This is Not a Pixel: Building trust in digital art through the blockchain

This paper discusses a range of perspectives on the author’s recent research activities in the field of digital painting. The medium of the pixel is celebrated with reference to the history of accessible computer graphics systems, and the value of data-only digital art is considered. Drawing on the author’s digital art practice and appropriating ideas from quantum theory, this paper argues that human labour still has value in an increasingly algorithm-centric world. The problem of conferring provenance on purely digital artworks is examined through a discussion of newly available blockchain technologies, and an offer is made to gift ownership of some of the author’s virtual paintings to the Computer Arts Society.

Content

Author and article information

Contributors

Ian Truelove

Conference

Publication date: July 2019

Publication date (Print): July 2019

Pages: 144-147

Affiliations

[0001]The Leeds School of Art Architecture and Design Leeds Beckett University Broadcasting Place Leeds, LS2 9EN, UK

Article

DOI: 10.14236/ewic/EVA2019.28

SO-VID: 3d361a81-8a45-40c3-a8f3-78e6d5e36264

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2019

Conference acronym: EVA 2019

Conference number:

Conference location: London, UK

Conference date: 8 - 11 July 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2019.28

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

Ascribe.io 2016 FAQ https://www.ascribe.io/faq/ retrieved 6 September 2016 )
M. Betancourt 2013 Theory Beyond the Codes. Automated Labor: The ‘New Aesthetic’ and Immaterial Physicality CTHEORY http://ctheory.net/articles.aspx?id=717#_ednref2 retrieved 5 April 2018 )
J. Bridle 2011 The New Aesthetic http://new-aesthetic.tumblr.com/about Accessed 5 April 2018 ]
S. Colton 2015 The art of programming New Scientist 3036 29 August 34
G. DeleuzeF. Guattari 1994 What is Philosophy? Translated from the French by G. BurchillH. Tomlinson Verso London
M. MazzoneA. Elgammal 2019 Art, Creativity, and the Potential of Artificial Intelligence Arts 8 1 1 9
L. Phillips 2017 A brief history of quantum alternatives Ars Technica https://apple.news/ANZvod73qRYO7Nh01fUExQg retrieved 29 July 2017 )
I. Truelove 2018 Skinscaspe [Virtual Reality Artwork] Valve, Steam Store Available from bit.ly/skinscape (released 8 June 2018 )

Comments

Comment on this article

[1] Ascribe.io 2016 FAQ https://www.ascribe.io/faq/ retrieved 6 September 2016 )

[2] M. Betancourt 2013 Theory Beyond the Codes. Automated Labor: The ‘New Aesthetic’ and Immaterial Physicality CTHEORY http://ctheory.net/articles.aspx?id=717#_ednref2 retrieved 5 April 2018 )

[3] J. Bridle 2011 The New Aesthetic http://new-aesthetic.tumblr.com/about Accessed 5 April 2018 ]

[4] S. Colton 2015 The art of programming New Scientist 3036 29 August 34

[5] G. DeleuzeF. Guattari 1994 What is Philosophy? Translated from the French by G. BurchillH. Tomlinson Verso London

[6] M. MazzoneA. Elgammal 2019 Art, Creativity, and the Potential of Artificial Intelligence Arts 8 1 1 9

[7] L. Phillips 2017 A brief history of quantum alternatives Ars Technica https://apple.news/ANZvod73qRYO7Nh01fUExQg retrieved 29 July 2017 )

[8] I. Truelove 2018 Skinscaspe [Virtual Reality Artwork] Valve, Steam Store Available from bit.ly/skinscape (released 8 June 2018 )

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