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

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ARS ELECTRONICA LINZ GMBH, 2007a. Ars Electronica. Available online at: http://www.aec.at/en/index.asp [Accessed 30 August, 2007]. ARS ELECTRONICA LINZ GMBH, 2007b. Hybrid art. Available online at: http://www.aec.at/en/prix/cat_hybrid_art.asp#details [Accessed 30 August, 2007]. ARTS AND HUMANITIES RESEARCH COUNCIL, 2003. Arts and Humanities Research Council - research subject coverage. Available online at: http://www.ahrc.ac.uk/about/subject_coverage/research_subject_cover age.asp#respanel2 [Accessed 30 August, 2007]. ARTSWAY, 2000. At home with art. Available online at: http://www.artsway.org.uk/AT_HOME/pic_1.htm [Accessed 30 August, 2007]. ATKINSON, P. and DEAN, L., 2003. Teaching techné. 5th European Academy of Design Conference, Barcelona. Available online at: http://www.ub.es/5ead/PDF/10/Atkinson.<strong>pdf</strong> [Accessed 28 August, 2007]. ATKINSON, P., 2003. FutureFactories: design work by Lionel Theodore Dean. Huddersfield: University of Huddersfield Press. ATTFIELD, J., 2000. Wild things: the material culture of everyday life. Oxford: Berg Publishers. AZUMA, H., 2001. Superflat Japanese Postmodernity. Available online at: http://www.hirokiazuma.com/en/texts/superflat_en1.html [Accessed 30 August, 2007]. BADKE, C., & WALKER, S., 2005. Contextualizing consumption. In RODGERS, P., BRODHURST, L., & HEPBURN, D., Crossing design boundaries. Taylor & Francis: London. p.289-293. BALL, R., & NAYLOR, M., 2005. Form follows idea. London: Black Dog Publishing. BATES, A. 2007. News (Drummond Masterton). Icon Magazine. May, 2007 p.41. BATES, A., & JAMES, L., 2006. Design is evil. Icon 041. November. P.104- 114. BAUDRILLARD, J., 1994. Simulacra and simulation. Ann Arbor: University of Michigan Press. BAUDRILLARD, J., 1996. The system of objects. London: Verso. - 313 -
BEAMAN, J., 1997. The early roots of rapid mechanical prototyping technology can be traced to at least two technical areas: topography and photosculpture. Available online at: http://www.wtec.org/loyola/rp/03_01.htm [Accessed 30 August, 2007]. BELL, D., 1973. The coming of post-industrial society. London: Heinemann. BENJAMIN, W., 1992. Illuminations. London: Fontana. BIG BLUE SAW, 2007. Big Blue Saw: online manufacturing and waterjet cutting. Available online at: http://www.bigbluesaw.com/saw/ [Accessed 30 August, 2007]. BJÖRNSSON, H., SHARIQ, S., & TAYLOR, J., 2003. Bridging the innovation gap in the AEC industry. Available online at: http://www.stanford.edu/~jetaylor/InnovationGap.htm [Accessed 30 August, 2007]. BLEECKER, J., 2006. A manifesto for networked objects — cohabiting with pigeons, arphids and Aibos in the internet of things. Available online at: http://www.nearfuturelaboratory.com/files/WhyThingsMatter.<strong>pdf</strong> [Accessed 30 August, 2007]. BLOEMINK, B., 2004. Design ≠ art: functional objects from Donald Judd to Rachel Whiteread. London: Merrell Publishers. BOLTER, J. & GRUSIN, R., 1999. Remediation: understanding new media. Cambridge, Massachusetts: The MIT Press. BOSTON CYBERARTS, INC., 2004. Boston Cyberarts Festival 1999. Available online at: http://bostoncyberarts.org/archives/fest1999/1999frameset.html [Accessed 30 August, 2007]. BOURRIAUD, N., 2002. Relational aesthetics. Dijon: Les Presses du Réel. BOWKER, G. & STAR, S. L., 1999. Sorting things out: classification and its consequences. Cambridge, Massachusetts: The MIT Press. BRISCOE, C., HOWARD, G., SEKERS, A. & VINER, D., 1988. Art & computers. Middlesbrough: Cleveland Gallery. BROCKMAN, J.,1995. The third culture - beyond the scientific revolution. New York: Simon & Schuster. BROWN, J.S., 1996. To dream the invisible dream. Communications of the ACM, August, Vol. 39, No 8. p.30. - 314 -
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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
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9. Were you happy with the way your
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These practitioners considered that
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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
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
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: 8.0 References 3D SYSTEMS, 2007. 3D
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
Page 335 and 336: interdisciplinary design practice.
Page 337 and 338: 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
Page 345 and 346: uses the physical nature of the gla
Page 347 and 348: avoiding using a pen and paper soun
Page 349 and 350: they sit in a specific location alw
Page 351 and 352: cut the day before that has been sc
Page 353 and 354: Pass at the end of August for ten d
Page 355 and 356: what functional use they might be t
Page 357 and 358: of ornament and the fact that a lot
Page 359 and 360: might be done with rapid prototypin
Page 361 and 362: prototyping. Materialise started of
Page 363 and 364: 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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