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

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Hippel says that this is also applicable to physical products. He states that in the future product development by users can evolve to the point of replacing traditional product development. However, because of the costs involved this does not extend to manufacturing which will continue to be done on a mass scale by manufacturers. Nevertheless, he is quick to specify that during the design stage, physical products exist as information encoded in CAD files (Von Hippel, 2005, p.104). Users have access to software and hardware that is as good as those available to professional designers and can use these to manipulate, combine and adapt this information to their own requirements. Hippel refers to these ‘lead users’ as ‘user-designers’ (Von Hippel, 2005, p.156). 2.7.7 Open Source and crowd-sourced design The term ‘Open Source’ is most commonly applied to the source code of software that is made available to everyone and allows for the appropriation and sharing of this content. This gives permission for users to create user-generated derivations both individually and collaboratively. ‘Crowdsourcing’ is term for a business model in which a task is outsourced to a large group of people usually via the Internet. The developments discussed above allow for open-source and crowd-sourced design. The following might be an indication of a developing trend in this area. ‘MAKE’ 26 is a magazine that publishes instructions for DIY technology projects that also has a large online community. ‘Instructables’ 27 is a website-based system for documenting the sequence of steps that are undertaken to make any particular thing or do any task. This can be understood as an Open Source approach. Drawing on developments in Open Source Software, blogs, wikis, and version control systems ‘Instructables’ is a growing resource of information about making a wide variety of things. Similarly, ‘foldschool’ 28 is a collection of free plans of cardboard furniture for children. These downloadable patterns can be printed out and assembled to create pieces of furniture. 26 http://www.makezine.com/blog/ 27 http://www.instructables.com/ 28 http://www.foldschool.com/ - 67 -
As the use of computer-based design and fabrication tools have become more widespread, so new enterprises have been established to meet the engineering technology needs of diverse industries. This has introduced a more distributed model of digital production that more readily affords small scale manufacturing and customised manufacture. New production paradigms have brought producers and consumers into a closer relationship which has challenged conventional models of authorship as well as existing industrial and pedagogic models. New communities are developing around the appropriation and sharing of user-generated content and knowledge. It is logical to speculate that 3D printing will develop in a similar way to desktop publishing and eventually allow a mass audience to manufacture physical items at home directly from the computer desktop. These developments introduce the potential wide distribution of objects whose function is not defined by the values of established design discourses. It also implies new modes of consumption for audiences, users and/or co-creators of these objects. 2.8 A critical challenge to disciplinary domains With the use of computer-based design and fabrication tools, diverse practitioners from across the 3D art and design making disciplines are exploring the potential for future applications outside conventional manufacturing. Michael Century (Century, 1999) points out that software applications that converge and integrate data from various disciplines constitute the first technology capable of bringing us closer to the idea of the Gesamtkunstwerk or ‘total work of art’ (a term attributed to the German composer Richard Wagner) meaning an artwork which is a syn<strong>thesis</strong> of music, theatre, and the visual arts. Katherine McCoy (McCoy, 1997) states that convergence may be the dominant design paradigm for the current, electronic era – she claims that design disciplines and technologies are converging into each other. Furthermore, she states that CNC machining, and CAD/CAM are both productive tools and change agents. This development is significant as it suggests expanded opportunities for practitioners and the possibility of developing a 3D digital praxis which draws on the critical discourse of intersecting disciplinary domains. - 68 -
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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
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 and 56: ackground, providing just another p
Page 57 and 58: Type of object Description Requirem
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: have now are the needs other users
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
Page 107 and 108: the data: survey results, interview
Page 109 and 110: used for objects of differing scale
Page 111 and 112: These practitioners represent a spe
Page 113 and 114: team each selected their top six 50
Page 115 and 116: to survey existing works, explore f
Page 117 and 118: 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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