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| − | == UNRAVEL THE CODE 2014/2015 == | + | == PRACTICE 2014/2015 == |
| | | | |
| | [[ Joeke_Practice_14_15 | Unravel the Code 2014/2015 ]] | | [[ Joeke_Practice_14_15 | Unravel the Code 2014/2015 ]] |
| | | | |
| − | == PROJECT WEEK: PICTURES BOIJMANS ==
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| | | | |
| − | Architectural detail | moving object from collection | special find from the library | curious form | representative of my craft | <br>
| + | == MINOR 2015/2016: MUSEUM OF FANTASTIC FORGERIES == |
| − | exhibited moving object | curious texture | pre-industrial object
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| | | | |
| − | [[File:01architectural detail.jpg|400px]] [[File:02moving collection.jpg|400px]]
| + | '''Projectweek Stealing From the Museum:''' |
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| − | [[File:03library.jpg|800px]] | + | [[ Joeke_Project_Week_15_16 | Stealing From the Museum ]] |
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| − | [[File:04form.jpg|800px]]
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| | | | |
| − | [[File:05representative.jpg|800px]]
| + | '''Museum of Fantastic Forgeries:''' |
| | | | |
| − | [[File:06moving exhibition white.jpg|400px]] [[File:06moving exhibition yellow.jpg|400px]] | + | [[ Joeke_Fantastic_Forgeries_15_16 | Fantastic Forgeries Process]] |
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| − | [[File:07texture.jpg|800px]] | + | [[ Joeke_Fantastic_Forgeries_Result | Fantastic Forgeries Presentation Page]] |
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| − | [[File:08pre industrial.jpg|800px]]
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| | | | |
| − | == PROJECT WEEK: STEALING FROM THE MUSEUM ==
| + | '''Written Assignment 1000 words:''' |
| | | | |
| − | The spectator as information source. <br>
| + | [[ Joeke_Written_Assignment | Written Assignment Process]] |
| − | We collected data by tracking the eye motion and body motion from spectators while describing an art piece. <br>
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| − | 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.
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| − | <br><br>
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| − | Tracking the body and eye movements while looking at an art piece:
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| | | | |
| − | [[File:Jep4.jpg|400px]] [[File:Jep2.jpg|400px]] | + | [[ Joeke_Written_Assignment_Result | Written Assignment Result]] |
| | | | |
| − | [[File:Eyetracking Test.jpg|800px]]
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| | | | |
| | + | == MINOR 2015/2016: TOOLS OF THE TRADE == |
| | | | |
| − | Collecting data at the Boijmans:
| + | '''Tools of the Trade:''' |
| | | | |
| − | [[File:Museum.jpg|800px]] | + | [[/Joeke_Tools_Trade_15_16 | Tools of the Trade Process]] |
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| | + | [[/Joeke_Tools_Trade_Result | Tools of the Trade Presentation Page]] |
| | | | |
| − | Results data:
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| | | | |
| − | [[File:Overview.jpg|800px]]
| + | '''Research Document:''' |
| | | | |
| | + | [[/Joeke_Written_Assignment_Tools_Trade | Research Document Process]] |
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| − | Results exhibition:
| + | [[/Joeke_Written_Assignment_Tools_Trade_Result | Research Document Result]] |
| | | | |
| − | [[File:result03.jpg|800px]]
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| | | | |
| − | [[File:result02.jpg|800px]]
| + | '''Prototype PIR sensor:''' |
| | | | |
| − | [[File:result01.jpg|800px]] | + | [[/Joeke_Prototype_Sensor_15_16 | Prototype Sensor ]] |
| | | | |
| | + | == MINOR 2015/2016: TOOLS & TECH == |
| | | | |
| − | '''Group page:'''
| + | [[ Joeke_Tools_Tech_15_16 | Tools & Tech Workshops ]] |
| − |
| |
| − | [[Stealing From The Museum/thecriminals]] | |
| − | | |
| − | == TOOLS & TECH WORKSHOPS ==
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| − | | |
| − | '''Workshop 1, measuring resistance:'''
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| − | <br> <br>
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| − | | |
| − | == FANTASTIC FORGERIES: RESEARCH ==
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| − | | |
| − | '''Choosing an artefact:'''
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| − | <br><br>
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| − | 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?
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| − | <br><br>
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| − | 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.<br>
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| − | To get an answer to the question above I sampled the bacteria from different artefacts of the Boijmans van Beuningen Museum, by using [http://www.instructables.com/id/Growing-Bacteria-From-Gross-Stuff this] tutorial.<br>
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| − | With this data I hoped to examine which artefact was touched the most by visitors.
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| − | | |
| − | [[File:Small touch01.jpg|264px]] [[File:Small touch02.jpg|264px]] [[File:Small touch04.jpg|264px]]
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| − | | |
| − | [[File:Small touch033.jpg|800px]]
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| − | | |
| − | | |
| − | Instructable I used to understand how to sample and grow bacteria:
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| − | | |
| − | [[File:Instructable.jpg|800px]]
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| − | | |
| − | | |
| − | Sampling bacteria from the following artefacts and objects:<br>
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| − | Salvador Dalí - A Couple with Their Head Full of Clouds, 1936<br>
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| − | Toilet - to compare the results of the artefacts with<br>
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| − | Sarkis - Respiro, 2015<br>
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| − | Satoru Hoshino - A Birth of Bubbles II, 2012 (busted by security!)<br>
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| − | | |
| − | [[File:Small sample dali.jpg|398px]] [[File:Small sample toilet.jpg|398px]]
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| − | | |
| − | [[File:Small sample sarkis.jpg|398px]] [[File:Small sample bubbles.jpg|398px]]
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| − | | |
| − | [[File:Small qpicks.jpg|800px]]
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| − | | |
| − | | |
| − | Update bacteria September 21:
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| − | | |
| − | [[File:Small 21 sep.jpg|800px]]
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| − | | |
| − | | |
| − | '''Final choice:'''<br><br>
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| − | 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.<br>
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| − | This made me realize how strange it is that you are not allowed to touch it. <br>
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| − | The artefact 'Birth of Bubbles II' is, according to the description of the sign, a representation of the artists' contact with the soil.<br>
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| − | 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.<br>
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| − | By reproducing this artefact I want to experience the material myself by using the same technique with other materials.
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| − | | |
| − | | |
| − | '''Research artefact:'''
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| − | <br><br>
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| − | Satoru Hoshino - A Birth of Bubbles II, 2012
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| − | <br><br>
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| − | The Studio of this Japanese ceramic artist was destroyed by an earthquake in 1986. <br>
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| − | Since then he sees the material as a symbol of the power of nature.
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| − | | |
| − | | |
| − | [[File:Satoru02.jpg|200px]] [[File:Satoru03.jpg|200px]] [[File:Satoru01.jpg|200px]] [[File:Satoru04.jpg|200px]]
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| − | | |
| − | | |
| − | “I engage in a dialogue with the clay as it sits in from of me, as a soft, flexible lump of matter.
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| − | This dialogue is carried out through a form of body language: the primitive action of pressing
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| − | parts of my body against the body of the clay. This is not a relationship in which I am active and
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| − | the clay is passive, even if I am the first to speak.
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| − | The dialogue can only take place if I empathise with the material, adjusting myself to the time
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| − | contained in the clay and the rhythms of nature."
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| − | - Satoru Hoshino
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| − | | |
| − | “It is essential to understand that he does not treat clay simply as a material.
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| − | His encounter with clay as a physical substance is more primal and fundamental."
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| − | - Arata Tani
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| − | | |
| − | | |
| − | == FANTASTIC FORGERIES: REPLICA EXPERIMENTS ==
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| − | | |
| − | '''Idea #1''' <br>
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| − | Focusing on the hands while replicating the artefact, instead of on the artefact itself.
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| − | | |
| − | [[File:Vlees01.jpg|800px]]
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| − | | |
| − | [[File:Vlees02.jpg|398px]] [[File:Vlees03.jpg|398px]]
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| − | | |
| − | Marks from materials on hands:
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| − | | |
| − | [[File:Hands01.jpg|398px]] [[File:Hands02.jpg|398px]]
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| − | | |
| − | [[File:Hands03.jpg|398px]] [[File:Hands04.jpg|398px]]
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| − | | |
| − | | |
| − | '''Idea #2'''<br>
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| − | Making the contrast between the materiality of the artefact and the immaterially of the 'please, don't touch' signs in the museum visible.<br>
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| − | Developing a tool to edit, process and manipulate the material without touching it.<br><br>
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| − | | |
| − | == Written assignment: (Re)open Design==
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| − | | |
| − | '''Orientation'''
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| − | <br><br>
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| − | 1. What is your craft?<br>
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| − | Open Design.
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| − | <br><br>
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| − | 2. What are the tools and media of your craft?<br>
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| − | Sharing communities: Instructables, Thingiverse, Wikipedia, Lynda.<br>
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| − | Open workstations: Fablab (examples: Stadslab Rotterdam, WAAG Amsterdam), hackerspaces, TechShops.<br>
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| − | Open source: Ultimaker, Arduino, Processing, UP.
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| − | <br><br>
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| − | 3. What are the borders of this practice?<br>
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| − | Other disciplines then digital fabrication: OS car.
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| − | <br><br>
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| − | 4. Connect to a historical discourse and give concrete examples of contemporary practitioners.<br>
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| − | Historical discourse: copy rights, copy left, GPL by Richard Stallman, Creative Commons.<br>
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| − | Contemporary practitioners: Eric J. Wilhelm (founder Instructables), Sam Haynor (Artist in Residence at Instructables), <br>
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| − | Randy Sarafan (Design Studio Manager of Instructables), Studio Droog (downloadable design), David Sjunnesson (box creator)
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| − | <br><br>
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| − | 5. Define your position of your practice in relation to newer technologies.<br>
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| − | Involving open design into my work process, by documenting and sharing my experiments and making use of newer technologies <br>
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| − | and open workstations and sharing communities.
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| − | <br><br>
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| − | | |
| − | 'Openness is more than a commercial and cultural issue, it's a matter of survival.'
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| − | - John Thackara
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| − | | |
| − | 'A tutorial is an involved interactive design task.'
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| − | - Mushon Zer-Aviv
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| − | | |
| − | 'Finally, the ordinary person is in the unique position of being able to make almost anything,
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| − | with off-the-shelf modules, parts community and shared code.'
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| − | - Bre Pettis
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| − | | |
| − | | |
| − | Sources:
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| − | <br>
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| − | [https://nl.m.wikipedia.org/wiki/Fab_lab Fab Lab]
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| − | <br>
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| − | [http://wiki.fablab.is/wiki/ConditionsForFabLabLabel Fab Lab Charter]
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| − | <br>
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| − | [https://en.wikipedia.org/wiki/Hackerspace Hackerspace]
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| − | <br>
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| − | [https://en.wikipedia.org/wiki/TechShop TechShop]
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| − | <br>
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| − | [http://opendesignnow.org/ Open Design Now]
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| − | <br>
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| − | [http://www.instructables.com/ Instructables]
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| − | <br>
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| − | [https://en.wikipedia.org/wiki/OScar OS Car]
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| − | <br><br>
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| − | '''Research'''
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| − | <br><br>
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| − | Book: Re-inventing the Art School<br>
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| − | 21st century
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| − | <br><br>
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| − | Essay #4 The Need for Open Design<br>
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| − | Peter Toxler
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| − | <br><br>
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| − | Open Design is:
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| − | <br>
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| − | - A participative method which invites users to modify a design <br>
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| − | - A dynamic, iterative and social design process <br>
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| − | - From a self-reflective to a collective-reflective practice
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| − | <br><br>
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| − | Chapter 1: Industrial Heritage <br>
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| − | - Jamer R. Beniger: 'Control Revolution' (a development of information processing and communication technologies <br>
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| − | for controlling the energy and flows of materials within the industry.<br>
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| − | - Created new qualities of experiences<br>
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| − | - Contingent possibilities as to how the conflicting demands of social, political and economic interests <br>
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| − | engage with technology to produce a 'choice'.
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