Annihilation Events and ‘Dirty’ Reflectance Transformation Imaging
- Submitting institution
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University of Southampton
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 55457814
- Type
- M - Exhibition
- Venue(s)
- Southampton
- Open access status
- -
- Month of first exhibition
- April
- Year of first exhibition
- 2020
- URL
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-
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Annihilation Events represents a collaborative, interdisciplinary body of work, produced through 4 exhibitions and 4 publications. It centres upon artists Ian Dawson and Louisa Minkin’s use of Reflectance Transformation Imaging (RTI), which is grounded in a long-term engagement with archaeology and experimentation with 3D imaging technologies. The research develops over four main phrases: (1) the embedding in an archaeological project examining British Neolithic remains; (2) creative application of archaeological, 3D imaging techniques at a housing site in South London (undergoing regeneration); (3) the generation of new artworks and three iterations of their display; and (4) a hybrid exhibition-workshop for interdisciplinary reflection and participatory use of new imaging technologies, which brings together over 50 participants from arts and science domains. Concurrent with these phases is an on-going process of writing and reflection. The work begins with the digital analysis of the Neolithic artefacts, the Folkton Drums, held at the British Museum. Here, the use of RTI leads to a new contribution in our understanding of the objects. Artistic practice then adapts and enhances the archeological imaging techniques for a contemporary analysis of a soon to be demolished London housing estate. Developing what goes onto be described as ‘dirty’ RTI (pushing at the envelope of the technology), the creation of new artworks bring into sharp focus sites of home and community, possession and dispossession, belonging and alienation. By placing art and archeological practices side by side, genuine interdisciplinary dialogue is established, allowing for a critical practice of new imaging techniques. Exploration is made between the relations of lived-in space and the non-spatial format of the digital, and crucially creative visualization is given of a new materialist ‘way of seeing’. Overall, this body of work provides for a richer, shared discourse among artists, archaeologists and science imaging.
- Author contribution statement
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- Non-English
- No
- English abstract
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