Hard copy In 2014 I curated an exhibition The Negligent Eye at the Bluecoat Gallery in Liverpool as the result of longstanding interest in scanning and 3D printing and the role of these in changing the field of Print within Fine Art Practice. In the aftermath of curating show I will expand on this material with reference to the writings of Vilem Flusser and Hito  :63,work in the exhibition came from a wide range of artists of all generations most of whom are not explicitly located within Computer Arts. Whilst some :63,work did not use any scanning technology at all, a shared fascination with the particular translating device of the systematizing u0027eyeu0027 of a scanning digital video camera, flatbed or medical scanner was expressed by all the :63,work in the show. Through writing this paper I aim to extend my own understanding of questions, which arose from the juxtapositions of :63,work and the production of the accompanying catalogue. The show developed in dialogue with curators Bryan Biggs and SarahJane Parsons of the Bluecoat Gallery who sent a series of questions about scanning to participating artists. In reflecting upon their answers I will extend the discussions begun in the process of this  :200,kind of created attention deficit disorder seems to operate on us all today to make and distribute images and information at speed. What value do ways of making which require slow looking or intensive material explorations have in this accelerated system? What model of the world is being constructed by the drive to simulated realities toward evergreater resolution, so called high definition? How are our perceptions of reality being altered by the worldview presented in the smooth colourful ever morphing simulations that surround us? The limitations of digital technology are often a starting point for artists to reflect on our relationship to realworld fragility. I will be looking at practices where tactility or dimensionality in a form of hard copy engages with these questions using examples from the  :329,included in the show were: Cory Arcangel, Christiane Baumgartner, Thomas Bewick, Jyll Bradley, Maurice Carlin, Helen Chadwick, Susan Collins, ConroySanderson, Nicky Coutts, Elizabeth Gossling, Beatrice Haines, Juneau Projects, Laura Maloney, Bob Matthews, London Fieldworks (with the participation of Gustav Metzger), Marilene Oliver, Flora Parrott, South Atlantic Souvenirs, Imogen Stidworthy, Jo Stockham, Wolfgang Tillmans, Alessa Tinne, Michael Wegerer, Rachel Whiteread, Jane and Louise Wilson.

Machine, Discourse and Power: From Machine Learning in Construction of 3D Face to Art and Creativity. The 3D face reconstruction based on a single image can be done recently by training the machine to learn from the database. The performance and accuracy of 3D facial structure and the geometry have largely improved with the powerful calculation of machine and its expanding data. The 3D face reconstruction can be applied in both still images and moving images and recently such technology draws attention in the art field such as portrait representation, facial recognition, surveillance art, etc. By using artificial intelligence (AI) technology and machine learning, artists are able to create artwork with hybridity characteristic, which consists of both human perspective, and machine creativity, which opens up a new gateway to the art world. The capability of artists in creating artwork, particularly portrait art in this research, has been enhanced in terms of technological and theoretical perspective. Artists can represent faces and understand 3D geometry in new ways by breaking through the traditional limitation; it also provides alternative methods in facial visualization beyond the expectation. Traditional expression and technique can be expended to a new dimension; the technology helps artists to think out of the box and continue to create new movement and ism throughout the art history. Moreover, the traditional belief about the importance of the originality of artistsxe2x80x99 mind, sense, perspective and techniques in creating artwork can now be redefined by machine and artificial intelligence. A new form in art and creativity, and even knowledge and history has been developed. This paper attempts to discuss the essential transformation in dimensional imagery and its aesthetic experiences through machine learning means, and the shift of discourse of power from human to machine.