Human automation & the post-digital print

Laidler, Paul

Abstract

Today we are surrounded by digital systems; machines and devices that offer countless possibilities for producing graphic artefacts that are unique to this period. Similarly the distinction between whether or not something is digital or physical appears to be receding within the post-digital mindset. This shift is simultaneously extending a graphic language for the discipline of printmaking whilst potentially displacing the nature of print practice.

These opposing, technologically-informed positions have led me to create a series of mediated artworks that attempt to question the scope of a discipline. The resulting series of artworks titled Print is Dead are not prints in the truest sense; printmaking is embedded as a means to consider the broadening definition of ‘print’. In this instance, printmaking is considered as an expanded term through the production of paintings and drawings whilst the digitally-mediated ‘print’ is realised through a Print-on-Demand model.

Paper given as part of the Aesthetics of Displacement: The Graphic Evidence panel at the CAA conference, Washington USA.

• Presentation Conference Type: Conference Paper (unpublished)
• Conference Name: 104th Annual Conference of the College Art Association (CAA)
• Start Date: Feb 3, 2016
• End Date: Feb 6, 2016
• Acceptance Date: Nov 20, 2014
• Publication Date: Feb 2, 2016
• Peer Reviewed: Peer Reviewed
• Keywords: graphic artefacts, digital, physical, post-digital, print
• Public URL: https://uwe-repository.worktribe.com/output/914278
• Publisher URL: http://conference.collegeart.org/programs/aesthetics-of-displacement-the-graphic-evidence/
• Additional Information: Title of Conference or Conference Proceedings : CAA Conference