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

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was scheduled for mid-November 2005 and was to be presented in partnership with Digital Summer and MIRIAD (Manchester Institute for Research and Innovation in Art and Design). Both had been project partners on ‘Intersculpt:uk 03’. CUBE (Centre for the Urban Built Environment) was identified as the ideal venue. The proposed exhibition was to move away from the survey aspects of the previous ‘Intersculpt:uk’ exhibitions and would respond not only to a theme but to developments and ideas in the field coming from a diversity of practitioners from across 3D art and design disciplines. Fast-uk pledged to match any funds received from ACE through earned income, sponsorship/contributed income and in-kind support. The programme would be managed and run using a system similar to ‘Intersculpt:uk 03’. A part-time freelance project and outreach coordinator would be contracted to manage ‘Intersculpt:uk 05’. The overall direction of the project would be overseen and administered by the management team 73 with programmatic decisions made by the curatorial team 74 . To better target and reach our audience it was decided to contract with a freelance arts pr/marketing professional. We received an offer of £30,000 from ACE for ‘Perimeters, Boundaries and Dimensions’. The reason for the partial funding was attributed to pressure on funds. We needed confirmation of dates, venue and confirmation of partner support before funds would be released. An invitation for the Lancaster-based not-for-profit digital arts organisation folly 75 to become a project partner was extended. This was positively received they were planning a festival event that would happen at the same time and would coordinate this with our exhibition. The researcher had been working on a project with Arts Magnet 76 and was put in touch with Adrian Slatcher ICT Development Officer at CUBE by its Director Hannah Rudman. The researcher sent a brief synopsis of ‘Perimeters, Boundaries and Dimensions’ to both these individuals and asked if it was possible to schedule a meeting to discuss this at their earliest convenience. We 73 Fast-uk and project partners. 74 Fast-uk and project partners, again. 75 The researcher had previous connections through his studio practice with this organisation. http://www.folly.co.uk/ 76 A now-defunct Manchester-based digital development agency for the arts. - 169 -
were informed the Manchester Digital Development Agency (MDDA) was taking over the lease of the CUBE space. Dave Carter, Head of MDDA was contacted and responded that he was happy to support the exhibition. Professor <strong>John</strong> Hyatt 77 was also approached and committed to a contribution from MIRIAD. A meeting was convened at the MDDA’s offices in the CUBE Building on Portland Street in Manchester. We presented an overview of the project. Based on this we were able to confirm use of the CUBE gallery, its technical support and security personnel, data connectivity and insurance coverage. We also confirmed partnership support in the form of audience development and marketing from Arts Magnet and access to Manchester City Council’s resources for marketing and communications. These in-kind contributions would go towards a match for the funds received from ACE. No progress was made for some time on the ownership of the CUBE Building. We still needed to sign off on dates, venue and partner support before we could advertise for a project manager. Finally we became aware that CUBE was now being run by the Centre for Construction Innovation 78 . With not enough time to renegotiate the terms of the use of the space we made a request to ACE to move the grant period of the programme and extend the project timeline to an end date of November 2006. This meant the event would not coincide with the other international ‘Intersculpt’ events. We also had to find new partners for the project to secure matching funds for the project. ACE replied they were happy to extend the timeline. This presented an opportunity to redefine the scope of the project. folly contacted us again. After updating them on where we were with the project they asked if we would consider moving it to Lancaster. We responded that we had no problem with the show being in Lancaster so long as it was in the ‘right’ venue. They responded there were many possibilities of spaces we could explore throughout the city to host the exhibition. It was indicated that we might be able to secure spaces within the Storey Institute, new gallery spaces in St. 77 Director of MIRIAD and Head of the Graduate School in the Faculty of Art and Design at Manchester Metropolitan University. 78 An Enterprise Centre hosted by the University of Salford. - 170 -
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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’.
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“…the creative act is not perfo
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Figure 22: ‘The Treason of Images
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these have often served the covert
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highly developed collaborative skil
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plastic arts. However, media theori
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explores the work of artists 39 act
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elationships for hybrid art and des
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to reimagine the cultural role of d
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knobs, materials and mechanisms - i
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From the contextual review we can s
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used by architects (and others) as
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3.0 Methodology This study fits wit
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the data: survey results, interview
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used for objects of differing scale
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These practitioners represent a spe
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team each selected their top six 50
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to survey existing works, explore f
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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 and 134: The instance of Rashid’s ‘Garbo
Page 135 and 136: Figure 30: ‘D-tower’, 2004. Lar
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: The researcher continued developing
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
Page 185 and 186: 27/06/2006 Additional practitioners
Page 187 and 188: Figure 52: ‘Holy Ghost’, 2006.
Page 189 and 190: Figure 54: ‘What’s Cooking Gran
Page 191 and 192: The architects initially proposed t
Page 193 and 194: and in newsletters and on blogs. Th
Page 195 and 196: Figure 60: ‘Light Sensitive Disk
Page 197 and 198: Some visitors to the exhibition see
Page 199 and 200: Figure 65: ‘Penrose Strapping 1
Page 201 and 202: The texts have titles such as ‘A
Page 203 and 204: Open Call 9. ‘Warp’ by London-b
Page 205 and 206: These were decided based on the con
Page 207 and 208: How would you rate the quality of i
Page 209 and 210: 1. Where did you see the call for P
Page 211 and 212: 4. What did you expect to get out o
Page 213 and 214: 6. Was there someone you expected t
Page 215 and 216: 9. Were you happy with the way your
Page 217 and 218: These practitioners considered that
Page 219 and 220: 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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