The Digital Documentation of Materiality in Painting: The Case of Contemporary Korean and British Abstract Art

这项研究的重点是博物馆和文化组织面临的一个困境，即他们如何在尊重艺术品内在品质的同时以数字方式呈现和传播艺术品。另一个需要考虑的问题是，他们如何确保自己不会因为数字可视化固有的文化不敏感和偏见而歪曲艺术品。数字领域没有问题。然而，在分享和传播绘画时，出现了一些问题。这可能是由于材料的微妙之处，反对简单的摄影表现这样的作品。但这也可能是因为一个更根本的强加于人的东西，它的根源在于西方的眼睛中心主义以及头脑和眼睛的首要地位。艺术品的摄影表现强调一种非实体的视觉阅读，而不是一种实体的物质体验。视觉记录取决于环境照明（日光、LED等）这又引入了其他的文化预设和偏见。即使当使用移动图像来表示绘画时，所使用的模型也是电影扫描镜头和特写镜头，与我们实际观看和体验绘画的方式非常不同。 我们将考虑丹色花画家，朴瑞宝（* 1931），郑相花（* 1932），河宗贤（* 1935），李宇凡（* 1936），他们出现在20世纪70年代，并接近绘画不仅是一种视觉体验，而且是一种表演过程，并特别强调解决他们的物理材料的属性（帆布，宣纸，油，铅笔）作为触觉和充满活力的理由体现行动。文人画和书法反映了高度重视艺术实践作为完善身心自律基础的重要性的文化价值观，这些画家借鉴了仍然具有文化共鸣的传统，追求自己的方法，采用西方绘画重新定义韩国哲学和美学，并将现代艺术的边界扩展到西方艺术家所探索的范围之外。这将通过解决在英国出现的补充，在20世纪60年代中期，欧普艺术，与艺术家迈克尔金德相关的运动（1917 - 2009）和布里奇特·莱利（* 1931），他们也从事视觉和物理感知的思想。我们将参考一个更长的历史框架，在这个框架中，西方的“帝国主义”愿景开始划分和构建触觉，这可以从手卷的展开和框架的惯例中得到例证，手卷的设计是为了通过触摸和顺序来密切关注，以便它们符合西方的解释和文献惯例。通过与当代韩国和欧洲的文献和传播实践的接触，我们将考虑韩国艺术中反映的文化差异与欧洲和美国相比，在全球化和同质化时代可能不再那么重要。但这可能会影响到传统的记录，不仅是当代绘画，而且，回顾，早期的绘画。我们还将探讨如何实验和创新形式的数字表示可能能够更好地捕捉艺术品的具体和材料的阅读。我们将在与计算机工程师和学生的研讨会上检查现代和当代艺术博物馆的绘画，以及当代英国和韩国艺术家的绘画。我们将讨论新的数字表示和虚拟环境的“模型”，这些模型能够更好地传播这些绘画的感知和体验。我们将与博物馆和学术协会合作传播我们的研究。PI、Co-Is和4名主要参与者将通过在UAL举行的公开会议传播研究结果。

This research focuses on a dilemma faced by museums and cultural organisations is how they represent and disseminate artworks digitally whilst respecting their inherent qualities. A further consideration is how do they ensure they do not misrepresent artworks due to cultural insensitivities and biases inherent in digital visualization. The digital realm is not in question. However, when sharing and disseminating paintings several problematic issues arise. This may be due to the material subtleties that act against simple photographic representation of such works. But it may also be because of a more fundamental imposition that has its roots in Western ocular-centrism and the primacy of the mind and the eye. Photographic representations of artworks stress a disembodied visual reading as opposed to an embodied and material experience. Visual documentation is dependent on ambient lighting (daylight, LED etc...) which again introduces other cultural presuppositions and biases. Even when moving images are employed to represent paintings, the model used is the cinematic scanning shot and close up and quite foreign to how we actually look and experience paintings. We will consider the Dansaekhwa painters, Park Seo-bo (*1931), Chung Sang Hwa (*1932), Ha Chong-Hyun (*1935) Lee Ufan (*1936), who emerged in the 1970s and approached painting not only as a visual experience but also as a performative process and put special stress on addressing the properties of their physical materials (canvas, rice paper, oil, pencil) as tactile and vibrant grounds for embodied actions. Drawing on still culturally resonant traditions of literati painting and calligraphy, which reflected cultural values that highly regarded the importance of artistic practices as grounds for refining the self-discipline of mind and body, these painters pursued their own methods, adopting Western painting to redefine Korean philosophy and aesthetics, and extending the boundaries of modern art beyond those explored by Western artists. This will be supplemented by addressing the emergence in the UK, in the mid 1960s, of Op Art, a movement associated with artists Michael Kinder (1917-2009) and Bridget Riley (*1931) who were also engaged in ideas of visual and physical perception.We will refer to a longer historical framework in which a Western 'imperialistic' vision set about compartmentalising and framing tactile, sequential, and material encounters with East Asian art. This can be exemplified in the convention of unfurling and framing of handscrolls that were designed to be looked at intimately, through touch and sequentially so that they conformed to Western conventions of interpretation and documentation. Through engaging with contemporary Korean and European practices of documentation and dissemination we will consider the extent to which the cultural differences reflected in Korean art, compared to that of Europe and America, may no longer be as significant in an age of globalization and homogenization. But this may impact on the conventions established to record not just contemporary painting, but also, retrospectively, the paintings of an earlier periods.We will also investigate how experimental and innovative forms of digital representation may be able to better capture the embodied and material reading of artworks. We will examine paintings from Museum of Modern and Contemporary Art, and by contemporary British and Korean artists, during workshops with computer engineers and students. We will discuss 'models' for new digital representations and virtual environments that are better able to disseminate the perceptual and embodied experiences of such paintings. We will disseminate our research in collaboration with museums and scholarly associations. The PI, Co-Is, and 4 key participants will disseminate findings through a public conference at UAL.