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

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Elle Decoration Russia because of it. I don’t know how vague that was. They saw the work on Flickr. They saw the photographs and got in contact, so Russia may be my place. 22. Has being in the exhibition had any effect on your work? 23. Has being in the exhibition had any effect on your thinking about creative disciplines? As everyone says; it allows time to reflect - to see a piece in its purity rather than bits and stages. I got very selfish and got a bit of a glow, because I like seeing my work when it’s finished and enjoy seeing the process. I like hearing the positive and negative comments and opinions from it. I don’t think it’ll change the work, but it might make me do more, quicker, but that’s all financial implications. I applied for the ‘Future Voices’ in craft thing, made up a new brief and sent the same photographs and that was perceived very well so far. That’ll be interesting because that’s taking this work into a craft environment, even though there are a hell of a lot of argument about what craft is at this point in time. I’m just trying to get these pieces out more. Let people see them and between disciplines, try to maybe put them into a predominantly digital exhibition, design it and just try to cover them…because at the end of the day this is in the middle and all this is happening round it, so… if I can get to do that. 24. Would you be interested in being in another show of this kind? 25. Would you be interested in future opportunities with Fast-uk? Definitely, because I think you guys are promoting something that’s very dear to my heart and no-one else is doing it, which is crazy. That exhibition could have easily held its own in London. It would have got a hell of a lot more press because of the location thing, but if you go to America that would get a different crowd, a different reaction. I think it’d still be very positive. It’s not been a negative experience for me, so any future pieces…I never do the same thing twice. If it was with you guys again I’d so something completely different. 26. When did you first make use of computer technologies in your work? 27. What formal training have you have had with computer technologies? - 425 -
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?) It’d be when I was an undergraduate, being taught by <strong>Gordon</strong> [Burnett]. I think maybe 1997 and at that point I was really interested in…I think <strong>Gordon</strong> had just come back from Australia and was doing the weird cup things, so I tried this very simple object. It was alright – very expensive and small. I think it was the Stratus machine at Gray’s? No-one else at the college was doing it and I was really interested. But because the object was really small and the object was meant to be bigger, I couldn’t do anything with it. At that point I should have probably cast of it and could have had an amazing career of casting ceramics…kind of cuttlefish effect, but I didn’t look into that and wasn’t really encouraged to either. It was more “Ooh, someone who is not an industrial designer is using rapid prototyping”, so I kind of stopped after that and I was using, was it the 3 Axis milling machine? Incredibly basic software, but it was interesting seeing how the computer code works. It was two or two and a half/three axis machine at the studio – a tiny thing that the guys who are industrial designers use. A beautiful machine, very ugly at the same time. I thin it is very beautiful – the paths it makes is an exhibition in itself at times. I was always using Photoshop and Illustrator to visualise my work. At that point I was using film animation, very basically, mainly with Flash, using it as a flick-book, which worked really well for me. Then I went into the RCA and you have to do a five minute chat; introduce yourself, where you’ve come from, what you want from the RCA. I wasn’t a ceramicist or glass maker, I could do both but I wasn’t a specialist. So I said to them “I want to use animation and film”, all these different kind of crazy new thoughts in ceramics and glass and everyone was like; “Ok, fair enough…” I had some friend in design products and I was discussing the moth idea I had, and the bird as well – just capturing movement. One of those guys was an absolute Rhino whiz and said; “Ok, you make this for me and I’ll do that for you” and I made something three-dimensionally out of plaster and came back two days later with very closed-eyes and he’d modelled this bird and I thought ‘fair enough, I’ve got a rapid prototype’. It was out of SLA® which was very expensive and tiny. So then I had to start figuring out how to do these myself and also how could I make them a fair size? It was all very well having small objects, but nobody could understand. At that point I sat - 426 -
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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
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might be done with rapid prototypin
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prototyping. Materialise started of
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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.
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
Page 393 and 394: digitally and have someone mould it
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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 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: It’s pretty strong to my heart, b
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
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
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