VR eye for the print guy

3D Printed Drawings made in Virtual Reality, UWE Bristol

After recently attending a workshop entitled Volume to Voxel (put together by the UWE fabrications team) I have been able to begin considering the mediated relationships between drawing, modeling, scanning and printing – using virtual reality software. Although initial thoughts are still processing the possibility to experience a space that enables one to create (and manipulate) images as virtual forms is somewhat ‘physically’ liberating – yet  visually perplexing.
The images below are a continuation of an idea started during a residency at the University of Texas at Austin in January 2018.  The work builds upon the idea of the remake (associated with printmaking as a reproductive medium) and the possibility to enact a physical / material characteristic associated with digital images and environments.

 

 

Image preparation for Laser Engraving, UT Austin
Laser Engraved image into MDF, UT Austin
Clay relief form engraving used for scan and import into VR, UWE Bristol
VR View of 3D scanned form enlarged

Satisfaction Guaranteed

Beneficial Shock, The Sex Issue, 2018

Laidler, P. (2018) Satisfaction Guaranteed, Beneficial Shock, Issue 3, pp 78-83 ISSN 2399-5173

I was recently invited to write and illustrate an article for the Unconventional Cinematic Adventures Magazine Beneficial Shock. Each issue sets a themed topic for writers, illustrators and designers to research and respond to – in an unconventional nature. The first two publications presented the themes of food and the mind, the third issue posits sex as the theatrical field of inquiry! Needless to say I pitched a technological angle that referenced SciFi – keeping in mind that all good Science Fiction entertains possible futures!

The fully illustrated article (and many others) on the theme of cinematic sex can be found on the Beneficial Shock website but for now here is a preview of the beginning pages and opening paragraph.

Benefical Shock, Layout design by Gabriel Solomons

The Pleasure Bot, the Gynoid, the Electric-Gigolo, or my personal favorite the Romeo Droid are just some of Science Fiction’s contributions to the development of the android as sex worker. Notably (and as any Sci-fi aficionado would remind us) such technological foresight is often a precursor to our own – not too distant future. It will therefore come as no surprise that the development of artificial intelligence and virtual reality are considered to be the missing link within the sex industry and the manufacture of technologically-enhanced products and experiences. Similarly, many esteemed futurologists are predicting that by 2050 (not 2049) artificial intelligence will have become so integrated within society that it will be commonplace for humans to have sex with robots… Now scrub that image out of your head and let’s remind ourselves that all technology (if we listen to Charlie Brooker) should come with a warning sign. Sexnology (that’s Sex + Technology) is probably pretty high up there on the cautionary list, but whether we like it or not people ‘The robots are coming’ – no pun intended!

 

Mapping Post-digital Practice

Printmaking Today Journal

Laidler, P. (2018) Mapping Post-digital Practice in the Graphic Arts, Printmaking Today, Vol 27 No 2 Summer, p.15 ISSN 0960 9253

Article Intro
It has been suggested by a range of established commentators that digital technology may have potentially created a ‘mental change’ within the creative process of making images and objects. Although this statement is somewhat broad and our ability to understand change often requires a certain amount of time to have passed (before the significance of an event may be better understood) the compulsion to begin considering these ruminations has been central to my own practice and the subsequent initiation of the ‘Looking Through the Eyes of Machines as Students’ exhibition. The project is an international print exchange between Graphic Arts programmes at UWE (University of the West of England, Bristol, UK); MICA (Maryland Institute College of Art, Baltimore, USA) and UCM (Faculty of Fine Arts of the Universidad Complutense de Madrid). The curatorial premise for the exhibition is a practice based inquiry that aims to begin mapping a Postdigital response to making in the graphic arts. The exhibition presents a cohort of emergent student and graduate practitioners from the disciplines of Fine Art Printmaking, Graphic Design and Illustration and will be exhibited at the Impact 10 Printmaking Conference in September 2018. Full version of article available at Cello Press