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dc.contributor.authorMosely, Timothy
dc.date.accessioned2020-02-06T01:11:43Z
dc.date.available2020-02-06T01:11:43Z
dc.date.issued2018
dc.identifier.isbn978-84-09-07801-1
dc.identifier.urihttp://hdl.handle.net/10072/391126
dc.description.abstractThe emergence of haptic aesthetics from a resurgent engagement with touch in academe offers new tools for critical discourse in print culture. This holds specific relevance for artists who employ the autographic print within their art practices. Ruth Pelzer-Montada gives texture to this potential when drawing attention to the insoluble dialectic indexically placed within prints through touch, eg absence and presence . Framed within haptic aesthetics this primal touch, varyingly evident in all prints, resists the dismantling of its aura, and finds an ally in the “object” of Peircean semiotics. At its foundation the indexical print keeps us in touch with the real, i.e Peirce’s object, activating our haptic perception. Rather than a solely optic reception (projecting interpretations onto the print) we can sustain an investigatory movement over, across or around a print from its production to its end. Such an autographic touch provides considerable scope for artists to radically decenter us. This paper is integral to a body of work created through studio research into print culture and the haptic. The research employed papermaking and pulp printing to critically investigate the relationship between touch and sight, the outcomes of which inform the production, reception and evaluation of prints. A folio of these outcomes is presented at an Open Portfolio session of IMAPCT 10.
dc.languageEnglish
dc.languageSpanish
dc.language.isoeng
dc.language.isospa
dc.publisherSM Pro Art Circle
dc.publisher.placeSantander, Spain
dc.publisher.urihttps://www.impact10.es/
dc.relation.ispartofconferencenameIMACT 10 Encuentro International Multidisciplinary Printmaking Conference
dc.relation.ispartofconferencetitleIMACT 10 Encuentro
dc.relation.ispartofdatefrom2018-09-01
dc.relation.ispartofdateto2018-09-09
dc.relation.ispartoflocationSantander, Spain
dc.relation.ispartofpagefrom574
dc.relation.ispartofpageto577
dc.subject.fieldofresearchArt Theory and Criticism
dc.subject.fieldofresearchcode1901
dc.subject.keywordsartists books
dc.titleThe autographic touch - A silver minnow of printmaking
dc.typeConference output
dc.type.descriptionE2 - Conferences (Non Refereed)
dcterms.bibliographicCitationMosely, T, The autographic touch - a silver minnow of printmaking, Proceedings of 10th International Multi-disciplinary Printmaking, Artists, Concepts and Techniques Conference (IMPACT 10), 2018, pp. 574-577
dc.date.updated2020-01-31T00:49:27Z
gro.rights.copyright© The Author(s) 2018. The attached file is reproduced here in accordance with the copyright policy of the publisher. For information about this conference please refer to the conference’s website or contact the author(s).
gro.hasfulltextFull Text
gro.griffith.authorMosely, Tim R.


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    Contains papers delivered by Griffith authors at national and international conferences.

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