John James Marshall thesis.pdf - OpenAIR @ RGU - Robert Gordon ...

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The second term made use of by practitioners that indicates increased conceptual and technical skill applied to the innovative use of computer-based design and fabrication technologies is ‘sophistication’. This was unpacked to result in three subcategories of distinction. The first of these assigns a value to the stage in the production cycle (Production Stage - see Table 8) of the objects within which the use of digital design and fabrication tools are integrated into the process. The scope of this category applies to the technological aspects of the conception or design of the objects, the production or fabrication of the objects and the consumption or reception of the objects by users or an audience. The researcher has chosen to add more value for each stage that computerbased technologies are applied within. Production Stage Value Conception 1 Production 1 Consumption 1 Conception & Production 2 Production & Consumption 2 Conception & Consumption 2 Conception & Production & 3 Consumption Table 8: The stage in the production cycle within which the use of digital design and fabrication tools are integrated into the process Since this study is concerned with objects produced by computer-based design and fabrication technologies, most objects fall into the ‘Conception & Production’ category by definition. There are exceptions. For example, ‘Dtower’ (Figure 30) a public art piece by architect Lars Spuybroek and artist Q. S. Serafijn that was commissioned by the city of Doetinchem in the Netherlands. This work maps and displays the emotions of the local community by changing colour in response to surveys conducted of fifty local residents on the internet. - 133 -
Figure 30: ‘D-tower’, 2004. Lars Spuybroek/NOX and Q. S. Serafijn Also the piece ‘Blusher’ (Figure 31) by architectural collective sixteen*(makers) which is a responsive gallery-based installation that incorporates embedded sensing and actuation technologies that changes its configuration based on the proximity of the audience. Both of these objects were designed by CAD, fabricated using CNC technologies and interact with their viewers by computerbased technologies. Therefore, both these objects have digital design and fabrication technologies integrated at the ‘Conception, Production and Consumption’ stages. Figure 31: ‘Blusher’, 2001. sixteen*(makers) The next subcategory of the ‘sophistication’ of an object is the level to which computer-based design and fabrication technologies have been integrated within a given practitioner’s practice. To do this the researcher has applied the phasing developed from the Apple Classrooms of Tomorrow (ACOT) project (see section 3.6.1). This model is an evolutionary model divided into five phases, i.e. Entry, Adoption, Adaptation, Appropriation and Invention. Traditional methods are initially challenged by the introduction of technology and then gradually transformed by it. In early versions of the application of this model to the objects in the data set the researcher found that often determining - 134 -
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OpenAIR@RGU The Open Access Institu
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Table of contents Table of contents
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Table of tables Table 1: Bruce Ster
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Image credits Figure 4: ‘Ridges O
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Keywords ART, DESIGN, DIGITAL, HYBR
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1.0 Introduction This research is c
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Since 2002, the researcher has also
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The specific research questions to
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helping practitioners from many are
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synthetic or pluralist perspective
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Figure 1: A simple model of the com
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General Motors to begin developing
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introduction of feature-based param
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In 2005 the exhibition ‘Blobjects
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art. The theme of the exhibition wa
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technologies and not necessarily th
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executed by various technologies an
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purposely exploit computer-based te
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“…so much for automating tasks
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embodied in traditional craft pract
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Obviously it is necessary to look b
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The computer is being used as a too
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the proliferation of ‘responsive
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Figure 11: ‘Amazing Whale Jaw’,
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Figure 14: ‘SLS® Dress’, 2005.
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with sensors which were activated b
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These designer-makers are exploring
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ackground, providing just another p
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Type of object Description Requirem
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2.7 Ontologies of production: 21 st
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design and fabrication facilities,
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“Unfortunately, the ability to ma
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information about these on their we
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have now are the needs other users
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As the use of computer-based design
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cross-disciplinary problem solving
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hybridization of cultural categorie
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“Boundary objects are both plasti
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association with function (Fairs, 2
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“…excludes the mind (the exclus
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causing a loss of this ‘aura’.
Page 83 and 84: “…the creative act is not perfo
Page 85 and 86: Figure 22: ‘The Treason of Images
Page 87 and 88: these have often served the covert
Page 89 and 90: highly developed collaborative skil
Page 91 and 92: plastic arts. However, media theori
Page 93 and 94: explores the work of artists 39 act
Page 95 and 96: elationships for hybrid art and des
Page 97 and 98: to reimagine the cultural role of d
Page 99 and 100: knobs, materials and mechanisms - i
Page 101 and 102: From the contextual review we can s
Page 103 and 104: used by architects (and others) as
Page 105 and 106: 3.0 Methodology This study fits wit
Page 107 and 108: the data: survey results, interview
Page 109 and 110: used for objects of differing scale
Page 111 and 112: These practitioners represent a spe
Page 113 and 114: team each selected their top six 50
Page 115 and 116: to survey existing works, explore f
Page 117 and 118: their experience and perceptions re
Page 119 and 120: digital voice recorder. Each partne
Page 121 and 122: There are many existing technology
Page 123 and 124: Survival Mastery Impact The introdu
Page 125 and 126: negative terms to their positives (
Page 127 and 128: work. The review indicated a need f
Page 129 and 130: service Preview Trend Direction 56
Page 131 and 132: (Image Source 58 ). An indication o
Page 133: The instance of Rashid’s ‘Garbo
Page 137 and 138: software to interpolate a curve thr
Page 139 and 140: industrial context. Most of the obj
Page 141 and 142: Figure 36: ‘Geo’, 2005. Keith B
Page 143 and 144: distinctions based on the means by
Page 145 and 146: Figure 41: ‘Sketch Furniture’,
Page 147 and 148: Category Image Result Title Holy Gh
Page 149 and 150: elationship is indicated and given
Page 151 and 152: Figure 44: Database categories in t
Page 153 and 154: Manglano-Ovalle’s ‘Cloud Protot
Page 155 and 156: Figure 46: Increasing ‘complexity
Page 157 and 158: 21. Janne Kyttanen & Jiri Evenhuis
Page 159 and 160: Q3. When you see the term ‘3D com
Page 161 and 162: Q5. When did you first make use of
Page 163 and 164: Impact References New formal possib
Page 165 and 166: Relationship Response Percent Respo
Page 167 and 168: Figure 47: A map of exemplary pract
Page 169 and 170: The researcher continued developing
Page 171 and 172: were informed the Manchester Digita
Page 173 and 174: links to the community, educational
Page 175 and 176: Figure 50: A rendering of the glaze
Page 177 and 178: This exhibition will bring emerging
Page 179 and 180: able to participate and Driessens &
Page 181 and 182: We received forty-six submissions b
Page 183 and 184: 4.5 A public exhibition and symposi
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27/06/2006 Additional practitioners
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Figure 52: ‘Holy Ghost’, 2006.
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Figure 54: ‘What’s Cooking Gran
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The architects initially proposed t
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and in newsletters and on blogs. Th
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Figure 60: ‘Light Sensitive Disk
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Some visitors to the exhibition see
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Figure 65: ‘Penrose Strapping 1
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The texts have titles such as ‘A
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Open Call 9. ‘Warp’ by London-b
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These were decided based on the con
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How would you rate the quality of i
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1. Where did you see the call for P
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4. What did you expect to get out o
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6. Was there someone you expected t
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9. Were you happy with the way your
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These practitioners considered that
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15. How would you sum up the core t
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The inverse of the previous questio
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20. Have you received any new oppor
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23. Has being in the exhibition had
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27. What formal training have you h
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30. What (for you) is the key benef
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32. What is most important to you t
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34. What does the term ‘3D comput
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practice was contingent on the cont
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39. Do you think there is a trend t
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hybrid disciplines. Also 1 (17%) pr
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(4%) strongly disagreed with this s
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the exhibition ‘felt a bit steril
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The Exhibition (expectations) The r
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Programme Manager I am pleased that
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The partners were asked what kind o
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Programme Manager We weren’t tryi
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13. What would you do differently i
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15. In your opinion, what was the w
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18. How would you sum up the core t
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The Exhibition (aftermath) The rese
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23. What feedback from funders did
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Programme Manager I’m not really
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Programme Manager I know that we ha
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Date What Where Who Communities 28/
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4.5.8 Summary of public exhibition
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etween them. Professor Krauss respo
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The conjunction of ‘product desig
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art is a form of media art that int
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Practitioner Title Category Type of
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5.0 Discussion This thesis has exam
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much part of the discourse of ‘di
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From the responses received slightl
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5.5 A public exhibition and symposi
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now faced in the design-related fie
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the exhibition primarily as a means
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Four visitors indicated the diversi
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model rather than the service provi
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interest around the field of enquir
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technologies into their practice an
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6.0 Conclusions This study came abo
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the form of surveys and interviews
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From To Reference Expensive Technol
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increased capacity for a transdisci
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6.5 Outcomes This research project
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underpin computer-based or hybrid p
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Selective Laser Sintering (SLS®) 1
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8.0 References 3D SYSTEMS, 2007. 3D
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BEAMAN, J., 1997. The early roots o
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COLES, A., 2005a. DesignArt. London
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EVIL MAD SCIENTIST LABORATORIES, 20
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GRAHAM, B., 2005. Taxonomies of new
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JENKINS, I., 2003. Art for art's sa
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LUPTON, E., 1998. Design and produc
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MILLER, D., ed. 1998. Material cult
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RENDELL, J. 2006. Art and Architect
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STORKERSON, P., 1997. Defining desi
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9.0 Appendix I: Transcript of sympo
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interdisciplinary design practice.
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viewed as a bridge between technolo
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John this morning through the show
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the detriment of the latter. As tut
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mainly used in the animation indust
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uses the physical nature of the gla
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avoiding using a pen and paper soun
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they sit in a specific location alw
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cut the day before that has been sc
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Pass at the end of August for ten d
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what functional use they might be t
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of ornament and the fact that a lot
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might be done with rapid prototypin
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prototyping. Materialise started of
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off with twenty two. I think that c
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finished that was necessary because
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go inside those kitchens and really
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www.whatscookinggrandma.net MC: It
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and it wasn’t quite the same thin
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Paul Rodgers: Well, he wouldn’t.
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sort of urban scape art projects. I
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described - the tools that you are
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about the make up of the cloth that
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From the floor: I'm just wondering
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well. So it’s not just changing t
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10.0 Appendix II: Practitioner 1 in
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looped animation and implying that
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33. What do you consider constitute
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digitally and have someone mould it
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innovation within technology, not i
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It had a nice feeling about it. I d
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29. How have computer technologies
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I’ve just started to define mysel
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12.0 Appendix IV: Practitioner 3 in
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14. Did you think the exhibition wa
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26. When did you first make use of
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13.0 Appendix V: Practitioner 4 int
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smaller things like lamps as well a
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I suppose diversity within each pra
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24. Would you be interested in bein
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nicer than seeing something at the
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It’s a very central role and it
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5. Who did you expect to be in the
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Especially the windows as well. You
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It’s pretty strong to my heart, b
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28. How would you describe how you
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how it’ll trace, leaving a trace
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36. In terms of discipline where do
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15.0 Appendix VII: Practitioner 6 i
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18. Many visitors to the exhibition
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It could mean a variety of things,
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16.0 Appendix VIII: Creative Direct
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I think it was an interesting role,
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10. Did the exhibition live up to y
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which was Ben’s work which for me
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that should be in London. So there
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Obviously all of the artists that w
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Yes, actually one of the things tha
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key element of that. It’s not jus
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original proposal which felt like a
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I think that we were very fortunate
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things could have felt quite differ
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potential energy that could be crea
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28. Has being involved in PBB had a
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Of course and we did extend an invi
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