“What’s so Hard about Hardcopy (or” The works of man, the denizens of the compost heap”)” presented by Hall and Moline

Symposium:

• ISEA96: Seventh International Symposium on Electronic Art
• More presentations from ISEA96:  

• What’s so Hard about Hardcopy (or” The works of man, the denizens of the compost heap”)

• Lane Hall
• Lisa Moline

• Poster Statement

  Abstract

  We love computers for bringing us powerful new possibilities for image manipulation. But we also love the good old physical properties and qualities of traditional paintings and prints: their scale, texture, materials, surface… How can we have the best of both worlds, especially if we don’t have access to expensive, high output devices? Our collaborative work has been an open exploration of this question of output. Compelling work always hinges on compelling ideas and images, but how can we make those ideas physical? We would like to present our explorations and discoveries, using slides, discussion and examples of work (small prints and books). We will discuss our combination of traditional and digital printmaking, focussing on these topics:

  1. large scrolls and modular scale: exploiting the multiple in installations…
  2. dot matrix impact printing: stenciling, transferring inks, direct printing…
  3. Laserprint transfers with gum Arabic: tiho printing without plate, stone or press…
  4. Laserprint on mylar used as aqutint etching: if it holds ink, print it!
  5. exotic papers and materials for printing: Japanese and rag paper, “found” texts, metal leaf…

  Our work is also an exploration of nature; the realm of the microscopic, the subjects of botanists and zoologists, the denizens of the compost heap, the humble and discarded. We feel we have some interesting insights into the integration of printmaking, physical process, the natural world, and digital technology. We like to sit down at the keyboard with both ink and dirt under our fingernails! Our presentation should be interesting to anyone with a general interest in computer image making, eccentric techniques for achieving hardcopy, and visual art.

  Intro

  In the last ten years, we have focussed much of our energy into making art which integrates digital technology with our existing interest in the natural world, and our expressive experiences as gardeners and printmakers, experiences which are both physical and messy. Combining the ‘denizens of the compost heap’ with the “works of man” – the computer – has
  proved quite challenging.

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• Poster