The Gift of the Gab?: A Design OrientedSociology of Young People's Use of Mobiles
Computer Supported Cooperative Work
Technology as Experience
MusicCube: making digital music tangible
CHI '05 Extended Abstracts on Human Factors in Computing Systems
Proceedings of the 4th decennial conference on Critical computing: between sense and sensibility
Tangible jukebox: back to palpable music
Proceedings of the fourth international conference on Tangible, embedded, and embodied interaction
You Are Not a Gadget: A Manifesto
You Are Not a Gadget: A Manifesto
Network Exchange Patterns in Online Communities
Organization Science
Digital originals: reproduction as a space for design
Proceedings of the 7th Nordic Conference on Human-Computer Interaction: Making Sense Through Design
Wet pixels: from digital to analogue originals
CHI '13 Extended Abstracts 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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The paper reflects on three approaches to the dissemination and display of digital art. \'1c"s[edition]\'1d" is a novel, web-based service that offers limited editions of "\'1cdigital prints"\'1d. Analysis of user comments suggests that the metaphor of a \'1c"limited digital edition"\'1d raises issues and to some extent is resisted. The second approach is the Flickr Brushes Gallery, where digital painters post images and comment on one another's work. Analysis of comment boards indicates that the shared art and comments are a form of gift exchange. Finally, the paper discusses a field study in which artists exhibited their work as it develops over time in digital frames and also in an immersive digital projection room. Analysis of field notes and interviews indicate that the digital frame approach was unsuccessful because of aesthetic and environmental concerns. The immersive projection suggested that more experiential approaches may be more interesting. It is argued that there is an inherent resistance in digital media to previous models of art commoditization. None of the approaches discussed here resolve the dilemma but rather indicate the scope and complexity of the issues.