Objetos funerarios
Objetos funerarios
How does the construction of knowledge relate to haptic experience? How does material or information pass through the generations? As affect, as engram, as copy: mediated by the technologies of its reproduction? Our imperative in the projects we will describe here was to address and understand how as artists we might work with new 3D visualization technologies. We have applied para-epistemological technology to prehistoric artifacts, a kind of historiography with energies aimed at the future. In order to better understand recently acquired 3D scanning and printing equipment we unpicked some historical precedents including an ancestor of 3D fabrication technology: an 1863 device for turning photographs into sculpture. It provides a genealogy not for the moving image but for the information model. As a collective of students and staff we figured out how to hack and build a bastard apparatus. In so doing we found that we were generating paradata: exploring the systems of the institution, the building of discipline and the vectors of control. ‘We tried a type of… performance that could influence the thinking of all the people engaged in it. It was, so to speak, art for the producer, not art for the consumer.’ (Brecht, 1964)
205-221
Dawson, Ian
3b598f16-b350-4fbc-89aa-ef92eba6abfa
Minkin, Louisa
110d6201-300e-4b20-8cc7-23e6b9ba7737
Maza, Luisa Fernanda Grijalva
Rossi, Alfonso Adolfo Rodolfo Gómez
2017
Dawson, Ian
3b598f16-b350-4fbc-89aa-ef92eba6abfa
Minkin, Louisa
110d6201-300e-4b20-8cc7-23e6b9ba7737
Maza, Luisa Fernanda Grijalva
Rossi, Alfonso Adolfo Rodolfo Gómez
Dawson, Ian and Minkin, Louisa
(2017)
Objetos funerarios.
In,
Hernández, Ileana Azor, Maza, Luisa Fernanda Grijalva and Rossi, Alfonso Adolfo Rodolfo Gómez
(eds.)
Más Allá Del Texto: Cultura digital y nuevas epistemologías.
Más allá del texto: cultura digital y nuevas epistemologías (25/09/14 - 26/09/14)
Mexico.
Editorial Itaca, .
Record type:
Book Section
Abstract
How does the construction of knowledge relate to haptic experience? How does material or information pass through the generations? As affect, as engram, as copy: mediated by the technologies of its reproduction? Our imperative in the projects we will describe here was to address and understand how as artists we might work with new 3D visualization technologies. We have applied para-epistemological technology to prehistoric artifacts, a kind of historiography with energies aimed at the future. In order to better understand recently acquired 3D scanning and printing equipment we unpicked some historical precedents including an ancestor of 3D fabrication technology: an 1863 device for turning photographs into sculpture. It provides a genealogy not for the moving image but for the information model. As a collective of students and staff we figured out how to hack and build a bastard apparatus. In so doing we found that we were generating paradata: exploring the systems of the institution, the building of discipline and the vectors of control. ‘We tried a type of… performance that could influence the thinking of all the people engaged in it. It was, so to speak, art for the producer, not art for the consumer.’ (Brecht, 1964)
Text
MÁS ALLÁ DEL TEXTO
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Published date: 2017
Venue - Dates:
Más allá del texto: cultura digital y nuevas epistemologías, Universidad de las Américas , Puebla, Mexico, 2014-09-25 - 2014-09-26
Alternative titles:
Grave Goods
Organisations:
Graphics, Fine Art & Media
Identifiers
Local EPrints ID: 411642
URI: http://eprints.soton.ac.uk/id/eprint/411642
PURE UUID: 36fb9f87-b4d2-41b2-b398-e448c7a147a0
Catalogue record
Date deposited: 21 Jun 2017 16:32
Last modified: 16 Mar 2024 03:14
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Contributors
Author:
Louisa Minkin
Editor:
Ileana Azor Hernández
Editor:
Luisa Fernanda Grijalva Maza
Editor:
Alfonso Adolfo Rodolfo Gómez Rossi
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