In this outstanding paper, Google reports that "The techniques presented here help us understand and visualize how neural networks are able to carry out difficult classification tasks, improve network architecture, and check what the network has learned during training." This understanding raises question about the human condition. The article concludes by saying that "It also makes us wonder whether neural networks could become a tool for artists—a new way to remix visual concepts—or perhaps even shed a little light on the roots of the creative process in general." I believe that the act of transposing is a fundamental survival mechanism of the mind, not only a creative one. The process of my Natural Disaster Color series is a reminder that, as humans, we are constantly processing and transforming that which we experience -- hopefully for better. 

[read full article]

FEMA pulls 'A Scary Thing Happened' kids coloring book which depicts Sept. 11 scene of WTC burningBY 
BENJAMIN PEIM , CORKY SIEMASZKO 
 DAILY NEWS STAFF WRITERS

 Wednesday, April 29, 2009, 3:49 PM
[ read ]

"Out of (natural) disasters' darkness, bright, hopeful color" by Tom Shafer.
also online at jcoline.

PETRONIO BENDITO:
NATURAL DISASTER COLOR
Digital Printmaking • Projection •  Installation

May 9 – September 7, 2014
Opening reception: May 9, 6:30-8:30 PM

McDonald Gallery • Art Museum of Greater Lafayette
102 S. 10th St. • Lafayette, IN 47901 •  (765) 742-1128 
Open daily 11am-4pm • Closed Holidays •  artlafayette.org

"Color Code 0025: Algorithmic Lines" (left) received the Best of Show award in the Digital Printmaking Art Show (from the "Color Code | Algorithmic Lines" series. 25"x25", ink on archival canvas, framed) 

Below is a copy of the exhibition press release:

FOR IMMEDIATE RELEASE                                                                                                                   
October 3, 2013

LOWELL'S FIRST EVER DIGITAL PRINTMAKING SHOW 
AT LTC'S GALLERY THIS MONTH

LOWELL, Mass. -- From September 23- November 1, digital artwork from across the country is on view at LTC's downtown gallery.  The show, entitled Digital Art: Printmaking 2013, is part of Lowell Celebrates Printmaking, a city-wide exposition in conjunction with the Boston Printmakers Biennial.

The show features work created in a number of digital platforms, blending art made using photographs, programs such as Illustrator, stills from video animation, and more. The result is an array of art that takes everyday images and turns them on their heads.

LTC's goal in putting this show together was to showcase new techniques in the traditional craft of printmaking.

The show was juried by Jim Jeffers, an intermedia artist and designer working with computer mediation, web-art, performance, photography and video in conjunction with conventional media. Jim teaches, exhibits and performs across the United States and internationally.  His most recent post was as Assistant Professor of Art & Design at UMASS Lowell.

The best in show prize was awarded to Petronio Bendito for his work, Color Code 0025: Algorithmic Lines. Honorable mention was awarded to Patty Harris for her piece, Case Study No. 21_1.

Artists featured in the show include: Stephen Clements, Eileen Ryan, Dan Rocha, Mari Weinberg and Noredin Morgan of Massachusetts; Petronio Bendito of Indiana; Robert Spahr of Illinois, Cyane Tornatzky of Colorado; Patty Harris of New York; and Daehwan Cho of Idaho.

Digital Art: Printmaking 2013 is one of 8 printmaking shows featured in Lowell as part of Lowell Celebrates Printmaking. This is the only show to feature digital art. Other participating Lowell galleries include: 119 Gallery, ALL Arts Gallery at Gates Block, American Textile History Museum, Ayer Lofts Gallery, Brush Gallery & Artists' Studio, Whistler House Museum of Art, and Zeitgeist Gallery.

An artists' reception will be held on October 26th from 2-4 PM at LTC, 246 Market St, Lowell, MA 01852. Receptions will be held at the other galleries listed on October 26th as well. For more information please visit: http://thebrush.org/printshows.html

Lowell Telecommunications Corp (LTC) Contact: 
Jessica Wilson
Phone : 978-364-5150
E-mail: jwilson@ltc.org

QUARTET features the Natural Disaster Color series by Petronio Bendito in conjunction with works from three other artists. A video by the Visual Resource Library, Rueff School of Visual and Performing Arts, Purdue University (2013). 

QUARTET/USA Edition: Senih Cavusoglu | Umit Inatci | Petronio Bendito | Min Kim Park
August 20 - September 6, 2013

Faculty exchange exhibition featuring work by two faculty members from Eastern Mediterranean University in North Cyprus and two faculty members from Purdue University. The exhibition examines the peculiar possibilities of visual design and photography within broader multidisciplinary contexts and processes, while providing a platform to cultivate international academic and cultural exchanges. The exhibition includes work by artists Senih Cavusoglu and Umit Inatci from EMU, North Cyprus, and associate professor Petronio Bendito and assistant professor Min Kim Park from Purdue. 

Writer Rachel Wolff captures the impact of natural disasters on art processes in this revealing article. The article discusses how "personal loss has become subject and challenge for artists hit by disasters like Sandy and Katrina." Historically, artists have reflected on their lived experiences through their practices and offered us new insights about the human condition.

[read the article at ARTnews: http://www.artnews.com/2013/04/22/art-inspired-by-sandy]

CULTURAL WORKER: In preparation for the upcoming QUARTET exhibition, USA edition, at Rueff Galleries, Purdue University. The exhibition features works by Petronio Bendito (Natural Disaster Color series), Min Kin Park, Senih Cavusoglu and Umit Inatci (http://www.cla.purdue.edu/RueffGalleries).

Thank you for supporting the arts!

Here's an archive of a live discussion about this issue at Redbubble. Also see a definition in the glossary of of a reputable printmaking company (Pace Print). In my opinion, the key issue to be addressed is whether the artwork in question is a limited edition (using the same printer, same printer profile, numbered, signed, etc.) or unlimited reproductions (any printer, any printer profile, etc.). Digital prints are no more than a creative output captured with ink on a substrate (paper, canvas...) for the delight of the viewer's imagination. In fact, similarly to traditional printmaking, the substrate that I use to output my work greatly affects its outcome, consequently impacting my own creation process. I consider my limited edition artworks as a part of a 'digital printmaking' process.