Introduction: New Directions in Making and Knowing
Introduction: New Directions in Making and Knowing
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简介：创造和认知的新方向
DOI：
10.1086/688197
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发表时间：
2016
期刊：
影响因子：
--
通讯作者：
Smith, Pamela H.
中科院分区：
文献类型：
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作者：
Smith, Pamela H.
本期关于制造和认知新方向的特刊是继最近出版的《制造和认知的方式：经验知识的物质文化》（2014）之后出版的，该书由帕梅拉·h·史密斯、艾米·RW·迈耶斯和哈罗德·j·库克合编，发表在巴德研究生中心系列《物质世界的文化史》中。这本书和2005年的跨学科会议产生了这本书，旨在展示“制造”和“知道”不仅仅是相互关联的，或者是多阶段过程的一部分——随着时间的推移，制造构成了“知道”——而且在科学意义上，制造实际上构成了“知道”。为期五天的会议有70多名与会者参加，其中包括学术讲座和十年前不寻常的基于物品的分组会议，这些会议将学术学者与博物馆学者、策展人、保护人员和艺术从业者聚集在一起。与会者聚集在来自伦敦各大博物馆的藏品周围，讨论在这些物品的制作过程中使用的制作和知识模式，以及研究使用天然材料的方式，以及在这些物品中表现自然及其材料的方式。经过漫长的过程，那次会议及其许多见解被压缩成一本标准长度的书，其中大部分是学术论文，事实证明，这本书很长，有些令人沮丧。我们发现，正如任何早期现代艺术家所知道的那样，文本并不是基于对象的跨学科制作过程讨论的最佳载体。值得称赞的是，玻璃制造商伊恩·汉基（Ian Hankey）以一段极具教育意义的视频的形式提交了他对这本书的贡献（https://www）。youtube。com/watch吗?v= sSBY6Lc2-hU)，然而，它不能成功地集成到图书格式中。
This special issue on new directions in making and knowing follows on the recent publication of Ways of Making and Knowing: The Material Culture of Empirical Knowledge (2014), coedited by Pamela H. Smith, Amy RW Meyers, and Harold J. Cook, published in the Bard Graduate Center series Cultural Histories of the Material World. That volume and the interdisciplinary conference in 2005 that gave rise to it aimed to show the ways that “making” and “knowing” are not just related or part of a multistage process—that making constitutes knowing over time—but that making is actually constitutive of knowing in a scientific sense. The five-day conference involved more than seventy participants, and it included scholarly lectures and—more unusual ten years ago—objectbased breakout sessions that brought academic scholars together with museum scholars, curators, conservators, and practitioners of the arts. The attendees gathered around objects brought from multiple collections of the great London museums to discuss the modes of making and knowing that had been employed in the objects’ fabrication, as well as to examine the ways in which natural materials had been used and the means by which nature and its materials were represented in those objects. The long process by which that conference and its many insights were whittled down into a standard-length book format filled largely with scholarly essays proved to be long and somewhat dispiriting. We found, as any early modern artist knew, that text just was not an optimal vehicle for object-based interdisciplinary discussion of making processes. To his credit, the glassmaker Ian Hankey submitted his contribution to the volume in the form of a wonderfully instructive video (https://www. youtube. com/watch? v= sSBY6Lc2-hU), which, however, could not be successfully integrated into the book format.