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

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20. Have you received any new opportunities because of this exhibition? Not directly. The exhibition made me focus on a body of work and that body of work has since had a lot of press. The work that was made for the show has been in Icon magazine. 21. Has there been any impact on traffic to your website because of the exhibition? I don’t monitor it that closely I’m not sure. 22. Has being in the exhibition had any effect on your work? I’m more aware of what other stuff goes on in the field of digital art. My work is located in the digital craftsmanship area. That field has been slightly insular in some ways for a number of years. There has been the same group of people. It was great just to get an idea of what goes on broadly in the field of digital-based art. It will probably have an effect later on. The exhibition brought together a number of communities that can be a little bit disparate even though they all work with digital as the core of our work. There is the media rich community and the craft-centred community and they tend not to mingle much and the exhibition achieved that crossover. 23. Has being in the exhibition had any effect on your thinking about creative disciplines? Yes it certainly made me think much broader and I tend to think as a craftbased practice you think about the physical outcome and I think a little bit broader than that now. It opened my eyes to a more open way of viewing this technology and what it can do for creative practices. 24. Would you be interested in being in another show of this kind? Absolutely I think that those crossovers are so interesting and so important no reservations. 25. Would you be interested in future opportunities with Fast-uk? Absolutely. - 405 -
26. When did you first make use of computer technologies in your work? 1996. 27. What formal training have you have had with computer technologies? Job-related industrial training. 28. How would you describe how you make use of computer technologies in your practice (e.g. concept development, design-toorder, fabrication, pre-visualisation, prototyping, etc?) All of the mentioned aspects. 29. How have computer technologies had an impact on your practice? The emergence of digital tools has had a great impact on my work, but it would be very hard to summarise all the many ideas or conclusions resulting from them. 30. What (for you) is the key benefit of using these technologies? Extending the creative potential of the artistic practitioner. 31. What (for you) is the key limitation of using these technologies? The lack of direct contact with material in the development stage. Too many possibilities can lead to lack of focus. 32. What is most important to you the finished object or how it was made? ? 33. What do you consider constitutes ‘sophistication’ in the use of these technologies? It is not a term I use or have a particular relation to. - 406 -
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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
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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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Page 357 and 358: of ornament and the fact that a lot
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Page 361 and 362: prototyping. Materialise started of
Page 363 and 364: off with twenty two. I think that c
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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: 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
Page 401 and 402: I’ve just started to define mysel
Page 403 and 404: 12.0 Appendix IV: Practitioner 3 in
Page 405: 14. Did you think the exhibition wa
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
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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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