[LRC] is a revisionist, industrial techno-prioritized, operationally processed intermedia anti-service bureau, systematically smashing the expectations of print with every molecule of ink applied and every frequency of sound generated. [LRC] is unconcerned with the primacy of product, seeking rather to embrace the by-products of process. [LRC] utilizes a pseudo-democratic, quasi-automated, collaborative workflow that generates unexpected visual and audio outcomes. [LRC] focuses its efforts on subverting imaging and printmaking procesess by encouraging the unexpected transformation of pixel, matrix, and sound. [LRC] seeks to refactor the relationship of author, ink-object and sound phenomenon. [LRC] is historically grounded within the computational roots of imaging and the industrial history of lithography. [LRC] redefines excellence in client services by reconfiguring the expectations of the service bureau and elevating glitch to the most desired of all possible outcomes.

every frequency of sound generated. [LRC] is unconcerned with the primacy of product, seeking rather to embrace the by-products of process. [LRC] utilizes a pseudo-democratic, quasi-automated, collaborative workflow that generates unexpected visual and audio outcomes. [LRC] focuses its efforts on subverting imaging and printmaking procesess by encouraging the unexpected transformation of pixel, matrix, and sound. [LRC] seeks to refactor the relationship of author, ink-object and sound phenomenon. [LRC] is historically grounded within the computational roots of imaging and the industrial history of lithography. [LRC] redefines excellence in client services by reconfiguring the expectations of the service bureau and elevating glitch to the most desired of all possible outcomes.

Lithopixel Refactory Collective [LRC] is a group of artists based at the University of Hawaii at Manoa who are examining the absurdity of manufacturing, consumption, and destruction loops through the prism of traditional printmaking, digital imaging, and performance art.

The Lithopixel Refactory loop begins with a scanned or photocopied image. Images are then manipulated to a suitable condition in order to be inked and printed on a hand press.

The image is converted to a bitmap and then printed on a laser printer as an 8.5"x11" paperplate in reverse.

The 8.5"x11" laserprint paperplate is then placed on the press, inked and printed by hand. The press area design and installation is managed by [LRC] founding member Charles Cohan.

The stone is used as a plate support.

Typically, three prints are pulled from the paperplate before it disintegrates or becomes unusable. We then select the best/worst print to re-scan at a much higher resolution for enlargement using the wide format archival pigment printer.

We utilize a variety of sound devices around the studio area to amplify and record the sounds of the process.

The image is processed in Photoshop, scaled up, sharpened, and toned for the large format print.

We also shred and pulp paper from the refuse we generate and anything else that folks would like to shred during the performance. This is our customized "snowblower" shredder designed and built by [LRC] member, Noah Matteucci.

Plates and prints hanging temporarily awaiting re-scanning, or shredding.

A mix of large format archival pigment enlargements, plates, and paperplate lithos.

In addition to the print loop, contact microphones are attached to all mechanical instruments, including the mouses, ink slabs, presses, shredder, etc. [LRC] can be a bit noisy. The sound generated by the process is sent through a mixing processing system that is amplified and recorded throughout the exhibition area. The audio elements of the process are mixed live by [LRC] founding member Peter Chamberlain.

This soundtrack adds to the performance aspect of the exhibition and further amplifies the
digital/industrial nature of the loop. The resulting sounds are also recorded, then edited and remixed into a downloadable, open source, MP3 track portfolio of the event.

[LRC] team performing on March 27 is:
Charles Cohan (founding member/lithounit leader)
Scott Groeniger (founding member/digitalunit leader)
Peter Chamberlain (founding member/soundunit leader)
Rodney Bengston (video coordinator / documentation)
Noah Matteucci (founding member/shreddingunit/digitalunit)
Duncan Dempster (Honolulu Printmakers authentication official/soundunit)
Marika Emi (general coordinator/webunit/print curator)
Kamran Samimi (digitalunit/print curator/gradstudentpresence)
Tehani Nakamitsu (lithounit)
Soo Mei Teh (lithounit)
David Randall (lithounit)
Michael Javalde (lithounit)
Guen Montgomery (greeter)
Emmy Lingscheit (greeter)
Kirsten Rae Simonsen (greeter/digitalunit)