Panel: Digital Print
It seems obvious to say that software is man made, but this fact does have far-reaching implications. Each program is the structured vision of an individual or group of individuals, through which the artist must work. Decisions concerning the style of a drawn line are made at a conscious level, whereas in conventional drawing, decision-making occurs at a more intuitive level. In addition, there is the intervention of the display itself, as distinct from the final (printed) output. The screen imposes a notion of completeness from the outset, a structurally uniform matrix of pixels of equal weight — in essence, a perfect democracy of surface. The image is constrained by the dimensions of the screen, compelling the artist to work centrally, to peer in; the perimeters of a piece tending to lose their significance. The screen imposes a viewing distance for both user and viewer. During output, the technology used in translation and printing applies its own authority and perfection, defying any further intervention.
This presentation will consider the use of computing within fine art practice in ways that challenge the authority of technology whilst maintaining a physical relationship with the work.
- Paul Coldwell (UK), Camberwell College of Arts