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

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Programme Manager Of course and we did extend an invitation to you in terms of f.city 2007… Fast-uk is a very different organisation than folly - it has capacity issues in terms of the work that it does but it does do very interesting projects. I do envisage that we will work together on something in the future but I think it should enable both of our organisations to grow in the way that PBB enabled folly to grow. The researcher asked if folly would consider partnering on an exhibition of this nature in the future. CD stated the partnering model was stronger and more attractive than the service provider model and that this was something that folly wished to develop further in future. PM pointed out that Fast-uk had already been invited to participate in another folly festival. 4.5.7 Press citations References to the ‘PBB’ exhibition in print and online were collected by the researcher. Twenty-one of these were considered to be from sources of sufficient objectivity or peer review to be worthy of counting (see Table 16). These have been listed with the main interest group that the citation is targeted to. Date What Where Who Communities 26/08 /2006 Wifi Camera on wmmna art, design, technology 29/08 /2006 08/09 /2006 10/09 /2006 11/09 /2006 12/09 /2006 Wifi Camera on Boing Boing Wifi Camera on pasta and vinegar Guardian/Obs erver piece mentions PBB PBB on wmmna f.city/PBB on BBC Lancashire http://www.we-makemoney-notart.com/archives/008888.p hp http://www.boingboing.net/ 2006/08/29/camera_paints _wifi_s.html http://liftlab.com/think/nov a/2006/09/08/wifi-cameraobscura/ http://travel.guardian.co.uk/ nwda/story/0,,1857397,00.h tml http://www.we-makemoney-notart.com/archives/008934.ph p http://www.bbc.co.uk/lanca shire/content/articles/2006/ 09/11/fcity_feature.shtml Adam Somlai- Fischer, Bengt Sjölén and Usman Haque Adam Somlai- Fischer, Bengt Sjölén and Usman Haque Adam Somlai- Fischer, Bengt Sjölén and Usman Haque FutureFactorie s, Brit Bunkley Simon Blackmore PBB technology, futurism, gadgets human-computer interaction general art, design, technology local - 265 -
Date What Where Who Communities 28/09 Brit Bunkley local /2006 29/09 /2006 29/09 /2006 02/10 /2006 04/10 /2006 06/10 /2006 13/10/ 2006 18/10 /2006 21/10/ 2006 02/11/ 2006 f.city/PBB in Lancaster Guardian PBB on Rhizome PBB on Networked_P erformance Holy Ghost on core77 f.city/PBB review in MANET PBB on Generator.x PBB on Eyebeam reBlog PBB on wnmna (China) http://www.lancasterguardia n.co.uk/ViewArticle.aspx?Se ctionID=134&ArticleID=179 4380 http://rhizome.org/news/sto ry.php?&timestamp=200609 29 http://transition.turbulence. org/blog/2006/09/29/perim eters-boundaries-andborders http://www.cbc.ca/radiosho ws/FREESTYLE/20061002. shtml What’s Cooking Grandma on Freestyle CBC/Radio- Canada Holy Ghost on Designspotter http://www.designspotter.co m/weblog/archives/2006/10 /holy_ghost.php http://www.core77.com/blog /object_culture/holy_ghost_ by_future_factories_4722.as p http://www.manet.org/review40_LClarke.ht ml http://www.eyebeam.org/re blog/archives/2006/10/exhi bition_perimeters_boundari es.html http://www.generatorx.no/2 0061018/exhibitionperimeters-boundaries-andborders/ http://www.we-needmoney-not-art.com/?p=1181 Aoife Ludlow, Tavs Jørgensen, Gavin Baily and Tom Corby Aoife Ludlow, Tavs Jørgensen, Gavin Baily and Tom Corby Human Beans FutureFactorie s FutureFactorie s Ben Woodeson, Human Beans, Brit Bunkley, Gavin Baily and Tom Corby, Simon Blackmore, FutureFactorie s , Simon Husslein, Masaru Tabei and Yasuno Miyauchi Justin Marshall, Gavin Baily and Tom Corby, FutureFactorie s Justin Marshall, Gavin Baily and Tom Corby, FutureFactorie s Justin Marshall, Gavin Baily and Tom Corby, FutureFactorie s new media art network-enabled practice general design industrial design new media art, regional generative art and design art and technology new media art - 266 -
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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
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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
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Figure 44: Database categories in t
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Manglano-Ovalle’s ‘Cloud Protot
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Figure 46: Increasing ‘complexity
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21. Janne Kyttanen & Jiri Evenhuis
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Q3. When you see the term ‘3D com
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Q5. When did you first make use of
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Impact References New formal possib
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Relationship Response Percent Respo
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Figure 47: A map of exemplary pract
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The researcher continued developing
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were informed the Manchester Digita
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links to the community, educational
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Figure 50: A rendering of the glaze
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This exhibition will bring emerging
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able to participate and Driessens &
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We received forty-six submissions b
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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
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
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
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: Programme Manager I know that we ha
Page 269 and 270: 4.5.8 Summary of public exhibition
Page 271 and 272: etween them. Professor Krauss respo
Page 273 and 274: The conjunction of ‘product desig
Page 275 and 276: 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
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
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
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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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12. In your opinion, what was the w
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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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15. In your opinion, what was the w
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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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