theGesamtkunstwerk are as welcome as those taking an institutionally critical look at the shared epistemological spaces that art and science are occupying in many universities, or those presenting case studies or comparisons of works.

9. Science in the Twentieth Century Avant-Gardes

Organisers: Eric Robertson (University of London, Royal Holloway), Magda Dragu (University of Indiana, Bloomington, USA)

Science played a crucial role in shaping both the early twentieth-century avant-gardes and the later avant-gardes of the sixties. Both writers and visual artists experimented with scientific thought and inquiry under various shapes. Painters pasted pages of scientific diagrams in their collages (Schwitters and Ernst), Klee and Delaunay incorporated visual references to optics by depicting colored disks. Avant-garde artists of the sixties applied scientific concepts in their paintings: visual illusions of Op Art, randomness and chaos (Pollock and André), repetition and redundancy (Rothko and Reinhardt). Experimental writers used similar procedures in their literary works: scientific randomness is close to the Dada concept of nonsense, repetition and redundancy are at the core of some of the poetic avant-gardes' experiments (Stein, Schwitters).

In this seminar we propose to discuss the role science played in shaping the literary and the visual world of the avant-gardes. Proposals drawing from works of art produced in the avant-gardes may try to answer the following questions: Why were the avant-garde artists interested in the sciences in the first place? What artistic innovations did involvement with the sciences may have triggered in both the visual arts and literature? Do we perceive scientifically organized works of art differently? What are the connections between science and abstraction? How did nineteenth-century theories of vision shape the artistic production of the avant-gardes (Helmoltz, Wundt, Mach)? What is the truth value of the scientific treatises produced by the avant-garde artists: Klee, Kandinsky or Delaunay among others? Are we to read them as secondary material, which helps the understanding of their visual works, or do they have scientific value per se? How did the later avant-gardes develop the 'scientific' discoveries of the early avant-gardes and further engage with the new technologies? How does the machine aesthetic manifest itself in both word and image?

10. Art/Text Relations

11. Designs for Life: Art, Science and the Multi - Culture

Organiser: Paul Liam Harrison (Duncan of Jordanstone College of Art and Design, University of Dundee, UK)

I propose to form and host a session based upon an image production project I co-ordinated with several scientists from the School of Life Sciences at Dundee. Taking this as a starting point I propose to further explore several themes that arose from this research - particularly in relation to CP Snow's Two Cultures lecture and the proposed divide between the disciplines of art and science.

The exploration of the world through visual practices is common ground that new technologies in particular appear to have enhanced. Although the intended outcomes of image production may have a varied purpose, the underlying empirical emphasis connects these disciplines through practice. I propose a session of artists and scientists, to debate this area of common interest.

12. Mind Games

14. Riddles in the Landscape of Textual Representations: Exploration & Discovery in Artistic Inspirations

Organiser: Eric Haskell (Scripps College, California, USA)

Literary texts offer rich terrains for exploration and discovery in the arts. Particularly intriguing is how some texts have inspired a vast array of interpretations that have included the graphic, the decorative, the performing, the cinematic, and even the musical arts, all seeking to shed new light on the initial verbal creation via a variety of artistic constructs. For example, Carroll's Alice's Adventures in Wonderland has been illustrated by over 150 illustrators who have "re-viewed" the text in an infinitude of fashions, each with its own particular aesthetic implications for the text. However, the illustrated book is not the sole arena which provokes comparative-contrastive modes of interpretation and insight. Others nurture alternative discourses operating in often uncommon ways. Certain pieces of Art Nouveau furniture and glass, for example, have titles linking them specifically to Baudelaire's Fleurs du mal (Flowers of Evil) as do paintings by Matisse and Magritte. Other texts have inspired dance, opera, film, and a legion of other interpretations. This session's focus is on artistic explorations motivated by literary texts, and its goal is the illumination of new layers of meaning surrounding them. So as to bring unity to this session, proposals should focus on a single text and then spotlight at least two critically rich interpretations of it that will extrapolate upon riddles in the ever-potent terrain of arts derived from literature.

15. Evolving Models

17. Gardens as Sites of Meaning: Proposing a Context for Ian Hamilton Finlay's Little Sparta

18. Aspects of Ekphrasis

19. The Thinking Hands of Science, Literature and Art: the interface and interplay of experimentation

Organisers: Sophie Aymes (Université de Bourgogne, France); Anne-Laure Fortin-Tournès (Université du Maine, France); Laurence Petit (Université Paul Valéry-Montpellier III, France)

This session invites contributions that explore the interface and interplay between artistic and literary experimentation and scientific experiments. We welcome papers that examine the interaction between word and image in a variety of hermeneutic investigations and discuss the forms of visibility that they create. The papers will look at epistemological crossovers and they will favour works that concern themselves with the boundary between the body and its technological extensions.

Optical devices such as cameras, mirrors, as well as recording and measuring devices - either analogical or digital - belong to the broad category of "apparatus" as defined by Giorgio Agamben. They are the basis and condition of hermeneutic investigations that materialise mental processes and are used as extensions of the human body and of the hand in particular. In a more direct - or seemingly unmediated way - draughtsmanship and sketching are linked to observation and to the genetic stages of creation. They encapsulate the mental and perceptual processes at work in ways that foreground the singularity of handwriting and drawing. All of these are inscribed in text and image and produce iconotextual variations on the pictorial, as shown in Liliane Louvel's Poetics of the Iconotext (Ashgate, 2011).

In that respect papers can deal with experiment(ation) as a theme in fiction and in art, but also as scientific practice or artistic performance, in media and works of all kinds. They will explore the role of the body and/or of apparatus, as well as the boundary between the two. They will analyse the modes according to which tools and/or the hand condition our engagement with the pictorial.

20. Curves of Life: Spirals in Nature and Art

Organisers: Laurence Roussillon-Constanty (University of Toulouse, France), Karen E. Brown (University of St Andrews, UK), Liliane Louvel (University of Poitiers, France)

From the organic spiral found in living organisms such as plants, shells, DNA or nebulae to the aesthetic spirals used in many bas-reliefs or medieval carvings and artworks, the spiral form stands out as one of the most fundamental structures of our universe, a view certainly shared by D'Arcy Thompson when he devoted a long chapter to the study of the form in his book, On Growth and Form. Following in the scientist's footsteps our session will explore occurrences of the spiral pattern throughout the ages and across many disciplinary fields, from natural history, biology, mathematics to architecture, literature and the arts.

In the wake of Liliane Louvel's innovative text-and-image studies (Poetics of the Iconotext, Ed. Karen Jacobs, trans. Laurence Petit. Ashgate, 2011), we would first like to reflect on the various modalities of the spiral in literature. When only described in a given literary text, how does the spiral shape become visible other than in "the mind's eye"? Does it necessarily have to be a visual element in the text (in calligrams for instance) in order to be perceived by the reader or can it be evoked through channels other than vision? Can the spiral form model the endless play between text and image? Bearing in mind the intertextual focus of the conference, we welcome papers that focus specifically on how the spiral form travels between word and image allowing readers/viewers a new perspective.

Suggested topics may include, but are not limited to:

  • spirals in painting and poetry
  • spirals in botany and shells and scientific illustration
  • the spiral form in design and the decorative arts
  • spirals in specific art movements or periods
  • theories of inter-media translation
  • spirals in fractal art, digital art, and screen media

21. Exploration and Contested Spaces

22. Photo(bio)graphy

23. Poetry and Visuality

Organiser: Andrew Roberts (University of Dundee, UK)

The ancient tradition of visual poetry (going back to the pattern poems of the Greek Anthology), the modernist lineage of spatial poetry since Mallarmé , and the international concrete poetry movement of the 1950s and 60s, have all fed into recent multi-media forms of digital poetry. This session welcomes discussion of any aspect of visual, spatial, concrete or digital poetry and poetics.

24. Symbols and Emblems

25. Science / Fiction: the Scientific Imaginary in Word and Image

Organiser: Keith Williams (University of Dundee, UK)

This session considers the role of Science Fiction in foreshadowing or mediating scientific explorations and discoveries through the words and images of its evolving forms -19C illustrated publications, comic books, films, video games, etc. Topically, the arctic exploration narrative framing the Ur-text of scientific ethics, Frankenstein, derives from Mary Shelley's sojourn as a political refugee in Dundee and its function as a whaling port and builder of ice-breakers. Similarly, Jules Verne's brief visit to Scotland played a larger role in the thematic topography of his voyages extraordinaires. Robert Duncan Milne, a 'scientific romancer' born locally, is undergoing reassessment as a key figure in the emergence of US SF forms. Papers are invited on these, but also wider aspects of the critical and creative triangulation between science, the 'scientific imaginary' and SF as they developed. - KBW

26. The Art of Travel Writing

Organiser: Linda Goddard (School of Art History, University of St Andrews, UK)

This session explores travel writings by artists, in all periods and across the globe, in regional or transnational contexts. While there is a large body of scholarship on travel literature, and on the visual output of traveling artists, less attention has been paid to the ways in which visual artists have written about their journeys (a recent exception is Brogniez, ed., Ecrits Voyageurs, 2012). What are their motives for doing so, and what forms do these writings take? What has compelled artists to turn to an unfamiliar medium, and to what extent does their status as visual artists affect the form and meaning of their texts?

The intersection of word and image is central to the genre of travel writing, in terms of the often-visual nature of the text (whether annotated sketchbook, print album or illustrated guidebook), and the way in which it tends to foreground the sense of sight (for instance through detailed scenic description or panoramic perspectives). Particularly in the context of 'age of discovery' voyage accounts, colonial travelogues or the literature of tourism, scholars (e.g. Urry, The Tourist Gaze, 1990; Pratt, Imperial Eyes, 1992) have shown that travel writers practice a kind of 'verbal painting' that implies optical possession of a foreign land, communicating this sense of discovery and ownership to the reader at home in order to bolster European expansionism. Given the conventional emphasis on their visual skills, we might expect artists to provide an exemplary case of such a visual approach to travel writing, and therefore for artist-writers to be particularly implicated in this connection between imperialism and vision.

However, travel writing is of course not limited to colonial contexts, or to a Western viewpoint. Nor is it exclusively a conservative narrative of power and possession. If artists have contributed to the visual and verbal discourses of colonialism, might they not also be uniquely well positioned to produce non-conventional or exploratory modes of travel writing? Recent scholarship (e.g. Edwards and Graulund, eds, Postcolonial Travel Writing, 2011) has drawn attention to the perspective of Eastern travelers to the West, and to experimental forms of travel writing in the postcolonial era. Artists who write likewise challenge assumptions about literary hegemony by becoming the agents rather than the objects of discourse. In resisting the 'verbal imperialism' of the professional writer, who conventionally holds the key to interpretation, might artists be able to offer an alternative, less triumphalist point of view in their accounts of the 'exotic' or the unfamiliar?

How do artists themselves view the relationship between their visual and verbal representations of travel? Do they turn to writing in order to supplement the visual record, as a practical expediency, or as a promotional tool? From early pilgrimage accounts to web-based travelogues, travel literature (whether in fictional or documentary mode) has always been a genre that privileges - and pretends to - immediacy, subjectivity and spontaneity, favouring the anti-literary approach of the enlightened amateur in order to eliminate the appearance of artifice and give an impression of authenticity. Might artists be motivated by an awareness of their special qualifications in this regard? For artists' writings more broadly make frequent use of the modesty topos and have traditionally been understood to offer immediate access to an artist's genuine thoughts and intentions, rendered in unpretentious prose. Travel literature and artists' writings are both genres that carry an expectation of authenticity and personal expression whose hallmark is a seemingly casual format (often taking the form of diaries, correspondence, or other 'informal' modes) - arguably making artists 'ideal' travel writers.

This session aims to contribute to the study of travel literature, by focusing on the specific and varied contribution of artists within this broader field. Papers are welcomed on all periods and geographical contexts, and contributions that demonstrate the diversity of the genre beyond the colonial and the European are particularly encouraged. Possible topics might include, but are not limited to: the interdisciplinary or specifically visual characteristics of artists' travel writing (whether in terms of literary style or actual visual components of the text); hybrid or mixed-media accounts; gender and women travel writers (a major focus within the study of travel writing; how many women travel writers were also artists?); and how travel writings by artists reveal shifts or continuities in the broader field of travel literature from late antiquity, through the early modern period, up to the postcolonial and contemporary context.

27. Undulations

Organiser: Catherine Gander, Queen's University Belfast, N. Ireland

The aim of this session is to uncover resonances between the materials of art and science that have led to the development and the deeper understanding of the processes of both. Specifically, the session will bring together perspectives on how the natural form of the wave - be it in the invisible forces of sound or radiation, the visible energies of light, or the physical undulations of the ocean - has inspired movements in literature, the plastic arts and the social sciences that have in turn furthered the reach of scientific knowledge. In the early twentieth century, artists such as Marcel Duchamp and writers such as Ezra Pound led a modernist fascination with the science and technology of energy waves, giving visual form to invisible phenomena, and seeing the scientist as a model for the artist. Later explorations saw developments in diagrammatic language and artworks utilising graphic recording instruments. Artist Susan Hiller, for example, continues to experiment with the graphic representation of the human voice in registered sound waves as well as in more recognisable aural and visual forms. Her work connects to the wave's enduring association with universal communication. Now, such communication is moving from an information age to a digital one. Statisticians such as Edward Tufte have made innovative advances in data visualisation, and Tufte's work with Andrei Severny on 'wavefields' - animated displays of statistical data envisioned as 'landscape art' - find their correlative in linguistic palimpsests and cross-writings of the 19th century. The wave - an ancient symbol of connection, rebirth and universality - continues to bring about a meeting of art and science. This session therefore encourages papers that explore the subject of 'making waves' in its dual sense: the transmission of creative energy and the pushing of established boundaries in disciplines and knowledge.

28. Visualisation of Language

29. The Art of Painting and Sculpture: Science, Exploration and Discovery in Early Modern Artistic Theory and Practice

Organiser: Hilary Macartney (Project Director, The Stirling Maxwell Research Project, History of Art, School of Culture & Creative Arts, University of Glasgow, UK)

Artists in Early Modern Europe increasingly responded to scientific discoveries and new methods of investigation. The study of anatomy underpinned the new emphasis on life drawing in artistic training, whilst new pigments and methods of preparation and application of materials reflected the fresh channels of knowledge and sourcing opened up through voyages of discovery. Much of this innovative spirit of investigation and methodological approach can be traced through the growth of printed literature on art theory and practice, including treatises and manuals, which circulated throughout Europe in this period, sometimes in several editions and translations. The increasing reliance on books, and their associated illustrations, in the training of artists likewise had a major impact on campaigns in many different countries for artists to be considered the intellectual and social equals of poets and writers, and on the move from workshop to academy as the locus of training. The nineteenth-century Scottish scholar and collector of art Sir William Stirling Maxwell, author of the first comprehensive history of Spanish art in English, amassed a vast collection of artists' treatises and related books on art, and his beautiful library at Keir in Perthshire, 50 miles from Dundee, was considered by Gustav Waagen to rival 'that of the Queen at Windsor'. Much of his collection of books and paintings is now in Glasgow, where it provides inspiration and resource materials for both the Stirling Maxwell Centre and Stirling Maxwell Research Project based at the University of Glasgow. We are delighted to invite papers for our session at this important conference in Scotland.

30. Image and Text in Online Learning Environments

31. Visual Translations

32. Riddles of the Ninth Art - Comics, Science, Education

Organiser: Chris Murray (University of Dundee, UK)

Papers are invited for sessions on Comics and Science. The session will look at the representation of science in comics, from comics designed to be educational, to the pseudo-scientific discourse in popular genres such as science fiction and superhero comics, and will explore the relationship between comics and new technology, from developing printing techniques to the impact of computers and the internet, and the emergence of digital comics

33. Science and Film

Organiser: Brian Hoyle (University of Dundee, UK)

Papers are invited for sessions on Science and the Cinema. The session will look at the representation of science and the scientist in film. This will involve examination of popular genres such as science fiction, the horror film, nature documentary, as well as biopics of notable scientists. Papers are also invited to discuss the role that science and technology have played in advancing cinematic technique and discourse, as well the notion of the film practitioner (such as director, cinematographer, designer or composer) as scientist or inventor.

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