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

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25. Has folly received any new opportunities because of this exhibition? Not directly, we’ve had a number of requests for more information about certain projects. One of the artists whom we rejected for PBB asked us to be part of a show in Valencia in 2008 so they didn’t take it too badly. Certain projects are not right for certain people but other projects will be the fact that some people didn’t make it through the range for PBB still enabled us to develop a relationship with a wider group of people. Normally we would have done particularly now that we are developing projects for the future we are looking at a broader spectrum of practitioners who might be able to contribute to the success of a project. It’s been tried and tested with PBB. 26. Has there been any impact on traffic to folly’s website because of the exhibition? I’m not really sure during the festival everything went off the scale, ‘What’s Cooking Grandma?’ particularly in terms of downloads there. If I was honest the figures for the figures for the exhibition were disappointing and we have subsequently shown with certain types of projects in certain locations we can actually get a much higher daily footfall into a project. That’s both online and in actual people which is good for us so if we are going to do anything different again there are certain things that we could have done from a marketing perspective to increase footfall. 27. Has being involved in PBB had any effect on what folly will do in the future? Absolutely! Media art practice is ever evolving; ever expanding through virtue of doing this particular show it just broadened our horizons so much more. To be able to do that here in Lancaster rather than doing it by going to see a show in Berlin or San Jose was great because the team benefited from doing it. People loved being down at CityLab although there were lots of technical issues to do with the installations that were problematic it gave our new team structure for the first time a lot of us had direct interface with the public through virtue of the work front. That was very beneficial to us because it proves that the team that we have can and does work. Those ongoing opportunities don’t happen very often. We don’t have a space. - 463 -
28. Has being involved in PBB had any effect on your thinking about creative disciplines? When I first came to folly from working at the biennial in Liverpool where I had a very architectural hat on I was preaching architecture a lot in terms of ideas for programmes. I had my own perspective of media arts practice as quite limited and often I wasn’t hitting the mark and by being involved in this show has enabled me to broaden my own personal perspective. I have always been aware of creating shows that bring together lots of different disciplines and lots of practitioners to create an overall look and feel. That’s what we tried to do with PBB although it didn’t feel like a heavy thematic show. It had lightness to it which I really liked. So I’ve benefited from having my eyes opened a little bit more. We worked on inviting certain people to make proposals and if anything we found that the more interesting work was coming out of the open call. I know that you worked quite hard at getting certain people to make proposals in the open call and that has influenced me in terms of how we are developing f.city for 2007. We will put out an open call for existing works. At the moment we are very much working on relationships and developing relationships with practitioners - that’s the key influence, these are people that we want to work with. We are aware of their work we like their work and we would like to develop a project with them so we are working together in terms of developing a proposal rather than saying here’s two grand what can you do for that which is where we may have gone wrong in some respects. That approach worked in different ways for different people and the relationships I maintained during the development phase were quite different from those four practitioners. One was very hands off, one was almost completely occupying our time, one was almost veiled in secrecy and then the other one were just complete chancers - we had to rein them in all the time they tried to fiddle the VAT and things like that. I’m conscious in the way it’s influenced me by trying to develop a relationship with people I don’t know. They feel confidant and happy and it’s like they hold you in esteem to actually develop a good project and that’s as much as providing people with good opportunities. The kind of opportunities that you provide people is not about what point in their career they are it’s about providing a good quality of opportunity and helping them to understand that. Working on PBB has informed the way in which we introduced velocity which is the next - 464 -
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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
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It had a nice feeling about it. I d
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29. How have computer technologies
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I’ve just started to define mysel
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12.0 Appendix IV: Practitioner 3 in
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14. Did you think the exhibition wa
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26. When did you first make use of
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13.0 Appendix V: Practitioner 4 int
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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
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: potential energy that could be crea
Page 467: Of course and we did extend an invi
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