Call for Contributions

The Arts and Measurement: the Art of Measuring
International Conference, December 3rd, 4th, and 5th 2008

Ecole Normale Supérieure, Department of Art History and Art Theory
Département d'Histoire et de Théorie des Arts, 45 rue d'Ulm, Paris

Director
Béatrice Joyeux-Prunel, PhD, Assistant Professor of History of Modern
and Contemporary Art, Ecole normale supérieure.

Board Committee
Pr. Christophe Charle (Paris I / IHMC), Catherine Chevillot (Musée
d'Orsay), Pr. Pierre-Michel Menger (EHESS), Pr. Ségolène Le Men (Paris
X), Pr. Gisèle Sapiro (Center of European Sociology, CNRS), Blaise
Wilfert (Ens Ulm), Pierre François (CSO, CNRS), Claire Lemercier (IHMC,
CNRS), Béatrice Joyeux-Prunel (Ens Ulm).

Despite the wide acceptance of databases as valid research tools in Art
History, quantitative analyses are often neglected and marginalized.
Contemporary art historians frequently lack sufficient time, energy and
the precise methodology that would reveal the entire source of data
encapsulated in these artistic databases. In general, young researchers
who have employed a quantitative approach using databases often have to
determine and define their methodologies individually, a difficult task
to accomplish on one's own.

In the spirit of this endeavour, the Department of Art History and
Theory of the Ecole Normale Supérieure invites a collective reflection,
interdisciplinary and international in nature, on "The Arts and
Measurement," on "The Art of Measuring." Art can be studied in a broad
manner beyond traditional works such as fine arts (ie. paintings). Other
forms of artistic creation such as literature, music, cinematography,
theater, etc. can also be considered reflections of creativity. The
purpose of this conference therefore will be, without neglecting the
contemporary field of art, to blend the contributions of researchers and
their different methodologies from various time periods in history in
order to examine, using a metric approach, the specific questions
related to the history of creation.

The Planning Committee seeks to draw forth contributions that apply a
metric analysis to a variety of domains within Art History: the overall
career of the artist, their experiential trajectory, prices of their art
work, as well as studies relating to their content, creation,
reputation, and aesthetic value. This symposium is an extension of the
work previously made by the seminar "Art and Measure" at the Ecole
Normale Supérieure. Contributing departments are as follows: Department
of History, Department of Art History and Theory, and the Institute of
Modern and Contemporary History. The conference will also be accompanied
by a special review made by the periodical History and Measure on the
question of art (call for contributions are available at the following
web site: http://histoiremesure.revues.org/).

The symposium is open to all researchers and scholars who are interested
in these questions according to the guidelines listed above. The themes
to be discussed and analysed at the conference are as follows:

I. Sources, Quantitative Approaches and the Metric Analysis in Art
History: appraisal, tools, and the development and application of
quantitative frameworks.

II. Measuring what is measurable: actors, collections, markets and
geographical analysis.

III. How is the subjective a challenge to the metric approach?

I. Sources, Quantitative Approaches and the Metric Analysis in Art
History

The purpose of the first part of the conference, to collect a wide
variety of databases that art historians can access, represents
three-fold initiative. First, these contributions will enable various
scholars from the Art History community to meet one another and exchange
ideas and projects. Second, they will provide an opportunity for
scholars to avoid replicating research, thus preventing scholars from
wasting time and energy by embarking on studies that have already been
initiated. Third, the social aspect of the conference has the potential
to promote collaborative-based studies in the future, in which scholars
can combine their gifts to create dynamic projects.

a. Appraisal

Appraisal analysis and its subsequent contributions on the available
databases and information in art history, literature, criticism (of all
fields), poetry and music will be welcomed. These analyses will help
scholars and researchers to answer the following questions related to
access and information: Can these databases be placed on the Internet?
Can they be accessed free of charge to the Art History community? Is it
possible to access this information and receive it in a timely fashion,
as well as propose more complex searches and research inquiries?

Furthermore, contributions concerning scholarly work and research that
can be performed using available databases on-line are also welcome.
Some well known initiatives are as follows: Getty Provenance Index, base
Joconde, and base Arcade. Quantitative projects conducted on databases
that are typically less known will also be

b. Tools of Research and Analysis

Additionally, the potential use of computerized directories related to
the history of creation is often unavailable for consultation on the
Internet. Is the cause of this deficit due to a lack of means? Would the
installation of practical programs and technological interfaces aimed at
increasing access to this information remedy these deficiencies? It is
difficult to determine at what a point a database is "complete." With
these questions in mind then, how does one determine when a computer
directory is in fact finished?

From this perspective, what is envisioned is the construction of a
multidimensional toolbox containing an array of research devices
designed to formulate a thorough artistic database. The purpose of this
workshop is thus to offer "useful and practical methods," particularly
for young researchers.

c. Unite, Consolidate and Merge: An Impossible Ambition?

In order to avoid the poor organization of previously completed
databases, but also prevent the useless duplication of future ones,
multiple interdisciplinary projects occurring both within and outside
Art History can enable the art world to reflect on the way in which
these databases are organized, and perhaps envision a more efficient way
to organize them. What are the challenges, as well as the solutions that
the compiling of various databases present? Can this initiative offer a
protocol and a schedule, or even a systematic blueprint for future
organization?

The purpose of this session is to take into account not only the
technical ways to unite several projects, studies and databases, (some
of which may appear to have little commonality when observed as a whole)
but also to take into serious consideration the human and social risks
of collective initiatives and projects. How does one regulate the
intellectual ownership of these foundations? Who has the "right of
printing" for projects in which multiple individuals have made
contributions? How can doctoral students become a part of this dynamic
research process, both as participants and as long-term contributors?

II. Measuring what is Measurable

The second day of the conference will be dedicated to emphasizing an
array of tangible results produced by metric analyses in Art History. No
source or method of treatment will be excluded, nor will any theme
concerning art, literature, poetry, music, film or dance be omitted.
Several themes therefore will be grouped together for various sessions
in order to draw forth and discern unique commonalities.

a. Actors (careers, networks, trajectories)

In Art History, the application of a quantitative analysis is
indispensable for studying both the professional and sociological
elements of art. The most dynamic approaches are therefore invited to
reconstitute networks and analyze career paths within the framework of
an accessible trajectory. This multidimensional perspective will help to
generate a robust diachronic dimension, a content analysis, as well as
take into account the historical logic concerning the purpose of these
studies.

b. Collections

Furthermore, this session will also address the outstanding collections
that characterize the vast sources of artistic catalogues – collections
of art works, books, and smaller art pieces from diverse time periods
and cultural milieus, both personal as well as those on display in
museums.

c. Markets

Despite the fact that an analysis of the market in Art History can be
approached mathematically, it is not an easy task. The archives of art
merchants are often inaccessible due to the effects of aging. Those
archives that are still intact cannot be easily converted into a
database due to the massive technological changes that have taken place
since the production date of these archives. In terms of prices, these
numbers are rarely constant and often fluctuate, changing over both
short and long periods of time.

In light of this complex reality, contributions to the history of the
market value of art are particularly welcomed. Proposals and projects
that can furnish the reconstitution of merchant networks, both national
and international, are also invited. Studies such as the history of the
purchases of paintings, sculptures, books, musical partitions, and the
physical property of concerts and theaters are of particular interest
for this component of the conference.

d. Geography

The quantitative analysis of supplies and fluctuation in the type (and
number) of artwork can offer a diverse array of geographical
information, thus complementing the study of the art market. Studies
that document the history of travels taken by the artist, synthesize the
movement of their work from one exhibition to the next, as well as
projects that detail the geographical expansion of musical, theatrical
and lyrical repertories are also welcomed. Additionally, the
dissemination of artwork, museums and styles can also be the subject of
contributing research projects.

e. Politics

In both France and countries abroad, the market, the State as well as
other institutions intervene substantially to support the various
dimensions of the art world. This involvement not only assists in the
creation of art, but also provides for its patronage, the financial
maintenance of museums, the organization of exhibitions, and the
promotion of theatrical productions, opera and film. However, there is a
large temptation to compare these political policies in order to
determine the most efficient methods to be used, thus establishing
comparable transnational indicators. These economic indicators are more
often employed in a variety of disciplines such as in academics
(classification of Shanghai), sports (medals) and the classification and
study of books, etc. But what do these comparisons really measure? Is
this temptation therefore a reason to abandon the idea of comparing
governmental policies concerning the creation of art?

III. How is the Subjective a Challenge to the Metric Approach?

The third and final day of the symposium will tackle the sensitive
questions concerning the quantitative approach in Art History. In
effect, how does one quantify the inquantifiable? Subjectivity remains
an integral part of artistic creation, its evaluation, and the history
of artistic appreciation. Nevertheless, subjectivity cannot escape the
framework of objective analyses, such as the existence of fashion and
imitation, social trends, or public opinion. One will therefore raise
the question whether or not the provision of a rational, quantitative
approach will allow a synoptic access to a collective logic, on subjects
already considered difficult to examine with an objective lens. Several
topics to be approached are as follows:

a. Is Creativity Quantifiable?

Is it possible to measure more or less periods of great creativity
produced by an artist or a culture? What indicators should one adopt to
pursue this task? This initiative, already started by David W. Galenson,
provides a point of departure for a methodological discussion.
Additionally other proposals that directly confront the question of
creativity are also welcome that display the results of both methodology
and scholarly reflection.

b. Fashion, Imitations and Influences

The quantitative research performed by the economist Gerald Reitlinger
on the "economy of taste" has helped to identify the influence of
economics in the art world, on the appearance of fashion and new tastes.
Can these economic analyses be replicated and employed by scholars of
Art History? Contributions therefore that treat the quantitative history
of fashion, imitations and influences are also greatly welcomed.

c. The Metric Approach, the History of Reception and the Measure of
Reputation

Quantitative approaches of art reception are also welcomed. Is taste
measurable? In the art world, the community of museums can study public
audiences using concrete databases. Taste and popularity can also be
studied while analyzing catalogue collections quantitatively.
Nevertheless, it seems difficult to capture and identify what stimulates
the choices and opinions of amateurs in the art world. The same problem
holds true when one analyzes public opinion in relation to theatrical
performances, opera, and artistic expressions in film and in ballet.
Even if scholars can successfully locate the inner motivations of the
amateur and pinpoint the unique reasons why a piece of art attracts that
individual, to do so on a wider social/cultural scale is even more of an
arduous task. What sources can be implemented to make this study broader
and more historical? Historians do not have opinion polls to study
collective tastes and fashions of the Renaissance. What tools can the
quantitative approach employ in order to analyze the history of social
reception, taste and opinion towards a specific artistic genre or work?

Questions concerning the measure of reputation closely highlight these
issues and topics. In relation to contemporary art, criteria of
reputation serve as references to the market (ie. Kunstkompass). The
task of measuring literary reputation is also problematic, as one
wonders if Balzac and Flaubert are still commonly read and/or discussed.
Can the implementation therefore of these types of measurements help
elucidate political decisions and artistic trends? For example, when a
museum curator wants to buy art work that would reflect the collective
taste of a contemporary audience, is a hierarchy of reputation among
potential selections, based on a quantitative analysis, helpful in
determining which pieces of art one should purchase? Furthermore, what
are the effects of quantifying reputation, especially when it is done
for economic as opposed to artistic reasons?

d. In front of Works of Art

Finally, the symposium cannot neglect the central issue of art work and
writings. Can quantitative methods be applied to analyze various types
of artistic creation (paintings, music, writings)? The study of titles
has a place in Art History, and their quantitative analysis can reveal
fashion trends, references to other works, artists, as well as the
rejection of artistic traditions and artists considered to have produced
ground breaking accomplishments. In addition, what can one conclude when
titles no longer exist, especially for an important (albeit abstract or
not) component of pictorial creation after World War I?

On the other hand, by considering artwork – especially paintings – as
material objects, quantitative approaches can be directed towards the
analysis of art defined by a given quantity of colors, pigments and
other materials. This approach can be useful for the study of the art
produced during the Middle Ages, when the artist was first and foremost
an artisan, and his work was defined by a contract where the buyer
specified how much gold and blue was to be used. Is this application
also helpful for studying more contemporary works of art? If not, does
this mean that the metric approach towards art work as an object, as
realistic and formal material, must stop at the borders of modernity?

The quantitative approach is no longer excluded from literary history or
music. Textual analysis of literary creations and poetry as the internal
analysis of musical partitions will thus be able to inspire and
encourage authors to display and share their contributions, particularly
if they adopt a historical approach.

Finally, a serial approach is not to undermine the study of forms and
design, for this perspective is at the origin of Art History. By
grouping works of similar styles in order to draw comparisons among
various artistic techniques and styles through various historical
periods, one is able to construct a history of form and design. The
fundamental contribution made by Alois Riegl illustrates this important
concept. Nevertheless, if the primary question that Art History seeks to
answer is one of beauty, where must the quantitative analysis end? Can
one measure beauty quantitatively, putting it into a fixed category? Can
talent and aesthetic value also be measured objectively? Researchers
must not shy from engaging studies and projects that seek to examine
these difficult questions. This symposium therefore has to be a place of
both discussion and teamwork in order to tackle these multidimensional
topics.

Proposals for contributions must be sent before May 1st, 2008 to
beatrice.joyeux-prunelens.fr in the following format: an abstract (20
lines maximum), in French or in English, of the proposed project or
study accompanied by its title, and the precise category of the theme to
be presented. Applicants are warmly invited to also submit a short
curriculum vitae documenting their most recent publications if they so
choose.

All applicants will receive a response regarding their admittance to the
conference no later than June 1st, 2008. Selected participants will be
invited to provide the final abstract and the exact title of their
project before October 1st.

By November 1st, all participants will have to provide their study in
its complete form (maximum of 40,000 words). If the completed paper is
not received by this date, the participant forfeits their acceptance to
the conference. The projects presented at the symposium will be
collectively published as soon as possible.

Important Conference Deadlines:

- May 1st, 2008: resume/abstract (20 lines maximum) and preliminary
title
of project.
-June 1st: Decisions from the Conference Committee are sent to all
applicants.
- October 1st: Exact title of project and resume/abstract (5 lines
maximum) to be submitted to the Conference Committee
- November 1st: Submission of completed text (40,000 words maximum)
– participants have the option of modifying their final paper if
necessary
(deadline : February 1st, 2009).
- December 3rd, 4th and 5th: Art History Symposium at the Ecole Normale
Supérieure.

Contact : beatrice.joyeux-prunelens.fr

Address : Département d'Histoire et de Théorie des Arts, Ecole normale
supérieure, 45 rue d'Ulm, 75005 Paris, France

Web Site : http://www.ens.fr/passerelle/.