Output details

Digital originals: reproduction as a space for design

Briggs conducted two of six interviews reported on, carried out qualitative analysis on all the data and drafted out the paper. Blythe lead the concept, conducted four interviews, and wrote the majority of the introduction and conclusion. Hook and Olivier were just becoming involved in a collaboration with one of the participating artists.

Blythe, Briggs, Olivier and Hook's paper was accepted to NordiCHI early on in the EPSRC Digital Originals project and sets out the field of study. Preliminary concept design work is outlined on which both 'Unlimited editions: three approaches to the dissemination and display of digital art' and Repentir build.

NordiCHI is one of the leading HCI conferences with a rate of 25% acceptance in 2012. The paper makes an original contribution to the field by articulating the crisis around traditional notions of limited fine art print runs in digital contexts. That is, that limiting production as a way of conveying value is upset when digital files are so readily copied and shared without diminution of image quality. While outlining some of the problems for artists working in digital media, the paper also demonstrates how new and creative approaches to reproduction can open a space for innovation. The paper was important in helping to frame a subsequent body of related work around the notion of the digital original.

Concept designs discussed in the paper are informed by Briggs and Blythe's 'No oil painting: digital originals and slow prints' (2012).