Difference between revisions of "User:Fuutsie"

From DigitalCraft_Wiki
Jump to navigation Jump to search
 
(28 intermediate revisions by the same user not shown)
Line 1: Line 1:
<div style="width:65em;font-size:16px;font-family:Arial;display:block;padding:5px;color:black;background:linear-gradient(to bottom right,#FCF9EF,#E9E5DA,#E1DACE,#FF2288);border:2px inset blue;">
+
<div style="width:65em;font-size:16px;font-family:Verdana;display:block;padding:5px;color:black;background:linear-gradient(to bottom right,#FCF9EF,#FF2288);border:10px inset grey;">
 +
=<div><span style="color:#ff0000;">T</span><span style="color:#ff2a00;">h</span><span style="color:#ff5500;">e</span><span style="color:#ff7f00;"> </span><span style="color:#ffaa00;">u</span><span style="color:#ffd400;">n</span><span style="color:#ffff00;">e</span><span style="color:#aaff00;">x</span><span style="color:#55ff00;">t</span><span style="color:#00ff00;">r</span><span style="color:#00ff55;">a</span><span style="color:#00ffaa;">o</span><span style="color:#00ffff;">r</span><span style="color:#00aaff;">d</span><span style="color:#0055ff;">i</span><span style="color:#0000ff;">n</span><span style="color:#2e00ff;">a</span><span style="color:#5d00ff;">r</span><span style="color:#8b00ff;">y</span><span style="color:#b200aa;"> </span><span style="color:#d80055;">r</span><span style="color:#ff0000;">e</span><span style="color:#ff2a00;">s</span><span style="color:#ff5500;">e</span><span style="color:#ff7f00;">a</span><span style="color:#ffaa00;">r</span><span style="color:#ffd400;">c</span><span style="color:#ffff00;">h</span><span style="color:#aaff00;"> </span><span style="color:#55ff00;">a</span><span style="color:#00ff00;">n</span><span style="color:#00ff55;">d</span><span style="color:#00ffaa;"> </span><span style="color:#00ffff;">p</span><span style="color:#00aaff;">r</span><span style="color:#0055ff;">o</span><span style="color:#0000ff;">c</span><span style="color:#2e00ff;">e</span><span style="color:#5d00ff;">s</span><span style="color:#8b00ff;">s</span><span style="color:#b200aa;"> </span><span style="color:#d80055;">o</span><span style="color:#ff0000;">f</span><span style="color:#ff2a00;"> </span><span style="color:#ff5500;">R</span><span style="color:#ff7f00;">i</span><span style="color:#ffaa00;">k</span><span style="color:#ffd400;"> </span><span style="color:#ffff00;">W</span><span style="color:#aaff00;">i</span><span style="color:#55ff00;">j</span><span style="color:#00ff00;">n</span><span style="color:#00ff55;">g</span><span style="color:#00ffaa;">a</span><span style="color:#00ffff;">a</span><span style="color:#00aaff;">r</span><span style="color:#0055ff;">d</span><span style="color:#0000ff;">s</span></div>=
  
 
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
 
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
 
| <strong>Appropriation, the early research</strong>
 
| <strong>Appropriation, the early research</strong>
 
|-
 
|-
|The quickest explanation is repurposing an object/artpiece as is to give it another function or meaning. This can be as simple as turning a table upside down, but can also exist in the way of Pablo Picasso’s “Guitar, Sheet music and Wine glass, where existing pieces come together to form a new work. This way a NEW object is created.
+
|
 +
==Appropriation, the early research==
 +
 
 +
The quickest explanation is repurposing an object/artpiece as is to give it another function or meaning. This can be as simple as turning a table upside down, but can also exist in the way of Pablo Picasso’s “Guitar, Sheet music and Wine glass, where existing pieces come together to form a new work. This way a NEW object is created.
  
  
Line 24: Line 28:
 
Does the intention of copying change the ethics of appropriation?  
 
Does the intention of copying change the ethics of appropriation?  
 
Type of person that does it with intention of gaining profit?
 
Type of person that does it with intention of gaining profit?
 
 
  
 
https://www.artspace.com/magazine/art_101/art_market/art_101_appropriation_art-5550
 
https://www.artspace.com/magazine/art_101/art_market/art_101_appropriation_art-5550
 
 
 
|}
 
|}
 
  
 
{| role="presentation" class="wikitable mw-collapsible"
 
{| role="presentation" class="wikitable mw-collapsible"
Line 59: Line 58:
 
<gallery mode=packed widths=150px class="center">
 
<gallery mode=packed widths=150px class="center">
 
file:Overpulling.jpg|Tracing
 
file:Overpulling.jpg|Tracing
file:Modeling1.jpg| Extruding & modeling
+
file:Modeling1.jpg|Extruding & modeling
file:DroogPrint.jpeg| Preparation
+
file:DroogPrint.jpeg|Preparation
file:droogcabprint.jpg| Printing
+
file:droogcabprint.jpg|Printing
 +
file:finaldroog.jpg|Final painted version
 
</gallery>
 
</gallery>
  
Line 81: Line 81:
  
 
Since I had the 3D model I printed the model. I used a filament with wood for this. For the working appropriated model I used wood since it had to be sturdier to endure experimenting. I used common, but also object specific to certain memories of mine. For example I used paperclips to create rattle, but the Opel hubcaps are really specific to the memories of my father.
 
Since I had the 3D model I printed the model. I used a filament with wood for this. For the working appropriated model I used wood since it had to be sturdier to endure experimenting. I used common, but also object specific to certain memories of mine. For example I used paperclips to create rattle, but the Opel hubcaps are really specific to the memories of my father.
 +
 +
*[https://instaud.io/29T6 Sound 1 Oma]
 +
*[https://instaud.io/29Te Sound 2 Bomma]
 +
*[https://instaud.io/29Th Sound 3 Shed]
 +
*[https://instaud.io/29Ti Sound 4 Pa]
 +
*[https://instaud.io/29Tj Sound 5 Mam]
  
 
<gallery mode=packed widths=150px class="center">
 
<gallery mode=packed widths=150px class="center">
 
file:Omala.jpg|Original Drawer of grandma
 
file:Omala.jpg|Original Drawer of grandma
 
file:papala.jpg| Drawer of my father
 
file:papala.jpg| Drawer of my father
 +
file:20180510_113940_HDR.jpg| The used drawers during the presentation
 
</gallery>
 
</gallery>
 
 
  
 
==Conclusion & Future==
 
==Conclusion & Future==
Line 106: Line 111:
 
|}
 
|}
  
 +
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
 +
| <strong>Contrafactual Past & Speculative future</strong>
 +
|-
 +
|
 +
 +
Disclaimer: These little concept stories are a mix of facts and fabrications. Do not see these as original intentions of the author!
  
  
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
+
===Contrafactual Past===
| <strong>Contrafactual Past</strong>
 
|-
 
| [[file:Zittendnaakt1.jpeg|thumbnail|upright|left|alt=Lady peeling green tomato on the Giorno di Risposo|Zittend naakt met appel.]]
 
  
<strong>An italian woman preparing dinner on a hot day.</strong>
+
[[file:Zittendnaakt1.jpeg|thumbnail|upright|left|alt=Lady peeling green tomato on the Giorno di Risposo|Zittend naakt met appel.]]
  
 +
<strong>Lady peeling green tomato on the Giorno di Risposo</strong>
  
 
The day the god Fortuna, god of fortune, fate and fertility leaves and makes place for Anteros, god of love and passion, women prepared a festive meal to celebrate the occasion. This day is often referred to as “giorno di riposo”, Literally translated to “Day of rest”. Where usually the locals of Acri (south of Italy) wore fabulous clothing to praise the gods, Anteros was praised by a day of openness and freedom.  
 
The day the god Fortuna, god of fortune, fate and fertility leaves and makes place for Anteros, god of love and passion, women prepared a festive meal to celebrate the occasion. This day is often referred to as “giorno di riposo”, Literally translated to “Day of rest”. Where usually the locals of Acri (south of Italy) wore fabulous clothing to praise the gods, Anteros was praised by a day of openness and freedom.  
Line 121: Line 130:
 
The end of the harvest was celebrated by a grand meal. Pasto Prandi (Meal of rest) was a dish where green tomatoes were peeled and boiled with spices, and wine.  
 
The end of the harvest was celebrated by a grand meal. Pasto Prandi (Meal of rest) was a dish where green tomatoes were peeled and boiled with spices, and wine.  
  
This statue is a snapshot of a woman peeling tomatoes in preparation of pasto prandi. It is thought that this was originally made by an artist in Cosenza. Later was found out it was  
+
This statue is a snapshot of a woman peeling tomatoes in preparation of pasto prandi. It is thought that this was originally made by an artist in Cosenza. Later was found out it was a abbreviation of the original work.
|}
 
 
 
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
 
| <strong>Present/my work</strong>
 
|-
 
| [[file:Memories.gif|thumbnail|upright|left|alt=You can't lay down your memories|Droog Cabinet]]
 
 
 
<strong>You can't lay down your memories</strong>
 
 
 
A cabinet:
 
You are able to put stuff in (taking in), take things out (remembering). In the space between these two actions the cabinet is just there fulfilling its destiny.
 
The opening and closing of the drawers comes paired with a noise: A slam, a wham or just a scraping sound because it is worn out. It is the quality of the memory that defines its sound.
 
This quality is the part that I want to appropriate. The noise, the force, the effort needed to remember and store information, not only in a drawer, but also in the mind.
 
 
 
<strong>But.... how??</strong>
 
 
 
Where the focus on the original object lays at the chaotic cluster of memories, defined by the type of drawer, I want to use the sound made by the drawer to define the memories.
 
Since audio is a strong key to remembering life events. Besides that it plays an important part in the storage of cultural heritage.
 
Your heritage defines you. Your memories define you. Because everyone is different, everyone has his own sound, because the memories stored will never be the same as oneother's.
 
 
 
 
 
  
|}
+
===Speculative Future===
  
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
+
[[file:Nr155 Staff.jpg|thumbnail|upright|left|alt=Visualization of example-code 2a|Nr 155 Staff]]
| <strong>Speculative Future</strong>
 
|-
 
| [[file:Nr155 Staff.jpg|thumbnail|upright|left|alt=Visualization of example-code 2a|Nr 155 Staff]]
 
  
 
<strong>Visualization of code example 2a</strong>
 
<strong>Visualization of code example 2a</strong>
 
  
 
Lines, perspective, all things that we have to consider while programming the virtual world. To keep not only the mind, but also the physical human in contact with the program we make an artificial stage, where the tactile connection correlates with the mental image of the program.  
 
Lines, perspective, all things that we have to consider while programming the virtual world. To keep not only the mind, but also the physical human in contact with the program we make an artificial stage, where the tactile connection correlates with the mental image of the program.  
Line 158: Line 142:
  
 
Combining these parameters makes us able to guide people the right way and happy in their Lifepod: Giving them the feeling of mobility.  
 
Combining these parameters makes us able to guide people the right way and happy in their Lifepod: Giving them the feeling of mobility.  
 
 
 
  
 
With the colors, or, not-colors black and white, we can steer the mind in thinking of human reality. As communicated:  
 
With the colors, or, not-colors black and white, we can steer the mind in thinking of human reality. As communicated:  

Latest revision as of 09:46, 10 May 2018

The unextraordinary research and process of Rik Wijngaards