Sculpture Machines. Competition of Reproduction Techniques 1770-1870

雕刻机是由詹姆斯·瓦特在19世纪初发明的，后来由雕塑家在1851年伦敦的伟大展览会上介绍给大家，艺术家作为雕塑创造者的地位受到了挑战。工业化和结构变化引起了人们对自动化（在技术自我活动的意义上）和机器复制在多大程度上塑造了社会现实和艺术的思考。这样的考虑包括作为艺术实践者的工程师和作为演员的艺术机器。本研究项目的目的是通过对1770年至1870年之间各种机器复制过程的比较研究，研究技术在艺术创作中的作用。在科学、技术和艺术领域，必须制定出由机器和各种行动者决定的生产方法。对作为人工制品的艺术作品的反思，特别是在已经被制造出来的东西以及它的可变性和独特性的方面，重新提出了自己作为基本问题，并在自动主义的背景下引起了人们的关注。自沃尔特·本雅明（Benjamin[1939] 1991）以来所写的损失史被颠倒过来，有利于作为艺术收益的复制史：不同材料的雕塑，侧面和半身像被评估为技术独创性的产品，并在其规范形成的功能中进行解释-除了先前考虑的艺术历史中二维图像的复制和再现性的影响。在它们的技术创新功能中，复制品可以被解释为更美好未来的预示，但与此同时，它们的生产者和观众也要见证自己的过去，以及——在接受古董的情况下——在其中顺从的理想。机械装置和设备几乎是标志性的特征，至少可以作为一种比较的起点，如果不是竞争的话，它们之间的新复制技术想要现代和引领潮流。因此，要检查的领域可以在不同的理论层面进行处理，例如人与机器问题意义上的本体论，以及社会学，通过阐明社会，技术和艺术之间的关系。这个项目的主题是从18世纪晚期到19世纪下半叶的媒介使用的汇编，它试图考虑到机器结构，材料美学，语言和网络的主题方面。参考文献：本杰明，沃尔特：Das Kunstwerk im Zeitalter seiner technischen reproduction - zierbarkeit （Dritte Fassung, 1939）。:接单。： Gesammelte Schriften; 1 /2: Abhandlungen。王晓明，王晓明，王晓明，等。[j] .哈尔滨工业大学学报（自然科学版）。

With the sculpture machine, which was invented by James Watt at the beginning of the 19th century and later introduced by sculptors at the Great Exhibition of 1851 in London, the position of the artist as creator of sculptures is challenged. The industrialization and structural changes give rise to the consideration of the extent to which automatism (in the sense of technical self-activity) and machine reproduction shaped social reality and the arts. Such a consideration includes the engineer as an artistic practitioner and the art machine as an actor. The aim of this research project is to examine the role of technology in the creation of art in a comparative examination of the various machine reproduction processes between 1770 and 1870. The productive approach in the field of science, technology and art, determined by the machine and various actors, must be worked out. Reflections on the work of art as an artefact, especially under the aspect of what has been made as well as its (in)changeability and uniqueness, pose themselves anew as elementary questions and provoke in the context of automatism. The history of loss written since Walter Benjamin (BENJAMIN [1939] 1991) is reversed in favour of a history of reproduction as a gain for the arts: sculptures, profiles and busts en miniature in different materials are evaluated as products of technical ingenuity and interpreted in their function of canon formation - in addition to the previous consideration of the effects of the replication and reproducibility of two-dimensional images in art history. In their technical-innovative function, replicas can be interpreted as prefigurations of a better future, but at the same time commit their producers and viewers to bear witness to their own past and - in the case of the reception of antiquity - to the ideal made submissive in it. The almost iconic character of mechanical apparatuses and devices can be the starting point for at least one comparison, if not a competition, of new reproduction techniques among themselves - which wanted to be modern and trend-setting. The areas to be examined can thus be approached at various theoretical levels, such as ontology in the sense of the question of man and machine, but also sociology, by illuminating the relationship between society, technology and art. This compilation of media use in the period from the late 18th century to the second half of the 19th century is the subject of this project, which attempts to take into account the thematic aspects of machine construction, material aesthetics, language and the network.Bibliography:Benjamin, Walter: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (Dritte Fassung, 1939). In: Ders.: Gesammelte Schriften, Bd. I/2: Abhandlungen. Unter Mitwirkung von Theodor W. Adorno und Gershom Scholem, hg. v. Rolf Tiedemann und Hermann Schweppenhäuser, Frankfurt/ M. 1991, S. 471–508.