Re/materialising the imaginary artefact: exploring the role of digitisation, visualisation and materialisation in object-based art practice.

重新/物化想象中的人工制品：探索数字化，可视化和物化在基于对象的艺术实践中的作用捕捉物质事物的数字版本创造了超越对象可视化或复制的可能性，使它们成为艺术实践的一种“超材料”（Bolter & Grusin 1999）。这些“数字替身”已经能够在虚拟现实和动画中充当其来源的虚拟体现，还可以被重新想象和重新物质化，以创造新的艺术对象，这些艺术对象能够调用其来源的重要性，从而在事物中产生新的意义。在艺术，考古学和人类学的学科中，意义体现在对象本身：物质性、形式和明显的功能有助于构成其身份，同时还有其制作的故事和证据，以及其位置、地位和使用的历史和痕迹。该项目的核心艺术实践将借鉴“实验考古学”（Coles 1979）重建的平行方法，并探索“非物质”在物质文化知识生产中日益重要的作用（Buchli 2015）。由此产生的艺术品将扩展人工制品作为“遥感器”的传统人类学角色，能够跨越地域和时间进行报告，并将它们以更不可靠的叙述形式暗示出来;将真实与寓言、寓言与纪录片混为一谈，汽车/传记和历史。该项目将呼吁围绕物质的哲学思考（Simon 2013）和不断发展的对象本体论（Harman 2002）反思事物的本质;从我们生活中的日常物品（海德格尔1971），在帮助调解我们的人类，社会和政治相互关系的作用（Latour 2005），并构成主观性，身份，情感和信仰的内在现实（Scarry 1985）。它将探索特定类型的对象作为人类经验的叙述者的地位，寻求最终在艺术作品中体现这些关系，作为能够滑回真实的的“想象的人工制品”。

Re/materialising the imaginary artefact: exploring the role of digitisation, visualisation and materialisation in object-based art practice.Capturing digital versions of material things creates possibilities beyond the visualisation or reproduction of objects, allowing them to become a kind of 'hyper-material' for art practice (Bolter & Grusin 1999). Already able to act as the virtual embodiment of their sources in VR and animation, these 'digital doubles' can also be re-imagined and re-materialised to create new art objects able to call on the significance of their sources to generate new meanings in things.Across the disciplines of art, archaeology and anthropology, meaning is embodied in the object itself: where materiality, form and apparent function help to constitute its identity, alongside the stories and evidence of its making, and the histories and traces of its place, status and use. The art practice at the core of this project will draw on parallel approaches to the reconstructions of 'experimental archaeology' (Coles 1979) and explore the increasing role of the 'immaterial' in the production of knowledge around material culture (Buchli 2015). The resulting artwork will extend the traditional anthropological role of artefacts as 'remote sensors' able to report back across territories and through time, and implicate them in more unreliable forms of narration; conflating truth and fable, allegory and documentary, auto/biography and history.The project will call on philosophical thinking around materiality (Simon 2013) and the evolving ontology of objects (Harman 2002) to reflect on the nature of things; from the everyday objects of our lives (Heidegger 1971), into their role in helping to mediate our human, social and political interrelations (Latour 2005), and to constitute the inner realities of subjectivity, identity, emotion and belief (Scarry 1985). It will explore the status of specific types of objects as narrators of human experience, seeking to ultimately embody these relations in artworks as 'imaginary artefacts' that are able to slip back into the real.