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

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Lionel T. Dean: It is not a commercial proposition. It is a chance to escape – from a research project I wandered into the commercial realm with the projects for Materialise and Entropia because you've got to make some money somewhere to fund your activities. With the chairs it was a chance to do something that was more personal and a chance to create a beautiful object. Tavs Jørgensen: Until very recently I made my living from my professional practice. It is an interest – you have to keep your professional practice going by feeding it somewhat. Things feed down from my research into the commercial area. Superficially, you take certain aesthetics of what you develop and apply that in a design or in your craft practice. Cezanne Charles: I have a question for Human Beans. One of the things that is great about cookbooks is that you can annotate them. So you have your Grandmother's cookbook and in it you can write “It needs a bit more salt.” Would you be happy if someone remixed the videos on YouTube and sort of spliced them together? Chris Vanstone: [Laughing] That would be brilliant. Wow. So you take the best from each Hot Pot and you make a... yeah. Sure. Do it. That sounds great. Mickael Charbonnel: You can even make new recipes out of a few different ones. Chris Vanstone: Or a complete three course meal. Mickael Charbonnel: You can comment on YouTube you can say what you want about the recipes and perhaps perfect them that way. Say “I looked at the video and put as much salt as she did but mine is too salty.” Chris Vanstone: But remixing – that's good. Free ideas. Brilliant. More free ideas. Julian Malins: You know you are almost going from not just different products to services the idea of a customer having their say in the whole thing as - 381 -
well. So it’s not just changing the boundary between what is a service and what is a product but shifting the relationship with the customer. Tavs Jørgensen: I would agree with that. I think it can democratise in some way you are with YouTube. You are giving up the ability for everyone to create. I think that is what is really exciting about new technology. You talk about the fact that a camera is very cheap and with 3D modelling packages there are lots of free ones. All of a sudden you can... Mickael Charbonnel: I think what is also quite interesting at the back of that is that very quickly... YouTube is a platform where you can have the worst like the best. But somehow it is dragging it towards either the funniest or the most entertaining towards actually trying to do better than the others. The risk with having enabling technology like that is that in the future I might be able to print my own sofa but it might look utterly horrible because I might be really bad at it. I could pick someone else's design who has been trying to do better than everybody else and get a decent quality shape or sofa or design. So I think the good thing in this is the central interaction between people who are willing to make these things and willing to show them as well to others. Aoife Ludlow: It is the Shareware ethos in a designer. Justin <strong>Marshall</strong>: Isn't your FutureFactories project – I know a little bit now about the software you have used – you could have made it hugely interactive if you chose to but you made a conscious decision where to draw the line. Lionel T. Dean: There was a lot of discussion about should we have slider bars so people can adjust ‘parameter x’ to their liking. But I decided that was not the way I wanted to go with it. This was going to be mass individualisation rather than customisation. There is plenty of merit in mass customisation it is just not what I want to do. Aoife Ludlow: I think something that is really important is the idea of design as something that is inspirational in the marketplace especially with people aspire to own things, people aspire to have their own creations... they aspire to - 382 -
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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
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Programme Manager I’m not really
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Programme Manager I know that we ha
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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
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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
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From the responses received slightl
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5.5 A public exhibition and symposi
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now faced in the design-related fie
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the exhibition primarily as a means
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Four visitors indicated the diversi
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model rather than the service provi
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interest around the field of enquir
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technologies into their practice an
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6.0 Conclusions This study came abo
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the form of surveys and interviews
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From To Reference Expensive Technol
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increased capacity for a transdisci
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6.5 Outcomes This research project
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underpin computer-based or hybrid p
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Selective Laser Sintering (SLS®) 1
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8.0 References 3D SYSTEMS, 2007. 3D
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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
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
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Page 357 and 358: of ornament and the fact that a lot
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Page 363 and 364: off with twenty two. I think that c
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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
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Page 381: From the floor: I'm just wondering
Page 385 and 386: 10.0 Appendix II: Practitioner 1 in
Page 387 and 388: 12. In your opinion, what was the w
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Page 397 and 398: It had a nice feeling about it. I d
Page 399 and 400: 29. How have computer technologies
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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
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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
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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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