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

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come it could have been valuable. Obviously we had very limited critical reviews of it from peers, we should have considered that earlier and invited people in advance to come and do that kind of work so that the stuff like the a-n write up that we got we had to pull that together in a few seconds. The critic in residence at MIRIAD that we approached could have been approached much earlier so that we could have given more time. There is some ways that we could have got much better feedback from peer but those that did come were really positive. 23. What feedback from funders did folly receive about PBB? Really great, mainly the great stuff came from the City Council and the County Council, which for us is fantastic. Actually the city council although they have been supportive over the years the key person that was being supportive left about a year ago and we have had to fight really hard for anybody to know that what we are doing is of any value. I really think that PBB and f.city has had a big impact on the local authority relationship in the city. So they were really positive about it and thought it was fantastic. It hits all their boxes about trying to create this area as a vibrant, interesting and culturally stimulating place to live and work. I think that for the Arts Council we actually again had purely attendance from our two key allies within the Arts Council so our lead officer and Sarah [Fisher] our Head of Visual Arts who gave some really positive feedback about the scale, the ambition and the presentation of it. I think again it was really well received, so positive, but I would like to think that we could have got some more people up and touched more people through that it would have been an opportunity to do that. It’s my intent to have an impact on other people within the Arts Council except for the routine one might have. Having said that Taylor [Nuttall] received some really positive feedback from the Creative Industry Officer at the Arts Council who didn’t attend it but had obviously had heard of fantastic recommendations about it, which was predominantly the City Council chatting about it and showing off about it. So I think the stuff through the relationship with the city and the people they talked to must be the real strength in terms of feedback from funders and the Arts Council. 24. Has folly made any new professional contacts because of this exhibition? - 447 -
Obviously all of the artists that we worked with - we hadn’t worked with any of those artists before so that was a real opportunity for us. We also grew our volunteer database through this particular show because it offered people an obvious way into an arts organisation. That was all great. There were other contacts we could have made and followed up on more fully with the critic in residence at MIRIAD and a couple of people like that. I’m not aware of any professional contacts we have made. 25. Has folly received any new opportunities because of this exhibition? I’m trying to sense whether some of the opportunities came out because of the exhibition or because of the broader festival as well and some of those will be mixed in between and not just because one or the other and so I think that within the city, it’s a small city but the arts organisations have a strong cultural offer but they don’t often have the time to talk to one another and don’t necessarily collaborate. I feel that based on this and f.city there are many more opportunities for us to pursue of that ilk and people are more willing to work with us because of the calibre of what we can deliver is strong. The press that was covered has been really positive. That has led to more people being aware of us. 26. Has there been any impact on traffic to folly’s website because of the exhibition? No, there was an impact on traffic yes but what’s actually happened is that during the period of the exhibition and the festival the traffic massively went up and then it dipped again since because there was less activity. Its now growing again because one thing was it had an impact on our programme because of the amount of capacity resources it needed we had a lull in programme afterwards and that’s the reason there was a dip in web traffic. The thing that has had the biggest impact is the Human Beans piece therefore the amount of downloads from that piece after the exhibition has been massive. It still continues to be and it is now drawing on bandwidth now. 27. Has being involved in PBB had any effect on what folly will do in the future? - 448 -
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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.
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sort of urban scape art projects. I
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described - the tools that you are
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about the make up of the cloth that
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From the floor: I'm just wondering
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well. So it’s not just changing t
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10.0 Appendix II: Practitioner 1 in
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12. In your opinion, what was the w
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looped animation and implying that
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33. What do you consider constitute
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digitally and have someone mould it
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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: that should be in London. So there
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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