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

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that’s really weird that thing in the corner and that was in a room of odd installations and it still felt that it didn’t fit. It was because I suppose it’s because its quite…..It goes back to the fact that its designer/craft based or whatever, but I never knew what to ….where to put it. It always felt like I had to rewrite it. Rewrite the stories of it like as in write it up as really crafted piece or write it up as it’s really all about the centre of the technology. It was always that thing of having to push it in one direction or just letting it be just what it was and that’s ok. It was a bit mixed up its ok if it’s a bit of this and a bit of that and its ok if its not high concept and about technology but its fine if it’s not about technology that’s fine too. Can’t really remember to be honest but I think just even the title. I think it just summed it up quite nicely that it was all about the edges and it didn’t matter which side you were on. I think that the title of it really struck home. 4. What did you expect to get out of the exhibition? I didn’t really know I didn’t really have too many expectations. I was really interested to see what else was going to be there, because I haven’t exhibited all that much. So I kind of didn’t have any….it was sheer panic. I didn’t have any definite plan. 5. Who did you expect to be in the exhibition? I wasn’t really sure, but I probably thought it would be a kind of more Interaction Design maybe or more like people from Critical Design stuff or maybe that kind of direction. I think some of the people who were in it that I knew about, like Geoffrey Mann, and that kind of thing. Again I didn’t have, I suppose because I never really seen a call like that and I’d never really seen an exhibition that covered that. I really didn’t know. 6. Was there someone you expected to be in the exhibition that wasn’t? Jayne Wallace and Sarah Kettley possibly and I thought maybe quite probably. Now who else, I thought someone like rAndom International. Have you seen the Pixel Roller project? Maybe those guys because they have done some - 409 -
smaller things like lamps as well and I thought maybe someone like them or some of the wearable’s crowd maybe. Likes of CuteCircuit maybe. Again it comes back to not having too many expectations. I thought maybe more at the arty end of the physical computing type thing. 7. Was there anyone in the exhibition you were surprised by? I was quite surprised by ‘What’s Cooking Grandma?’ but in a really good way. I suppose the fact they were sitting next to quite physical stuff like Justin <strong>Marshall</strong>, who you would never ever see sort of in the same space I think. Yes, I was very surprised by that in that it was much less physical or tangible thing. Although they had lots of nice tangible stuff there as well. 8. Did the exhibition live up to your expectations? Because I really didn’t have too many, yes. 9. Were you happy with the way your work was displayed? Happy enough, it could have been better probably, but that was the space and the work, the other work that was there and the lighting seemed to be a bit of a problem, but that seems to be a problem with the space rather than anything that was controllable. I think in the circumstances it’s as good as it could be. 10. What could have been done better? I suppose the set up. When you have a space like that there’s so much you can do and everyone was so accommodating and so willing to work as hard as they could to make a difference. Everyone involved this time was so easy to work with and they were all so good trying to sort it out, obviously under a lot of pressure and stuff. It’s hard to say I don’t think they could have worked any harder at it. I think the space maybe was a little bit tough to work in. It was a little bit if it could have been a darker space it definitely would have suited me better. The red light took away from the atmosphere and it became the atmosphere of that piece rather than mine. A small space on its own because it does have its aura in a darker space, a little bit of an aura which comes and goes. I suppose it also took a bit of a back step because of the lighting of the other piece again that was something that you just couldn’t predict until everything was in place. - 410 -
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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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what functional use they might be t
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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: 12. In your opinion, what was the w
Page 389 and 390: looped animation and implying that
Page 391 and 392: 33. What do you consider constitute
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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 and 406: 14. Did you think the exhibition wa
Page 407 and 408: 26. When did you first make use of
Page 409: 13.0 Appendix V: Practitioner 4 int
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: 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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