ABSTRACT

Artists’ adoption of CNC devices and related technologies is making possible novel printmaking processes and variations on techniques. Such changes suggest a need to broaden our understanding of what constitutes a print under contemporary technological conditions. This article looks at the human-machine relationship and the state of creative cognition in the act of woodblock printmaking. Connections between the printmaker’s and programmer’s notions of creating lines indicate different ways of thinking-drawing space and position the resulting 2D print not just as the transfer of ink from block to paper but also existing as lines of code and as a 3D space. By drawing parallels between the embodied yet distributed act of traditional Japanese woodblock printmaking and the experience of CNC computerized carving in the work of Mike Lyon, I explore how woodblock printmaking might facilitate a productive collaboration with digital carving technologies.

摘要

艺术家对 CNC 设备和相关技术的采用使新的版画工艺和技术变化成为可能。这些变化表明需要拓宽我们对当代技术条件下印刷品构成的理解。本文着眼于木版画创作中的人机关系和创作认知状态。版画家和程序员创建线条的概念之间的联系表明了不同的思维方式——绘制空间和定位所得 2D 打印不仅作为墨水从块到纸的转移，而且还以代码行和 3D 空间的形式存在。通过将日本传统木版版画的具身性和分布式行为与 Mike Lyon 作品中 CNC 电脑雕刻的经验进行比较，