Sense and sensibility: evaluation and interactive art
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
The drift table: designing for ludic engagement
CHI '04 Extended Abstracts on Human Factors in Computing Systems
Introducing participatory design in museums
PDC 04 Proceedings of the eighth conference on Participatory design: Artful integration: interweaving media, materials and practices - Volume 1
Aesthetics and interactive art
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The video window: my life with a ludic system
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Funology: from usability to enjoyment
Funology: from usability to enjoyment
The lens of ludic engagement: evaluating participation in interactive art installations
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The rhetoric of interactive art works
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Interaction criticism and aesthetics
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
The prayer companion: openness and specificity, materiality and spirituality
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Ethnography considered useful: situating criticality
Proceedings of the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia on Computer-Human Interaction
Wet pixels: from digital to analogue originals
CHI '13 Extended Abstracts on Human Factors in Computing Systems
Unlimited editions: three approaches to the dissemination and display of digital art
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Repentir: digital exploration beneath the surface of an oil painting
CHI '13 Extended Abstracts on Human Factors in Computing Systems
Apps for art's sake: resistance and innovation
Proceedings of the 15th international conference on Human-computer interaction with mobile devices and services
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This paper reports findings from a qualitative study of a group of artists in the North of England. It focuses on the impact of digital technology on their printmaking and wider art practice. Four major themes emerge: apprenticeship, networks, authenticity and commodification. Each of the artists describes a long process of educational and professional apprenticeship. They reflect in detail on the value of networks of support not only in generating contacts for potential professional development but also in affirming their identity as an artist. Current practices around the production of Giclée prints are considered in detail and related to more general problems of what constitutes authentic work and the problems of commodification. After reporting findings from the qualitative study the paper presents initial concept design work around the notion of a "slow print". It also discusses an experience prototype that reveals rather than conceals digital practice. It considers the notion of an original as a social practice and positions reproduction as a space for design.