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

More documents

Recommendations

Info

MARSHALL, J., and PENGELLY, J., 2005b. Perimeters, boundaries and borders: new dimensions of design in the convergent fields of sculpture, industrial design and architecture. In RODGERS, P., BRODHURST, L., & HEPBURN, D., Crossing design boundaries. Taylor & Francis: London. p.21-26. MARSHALL, J., and PENGELLY, J., 2006. Computer technologies and transdisciplinary discourse: critical drivers for hybrid design practice? CoDesign, Vol. 2, No. 2. Taylor and Francis Ltd. p.109-122. MARSHALL, J., ed. 2008. Perimeters, boundaries and borders. Fast-uk: Manchester. Available online at: http://www.lulu.com/content/2498538 [Accessed 8 July, 2008]. MARTIN, H., & GAVER, W., 2000. Beyond the snapshot from speculation to prototypes in audiophotography. Available online at: http://www.goldsmiths.ac.uk/interaction/pdfs/25martingaver.aphoto.dis00.pdf [Accessed 30 August, 2007]. MASTERTON, D., 2004. The hunt for complexity. Available online at: http://www.autonomatic.org.uk/downloads/The%20hunt%20for%20co mplexity.pdf [Accessed 9 June, 2005]. MCCULLOUGH, M., 1996. Abstracting craft: the practiced digital hand. Cambridge, Massachusetts: The MIT Press. MCCULLOUGH, M., 2004. Digital Ground. Cambridge, Massachusetts: The MIT Press. MCDONALD, J.A., RYALL, C.J., & WIMPENNY, D.I., eds. 2001. Rapid prototyping casebook. London: Professional Engineering. MCLUNDIE, M., 2006. Beyond the formal/concrete axis: a study of individual difference in approach to design practice. PhD Thesis. Glasgow School of Art. MICHEL, N. J., 2006. The impact of digital file sharing on the music industry: an empirical analysis. Topics in Economic Analysis & Policy. Volume 6, Issue 1, Article 18. MICHL, J., 2004. Form follows what? The modernist notion of function as a carte blanche. Available online at: http://www.geocities.com/Athens/2360/jm-eng.fff-hai.html [Accessed 30 August, 2007]. - 325 -
MILLER, D., ed. 1998. Material cultures: why some things matter. London: UCL Press. MORENO, S., 2005. Protect us from what Tobi wants. Frame. No. 42, Jan/Feb. NEWMAN, M., 1994. Operation atopia in COOKE, L., HERZOGENRATH, W., LOOCK, U., NEWMAN, M., and ROBERTS, J., 1994. Julian Opie. London: Thames and Hudson Ltd. NEXTENGINE, 2007. NextEngine desktop 3D scanner. Available online at: https://www.nextengine.com/ [Accessed 30 August, 2007]. NICOLESCU, B., 1993. Towards a transdisciplinary education. Paper presented at Education of the Future. Sao Paulo, Brazil. 4-8 October. NORMAN, D. A., 2004. Emotional design: why we love (or hate) everyday things. New York: Basic Books. OBJECTS OF VIRTUAL DESIRE, 2005. Objects of Virtual Desire. Available online at: http://www.objectsofvirtualdesire.com/ [Accessed 30 August, 2007]. OGLE, 2007. OGLE: OpenGLExtractor by Eyebeam R&D. Available online at: http://ogle.eyebeamresearch.org/ [Accessed 30 August, 2007]. P2P FOUNDATION, 2007. Desktop manufacturing. Available online at: http://www.p2pfoundation.net/Desktop_Manufacturing [Accessed 30 August, 2007]. PASQUARELLI, S. H., ed. 2002. Versioning: evolutionary techniques in architecture. London: Wiley-Academy. PAUL, C., 1999. Fluid borders: the aesthetic evolution of digital sculpture. Available online at: http://www.sculpture.org/documents/webspec/digscul/digscul.shtml [Accessed 9 June, 2005]. PAUL, C., 2003. Digital art. London: Thames and Hudson Ltd. PENNY, S., 1996. From A to D and back again: the emerging aesthetics of interactive art. Leonardo Electronic Almanac Volume 4, No. 4, April. Available online at: http://ace.uci.edu/penny/texts/atod.html [Accessed 30 August, 2007]. PEREIRA, R.E., 2002. An adopter-centred approach to understanding adoption of innovations. European Journal of Innovation Management. Volume 5, Issue 1. p.40-49. - 326 -
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 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
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
Page 93 and 94:
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
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 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
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
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 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 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: LUPTON, E., 1998. Design and produc
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
Page 365 and 366: finished that was necessary because
Page 367 and 368: go inside those kitchens and really
Page 369 and 370: 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.
Page 375 and 376: 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
Page 383 and 384:
well. So it’s not just changing t
Page 385 and 386:
10.0 Appendix II: Practitioner 1 in
Page 387 and 388:
Page 389 and 390:
looped animation and implying that
Page 391 and 392:
33. What do you consider constitute
Page 393 and 394:
digitally and have someone mould it
Page 395 and 396:
innovation within technology, not i
Page 397 and 398:
It had a nice feeling about it. I d
Page 399 and 400:
29. How have computer technologies
Page 401 and 402:
I’ve just started to define mysel
Page 403 and 404:
12.0 Appendix IV: Practitioner 3 in
Page 405 and 406:
14. Did you think the exhibition wa
Page 407 and 408:
26. When did you first make use of
Page 409 and 410:
13.0 Appendix V: Practitioner 4 int
Page 411 and 412:
smaller things like lamps as well a
Page 413 and 414:
I suppose diversity within each pra
Page 415 and 416:
24. Would you be interested in bein
Page 417 and 418:
nicer than seeing something at the
Page 419 and 420:
It’s a very central role and it
Page 421 and 422:
5. Who did you expect to be in the
Page 423 and 424:
Especially the windows as well. You
Page 425 and 426:
It’s pretty strong to my heart, b
Page 427 and 428:
28. How would you describe how you
Page 429 and 430:
how it’ll trace, leaving a trace
Page 431 and 432:
36. In terms of discipline where do
Page 433 and 434:
15.0 Appendix VII: Practitioner 6 i
Page 435 and 436:
18. Many visitors to the exhibition
Page 437 and 438:
It could mean a variety of things,
Page 439 and 440:
16.0 Appendix VIII: Creative Direct
Page 441 and 442:
I think it was an interesting role,
Page 443 and 444:
10. Did the exhibition live up to y
Page 445 and 446:
which was Ben’s work which for me
Page 447 and 448:
that should be in London. So there
Page 449 and 450:
Obviously all of the artists that w
Page 451 and 452:
Yes, actually one of the things tha
Page 453 and 454:
key element of that. It’s not jus
Page 455 and 456:
original proposal which felt like a
Page 457 and 458:
I think that we were very fortunate
Page 459 and 460:
Page 461 and 462:
things could have felt quite differ
Page 463 and 464:
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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?