Sculpture Machines. Competition of Reproduction Techniques 1770-1870

雕塑机。

• 批准号: 436256896
• 负责人: Dr. Buket Altinoba
• 金额: --
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2019
• 资助国家: 德国
• 起止时间: 2018-12-31 至 2023-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/436256896?language=en
• 关键词: Sculpture; Machines.; Competition; Reproduction; Techniques

With the sculpture machine, which was invented by James Watt at the beginning of the 19th century and later introduced by sculptors at the Great Exhibition of 1851 in London, the position of the artist as creator of sculptures is challenged. The industrialization and structural changes give rise to the consideration of the extent to which automatism (in the sense of technical self-activity) and machine reproduction shaped social reality and the arts. Such a consideration includes the engineer as an artistic practitioner and the art machine as an actor. The aim of this research project is to examine the role of technology in the creation of art in a comparative examination of the various machine reproduction processes between 1770 and 1870. The productive approach in the field of science, technology and art, determined by the machine and various actors, must be worked out. Reflections on the work of art as an artefact, especially under the aspect of what has been made as well as its (in)changeability and uniqueness, pose themselves anew as elementary questions and provoke in the context of automatism. The history of loss written since Walter Benjamin (BENJAMIN [1939] 1991) is reversed in favour of a history of reproduction as a gain for the arts: sculptures, profiles and busts en miniature in different materials are evaluated as products of technical ingenuity and interpreted in their function of canon formation - in addition to the previous consideration of the effects of the replication and reproducibility of two-dimensional images in art history. In their technical-innovative function, replicas can be interpreted as prefigurations of a better future, but at the same time commit their producers and viewers to bear witness to their own past and - in the case of the reception of antiquity - to the ideal made submissive in it. The almost iconic character of mechanical apparatuses and devices can be the starting point for at least one comparison, if not a competition, of new reproduction techniques among themselves - which wanted to be modern and trend-setting. The areas to be examined can thus be approached at various theoretical levels, such as ontology in the sense of the question of man and machine, but also sociology, by illuminating the relationship between society, technology and art. This compilation of media use in the period from the late 18th century to the second half of the 19th century is the subject of this project, which attempts to take into account the thematic aspects of machine construction, material aesthetics, language and the network.Bibliography:Benjamin, Walter: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (Dritte Fassung, 1939). In: Ders.: Gesammelte Schriften, Bd. I/2: Abhandlungen. Unter Mitwirkung von Theodor W. Adorno und Gershom Scholem, hg. v. Rolf Tiedemann und Hermann Schweppenhäuser, Frankfurt/ M. 1991, S. 471–508.

随着詹姆斯·瓦特在19世纪世纪初发明的雕塑机器，以及后来在1851年伦敦的博览会上由雕塑家们介绍的雕塑机器，艺术家作为雕塑创作者的地位受到了挑战。工业化和结构性变化引起了对自动主义（在技术自我活动的意义上）和机器复制在多大程度上塑造了社会现实和艺术的思考。这种考虑包括作为艺术实践者的工程师和作为演员的艺术机器。本研究项目的目的是通过对1770年至1870年期间各种机器复制过程的比较研究，来考察技术在艺术创作中的作用。科学、技术和艺术领域的生产方法由机器和各种行为者决定，必须制定出来。对艺术作品作为人工制品的反思，特别是在已经制造的东西以及它的（不）可变性和独特性方面，重新将自己作为基本问题，并在自动主义的背景下引发。自沃尔特·本雅明以来的损失史（Benjamin [1939] 1991）的观点被推翻，转而支持将复制作为艺术收益的历史：雕塑，不同材料的轮廓和半身像的微缩模型被评价为技术独创性的产物，并在其佳能形成的功能中进行解释-除了先前考虑的复制和再现性的影响之外，艺术史上的立体图像在技术创新的功能中，复制品可以被解释为对更美好未来的预示，但同时也使其生产者和观众见证了自己的过去，并-在接受古代的情况下-见证了在其中顺从的理想。机械设备和装置的几乎标志性的特征可以成为至少一个比较的起点，如果不是竞争的话，新的生殖技术的发展--它们想要成为现代的和引领潮流的。因此，要研究的领域可以在各种理论层面上进行探讨，例如人与机器问题意义上的本体论，也可以通过阐明社会、技术和艺术之间的关系来进行社会学研究。本项目的主题是18世纪末至19世纪下半叶的媒体使用汇编，参考书目：Benjamin，Walter：Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit（Dritte Fassung，1939）. In：Ders.：Gesammelte Schriften湾I/2：Abhandlungen. Theodor W. Adorno und Gershom Scholem，hg.诉Rolf Tiedemann und Hermann Schweppenhäuser，法兰克福/ M. 1991年，S. 471-508.