Seeing Touch: Haptics, Temporalities and Metamorphosis in the Woodburytype

这个博士学位将采取伍德伯里式明胶救济超越其传统用途作为摄影复制方法，利用其材料和工艺特性作为印记给予图形表达触摸，时间和人/物interactions.ObjectivesTo扩展伍德伯里式印刷的方法，包括增加救济深度的大尺寸，并建立稳定的大明胶存款的方法，以及探索超越材料控制门槛的创造潜力。在伍德伯里类型的摄影，数字和直接版本中，询问表面和图像之间的关系所提供的美学和概念上的细微差别。（Benjamin 2007，Marks 2002）进行工作，消除光学和触觉知识之间的区别，并研究这提供的启发性品质。（Nancy 2005，Deleuze and Guattarti 1997）将版画方法论与当代美术中的图像批判性和图像识别话语联系起来，展示了触觉、真实性、相似性和幻觉之间的张力。（Didi Huberman 1997，Trodd 2017）制作仔细研究人类居住痕迹以及我们与物体互动的艺术品，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，班尼特2010）方法学博士项目将使用伍德伯里类型的历史数据，技术创新，实践为基础的研究和理论研究中相互告知对话。作为技术专家Factum Arte的制造商，我开发了一种混合的伍德伯里方法，其中高分辨率扫描12/17数据被CNC铣削成板。我也开始开发直接从世界表面（例如桌面的侵蚀表面）获取2.5D模型的方法。本计画将利用中国文物馆对伍德伯里型的研究，以及其他档案中的历史记录，探讨如何扩大影像的尺度与表面高度。行动研究以校长办公室为实验室，通过实证记录和材料实验，提炼创新成果。这些新颖的表面方法论将被纳入实践探究，通过个人艺术作品和装置背景，对该提案的理论目标进行集中询问。群展、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.