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design, technology, economics and history. Sterling is not afraid of conjecture, supposition or eclectic language - a fact which has caused this book to be derided by more empirical or positivist commentators. Nevertheless, in the context of the present study it is a useful indication of the spectrum of ideas currently being considered for the use of computer-based design and fabrication tools towards the development of new orders of object and possible new modes of design practice. Sterling makes a timeline of objects, starting with ‘artifacts’ and going through ‘machines’, ‘products’, ‘gizmos’, and finally ‘spimes’ and ‘biots’ (Table 1). The category of object that is of interest to this study is that of the ‘spime’- a neologism, a contraction of ‘space’ and ‘time’ – the idea is you no longer look at an object as an artifact, but as a process (Alexander, 2006). This recalls Gilles Deleuze’s definition of an ‘objectile’ (Deleuze, 1992, p.19) where objects are mediated between the virtual and the tangible and become an ‘event’: “The new status of the object no longer refers its condition to a spatial mold – in other words, to a relation of form-matter – but to a temporary modulation that implies as much the beginnings of a continuous variation of matter as a continuous development of form” (Deleuze, 1992, p.19) - 55 -
Type of object Description Requirements User-object relationship Artifact Simple artificial Created one at a Hunters and objects, made by time, locally farmers hand, used by (Makers?) hand, powered by muscle Machine Product Gizmo Spime Biot Complex, precisely proportioned artifacts with many integral moving parts that have tapped some non-human, non animal-power source Widely distributed, commercially available objects, anonymously and uniformly manufactured in massive quantities, using a planned division of labour Highly unstable, user-alterable, baroquely multifeatured objects, commonly programmable, with a brief lifespan Manufactured objects whose informational support is so overwhelmingly extensive and rich that they can be regarded as material instantiations of an immaterial system Entities that are both object and person – "shape their own shape" Specialised support structures for engineering skills, distribution and finance Supported by highly reliable transportation, finance and information systems Commonly linked to network service providers; they are not standalone objects but interfaces Sustainable, enhanceable, uniquely identifiable, and made of substances that can and will be folded back into the production stream A technosociety where objects are fabricated by redesigning and exploiting biochemical processes Customers Consumers Timeline Beginning of mankind 1500s End-users 1989 Around World War One Wranglers About 2004 Table 1: Bruce Sterling’s evolution of objects (after Sterling, 2005) Biot Around 2070 - 56 -
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OpenAIR@RGU The Open Access Institu
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Table of contents Table of contents
Page 5 and 6: Table of tables Table 1: Bruce Ster
Page 7 and 8: Image credits Figure 4: ‘Ridges O
Page 9 and 10: Keywords ART, DESIGN, DIGITAL, HYBR
Page 11 and 12: 1.0 Introduction This research is c
Page 13 and 14: Since 2002, the researcher has also
Page 15 and 16: The specific research questions to
Page 17 and 18: helping practitioners from many are
Page 19 and 20: synthetic or pluralist perspective
Page 21 and 22: Figure 1: A simple model of the com
Page 23 and 24: General Motors to begin developing
Page 25 and 26: introduction of feature-based param
Page 27 and 28: In 2005 the exhibition ‘Blobjects
Page 29 and 30: art. The theme of the exhibition wa
Page 31 and 32: technologies and not necessarily th
Page 33 and 34: executed by various technologies an
Page 35 and 36: purposely exploit computer-based te
Page 37 and 38: “…so much for automating tasks
Page 39 and 40: embodied in traditional craft pract
Page 41 and 42: Obviously it is necessary to look b
Page 43 and 44: The computer is being used as a too
Page 45 and 46: the proliferation of ‘responsive
Page 47 and 48: Figure 11: ‘Amazing Whale Jaw’,
Page 49 and 50: Figure 14: ‘SLS® Dress’, 2005.
Page 51 and 52: with sensors which were activated b
Page 53 and 54: These designer-makers are exploring
Page 55: ackground, providing just another p
Page 59 and 60: 2.7 Ontologies of production: 21 st
Page 61 and 62: design and fabrication facilities,
Page 63 and 64: “Unfortunately, the ability to ma
Page 65 and 66: information about these on their we
Page 67 and 68: have now are the needs other users
Page 69 and 70: As the use of computer-based design
Page 71 and 72: cross-disciplinary problem solving
Page 73 and 74: hybridization of cultural categorie
Page 75 and 76: “Boundary objects are both plasti
Page 77 and 78: association with function (Fairs, 2
Page 79 and 80: “…excludes the mind (the exclus
Page 81 and 82: causing a loss of this ‘aura’.
Page 83 and 84: “…the creative act is not perfo
Page 85 and 86: Figure 22: ‘The Treason of Images
Page 87 and 88: these have often served the covert
Page 89 and 90: highly developed collaborative skil
Page 91 and 92: plastic arts. However, media theori
Page 93 and 94: explores the work of artists 39 act
Page 95 and 96: elationships for hybrid art and des
Page 97 and 98: to reimagine the cultural role of d
Page 99 and 100: knobs, materials and mechanisms - i
Page 101 and 102: From the contextual review we can s
Page 103 and 104: used by architects (and others) as
Page 105 and 106: 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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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
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I suppose diversity within each pra
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24. Would you be interested in bein
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nicer than seeing something at the
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It’s a very central role and it
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5. Who did you expect to be in the
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Especially the windows as well. You
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It’s pretty strong to my heart, b
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28. How would you describe how you
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how it’ll trace, leaving a trace
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36. In terms of discipline where do
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15.0 Appendix VII: Practitioner 6 i
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18. Many visitors to the exhibition
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It could mean a variety of things,
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16.0 Appendix VIII: Creative Direct
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I think it was an interesting role,
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10. Did the exhibition live up to y
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which was Ben’s work which for me
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that should be in London. So there
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Obviously all of the artists that w
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Yes, actually one of the things tha
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key element of that. It’s not jus
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original proposal which felt like a
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I think that we were very fortunate
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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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