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

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Applicant Y/N P1 P2 P3 P4 P5 Total Rank Gavin Baily Yes 3 1 2 2 2 10 4= Practitioner 1 No Practitioner 2 Yes 2 1 1 2 1 7 7= Simon Blackmore Yes 2 2 1 1 3 9 5 Brit Bunkley Yes 2 1 1 2 1 7 7= Practitioner 3 No Practitioner 4 No Practitioner 5 No Practitioner 6 Yes 3 2 1 1 3 10 4= Practitioner 7 Yes 2 1 1 1 2 7 7= Practitioner 8 No Simon Husslein Yes 3 2 3 2 1 11 3 Practitioner 9 No Practitioner 10 No Practitioner 11 No Practitioner 12 No Practitioner 13 No Practitioner 14 No Practitioner 15 Yes 2 1 1 2 2 8 6= Practitioner 16 No Tavs Jorgensen Yes 2 2 3 3 3 13 2= Practitioner 17 Yes 1 1 2 2 1 7 7= Practitioner 18 No Practitioner 19 No Practitioner 20 No Practitioner 21 No Practitioner 22 No Aoife Ludlow Yes 2 2 2 2 2 10 4= Practitioner 23 No Justin <strong>Marshall</strong> Yes 3 3 3 3 3 15 1 Geoffrey Mann Yes 2 2 1 2 3 10 4= Practitioner 24 No Practitioner 25 No Practitioner 26 No Practitioner 27 No Practitioner 28 No Practitioner 29 No Practitioner 30 No Practitioner 31 No Masaru Tabei & Yasuno Miyauchi Yes 1 2 1 1 2 7 7= Practitioner 32 No Practitioner 33 No Practitioner 34 No Practitioner 35 Yes 1 1 2 2 2 8 6= Ben Woodeson Yes 2 2 3 3 3 13 2= Practitioner 36 No Table 14: Curatorial panel process results - 179 -
We received forty-six submissions by the due date of the open call. A curatorial meeting was held in Lancaster to select from the open call applications and to review the commission proposals. First the panel viewed the complete documentation submitted by the applicants to gain an overview of the field. Second the panel viewed the documentation again and discussed the merits of the work. At this point each panel member made a decision to consider the individual applicant further or not by a yes or no vote with the majority opinion being considered (see Table 14). If the decision was ‘yes’ each panel member assigned a score of 3, 2 or 1 (3 being more in favour of the work being included). If the majority opinion was ‘no’ the application was no longer considered. All applications that were scored were then ranked highest score to lowest. The panel arrived at a shortlist of nine applicants to be considered for support based on the submission’s relevance to the exhibition brief, cost, and feasibility. There were several types of work which were similar to each other. In these cases the panel discussed these and arrived at a decision based on which work would contribute to the overall diversity of the exhibition and encourage different types of interaction with the audience. These ten sets of practitioners 83 were approached and informed that their submissions had been successful. The others were informed they had not and their documentation was returned. Theo Jansen and Chris Bosse had not responded to our invitations for commissions from them. Since we still only had 3 positive responses for the commissions the curatorial team decided to drop one of the £2,500 commissions to enable us to have more resources to support the open call works with additional funding for shipping and expenses for the practitioners to install their work. Torolab had responded to our invitation but we were still waiting for a proposal from them. Negotiations took place amongst the curatorial team over who to invite for the remaining commission. It was felt that architects were underrepresented in the selection for the exhibition. The researcher had met and been impressed with the work of Usman Haque and proposed that he might have something that was appropriate. He was subsequently invited and proposed a suitable work for 83 Simon Blackmore (UK), Brit Bunkley(NZ), Simon Husslein (D), Tavs Jorgensen (DK), Geoffrey Mann (UK), Masaru Tabei & Yasuno Miyauchi (JP), Ben Woodeson (UK), Gavin Baily & Tom Corby (UK), Aoife Ludlow (I), Justin <strong>Marshall</strong> (UK). - 180 -
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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
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digital voice recorder. Each partne
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There are many existing technology
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Survival Mastery Impact The introdu
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negative terms to their positives (
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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 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: able to participate and Driessens &
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
Page 221 and 222: The inverse of the previous questio
Page 223 and 224: 20. Have you received any new oppor
Page 225 and 226: 23. Has being in the exhibition had
Page 227 and 228: 27. What formal training have you h
Page 229 and 230: 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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