This session seeks to explore the historical significance of techniques of design and facture that crossed media and materials. It aims to develop a new interpretative framework for the study of Renaissance art and architecture that challenges the conceptual boundaries between building/object and image/representation; hierarchies of minor versus high art and original versus copy; and oppositions of structure and ornament. We invite object-based studies that consider how certain techniques, such as (im)printing, inscription, and engraving, enabled or modeled effects of transformation that engaged simultaneously form and material. We also invite theoretical considerations of the potentially discursive or self-reflexive nature of such techniques. The session ultimately aims to consider how the study of techniques—from specific physical operations and craft practices to broadly defined cultural techniques—may provide an understanding of transmediality as a conceptual model for related acts of transfer and translation that cross linguistic, cultural, and geographic boundaries. In other words, can a theory of transmedial techniques move beyond traditional disciplinary categories to offer new interpretations of Renaissance artisanal, artistic, and architectural culture?

• Please submit proposals to Michael J. Waters ([email protected]) and Kathryn B. Moore ([email protected]) by August 1, 2019.
• All proposals must include a paper title (15-word maximum), abstract (150-word maximum), and curriculum vitae (no longer than 5 pages).