It has been suggested by a range of established commentators that digital technology may have potentially created a ‘mental change’ within the creative process of making graphic images and objects. Although this statement is somewhat broad and our ability to understand change often requires a certain amount of time to have passed (before the significance of an event may be better understood) the compulsion to begin considering these ruminations has been central to my own practice and the subsequent initiation of a practice related project entitled ‘Looking Through the Eyes of Machines as Humans’.
The technologically informed scene for the project comments on the emergence of Post-digital making in the Graphic Arts and seeks to examine how technology has expanded conceptual and procedural possibilities for making prints. The exploration of both digitally mediated production methods and themes that are symptomatic of a digital age attempt to speculate upon or reveal forthcoming incarnations of a Post-digital mindset. For example, the continuous integration of digital technology into all aspects of our lives is having a profound impact on how we physically interact, communicate, make and respond to phenomena – tactile sensibilities that may recede or mutate as the digital native matures.
The initiation of the project has taken the form of an international print exchange between Graphic Arts programmes at UWE (University of the West of England, Bristol, UK); MICA (Maryland Institute College of Art, Baltimore, USA) and UCM (Faculty of Fine Arts of the Universidad Complutense de Madrid). The curatorial premise for the exhibition is a practice based inquiry that aims to begin mapping a Post-digital response to making in the graphic arts. The exhibition presents a cohort of emergent practitioners from the disciplines of Fine Art Printmaking, Graphic Design and Illustration.
Laidler, P. (2017, December). Looking through the eyes of machines as humans. Paper presented at Post-digital printmaking. Redefinition of print