User:0862093

Joeke

ABOUT

Joeke van der Veen | 0862093 | Lifestyle & Design

Minor 2015 2016

UNRAVEL THE CODE 2014/2015

Unravel the Code 2014/2015

PROJECT WEEK: PICTURES BOIJMANS

Architectural detail | moving object from collection | special find from the library | curious form | representative of my craft |
exhibited moving object | curious texture | pre-industrial object

PROJECT WEEK: STEALING FROM THE MUSEUM

The spectator as information source.
We collected data by tracking the eye motion and body motion from spectators while describing an art piece.
We used the lines that appeared while tracking these motions to create a new art piece. This art piece is an visualization of the perspective of the spectators.

Tracking the body and eye movements while looking at an art piece:

Collecting data at the Boijmans:

Results data:

Results exhibition:

Group page:

Stealing From The Museum/thecriminals

TOOLS & TECH WORKSHOPS

Workshop 1, measuring resistance:

FANTASTIC FORGERIES: RESEARCH

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.

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

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 (busted by security!)

Update bacteria September 21:

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.
By reproducing this artefact I want to experience the material myself by using the same technique with other materials.

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.

“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

FANTASTIC FORGERIES: REPLICA EXPERIMENTS

Idea #1
Focusing on the hands while replicating the artefact, instead of on the artefact itself.

Marks from materials on hands:

Idea #2
Making the contrast between the materiality of the artefact and the immaterially of the 'please, don't touch' signs in the museum visible.
Developing a tool to edit, process and manipulate the material without touching it.

Written assignment: (Re)open Design

1. What is your craft?
Open Design.

2. What are the tools and media of your craft?
Sharing communities: Instructables, Thingiverse, Wikipedia, Lynda.
Open workstations: Fablab (examples: Stadslab Rotterdam, WAAG Amsterdam), hackerspaces, TechShops.
Open source: Ultimaker, Arduino, Processing, UP.

3. What are the borders of this practice?
Other disciplines then digital fabrication: OS car.

4. Connect to a historical discourse and give concrete examples of contemporary practitioners.
Historical discourse: copy rights, copy left, GPL by Richard Stallman, Creative Commons.
Contemporary practitioners: Eric J. Wilhelm (founder Instructables), Sam Haynor (Artist in Residence at Instructables),
Randy Sarafan (Design Studio Manager of Instructables), Studio Droog (downloadable design), David Sjunnesson (box creator)

5. Define your position of your practice in relation to newer technologies.
Involving open design into my work process, by documenting and sharing my experiments and making use of newer technologies
and open workstations and sharing communities.

'Openness is more than a commercial and cultural issue, it's a matter of survival.'
 - John Thackara

'A tutorial is an involved interactive design task.'
 - Mushon Zer-Aviv

'Finally, the ordinary person is in the unique position of being able to make almost anything,
 with  off-the-shelf modules, parts community and shared code.'
 - Bre Pettis

Sources:
Fab Lab
Fab Lab Charter
Hackerspace
TechShop
Open Design Now
Instructables
OS Car