How can artists use new technologies alongside traditional print processes as part of a contemporary practice?

艺术家如何将新技术与传统印刷工艺结合使用作为当代实践的一部分？

• 批准号: 1949150
• 金额: --
• 依托单位: University of Edinburgh
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2017
• 资助国家: 英国
• 起止时间: 2017 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-1949150
• 关键词: How; artists; use; new; technologies

My research topic centres around different reproductive technologies and their interactions, looking more specifically at how print-making can be employed to reappraise this subject. It is my intention within this project to challenge an established narrative in which newer technologies displace older ones, and to instead propose, through both the example of my own work and written reflection on the subject, a more complex series of circumstances in which hybrid forms are continually produced through interaction and amendments. To do so the fixity of opposing terms such as craft and digital technology themselves need re-examined, or least considered in relation to their respective merits. By combining new digital techniques alongside more traditional processes, I wish to reflect on the ways in which new forms can be produced from their combination, layering and juxtaposition. A central part of this proposal is based around deepening my understanding of technical processes, and the ways in which these can be harnessed to support artistic creativity. Technical areas that I have identified as being of importance to this project include screen-printing, woodblock-printing, CNC routing, 3D Printing, digital printing and vacuum forming. This would involve the expansion of my knowledge relating to physical processes and the materials at my disposal, but also developing my fluency with CAD and 3D modelling software. Looking beyond such materially-based methods of experimentation, I am also interested in articulating how these processes are located within broader discussions around technology and its role within society. Forming a contextual backdrop to our own considerations of this subject are contemporary anxieties around machines replacing human labour, as well as ongoing, ethical debates around the ecological impact of different types of production. As a result, there are several critical discourses which could be said to inform the topic, ranging from art history and design theory, to sociology and the historiography of computer science. Critical thinkers that I currently envisage having a direct impact on my attempts to conceptually frame the topic include Glenn Adamson, Walter Benjamin, Marie Hicks, Tim Ingold, Esther Leslie, Sadie Plant and Richard Sennet. Moving between these sources my intention would be to trace crucial changes to the hierarchical position of the reproduced copy, and the role skilled labour has up until this point played in producing it.Previously, examples drawn from science fiction have provided another important prompt from which to consider the question of technology and its effects, constituting an imaginary space within which a series of anachronistic elements can be brought together as a holistic form. This is an influence that I would continue to draw upon, not least because it offers a method to overlay issues of gender, ecology and automation, which I feel are intimately linked to the topic. To do so, I will refer to notions of futurity as they are speculatively treated by such authors as Margaret Atwood, William Gibson, Pamela Zoline and Ursula le Guin.

我的研究主题围绕着不同的生殖技术及其相互作用，更具体地看如何利用版画制作来重新评估这一主题。在这个项目中，我的意图是挑战新技术取代旧技术的既定叙事，并通过我自己的作品和对这个主题的书面反思，提出一个更复杂的一系列环境，在这些环境中，混合形式通过相互作用和修改不断产生。要做到这一点，需要重新审视工艺和数字技术等对立术语本身的固定性，或者至少考虑它们各自的优点。通过将新的数字技术与更传统的工艺相结合，我希望反思从它们的组合、分层和并置中产生新形式的方式。这个提议的核心部分是基于加深我对技术过程的理解，以及如何利用这些过程来支持艺术创造力。我认为对这个项目很重要的技术领域包括丝网印刷、木版印刷、数控布线、3D打印、数字印刷和真空成型。这将涉及到我在物理过程和材料方面的知识的扩展，同时也发展了我对CAD和3D建模软件的熟练程度。除了这些基于材料的实验方法之外，我还对阐明这些过程如何在围绕技术及其在社会中的作用的更广泛讨论中定位感兴趣。我们对这一主题的思考形成了一个背景，即当代对机器取代人类劳动的焦虑，以及围绕不同类型生产对生态影响的持续伦理辩论。因此，从艺术史和设计理论，到社会学和计算机科学史学，可以说有几个批判性的话语来告知这个主题。我目前设想的对我试图从概念上构建这个主题有直接影响的批判性思想家包括Glenn Adamson， Walter Benjamin, Marie Hicks, Tim Ingold, Esther Leslie， Sadie Plant和Richard Sennet。在这些来源之间移动，我的意图是追踪复制副本的等级地位的关键变化，以及到目前为止熟练劳动力在生产它时所起的作用。以前，科幻小说中的例子提供了另一个重要的提示，从中考虑技术及其影响的问题，构成了一个想象的空间，在这个空间中，一系列不合时宜的元素可以作为一个整体形式汇集在一起。这是我将继续利用的影响，尤其是因为它提供了一种方法来覆盖性别，生态和自动化问题，我觉得这些问题与主题密切相关。为了做到这一点，我将参考玛格丽特·阿特伍德、威廉·吉布森、帕梅拉·佐琳和乌苏拉·勒奎恩等作家对未来的推测。