Dirty RTI
Dirty RTI
'Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth.' Sontag (1977) On Photography In RTI (Reflectance Transformation Imaging) a shadow thrown a multitude of times is used to generate complex narratives of sequencing and duration, tracing ghosts unseen by the human eye. The RTI image is an algorithmic synthetic construction, creating a portal to the past. RTI of the Folkton drums (Jones 2015), for example, revealed reworking; a surface arrived at through both carving and erasure, hinting at an open process of drawing.
With fellow artist Louisa Minkin (University of the Arts) and in further collaborations with Jones and Diaz-Guardamino (University of Southampton) RTI was used a part of an experimental art process. Spaces and surfaces within a derelict modernist tower block awaiting gentrification were recorded to discuss a politic of software and space. Objects were built specifically for the RTI process and the spatial and temporal environment of a workshop have been captured.
'Technology is where we in the west preserve our ancestor’s’ writes Sean Cubitt in the Practice of Light (2015), and this paper will consider earlier vision technologies - such as lenticular, integral and metric photography alongside these experimental ‘dirty’ RTI’s.
“Our eyes are armed, but we are strangers to the stars” writes Emerson in his poem Blight (1847) in which he perceives of a debilitating gap caused by a growing instrumentalization towards the natural world and this paper will consider the complex and changing position between techne (knowing how to make things) and poiesis (the production and poetry of things).
ART, Archaeology, Technology, imaging reflectance archaeology, RTI, media archaeology, Photography, art and archaeology
Dawson, Ian
3b598f16-b350-4fbc-89aa-ef92eba6abfa
2016
Dawson, Ian
3b598f16-b350-4fbc-89aa-ef92eba6abfa
Dawson, Ian
(2016)
Dirty RTI.
Theoretical Archaeology Group Conference 2016 (TAG 2016), Southampton, United Kingdom.
19 - 21 Dec 2016.
Record type:
Conference or Workshop Item
(Paper)
Abstract
'Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth.' Sontag (1977) On Photography In RTI (Reflectance Transformation Imaging) a shadow thrown a multitude of times is used to generate complex narratives of sequencing and duration, tracing ghosts unseen by the human eye. The RTI image is an algorithmic synthetic construction, creating a portal to the past. RTI of the Folkton drums (Jones 2015), for example, revealed reworking; a surface arrived at through both carving and erasure, hinting at an open process of drawing.
With fellow artist Louisa Minkin (University of the Arts) and in further collaborations with Jones and Diaz-Guardamino (University of Southampton) RTI was used a part of an experimental art process. Spaces and surfaces within a derelict modernist tower block awaiting gentrification were recorded to discuss a politic of software and space. Objects were built specifically for the RTI process and the spatial and temporal environment of a workshop have been captured.
'Technology is where we in the west preserve our ancestor’s’ writes Sean Cubitt in the Practice of Light (2015), and this paper will consider earlier vision technologies - such as lenticular, integral and metric photography alongside these experimental ‘dirty’ RTI’s.
“Our eyes are armed, but we are strangers to the stars” writes Emerson in his poem Blight (1847) in which he perceives of a debilitating gap caused by a growing instrumentalization towards the natural world and this paper will consider the complex and changing position between techne (knowing how to make things) and poiesis (the production and poetry of things).
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Published date: 2016
Venue - Dates:
Theoretical Archaeology Group Conference 2016 (TAG 2016), Southampton, United Kingdom, 2016-12-19 - 2016-12-21
Keywords:
ART, Archaeology, Technology, imaging reflectance archaeology, RTI, media archaeology, Photography, art and archaeology
Organisations:
Graphics, Fine Art & Media
Identifiers
Local EPrints ID: 411643
URI: http://eprints.soton.ac.uk/id/eprint/411643
PURE UUID: b7e54d08-3043-45cf-8f37-2798a69d9ef9
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Date deposited: 21 Jun 2017 16:32
Last modified: 15 Jul 2022 01:37
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