tag:blogger.com,1999:blog-3735055130552988332024-02-20T02:56:46.813-08:00Just press PDigitally mediated artefacts and extensions of printAnonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.comBlogger87125tag:blogger.com,1999:blog-373505513055298833.post-27493602345208047652014-11-25T23:30:00.002-08:002014-11-25T23:36:11.048-08:00Blog Transfer<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFviAxW-ZNO2Kgght7RqYnxFC7csHzNNPu4guM3M9K45vrTcygn03W2TcC624_GgMjK0zvs6QtXPTHv6UBGHBuPnPyhZxwktQVYGi6YDgEM2_oXeluXuAmL9RIEJYzwhDijVQMJ_XCalrY/s1600/Screen+shot+2014-11-26+at+07.31.34.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFviAxW-ZNO2Kgght7RqYnxFC7csHzNNPu4guM3M9K45vrTcygn03W2TcC624_GgMjK0zvs6QtXPTHv6UBGHBuPnPyhZxwktQVYGi6YDgEM2_oXeluXuAmL9RIEJYzwhDijVQMJ_XCalrY/s1600/Screen+shot+2014-11-26+at+07.31.34.png" height="352" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">New Blog at <a href="http://www.justpressp.com/">www.justpressp.com</a></td></tr>
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Hello,<br />
If you are wondering why there has been no any activity on Just Press P for a while, its because I have moved from Blogger to Word Press. Still in the process of transferring / rearranging content but I reckon its good enough for now. Oh yeah so the new Just Press P can be found at <a href="http://www.justpressp.com/">www.justpressp.com</a>. See you over there.Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com3tag:blogger.com,1999:blog-373505513055298833.post-84278103017600181262014-03-15T06:57:00.000-07:002014-06-23T05:57:29.755-07:00Working Proof<!--[if gte mso 9]><xml>
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Hello there, it's been a few months since we last spoke, but I have been working.... promise.</div>
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The proof of working or working proof!</div>
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Over the next few weeks I intend to review some of my past, current and future print related projects by producing what maybe best described as both a beginning and summary publication. In regard to the latter, the publication will consolidate some of my research (collaborative activities, art practice and writing) that can often become separate endeavors when one is <a href="http://www.usingenglish.com/reference/idioms/wear+many+hats.html" target="_blank">wearing many hats</a>! I also envisage that the publication will function as a piece of publicity material for work produced at the <a href="http://www.uwe.ac.uk/sca/research/cfpr/" target="_blank">CFPR</a>. More importantly (and as a beginning) the content will provide a baseline for facilitating new and future dialogues with the graphic arts and printmaking communities. Oh yeah its gonna be called <i>Working Proof, </i>I think!<br />
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The foundations for the publication can be seen as an extension of my <a href="http://eprints.uwe.ac.uk/16563/" target="_blank">PhD research</a>, whereas the content will be generated from (more recent) collaborative projects undertaken through <a href="http://www.uwe.ac.uk/sca/research/cfpreditions/" target="_blank">CFPR Editions</a> - with artists such as; <a href="http://www.slowlydownward.com/" target="_blank">Stanley Donwood</a>, <a href="http://www.gordoncheung.com/" target="_blank">Gordon Cheung</a>, <a href="http://andrewsuper.com/" target="_blank">Andrew Super</a>, <a href="http://www.ceciliamandrile.com/" target="_blank">Cecilia Mandrile</a>, <a href="http://www.richardfalle.com/" target="_blank">Richard Falle</a> and <a href="http://www.internationalprintbiennale.org.uk/artists/carolyn-bunt.html" target="_blank">Carolyn Bunt </a>to name but a few. Further insights will draw upon curated exhibitions at <a href="http://www.northernprint.org.uk/news/exhibition-review-just-press-print.html" target="_blank">Northern Print</a>, <a href="http://www.conf.dundee.ac.uk/impact8/people/biographies-2/paul-laidler/" target="_blank">Impact 8</a> and <a href="http://multipliedartfair.com/" target="_blank">Multiplied</a> alongside funded research with <a href="http://www.react-hub.org.uk/visualising-colour-trends/" target="_blank">REACT</a> and published studio conversations with <a href="http://www.uwe.ac.uk/sca/research/cfpr/staff/ceciliaMandrile/index.html" target="_blank">Cecilia Mandrile</a>, <a href="http://cfpreditions.blogspot.co.uk/2012/12/cfpr-editions-now-prints-video.html" target="_blank">Andrew Super</a> in <a href="http://www.grabadoyedicion.com/About.aspx?l=en" target="_blank">g&e </a>and <a href="http://www.paulcoldwell.org/" target="_blank">Prof Paul Coldwell</a> in Porto Arte. If this sounds of interest you can find related posts and project updates in the coming weeks through my <a href="https://twitter.com/palaidler" target="_blank">twitter account</a>.</div>
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<span class="Apple-style-span" style="font-size: x-small;">Publicity image for Exhibition at Northern Print</span></div>
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<i>Working Proof</i> Introduction:</div>
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The main focus of <i>Working Proof</i> stems from the close relationships that exist between technology, ideas and making in the visual arts — particularly in the area of digitally mediated print and its many offshoots. The aim of <i>Working Proof</i> will be to develop a framework that will map a technologically informed graphic territory, a territory developed through practitioner based insights that inhabit a ‘thinking through making’ position.</div>
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In order to begin summarizing the content for the publication (via the medium of writing) I had to come up with some kind of working title - that would house my pre / post digital inquiries within the graphic arts. It goes like this; <i>Printed conventions and digital extensions, re-materialising the graphic as artifact</i>... I know what you are thinking but it will do for now.</div>
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Bit more situational background:</div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The concept of ‘graphic image’ stands at the centre of print
practice: a visual language that is constantly being impacted upon by an
ever-expanding image-making technology. Even though there is evidence to
suggest that printed conventions may be present within the broad field of digitally
mediated artefacts, what reconciles these practices with the graphic art
conventions still needs to be articulated? </span><span style="color: red; font-family: Arial; font-size: 11pt;"><o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></div>
<!--EndFragment-->Over the past 20 years digital technology has rapidly
developed across creative practices within the visual arts. To this affect we
have seen the development of new practices, groups and courses that centre upon an
engagement with digital technology as a tool, medium and cultural phenomenon
(Fab Labs, Digital Media Arts, etc). These emerging practices and disciplines
are a direct response to the omnipresence of the digital age whilst the
pervasive and mutable nature of the technology has had an equally profound
influence upon pre-digital disciplines (such as printmaking, photography and drawing to name but a few). My own curiosity stems from the later of the two technologically informed perspectives, or more specifically the discussions that take place 'within' practice as apposed to 'upon' practice. This 'inside v outside' differentiation tends to produce a certain type of commentary, in so much as the designation of 'upon' is often associated with a socio historical perspective whereas 'within' presents the makers insight - I think that makes sense! Or in the words of the artist
Grayson Perry ‘The people in power in the art world are often writers rather
than makers. They do not always have such good access to the nonverbal
relationships with objects…’</div>
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<br /></div>
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So how have I started stringing together a position?</div>
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Here’s how - and in summary: </div>
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Within the creative arts, where practice is informed by digital technology and the resulting artifact is physical - we may attribute the term post digital. This particular definition of post digital is somewhat broad and subsequently can be used across a range of separate disciplines, each
assigning their own discourses and sensibilities alike. I therefore became
curious to consider how this contemporary term maybe defined within the field
of graphic arts and printmaking.</div>
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<br />
Just to clarify — in this instance the relationship with
graphic arts practice originates from the discipline of printmaking and the
realization of physical artifacts in the digital age. Here the affiliation with
post digital does not exclude the use of digital technology but seeks to
consider its influence within print, making and contemporary craft orientated
pursuits. For example, within HE digital technologies such as rapid prototyping and laser
cutting are gradually being encompassed within the field of printmaking despite
the fact that these tools often reside (and have predominantly originated) in other disciplines or departments. This
raises questions as to how resulting works are being discussed and located within the discipline
of printmaking — alongside the endevours of architecture or<span style="mso-spacerun: yes;"> </span>product design departments? Fundamentally the introduction of
rapid prototyping into the field of printmaking raises interesting debates
around the idea of discipline specificity — is it printmaking or sculpture? Or
does this even matter and if so to whom does it matter and why?<br />
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQ9tQVY8GEzbZUHSI1qIfTJVvTppMwtDIjbAHIsuXAcZCNzoATvGmOpwkveNoPW9A7grBLOM02-ckzCFpGO9IV3mElZ_gps4xDumP_W7UYJrzkaRDOF4IUVYzki3mGtqBowGf5VHvZVRf/s1600/velafinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQ9tQVY8GEzbZUHSI1qIfTJVvTppMwtDIjbAHIsuXAcZCNzoATvGmOpwkveNoPW9A7grBLOM02-ckzCFpGO9IV3mElZ_gps4xDumP_W7UYJrzkaRDOF4IUVYzki3mGtqBowGf5VHvZVRf/s1600/velafinal.jpg" height="269" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-size: x-small;">Vela, Peter Walters & Katie Davis 3D Print</span></div>
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Shifts and extensions:<br />
Accompanying the technical and process led affiliations with
separate disciplines the artist and academic <a href="http://en.wikipedia.org/wiki/Luis_Camnitzer" target="_blank">Luis Camnitzer</a> suggested that, ‘digital
technologies have brought not only technical innovations in print practices,
but also and most importantly, have provoked a ‘mental change’ in the creative
process. Camnitzer’s ruminations concerning the impact of digital technology on
the future of printmaking prompt a number of questions concerning the longevity
of the discipline and how these technologies are addressed alongside
established practices (as it is predominantly understood today). These
allusions to a (digitally informed) shift within printmaking practices
resonated with the central exhibition of the 28th Biennial of Graphic Arts,
Ljubljana (2009) entitled <a href="http://www.scuolagrafica.it/arts-news/2721/" target="_blank">‘The Matrix: An Unstable Reality’</a>. The print matrix
has been a constant and tangible print component within the discipline of
printmaking yet as the exhibition title suggests this fixed point of reference
is not so stable or controllable in the digital age. This uncertainty with a
practice where the physicality of tools and process has been engrained into the
language of a discipline resulted in the initial curatorial question of the
exhibition ‘Does a medium stay the same once it incorporates new technologies
in its discourse’? The exhibition selected artists’ work that was defined as
extending from ‘traditional and contemporary printmaking’ but how many
extension possibilities might there be and what informs the point of departure?
Perhaps more importantly to what end can we understand these developments as
graphic practice?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFCRJN6dZp1RwAaMgJLkXz3V3rFrb_PrFFXz_fSC_lZrxCf0O2LLS1gy1tx0ILSBJt9TQ3O1x9XbTD6SDPVEiKuL1jGhjIlV2XyCIQusXy1RdxmNjG50f0sONPdvrlk0giYHMbPaEizgkY/s1600/IMG_2445.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFCRJN6dZp1RwAaMgJLkXz3V3rFrb_PrFFXz_fSC_lZrxCf0O2LLS1gy1tx0ILSBJt9TQ3O1x9XbTD6SDPVEiKuL1jGhjIlV2XyCIQusXy1RdxmNjG50f0sONPdvrlk0giYHMbPaEizgkY/s1600/IMG_2445.jpg" height="141" width="320" /></a></div>
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<span class="Apple-style-span" style="font-size: x-small;">Wall text from Just Press Print Exhibition </span></div>
<br /></div>
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At the other end of the spectrum the realisation of
artifacts that attempt to bridge the digital and physical divide has been more
readily embraced within the Design field. This is most notable through the
exhibition <a href="http://www.mu.nl/uk/exhibitions/past/after-the-bit-rush/" target="_blank">‘After the bit rush’</a> where questions as to whether something is
analogue or digital appear to have receded. More over we have seen further incarnations of digital
developments such as augmented print, e-print and digital editions in the
truest sense (see <a href="http://www.seditionart.com/" target="_blank">[s]editions</a>). At first glance these later developments maybe best defined
as new media thus appearing to be more digital then printmaking’s association
with digital technology and the disciplines relationship with notions of
materiality and physicality. At root these developments
have a historical lineage with printmaking yet the role of discipline
specificity upon new and associated technologies appears to be blurred,
de-emphasized or lacking in a dialogue toward defining the disciplines heritage
with production, realisation and artisanship in the wake of technological
advancement. Here the computer as the magic black box phenomenon predominantly
facilitates the question of what can we do, as apposed to what are we doing?</div>
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It is also worth noting that these shifting technological
perspectives and possibilities are playing a part in reinvigorating the crafts.
At first glance this may appear to be a rejection of digitals virtual and
system based products and a return to the physical and handmade. On another
level the notion of craft is extending, simultaneously incorporating the
technological with the physical through programming and hacking for instance.
In the recent <a href="http://madmuseum.org/exhibition/out-hand" target="_blank">Out of Hand, Materializing the Postdigital</a> exhibition at MAD curator <a href="http://madmuseum.org/press/releases/ronald-t-labaco-join-museum-arts-and-design-marcia-docter-curator" target="_blank">Ronald Labaco</a> echoed similar sentiments as the (previously mentioned) <i>After the bit rush</i> exhibition in stating, ‘the digital revolution is over and we are now in a
post-revolutionary period, with the achievements of the last few decades taken
for granted and even expected in the creative industries. So “post digital”
doesn’t mark the end of the digital age but instead the broad acceptance of
digital technologies as commonplace.’</div>
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<br /></div>
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At root my ramblings could be perceived as verging on a truth to materials position thus relating to questions about discipline specificity, making and heritage prior to the pervasive impact of digital technology
across creative arts practices. Ironically I tend to have a postmodern approach in my own art practice yet I can't help feeling a gap is growing - when considering how the field of printmaking
may or may not distinguish itself from other creative arts practices that are
engaging with similar technological developments.</div>
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<br /></div>
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Thank you for <strike>listening</strike> reading - more to follow in the coming weeks.</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com1tag:blogger.com,1999:blog-373505513055298833.post-30533869745221254482013-11-10T07:04:00.001-08:002014-03-25T03:54:54.524-07:00A blast from the past<!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The text below has been adapted from a much larger article
due to be published in 2014 by the Brazilian Journal Porto Arte. The (currently
unpublished) article is a conversation between myself and <a href="http://www.paulcoldwell.org/" target="_blank">Prof Paul Coldwell</a> that
discusses the convergence of old and new technologies in art practice – aptly entitled
Printmaking <i>New and Old Technologies - A Conversation</i>.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC3-fiVsAdwqRXcS8iRzPAuERWp1bIwMNdOMx3vQwUCrVZOHuvHZGDMkz9UJVvRPyOYC2w1kUOO6MQRv7xpGEk0oqZvNUEHBOQZdw88MChoEw27_5otM8Ih5DD2mIS6J4L-7IYT-ZqHDqt/s1600/Paul2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC3-fiVsAdwqRXcS8iRzPAuERWp1bIwMNdOMx3vQwUCrVZOHuvHZGDMkz9UJVvRPyOYC2w1kUOO6MQRv7xpGEk0oqZvNUEHBOQZdw88MChoEw27_5otM8Ih5DD2mIS6J4L-7IYT-ZqHDqt/s400/Paul2.jpg" height="400" width="272" /></a></div>
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<span class="Apple-style-span" style="font-size: x-small;"><i>Murmurs from Earth</i>, Paul Laidler (2010)</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Anyway I have more recently been revisiting (with a view to
restructuring) my interests in post digital artworks and the thinking that gets
assigned to such things. So following on from the article topic of old and new
technologies I thought it might be interesting to present some thoughts on a
digitally engraved work that I made in 2010 entitled <i style="mso-bidi-font-style: normal;">Murmurs from Earth</i>. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Before discussing the work I reckon it would be useful for
me to say a little bit about the production of the work - or more specifically how
the laser cutting process works and therefore what the viewer sees in the
photographic recording of the artefact <i style="mso-bidi-font-style: normal;">Murmurs
from Earth</i>. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">As it’s name suggests the laser cutter is a burning process
that cuts through and into materials. The laser’s function can be controlled in
one of two ways; by either cutting straight through a material, or by engraving
into the surface. <i style="mso-bidi-font-style: normal;">Murmurs from Earth</i>
is a digital photographic image that has been laser engraved into the surface
of a black cotton based paper. </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The varying levels of engraved depth in the paper refer to
the tonal information that is present in the digital photographic image. The
tonal information in the digital file is read as numerical values of grey (255
levels of grey with black and white at either side of the scale). The laser
cutter then transcribes these numerical values as different power intensities,
creating a depth field for the engraving process. For example, where the image
is darker in tone the laser will cut deeper into the surface and where the
tonal information is lighter, the depth of the engrave will be shallower. As a
result the engraved vinyl image in </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">Murmurs
from Earth</i></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> is made visible because of the different tones of black paper
fibres that are present in and on the paper surface.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizIaC5nG4NKQ5XhpU2y8_wqMm4VL3yndCQB7NyDyVIPja7aX4ngwGzkU2QXnycoDeS9eneqQfMAiFoX54w3WqLAx8ZmZVanZd_32GFy0RY3sUfChyTs79tBbY5kQgdOJrdy3JSxIHTYeBS/s1600/murmur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizIaC5nG4NKQ5XhpU2y8_wqMm4VL3yndCQB7NyDyVIPja7aX4ngwGzkU2QXnycoDeS9eneqQfMAiFoX54w3WqLAx8ZmZVanZd_32GFy0RY3sUfChyTs79tBbY5kQgdOJrdy3JSxIHTYeBS/s400/murmur.jpg" height="181" width="400" /></a></div>
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<i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Diagrammatic I</span></i></div>
<div class="MsoNormal">
<o:p><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></o:p></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The artwork <i style="mso-bidi-font-style: normal;">Murmurs
from Earth</i> is developed from the same sentiments that were employed by the
NASA space exploration programme that took place in the 1970’s. The mission
involved the deployment of a spacecraft that would carry a message from Earth
beyond our solar system with the intention to communicate our sights and sounds
to an extraterrestrial audience. The recording of these images and audio were
transcribed by engraving the information into a gold-plated copper disc to
produce a twelve-inch phonograph record known as the <i style="mso-bidi-font-style: normal;"><a href="http://en.wikipedia.org/wiki/Voyager_Golden_Record" target="_blank">Voyager Golden Record</a></i>. The latest celluloid film technology of the
time would not with stand the conditions that the journey would subject upon the
recording, so a more sustainable format from the past was revisited to resolve
the present and future technological issues of the mission, hence the use of
the phonograph record.</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Without telling the whole story, the Voyager Mission<a href="http://www.blogger.com/blogger.g?blogID=373505513055298833#_edn1" name="_ednref" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[i]<!--[endif]--></span></span></a>
prompts technological considerations that occur when we move from one
technology to another; such as transferability, readability and compatibility.
These transition periods, or the state of ‘in between’ bring together the
relationships with form and function, analogue and digital that are central to
this work.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">During the conversation between Paul Coldwell, and myself
Paul mentioned how the development of photography moved toward a ‘greater and
greater fidelity to the real’. This progression has increased with the advent
of digital technology and its potential to simulate space and enhance material
qualities from photographic capture. It is this potential to digitally record
and render material properties that led me to combine the laser engraving
process with black paper. The combination produces a facsimile quality in that
the exposed black fibres of the engraved paper mimic the material appearance of
black vinyl. Here the possibilities of reproduction become more than photographic
in so much as the transfer of the analogue object retains a material form although
the function is lost.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The appearance of form without function in <i style="mso-bidi-font-style: normal;">Murmurs from Earth</i> refers to the
possibility that the Voyager disc will be unreadable in some distant world or
inevitably, the disc may never be heard - it is a one-way message. Here the <i style="mso-bidi-font-style: normal;">Voyager Golden Record</i> is best seen as a
time capsule or a symbolic statement, rather than a serious attempt to
communicate with extraterrestrial life. To some degree it is this sense of
failure that allows the laser engraved record in <i style="mso-bidi-font-style: normal;">Murmurs from Earth</i> to function. </span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The digital recording and rendering of an analogue format
initiates the combing of old and new technology that has been central to this
article. <i style="mso-bidi-font-style: normal;">Murmurs from Earth</i> has
developed from a historical event to communicate with another world yet we
might surmise that there are two communicative worlds within our own the
analogue and digital.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div style="mso-element: endnote-list;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><iframe allowfullscreen="" frameborder="0" height="225" src="//www.youtube.com/embed/WPQRnd3K9rM" width="400"></iframe></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">A brief video explanation </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">about the work</span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"> </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">with <a href="http://www.open-printshop.org.hk/" target="_blank">Hong Kong Open Printshop</a> at <a href="http://www.conf.dundee.ac.uk/impact8/home/" target="_blank">Impact 8 Printmaking Conference</a>, 2013 and the engagement with digitally mediated print at <a href="http://www.uwe.ac.uk/sca/research/cfpreditions/" target="_blank">CFPR Editions</a>.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><br /></span>
<br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.blogger.com/blogger.g?blogID=373505513055298833#_ednref" name="_edn1" style="mso-endnote-id: edn;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[i]<!--[endif]--></span></span></a> <i style="mso-bidi-font-style: normal;">Voyager The Interstellar Mission</i>, Jet
Propulsion Laboratory California Institute of Technology [Internet]. Accessed
12 February 2010. Available from: http://voyager.jpl.nasa.gov/spacecraft/goldenrec.html</span></div>
</div>
</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com1tag:blogger.com,1999:blog-373505513055298833.post-3752764593631935302013-01-02T12:25:00.000-08:002013-01-04T00:52:53.598-08:00By popular demand, here is the print on demand.<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Figure 1:</span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"> Paul Laidler, Digital
image file for the Print is Dead series</span><span class="Apple-style-span" style="font-family: Arial; font-size: 9pt; font-style: italic;"><o:p></o:p></span></div>
<!--EndFragment--><br />
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>OPD </b>(On Popular Demand)</span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The series of paintings described in this post is an ongoing body of work that I started in 2010. Over the past couple of years I have written and <a href="https://twitter.com/digi_aesthetic3/status/268869641064030208/photo/1/large" target="_blank">talked</a> about the series intermittently, from a variety of different perspectives and for different audiences. Subsequently and somewhat to my surprise I have received a number of requests to make the work/text available online. Given that the series has been published 'in print' this version has been edited and refocused.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Printed Paintings</b></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The post discusses the themes of
printmaking, collaboration, process, and the digital age as a series of
concepts toward the initiation and production of a digitally mediated ‘print’
series ‘<a href="http://www.flickr.com/photos/92608431@N00/sets/72157626093508028/" target="_blank"><i>Print is Dead</i></a>’ (figures 1, 2, 3, 4 & 5). Here the preoccupation with
production and process is emphasized over the end product as a means to address
the collaborative print process and the conceptual considerations for the work,
engaging with printmaking themes. Whilst the resulting works are not prints in
the truest sense, printmaking is imbedded as a means to consider the broadening
definition of ‘print’ in the digital age. In this instance printmaking is
considered as an expanded term through the production of paintings whilst the digitally mediated ‘print’ is realised through the <a href="http://en.wikipedia.org/wiki/Print_on_demand" target="_blank">Print on Demand model</a> - a facility synonymous with digital technology. Collectively the themes
and production processes highlight the often de-emphasised collaborative
undertaking by printers for artists, and the subsequent acknowledgement of this
art category, whilst the resulting artworks challenge assumptions of authorship
and originality in the production of artworks for artists.<!--EndFragment-->
</span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Introduction</b></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Historically
within the fine arts, print was used as a means to reproduce other works of art
such as paintings - a medium of seemingly higher esteem. Although the premise
of the reproduction was often for disseminatory and financial reasons, the
quality of execution was still important. The reproduction was dependent upon the
original source material, the skill of the engraver and techniques developed
over the years to accurately transcribe and replicate. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
transcription processes used to produce the <i>Print
is Dead</i> series differ from the historical rationale for replication in art.
Instead the work can be seen as an examination of a process rather than the
reproduction of a subject; elevating the 'reproduction' to the status of an
'original'. For instance, the dependence upon an original source for accurate
replication becomes impractical in this context - the source image exists as
only an infinitely reproducible digital file that is susceptible to a number of
transformations in appearance, both on screen and as a printed image. The
resulting series of individual artworks can only ever be copies of the original
digital file, yet remain unique in their systematic production. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
allusions to production processes within the <i>Print is dead</i> series are considered in much the same way. The
artwork is conceived by thinking about the print medium in terms of a process
rather than producing printed artworks; the medium is addressed in relation to
print’s inherent relationship with reproduction, where the Publish-on-Demand
facility becomes the appropriated tool. The content arises from the seamless
integration of digital technology within pre-digital processes, practice and
media. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
resulting (non-digital) artworks can be seen as a response to <a href="http://en.wikipedia.org/wiki/Marshall_McLuhan" target="_blank">Marshall McLuhan</a>’s “<a href="http://www.gingkopress.com/02-mcl/z_mcluhan-and-the-senses.html" target="_blank">rearview-mirror view of the world</a>” observation, that we are
initially numbed by new technology until it has been completely superseded its
predecessor. McLuhan states that in this transition period of ‘the present’,
our senses become overwhelmed so much so that we go from the unfamiliar back to
the familiar. We attach ourselves to the objects and atmospheres that
characterise the past where we feel a compulsion to make the old environment
more visible. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The resulting non-digital artworks reflect McLuhan’s
technological transition period in that the field of printmaking is still
awaiting the arrival of its digital natives. The process and production of the <i>Print is Dead</i> series is representative
of this current juncture between technologies and conscious of the fact that it
is an analogue work within a digital age. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b><br /></b></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>POD</b></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The POD
(Print-on-Demand) facility is a relatively new addition to the artist’s
possibilities for producing printed artworks via digital means. The development
of the technology is a product of the digital revolution that has democratised
the opportunity to self-publish. The democratisation has been possible because
of the technology’s economic potential to reduce the costs previously incurred
through mechanical printing processes such as offset printing. A large
percentage of the POD industry caters for book and artist's book publishing,
although there are a growing number of POD facilities that specialise in fine
art, digital prints for both artists and publishers. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">From the
self-publishing artist's perspective, the process follows a system-based
procedure through a set number of options for printing a digital image. These
options often include a choice in scale and substrate before remotely uploading
the digital image (via the Internet) to a POD facility server. Once stored on
the server, the digital image is then downloaded and printed to the previously
established print options. Because the digital file can be reproduced and
stored indefinitely, the edition size may be left open allowing for further
renderings of the digital file at the client’s request – hence print on demand. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
democratisation of digital technology and the marketing potential of the POD
facility developed the idea of the ‘<a href="http://www.ponoko.com/make-and-sell/how-it-works" target="_blank">personal factory, where you can make almost anything – including electronics, homeware, fashion and furniture</a>’. Consumers
in search of bespoke designs can now access digital fabrication technologies
through companies such as <a href="http://anyline-ny.com/" target="_blank">Anyline</a> , <a href="http://i.materialise.com/" target="_blank">imaterialise</a>, <a href="http://www.ponoko.com/" target="_blank">Ponoko</a> and <a href="http://www.3ddc.eu/index.php" target="_blank">3DDC</a> using a range of Laser cutting, rapid prototyping, 3D rapid printing and
surface coating options. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Although
the <i>Print is Dead</i> series does not
directly use digital fabrication technology, the artwork shares similarities with the fabrication process as part of the
artist-fabricator approach to making. These associations consider the human
crafting approach as part of a systematic and automated method to making, by
employing the technical skills of others to help realise the work that informs
the idea. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Unlike
most POD facilities that produce printed images for clients, the facility that I chose for the reproduction of <i>The
Print is Dead series</i> use the hand-rendered method of painting as processes to reproduce a digital image. </span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPMdYpfr043lkMYXfHL7As-zg6uNe2jgm2jt9nCEUGYcJedxI1o-l9YShSblwQjxiq-NkHnQnBJYT9D2y0qq2pTuvsd8Ny3KsS8QuLfyfQqKQj4nE4_V0XAcnC5-W1fVrX2E0pV2LC3Pkc/s1600/Fig3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPMdYpfr043lkMYXfHL7As-zg6uNe2jgm2jt9nCEUGYcJedxI1o-l9YShSblwQjxiq-NkHnQnBJYT9D2y0qq2pTuvsd8Ny3KsS8QuLfyfQqKQj4nE4_V0XAcnC5-W1fVrX2E0pV2LC3Pkc/s400/Fig3.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Figure 3: Paul Laidler, <i>(order272)completed.jpg</i>, Painting produced by
Odsan Gallery, China</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZV16KW543omzBpUVDvuo3bU6jkFIRTzCiW9yQ2iXBb8qfvpgiHVC_d5G_W1CElMVE_YsLJPrM3nBcGd5g4TP6STT1aXPXOT-8rCABc41jaihHuBIp-lAWnRrhIAa8iI9xm0-ZF8_nR3qg/s1600/Fig4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZV16KW543omzBpUVDvuo3bU6jkFIRTzCiW9yQ2iXBb8qfvpgiHVC_d5G_W1CElMVE_YsLJPrM3nBcGd5g4TP6STT1aXPXOT-8rCABc41jaihHuBIp-lAWnRrhIAa8iI9xm0-ZF8_nR3qg/s400/Fig4.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Figure 4: Paul Laidler, <i>(order542)completed.jpg</i>, Painting produced by
Odsan Gallery, China</span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Replica Factory</b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Figures 3
and 4 are oil painting's on canvas produced through <a href="http://www.odsan.com/" target="_blank">Odsan Oil Painting Gallery</a> in
<a href="http://www.youtube.com/watch?v=O0_8F_znXnU" target="_blank">Dafen, China</a>. The company is one of many in the region that employ
academy-trained artists within a factory-line approach to reproduce vast
numbers of old master oil paintings. The act of copying great masters’ works by
artists has been a continued practice throughout the ages. Conventional practices
have often required that artists access the original painting to capture the
intricacy, scale and presence of the work. I do not profess to being a master
artist - the idea of having a work reproduced in paint that contains none of
the traditional precedents for reproduction was what interested me.<span class="Apple-style-span" style="font-family: Arial; font-size: 10pt; font-weight: bold;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">More
specifically the conventional reproductive process becomes inverted as the
facility takes a digitally printed image and reproduces it by hand - in essence
the machine and human exchange places. The use of a digital image also
highlights the problematic situation of what is being copied and therefore;
what is believed to be the original work?
If we consider that a digital image is susceptible to scale and colour
changes through different computer monitors and print devices then the work
becomes less concerned with reproducing a subject but examining a process.<span class="Apple-style-span" style="font-family: Arial; font-size: 10pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5nY9dcWkZW4ZJZbUvYVvKwvVHjVmMOIkDYlbW9aT2h0cHW67A4ww6NDraKe5xYGE7SCo_P6c2xF-x5KkX6rBJ5y34-hobnFTHT8HwfDN9jdMZh6_JexUb4BY5xJ8NNt5RWd0ykvusq1_/s1600/Fig2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5nY9dcWkZW4ZJZbUvYVvKwvVHjVmMOIkDYlbW9aT2h0cHW67A4ww6NDraKe5xYGE7SCo_P6c2xF-x5KkX6rBJ5y34-hobnFTHT8HwfDN9jdMZh6_JexUb4BY5xJ8NNt5RWd0ykvusq1_/s400/Fig2.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Figure 2 Printed image used by Odsan Gallery to create figure 3</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Perpetual Painting</b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The Odsan
Gallery's reproduction process functions in the same manner as the POD facility
when offering a client the possibility of ‘self-publishing’. As previously
stated this involves the transfer of a digital image (figure 1) that is
rendered to the specifications of the client. Figure 3 was created from a
digital print (Figure 2) made from the low resolution digital file (figure 1) that was requested
by the Odsan Gallery to create the artwork. In this situation, the rendering is by hand, not restricted
to the scale of a print device and can be reproduced in a range of different
painting styles. The resulting painting for the <i>Print is Dead</i> series, is a photo-realistic style reproduction of
the digital print that was used as the source image for the work. In this
instance the reproduction of the source image contains a magenta hue produced
by the printing of the digital file. <span class="Apple-style-span" style="font-family: Arial; font-size: 10pt; font-weight: bold;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The
inclusion of the colour cast in the painting is not seen as a fault with the
reproductive artwork but as a reminder of the parameters of the tools and
processes we use. In his article <i>The
Aesthetics of Failure</i>, the American composer Kim Cascone discusses the
positive outcome of imperfection:</span></div>
<br />
<i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">'Indeed failure has become a prominent aesthetic in many of the arts in the late 20th century, reminding us that our control of technology is an illusion, and revealing digital tools to be only as perfect, precise, and efficient as the humans who build them'.<span class="Apple-style-span" style="font-size: x-small;"> (K. Cascone, </span></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span lang="EN-US">“Post-Digital”
Tendencies in Contemporary Computer Music’.<i> </i>Computer Music Journal,
Volume 24 Issue 4, </span></span></i><span class="Apple-style-span" style="font-size: x-small;"><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">2000, p.</span></i><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US">12</span>)</span></i></span><br />
<div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><br /></i></span>
<br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Figure's 4 and 5 are painting's also created from photographic sources although these photo's are taken by the Odsan Gallery to show the client the painted image before posting the actual canvas. In essence the photos are proofs that need to be approved by the artist/client before the next stage can be implemented. By photographing the painting and e-mailing the digital image for approval a perpetual system for further paintings is developed. These approval photos are then used as the source image for the next painting and so on and so forth. Despite the absence of print production in the appearance of the paintings, the association with the reproductive process is embedded within to the content of the work. The possibility of an indefinite number of copies remains, although the reproductive endeavour is one of </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://justpressprint.blogspot.co.uk/2011/03/human-printer-namesake-production.html" target="_blank">human automation</a></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> or human printers.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpAek5dwIwUdvVTlijEQZhvmIr2iWP0dYDMVUKIh5-gvSG9XY19qFAaUU983I8GeDngtQ9qJVVSp6iXqaMuj-PI5zTMnPVw6ipjzb6f118vK8EzGT-54_mjRuMApvMNWYLLBOohY6gz_9/s1600/Fig5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpAek5dwIwUdvVTlijEQZhvmIr2iWP0dYDMVUKIh5-gvSG9XY19qFAaUU983I8GeDngtQ9qJVVSp6iXqaMuj-PI5zTMnPVw6ipjzb6f118vK8EzGT-54_mjRuMApvMNWYLLBOohY6gz_9/s400/Fig5.jpg" width="400" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Figure 5: Paul Laidler <i>(order547)completed.jpg</i>, Painting produced by Odsan Gallery, China</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Further (extended) texts relating to the <i>Print is Dead Series</i> can be found in:</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Laidler, P. (2011) <i>Human
Automation</i>. Printmaking Today, Vol 20, No 4. Winter 2011, p. 28 ISSN 0960
9253</span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: x-small;">Laidler. P. (2012) <i>The
Human Printer featuring the Print is Dead series</i>. (Impact 7 Printmaking
Conference, 27th - 30th September 2011, Monash University, Faculty of Art &
Design, Melbourne, Australia) Monash University Publishing ISBN:
978-1-921867-576</span></span></div>
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Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com3tag:blogger.com,1999:blog-373505513055298833.post-83015348153283712112012-12-02T02:21:00.001-08:002013-01-03T01:02:59.873-08:00Copied and embedded<iframe allowfullscreen="allowfullscreen" frameborder="0" height="300" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/10054467?portrait=0" webkitallowfullscreen="webkitallowfullscreen" width="400"></iframe><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Copy Shop by Virgil Widrich</span>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com2tag:blogger.com,1999:blog-373505513055298833.post-26224002235221802682012-11-22T02:48:00.000-08:002014-03-08T01:58:16.393-08:00Seditions editions<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/35882948?title=0&byline=0&portrait=0&color=ff3258" webkitallowfullscreen="" width="400"></iframe> <br />
<a href="http://vimeo.com/35882948"></a>.
<br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> <a href="http://www.seditionart.com/" target="_blank">s[edition]</a> is an online gallery that sells screen based digital editions (video and stills) by a number of high profiled artists. Here the editioning practice embraces the inherent qualities of the digital medium and brings a further dimension to the artwork in multiple format - whilst enriching the possibilities of what one (those predominantly brought up on physically editioned artifacts) understand as editioning in the digital age.</span>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-68976505378255572592012-06-24T08:13:00.000-07:002012-06-24T08:18:24.786-07:00Just Press Print Presented<div style="text-align: center;">
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<br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Find out more information about the <i>Just Press Print</i> exhibition and artworks at <a href="http://www.cfpreditions.blogspot.co.uk/" target="_blank">CFPR Editions News</a> </span>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com1tag:blogger.com,1999:blog-373505513055298833.post-61046391394666011722012-06-04T06:26:00.002-07:002012-06-04T10:08:10.001-07:00Just Press Print Presents<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjw2UzpAZyibcmAT7Xyel0mSf31BOH5v6_9zqsIXJIn_NHfoBMMWlC9VXQoQAfGaIM9F8CB8661DnuuqrsZPvyQYcSmioUGFabo0c2aNT3wx4U75SWmJ0XwAio_cWOIUsVvVaqTFun6CQU/s1600/justpressprintflyersmall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjw2UzpAZyibcmAT7Xyel0mSf31BOH5v6_9zqsIXJIn_NHfoBMMWlC9VXQoQAfGaIM9F8CB8661DnuuqrsZPvyQYcSmioUGFabo0c2aNT3wx4U75SWmJ0XwAio_cWOIUsVvVaqTFun6CQU/s400/justpressprintflyersmall.jpg" width="400" /></a></div>
<div style="text-align: center;">
From the blog Just Press P to the exhibition Just Press P<span class="Apple-style-span" style="color: #666666;">rint</span>.<br />
<br /></div>
On June 21st - 10 August 2012 I will be curating an exhibition of printed works at the <a href="http://www.northernprint.org.uk/whats-on/2012/06/21/just-press-print.html" target="_blank">Northern Print</a> Gallery in Newcastle upon Tyne, UK. The exhibition will present a series of digitally derived prints that have been instigated as part of a print publishing practice entitled <a href="http://www.cfpreditions.co.uk/" target="_blank">CFPR Editions</a>. Here the collaborative print editioning model provides a frame work to propagate and explore digital print technologies within contemporary print practices and as a context to consider the employment of emerging digital practices within a broadening graphic orientated discipline.<br />
Artists included in the exhibition: <a href="http://carolynbunt.co.uk/" target="_blank">Carolyn Bunt,</a> <a href="http://www.arthurbuxton.com/" target="_blank">Arthur Buxton</a>, <a href="http://www.paulcoldwell.org/home.html" target="_blank">Paul Coldwell</a>, <a href="http://www.uwe.ac.uk/sca/research/cfpreditions/artists/richard_falle/richard_falle.html" target="_blank">Richard Falle</a>, <a href="http://www.printrepublik.com/" target="_blank">Brendan Reid</a>, <a href="http://www.saatchionline.com/sschramm" target="_blank">Sebastian Schramm</a>, <a href="http://www.royvoss.co.uk/" target="_blank">Roy Voss</a>, <a href="http://www.wired.co.uk/news/archive/2012-04/03/vela-3d-printed-pulsar" target="_blank">Katie Davies and Peter Walters</a>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-3959588765009276642012-01-03T08:16:00.000-08:002012-01-07T03:37:06.021-08:00Them's fighting words<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yzsIUxzaUxsR9Qt7uIQ3TpbiW3cJ50LWC5Xg63G49Ov7TJyhKO7unh8vuPBjtGnK8ZEy26q5QsPn5dMoQ4Deqrf5JKKLByw2TQcyLHQNjYj3asIOeDhklpoA1laYqiKjegkcZ-scA_YD/s1600/Duster.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 285px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yzsIUxzaUxsR9Qt7uIQ3TpbiW3cJ50LWC5Xg63G49Ov7TJyhKO7unh8vuPBjtGnK8ZEy26q5QsPn5dMoQ4Deqrf5JKKLByw2TQcyLHQNjYj3asIOeDhklpoA1laYqiKjegkcZ-scA_YD/s400/Duster.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5693443745352089570" /></a><div style="text-align: center;"><span class="Apple-style-span" style="font-family:georgia;"><a href="http://www.printrepublik.com/"><span class="Apple-style-span" style="font-size:x-small;">Brendan Reid</span></a><span class="Apple-style-span" style="font-size:x-small;">, </span><i><span class="Apple-style-span" style="font-size:x-small;">No more heroes anymore</span></i><span class="Apple-style-span" style="font-size:x-small;">, 3D Polymer Print, 2010</span></span></div><div style="text-align: left;"><span class="Apple-style-span" style=" ;font-family:georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-style-span" style=" ;font-family:georgia;">The printed works of artist Brendan Reid are developed through formal explorations of oscillating spaces. Reid's 3D printed knuckle duster <i>No more heroes anymore, 2010</i> initiates a shifting from graphic image to graphic object and back again.</span></div><div style="text-align: left;"><span class="Apple-style-span" style=" ;font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;"><br /></span></span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-40617825483851957172011-12-07T01:53:00.000-08:002012-01-20T08:44:39.485-08:00Bloomin Virtual!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhncU3AETXy4bMWdWzw7Q7iG4WvG3123mGFdrHfEGK3VqAjjhvzA5JRf869bQ8WCNvXFagZKssDsICuCRfCiQd9N6Yax_Xc5KDeJ0gvro3lQ4tAKNySIpG_WPleXu_fb-KRJpvyf5qwgrP4/s1600/Falle+guy.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 249px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhncU3AETXy4bMWdWzw7Q7iG4WvG3123mGFdrHfEGK3VqAjjhvzA5JRf869bQ8WCNvXFagZKssDsICuCRfCiQd9N6Yax_Xc5KDeJ0gvro3lQ4tAKNySIpG_WPleXu_fb-KRJpvyf5qwgrP4/s400/Falle+guy.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5683323299492527906" /></a><div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:78%;"><span class="Apple-style-span" style=" ;font-family:georgia;">Richard Falle, </span><span class="Apple-style-span" style=" ;font-family:georgia;">Phalaenopsis Momento Mori</span><span class="Apple-style-span" style=" ;font-family:georgia;">, 2011, Pigmented Inkjet Print</span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><p class="MsoNormal"> <!--[if gte mso 9]><xml> <o:documentproperties> <o:template>Normal</o:Template> <o:revision>0</o:Revision> <o:totaltime>0</o:TotalTime> <o:pages>1</o:Pages> <o:words>292</o:Words> <o:characters>1666</o:Characters> <o:company>UWE</o:Company> <o:lines>13</o:Lines> <o:paragraphs>3</o:Paragraphs> <o:characterswithspaces>2045</o:CharactersWithSpaces> <o:version>11.773</o:Version> </o:DocumentProperties> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:donotshowrevisions/> <w:donotprintrevisions/> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:usemarginsfordrawinggridorigin/> </w:WordDocument> </xml><![endif]--> <!--StartFragment--> </p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">Richard Falle’s work Phalaenopsis Momento Mori pushes preconceived ideas of vector-based imagery and the recording of still life works within virtual space. Here the allusions to photo-realism and hyperrealism are prominent although momentarily acknowledged once one learns that the image has been described by observing the real object. Subsequently the 2D print resonates between traditional drawing methods for still life recording and the resulting depiction of form and space through virtual tools.<o:p></o:p></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">The work was initiated through discussions between the artist and myself - so to give you a bit of background here are some words from the artist about the making and conception of Phalaenopsis Momento Mori.</span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">Making:</span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">The image Phalaenopsis Momento Mori was created in Adobe Illustrator using a plethora of blends, meshes, transparency masks and brushes layered one on another and contained within clipping masks to create depth, texture and lighting effects. The image was drawn from observation rather than having traced over photograph or using the Livetrace function. Not an efficient method of generating this kind of image, I estimate it took at least 30hrs to produce, the challenge of working within the limitations of Adobe Illustrator makes the result all the more satisfying.</span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">Conception: </span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">How often have you posed the question, “What if…?”</span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">For me, it’s been a vice, a pleasure and a muse since I was very young. An unrepentant daydreamer, the images I create are a product of attempting to visualise the props of those unlikely “What if?” scenarios, combined with an ongoing exercise in pushing the limits of what can be achieved using purely vector graphics. The limitations of vector art, creates images that seem to hover between photorealism and illustration and gives the subjects an uncanniness that accentuates their eccentricity.</span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:100%;">Phalaenopsis Momento Mori by Richard Falle is a printed edition by <a href="http://www.uwe.ac.uk/sca/research/cfpreditions/">CFPR Editions</a> at the <a href="http://www.uwe.ac.uk/sca/research/cfpr/">Centre for Fine Print Research.</a></span></p> <!--EndFragment--><p></p> <!--EndFragment--></span></div><div> <!--EndFragment--></div></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-84250847718985606852011-11-22T09:33:00.000-08:002012-01-20T08:45:10.692-08:00On Vogue<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjteSU38X1yD7xIvEMKZYW3uF36efBejXssAYnbpzEykpbW4T6VXSnNjJu8ylgsjs-nSI1MuqN1xpgx4xpVc3XjFXe4hNqV4yQeuAxoYDZmNgipjULAYCdF3v-IE9QExB93MfqB9V9SI5dW/s1600/IMG_8349.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 223px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjteSU38X1yD7xIvEMKZYW3uF36efBejXssAYnbpzEykpbW4T6VXSnNjJu8ylgsjs-nSI1MuqN1xpgx4xpVc3XjFXe4hNqV4yQeuAxoYDZmNgipjULAYCdF3v-IE9QExB93MfqB9V9SI5dW/s400/IMG_8349.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5677877954827321266" /></a><span class="Apple-style-span" style="font-size:x-small;"><div style="text-align: center;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;"><a href="http://www.arthurbuxton.com/">Arthur Buxton</a>, 30 Years of British Vogue Covers, Pigmented Inkjet Print, 2011</span></span></div></span><!--StartFragment--> <p class="MsoNormal" style="line-height:150%"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"> <!--StartFragment--> </span></span></p><span class="Apple-style-span" style="font-family:georgia;"><p class="MsoNormal" style="line-height:24.0pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><!--StartFragment--> </p><p class="MsoNormal" style="margin-bottom:16.0pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span lang="EN-US" style=" ;font-family:Georgia;"><span class="Apple-style-span" style="font-size:small;">Arthur Buxton is an artist who has recently been invited by <a href="http://www.uwe.ac.uk/sca/research/cfpreditions/">CFPR Editions</a> to produce a limited edition print at the </span><span style="text-decoration:none;text-underline:nonecolor:#0000EE;"><span class="Apple-style-span" style="font-size:small;"><a href="http://www.uwe.ac.uk/sca/research/cfpr/">Centre for Fine Print Research</a></span></span><span class="Apple-style-span" style="font-size:small;"> in Bristol, UK. Buxton's work engages with data visualisation methods that use colour extraction tools to explore trends in the natural world, painting and print media. Using open source software he extracts colours from photographs to create charts and timelines that typically display the five most common colours in each image as a percentage. In this instance, the removal of figurative and formal elements from an image present a series of colour harmonies and trends, alluding to sampling methods, information graphics, automation technologies, and objective forms of re-presentation.<o:p></o:p></span></span></p> <p class="MsoNormal"><span lang="EN-US" style=" ;font-family:Georgia;"><span class="Apple-style-span" style="font-size:small;">The artist explains his most recent work produced with CFPR Editions; 'As the worlds most influential fashion magazine, Vogue acts as an ideal barometer for colour trends. Making use of British Vogue's own online online cover archive I use free software to extract the five commonest colours from each cover and chart them, in Illustrator, by percentage. Arranging these charts into a timeline we begin to see trends emerge - seasonal variations and also in the longer term, a gradual fashion for lighter hues. In my thirty years of British Vogue covers visualisation each column is a year beginning with September (the start of the fashion year) at the top and working backwards to October at the bottom. 1981 is on the right and the timeline runs through to 2011 on the left'.</span></span></p> <!--EndFragment--> <p></p></span><p></p> <!--EndFragment-->Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com2tag:blogger.com,1999:blog-373505513055298833.post-42752194852044167912011-08-27T05:15:00.000-07:002011-08-27T09:29:58.886-07:00Monumental Haptic<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtRgxAoziK5oKWpyHRpypTgbJx_wTe0O_wQFfJH5Y9d6-B4pCzjXwVOIQBf2uzFrRq6CoHR8UpejCkHt-USiJS4odMOwLP-kHEXzNsSlI7Ti6CIQ1sk_lKGr1fQgXrM1dTsv9uFneiSdea/s1600/4.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 198px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtRgxAoziK5oKWpyHRpypTgbJx_wTe0O_wQFfJH5Y9d6-B4pCzjXwVOIQBf2uzFrRq6CoHR8UpejCkHt-USiJS4odMOwLP-kHEXzNsSlI7Ti6CIQ1sk_lKGr1fQgXrM1dTsv9uFneiSdea/s400/4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5645571307547272114" /></a><div style="text-align: center;"><span class="Apple-style-span" style=" ;font-family:georgia;font-size:78%;"><a href="http://www.assafshaham.com/">Assaf Shaham</a>, American Dream (ongoing project)</span></div><div><span class="Apple-style-span" style="font-family:georgia;">
<br /></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;">Assaf Shaham's <i>American Dream</i> series has been created using a flatbed scanner to record a number of printed images that depict monumental structures and buildings. The digitally recorded images in this instance have been 'monumentalized' further by intervening during the scanning process. Here the digital elongation is instigated by the hand in so much as the printed artifact (situated on the scanning bed) is momentarily moved whilst the recording is in progress. </span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-2008540404561390932011-08-09T04:12:00.000-07:002011-08-09T04:55:56.513-07:00Bleeding Pixels<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHwqOv5cjrkWKh5jvEK4TcPzJy8b4Vp6ZuELosIrnvOUDqKf6FnT2w9wX3zHJg0zRtibAQsk59856GFkAZ030shzepgCi9ASEOfP0QFxFY5Jm6OAZTpVb9oafy7bABUBY2KYfvRn_HzCWy/s1600/Paul+Ferragut+Triangulation+Blog+2.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHwqOv5cjrkWKh5jvEK4TcPzJy8b4Vp6ZuELosIrnvOUDqKf6FnT2w9wX3zHJg0zRtibAQsk59856GFkAZ030shzepgCi9ASEOfP0QFxFY5Jm6OAZTpVb9oafy7bABUBY2KYfvRn_HzCWy/s400/Paul+Ferragut+Triangulation+Blog+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5638823235979950082" /></a><span class="Apple-style-span" style="font-family:'lucida grande';"><span class="Apple-style-span" style="font-size:small;"><div style="text-align: center;"><a href="http://www.paulferragut.com/"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;">Paul Ferragut</span></span></a><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;">, Time Printing Machine, 2011</span></span></div></span></span><div><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">
<br /></span></span></div><div><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Ferragut's Time Printing Machine creates a pixelated aesthetic that is realized through durational deposits of ink on paper. By using a time based algorythm to drive a mechanical plotter Ferragut has devised a mark making system that optimizes the relationship between material absorption and image rendering. Ferragut explains "The time print device uses blotting paper with Letraset felt-pen. The felt-pen ink bleed in the paper for a duration relative to the grey value of a pixel. Every "time stain" gradually recreates any image in a pointilist style." The work was produced for Ferragut's MA show at London Central St Matins and further info concerning the artists activities can be found </span><a href="http://www.paulferragut.com/"><span class="Apple-style-span" style="font-family:georgia;">here</span></a></span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com1tag:blogger.com,1999:blog-373505513055298833.post-66721934396257073062011-07-31T05:55:00.000-07:002012-01-03T09:29:43.543-08:00Already made<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSxJdeXVJ2rFZ7sz3FRjRQXgwhZ0TA-IfgxmuwwKUrqJSMEdaim7n66UcMArj_tOQS_jyI5a7lUgEwWuO6qA6sCgBQu3StfqcFtTB-M9nfF0wxiOJcSAs_zSJ6EzgZY1OUYOjZkxdVEk8d/s1600/urinal.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 352px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSxJdeXVJ2rFZ7sz3FRjRQXgwhZ0TA-IfgxmuwwKUrqJSMEdaim7n66UcMArj_tOQS_jyI5a7lUgEwWuO6qA6sCgBQu3StfqcFtTB-M9nfF0wxiOJcSAs_zSJ6EzgZY1OUYOjZkxdVEk8d/s400/urinal.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5635515692624843986" /></a><div style="text-align: center;"><span class="Apple-style-span" style=" ;font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;"><a href="http://robmyers.org/">Rob Myers</a>, <i>Urinal</i>, 3D file</span></span></div><div><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Like Duchamp Myers has enabled an art work to exist by an idea alone. In keeping with Duchamp</span></span><span class="Apple-style-span" style=" ;font-family:georgia;">'s iconic </span><span class="Apple-style-span" style="font-family:georgia;"><a href="http://en.wikipedia.org/wiki/Fountain_(Duchamp)"><i>Fountain</i></a></span><span class="Apple-style-span" style=" ;font-family:georgia;"> (1917)</span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> the artist (Myers) has removed his hand from the work - albeit by employing another to create a potential object to exist, rather than appropriating an existing object and nominating it as art. </span></span></div><div><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Myers <i>Urinal</i> </span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">was created by <a href="http://dustycloud.org/">Chris Webber</a> a </span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">software engineer</span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> who generated the model as three dimensional image so that the digital file could be physically rendered by a 3D printer. The file has been made available by the artist for anyone to download, print and sign (see thingverse</span></span><a href="http://www.thingiverse.com/thing:6261"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> download page</span></span></a><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">). Alternatively (if you don't happen to have a 3D printer to hand) Myers 3D printed Urinal is also available to purchase through </span></span><a href="http://www.shapeways.com/model/212121/"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">shapeways</span></span></a><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">. </span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Although technically </span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Duchamp </span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">did not completely remove the Urinal's possible function I do believe Myers <i>Urinal</i> to be purely ornament.</span></span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-89431551741093922652011-07-10T06:44:00.000-07:002011-07-31T07:16:07.933-07:00Rebel Relief<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8F3JMDCsCAdtSCGOR2Aa9ojUsUFxnjDVANNAgRyczQqbWx_shKuFR_IRVoDU0uFvYaQEjS43y-vufFgHrU7FgnpTfFdL6u3rAAlkGM-arFfkAv8aXuwC6KxXsbjlApil2IxXwpffmYLR3/s1600/IMG_0474.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8F3JMDCsCAdtSCGOR2Aa9ojUsUFxnjDVANNAgRyczQqbWx_shKuFR_IRVoDU0uFvYaQEjS43y-vufFgHrU7FgnpTfFdL6u3rAAlkGM-arFfkAv8aXuwC6KxXsbjlApil2IxXwpffmYLR3/s400/IMG_0474.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5627730407686784882" /></a><div style="text-align: center;"><a href="http://www.samburford.com/"><span class="Apple-style-span" style="font-size:x-small;">Sam Burford</span></a><span class="Apple-style-span" style="font-size:x-small;">, <i>Star Wars Relief</i>, 2011</span></div><div><br /></div><div><a href="http://www.samburford.com/"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">Sam Burford</span></span></a><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">'s <i>Star Wars Relief</i> is a timelapse photograph taken from the film Star Wars IV. Burford uses a bespoke capture device to record the film footage that is then rendered as a series </span></span><span class="Apple-style-span" style=" ;font-family:georgia;">of extended (and abstract) film stills </span><span class="Apple-style-span" style=" ;font-family:georgia;">(<a href="http://www.samburford.com/Painting.html">see example here</a>)</span><span class="Apple-style-span" style=" ;font-family:georgia;">. In this instance the image has been transformed into a surface relief made from silicon - a material previously used in film production to create sets and props. The relief work subsequently has allusions to </span><span class="Apple-style-span" style=" ;font-family:georgia;">pre-digital cinematic model making methods and </span><span class="Apple-style-span" style=" ;font-family:georgia;">aesthetic reference to the surface structure of the Empires Imperial Starships and Space Station.</span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-3500562694380219022011-07-03T01:55:00.000-07:002011-08-27T09:31:57.191-07:00The Pond of Tranquility<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZMSKWxS5T4JTgPYZuLzDw0sr9Kz3Owy31DGaAdOcxzXZNMUWDVUbfV6kDkDjImC5pEPLG5LTyWlQ3FK02dPY6hjhgOL4lwEuGYi6ecenEAd8zrP2DyhUHMbCKDQ7aJVcNN_L7Ym3F_KTE/s1600/untitled_panorama11-b3MK7F.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZMSKWxS5T4JTgPYZuLzDw0sr9Kz3Owy31DGaAdOcxzXZNMUWDVUbfV6kDkDjImC5pEPLG5LTyWlQ3FK02dPY6hjhgOL4lwEuGYi6ecenEAd8zrP2DyhUHMbCKDQ7aJVcNN_L7Ym3F_KTE/s400/untitled_panorama11-b3MK7F.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5625047472199751890" /></a><div style="text-align: center;"><a href="http://www.hauserwirth.com/artists/51/matthew-day-jackson/images-clips/"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">Matthew Day Jackson</span></span></a><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">, </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">Reflections of the Sky</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">, 2010</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">
<br /></span></span></div><div><span class="Apple-style-span" style="font-size:small;">With presentation cue's to Monet's </span><i><span class="Apple-style-span" style="font-size:small;"><a href="http://en.wikipedia.org/wiki/Water_Lilies">Reflections of Clouds on the Water-Lily Pond</a></span></i><span class="Apple-style-span" style="font-size:small;"> Jackson's </span><i><span class="Apple-style-span" style="font-size:small;">Reflections of the sky</span></i><span class="Apple-style-span" style="font-size:small;"> depicts a surface area of the moon that has been rendered by laser etching gypsum board (wallboard or Drywall) - a mass-produced material often used within domestic interiors. The etched pits and troughs that create the images surface topography also retain a gritty interference quality that exists somewhere between the production process and the transmission reception of such distant images.</span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-88651730462508429292011-05-27T08:59:00.000-07:002011-05-29T05:00:50.430-07:00Augmented Print<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2bdHGIvqUEMNHHHA8vNZGRg3U44baTm6f7WFZZKEPTETKw7aHAteUe95uM6c7dBhrdA1LDzvDOcLH6gY-nSMEnRv04_Ot4uYOEHV2cLG6aSOY9FgbYmoO9T2tpp5MI719ncT6ytVGK8wH/s1600/augmented_reality_business_card.jpg.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 314px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2bdHGIvqUEMNHHHA8vNZGRg3U44baTm6f7WFZZKEPTETKw7aHAteUe95uM6c7dBhrdA1LDzvDOcLH6gY-nSMEnRv04_Ot4uYOEHV2cLG6aSOY9FgbYmoO9T2tpp5MI719ncT6ytVGK8wH/s400/augmented_reality_business_card.jpg.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5611426859698307298" /></a><div style="text-align: center;"><a href="http://jamesalliban.wordpress.com/2009/06/03/ar-business-card/"><span class="Apple-style-span" style="font-size:x-small;">James Alliban, AR Business card</span></a></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Also see the application of augmented reality in German </span></span><a href="http://www.youtube.com/watch?v=LRceOYbrVzc&feature=player_embedded"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Suddeutsche Zeitung</span></span></a><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> magazine publication and previous posting the <a href="http://justpressprint.blogspot.com/2010/05/merging-spaces.html">Loaded Surface</a> concerning the integration of the physical space with the digital environment.</span></span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com1tag:blogger.com,1999:blog-373505513055298833.post-87410987637209415002011-04-17T04:09:00.001-07:002011-05-29T06:12:41.074-07:00Analogue after Digital<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCnxOcGq8q9Tm_CmaV8i6WOfBRe0zD2ENM-ySEfC_QStcadDlTKO5yrSL19N7Q7pnWMvUJGzXbAYvuZxC3UaJkBr1b5YHufRDHLXmA40JLs70_c0PREtTvJRAbBOIr_BBweSqb6euHVrYg/s1600/stefan-kuebler.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 293px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCnxOcGq8q9Tm_CmaV8i6WOfBRe0zD2ENM-ySEfC_QStcadDlTKO5yrSL19N7Q7pnWMvUJGzXbAYvuZxC3UaJkBr1b5YHufRDHLXmA40JLs70_c0PREtTvJRAbBOIr_BBweSqb6euHVrYg/s400/stefan-kuebler.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5596507612342335042" /></a><span class="Apple-style-span" style="font-family:georgia;"><div style="text-align: center;"><a href="http://www.hamishmorrison.com/en/Artists/Stefan-Kuebler.html"><span class="Apple-style-span" style="font-size:x-small;">Stefan Kubler</span></a><span class="Apple-style-span" style="font-size:x-small;">, Aljarn, 2007, collaged postcards, 148 x 104 cm</span></div></span><div><span class="Apple-style-span" style="font-family:georgia;"><br /></span></div><div><span class="Apple-style-span" style="font-family:georgia;">Somewhere between <a href="http://www.alapan.com/blog/?p=938">Chuck Close</a>'s grid portraits that pull information inward and <a href="http://www.colectiva.tv/wordpress/tag/tom-friedman/">Tom Friedman</a>'s three dimensional interpolated packaging that explode outward. Stefan Kubler's <i>Aljarn</i></span><span class="Apple-style-span" style=" ;font-family:georgia;"> jumps forward</span><span class="Apple-style-span" style="font-family:georgia;"> within its two dimensional plain -</span><span class="Apple-style-span" style=" ;font-family:georgia;"> a distribution process using multiple copies </span><span class="Apple-style-span" style=" ;font-family:georgia;">of </span><span class="Apple-style-span" style=" ;font-family:georgia;">a single printed image.</span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-67369200297010934002011-04-14T08:25:00.000-07:002011-05-29T06:13:45.878-07:00Loom Moon, I saw you standing alone.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1HGK4Q6FdfETdsM9k2Cv4_1zRk3ITUtdZMG0XDH5Pg6WSXY2Kiq6o7BHtOqTYbHPZyRT7BrXkrAmE8VeczDCjck37qzdPSMdlt4D5D0y5Ds9H2xAUY34ZqNFYbVvxhowD1trncDtLNN5/s1600/F00018.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 394px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji1HGK4Q6FdfETdsM9k2Cv4_1zRk3ITUtdZMG0XDH5Pg6WSXY2Kiq6o7BHtOqTYbHPZyRT7BrXkrAmE8VeczDCjck37qzdPSMdlt4D5D0y5Ds9H2xAUY34ZqNFYbVvxhowD1trncDtLNN5/s400/F00018.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5595464576216033458" /></a><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="font-family:georgia;"><div style="text-align: center;"><span class="Apple-style-span" style=" ;font-family:Georgia, serif;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">Jeff Sanders, </span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">Moon</span></span></i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">, 2007, Jacquard tapestry, 72 inch x 8 inch depth, Edition of 12</span></span></span></div></span></span><div style="text-align: center;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">Published by </span><span class="Apple-style-span" style="font-size:x-small;"><a href="http://www.magnoliaeditions.com/Content/Tap/Tap.htm">Magnolia Editions</a></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family:georgia;"> <!--StartFragment--> <p class="MsoNormal"><span lang="EN-US"><span class="Apple-style-span" style="font-size:small;">Jeff Sanders <i>Moon</i> 2007 is a tapestry work constructed from a digital image. Using a series of interwoven threads the tapestry has been rendered </span></span>by a specialized, electronic Jacquard loom. To get a better view of the Moon see the work at <a href="http://www.magnoliaeditions.com/Content/Tap/Sanders/F00009.html">Magnolia Editions</a>.</p><p class="MsoNormal"><o:p></o:p></p> <!--EndFragment--> </span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-29004979954011143472011-04-10T10:13:00.000-07:002011-04-10T11:21:43.718-07:00Another wry smile<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis8s2CHAe_qWHUKXDbik3nqNR9qs20JM94WtGEkSYiY5-HVD5LM-SwimFrGBNcK4OJdJVXpoujUkWa3wS29-NGWicpykHazG7qOSRzslUhsDyvImJN_d5kmMDMh8KGOY6WNDnGOZueShPa/s1600/replaced-small.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 268px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis8s2CHAe_qWHUKXDbik3nqNR9qs20JM94WtGEkSYiY5-HVD5LM-SwimFrGBNcK4OJdJVXpoujUkWa3wS29-NGWicpykHazG7qOSRzslUhsDyvImJN_d5kmMDMh8KGOY6WNDnGOZueShPa/s400/replaced-small.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5594005121761066546" /></a><div style="text-align: center;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;"><a href="http://mikeruiz.org/">Mike Ruiz</a>, Replaced Mona Lisa, 2011, Oil on Canvas</span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">As described by Mike Ruiz; </span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"></span></span><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"><i>The Mona Lisa with the lady selected then put through Content-Aware Fill (a Photoshop CS5 tool that automatically generates content based on the existing surrounding content of the image and fills in selected area). The resulting image is a potential landscape as interpreted by the software. The image was sent to a painting manufacturer in China where an oil painting was produced</i>.</span></span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-52512083750384812692011-04-05T05:06:00.000-07:002011-04-05T05:20:24.242-07:00Pretty fly for a print guy<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHGZ0FAcVhEOKwObFyxOlRYsL51a47pkRSyDuIQde5wDt6t8-qQUbQWySEJm-aupe97cB_5AYABRjzWtxMwiAPl97gQIZB6-5VuRlvfuLtxJwLk9kA8GdupdXhcJl2n3vLe00yXPBx1472/s1600/3-Dwings.jpeg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 277px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHGZ0FAcVhEOKwObFyxOlRYsL51a47pkRSyDuIQde5wDt6t8-qQUbQWySEJm-aupe97cB_5AYABRjzWtxMwiAPl97gQIZB6-5VuRlvfuLtxJwLk9kA8GdupdXhcJl2n3vLe00yXPBx1472/s400/3-Dwings.jpeg" border="0" alt="" id="BLOGGER_PHOTO_ID_5592070450332064098" /></a><span class="Apple-style-span" style="font-family:georgia;"><div style="text-align: center;"><span class="Apple-style-span"><a href="http://ccsl.mae.cornell.edu/ornithopter"><span class="Apple-style-span" style="font-size:x-small;">3D Printed Hovering Ornithopters</span></a></span></div></span><div style="text-align: center;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:x-small;">Project by Charlie Richter, Floris van Breugel, William Regan, Zhi Ern Teoh</span></span></div><div><span class="Apple-style-span" style="font-size: small;">The Ornithopter project uses 3D printing technology to construct complex wing structures that replicate 'natures design'. See video </span><a href="http://www.youtube.com/watch?v=6gM7NZfibJA&feature=player_embedded"><span class="Apple-style-span" style="font-size: small;">here</span></a></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-89871779811236370962011-03-23T08:52:00.000-07:002011-03-24T07:58:19.684-07:00Interesting thread<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAtV6s3f84j6Vl0qQqUs0ZiCCjsuyjxUYZU0_mR94lxrsOpxzQzVdvSKW1-VsO9-3AUZC-xttJiwGpupZT2QJ8ci5db8Z6Cgwl_tTpiRbLiE-9FYM0jC1SLsLeaRoYBzFUIpZ2Oi8zQQjY/s1600/holodeck2_full_view_540w.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 273px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAtV6s3f84j6Vl0qQqUs0ZiCCjsuyjxUYZU0_mR94lxrsOpxzQzVdvSKW1-VsO9-3AUZC-xttJiwGpupZT2QJ8ci5db8Z6Cgwl_tTpiRbLiE-9FYM0jC1SLsLeaRoYBzFUIpZ2Oi8zQQjY/s400/holodeck2_full_view_540w.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5587304012601401474" /></a><span class="Apple-style-span" style="font-family:georgia;"><div style="text-align: center;"><span class="Apple-style-span" style=" ;font-size:x-small;"><a href="http://www.devorahsperber.com/">Devorah Sperber</a>, </span><span class="Apple-style-span" style="font-size:x-small;"><i>Holodeck: Simulation Program...</i></span><span class="Apple-style-span" style=" ;font-size:x-small;">, 2007-08</span></div></span>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-58523101063551925032011-03-01T03:59:00.000-08:002011-05-30T00:21:01.531-07:00The Human Printer: A Namesake Production<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinYz8hXkxBRzDHMKEfI2Q8AOPJ5muBUCQDiUsv1EjnVzqnBoHXvuDkRU2mOLuddhYBpUIZuhTDfegswnHaORdIb6vay3ZjDWtPoMGYPo9nmpitQHcPQR5JFVLOMe5G945stM-7n2b_KUyb/s1600/humanprinter.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 313px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinYz8hXkxBRzDHMKEfI2Q8AOPJ5muBUCQDiUsv1EjnVzqnBoHXvuDkRU2mOLuddhYBpUIZuhTDfegswnHaORdIb6vay3ZjDWtPoMGYPo9nmpitQHcPQR5JFVLOMe5G945stM-7n2b_KUyb/s400/humanprinter.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5579082333511729810" /></a><div><div style="text-align: center;"><span class="Apple-style-span" style="line-height: 32px; "><span class="Apple-style-span" style="font-size:x-small;">Paul Laidler, </span><i><span class="Apple-style-span" style="font-size:x-small;">The Human Printer.tiff, </span></i><span class="Apple-style-span" style="font-size:x-small;">Produced by <a href="http://www.thehumanprinter.org/">The Human Printer</a></span><i><span class="Apple-style-span" style="font-size:x-small;">, </span></i><span class="Apple-style-span" style="font-size:x-small;">2010</span></span></div> <!--EndFragment--> <p class="MsoNormal" style="text-align: center;line-height: 200%; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">“We shape our tools and thereafter our tools shape us.” (</span></span><span class="Apple-style-span" style=" ;font-family:georgia;">M. McLuhan, 1964)</span></p> <p class="MsoNormal" style="line-height:200%"><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">The Human Printer.tiff</span></span></i><span style="font-style:normal"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"> is part of a series entitled </span></span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">Print is Dead and</span></span></i><span style="font-style:normal"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"> was produced by a group called <a href="http://www.thehumanprinter.org/">The Human Printer</a>. The group consists of eleven individuals who specialise in reproducing by hand, the digitised rendering of a half-tone image that is normally associated with mechanical print processes. The Human Printer group has adopted the remote Print-on-demand facility for transferring digital files, although the potential to rapidly produce large editions is somewhat limited due to the extensive labour involved and the small-scale production of the studio. </span></span></span><i><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">The Human Printer.tiff <span class="Apple-style-span" style="font-style: normal;">(<a href="http://www.thehumanprinter.org/index.php?/root/currently-printing/">see source file here</a>) </span></span></span></i><span class="Apple-style-span" style=" ;font-family:georgia;font-size:small;">took just over two weeks from order to receipt.</span></p> <p class="MsoNormal" style="line-height:200%"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"> <o:p></o:p></span></span></p> <p class="MsoNormal" style="line-height:200%"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">In keeping with the mechanised half-tone print process, the digital image is printed as colour separations using the four printing channels of CMYK. To produce the final drawn image, each colour separation is traced individually on to a single sheet of semi-transparent paper so that collectively, the channels register with one another. The layering order of each colour follows the half-tone print procedure using four different coloured pens that correspond to each of the separate colour channels.The Human Printer’s transcription process includes the visual descriptions associated with reproduction through the mechanised image. The Human Printer’s rendering of a coarse photographic half-tone and its associations with automation are reminiscent of Andy Warhol’s 1963 comment “I want to be a machine”. </span></span></p><p class="MsoNormal" style="line-height:200%"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;">Further overtones of convergence between humans and technology reference a (hypothetical) Post-human future where a biological generation of humanity ends and technological one begins. The influence of science and technology upon the human condition has been a constant source of inspiration for the field of science fiction. In more recent times the fictional associations with phenomena such as implants, smart materials and cloning have accelerated the science fiction world toward are own.</span></span></p><p class="MsoNormal" style="line-height:200%"><span class="Apple-style-span" style="font-size:small;">The idea that a fiction can become functional through an associated process has been incorporated in to the selection of a specific technology for the work entitled </span><i><span class="Apple-style-span" style="font-size:small;"><a href="http://justpressprint.blogspot.com/2010/03/stretch-out-with-your-feelings.html">Stretch out with your feelings</a>.</span></i></p><p class="MsoNormal" style="line-height:200%"><i><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">The Human Printer.tiff <span class="Apple-style-span" style="font-style: normal;">is part of larger series of work </span></span></span></i><i><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-style: normal; ">entitled </span>Print is Dead<span class="Apple-style-span" style="font-style: normal; "> </span></span></span></i><i><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-style: normal;">that continues the theme of humans as printers and the broadening definition of the print medium in the digital age. Collectively these works have contributed toward the development of paper for the Impact 7 2011 printmaking conference in Australia - further details can be found <a href="http://www.uwe.ac.uk/sca/research/cfpr/staff/paul_laidler/presentations_papers/The_Human_Printer_series.html">here</a>.</span></span></span></i></p><!--StartFragment--> <p class="MsoNormal" style="line-height:200%"><span style="font-style:normal"><o:p></o:p></span></p> <!--EndFragment--> <!--EndFragment--> </div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com2tag:blogger.com,1999:blog-373505513055298833.post-27536021808821391472011-02-26T01:58:00.000-08:002011-02-26T02:03:30.538-08:00Moire Paintings<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrj2VWgLWwH0k1AYLKvbzCOv2nvfzksP6Cx2GE9nD5rWbrrp8qNK6qmLOcC5kVXAGUyO8RKdhRs9z3MGKzxOrhzIxJPTK1Ld6qRMxAvdAHqtJbmYWdurZSllMeYomJgtGHqaci0seFehoH/s1600/Hugh-Scott-Douglas_4.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 246px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrj2VWgLWwH0k1AYLKvbzCOv2nvfzksP6Cx2GE9nD5rWbrrp8qNK6qmLOcC5kVXAGUyO8RKdhRs9z3MGKzxOrhzIxJPTK1Ld6qRMxAvdAHqtJbmYWdurZSllMeYomJgtGHqaci0seFehoH/s320/Hugh-Scott-Douglas_4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577935828437251954" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH0zvdzH7hixLK9geI5WZPZHWs-FyS7HoPsh4CfJ1yuSvbV9SJv-R6ZkruaJgyZwEwX8C-ZGFOeV-H2DSlZn5POwu8QAl0uj_76or7Uyk_vYBqiP2Op6vrq2EBbL_794d41J1h9eZ0ED5O/s1600/Hugh-Scott-Douglas_2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 244px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH0zvdzH7hixLK9geI5WZPZHWs-FyS7HoPsh4CfJ1yuSvbV9SJv-R6ZkruaJgyZwEwX8C-ZGFOeV-H2DSlZn5POwu8QAl0uj_76or7Uyk_vYBqiP2Op6vrq2EBbL_794d41J1h9eZ0ED5O/s320/Hugh-Scott-Douglas_2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577935825403385986" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs1RzAAgBbgH7GxyXee8Nf3Gw0cUNj2P7pOxU0oD02b7WAcIsV46VFioYMqRyQbhB3MB8jVYbLScWS-AoCBGudyML93uGs4949sHNjdheY8Mk50TSCrUwzolEHLtwklVu70Mu8iubAgdo7/s1600/Hugh-Scott-Douglas_1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 246px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs1RzAAgBbgH7GxyXee8Nf3Gw0cUNj2P7pOxU0oD02b7WAcIsV46VFioYMqRyQbhB3MB8jVYbLScWS-AoCBGudyML93uGs4949sHNjdheY8Mk50TSCrUwzolEHLtwklVu70Mu8iubAgdo7/s320/Hugh-Scott-Douglas_1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577935824166088658" /></a><span class="Apple-style-span" style="font-size:x-small;"><div style="text-align: center;"><a href="http://hughscottdouglas.com/">Hugh Scott-Douglas</a>, Moire Paintings</div></span>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0tag:blogger.com,1999:blog-373505513055298833.post-27781638203642665102011-02-26T01:23:00.001-08:002011-02-26T01:29:14.843-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinurRfrA0KYIGc9WJ4aG6ZaHdQ65s8qvbnN1-s_Czv9zZO9txR_fhVFhYISNsTBwfI3dN8JlWewOzoE-ZWYt_qRcVqEQ5T3upGVwh0Bg3qkP_0nOOhDnfdnPUZnhI9dpFljyjo2reEznzf/s1600/ryujinakamura_2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinurRfrA0KYIGc9WJ4aG6ZaHdQ65s8qvbnN1-s_Czv9zZO9txR_fhVFhYISNsTBwfI3dN8JlWewOzoE-ZWYt_qRcVqEQ5T3upGVwh0Bg3qkP_0nOOhDnfdnPUZnhI9dpFljyjo2reEznzf/s320/ryujinakamura_2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577927299944605570" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwhyTKfF6L4Fg-6TmTv6P7E0nJz0FpKBruRUCHbojjdvi7fPQ9Mx3mBr0P9mG4CP_96BzRbBaNQxgfVC3TnZVQZYZ1LqPgsIQHLVjBFAytQfxtaS3UgS-P1koUd8z22KgrZw8mmVdqnRy2/s1600/ryujinakamura_1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwhyTKfF6L4Fg-6TmTv6P7E0nJz0FpKBruRUCHbojjdvi7fPQ9Mx3mBr0P9mG4CP_96BzRbBaNQxgfVC3TnZVQZYZ1LqPgsIQHLVjBFAytQfxtaS3UgS-P1koUd8z22KgrZw8mmVdqnRy2/s320/ryujinakamura_1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577927300792507938" /></a><span class="Apple-style-span" style="font-size: x-small;"><div style="text-align: center;"><a href="http://www.ryujinakamura.com/">Ryuji Nakamura</a>, Midget & Giant</div></span><div style="text-align: left;"><span class="Apple-style-span" style="color:#0000EE;"><u><br /></u></span></div>Anonymoushttp://www.blogger.com/profile/04550838797218408327noreply@blogger.com0