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AN EXPLORATION OF HYBRID ART AND DESIGN PRACTICE USING COMPUTER-BASED DESIGN AND FABRICATION TOOLS. JOHN JAMES MARSHALL A thesis submitted in partial fulfilment of the requirements of The Robert Gordon University for the degree of Doctor of Philosophy February 2008. - 1 -
Table of contents Table of contents..........................................................................................................................2 Table of tables...............................................................................................................................4 Table of figures.............................................................................................................................4 Image credits.................................................................................................................................6 Keywords .......................................................................................................................................8 Abstract ..........................................................................................................................................8 Acknowledgements .....................................................................................................................9 1.0 Introduction .........................................................................................................................10 1.1 Researcher’s previous experience ...............................................................................10 1.2 Rationale for the research............................................................................................. 12 2.0 Critical and contextual review ........................................................................................ 15 2.1 Technological context..................................................................................................... 15 2.2 A brief history of art and (industrial) technology .................................................. 17 2.2.1 Early developments..................................................................................................20 2.2.2 1960s............................................................................................................................22 2.2.3 1970s ............................................................................................................................23 2.2.4 1980s ...........................................................................................................................23 2.2.5 1990s............................................................................................................................24 2.2.6 21 st Century ................................................................................................................25 2.3 CAD/CAM and RP&M in sculpture (practitioner-led activity)............................26 2.3.1 CAD/CAM and RP&M in sculpture (beyond practitioner-led activity) ......30 2.4 Developing critical discourse.......................................................................................34 2.5 Developments in architectural practice....................................................................40 2.6 A re-examination of object making from a cross-disciplinary perspective.....44 2.6.1 From productivity tools to opportunities for design experimentation .....52 2.7 Ontologies of production: 21 st Century transformations in manufacturing ...58 2.7.1 Desktop manufacturing ..........................................................................................58 2.7.2 Personal fabrication ............................................................................................... 60 2.7.3 Mass-customised production................................................................................63 2.7.4 Design to order (DTO) ............................................................................................63 2.7.5 Individualised production .....................................................................................64 2.7.6 Democratised production ......................................................................................65 2.7.7 Open Source and crowd-sourced design............................................................67 2.8 A critical challenge to disciplinary domains............................................................68 2.8.1 Modes of knowledge production ..........................................................................69 2.8.2 Modes of disciplinarity........................................................................................... 71 2.8.3 Boundary objects .....................................................................................................73 2.9 A critical examination of hybrid forms of practice................................................74 2.9.1 Art’s ontological privileges ....................................................................................79 2.9.2 Beyond binary classification................................................................................ 80 2.9.3 Postmodern reappraisals of Modernist ideologies.........................................84 2.9.4 New forms of design practice ...............................................................................87 2.9.5 Implications for audiences and users ................................................................89 2.9.6 Re-examining the relationship between art and design................................ 91 2.9.7 Other hybrid forms of art and design practice.................................................95 2.10 Summary of critical and contextual review ...........................................................99 3.0 Methodology.......................................................................................................................104 3.1 An engaged practitioner ..............................................................................................106 3.1.1 Live discourse ..........................................................................................................106 3.2 A critical review of designed objects........................................................................ 107 3.3 A survey of international practitioners...................................................................109 3.4 Development of a curatorial framework ................................................................ 110 3.5 A public exhibition and symposium..........................................................................113 3.5.1 Practitioner interviews ..........................................................................................115 3.5.2 Audience survey ......................................................................................................116 3.5.3 Partner interviews ..................................................................................................117 3.6 Development of analytical models............................................................................ 118 3.6.1 Technology adoption models .............................................................................. 118 3.6.2 Klein group model ................................................................................................. 123 3.7 Summary of methodology ........................................................................................... 125 - 2 -
Page 1: OpenAIR@RGU The Open Access Institu
Page 5 and 6: Table of tables Table 1: Bruce Ster
Page 7 and 8: Image credits Figure 4: ‘Ridges O
Page 9 and 10: Keywords ART, DESIGN, DIGITAL, HYBR
Page 11 and 12: 1.0 Introduction This research is c
Page 13 and 14: Since 2002, the researcher has also
Page 15 and 16: The specific research questions to
Page 17 and 18: helping practitioners from many are
Page 19 and 20: synthetic or pluralist perspective
Page 21 and 22: Figure 1: A simple model of the com
Page 23 and 24: General Motors to begin developing
Page 25 and 26: introduction of feature-based param
Page 27 and 28: In 2005 the exhibition ‘Blobjects
Page 29 and 30: art. The theme of the exhibition wa
Page 31 and 32: technologies and not necessarily th
Page 33 and 34: executed by various technologies an
Page 35 and 36: purposely exploit computer-based te
Page 37 and 38: “…so much for automating tasks
Page 39 and 40: embodied in traditional craft pract
Page 41 and 42: Obviously it is necessary to look b
Page 43 and 44: The computer is being used as a too
Page 45 and 46: the proliferation of ‘responsive
Page 47 and 48: Figure 11: ‘Amazing Whale Jaw’,
Page 49 and 50: Figure 14: ‘SLS® Dress’, 2005.
Page 51 and 52: with sensors which were activated b
Page 53 and 54:
These designer-makers are exploring
Page 55 and 56:
ackground, providing just another p
Page 57 and 58:
Type of object Description Requirem
Page 59 and 60:
2.7 Ontologies of production: 21 st
Page 61 and 62:
design and fabrication facilities,
Page 63 and 64:
“Unfortunately, the ability to ma
Page 65 and 66:
information about these on their we
Page 67 and 68:
have now are the needs other users
Page 69 and 70:
As the use of computer-based design
Page 71 and 72:
cross-disciplinary problem solving
Page 73 and 74:
hybridization of cultural categorie
Page 75 and 76:
“Boundary objects are both plasti
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association with function (Fairs, 2
Page 79 and 80:
“…excludes the mind (the exclus
Page 81 and 82:
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
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
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elationships for hybrid art and des
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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
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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
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(Image Source 58 ). An indication o
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The instance of Rashid’s ‘Garbo
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Figure 30: ‘D-tower’, 2004. Lar
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software to interpolate a curve thr
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industrial context. Most of the obj
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Figure 36: ‘Geo’, 2005. Keith B
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distinctions based on the means by
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Figure 41: ‘Sketch Furniture’,
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Category Image Result Title Holy Gh
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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
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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
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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
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links to the community, educational
Page 175 and 176:
Figure 50: A rendering of the glaze
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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
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Figure 52: ‘Holy Ghost’, 2006.
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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
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4. What did you expect to get out o
Page 213 and 214:
6. Was there someone you expected t
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9. Were you happy with the way your
Page 217 and 218:
These practitioners considered that
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15. How would you sum up the core t
Page 221 and 222:
The inverse of the previous questio
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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
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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
Page 239 and 240:
hybrid disciplines. Also 1 (17%) pr
Page 241 and 242:
(4%) strongly disagreed with this s
Page 243 and 244:
the exhibition ‘felt a bit steril
Page 245 and 246:
The Exhibition (expectations) The r
Page 247 and 248:
Programme Manager I am pleased that
Page 249 and 250:
The partners were asked what kind o
Page 251 and 252:
Programme Manager We weren’t tryi
Page 253 and 254:
13. What would you do differently i
Page 255 and 256:
15. In your opinion, what was the w
Page 257 and 258:
18. How would you sum up the core t
Page 259 and 260:
The Exhibition (aftermath) The rese
Page 261 and 262:
23. What feedback from funders did
Page 263 and 264:
Programme Manager I’m not really
Page 265 and 266:
Programme Manager I know that we ha
Page 267 and 268:
Date What Where Who Communities 28/
Page 269 and 270:
4.5.8 Summary of public exhibition
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etween them. Professor Krauss respo
Page 273 and 274:
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
Page 283 and 284:
From the responses received slightl
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5.5 A public exhibition and symposi
Page 287 and 288:
now faced in the design-related fie
Page 289 and 290:
the exhibition primarily as a means
Page 291 and 292:
Four visitors indicated the diversi
Page 293 and 294:
model rather than the service provi
Page 295 and 296:
interest around the field of enquir
Page 297 and 298:
technologies into their practice an
Page 299 and 300:
6.0 Conclusions This study came abo
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the form of surveys and interviews
Page 303 and 304:
From To Reference Expensive Technol
Page 305 and 306:
increased capacity for a transdisci
Page 307 and 308:
6.5 Outcomes This research project
Page 309 and 310:
underpin computer-based or hybrid p
Page 311 and 312:
Selective Laser Sintering (SLS®) 1
Page 313 and 314:
8.0 References 3D SYSTEMS, 2007. 3D
Page 315 and 316:
BEAMAN, J., 1997. The early roots o
Page 317 and 318:
COLES, A., 2005a. DesignArt. London
Page 319 and 320:
EVIL MAD SCIENTIST LABORATORIES, 20
Page 321 and 322:
GRAHAM, B., 2005. Taxonomies of new
Page 323 and 324:
JENKINS, I., 2003. Art for art's sa
Page 325 and 326:
LUPTON, E., 1998. Design and produc
Page 327 and 328:
MILLER, D., ed. 1998. Material cult
Page 329 and 330:
RENDELL, J. 2006. Art and Architect
Page 331 and 332:
STORKERSON, P., 1997. Defining desi
Page 333 and 334:
9.0 Appendix I: Transcript of sympo
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interdisciplinary design practice.
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viewed as a bridge between technolo
Page 339 and 340:
John this morning through the show
Page 341 and 342:
the detriment of the latter. As tut
Page 343 and 344:
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
Page 371 and 372:
and it wasn’t quite the same thin
Page 373 and 374:
Paul Rodgers: Well, he wouldn’t.
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sort of urban scape art projects. I
Page 377 and 378:
described - the tools that you are
Page 379 and 380:
about the make up of the cloth that
Page 381 and 382:
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
Page 387 and 388:
Page 389 and 390:
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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Page 461 and 462:
things could have felt quite differ
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potential energy that could be crea
Page 465 and 466:
28. Has being involved in PBB had a
Page 467:
Of course and we did extend an invi
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