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Concepts Have Teeth, And Teeth That Bite Through Time: digital imaging and Blackfoot material culture in UK museums.

概念有牙齿，牙齿会咬住时间：英国博物馆中的数字成像和黑脚物质文化。

基本信息

批准号：
AH/V001876/1
负责人：
Louisa Minkin
金额：
$ 4.6万
依托单位：
University of the Arts London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2020
资助国家：
英国
起止时间：
2020 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FV001876%2F1
关键词：
Concepts Teeth Bite Through Time

项目摘要

Historical perceptibility is used, and is still used, to claim, to define capacities for self-rule, to apportion social and political possibilities, to, in effect, empower and disempower Indigenous peoples in the present. Such categorical forms of recognition and mis-recognition are indebted to deep philosophical histories of seeing and knowing [...] And so it is that concepts have teeth and teeth that bite through time. (Audra Simpson, 'Ethnographic Refusal', Junctures, 2007, p.69).The Concepts Have Teeth network brings together artists, archaeologists, anthropologists, digital technologists, historians, museum professionals, Indigenous studies scholars and Knowledge Holders of the Blackfoot Confederacy of Canada/USA to reconsider artefacts held in UK museums. Led by an art school (Central Saint Martins, University of the Arts London), the network will investigate the potential of critical approaches and innovative practices of fine artists, in conversation with a transdisciplinary range of technical and theoretical practices and perspectives, to inform the future of digital imaging applied to cultural heritage collections, and to support cultural engagement and revitalisation. The network builds on Blackfoot research projects in Canada and the UK (New Frontiers research project at University of Lethbridge, Canada, and Blackfoot Collections in UK Museums Network), but constitutes an expanded network, bringing new skill-sets together to break new ground by reconsidering recently developed digital technologies - including structure-from-motion photogrammetry (SFM), Reflectance Transformation Imaging (RTI) and virtual and augmented reality - from diverse disciplinary perspectives. Advances in imaging technology facilitate a novel investigation into issues around access, tangibility, materiality and self-representation, and the project will explore the potential for a new conjunction of art practices with digital technology developed in archaeology to open access to collections and develop new contexts and associations by re-reading or counter-mapping existing material. Through the agency of Blackfoot Knowledge Holders, the network will access objects held in collection stores in museums across the UK, including the British Museum, the Wellcome Collection; University Museums, University of Aberdeen; and National Museums Scotland, where the collection has never before been visited by Blackfoot Knowledge Holders. Examination of examples within these collections will offer the network opportunities to explore how digital imaging of museum artefacts might offer the potential for approaching material culture in ways which can respond carefully to Blackfoot concerns relating to the endangered cultural knowledge immanent in their stranded objects, to investigate the possibilities for self-representation afforded by digital methods to mark lived experience, lived and re-lived memories and futurities, and to reveal endangered knowledges (of crafting techniques, for example). Network participants will experiment with alternate methods for creating 3D digital models harnessed to the Blackfoot worldview, modelling approaches for engaging with the Blackfoot objects in ways which embed their cultural context, layered histories and stories, sounds and metadata. Existing knowledge structures, be they local to the Blackfoot, the skills of network members or established historical narratives, will be starting points for collective sharing and developing new knowledge over a series of four network events in the UK and Canada, culminating in an event-based public exhibition in London convened under First Nations protocols as a Circle: a model for interaction, co-creation and dialogue. Crossing boundaries between archaeological analytical approaches and artistic practices associated with digital image production, the network will embody unique perspectives on the capabilities of digital imaging for Indigenous artefact collections

历史的可感知性被用来，并且仍然被用来，要求，确定自治的能力，分配社会和政治的可能性，实际上，赋予和剥夺土著人民的权力。这种绝对形式的承认和错误的承认是欠深刻的哲学历史的看到和知道。因此，概念是有牙齿的，牙齿会咬穿时间。（Audra Simpson，“Ethnographic Refresh”，Junctures，2007，p.69）. Concepts Have Teeth网络将艺术家、考古学家、人类学家、数字技术专家、历史学家、博物馆专业人员、土著研究学者和加拿大/美国黑脚联盟的知识持有者聚集在一起，重新考虑英国博物馆中的文物。该网络由一所艺术学院（中央圣马丁艺术学院、伦敦艺术大学）牵头，将研究优秀艺术家的批判方法和创新实践的潜力，与跨学科的技术和理论实践和观点进行对话，为数字成像应用于文化遗产收藏的未来提供信息，并支持文化参与和振兴。该网络建立在加拿大和英国的黑脚研究项目的基础上（加拿大莱斯布里奇大学的新前沿研究项目和英国博物馆网络中的黑脚收藏），但构成了一个扩展的网络，通过重新考虑最近开发的数字技术（包括结构运动摄影测量（SFM）），将新的技能组合在一起，开辟新的领域，反射变换成像（RTI）和虚拟现实和增强现实-从不同的学科角度。成像技术的进步促进了对访问，有形性，物质性和自我表现问题的新调查，该项目将探索艺术实践与考古学中开发的数字技术的新结合的潜力，以开放对藏品的访问，并通过重新阅读或反映射现有材料来开发新的上下文和关联。通过黑脚知识持有者的代理，该网络将访问英国各地博物馆收藏商店中保存的物品，包括大英博物馆、威康收藏馆;阿伯丁大学的大学博物馆;以及苏格兰国家博物馆，这些博物馆的藏品以前从未被黑脚知识持有者参观过。对这些收藏品中的实例进行检查将为该网络提供机会，以探索博物馆文物的数字成像如何可能提供接近物质文化的潜力，从而能够仔细回应黑脚对其搁浅物品中的濒危文化知识的关注，调查数字方法所提供的自我表现的可能性，以标记生活经验，活的和重新活的记忆和未来，并揭示濒危知识（手工艺技术，例如）。网络参与者将尝试创建利用黑脚世界观的3D数字模型的替代方法，以嵌入其文化背景，分层历史和故事，声音和元数据的方式参与黑脚对象的建模方法。现有的知识结构，无论是当地的黑脚，网络成员的技能或既定的历史叙事，将是一系列的四个网络活动在英国和加拿大的集体分享和发展新知识的起点，最终在伦敦举行的基于事件的公共展览根据第一民族协议作为一个圈：互动，共同创造和对话的模式。该网络跨越了考古分析方法和与数字图像制作相关的艺术实践之间的界限，将体现对土著文物收藏数字成像能力的独特看法