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

重新/具体化想象中的人工制品：探索数字化、可视化和具体化在基于对象的艺术实践中的作用。

• 批准号: 2477718
• 金额: --
• 依托单位: University of the Arts London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2477718
• 关键词: Re; materialising; imaginary; artefact; exploring

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.

重新物化想象的人工制品：探索数字化、可视化和物质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的可视化或再现的可能性，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作为其来源的虚拟化身，也可以重新想象和重新物化，以创造新的艺术对象，能够唤起其来源的意义，从而在事物中产生新的意义。跨越艺术、考古学和人类学的学科，意义体现在对象本身：物质性、形式和外观功能有助于构成对象的身份，与其制作的故事和证据，以及它的位置、地位和使用的历史和痕迹一起。该项目的核心艺术实践将借鉴重建“实验考古学”(Coles 1979)的平行方法，并探索“非物质”在物质文化知识生产中日益增长的作用(Buchli 2015)。由此产生的艺术品将扩展人工制品的传统人类学角色，使其能够跨越地域和时间进行报告，并将它们牵涉到更不可靠的叙述形式中；将真理和寓言、寓言和纪录片、自传和历史相结合。该项目将呼吁围绕物质(Simon 2013)和不断演变的对象本体论(Harman 2002)进行哲学思考，以反思事物的本质；从我们生活的日常对象(Heidegger 1971)，到它们在帮助调解我们的人类、社会和政治相互关系方面的作用(Latour 2005)，并构成主体性、身份、情感和信仰的内在现实(Scary 1985)。它将探索特定类型的物体作为人类经验的叙述者的地位，寻求最终将这些关系体现在艺术品中，作为能够滑回现实的“想象的人工制品”。