Difference between revisions of "User:Meikebrand/UTC/research"

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My craft mainly has a relation to physical material, something that is touchable. A fascination for a certain kind of material is usually where my process starts. An example is my ‘Fossielen’ project (Graphic Design - quarter 10), where the proces started with my interest in polyester textile because of it’s overload that results in waste material. By using the heat-press in the Fabric Station as a tool I started testing the material, to see what it could and couldn’t do. Melting the textile was actually one of my goals, which turned out to be impossible because of the heat limits of the machine. But because of this I actually discovered a whole new printing technique. This is what interests me – working with limitations and at the same time possibilities of materials and machines.
  
[[File:Text_Jon.jpg|1000px]]
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The way natural forces create organic forms is very interesting to me, the same counts for the natural properties materials have. Machines, which are the complete opposite of the natural transformations of material, also interest me. These are devices that do precisely that which they are told to do and have mostly a predictable output. Working against this predictability is where it becomes interesting to me.
  
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Asking why materials have certain characteristics and why they are used in a certain way, by not going for the obvious I make new discoveries. Maybe, especially because I’m still unknown with so many techniques and materials I discover things in a new way. Maybe just because I’m not sure how to use something in the right way, using it in the ‘other’ way gives me interesting insights in materials and machines. Not relying on the things I know, but searching for the things I don’t know. Many machines and materials are linked to a certain ways of using them or a certain craft, by going against this, I come to new discoveries; disfunction.
  
My craft (almost) always has a relation to physical material, something that is touchable. A fascination for a certain kind of material is usually where my proces starts. An example is my ‘Fossielen’ project (Graphic Design - quarter 10), where the proces started with my interest in polyester textile because of it’s overload that results in waste material. By using the heat-press in the Fabric Station as a tool I started testing the material, to see what it could and couldn’t do. Melting the textile was actually one of my goals, which turned out to be impossible because of the heat limits of the machine. But because of this I actually discovered a whole new printing technique. This is what interests me, working with limitations and at the same time possibilities of materials and machines.  
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The way research and experiment come together in the Digital Craft practice, works really well for me. It’s about making; straight from the beginning of a project you start making whilst researching. In this way you accelerate your process and in the end come to much more interesting results.
 +
 
 +
For me designing starts with material experiments; discovering how these react through different stages of testing. Transforming characteristics of the material and to provoke specific forms. I try to search for interesting characteristics and the limits of the material by playing with them. My aim is mostly to control and understand the material in such a way that it retains its freedom of movement, so the result is always unique.
 +
 
 +
The combination of craft and technology, the way they are able to compliment each other, is what makes Digital Craft very interesting to me. I try to find the intersection of the digital and analog, with this I can get to results that normally would be unthinkable and impossible to realize. In my opinion this combination is the future for artists and designers. In my work I mostly use technology as a tool to compliment and take a physical material to a higher level. Technology is always changing and evolving, I have the opportunity to figure out different ways to take advantage of this.
  
The way natural forces create organic forms is very interesting to me, the same counts for the natural properties materials have. Machines, which are the complete opposite of natural transformations of material, also interest me. These are devices that do precisely that which they are told to do and have mostly a predictable output. Working against this predictability is where it becomes interesting to me.
+
For me natural phenomenon with a long history are really interesting. For example the Fibonacci theory and the Lindenmayer System I was working with in the last two projects, discoveries made ages ago but still in a way so present and something so challenging to work with. An example of a contemporary artist who uses these organic shapes and formulas in his work is Olivier van Herp. Also, the way he combines modern technologies, such as 3D printing, in combination with craft materials, such as ceramics, fascinate me. I find the way he uses the possibilities and limitations of technology very interesting. He also shows the value of this tool, in contrast to the way the 3D printer nowadays is almost only used for useless objects.
  
Asking why materials have certain characteristics and why they are used in a certain way, by not going for the obvious I make new discoveries. Maybe, especially because I’m still unknown with so many techniques and materials I discover things in a new way. Maybe just because I’m not sure how to use something in the right way, using it in the ‘other’ way gives me interesting insights in materials and machines. Not relying on the things I know, but searching for the things I don’t know. Many machines and materials are linked to a certain ways of using  them or a certain craft, by going against this,  I come to new discoveries. Disfunction.
+
Another artist who fascinates me nowadays is Olafur Eliasson, the way he gets inspired by nature; by for example using light, movement and reflection is really interesting. Also his diverse use of media – sculpture, painting, photography, film, and installations – really speaks to me. The 'Notion motion’ installation in Boijmans was just as mesmerizing as actual natural can be. The way his work navigates between natural phenomena and technology speaks to me, which is also something I want to apply and develop in my work.
  
The way research and experiment come together in the Digital Craft practice, works really well for me. It’s about making; straight from the beginning of a project you start making whilst researching. In this way you accelerate your process and in the end come to much more interesting results.
 
  
For me designing starts with experimenting with material; discovering how it reacts through different stages of testing. transforming characteristics of the material and to provoke specific forms. I try to search for interesting characteristics and the limits of the material by playing with it. My aim is mostly to control and understand the material in such a way that it retains its freedom of movement, so the result is always unique.
+
________
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 +
 
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The Digital Craft kick-off started with the announcement that in two weeks we had to realize an exhibition piece. With Stan Haanappel and Arthur Boer we got the theme of Patterns, which immediately brought so many topics and possibilities to our minds. The main topic that was really interesting to me was the way patterns naturally appear in nature. For example with thunder and lightning, fog, bacteria but also with trees. From this research we came across the L-system or Lindenmayer system, introduced by Astrid Lindenmeyer in 1968. A mechanism for translating the generated strings into geometric structures. The first week of the project consisted of getting a understanding of the basic ruleset on which the formula was build. This took up too much time and considering the little time we had for this project we decided to start “doing", instead of staying in our heads. The basic ruleset (A=AB B=A) could be applied in so many different directions. We thought of it as a rule: A is always AB and B is always A, from there we came to rule based-/conditional design. The 'Conditional Design Workbook' by studio Studio Moniker was a big inspiration for us. It is a design strategy that is defined by designed sets of rules and conditions that lead to unpredictable outcomes. From there we started to apply the rules in different directions. One of them was to use the ruleset as a walking guide through Rotterdam, just to see what would happen if we would blindly follow the formula. A was left, B was right. We tracked the route with maps so afterwards our directions would be visible. In the end it was a loop that was repeating itself in itself, which was quite interesting. Another experiment was actually making the formula physical by creating the several generations out different colored tape and another one from sawn timber boards.
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These different experiments gave us a clearer understanding of the L-system and it also made us think of the way music is constructed. The outcome that is generated from a simple algorithm was what we found interesting, music artist Jerobeam Fenderson worked with this. He generates patterns composed by music with the use of a oscilloscope, which shows the relation between sound and generated landscape. From there we decided to create an experience instead of a mathematical explanation of the L-system. The outcome of our previous sound experiments in Processing resulted in another experiment with Google Translate. The text-to-speech function was our tool to get a vocal version of the generated strings. We used the rhythm as a trigger for a Cinema 4D animation. We discovered that in Cinema 4D you have the ‘Turtle Spline’ option, which gives you the opportunity to create an 3D object based on a certain formula. This formula can shape and transform the object. The relation between the sound and the visuals became absolute and led to a video that gave a sense of the L-system algorithm and its biologic nature. In the end the project really of started going when we started ‘doing'. The experiments we did seemed quite meaningless at the time, but in the end they brought us to this idea. This was a lesson for me, that I work so much better while experimenting, making and doing.
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With the second project I was determent to use this as a lesson and to tackle this straight from the beginning. From the antenna workshop we did with Simon, Judith van der Heiden, Nora Mabrouki and I came up with the idea to create a robot that is constantly searching for the best wifi signal. The strength of the radio waves would steer the robot, which moves only when it detects WiFi. After we decomposed a WiFi repeater we found out that it was not suitable for this project. The firmware had to be modified and because it was too difficult to achieve in such a short time, Simon recommended to us to find another solution. So we decided to use a Wi-Fi detector t-shirt as an antenna. The chip sends the right signal to the LED lights when it detects Wi-Fi, which lights are depending on the strength of the wifi signal which updates every 15 seconds. We linked this to the steering drive of the toy car. We dissect a remote-controlled toy car and decide that we are going to use the motor and the gear drive plus the chip that can control the drive. We kept the construction of the robot quite simple, but we wanted to make it human-like. At the site of the eyes there is an ultrasonic sensor, so that the robot can navigate without colliding with obstacles.
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9V to a 6V circuit caused a fault in the lights. Continues to flash at the first light and is no longer looking for a new signal. Test where the error is. With Breadboard and seven LED’s connected to the supply we hope to be able to find out where the error is located. In the LEDs on the breadboard the same error appears, so it has nothing to do with the lights on the circuit. The capacitor looked slightly damaged, therefor we decided to replace it but this did not change anything. In the end it was not possible to fix the WiFi Craving Robot in time for the deadline, that is why we decided to present our experiments and progress. The fact that this was a one week project limited us on the one hand, but on the other hand also caused our drive to work efficiently en continuously. We didn’t waste any time on thinking things too much through and made quick decisions. For me this was a good exercise, mainly because normally my pitfall is that I can lose a lot of time whilst deciding. Another lesson was that I drifted quite far away from my actual interests. Apart from that the technical side of this project was really interesting and instructive to me; the overall project was not quite up my alley.
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As I said before; the previous project was a good exercise but apart from the technical part not that challenging to me. The third project, with the theme of lighting, was on the other hand really exciting to me. My group partner, Judith van der Heiden and I started researching into different sources of light and the way the material is being used. The first thing that caught my interest were materials that do not transmit light or influence the direction that it projects on. An example is the 'You’re making things explicit’ installation by Olafur Eliasson. A transparent rectangular box is placed in the middle of a band of light, which interrupts the light beam. Because the box seems to consist just out of ordinary transparent glass it really messes with your mind. We experimented with polarization, manipulating shadows and fresnel lenses. With the fresnel lens we focused on light that gets deformed by the use of a filter. We discovered that by moving the light we could manipulate the shape of its reflection trough the lens. The fresnel also bended the wave length of the light and displayed multiple colors.
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The way you are able to manipulate with the use of light is something I find really interesting. With the use of a stroboscopic light you’re able to manipulate the way a certain substance appears. With the use of a Cinema 4D animation we were able to test different kinds of shapes and experiment with multiple light speeds. The 3D printer was a good tool to quickly test different shapes that were actually physical and touchable. From these experiments we discovered that the a shape wherein the Fibonacci theory occurs works really well. The way this occurs naturally in the growth of nature is really interesting to me. The most common appearances of a Fibonacci in nature is in plants; in the numbers of leaves, the arrangement of leaves around the stem and in the positioning of leaves. At first we experimented with simulating the shapes of these certain plants, but after a few experiments we decided to use actual pieces from nature such as succulents, pine cones and pineapples. We disassemble various machines that contained engines to use as driving for the objects. The Swiss artist Zimoun was a big inspiration for us, the way he creates such an impact by simplicity is really interesting. We also applied this minimalism in the development and elaboration of our installation. In the end it was a really interesting, brain manipulating, sensory experience.
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This was a really motivating quarter for me, the many projects that it counted in such a short time meant that you were only able to focus on them for a certain amount of time. After the presentations you had to let them go and turn your attention completely on to the next project. Every time I would start totally fresh, with new motivations and a new topic of interest to then completely lose myself in that. That is what kept the quarter exciting; new topics, new workshops, new experiments, new tools, new materials. Everything was a challenge which made this period so instructive, so many new skills and fascinations were developed.
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Patterns and Radiation was the theme of the fourth project. Patterns that are naturally shown in certain materials are really fascinating to me. In particular Interference Patterns caught my attention and I started researching them. Interference literally means interruption and it usually refers to the interaction of waves that are correlated or coherent with each other. Sometimes because they come from the same source or because they have the same or nearly the same frequency. In the third project, Light and Radiation, I experimented with polarizing materials. The two components are initially in step with each other, but as they travel at different speeds through (in this case) the tape, they went out of step. When these out-of-step light waves emerge from the tape on the other side, they recombine, making light with a polarization different from that of the original light. I started looking around me to explore in what kind of materials/objects a sort like effect appears. My eye was caught by a spinning chair with two layers of textile with a bobbinet-like texture, once you moved the chair the pattern in the textile started interfering with each other: the Moiré effect appeared. Which is a optical phenomenon that appears as a circular pattern under certain lighting conditions, the pattern occurs because of interaction between overlaid structures. They interfere with each other to produce tertiary patterns which are unable to be seen in either layer alone. It consists a visual illusion of dark and bright areas which are clearly observed, although they do not appear in any of the original textile. I found this phenomenon really interesting and started experimenting with different materials by layering them. Bobbinet is the main pattern wherein the effect appears in the case of textiles, therefor I started experimenting with this construction to create it myself so I would be able to influence it. But unfortunately this was incredibly time-consuming and the result wasn’t interesting, therefor I went back to the excising textile and started experimenting with influencing this. For example by adding another material to it, such as resin. The resin effect was interesting because it enlarged the pattern, but it also completely fixed it. There was no way of influencing the textile anymore, which was actually the most interesting thing about it. I wanted to create a light and organic feeling, instead of a feeling of tightness. I saw a certain billboard which moved in the wind and because of this movement the Moiré pattern naturally appeared. From there I decided to experiment with wind, first vertical - then horizontal. It created an almost coming alive and growing effect which was influenceable by the amount of air that I would add.
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Because light enhances the effect, I started adding different sources to test what would happen. First to make the appearance of the interference stronger but after trying out various light sources I discovered that it actually projected the pattern through the textile. From there I started experimenting to see which light source would cause the strongest effect. For instance by adding a magnifying mirror or a overhead-projector, but in the end the light of a normal projector appeared to have the most impact.  
  
The combination of craft and technology, the way they are able to compliment each other, is what makes Digital Craft very interesting to me. I try to find the intersection of the digital and analog, with this I can get to results that normally would be unthinkable and impossible to realize. In my opinion this combination is the future for artists and designers. In my work I mostly use technology as a tool to compliment and take a physical material to a higher level. Technology is always changing and evolving, I have the opportunity to figure out different ways to take advantage of this.  
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I wanted to create a feeling as if the pattern/textile was coming alive, from there I started experimenting with creating a time-sequence in the added wind. By starting, pausing, starting the fan underneath two layers of textile I was able to create this effect. By adding an Arduino and a Relay Module circuit I was able to accomplish a controlled time sequence, which I could adjust to the movement of the textile. After experimenting on a smaller scale, I discovered that on a bigger scale I was in need for more air because of the weight of the textile. Adding two more fans did the job but it also made the textile move uncontrollably, by adding wires at the four corners I could kind of tame the movement a little bit. It took a lot of experiments with the right speed, the right placement, the right textile, the right weight to get it to move the way I wanted it to - but also the way ‘it’ wanted to. I wanted to control it in someway, but the interesting thing about it was also that it was finding it’s own way which was unique with every sequence.
  
For me nature phenomenon with a long history are super interesting. For example the Fibonacci theory and the Lindenmayer System I was working with in the last two projects, discoveries made years and years ago but still in a way so present and something so interesting to work with. An example of a contemporary artist who uses these organic shapes and formulas in his work is Olivier van Herp. Also, the way he combines modern technologies, such as 3D printing, in combination with craft materials, such as ceramics, fascinate me.  I find the way he uses the possibilities and limitations of technology very interesting. He also shows the value of this tool, in contrast to the way the 3D printer nowadays is almost only used for useless objects.
 
  
Another artist who inspires me nowadays is Olafur Eliasson, the way he gets inspired by nature; by for example using light, movement and reflection I find very interesting. Also his diverse use of media – sculpture, painting, photography, film, and installations – really speaks to me.
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________
  
  
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I’m very interested in discovering new, innovative materials and techniques. A previous project wherein I invented a new textile printing technique is an example of that. Discovering whilst doing and by that researching whilst doing is the approach that works best for me. I’m always searching for ways to feed my curiosity and to learn new skills. An example is an interesting Open Course I will be taking part in called: “Laboratory - Can we turn fabric into a 3D print?”. It includes an instruction to ‘De Hollander’, a completely new machine that turns fabrics into fibers. The course will be a collaboration with Christa van der Meer, who is a Dutch fashion designer graduated from KABK. In the course the main goal is trying to understand what the possibilities are within textiles, recycling and 3D printing techniques. Experimenting to discover the possibilities to turn used polyester fabrics into a new 3D printed material. Right now, most plastic waste is perceived as valueless and ends up in landfills and incinerators. Only a small fraction of the plastic waste is recycled. Fashion designer Iris van Herpen developed a dress that looks like a web woven over the body. From a distance the material looks like delicate textile fibers carefully intertwined and handmade, but it is in fact a 3D printed dress made from laser-sintered plastic. She developed a innovative new textile called TPU 92A-1 which is the first printable material that is flexible and durable enough to be worn.
  
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The way art and technology can be combined to create is really interesting to me. The experimental studio Random International is an inspiring example of this interconnection. The way they collaborate with both product designers, graphic designers, engineers and artists creates a really broad vision which results in very diverse works. They use science and technology to create experiences that aim to challenge the human experience within a machine-led world. They want to engage viewers through explorations of behavior and natural phenomena. One of their most well known installations ‘Rain Room’, is an immersive environment of falling water that pauses wherever a human body is detected. It offers visitors the experience of controlling the rain. The human desire to constantly influence/command nature is really interesting to me and is something in which I want to do more research.
  
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Another artist that I find inspiring is Jonathan Gaarthuis, who is fascinated by solid and liquid matter. His work offers you a glimpse into the ever-moving, almost elusive matter that surrounds us: dust, water and light. His 'Window' installation provides a continuous changing image, condensation droplets that again and again draw traces on the glass image plane. How he determines these natural phenomena is really fascinating to me.
  
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The spatial installations of Nicky Assmann, which show the immaterial and intangible character of light, colour and movement are also really interesting to me. She combines science, technology and art in spatial installations in which the sensory experience is central. She creates optical phenomena in which she explores the mental and physical observation process. Our visual culture wherein the experience of reality is more and more taking place in the virtual domain, she returns to the physical foundations of ’seeing'. In her research she undertakes technological developments with basic physical processes. This physical and tangible aspect in this digitally oriented world is what what appeals to me in her work.
  
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I would like to continue on the path where I currently find myself; the last project, Watered Silk, was a big eyeopener. Where I would previously go in certain directions because I felt that 'I had to', was it with this project the complete opposite. It was a scary thing to follow my gut and to do what felt right instead of doing what I thought was right, but in the end I came closer to what is me. Making and doing are two important words for me, as I said before I tend to lose myself in thinking while my ideas start flowing during material experiments. My fascination for natural phenomena continues, which was a bit of a common thread for me. As I talked about before in the previous projects, I draw a lot of inspiration from nature and it’s wonderful appearances.
  
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For me it is quite difficult to have a clear plan in advance, mainly because my process takes off with having no control at all. My research starts with experimenting in all sorts of ways, seeing how a certain material reacts to various tests. For me that is the interesting thing about the analog way of creating – the fact that it is so unpredictable, it has it’s own characteristics and core. But because it is so easy to manipulate the results within the process can be endless and very different. Searching for that moment where you discover a new technique or a certain ‘answer’ from the material is what makes the process exciting. I create from feeling – a certain feeling that I have towards a material or tools determine my actions; but the material ultimately chooses a way to respond to that. This dialogue is what is most interesting to me.
  
  
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https://vimeo.com/2611597
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________________________
  
https://mycourses.aalto.fi/pluginfile.php/40001/course/section/15792/Dunne_Raby_Methodological_Physical.pdf
 
  
http://65.media.tumblr.com/tumblr_m576joqef31qa5xgyo1_1280.jpg
 
  
The Electronic as Post-optimal Object
 
the electronic objects we have now are nog going to evolve anymore. It is possible to make an optimal electronic object nowadays.
 
  
Semiotic
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https://vimeo.com/2611597
Understanding signs. Designers role is to make a nice readable package. Not about understanding what is actually in the package.
 
  
Dematerialization
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https://mycourses.aalto.fi/pluginfile.php/40001/course/section/15792/Dunne_Raby_Methodological_Physical.pdf
Things become seamless in our environment. We’ve made the smallest phone that could have been used, so now we’re making bigger ones that fit our needs.  
 
What is the actual object, what is the value?
 
  
User friendliness
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http://65.media.tumblr.com/tumblr_m576joqef31qa5xgyo1_1280.jpg
How can we make this less of a generalization? “We all are a little bit crazy”
 
It leads to very restricted ways that we should use our objects - in order to protect the image of their product. What is strange, a not perfect situation for a marketeer
 
User unfriendliness - poetry —> user unfriendly text. Mixing up things that actually make things more meaningful. Making things smooth is not the only way, try to provoke.
 

Revision as of 22:55, 23 January 2017

My craft mainly has a relation to physical material, something that is touchable. A fascination for a certain kind of material is usually where my process starts. An example is my ‘Fossielen’ project (Graphic Design - quarter 10), where the proces started with my interest in polyester textile because of it’s overload that results in waste material. By using the heat-press in the Fabric Station as a tool I started testing the material, to see what it could and couldn’t do. Melting the textile was actually one of my goals, which turned out to be impossible because of the heat limits of the machine. But because of this I actually discovered a whole new printing technique. This is what interests me – working with limitations and at the same time possibilities of materials and machines.

The way natural forces create organic forms is very interesting to me, the same counts for the natural properties materials have. Machines, which are the complete opposite of the natural transformations of material, also interest me. These are devices that do precisely that which they are told to do and have mostly a predictable output. Working against this predictability is where it becomes interesting to me.

Asking why materials have certain characteristics and why they are used in a certain way, by not going for the obvious I make new discoveries. Maybe, especially because I’m still unknown with so many techniques and materials I discover things in a new way. Maybe just because I’m not sure how to use something in the right way, using it in the ‘other’ way gives me interesting insights in materials and machines. Not relying on the things I know, but searching for the things I don’t know. Many machines and materials are linked to a certain ways of using them or a certain craft, by going against this, I come to new discoveries; disfunction.

The way research and experiment come together in the Digital Craft practice, works really well for me. It’s about making; straight from the beginning of a project you start making whilst researching. In this way you accelerate your process and in the end come to much more interesting results.

For me designing starts with material experiments; discovering how these react through different stages of testing. Transforming characteristics of the material and to provoke specific forms. I try to search for interesting characteristics and the limits of the material by playing with them. My aim is mostly to control and understand the material in such a way that it retains its freedom of movement, so the result is always unique.

The combination of craft and technology, the way they are able to compliment each other, is what makes Digital Craft very interesting to me. I try to find the intersection of the digital and analog, with this I can get to results that normally would be unthinkable and impossible to realize. In my opinion this combination is the future for artists and designers. In my work I mostly use technology as a tool to compliment and take a physical material to a higher level. Technology is always changing and evolving, I have the opportunity to figure out different ways to take advantage of this.

For me natural phenomenon with a long history are really interesting. For example the Fibonacci theory and the Lindenmayer System I was working with in the last two projects, discoveries made ages ago but still in a way so present and something so challenging to work with. An example of a contemporary artist who uses these organic shapes and formulas in his work is Olivier van Herp. Also, the way he combines modern technologies, such as 3D printing, in combination with craft materials, such as ceramics, fascinate me. I find the way he uses the possibilities and limitations of technology very interesting. He also shows the value of this tool, in contrast to the way the 3D printer nowadays is almost only used for useless objects.

Another artist who fascinates me nowadays is Olafur Eliasson, the way he gets inspired by nature; by for example using light, movement and reflection is really interesting. Also his diverse use of media – sculpture, painting, photography, film, and installations – really speaks to me. The 'Notion motion’ installation in Boijmans was just as mesmerizing as actual natural can be. The way his work navigates between natural phenomena and technology speaks to me, which is also something I want to apply and develop in my work.


________


The Digital Craft kick-off started with the announcement that in two weeks we had to realize an exhibition piece. With Stan Haanappel and Arthur Boer we got the theme of Patterns, which immediately brought so many topics and possibilities to our minds. The main topic that was really interesting to me was the way patterns naturally appear in nature. For example with thunder and lightning, fog, bacteria but also with trees. From this research we came across the L-system or Lindenmayer system, introduced by Astrid Lindenmeyer in 1968. A mechanism for translating the generated strings into geometric structures. The first week of the project consisted of getting a understanding of the basic ruleset on which the formula was build. This took up too much time and considering the little time we had for this project we decided to start “doing", instead of staying in our heads. The basic ruleset (A=AB B=A) could be applied in so many different directions. We thought of it as a rule: A is always AB and B is always A, from there we came to rule based-/conditional design. The 'Conditional Design Workbook' by studio Studio Moniker was a big inspiration for us. It is a design strategy that is defined by designed sets of rules and conditions that lead to unpredictable outcomes. From there we started to apply the rules in different directions. One of them was to use the ruleset as a walking guide through Rotterdam, just to see what would happen if we would blindly follow the formula. A was left, B was right. We tracked the route with maps so afterwards our directions would be visible. In the end it was a loop that was repeating itself in itself, which was quite interesting. Another experiment was actually making the formula physical by creating the several generations out different colored tape and another one from sawn timber boards.

These different experiments gave us a clearer understanding of the L-system and it also made us think of the way music is constructed. The outcome that is generated from a simple algorithm was what we found interesting, music artist Jerobeam Fenderson worked with this. He generates patterns composed by music with the use of a oscilloscope, which shows the relation between sound and generated landscape. From there we decided to create an experience instead of a mathematical explanation of the L-system. The outcome of our previous sound experiments in Processing resulted in another experiment with Google Translate. The text-to-speech function was our tool to get a vocal version of the generated strings. We used the rhythm as a trigger for a Cinema 4D animation. We discovered that in Cinema 4D you have the ‘Turtle Spline’ option, which gives you the opportunity to create an 3D object based on a certain formula. This formula can shape and transform the object. The relation between the sound and the visuals became absolute and led to a video that gave a sense of the L-system algorithm and its biologic nature. In the end the project really of started going when we started ‘doing'. The experiments we did seemed quite meaningless at the time, but in the end they brought us to this idea. This was a lesson for me, that I work so much better while experimenting, making and doing.

With the second project I was determent to use this as a lesson and to tackle this straight from the beginning. From the antenna workshop we did with Simon, Judith van der Heiden, Nora Mabrouki and I came up with the idea to create a robot that is constantly searching for the best wifi signal. The strength of the radio waves would steer the robot, which moves only when it detects WiFi. After we decomposed a WiFi repeater we found out that it was not suitable for this project. The firmware had to be modified and because it was too difficult to achieve in such a short time, Simon recommended to us to find another solution. So we decided to use a Wi-Fi detector t-shirt as an antenna. The chip sends the right signal to the LED lights when it detects Wi-Fi, which lights are depending on the strength of the wifi signal which updates every 15 seconds. We linked this to the steering drive of the toy car. We dissect a remote-controlled toy car and decide that we are going to use the motor and the gear drive plus the chip that can control the drive. We kept the construction of the robot quite simple, but we wanted to make it human-like. At the site of the eyes there is an ultrasonic sensor, so that the robot can navigate without colliding with obstacles.

9V to a 6V circuit caused a fault in the lights. Continues to flash at the first light and is no longer looking for a new signal. Test where the error is. With Breadboard and seven LED’s connected to the supply we hope to be able to find out where the error is located. In the LEDs on the breadboard the same error appears, so it has nothing to do with the lights on the circuit. The capacitor looked slightly damaged, therefor we decided to replace it but this did not change anything. In the end it was not possible to fix the WiFi Craving Robot in time for the deadline, that is why we decided to present our experiments and progress. The fact that this was a one week project limited us on the one hand, but on the other hand also caused our drive to work efficiently en continuously. We didn’t waste any time on thinking things too much through and made quick decisions. For me this was a good exercise, mainly because normally my pitfall is that I can lose a lot of time whilst deciding. Another lesson was that I drifted quite far away from my actual interests. Apart from that the technical side of this project was really interesting and instructive to me; the overall project was not quite up my alley.

As I said before; the previous project was a good exercise but apart from the technical part not that challenging to me. The third project, with the theme of lighting, was on the other hand really exciting to me. My group partner, Judith van der Heiden and I started researching into different sources of light and the way the material is being used. The first thing that caught my interest were materials that do not transmit light or influence the direction that it projects on. An example is the 'You’re making things explicit’ installation by Olafur Eliasson. A transparent rectangular box is placed in the middle of a band of light, which interrupts the light beam. Because the box seems to consist just out of ordinary transparent glass it really messes with your mind. We experimented with polarization, manipulating shadows and fresnel lenses. With the fresnel lens we focused on light that gets deformed by the use of a filter. We discovered that by moving the light we could manipulate the shape of its reflection trough the lens. The fresnel also bended the wave length of the light and displayed multiple colors.

The way you are able to manipulate with the use of light is something I find really interesting. With the use of a stroboscopic light you’re able to manipulate the way a certain substance appears. With the use of a Cinema 4D animation we were able to test different kinds of shapes and experiment with multiple light speeds. The 3D printer was a good tool to quickly test different shapes that were actually physical and touchable. From these experiments we discovered that the a shape wherein the Fibonacci theory occurs works really well. The way this occurs naturally in the growth of nature is really interesting to me. The most common appearances of a Fibonacci in nature is in plants; in the numbers of leaves, the arrangement of leaves around the stem and in the positioning of leaves. At first we experimented with simulating the shapes of these certain plants, but after a few experiments we decided to use actual pieces from nature such as succulents, pine cones and pineapples. We disassemble various machines that contained engines to use as driving for the objects. The Swiss artist Zimoun was a big inspiration for us, the way he creates such an impact by simplicity is really interesting. We also applied this minimalism in the development and elaboration of our installation. In the end it was a really interesting, brain manipulating, sensory experience.

This was a really motivating quarter for me, the many projects that it counted in such a short time meant that you were only able to focus on them for a certain amount of time. After the presentations you had to let them go and turn your attention completely on to the next project. Every time I would start totally fresh, with new motivations and a new topic of interest to then completely lose myself in that. That is what kept the quarter exciting; new topics, new workshops, new experiments, new tools, new materials. Everything was a challenge which made this period so instructive, so many new skills and fascinations were developed.


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Patterns and Radiation was the theme of the fourth project. Patterns that are naturally shown in certain materials are really fascinating to me. In particular Interference Patterns caught my attention and I started researching them. Interference literally means interruption and it usually refers to the interaction of waves that are correlated or coherent with each other. Sometimes because they come from the same source or because they have the same or nearly the same frequency. In the third project, Light and Radiation, I experimented with polarizing materials. The two components are initially in step with each other, but as they travel at different speeds through (in this case) the tape, they went out of step. When these out-of-step light waves emerge from the tape on the other side, they recombine, making light with a polarization different from that of the original light. I started looking around me to explore in what kind of materials/objects a sort like effect appears. My eye was caught by a spinning chair with two layers of textile with a bobbinet-like texture, once you moved the chair the pattern in the textile started interfering with each other: the Moiré effect appeared. Which is a optical phenomenon that appears as a circular pattern under certain lighting conditions, the pattern occurs because of interaction between overlaid structures. They interfere with each other to produce tertiary patterns which are unable to be seen in either layer alone. It consists a visual illusion of dark and bright areas which are clearly observed, although they do not appear in any of the original textile. I found this phenomenon really interesting and started experimenting with different materials by layering them. Bobbinet is the main pattern wherein the effect appears in the case of textiles, therefor I started experimenting with this construction to create it myself so I would be able to influence it. But unfortunately this was incredibly time-consuming and the result wasn’t interesting, therefor I went back to the excising textile and started experimenting with influencing this. For example by adding another material to it, such as resin. The resin effect was interesting because it enlarged the pattern, but it also completely fixed it. There was no way of influencing the textile anymore, which was actually the most interesting thing about it. I wanted to create a light and organic feeling, instead of a feeling of tightness. I saw a certain billboard which moved in the wind and because of this movement the Moiré pattern naturally appeared. From there I decided to experiment with wind, first vertical - then horizontal. It created an almost coming alive and growing effect which was influenceable by the amount of air that I would add.

Because light enhances the effect, I started adding different sources to test what would happen. First to make the appearance of the interference stronger but after trying out various light sources I discovered that it actually projected the pattern through the textile. From there I started experimenting to see which light source would cause the strongest effect. For instance by adding a magnifying mirror or a overhead-projector, but in the end the light of a normal projector appeared to have the most impact.

I wanted to create a feeling as if the pattern/textile was coming alive, from there I started experimenting with creating a time-sequence in the added wind. By starting, pausing, starting the fan underneath two layers of textile I was able to create this effect. By adding an Arduino and a Relay Module circuit I was able to accomplish a controlled time sequence, which I could adjust to the movement of the textile. After experimenting on a smaller scale, I discovered that on a bigger scale I was in need for more air because of the weight of the textile. Adding two more fans did the job but it also made the textile move uncontrollably, by adding wires at the four corners I could kind of tame the movement a little bit. It took a lot of experiments with the right speed, the right placement, the right textile, the right weight to get it to move the way I wanted it to - but also the way ‘it’ wanted to. I wanted to control it in someway, but the interesting thing about it was also that it was finding it’s own way which was unique with every sequence.


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I’m very interested in discovering new, innovative materials and techniques. A previous project wherein I invented a new textile printing technique is an example of that. Discovering whilst doing and by that researching whilst doing is the approach that works best for me. I’m always searching for ways to feed my curiosity and to learn new skills. An example is an interesting Open Course I will be taking part in called: “Laboratory - Can we turn fabric into a 3D print?”. It includes an instruction to ‘De Hollander’, a completely new machine that turns fabrics into fibers. The course will be a collaboration with Christa van der Meer, who is a Dutch fashion designer graduated from KABK. In the course the main goal is trying to understand what the possibilities are within textiles, recycling and 3D printing techniques. Experimenting to discover the possibilities to turn used polyester fabrics into a new 3D printed material. Right now, most plastic waste is perceived as valueless and ends up in landfills and incinerators. Only a small fraction of the plastic waste is recycled. Fashion designer Iris van Herpen developed a dress that looks like a web woven over the body. From a distance the material looks like delicate textile fibers carefully intertwined and handmade, but it is in fact a 3D printed dress made from laser-sintered plastic. She developed a innovative new textile called TPU 92A-1 which is the first printable material that is flexible and durable enough to be worn.

The way art and technology can be combined to create is really interesting to me. The experimental studio Random International is an inspiring example of this interconnection. The way they collaborate with both product designers, graphic designers, engineers and artists creates a really broad vision which results in very diverse works. They use science and technology to create experiences that aim to challenge the human experience within a machine-led world. They want to engage viewers through explorations of behavior and natural phenomena. One of their most well known installations ‘Rain Room’, is an immersive environment of falling water that pauses wherever a human body is detected. It offers visitors the experience of controlling the rain. The human desire to constantly influence/command nature is really interesting to me and is something in which I want to do more research.

Another artist that I find inspiring is Jonathan Gaarthuis, who is fascinated by solid and liquid matter. His work offers you a glimpse into the ever-moving, almost elusive matter that surrounds us: dust, water and light. His 'Window' installation provides a continuous changing image, condensation droplets that again and again draw traces on the glass image plane. How he determines these natural phenomena is really fascinating to me.

The spatial installations of Nicky Assmann, which show the immaterial and intangible character of light, colour and movement are also really interesting to me. She combines science, technology and art in spatial installations in which the sensory experience is central. She creates optical phenomena in which she explores the mental and physical observation process. Our visual culture wherein the experience of reality is more and more taking place in the virtual domain, she returns to the physical foundations of ’seeing'. In her research she undertakes technological developments with basic physical processes. This physical and tangible aspect in this digitally oriented world is what what appeals to me in her work.

I would like to continue on the path where I currently find myself; the last project, Watered Silk, was a big eyeopener. Where I would previously go in certain directions because I felt that 'I had to', was it with this project the complete opposite. It was a scary thing to follow my gut and to do what felt right instead of doing what I thought was right, but in the end I came closer to what is me. Making and doing are two important words for me, as I said before I tend to lose myself in thinking while my ideas start flowing during material experiments. My fascination for natural phenomena continues, which was a bit of a common thread for me. As I talked about before in the previous projects, I draw a lot of inspiration from nature and it’s wonderful appearances.

For me it is quite difficult to have a clear plan in advance, mainly because my process takes off with having no control at all. My research starts with experimenting in all sorts of ways, seeing how a certain material reacts to various tests. For me that is the interesting thing about the analog way of creating – the fact that it is so unpredictable, it has it’s own characteristics and core. But because it is so easy to manipulate the results within the process can be endless and very different. Searching for that moment where you discover a new technique or a certain ‘answer’ from the material is what makes the process exciting. I create from feeling – a certain feeling that I have towards a material or tools determine my actions; but the material ultimately chooses a way to respond to that. This dialogue is what is most interesting to me.



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https://vimeo.com/2611597

https://mycourses.aalto.fi/pluginfile.php/40001/course/section/15792/Dunne_Raby_Methodological_Physical.pdf

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