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 here
Mark Pernice & Christian Hanson, Photo Booth Mask, 2010
Originally a distorted portrait captured using Apple's Photo Booth application Pernice and Hanson construct the recorded image distortion as a three-dimensional mask.
The interventionist work by Saunders and in particular 'ever onwards' presents the physically rendered form of Photoshops liquifying filter. The extrusion of the chairs arm beyond its usual form literally creates a slippage from one space to another.
"I'd rather be a fake somebody than a real nobody"
-Tom Ripley
There is a five second segment (between 2:00 and 2:05) of footage where the avatar character enters a stairwell and descends a concrete corridor. For a split second the appearance of the virtual and physical world become inseparable.
The realistic quality of the polychrome sculpture and their visual presence in the 17th Century raised concerns within certain religious establishments. These concerns were observed through the sculptures relationship to the real and the possibility that the faithful might worship the sculpture itself, not what it represented.
Paul Laidler, Is it a game, or is it real, Unlimited (Hardback & soft cover versions), Produced throughBlurb.com
The book work Is it a game, or is it real is a reinterpretation of David Bischoff's War Games. In this instances a remake of the Penguin book that uses the film adaptation of Bischoff's novel as the cover image. The visual
reference of the film as a printed cover image is employed by publishers as
marketing tool to sell more copies of adapted novels. Marcella Edwards,
senior commissioning editor at Penguin Classics sees the film’s influence as a
way to tap into new markets. The film image appears to make some classic texts
more approachable for these new audiences. Edwards describes this phenomena
where the text “becomes less classic, less difficult. You don’t need a PhD to read this
stuff - it’s readable". Here the novels text is proceeded by its cinematic cover image a reinterpretation that for many becomes the original, diluting any
beginning or end - and somewhat ironically, a reality made out of fiction.
Here the
reinterpretation/remake foreground's the digitized theme of the novel, period and production process. Firstly the work
presents the digital pixel aesthetic of the 1980's although in this instance
the digitization is not screen based but instead simulated by printed dots that
construct the appearance of pixels. For instances the book work Is it a
game, or is it real is a digitally recorded version of the (1983 Penguin) publication although the transition from physical to digital becomes pronounced
through the flatbed scanning of the books three dimensional form and the
pixellated appearance of both text and image. The book has been recorded using
the different resolution sizes of 12, 32, 42 and 52 ppi (pixels per inch). These
resolution settings assigned to the recording of the book are purposely set
below the standard amount of pixel information required for reading digital
images on screen (72ppi) and in print (300ppi). I might add that when using automated POD facilities for producing work, low resolution preference generally sit outside of the systems approved optimum print settings. Subsequently the 'computer says no' the system breaks down and you need to convince a human directly (via the online help desk) that you want pixelation.
As
well as the physical, printed edition of the book, the Blurb facility also offers
a virtual rendering of the book format that can be considered as a digital
edition in the truest sense. The electronic format otherwise known as an
e-book, allows the user to view the on screen flipping of pages as animated
actions that refer to the experience of its physical counterpart. Although the
e-book phenomenon engages with the dynamic potential of the Internet and allows
publishers to reduce publishing costs, it does not currently provide the best
reading experience to the customer.
The
pixellated appearance of Is it a game or is it real? as an e-book initially
makes the viewer question the technology as a reliable tool for reading
digitised information. Viewed on screen the image appears to have become
corrupted, or the correct resolution setting has not been assigned to the
digital file. The assumption that the e-book is not a true representation of
the printed version is re-addressed once seen in conjunction with the printed,
signed edition. As an artist’s book, the signature confirms the intentions for
the final printed results and the subsequent reading of the physical work as an 'unsophisticated' e-book facsimile. In one sense, the book fails to function before the concept
reveals the object’s primary function as an artwork that appropriates the
formal designs of the book format.
The appropriation and function distinctions
resonate with Michael Craig-Martin’s thinking of real objects as if they were
art. Here Craig-Martin considers utilising the characteristics of objects
rather than the Duchampian idea of art by nomination, “The defining aspect of an object is what
it is used for e.g. scale, material, look – using their functionality as a device to
make art from.” (Cork, Michael Craig-Martin, p. 43.) However, the resulting book as an art object
is not in the strictest sense a direct appropriation of a previously existing
object. The work is an appropriation of an object’s function that is conceived
and realised in conjunction with the object’s associated on screen presence.
And
finally, like the film/novel the artist book
has distopian undercurrents concerning digital technology and our trust in its
utopian design. The POD facility Blurb highlights the relative ease with which
one can copy, reproduce, store and send digitized imagery/objects without any
concern for origins or authenticity. Further more the rapidity with which this
technology moves raises archiving issues concerning the compatibility and
'readibility' of digital information between old and new software. Data is
either lost or interpolated - are we preserving the past or distorting it?
Is
it a game, or is it real fuses past, present, text, image, fact and fiction as an
artwork that is interpreted through its mediation. Subsequently the work
invokes a self-conscious presence, perhaps referencing Bischoff's vision of
computer consciousness. Also
see Edges of a Hardcore for further usage of the pixel aesthetic and ISSUU (an alternative e-publication platform) utilised for a digital Panorama workshop.
Is it a game, or is it real is in the artist book collection at the V&A
P. Laidler, Stretch out with your feelings, 2009, Laser Engraving
The orb image depicted in the photograph above has been burnt with a laser into the surface of a black heavy weight cotton based paper. The laser engraved orb image in the paper is a ‘Jedi training remote’ from the film Star Wars. In this instance the training remote image is only visible because of the resulting topography that is burnt (by the laser) into the depth of the paper. Therefore the orb image is described by angle, light and the papers darker fibers that sit beneath the (slightly lighter black) paper surface.
Form follows Fiction:
Upon our first encounter with the ‘Jedi training remote’ (in the film) we find Skywalker struggling to focus his Jedi abilities during the laser training exercise. There after it is decided that Skywalker should be blinded allowing the force to guide his actions instead of his eyesight or to 'let go of his conscious self'. Now blinded by 'the blast shield' Luke sees nothing except darkness (black paper) by using the force Luke is able to render the objects image in his mind (the image on the black paper). Although in his minds eye the object is devoid of physicality yet Skywalker has the ability to sense the training remotes presence in a space (the laser cut depthwithin the flat space of the paper). The realisation that the Jedi training remote is essentially both image and object creates a sense of mystery around the works visual presence - perhaps drawing further parallels with the order of the Jedi Knight!
Stretch out with your feelings is part of a continuing fascination with oscillations between image and object and fact and fiction. Subsequently I have an interest in film props and replicas where our associations with these objects are generally through their ‘on screen’ image presence. In this context film props are essentially objects that are preceded by their image, they are able to traverse fiction and reality when we consider that fact that they are 'real fictional' objects.
Stretch out with your feelings was conceived around the idea of creating a 'real fiction' where a physical object (an artwork) would be literally formed by some aspect of its fictional reference. In this instance the laser technology was used to initiate the traversing between fiction and reality. Here laser cutting technology refers to both the Jedi remotes fictional function (shooting lasers at Skywalker) and the actual technological process that renders the Jedi training remote visible in Stretch out with your feelings. The self-referential play around the idea of creating real fictions also has a resonance with the rapid advancement in science and computing industries. What was once thought to be only possible in science fiction is now becoming 'science faction'.
The work was included in The International Experimental Engraving Biennial 2011. See IEEB4 catalogue and video of the work installed at the IEEB4 Exhibition, Brancovan Palaces Cultural Center, Romainia.
Tom Friedman, Untitled (Total), 2000 & Robert Lazzarini, Chair, 2000
"The core challenge of digital art is to establish the relevance of the physical space in relation to virtual space"
John Maeda
Objects conceived with their digital image space intact - that then occupy our (none virtual) environment have a disorientating effect upon our sophisticated visual senses. Interestingly the inclusion of the mediatory experience (printed or electronic) within an art object has to some degree warranted ones physical presence with a 'virtually real' situation. Without this physical and real time interaction the oscillation between real and virtual space is lost. Here the reproduction process provides nothing more than 2D collage.
Paint becomes print and print becomes paint (the surface conceals and reveals). I have always experienced that the actuality of things is never how you expect them to be, whether this is a disappointment or a pleasant surprise the acknowledgement of the 'experience' is worth remembering. The inclusion of this occurrence within an artwork seems particularly poignant when print is used to disturb the surface - after all our original experience of artworks are often through its printed reproduction.
'Just Press P' has been created as an online space that engages with post digital practice in the graphic arts. In this instance the relationship with graphic arts practice relates to the discipline of printmaking and the realization of physical artefacts in the digital age. Here the post digital emphasis does not negate the use of digital technology but seeks to consider its influence upon making and contemporary craft orientated pursuits. By embracing both physical rendering and digital thinking the blogs focus maybe best described as the period of analogue after digital.
View Dr Paul Laidler's profile
