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

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also be recognised as a key event. ‘The Machine as Seen at the End of the Mechanical Age’ was curated by K. G. Pontus Hultén at The Museum of Modern Art (MOMA), New York (Pontus Hultén, 1968). E.A.T. arranged a competition in connection with this exhibition for which around two hundred works were submitted from nine countries. The selection was based on the inventive and imaginative use of technology and the extent to which engineers and the artists had collaborated successfully. That same year Swainson proposed a process to directly fabricate a plastic pattern by selective three-dimensional polymerisation of a photosensitive polymer at the intersection of two laser beams (Beaman, 1997). This is an early forerunner of rapid prototyping (SLA®). Also in 1968 The Computer Arts Society (CAS) was founded (Computer Arts Society, 2007). They held their first exhibition ‘Event One’ at the Royal College of Art, London in 1969. 2.2.3 1970s In the 1970's CAM systems such as Bézier’s UNISURF and Hanratty’s ADAM (Automated Drafting and Machining) were created. Jack Burnham curated the exhibition ‘Software, Information, Technology’ at the Jewish Museum in New York in 1970 (La Fondation Daniel Langlois, 2004). This was followed a year later by ‘Art and Technology’ curated by Maurice Tuchman and Jane Livingston at the Los Angeles County Museum in 1971 (La Fondation Daniel Langlois, 2005). In 1976 Steve Jobs and Steve Wozniak started the personal computer age with their company Apple. In 1979 the Initial Graphic Exchange Standard (IGES) a neutral data format that allows the digital exchange of information between CAD systems was introduced. Ars Electronica an organisation based in Linz, Austria, was founded in 1979 around a festival for art, technology and society. 2.2.4 1980s More CAD and CAM 8 systems were introduced in the early 1980s to partially automate the manufacturing process. By 1982 there were 17 companies offering solid modelling applications (LoPiccolo, 2002). V2_ Institute for the Unstable Media started in 1981 in the Netherlands as an artists' initiative (V2_, 2007). In the mid-1980s major technological advances were made, including the 8 e.g. Romulus, Uni-Solid, AutoCAD, CATIA (Computer-Aided Three-Dimensional Interactive Application). - 23 -
introduction of feature-based parametric modelling systems that allowed CAD/CAM software to become a more integral part of the product design process. In 1986 Ars Electronica (Ars Electronica Linz Gmbh, 2007a) become an annual event. In 1987, the organisation began hosting the Prix Ars Electronica. This period also saw the founding of the first rapid prototyping companies, Helisys 9 in 1985 and 3D Systems (the market leader) in 1986. Also in 1986 the Airbus A320 jet was developed entirely on CAD (LoPiccolo, 2002). The following year saw the founding of two other RP companies, Cubital and DTM with Stratasys following in 1988 and EOS in 1989. 3D Systems first demonstrated the Stereo Lithography Apparatus (SLA®) at the Autofact Expo in Detroit, Michigan in 1987 with the system becoming commercially available in 1988 (LoPiccolo, 2002). The exhibition ‘Art & Computers’ was at the Cleveland Gallery in Middlesbrough in the same year (Briscoe, Howard, Sekers, and Viner, 1988). This included the work of William Latham who was then a Research Fellow at IBM in Winchester. Towards the end of the 1980s many new CAD/CAM and 3D modelling applications appeared 10 . Zentrum für Kunst und Medientechnologie (ZKM), Karlsruhe, Germany was founded in 1989 (Zentrum Für Kunst und Medientechnologie, 2007). 2.2.5 1990s This rate of development continued and accelerated throughout the 1990s with the release of the first versions of many of today’s market-leading 11 3D applications. Ars Mathematica was founded in Paris, France in 1992 by Christian Lavigne and Alexandre Vitkine to promote the interconnection between art, science, and technology, with a particular focus on computerassisted sculpture. In 1993 SensAble Devices (later SensAble Technologies, Inc.) was founded by Thomas Massie and Dr. Kenneth Salisbury at MIT (SenseAble Technologies, 2007). This introduced 3D touch-enabled modelling systems that enabled users to touch and manipulate virtual objects via an articulated stylus. In 1995 Ars Mathematica and the Computers and Sculpture 9 Laminated Object Manufacturing (LOM) is a rapid prototyping system developed by Helisys Inc. Helisys went out of business in 2000. 10 e.g. ANVIL-5000, DesignCAD, Ashlar Vellum, Creative Environment (later Softimage), Pro/ENGINEER, SurfCAM, Autodesk Animator, mental ray and MicroCADAM. 11 e.g. 3D Studio (later 3D Studio MAX), Alias Studio, LightWave 3D (first shipped with Video Toaster), PowerAnimator (later MAYA), form•Z, CINEMA 4D, Sculptura (later Rhinoceros), Mechanical Desktop, Solid Works, ANVIL EXPRESS, etc. - 24 -
Page 1 and 2: OpenAIR@RGU The Open Access Institu
Page 3 and 4: Table of contents Table of contents
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: General Motors to begin developing
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
Page 77 and 78:
association with function (Fairs, 2
Page 79 and 80:
“…excludes the mind (the exclus
Page 81 and 82:
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
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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
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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
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software to interpolate a curve thr
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industrial context. Most of the obj
Page 141 and 142:
Figure 36: ‘Geo’, 2005. Keith B
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distinctions based on the means by
Page 145 and 146:
Figure 41: ‘Sketch Furniture’,
Page 147 and 148:
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
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
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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
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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
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Figure 65: ‘Penrose Strapping 1
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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
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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
Page 231 and 232:
32. What is most important to you t
Page 233 and 234:
34. What does the term ‘3D comput
Page 235 and 236:
practice was contingent on the cont
Page 237 and 238:
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
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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
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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/
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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
Page 277 and 278:
Practitioner Title Category Type of
Page 279 and 280:
5.0 Discussion This thesis has exam
Page 281 and 282:
much part of the discourse of ‘di
Page 283 and 284:
From the responses received slightl
Page 285 and 286:
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
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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
Page 301 and 302:
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
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John this morning through the show
Page 341 and 342:
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
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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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
Page 467:
Of course and we did extend an invi
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