Photography and the ice sheets: a multi-medial investigation into the politics and poetics of photonic interaction.
摄影和冰盖:对光子相互作用的政治和诗学的多媒体调查。
基本信息
- 批准号:2282615
- 负责人:
- 金额:--
- 依托单位:
- 依托单位国家:英国
- 项目类别:Studentship
- 财政年份:2019
- 资助国家:英国
- 起止时间:2019 至 无数据
- 项目状态:未结题
- 来源:
- 关键词:
项目摘要
My practice-led artistic research investigates the behaviour of photons - their reflection and absorption - in relation to the loss of the sea's reflective power due to the depletion of the ice sheets, through the processes and material manifestations of photography.It asks: What is to be gained by drawing attention to these imperceptible photonic interactions, for both our understanding of contemporary photographic culture and as a contribution to the urgent conceptualisation of climate change?We most frequently encounter photographs on a screen connected to the internet without considering the history embedded in every image that the retina fleetingly receives. When we view an image of a sun-lit subject on our mobile telephone, the electric light that forms that image is only nanoseconds old, but the depicted sunlight appears to us as the result of a process beginning some 40,000 years before. Starting with the formation of photons in the sun's core this process ends with them streaming from the surface of the sun travelling eight minutes to reach earth. Some photons find their way to reflect off an object, some of these then find their way into the lens of a camera.I view this process of reflection, from object into camera to collide with a receptive surface (light-sensitive film or silicon-based sensor) - 'the photographic event', as described by philosopher Henri Van Lier (2018) - as analogous to the process of photon reflection and absorption that contributes to our ecological crisis every day. The surface of ice-sheets function as giant mirrors reflecting photons back to space. As these mirrors crack and break apart, more photons are absorbed by the Earth's land and ocean surfaces, which heat up. NASA has stated: 'The ability of greenhouse gases to absorb and emit photons is what global warming is all about.' (Earth Observatory 2007) What is to be gained from exploring the connections between these two light-based processes? How can the loss of the sea's reflective power relate to an individual's experience of receiving and processing a photographic image? Drawing on these analogies, I aim to engage with the meta-narrative of anthropogenic climate change through the creation of a series of multi-media art installations, utilising diverse reflective materials, optical devices and natural light.The creative-practical element of my research will be underpinned by philosophical-contextual analysis, especially New Materialist philosophy (Barad 2008, Bennett 2010) in relation to photographic processes. In connecting the latter to the terrestrial reflection of photons off-ice, I will expand the role conventional photography can play in the conceptualisation of climate change. A photograph capturing an insubstantial glint of light off a reflective surface is a material process inextricably entangled with the world on a quantum and philosophical level - as set out by philosopher and physicist Karen Barad in her theory of 'agential realism'.Methodologically, my artistic practice aims to demonstrate a 'performative alternative to representationalism' (Barad, 2008), specifically the assumption of the conventional photographic image's relationship to 'truth'. My research is thus situated in context of the 'expanded field of photography' that provides alternative ways of thinking about the medium through investigations of its materials and processes.Photographic practices and theories have historically been located at the intersecting fields of art, science and technology. My research will not polarise art and science but seek a synthesis through the hybrid approach of the practice-led inquiry and consider how an artist is positioned to respond to specific scientific knowledge in unexpected, surprising ways.
我的实践指导的艺术研究通过摄影的过程和物质表现,研究了由于冰盖枯竭而导致的海洋反射力的丧失,光子的行为--它们的反射和吸收--。我问:通过引起人们对这些不可察觉的光子相互作用的关注,无论是对我们对当代摄影文化的理解,还是对气候变化的紧迫概念化的贡献,都能获得什么?我们最常看到的照片是连接到互联网的屏幕上的照片,而不是考虑视网膜短暂接收到的每一张图像中嵌入的历史。当我们在移动电话上看到阳光照射的物体的图像时,形成该图像的电光只有纳秒之久,但在我们看来,所描绘的阳光似乎是大约4万年前开始的一个过程的结果。从太阳核心形成光子开始,这一过程以它们从太阳表面涌出,经过8分钟到达地球而结束。一些光子会反射物体,其中一些会进入相机的镜头。我认为,从物体到相机再到可接受表面(感光胶片或硅基传感器)的反射过程--哲学家亨利·凡·利尔(Henri Van Lier,2018)所说的“摄影事件”--类似于光子反射和吸收的过程,这每天都会导致我们的生态危机。冰盖的表面就像一面巨大的镜子,将光子反射回太空。随着这些反射镜破裂和解体,更多的光子被地球的陆地和海洋表面吸收,从而升温。美国宇航局表示:“温室气体吸收和发射光子的能力是全球变暖的全部原因。”(地球天文台,2007)探索这两个基于光的过程之间的联系将获得什么?海洋反射力的丧失与个人接收和处理摄影图像的经历有什么关系?利用这些类比,我的目标是通过创作一系列多媒体艺术装置,利用不同的反光材料、光学设备和自然光,参与人类造成的气候变化的元叙事。我的研究的创造性-实践元素将得到哲学-语境分析的支持,特别是与摄影过程有关的新唯物主义哲学(Barad 2008,Bennett 2010)。在将后者与冰外光子在地面上的反射联系起来时,我将扩大传统摄影在气候变化概念化中所能发挥的作用。一张从反射表面捕捉到虚无缥缈的闪光的照片是一个物质过程,在量子和哲学层面上与世界密不可分地纠缠在一起--正如哲学家和物理学家凯伦·巴拉德在她的“代理现实主义”理论中所阐述的那样。从方法论上讲,我的艺术实践旨在展示一种“表演性的替代表现主义”(Barad,2008),特别是对传统摄影图像与“真理”关系的假设。因此,我的研究是在“扩大的摄影领域”的背景下进行的,它通过对其材料和过程的研究,提供了对媒介的另一种思考方式。摄影实践和理论历来位于艺术、科学和技术的交叉领域。我的研究不会将艺术和科学两极分化,而是通过实践引导的探究的混合方法寻求综合,并考虑艺术家如何以意想不到的、令人惊讶的方式回应特定的科学知识。
项目成果
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其他文献
吉治仁志 他: "トランスジェニックマウスによるTIMP-1の線維化促進機序"最新医学. 55. 1781-1787 (2000)
Hitoshi Yoshiji 等:“转基因小鼠中 TIMP-1 的促纤维化机制”现代医学 55. 1781-1787 (2000)。
- DOI:
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LiDAR Implementations for Autonomous Vehicle Applications
- DOI:
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2021 - 期刊:
- 影响因子:0
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吉治仁志 他: "イラスト医学&サイエンスシリーズ血管の分子医学"羊土社(渋谷正史編). 125 (2000)
Hitoshi Yoshiji 等人:“血管医学与科学系列分子医学图解”Yodosha(涉谷正志编辑)125(2000)。
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Effect of manidipine hydrochloride,a calcium antagonist,on isoproterenol-induced left ventricular hypertrophy: "Yoshiyama,M.,Takeuchi,K.,Kim,S.,Hanatani,A.,Omura,T.,Toda,I.,Akioka,K.,Teragaki,M.,Iwao,H.and Yoshikawa,J." Jpn Circ J. 62(1). 47-52 (1998)
钙拮抗剂盐酸马尼地平对异丙肾上腺素引起的左心室肥厚的影响:“Yoshiyama,M.,Takeuchi,K.,Kim,S.,Hanatani,A.,Omura,T.,Toda,I.,Akioka,
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