Difference between revisions of "Joeke Fantastic Forgeries 15 16"

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The tool will be focused on replicating the movement of the hands while editing the material, because this is the most important key <br>
 
The tool will be focused on replicating the movement of the hands while editing the material, because this is the most important key <br>
 
in the making process of Satoru Hoshino; the dialog between the material and his hands.
 
in the making process of Satoru Hoshino; the dialog between the material and his hands.
<br><br>
 
Relevant for the Open Design Movement because it's focused on creating a tool for other's to express their creativity and to understand the original artefact:
 
  
Open Design is a process for enabling design literacy in everyone. 

+
== REPLICA VISUAL RESEARCH ==
The role of the professional designer will be to guide users and to deal with complexity for making tools needed
 
by non-designers to express themselves creatively.
 
 
 
== VISUAL RESEARCH ==
 
  
 
Research to the forms and shapes of hands,<br>
 
Research to the forms and shapes of hands,<br>
Line 135: Line 129:
 
[[File:Video.jpg|800px]]
 
[[File:Video.jpg|800px]]
  
 +
Loose the back-scratcher-look by making the hand-shape more abstract. <br>
 +
Making a better replica out of clay by adjusting the 'hand-tool' on the original art-piece.
 +
<br>
 
[https://vimeo.com/141660254 Video replica experiment #3]
 
[https://vimeo.com/141660254 Video replica experiment #3]
  
== REPLICA EXPERIMENT #4 ==
+
== TRANSFORMATION CONCEPT ==
  
Loose the back-scratcher-look by making the hand-shape more abstract. <br>
+
Making the original artifact understandable for not-designers by creating a tool that they can use to replicate the artefact by themselves.
Making a better replica out of clay by adjusting the 'hand-tool' on the original art-piece.
 
 
<br><br>
 
<br><br>
Research to a better shape for the 'hand-tool'. <br>
+
Relevant for the Open Design Movement because it's focused on creating a tool for other's to express their creativity and to understand the original artefact.<br>
 +
But also made from a critical point of view on the Open Design movement; where is the line between artist and hobbyist?
 +
 
 +
Open Design is a process for enabling design literacy in everyone. 

 +
The role of the professional designer will be to guide users and to deal with complexity for making tools needed
 +
by non-designers to express themselves creatively.
 +
- Peter Troxler
 +
 
 +
== TRANSFORMATION RESEARCH ==
 +
 
 +
Research to a better shape for a more complex 'hand-tool', which anybody can use for making an artefact. <br>
 
I 3D printed round shapes that fit the holes in the artefact, attached them to my hand and edited clay:
 
I 3D printed round shapes that fit the holes in the artefact, attached them to my hand and edited clay:
  
Line 149: Line 155:
 
[[File:Research modeling.jpg|398px]] [[File:Research replica.jpg|398px]]
 
[[File:Research modeling.jpg|398px]] [[File:Research replica.jpg|398px]]
  
 +
== TRANSFORMATION PROCESS ==
  
Using this research for a well-working and -looking tool.<br>
+
Using the research for a well-working and -looking tool.<br>
 
Using a model from thingiverse and edit it with my own designed 'bubbles'.
 
Using a model from thingiverse and edit it with my own designed 'bubbles'.
  
 
[[File:3d model01.jpg|800px]]
 
[[File:3d model01.jpg|800px]]
 
 
'''Feedback Tim:''' making the original artifact understandable for not-designers by creating a tool that they can use to replicate the artefact by themselves.<br>
 
The next step is to figure out how the artist of 'Birth of Bubbles II' made the artefact with his hands, to create an accessible a tool or mold to model clay with.
 

Revision as of 13:50, 7 October 2015

CHOOSING AN ARTEFACT

Which artefact challenges me, but also other visitors of the museum, the most to ignore the 'please don't touch' sign and secretly touch the artefact to experience the texture of it?

Materials and textures are important elements of my work and craft process. I believe that you have to 'see with your hands' to fully experience an artefact.
To get an answer to the question above I sampled the bacteria from different artefacts of the Boijmans van Beuningen Museum, by using this tutorial.
With this data I hoped to examine which artefact was touched the most by visitors.

Small touch01.jpg Small touch02.jpg Small touch04.jpg

Small touch033.jpg


Instructable I used to understand how to sample and grow bacteria:

Instructable.jpg


Sampling bacteria from the following artefacts and objects:
Salvador Dalí - A Couple with Their Head Full of Clouds, 1936
Toilet - to compare the results of the artefacts with
Sarkis - Respiro, 2015
Satoru Hoshino - A Birth of Bubbles II, 2012

Small sample dali.jpg Small sample toilet.jpg

Small sample sarkis.jpg Small sample bubbles.jpg

Small qpicks.jpg


Update bacteria September 21:

Small 21 sep.jpg


Final choice:

While rubbing my q-tip on the surface of the ceramic artefact 'Birth of Bubbles II' I got busted by a security worker of the museum.
This made me realize how strange it is that you are not allowed to touch it.
The artefact 'Birth of Bubbles II' is, according to the description of the sign, a representation of the artists' contact with the soil.
But as a spectator you can only look at the artefact and think about the artist's experience of the soil, not experience it yourself.

RESEARCH ARTEFACT

Satoru Hoshino - A Birth of Bubbles II, 2012

The Studio of this Japanese ceramic artist was destroyed by an earthquake in 1986.
Since then he sees the material as a symbol of the power of nature.


Satoru02.jpg Satoru03.jpg Satoru01.jpg Satoru04.jpg


“I engage in a dialogue with the clay as it sits in from of me, as a soft, flexible lump of matter.
 This dialogue is carried out through a form of body language: the primitive action of pressing 
 parts of my body against the body of the clay. This is not a relationship in which I am active and 
 the clay is passive, even if I am the first to speak.
 The dialogue can only take place if I empathise with the material, adjusting myself to the time 
 contained in the clay and the rhythms of nature."
 - Satoru Hoshino
“It is essential to understand that he does not treat clay simply as a material. 
 His encounter with clay as a physical substance is more primal and fundamental."
 - Arata Tani

REPLICA CONCEPT

Engage the contrast between the materiality of the artefact and the immaterially of the 'please, don't touch' signs in the museum
in a tool to edit, process and manipulate the material without actually having to touch it with your hands.
This will create a distance between the maker and the material, such as the distance between the visitor of the museum and its artefacts.

The tool will be focused on replicating the movement of the hands while editing the material, because this is the most important key
in the making process of Satoru Hoshino; the dialog between the material and his hands.

REPLICA VISUAL RESEARCH

Research to the forms and shapes of hands,
because hands are important elements of the artefact 'Birth of Bubbles II' (self-made images):

Vlees01.jpg

Vlees02.jpg Vlees03.jpg


Research to marks from materials on hands (self-made images):

Hands01.jpg Hands02.jpg

Hands03.jpg Hands04.jpg

REPLICA EXPERIMENT #1

A protoype made from 3D printed 'fingertips' based on the fingerprints you can see in the artefact,
placed before your real fingertips so you don't have to touch the material with your hands while editing the material.

Detail bubbles01.jpg Detail bubbles02.jpg

Prototype01.jpg

How to improve: making the prototype stronger so you can really use it, making a more detailed replica of fingertips so they actually look like fingertips.

REPLICA EXPERIMENT #2

A 'hand-tool' inspired by the combination of clay working tools and hands.
First I used the craft 'woodturning' on a lathe to make a handgrip, then I printed five fingers.

Inspiration and woodturning on the lathe:

Inspiration.jpg Process lathe.jpg


'Hand-tool':

Protoype hand01.jpg

Protoype hand02.jpg Protoype hand03.jpg


Replicating. Using DAS modeling clay and the 'hand-tool' to replicate 'Birth of Bubbles II'.

Replica01.gif Replica02.gif

Feedback Tim: making a better replica by improving the 'hand-tool'.
So when you see the tool, you can imagine the replica without having to see it.
Less a back-scratcher-look.

REPLICA EXPERIMENT #3

Video.jpg

Loose the back-scratcher-look by making the hand-shape more abstract.
Making a better replica out of clay by adjusting the 'hand-tool' on the original art-piece.
Video replica experiment #3

TRANSFORMATION CONCEPT

Making the original artifact understandable for not-designers by creating a tool that they can use to replicate the artefact by themselves.

Relevant for the Open Design Movement because it's focused on creating a tool for other's to express their creativity and to understand the original artefact.
But also made from a critical point of view on the Open Design movement; where is the line between artist and hobbyist?

Open Design is a process for enabling design literacy in everyone. 

The role of the professional designer will be to guide users and to deal with complexity for making tools needed
by non-designers to express themselves creatively.
- Peter Troxler

TRANSFORMATION RESEARCH

Research to a better shape for a more complex 'hand-tool', which anybody can use for making an artefact.
I 3D printed round shapes that fit the holes in the artefact, attached them to my hand and edited clay:

Research hands.jpg

Research modeling.jpg Research replica.jpg

TRANSFORMATION PROCESS

Using the research for a well-working and -looking tool.
Using a model from thingiverse and edit it with my own designed 'bubbles'.

3d model01.jpg