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Counting (Art and Discipline)

My title, “Counting,” is not meant to caption the phenomenon that sounds like this: 103,002 divided by 6 is 17,167. It is meant to caption a phenomenon that sounds more interrogative: How exactly am I supposed to count that? Are we expected to count that the way we count this? Should you really count those? For the moment, my mise-en-scene situates a relatively well-dressed dean (the requisite tweed, but a skinny striped tie) in a relatively wellappointed office (mahogany veneer) where two large black portfolios sit on a kind of credenza. There too sits a red three-ring binder containing fifteen sheets of slides, accompanied by one CD, and a slim folder of short but spirited reviews. This is work that needs to be evaluated in some relation to—and on the same grounds as—a cluster of articles on Aristotelian ethics in the medieval world, a monograph on Italian futurism and Italian film, and a study of experimentation, scientific and literary, in the English eighteenth century. Here, in this scene, the incommensurability of the practice of what we call scholarship and the practice of what we call art becomes abruptly conspicuous and demands to be overcome. It must be overcome within the political economy of higher education, wherein, of course, answering the question of what counts and how it counts turns into the sound of that other counting: assigning value in contractual, numerical terms— conferring an appointment, a promotion, tenure, a housing allowance, a raise, a research and travel account, one or two semesters of leave, technological support, better space. Crude as the scene may be, it is where, as Harry Harootunian puts it, departments and disciplines are pitted against one another in a zero-sum game, where the transgressions called theory and interdisciplinarity have come under siege, where the humanities has begun to chant its rediscovery