Seeing Touch: Haptics, Temporalities and Metamorphosis in the Woodburytype

这个博士学位将把Woodburytype的明胶浮雕超越其传统的摄影复制方法，利用其材料和工艺特性作为印记，给予触摸，时间和人/物体互动的图形表达。目的扩展伍德伯里式印刷的方法，使其涵盖更大的尺寸和更大的浮雕深度，建立稳定大型明胶沉积的方法，并探索超越材料控制阈值的创新潜力。探讨Woodburytype的摄影、数码和直接版本中表面和图像之间的关系所带来的美学和概念上的细微差别。（Benjamin 2007, Marks2002）创作作品，消除光学知识和触觉知识之间的区别，并调查其提供的启发式品质。（Nancy 2005, Deleuze and Guattarti 1997）将印刷方法与当代美术的图像批判性和图像识别话语联系起来，展示触感、真实性、相似性和幻觉之间的紧张关系。（Didi-Huberman 1997, Trodd 2017）创作艺术品，仔细观察人类居住的痕迹以及我们与物体的互动，在艺术品的物质性中唤起身体和地质时间叙事，并提出可持续性问题。（Harmen 2011, Bennett 2010）方法博士项目将使用woodbury类型的历史数据，技术创新，基于实践的研究和理论研究，在相互通知的对话中。作为技术专家Factum Arte的制造商，我开发了一种混合伍德伯里方法，其中高分辨率扫描12 / 17数据被CNC铣削成板材。我也开始开发直接从世界表面提取2.5D模型的方法，例如桌面的侵蚀表面。利用对CFPR的woodbury类型和档案中的其他历史记录的研究，该项目将研究如何扩大图像的规模和表面高度。将打印室作为实验室的行动研究将通过经验记录和材料实验来改进创新。这些新颖的表面方法将被纳入实践探究中，通过个体艺术品和装置环境，对提案的理论目标进行集中的询问。团体展览、工作坊示范和艺术家讲座将与其他从业者和公众进行对话，促进对新兴作品的批判性反思和传播。

This doctorate will take the gelatine relief of the Woodburytype beyond its traditional use asphotographic reproduction method, exploiting its material and processual properties as an imprint to givegraphic expression to touch, time and human/object interactions.ObjectivesTo extend the methodology of Woodburytype printing to encompass large dimensions with increasedrelief depth, and to establish ways of stabilizing the large gelatine deposits, as well as exploring thecreative potential of going beyond thresholds of material control.To interrogate the aesthetic and conceptual nuances afforded by the relationship between surface andimage in the photographic, digital and direct versions of the Woodburytype. (Benjamin 2007, Marks2002)To produce work that collapses the distinction between optical and tactile knowledge, and toinvestigate the heuristic qualities this affords. (Nancy 2005, Deleuze and Guattarti 1997)To situate print methodologies in relation to contemporary fine art discourses of image criticality andimage recognition, demonstrating the tensions between touch, veracity, resemblance and illusion. (Didi-Huberman 1997, Trodd 2017)To make artworks that scrutinize traces of human inhabitation and our interactions with objects,evoking bodily and geological temporal narratives in the materiality of the artworks, and raising issues ofsustainability. (Harmen 2011, Bennett 2010)MethodologyThe doctoral project will use historical data for the Woodburytype, technical innovation, practice-basedresearch and theoretical studies in a mutually informing dialogue. As a fabricator for the technologyspecialist Factum Arte I have developed a hybridised woodbury method in which high resolution scan12 / 17data was CNC milled into plates. I have also started developing ways of taking 2.5D casts directly fromsurfaces of the world e.g. the eroded surface of a tabletop. Utilising the research into the Woodburytypeat the CFPR, and other historical records from archives this project will investigate how to expand thescale and the surface height of the images. Action research using the printroom as a laboratory will refinethe innovations through empirical recordings and material experimentation. These novel surfacemethodologies will be incorporated into practice enquiry, enabling a focused interrogation of theproposal's theoretical aims through individual artworks and installation contexts. Group exhibitions,workshop demonstrations and artist talks will generate dialogue with other practitioners and the public,facilitating critical reflection, and dissemination, of the emerging work.