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| − | [[image:ProfilWiki.jpg|thumb|left|250x250px|'''Emma Rijk''']]
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| − | Hi! My name is Emma Rijk, fourth year student Spatial Design and minor student Digital Craft.
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| − | On the top of this wiki page you can find my latest work for quarter 9. First on top is Digital Culture,
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| − | Second project is Memory Box, third project is Meme's and project on the bottom is quarter 7 Making is Connecting.
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| − | </span>
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| − | * Quarter 9 & 10 - [[/UTC | UNRAVEL THE CODE]]
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| − | * Quarter 9 - [[DC | DIGITAL CULTURE | ]]
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| − | * Quarter 9 - [[MB | MEMORY BOX | ]]
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| − | * Quarter 9 - [[/M | MEMES | ]]
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| − | * Quarter 9 - [[/CMM | CORE MEMORY MARATHON | ]]
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| − | * Quarter 7 - [[/MIC | MAKING IS CONNECTING | ]]
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| − | __TOC__
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| − | =Electro Magnetic Radiation=
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| − | ====Introduction====
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| − | In the first 2 weeks of the graduation year (Minor Digital Craft) this project has been made.
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| − | This is a group assignment consisting of; Boris (Grafic Design), Pascalle (Lifestyle and design), Rens (Grafic Design), Emma (Spatial Design).
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| − | The assignment says to make a project about electro magnetic radation. The result is flexible, there are no real rules or obligation to work with except the theme and that you can show something (so not only a concept)
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| − | After 5 work days the first presentation will be given, this is only to announce the idea and possible ways of production. This will be for the third year students of Digital Craft.
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| − | After two weeks the end presentation will be shown as an exposition at the Wijnhaven.
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| − | ====First Idea====
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| − | While researching other art projects based on radiation we stumbled across an tutorial about transforming a casette recorder into a audio device that can produce the sound made by radiation.
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| − | =Ceramic Memory=
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| − | ====Introduction====
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| − | '''''In a modern society how do we capture our memories?'''''
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| − | Actually we know this. We have never before had so many options to save, share and re-watch our memories. We have an overload of memory data, and how does our brain sort through this? By ignoring/ forgetting about all the extra non impactful memories. So even though the memory is saved. It doesn’t necessarily mean that it needs to be. Our parents, grandparents and great grandparents didn’t have the same opportunity to save share and re-watch their memories.
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| − | '''''So precious memories were stored in precious thing, and passed on to the next generation. And so the memory is preserved and remembered.'''''
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| − | This physical tangible memory will become in time with every crack, and chipped edge become more and more valuable. We as a new generation should be more selective but can we? Would our grandparents be if they weren’t limited by technology? Perhaps, we will never know. What we do know are their lasting memories, because of the physical tangible connection.
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| − | This was what was going through my mind when working on crafting memories. [[User:Emma Rijk | Emma Rijk]] and [[User:MarjoleinStassen/MB|Marjolein Stassen]] were searching for a way to remember dinners. Combining our two subjects we had as objective:
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| − | :::''In the Netherlands we have an fast attitude towards food, It’s sometimes kind of a hassle and an impractical. It needs to be fast and easy, so you don’t “waste your time” cooking and eating. But what if we could redefine the way we have dinner? And save them through ceramics''
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| − | By creating a new tool to save memories on cutlery, the memory does not only last but also reminds the person daily while eating from their cutlery. The tool we use is an camera obscura, which is a dark space (can be anything) with a hole in the surface to let a little light in. The ceramic object will be placed in the small dark space after a light sensitive formula treatment. The dark space (box) can be placed on the table while having dinner with friends. If the light hole is opened during dinner, the picture will develop while having dinner. The picture of everyone having dinner will be visual on the object placed in the box, making the memory last forever without sacrificing precious time.
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| − | ==== First Presentation ====
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| − | [[File:presentatie_ceramic_memory.jpg]]
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| − | [[File:presentatie_ceramic_memory2.jpg]]
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| − | [[File:presentatie_ceramic_memory3.jpg]]
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| − | [[File:presentatie_ceramic_memory4.jpg]]
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| − | [[File:presentatie_ceramic_memory5.jpg]]
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| − | [[File:presentatie_ceramic_memory6.jpg]]
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| − | [[File:presentatie_ceramic_memory7.jpg]]
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| − | [[File:presentatie_ceramic_memory8.jpg]]
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| − | [[File:presentatie_ceramic_memory9.jpg]]
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| − | [[File:presentatie_ceramic_memory10.jpg]]
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| − | [[File:presentatie_ceramic_memory11.jpg]]
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| − | ==== Concept ====
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| − | We have an overload of memory data. Pictures are taken so often and frequently, without effort. We can immediately see the result of your picture, and have endless do overs, so you will always have the result you want. Contemporary technology is staged. By capturing memory through camera obscura we force people to be patient. There is an ongoing process of making the memory directly onto ceramics. All the while your dining experience is enriched. You have to move more slowly, as to become a sharp image on the ceramics. If you are on your phone constantly that will be seen on the ceramics. After your dinner you will have created a memory together, not just figuratively but physically as well and to be seen and enjoyed for generations to come.
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| − | == All the testing ==
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| − | Once our light sensitive Emulsion arrived in the mail we instantly started to do some testing. Especially before the christmas break our tests were all unsuccessful. To find the golden formula a lot of further testing needed to be done. Several variables were taken in account when starting to photograph.
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| − | * Which 'Camera' it was taken with
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| − | * Weather conditions to estimate how much light was present while making the photo.
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| − | * Exposure time
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| − | * What is photographed
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| − | Down below will be an overview from the first tests to the last.
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| − | ==== Before the Christmas Break ====
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| − | [[File:CM camera.jpg|thumb| 'Camera']]Before the christmas break we started to photograph on small mugs provided by Pascalle. These ones were glazed and this was the first time we worked with the Rollei. Unfortunately we made several mistakes that resulted in a failed experiment. This mostly went wrong because of Marjolein because she didn't know how to develop. There was a small tree seen but late evidence was destroyed because the test object was held into the light too soon. Luckily that wasn't all the mistakes we made. Since the little cup was glazed the emulsion wouldn't stick, resulting it to get washed off the cup by the developer. To make this picture we used old paint containers provided by the photostudio.
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| − | [[File:CM cup test fail.jpg|900px]]
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| − | ==== 8th, 9th & 12th of January ====
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| − | After the christmas holidays, and after Pascalle left for Manchester, we still had no successful testing. It was quite frustrating but we started with a new found motivation. We were pretty keen on getting a picture on ceramics. Later we found some white tiles in the Doka. Seeing that no one was using them we smashed them in smaller pieces so we could do more tests. Pascalle found on in the christmas break that we needed a primer for the emulsion to stay put. With this new found information new tests could be made.
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| − | On the '''8th of January''' Emma and Marjolein worked in Marjolein's house on the new batch of tests. In her house there is a small storage room without any windows. This would work perfect for our home made Doka. We used a Red Biking light to guide us through the darkness. There was a whole set up and supplies needed: Primer, Thinner, Paint Brushes, the tiles, Rollei Emulsion, Specialized light blocking bags, old towel and surface to work on. First a primer coating was applied to the tiles, not only to the glazed front but also on the biscuit back. Marjolein wanted to see what would work better, glazing or unglazed side. After priming the tiles the sensitive job started of applying the light sensitive emulsion. This was Emma's job to do this on Friday night. The tiles were left to dry all through the night to be used the next day.
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| − | Marjolein dedicated the '''9th of January''' to Digital Craft and making pictures. At the time we were still unsure if the Emulsion we bought had any success with the tiles we were using. To be safe Marjolein made some tests of trying to photograph the houses seen from her window. This would be a still life and hopefully result in a cleaner picture. Doing these tests all information needed to be noted down and kept together in a structured way. With Emma's idea of using sandwich bags Marjolein got to work. In each sandwich bag there would be the photographed tile with a note what the exposure time was, and the weather conditions and what was in the photo.
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| − | <gallery mode="nolines" widths="200px" heights="200px">
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| − | CM setup.jpg| Set up Storage Room Marjolein's house
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| − | CM 9jan.jpg| Shard in Camera
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| − | CM 9jan 1.jpg| Sandwich bag with notes
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| − | CM 9jan 2.jpg| Sandwich bag + notes + tile + Dark Room
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| − | CM 9jan 3.jpg| Developers bag
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| − | </gallery>
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| − | On the '''12th of January''' Marjolein went to the Doka to develop the photos made on Saturday (4 in total). This time she knew how to develop and followed the baths in the right order. These tests were the first that showed some actual results. This time we could conclude how long we needed for a picture to be developed, how much light was needed and if the emulsion would work on ceramics. It was a huge relief to see that some pictures showed up on our testing shards. With this we could take the boxes inside and see how this would work with movement and indoor light. Another step forward was made! With these tests being on the front or the back of a tile it was also concluded that the glazed front worked the best! The developer was too strong for the primer. With the glazed side the primer would stick much better and had no problems being developed while the back was slowly eroding and most of the picture was lost. The other two were very successful and was quite a victory for us as a team.
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| − | <gallery mode="nolines" widths="200px" heights="200px">
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| − | CM 12jan.jpg| Tree visible in corner, backside
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| − | CM 12jan 1.jpg| Balcony Neighbors Marjolein
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| − | CM 12jan 2.jpg| Black = Sky, Buildings from Window
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| − | CM 12jan 3.jpg| Unglazed sides that failed to survive developer
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| − | </gallery>
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| − | ==== 13th, 14th, 15th of January ====
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| − | On Wednesday the '''13th of January''' Marjolein worked with new shards to make a photo indoors while eating dinner with roommate. We figured that if outside needed 25 minutes max of exposure indoors you would only need 1 hour at least. This was '''not''' the case. All the test, including the picture below, all came out as white which means there was no light caught onto the tile while being exposed for an hour. We realized that we needed the light outside to make any photographs, or at least stronger light than a common house lamp. This was quite a step back since dinner often happens inside, and currently it is long dark when dinner starts. Marjolein was wondering if the emulsion might not have been applied right but after holding an unused shard of ceramic with emulsion by the window it changed in color instantly, proven on the pictures below.
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| − | [[File:CM shard fail.jpg|500px]] [[File:CM shard fail2.jpg|500px]]
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| − | After the testing worked we needed to gear up to make some pictures on actual plates. We went to blokker for plates and bowls and some special boxes to make our own Camera with. On the '''14th of January''' it was all about prepping for the next day. We started priming the newly bought cutlery and painting the inside of a box with black paint for our camera obscura. This time we worked with a roller instead of a paintbrush to apply the paint more evenly. Later that night our expert emulsion applier Emma went back to our dark room to apply the plates with emulsion to be used the next day for photographing.
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| − | <gallery mode="nolines" widths="200px" heights="200px">
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| − | CM 14jan 1.jpg| Emma cleaning the plates with Thinner
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| − | CM 14jan.jpg| Marjolein Priming
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| − | CM 14jan 2.jpg| Emma & Marjolein
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| − | CM 14jan 3.jpg| Roller + Bowl
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| − | CM 14jan 4.jpg| Working Space
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| − | CM 14jan 5.jpg| Bowls & Plates
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| − | </gallery>
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| − | After all the preparations we held a dinner for us two (Emma&Marjolein) at school on the '''15th of January'''. We had the food. We had our new cameras. We were good to go. Only we made one vital mistake. Light can't travel around a corner and we placed the boxes on the window sill, meaning that our camera's only had the indoor light exposed to them. Once again the plate and bowl turned out negative. It was very disappointing until Marjolein realized how stupid they were in forgetting that light can't bend around corners. Luckily we had some more plates ready to be photographed. With a new setting of course. We gathered our food again and had a new session. This time we had a success! Somewhat. Unfortunately the camera only captured the buildings outside instead of our movement that were lighted by the indoor light. We hoped to get silhouettes but we only captured the buildings outside the school. As we had the failed test we figured we could re-use the failed plates and bowls. We would just apply new emulsion and we would be good to go, Emma was in charge of cleaning the plates.
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| − | <gallery mode="nolines" widths="200px" heights="200px">
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| − | CM 15jan.jpg| Set up + food
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| − | CM 15jan 1.jpg| Perspective Camera
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| − | CM 15jan 2.jpg| Plate fail, no black with means not enough light
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| − | CM 15jan 3.jpg| Tiny coloring on bowl! (exposure 1 hour)
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| − | CM 15jan 4.jpg| Close up
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| − | CM 15jan 5.jpg| New set up + Cookie
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| − | CM 15jan 6.jpg| Hopeful Selfie
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| − | CM 15jan 8.jpg| First photo on plate! (though not the one we intended to have)
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| − | CM 15jan 7.jpg| Emma cleaning failed test
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| − | </gallery>
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| − | ==== 17th, 18th of January ====
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| − | [[File:CM Failed+succes.jpg|right|500px]]In the weekend of '''17th of January''' Emma was in charge of our project since Marjolein had taken the project in her arms the weekend before. '''''[Emma add more text about weekend]''''' During this weekend all tests failed and we weren't sure why. This was all found out on the '''18th of January'''. In the morning Emma went to develop in the morning finding that all the photos she had made during the weekend had failed. In the afternoon Marjolein took over by cleaning the plates and reapplying them with Emulsion to make more tests. However these failed too. The result was total blackness which means they are over exposed. The reason for this is because on Friday we made the holes of our camera's a bit bigger to 'catch more light' unfortunately this was a disaster and quite a step back in our development.
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| − | ==== 19th of January ====
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| − | On the '''19th of January''' Marjolein went back to the Doka's determined to fox the boxes used for making the photos. Plus to rinse out the emulsion and apply new one to the washed off plates. After applying new Rollei Emulsion Marjolein went back to make new holes in the boxes making sure the other holes were not giving light too. After the rollei was dry three new tests were made.
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| − | *'''Test 1.0''' - 15 minutes, Overcast, Outside, Eating on Bench.
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| − | *'''Test 2.0''' - 2 minutes, Overcast, Outside, Standing.
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| − | *'''Test 3.0''' - 15 minutes, Inside, Doka, Me Working.
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| − | All the three rounds of tests (9.30-12.30) failed and came out black. Black means that there was too much light. The curious thing about all these test is that they turned black ''after'' being developed. If they were over exposed by anything else they should have turned black ''before'' developing. Even the ones taken inside with an exposure for 15 came out black which in previous tests came out white because there wasn't enough light. We have quite a mystery on our hands here. The golden formula was so close to grasp and now it vanished before our eyes. Maybe it is the Emulsion that should have been kept in the fridge. Maybe it is the fact that we heated up the emulsion too much and that is why it is all black after being developed?
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| − | <gallery mode="nolines" widths="200px" heights="200px">
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| − | CM 19jan.jpg| Heating up Emulsion
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| − | CM 19jan 1.jpg| Failed Test 1.0
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| − | CM 19jan 2.jpg| Failed Test 2.0
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| − | CM 19jan 3.jpg| Failed Test "The Full Set!"
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| − | CM 19jan 4.jpg| Failed Test 3.0
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| − | CM 19jan 5.jpg| All the Tests.
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| − | </gallery>
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| − | ==PRESENTATION ==
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| − | * [[Media:Poster ceramic memorykleiner.pdf | '''Download:''' Research Document]]
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| − | ==Results Quarter 9==
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| − | <gallery mode="nolines" widths="250px" heights="250px">
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| − | poster2.jpg|
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| − | poster3.jpg|
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| − | poster5.jpg|
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| − | poster4.jpg|
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| − | </gallery>
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| − |
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| − | =First idea's with group of 4=
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| − | Group: Juliah Rahliff, Clair Lee, Carly Muller and myself.
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| − | Each participant in the group has a different discipline, we want to use the differences of these to create
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| − | a diverse, big project. The different studies are:
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| − | Audiovisual (Clair Lee)
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| − | Graphic (Juliah Rahliff)
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| − | Fashion (Carly Muller)
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| − | Spatial (Emma Rijk)
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| − | =Week 1 Digital Culture=
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| − | =First week Idea=
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| − | Group: Juliah Rahliff, Emma Rijk, Carly Muller and myself.
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| − | Each participant in the group has a different discipline, we want to use the differences of these to create
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| − | a diverse, big project. The different studies are:
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| − | Audiovisual (Clair Lee)
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| − | Graphic (Juliah Rahliff)
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| − | Fashion (Carly Muller)
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| − | Spatial (Emma Rijk)
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| − | The overall topic will be; 3 generations in digital culture, from the generation before us, to our generation and the generation in the future.
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| − | Research Eunyhang Clair Lee : the changes of languages in three generations.Lots of abbreviations and slangs are used by young generation because of the internet.
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| − | <gallery mode="nolines" widths="300px" heights="300px">
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| − | File:스크린샷 2015-09-22 오후 7.54.55.png|English abbreviations
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| − | File:스크린샷 2015-09-22 오후 8.11.24.png|Korean abbreviations
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| − | File:스크린샷 2015-09-22 오후 8.11.48.png|Korean slang
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| − | </gallery>
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| − | '''After talking with the group of 4'''
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| − | So I am wondering how the language will be evolved in future generation.
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| − | And of course many older generation can't understand "the abbreviations and slangs".
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| − | So maybe in future some engineers will invent "the device" which can translate the abbreviations.
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| − | The overall topic will be; 3 generations in digital culture, from the generation before us, to our generation and the generation in the future.
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| − | My Research:
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| − | The medium and the way the digital culture is used becomes more and more universal. From being priviliged to have a computer to asking what kind of computer someone has.
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| − | By now there are only two big competitors in the computer branche; apple and windows. It is normal to have a phone, it simply depends on what kind of phone... You have a Iphone?
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| − | Really cool, you have a Nokia phone? Not so impressive... The tools we use and the branding behind these become more and more important.
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| − | Simply because of the fact that every person can buy a tool to communicate digitally with, wich only leaves the question behind what tool that would become.
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| − | From my observation point:
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| − | I have done some observation in my neighbourhood, outside the daycare. I have seen the parents pick up there children.
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| − | First of all, almost every parent is busy on their phone as they are waiting for the children to come out.
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| − | When the children come out, they don't have a digital device on them, but they will see the parent with the phone so most kids immediatly start begging their parents for their phone.
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| − | What also stands out is that some parents make pictures of their children coming out of school, besides the fact that it is a normal school day and nothing is special about it, it annoys the children who
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| − | obviously share my opinion about these pictures being unnessecary.
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| − | The children don't feel the urge to portray themselves a certain way through digital media.
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| − | = Week 2 Digital Culture =
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| − | This week we have decided to continue the project in two duo's.
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| − | The duo that I will be in is with Clair.
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| − | We have decided to focus on the evolution in language. Primarly the changes affected through digital media.
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| − | With our backgrounds of Spatial Design and audiovisual design we want to make a project that allows us both
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| − | To use our disciplines.
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| − | We want to lose the given norm of language as a flat, written, communicative tool and see how we can unite
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| − | any nationality without difficulty to use 'our language tool'.
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| − | After Some research for reference projects, Clair and I came up with the subject 'digital body language.
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| − | The emoticon image:
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| − | The birth of emoticons show a flaw of human conversating on the internet, because we gather
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| − | A big part of our information we gain from contact through body language, the digital world made plase for emoticons.
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| − | These small symbols charaterize the feeling or expression that comes with a written text.
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| − |
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| − | <gallery mode="nolines" widths="250px" heights="250px">
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| − | File:emoticons.jpg|
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| − | File:lang1.jpg|
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| − | File:lang2.jpg|
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| − | File:lang3.jpg|
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| − | File:lang4.jpg|
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| − | </gallery>
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| − | =Link to interesting sites=
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| − | *http://www.newbreedmarketing.com/blog/sales/digital-body-language
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| − | *http://www.wsj.com/articles/what-the-world-will-speak-in-2115-1420234648
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| − | *https://www.washingtonpost.com/news/worldviews/wp/2015/09/24/the-future-of-language/
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| − | = Week 3 Digital Culture =
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| − | Research 01-10-2015
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| − | Haptics is any form of interaction involving touch (from Greek ἅπτω = 'I fasten onto, I touch').
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| − | It can mean:
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| − | *Haptic communication, the means by which people and other animals communicate via touching
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| − | *Haptic perception, the process of recognizing objects through touch
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| − | *Haptic poetry, a liminal art form combining characteristics of typography and sculpture
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| − | *Haptic technology, technology that interfaces with the user through the sense of touch
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| − | *Haptics may also refer to touch and tactile.
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| − | Source: [https://en.wikipedia.org/wiki/Haptics]
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| − |
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| − | <gallery mode="packed-hover">
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| − | Haptics.jpg|The definition of haptics
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| − | </gallery>
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| − | Ted inspirational talk about haptics and technology
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| − | [https://www.youtube.com/watch?v=6wJ9Aakddng]
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| − | Evolving the basic emotions into the haptic device.
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| − | The seven basic emotions are:
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| − | *anger
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| − | *fear
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| − | *disgust
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| − | *contempt
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| − | *joy
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| − | *sadness
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| − | *suprise
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| − | [http://www.humintell.com/2010/06/the-seven-basic-emotions-do-you-know-them/]
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| − | Person touches device > device registrates> temperature of touch > movement of touch > pressure of touch > pheromones/ scents
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| − | The information will be send through in direct information, for instance:
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| − | A cold, shaking, soft touch, with a body scent
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| − | Research about the most sensitive spot of a body:
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| − | I do this research because i want to find out what the best part on the body is to design the device for.
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| − | Since the device will send different data that is based on touch it is important that the body part is able to pick these signs up.
| |
| − |
| |
| − | [http://globalnews.ca/news/1337749/researchers-identify-5-most-sensitive-parts-of-female-body/]
| |
| − | [http://www.womenshealthmag.com/sex-and-love/erogenous-zones]
| |
| − | [https://www.pinterest.com/pin/161214861636500281/]
| |
| − | [http://www.sheknows.com/love-and-sex/articles/813900/6-pleasure-sensitive-body-parts-you-never-knew-existed-1]
| |
| − | [http://makecoconutnotfat.com/happens-put-ice-cube-part-neck-amazing-things-thats/]
| |
| − |
| |
| − | I conclude out of these sources and other articles that '''the back of the neck''' is the most sensitive spot.
| |
| − |
| |
| − | With the right stimulation on this point:
| |
| − |
| |
| − | *Helps with colds
| |
| − | *Makes your brain sharper
| |
| − | *Better lung function
| |
| − | *Better sleep
| |
| − | *Helps the stomach
| |
| − | *Helps the thyroid
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | backofneck.png | special pressure point on body
| |
| − | neck.jpeg | a few pictures of neck gadgets.
| |
| − | neck1.jpeg
| |
| − | neck2.jpeg
| |
| − | Neck3.jpg
| |
| − | nekontwerpen2.jpg|research about the 'looks' of the neckdesign
| |
| − | Nekontwerpen3.jpg
| |
| − | </gallery>
| |
| − |
| |
| − | Requirements for the digi bod:
| |
| − |
| |
| − | *- easy to wear
| |
| − | *- discrete
| |
| − | *- covers the special back in the neck spot.
| |
| − | *- futuristic esthetics
| |
| − | *- environmental friendly
| |
| − | *- a communication point sending messages through vibrations.
| |
| − |
| |
| − | = Task List Digital Culture week 3 =
| |
| − |
| |
| − | Clair:
| |
| − |
| |
| − | - Research about situations when the device is of use.
| |
| − |
| |
| − | how to be used
| |
| − | http://www.ohmynews.com/NWS_Web/View/at_pg.aspx?CNTN_CD=A0002124330
| |
| − |
| |
| − | develope of the wearable market
| |
| − |
| |
| − | - Research about different communication ways through different senses.
| |
| − |
| |
| − | everyting of the wearable devices
| |
| − | http://search.naver.com/search.naver?where=nexearch&query=%EC%8A%A4%EB%A7%88%ED%8A%B8%EB%B0%B4%EB%93%9C+%EC%8A%A4%ED%8A%B8%EB%A1%9D+%EC%A0%84%EB%8B%AC&sm=top_sly.hst&fbm=1&acr=5&ie=utf8
| |
| − |
| |
| − | - Research/inspiration about the visualisation of the object.
| |
| − |
| |
| − | - Research about body language 'most needed' in the device.
| |
| − |
| |
| − | =Feedback Gabriella 24-09-2015=
| |
| − |
| |
| − | - Find a user
| |
| − | - Situations were this device is necessary
| |
| − | - Fictional?
| |
| − | - How will this look like?
| |
| − | - Visualise object in everyday situations
| |
| − |
| |
| − | = Week 4 Digital Culture =
| |
| − |
| |
| − |
| |
| − | Feedback from presentation:
| |
| − |
| |
| − | * Think about interface
| |
| − | * Find more unconventional ways from heartbeat, temperature, movement
| |
| − | * Give the object shape
| |
| − | * How does this information communicate with the user?
| |
| − |
| |
| − |
| |
| − |
| |
| − | Name of project: Digi Bod
| |
| − |
| |
| − | * Body language through digital device
| |
| − | * Fictional device
| |
| − | * Criticizes digital communication
| |
| − | * Showing the need to society
| |
| − | * Using the device in nessecary situations
| |
| − | * Growing market in wearable devices
| |
| − | * Heartbeat monitoring
| |
| − | * Sincere, honest
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | Wearable_devices.jpg|Wearable device, easy to wear and discrete.
| |
| − | Diagram wearable devices.jpg|Wearable devices is a growing market.
| |
| − | Designwrist.jpg|Reference image explaining the design form.
| |
| − | </gallery>
| |
| − |
| |
| − |
| |
| − | Situations the device is most necessary in:
| |
| − |
| |
| − | * Long distance relationships
| |
| − | * Long distance interviews
| |
| − | * People you don't know but need to trust
| |
| − | * Difficult conversations
| |
| − |
| |
| − |
| |
| − | The device measures:
| |
| − |
| |
| − | *Temperature
| |
| − | *Movement
| |
| − | *Heartbeat
| |
| − |
| |
| − |
| |
| − | = Week 5 Digital Culture =
| |
| − |
| |
| − | Clair:
| |
| − | * Research about situations when the device is of use.
| |
| − | * Research about different communication ways through different senses.
| |
| − | * Research/inspiration about the visualisation of the object.
| |
| − | * Research about body language 'most needed' in the device.
| |
| − |
| |
| − | Emma:
| |
| − | * Research about situations when the device is of use.
| |
| − | * Research about different communication ways through different senses.
| |
| − | * Research/inspiration about the visualisation of the object.
| |
| − | * Research about body language 'most needed' in the device.
| |
| − |
| |
| − | = Week 6 Digital Culture =
| |
| − |
| |
| − | We want to combine haptic and seismic communication.
| |
| − |
| |
| − | Definition of seismic communication:
| |
| − | [https://en.m.wikipedia.org/wiki/Seismic_communication]
| |
| − |
| |
| − | The device will be able to gather the information of the person wearing the gadget and then sending the
| |
| − | Result of the information (which emotional state you are in) by seismic/ haptic communication.
| |
| − | This will look like a gadget in the back of the neck sending vibrations that communicate.
| |
| − |
| |
| − | To find out what emotional state the person the next link gives the scientific research that shows body temperature translated
| |
| − | Into a emotional state. [blah.kr/175]
| |
| − |
| |
| − | * [http://www.miniinthebox.com/nl/ds18b20-digitale-temperatuur-sensor-module-voor-arduino-201211270080026_p480354.html Link to temperature meter]
| |
| − | * [http://www.miniinthebox.com/nl/ds18b20-temperatuur-meetmodule-blauw_p643040.html link to temperature meter 2]
| |
| − | * [http://www.miniinthebox.com/nl/raak-sensor-modules-voor-arduino_p3156971.html touch knop]
| |
| − |
| |
| − | '''---Emotion and body---'''
| |
| − |
| |
| − |
| |
| − | Unlike thoughts, the emotions don’t live entirely in the mind, they are also associated with bodily sensations.
| |
| − | A well known example is when we fall in love with someone: we report getting ‘butterflies in our stomach’.
| |
| − | A recently published study focused on where people experience different emotions in the body (read the full article here).
| |
| − | Thanks to this new study, for the first time we now have a map of the links between emotions and bodily sensations.
| |
| − |
| |
| − | http://positivepsychologyprogram.com/link-happiness-and-bodily-sensations-visuals/
| |
| − |
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | F417e5a84.png|BODILY MAPS https://www.youtube.com/watch?v=cZP_I6NkQb4
| |
| − | </gallery>
| |
| − |
| |
| − |
| |
| − | '''---upper body: neck wearable device---'''
| |
| − |
| |
| − |
| |
| − | measure the upper body temperature. sending emotion and recieving the other's
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | 스크린샷_2015-11-09_16.11.57.png|
| |
| − | Veari-fineck-smart-wearable-device-neck-health-designboom-02.jpg|
| |
| − | Fineck.jpg|
| |
| − |
| |
| − | </gallery>
| |
| − |
| |
| − | '''---downside body:anklet wearable device---'''
| |
| − |
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | 스크린샷_2015-11-09_16.12.25.png|
| |
| − | PJ-BS498_WEARAB_P_20140107180543.jpg|
| |
| − | Sensoria-wearable-technology-socks-will-be-available-worldwide-alongside-vivobarefoot-shoes.jpg|
| |
| − | </gallery>
| |
| − |
| |
| − |
| |
| − | '''---How can the wearable device measure the body temperature ---'''
| |
| − |
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | Body_temperature.png|REFERENCE https://www.youtube.com/watch?v=wZKWjhivaz0
| |
| − | How_to_make.png|HOW TO MAKE https://www.youtube.com/watch?v=N9gW5cmOb78
| |
| − | </gallery>
| |
| − |
| |
| − | '''---Research 01-10-2015---'''
| |
| − |
| |
| − |
| |
| − | Haptics is any form of interaction involving touch (from Greek ἅπτω = 'I fasten onto, I touch').
| |
| − |
| |
| − | It can mean:
| |
| − |
| |
| − | *Haptic communication, the means by which people and other animals communicate via touching
| |
| − | *Haptic perception, the process of recognizing objects through touch
| |
| − | *Haptic poetry, a liminal art form combining characteristics of typography and sculpture
| |
| − | *Haptic technology, technology that interfaces with the user through the sense of touch
| |
| − | *Haptics may also refer to touch and tactile.
| |
| − |
| |
| − | Source: [https://en.wikipedia.org/wiki/Haptics]
| |
| − |
| |
| − | <gallery mode="packed-hover">
| |
| − | Haptics.jpg|The definition of haptics
| |
| − | </gallery>
| |
| − |
| |
| − | Ted inspirational talk about haptics and technology
| |
| − |
| |
| − | [https://www.youtube.com/watch?v=6wJ9Aakddng]
| |
| − |
| |
| − | Evolving the basic emotions into the haptic device.
| |
| − | The seven basic emotions are:
| |
| − |
| |
| − | *anger
| |
| − | *fear
| |
| − | *disgust
| |
| − | *contempt
| |
| − | *joy
| |
| − | *sadness
| |
| − | *suprise
| |
| − |
| |
| − | [http://www.humintell.com/2010/06/the-seven-basic-emotions-do-you-know-them/]
| |
| − |
| |
| − | Person touches device > device registrates> temperature of touch > movement of touch > pressure of touch > pheromones/ scents
| |
| − | The information will be send through in direct information, for instance:
| |
| − | A cold, shaking, soft touch, with a body scent
| |
| − |
| |
| − | Research about the most sensitive spot of a body:
| |
| − | Emma did this research because She want to find out what the best part on the body is to design the device for.
| |
| − | Since the device will send different data that is based on touch it is important that the body part is able to pick these signs up.
| |
| − |
| |
| − | [http://globalnews.ca/news/1337749/researchers-identify-5-most-sensitive-parts-of-female-body/]
| |
| − | [http://www.womenshealthmag.com/sex-and-love/erogenous-zones]
| |
| − | [https://www.pinterest.com/pin/161214861636500281/]
| |
| − | [http://www.sheknows.com/love-and-sex/articles/813900/6-pleasure-sensitive-body-parts-you-never-knew-existed-1]
| |
| − | [http://makecoconutnotfat.com/happens-put-ice-cube-part-neck-amazing-things-thats/]
| |
| − |
| |
| − | I conclude out of these sources and other articles that '''the back of the neck''' is the most sensitive spot.
| |
| − |
| |
| − | With the right stimulation on this point:
| |
| − |
| |
| − | *Helps with colds
| |
| − | *Makes your brain sharper
| |
| − | *Better lung function
| |
| − | *Better sleep
| |
| − | *Helps the stomach
| |
| − | *Helps the thyroid
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | backofneck.png | special pressure point on body
| |
| − | neck.jpeg | a few pictures of neck gadgets.
| |
| − | neck1.jpeg
| |
| − | neck2.jpeg
| |
| − | Neck3.jpg
| |
| − | nekontwerpen2.jpg|research about the 'looks' of the neckdesign
| |
| − | Nekontwerpen3.jpg
| |
| − | </gallery>
| |
| − |
| |
| − | Requirements for the digi bod:
| |
| − |
| |
| − | *- easy to wear
| |
| − | *- discrete
| |
| − | *- covers the special back in the neck spot.
| |
| − | *- futuristic esthetics
| |
| − | *- environmental friendly
| |
| − | *- a communication point sending messages through vibrations.
| |
| − |
| |
| − | '''Echoic Memory'''
| |
| − | --
| |
| − | Echoic memory is one type of sensory memory process. Specifically, echoic memory is sensory memory associated with auditory information received from the environment. The term echoic stems from the word echo, which is in reference to the brief echo, or the reverberation of sound that is transmitted neurologically via this type of sensory memory.
| |
| − |
| |
| − | '''Case Study: Clive Wearing'''
| |
| − |
| |
| − | British conductor and musician Clive Wearing contracted a brain infection in 1985. He was left with a memory span of only 10 seconds.
| |
| − | The infection - herpes encephalitis - left him unable to recognise people he had seen or remember things that had been said just moments earlier.
| |
| − | However, despite being acknowledged by doctors as having one of the most severe cases of amnesia ever, his musical ability and much of his musical memory was intact.
| |
| − | Now aged 73, he is still able to read music and play the piano and once even conducted his former choir again.
| |
| − | Researchers have come to believe they are closer to understanding how musical memory is preserved in some people - even when they can remember almost nothing of their past.
| |
| − |
| |
| − | [[File:Echoic Brain.jpg | 300px | centre]]
| |
| − |
| |
| − | Scientists are trying to understand how amnesiacs can lose all memory of their past life - and yet remember music. The answer may be that musical memories are stored in a special part of the brain.
| |
| − | In tests his musical memory was classified as 'normal' - even though the rest of his brain was so badly affected he could not remember the layout of his flat, the Guardian reported.
| |
| − |
| |
| − |
| |
| − | '''--- BRAINSTORM ---'''
| |
| − |
| |
| − |
| |
| − | An app to share the music memory linked with a particular location. The App would collect music potentially from Spotify or another online music sharing site. By using this App people will begin to appreciate the way in which the identity of a place (eg. neighbourhood) is shaped and evolves with music.
| |
| − | [[File:AppPrototype.jpg | 600px | centre]]
| |
| − |
| |
| − | = Research week 7 Digital Culture =
| |
| − |
| |
| − | '''echoic memory'''
| |
| − |
| |
| − |
| |
| − | Echoic memory plays an extremely important part in our every day lives. From the day we are born, we are exposed to symbolic sounds (e.g. from sirens and alarms to atmospheric sounds - waves, wind) that are stored with their meaning in our echoic memory - similar to that of a dictionary. These symbolic sounds are used to assist, inform and in some ways dictate parts of our daily routine. As strong as the iconic sounds in our echoic memory are - when paired with the visual and haptic parts of our memory they become stronger. Our project aims to test and question the strength of one's echoic memory sense.
| |
| − |
| |
| − | We began thinking about the way individuals listen out for particular sounds. When we are familiar with a certain order of sounds it can tell us a lot about the situation we are in or experiencing. This can range from the simplicity of listening out for the sound of the buzzer at the traffic lights to more complex, individual circumstances. For example after a few weeks of living next-door to my neighbour I was able to put together a timeline of sounds that I would expect to hear when he either arrived or left his apartment.
| |
| − |
| |
| − | When an individual is exposed to a number of purposely generic, artificial sounds (e.g. footsteps) that do not necessarily follow a cohesive order are they still able to pick up on the general gist of what is occurring?
| |
| − | Our interactive compilation of different sound pieces tests this theory. It invites the audience to make up their own sense of the actuality of the sound piece and in turn question how strong and how personal an individuals echoic memory is on it's own.
| |
| − |
| |
| − | =Project Jon, Memory Haptic=
| |
| − |
| |
| − | 08-10 Start of assignment.
| |
| − |
| |
| − | Combining muscle memory and haptics.
| |
| − |
| |
| − | Experiencing seasons throughout A year can be different for anyone.
| |
| − | What makes the same time and circumstances feel different for everyone.
| |
| − |
| |
| − | MUSCLE MEMORY // RESPONSIVENESS (LIFE THREATENING SITUATIONS)
| |
| − |
| |
| − | How to fall
| |
| − | Diving
| |
| − | Playing Instrument
| |
| − | Biking
| |
| − | Horse Riding
| |
| − | Writing
| |
| − | Nascar Drivers
| |
| − |
| |
| − |
| |
| − | Ideas
| |
| − | Going against Reflexes.
| |
| − | Tricking into mobile use
| |
| − | Everything the other way around.
| |
| − | Fighting habits
| |
| − |
| |
| − | Changing eating habits.
| |
| − | In the future not only we will have one universal language but also one universal eating habits with a new set of cutlery.
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | eat1.jpg|
| |
| − | eat2.jpg|
| |
| − | eat3.jpg|
| |
| − | eat4.jpg|
| |
| − | eat5.jpg|
| |
| − | eat6.jpg|
| |
| − | eat7.jpg|
| |
| − | </gallery>
| |
| − |
| |
| − | An interesting link to a few projects of PHILIPS evolving around food and future machines.
| |
| − | [http://www.design.philips.com/about/design/designportfolio/design_futures/design_probes/projects/food.page]
| |
| − |
| |
| − | == MUSCLE MEMORY // RESPONSIVENESS (LIFE THREATENING SITUATIONS) ==
| |
| − |
| |
| − | * How to fall
| |
| − | * Diving
| |
| − | * Playing Instrument
| |
| − | * Biking
| |
| − | * Horse Riding
| |
| − | * Writing
| |
| − | * Nascar Drivers
| |
| − |
| |
| − |
| |
| − | https://www.youtube.com/watch?v=zgU0QeBYH68 - One Breath Diving
| |
| − | * Ignoring Voice Warning in Brain
| |
| − | * Shutting
| |
| − |
| |
| − |
| |
| − | === HAPTIC ===
| |
| − |
| |
| − | Haptics is Quite Literally The Science of Touch. The origin of the word haptics is the Greek haptikos, meaning able to grasp or perceive. Haptic sensations are created in consumer devices by actuators, or motors, which create a vibration.
| |
| − |
| |
| − | Haptic or kinesthetic communication recreates the sense of touch by applying forces, vibrations, or motions to the user. This mechanical stimulation can be used to assist in the creation of virtual objects in a computer simulation, to control such virtual objects, and to enhance the remote control of machines and devices (telerobotics). Haptic devices may incorporate tactile sensors that measure forces exerted by the user on the interface.
| |
| − |
| |
| − |
| |
| − | '''Haptic communication''' refers to the ways in which people and other animals communicate and interact via the sense of touch. As well as providing information about surfaces and textures, touch, or the haptic sense, is a component of communication in interpersonal relationships that is nonverbal and nonvisual. Touch is extremely important for humans and is vital in conveying physical intimacy.
| |
| − |
| |
| − | Touch can be categorized in terms of meaning as positive, playful, control, ritualistic, task-related or unintentional. It can be both sexual (kissing is one such example that is sometimes sexual) and platonic (such as hugging or tickling). Touch is the earliest sense to develop in the fetus. The development of an infant's haptic senses and how it relates to the development of the other senses such as vision has been the target of much research. Human babies have been observed to have enormous difficulty surviving if they do not possess a sense of touch, even if they retain sight and hearing. Babies who can perceive through touch, even without sight and hearing, tend to fare much better.
| |
| − |
| |
| − | In chimpanzees the sense of touch is highly developed. As newborns they see and hear poorly but cling strongly to their mothers. Harry Harlow conducted a controversial study involving rhesus monkeys and observed that monkeys reared with a "terry cloth mother", a wire feeding apparatus wrapped in softer terry cloth which provided a level of tactile stimulation and comfort, were considerably more emotionally stable as adults than those with a mere wire mother.[1] Touching is treated differently from one country to another. Socially acceptable levels of touching varies from one culture to another. In the Thai culture, touching someone's head may be considered to be rude. Remland and Jones (1995) studied groups of people communicating and found that in England (8%), France (5%) and the Netherlands (4%), touching was rare compared to the Italian (14%) and Greek (12.5%) sample.[2]
| |
| − |
| |
| − | Striking, pushing, pulling, pinching, kicking, strangling and hand-to-hand fighting are forms of touch in the context of physical abuse. In a sentence like "I never touched him/her" or "Don't you dare to touch him/her" the term touch may be meant as euphemism for either physical abuse or sexual touching. To 'touch oneself' is a euphemism for masturbation. The word touch has many other metaphorical uses. One can be emotionally touched, referring to an action or object that evokes an emotional response. To say "I was touched by your letter" implies the reader felt a strong emotion when reading it. It usually does not include anger, disgust or other forms of emotional rejection unless used in a sarcastic manner. Stoeltje (2003) wrote about how Americans are ‘losing touch’ with this important communication skill. During a study conducted by University of Miami School of Medicine, Touch Research Institutes, American children were said to be more aggressive than their French counterparts while playing at a playground. It was noted that French women touched their children more often than the American parents.
| |
| − |
| |
| − |
| |
| − | '''Haptic perception''' (Greek: haptόs „palpable“, haptikόs „suitable for touch“) literally denominates "to grasp something". Perception in this case is achieved through active exploration of surfaces and objects by a moving subject as opposed to passive contact of a static subject during tactile perception.[1] The term Haptik was coined by the German Psychologist Max Dessoir who suggested in 1892 to name the academic research about the sense of touch in the style of „acoustics“ and „optics“.[2][3]
| |
| − |
| |
| − | Gibson (1966)[4] defined the haptic system as "The sensibility of the individual to the world adjacent to his body by use of his body". Gibson and others further emphasized what Weber had realized in 1851 - the close link between haptic perception and body movement: haptic perception is active exploration.
| |
| − |
| |
| − | The concept of haptic perception is related to the concept of extended physiological proprioception according to which, when using a tool such as a stick, perceptual experience is transparently transferred to the end of the tool.
| |
| − |
| |
| − | Haptic perception relies on the forces experienced during touch.[5] This research allows the creation of "virtual", illusory haptic shapes with different perceived qualities[6] which has clear application in haptic technology.[7]
| |
| − |
| |
| − |
| |
| − |
| |
| − |
| |
| − | === DIFFICULT SPORTS ===
| |
| − |
| |
| − | '''Cross-Country Running''': Cross Country Running is a type of sport where individuals or teams run a race on open-air courses generally 4 – 12 kilometers long over natural terrain. The event is typically organized during autumn and winter but in some scenarios it may be organized in a wide range of temperatures to create maximum difficulty. Cross Country Running was started in the 19th century in England where the schools started participating in cross country races as early as in 1837. The first recorded national cross country championship was held on Wimbledon Common in south-west London on 7th December, 1867. The first international cross country race was organized on 28th March, 1903, at the Hamilton Park Racecourse in Scotland. The IAAF World Cross Country Championships is the elite competition of the modern days cross country race since it was established in 1973.
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| − |
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| − | '''Freestyle Wrestling''': Freestyle wrestling is a form of amateur wrestling that is practiced by many wrestling fanatics all over the world. It is one of two styles of wrestling besides the Greco-Roman Wrestling that is contested in the Olympic Games. The ultimate goal of these sports is to pin down the opponent to the mat which results in the victory. Freestyle wrestling is one of the four main styles of global wrestling according to the international governing body for the sport, United World Wrestling. The modern variant of freestyle wrestling is believed to be originated as the “catch-as-catch-can” wrestling in the United States and Great Britain. Interestingly, “catch-as-catch-can” wrestling was performed by several U.S. presidents such as Abraham Lincoln, George Washington, Theodore Roosevelt and many more.
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| − |
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| − | '''Horseback Riding''': Horseback Riding or the Equestrianism involves steeple chasing or vaulting with horses and riding horses. The horses are trained to perform a set of skills on the course or to achieve great speed and the co-ordination between the horse and the jockey or the horse rider has a great impact on the event. Many historian claims that trained horses were first ridden in approximately 4500 BC, where numerous other historians doubted that horses were ridden long before this claim. Thoroughbred horse racing or flat racing is the most popular form of these sports and is governed by the Royal Charter Jockey Club in the UK and the Jockey Club in the USA. Steeplechasing or National Hunt racing is also a popular variant of the sport where the horses jump over obstacles while racing on a track. The international governing body of Horseback Riding is the International Federation for Equestrian Sports.
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| − |
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| − | ''Bull Riding''': Bull Riding is the most popular type of Rodeo sports where the rider attempts to stay mounted while the bull attempts to buck off the rider. The rider must stay for eight seconds atop the bucking bull and due to the risk it is often referred as “the most dangerous eight seconds in sports.” Bull riding was derived from the Mexican Charreada. One of the earliest variant of Bull Riding called Jaripeo, a hacienda contest, was developed during the 16th century where the riders rode the bull until it stopped bucking or till the rider dies. A Texas Ranger named H. L. Kinney staged the first Anglo-American organized bullfight in 1852 in the southwest. Both the rider and the bull are awarded from 0–50 points by two judges based on several fundamental aspects of the event. Cowboy boots and hats are the additional attractions of these sports besides the riding.
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| − |
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| − | '''Water Polo''': Water polo is a team water sport consisting of four periods where two teams attempt to score goals by throwing the ball into the opponent’s net. Each team of this game consists of six field players and one goalkeeper in the water. Water Polo typically played in at least 1.8meters deep pools with a water polo ball that floats on the water. The game comprises swimming, catching and shooting the ball using a single hand. The game is considered to be originated as a sort of “water rugby” in the late 19th century in Scotland. William Wilson first organized a set of rules for a team water ball game called “aquatic football” in 1877. The first ever game of Aquatic Football or Water Polo was organized at the Bon Accord Festival between the banks of the River Dee in Aberdeen, Scotland in the late 19th century. Fédération Internationale de Natation is the governing body of this game on international level.
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| − |
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| − | '''Figure Skating''': Figure Skating is a type of sport where teams, duos or individual skaters perform on figure skates on ice. Men’s singles, ladies’ singles, ice dancing and pair skating are the four main Olympic disciplines of this game. Figure Skating was first introduced in the 1908 Summer Olympics in London as the first winter sports in Olympic. The International Skating Union is the governing body of international Figure Skating that includes the Winter Olympics, the World Championships, the Four Continents Championships, the European Championships and the Grand Prix of skating. Figure skating blades used in this sport is typically 4.7mm thick with a slight curve of an arc of a circle having a radius of 180-220cm. Figure skaters usually perform spins, lifts, jumps, throw jumps, moves in the field, death spirals and various other moves.
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| − |
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| − | '''Motor Cross''': Motorcross is a form of off-road motorcycle racing on enclosed off-road circuits. It is one of the most physically demanding sports and usually organized in all-weather conditions. Motocross is believed to be originated from motorcycle trials competitions in the United Kingdom. The earliest reference of the origination this sport can be found in the first quarterly trial of the Auto-Cycle Clubs in 1906 and the Scottish Six Days Trial in 1909. The word “Motocross” is a combination of Motocyclette, the French word for motorcycle, with “cross country”. The first ever scramble race or modern Motocross was held in 1924 at Camberley, Surrey. The FIM Motocross World Championship, the AMA Motocross Championship, British Motocross Championship and Motocross des Nations are the major event of the Motocross. This sport is internationally governed by the Fédération Internationale de Motocyclisme.
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| − |
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| − | '''Skiing''': Skiing is a form of ice sports where contestants use skis to glide on snow. The word “Ski” derived from “skíð”, an Old Norse word that means “split piece of wood or firewood”. This sport is internationally governed by the International Olympic Committee and the International Ski Federation. The earliest reference of Skiing was found in a primitive carving located in Rødøy in the Nordland region of Norway depicting a skier with one pole from circa 5000 B.C. Skiing was first primarily used for transport and Military ski races were held during the 18th century in Norway. Two main genres of this sport, the Alpine Skiing and the Nordic Skiing were developed in the 1930s. Slalom, Giant Slalom, Super-G, Alpine skiing combined and Downhill are the main discipline of Alpine skiing. Cross-country, Telemark, Ski touring, Skijoring and Ski-flying are the main discipline of Nordic skiing.
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| − |
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| − | '''Swimming''': Swimming is a type of water sport where swimmers try to swim as fast as possible with various strokes such as Butterfly stroke, Backstroke, Breaststroke and Freestyle. It is internationally governed by the Fédération Internationale de Natation. The earliest reference of swimming was found in paintings dates back to the Stone Age around 8000 B.C. The reference of swimming can also be traced in ancient books such as the Bible, the Quran, the Gilgamesh, the Iliad, the Odyssey and the Beowulf. The first swimming book called “Der Schwimmeroder ein Zweigesprächüber die Schwimmkunst” was written by a German professor of languages Nikolaus Wynmann in 1538. The first indoor swimming pool named St George’s Baths was opened in 1828 for the public. The National Swimming Society held swimming competitions in six artificial swimming pools in London in 1837.
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| − |
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| − | '''Gymnastics''': Gymnastics is a complex sport that needs physical strength, flexibility, grace, agility, power, coordination, balance and control. The Fédération Internationale de Gymnastique founded in 1881 governs the competitive gymnastic events internationally, with each country having its own national governing body. Modern gymnastics was first developed by three pioneer physical educators in the late eighteenth and early nineteenth century Germany, in the form of exercises for young men and boys, on apparatus. Of the gymnastic events, the competitive gymnastics is considered the best known. The men’s events include high bar, parallel bars, vault, still rings, pommel horse and floor exercise, while the women’s events include vault, floor exercise, balance beam, uneven bars. Exercises used by the ancient Greeks have been evolved in gymnastics. There are several other gymnastic disciplines.
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| − |
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| − | === OUR BODY ===
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| − |
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| − | '''How Much Pain Can The Human Body Endure?'''
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| − | Pain is both a universal truth and universal dread. It has driven some men to isolation, others to suicide. And though it may take various forms — emotional, psychological, even moral — most would agree physical pain is the kind we feel the greatest desire to immediately end. “We don’t even ask happiness, just a little less pain,” said poet Charles Bukowski. So what are the most physically painful experiences? We, being Medical Daily, will focus on health conditions though we add a grace note of other sorts of suffering. In no particular order, we believe the following conditions provide the most excruciating of physical agonies.
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| − | Cluster headaches, which affect less than one percent of people, are marked by unbearable stabbing and penetrating pain, usually centered around the eye. These severe headaches occur suddenly and peak within 15 minutes. They run in families, with mostly men suffering from this particular pain.
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| − |
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| − | Childbirth is so piercing a pain, mothers' make a point of telling their children they 'forget' how bad it is… need we say more?
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| − | Shingles is a painful skin rash, the remnants of your childhood case of chickenpox. Generally it occurs among older adults, sometimes pregnant women, and usually affects just one side of the body, often the face or torso. Even wearing light clothes adds to the suffering.
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| − |
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| − | Kidney stones are hard deposits that form inside your kidneys and then travels through your urinary tract. You ‘pass’ a kidney stone while urinating and generally the stones cause no permanent damage. However, those who've actually passed a kidney stone say you feel that hard little rock every millimeter of its journey through you.
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| − |
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| − | Gallstones are another type of hard deposit, sometimes the size of a golf ball, that form inside your gallbladder — a small, pear-shaped organ just beneath your liver. On the same order as kidney stones, except these require surgery to be removed.
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| − |
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| − | Tooth abscess, which causes a gnawing and shooting pain, is actually just a collection of infected pus, arising from a bacterial infection, in the center of your tooth. This worst of all dental pains requires, in many cases, root canal or wholesale removal of your tooth.
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| − |
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| − | Trigeminal neuralgia, though rare, is a chronic condition affecting a nerve that runs along your face to your brain. The stabbing pain, which has been described as feeling an electric shock, becomes progressively worse over time for most sufferers.
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| − |
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| − | Severe burns are painful, not only when they happen, but as they are healing. The most serious, a third degree burn, involves all layers of your skin along with fat, muscle, and in some cases bone affected as well. A second degree burn, though considered less severe, may be equally agonizing.
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| − |
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| − | Fibromyalgia, which affects more women than men, is a widespread ache in the muscles that is accompanied by headaches and fatigue. It is debilitating in that it is chronic; a quarter of all people with this condition are unable to work.
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| − |
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| − | A spinal tap, which involves the insertion of a needle between two vertebrae in order to remove a sample of cerebrospinal fluid, is notoriously one of the worst procedures you can endure at the hands of a doctor.
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| − |
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| − | Torture is, by definition, pain: it is the act of causing pain as a form of punishment or as a way to force another person to do your will. The Latin base for this word means ‘to twist.’ Any form of torture, and please, please, please let's not go there, simply hurts. Bad.
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| − |
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| − | Finally, we end with initiation rites, which may include anything from teeth chiseling to circumcision. The coming-of-age ritual experienced by Hamish Blake, one half of an Australian comedy duo, involved placing his hands inside gloves filled with biting bullet ants.
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| − |
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| − |
| |
| − | === IDEAS ===
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| − |
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| − | * Going against Reflexes.
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| − | * Tricking into mobile use
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| − | * Everything the other way around.
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| − | * Fighting habits
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| − |
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| − |
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| − | *Changing eating habits.
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| − |
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| − | In the future not only we will have one universal language but also one universal eating habits with a new set of cutlery.
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| − |
| |
| − | = Progress 04-10 Future Food =
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| − |
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| − | What happens when people eat and everything except for the food is registered?
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| − | Wich things make our sitting together and having food an exceptional experience?
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| − |
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| − | In this week we decided to take a more poetic approach to the future food concept.
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| − | We mainly want to focus on the stories told while eating.
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| − |
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| − | <gallery mode="nolines" widths="300px" heights="300px">
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| − |
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| − | Eat8.jpg|Poetry and food combined
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| − |
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| − | </gallery>
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| − |
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| − | During our conversations we decided to focus on the stories being told while having dinner together.
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| − | Just like the program 'Man Bijt Hond' we will go to people and join them while having food together.
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| − | The stories that are being told while function as a tool to create our memory machine.
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| − |
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| − | We also found inspiration in the hitsong of Adele; Turning tables
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| − | [https://www.youtube.com/watch?v=dx7sLNyIeQk]
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| − |
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| − | Adele found her inspiration for this song while having dinner with her friends in a restaurant that has turning tables.
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| − |
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| − | Research about sound pitches: [http://scienceprojectideasforkids.com/2010/sound-pitch-loudness/]
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| − | [http://www.slideshare.net/krunalThanki/acoustics-and-sound-insulations-by-k-r-thanki]
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| − |
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| − | == FUTURE FOOD ==
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| − | Insects, fake meat, seaweed and 3D-printed food all have the potential to address malnutrition.
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| − |
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| − | * No cutlery needed, only powers and drinks.
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| − | * Mini-livestock (Insects)
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| − | * Lab-grown Meat
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| − | * Algae
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| − | * Seaweed
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| − |
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| − | Earlier this year, Dutch scientists successfully produced in-vitro meat, also known as cultured meat. They grew strips of muscle tissue using stem cells taken from cows, which were said to resemble calamari in appearance. They hope to create the world's first "test-tube burger" by the end of the year.
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| − |
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| − | *http://www.theguardian.com/global-development-professionals-network/2014/aug/12/insects-algae-lab-meat-food
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| − | *http://www.bbc.com/news/magazine-18813075
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| − | *https://www.youtube.com/watch?v=lCNSst-_z5c
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| − | *https://youtu.be/hZ8an4GHEfo
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| − |
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| − | Underused and Overlooked
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| − |
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| − | About 2,500 plant species have been domesticated for food. But today, almost half our food calories come from just three grains: wheat, maize, and rice. What about the thousands of overlooked plant species—and an untapped diversity of animals? These resources could provide solutions to problems like the need for resilience in our food production systems and the need to meet growing demands without depleting natural resources. Here are a few promising examples:
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| − |
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| − | Algae: Seaweed and other algae, already popular in Japan, are highly nutritious and can be grown in both fresh water and salt water.
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| − | Insects: Over 2,000 species of insects are already eaten worldwide, including mopane worms (Gonimbrasia belina) in South Africa. Insects are high in protein and require much less land, water, and food than animals raised for meat
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| − | Quinoa: This grain (Chenopodium quinoa) from the Andes contains all the essential amino acids the human body needs for protein and has no gluten.
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| − | Emmer wheat: While millions are spent on high-tech hybrids, neglected crops like the grain emmer (Triticum dicoccum), which requires less fertilizer and fewer pesticides than currently used breeds, are already being grown in places like Turkey.
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| − | Minor millets: These cereals have been grown in Asia for 6,500 years. Many farmers in India and Nepal are now switching from growing crops like maize and rice back to traditional varieties bred to grow on local mountainsides.
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| − | Peach palm: The peach palm (Bactris gasipaes) grows well in Central and South America and produces a large, nutritious fruit. The tree’s spiny trunk makes the fruit hard to harvest—but breeders are now developing spineless varieties.
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| − | Giant swamp taro: The giant swamp taro (Cyrtosperma chamissonis), which grows well in the salty, sandy soil of many Pacific islands, is rich in vitamins and minerals. Yellow varieties are high in beta carotene, which can help prevent blindness.
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| − | Sea buckthorn: Sea buckthorn (Hippophae rhamnoides) uses nitrogen from the air as fertilizer, thanks to specialized bacteria in its roots. These dense roots are also used to prevent soil erosion in China. The berries are hard to pick, but new machines should help with the harvest.
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| − | Foods of Tomorrow?
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| − |
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| − | Many foods we’ll eat in the future don’t yet exist. Researchers constantly tinker with plant and animal ingredients,
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| − | processed foods and even packaging, to improve flavor and nutrition. A few samples are below—but the biggest
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| − | changes may come from ideas we cannot yet imagine.
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| − |
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| − | Breathable Chocolate: Want the flavor of real chocolate, without the calories? You can now inhale tiny particles of chocolate, as a mist.
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| − | Patch in a Pinch: Some essential nutrients could soon be given to soldiers and astronauts through a patch on the skin, for quick absorption in emergencies.
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| − | "Smart Packaging": In the near future, food packaging could monitor foods to detect ripeness or spoiling—or even actively prevent foods from spoiling.
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| − |
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| − | GOING FROM INDUSTRIAL MODEL TO ECOLOGICAL MODEL
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| − |
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| − | == CUTLERY / TABLEWEAR ==
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| − |
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| − | '''Cutlery''' refers to any hand implement used in preparing, serving, and especially eating food in the Western world. A "cutler" is a person who makes or sells cutlery. The city of Sheffield in England has been famous for the production of cutlery since the 17th century and a train - the Master Cutler - running from Sheffield to London was named after the industry.
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| − |
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| − | Cutlery is more usually known as silverware or flatware in the United States, where cutlery usually means knives and related cutting instruments. Although the term silverware is used irrespective of the material composition of the utensils, the term tableware has come into use to avoid the implication that they are made of silver.
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| − |
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| − | The major items of cutlery in the Western world are the knife, fork and spoon. In recent times, hybrid versions of cutlery have been made combining the functionality of different eating implements, including the spork (spoon / fork), spife (spoon / knife), and knork (knife / fork) or the sporf which is all three.
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| − |
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| − | *[https://en.wikipedia.org/wiki/Cutlery Cutlery]
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| − | *[https://en.wikipedia.org/wiki/List_of_eating_utensils List of Eating Utensils]
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| − |
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| − | '''Tableware''' is the dishes or dishware used for setting a table, serving food and dining. It includes cutlery, glassware, serving dishes and other useful items for practical as well as decorative purposes. The quality, nature, variety and number of objects varies according to culture, religion, number of diners, cuisine and occasion. For example, Middle Eastern, Indian or Polynesian food culture and cuisine sometimes limits tableware to serving dishes, using bread or leaves as individual plates. Special occasions are usually reflected in higher quality tableware.
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| − |
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| − | "Dinnerware" is another term used to refer to tableware and "crockery" refers to ceramic dishes in everyday use as differentiated them from the fine porcelain and bone china produced by makers such as Sèvres in France, Meissen in Germany, Royal Copenhagen in Denmark, Royal Doulton in England, or Belleek Pottery in Ireland.[4] Sets of dishes are referred to as a table service, dinner service or service set. Table settings or place settings are the dishes, cutlery and glassware used for formal and informal dining. In Ireland such items are normally referred to as delph, the word being an English language phonetic spelling of the word delft, the town from which so much delftware came. Silver service or butler service are methods for a butler or waiter to serve a meal.
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| − |
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| − | Setting the table refers to arranging the tableware, including individual place settings for each diner at the table as well as decorating the table itself in a manner suitable for the occasion. Tableware and table decoration is typically more elaborate for special occasions. Unusual dining locations demand tableware be adapted.
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| − |
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| − | https://en.wikipedia.org/wiki/Tableware
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| − |
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| − | ==== History ====
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| − | The first documented use of the term "cutler" in Sheffield appeared in a 1297 tax return. A Sheffield knife was listed in the King's possession in the Tower of London fifty years later. Several knives dating from the 14th century are on display at the Cutlers' Hall in Sheffield.[2]
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| − |
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| − | Cutlery has been made in many places. In Britain, the industry became concentrated by the late 16th century in and around Birmingham and Sheffield. However, the Birmingham industry increasingly concentrated on swords, made by "long cutlers", and on other edged tools, whereas the Sheffield industry concentrated on knives.
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| − |
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| − | At Sheffield the trade of cutler became divided, with allied trades such as razormaker, awlbladesmith, shearsmith and forkmaker emerging and becoming distinct trades by the 18th century.
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| − |
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| − | Before the mid 19th century when cheap mild steel became available due to new methods of steelmaking, knives (and other edged tools) were made by welding a strip of steel on to the piece of iron that was to be formed into a knife, or sandwiching a strip of steel between two pieces of iron. This was done because steel was then a much more expensive commodity than iron. Modern blades are sometimes laminated, but for a different reason. Since the hardest steel is brittle, a layer of hard steel may be laid between two layers of a milder, less brittle steel, for a blade that keeps a sharp edge well, and is less likely to break in service.
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| − |
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| − | After fabrication, the knife had to be sharpened, originally on a grindstone, but from the late medieval period in a blade mill or (as they were known in the Sheffield region) a cutlers wheel.
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| − |
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| − |
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| − | === TABLEWEAR AS MEMORY MAKING TOOLS ===
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| − |
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| − | Each thing on the table will record a certain pitch (connected to an emotion). The whole set on the table will record the conversation but to play the memory you will need all the table wear to re-play the conversation.
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| − |
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| − | Under Tableware we see:
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| − | * Plate
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| − | * Knife
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| − | * Fork
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| − | * Spoon
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| − | * Tablemat
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| − | * Drinking Glass / Karaf
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| − | * Food Dish
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| − |
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| − | What you need:
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| − | * Table
| |
| − | * 4 Chairs
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| − |
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| − | Object Use:
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| − | * Plate = Middle
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| − | * Knife = High Pitch (sharp)
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| − | * Fork = Middle//high
| |
| − | * Spoon = Low/Middle
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| − | * Tablemat = Low Pitch (bottom)
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| − | * Drinking Glass / Karaf = Ultra High
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| − | * Food Dish = background noises. Other.
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| − |
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| − | * Table = Speaker
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| − | * 4 Chairs + Complete tableware set = record
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| − |
| |
| − | == INSTANT MOMENT RECORDER ==
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| − | As part of a dining experience we will design a cube that is always listening to your conversations. Once something memorable happens you can push over the cube and then it will play the last 15 secs. If you want to save it you can do so with a single tap.
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| − |
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| − | [http://www.thingiverse.com/thing:34286 Link Lasercut]
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| − |
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| − | Possible parts for the recording cube:
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| − | * [http://www.miniinthebox.com/nl/opgewaardeerd-2-4ghz-nrf24l01-wireless-transceiver-module-voor-arduino-zwart_p683437.html wireless tranceiver for arduino with 2,4ghz reach]
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| − | * [http://www.miniinthebox.com/nl/ds3231-high-precision-real-time-clock-module-blauw-3-3-5-5v_p680551.html DS3231 High Precision Real-Time Clock Module - Blauw (3.3 ~ 5.5V)]
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| − | * [http://www.miniinthebox.com/nl/raak-sensor-modules-voor-arduino_p3156971.html touch knop]
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| − | * [http://www.miniinthebox.com/nl/automotive-sound-filter-fuse-box-5v-stabilizer_p1211996.html sound filter]
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| − |
| |
| − | =Process making the box =
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
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| − | File:box1.jpg|
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| − | File:box2.jpg|
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| − | File:box3.jpg|
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| − | File:box4.jpg|
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| − | File:box5.jpg|
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| − | File:box6.jpg|
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| − | File:box7.jpg|
| |
| − | </gallery>
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| − |
| |
| − | = Project Meme's =
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| − |
| |
| − | '''Witte de With Exposition'''
| |
| − |
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | File:wdwexpo1.jpg|Project by me and Floor - Gathering negative texts about refugees combined with a matt transparent sheet in front that allows only certain words to come through.
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| − | File:wdwexpo2.jpg|The texts coming through the holes in the transparent sheet create a positive text about refugees
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| − | File:wdwexpo3.jpg|Project by Carly, Rens and Juliah - A collection of faces with texts in front of the mouth that represent the negative opinions of refugees expressed by the person on the picture below.
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| − | File:wdwexpo.jpg|Project from Leontine and Cars - focusing on the human rights of people with circles stating to remember the human rights of these individuals.
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| − | File:wdwexpo4.jpg|Second picture of the project from Cars and Leontine
| |
| − | </gallery>
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| − |
| |
| − | =Black Lives Matter=
| |
| − | ==Meaning and Impact==
| |
| − |
| |
| − | The meme 'Black Lives Matter' is founded by Alicia Garza in 2013. This happened after Garza wrote a comment under an article that involved police brutality against black people.
| |
| − | Garza was soon backed up by her future co-founders Patrisse Cullors and Opal Tometi who helped creating the hashtag and gain popularity.
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| − |
| |
| − | The goal of the hashtag and meme 'Black Lives Matter' is to raise awareness of police brutality against black people. It has come to attention that an alarming high amount
| |
| − | of police officers have not been sentenced or received a mild punishment for their brutality during work hours.
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| − |
| |
| − | The movement started in USA when a police man called George Zimmerman shot Trayvon Martin. Martin actually did not have a gun or any other dangerous tool with him.
| |
| − | Because of that fact, Martin did not cause direct great danger and so, the shot fired by Zimmerman, the police was unnesecary.
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| − |
| |
| − | This year the aruban man Mitch Henriquez was put in a 'neck grab' and sat on by 5 police men. Henriques passed away in The Netherlands, The Hague for no clear reason.
| |
| − | The death of Henriquez brought the 'Black Lives Matter' movement to the Netherlands. This resulted in riots and protests on the streets in The Netherlands and mostly the area of
| |
| − | Schilderswijk, The Hague.
| |
| − |
| |
| − | ==Spreading the word==
| |
| − |
| |
| − | When searching in google for 'Black Lives Matter' it instantly becomes clear that most of the people spread the word through the computer. Sometimes the message stays true to
| |
| − | the original message and sometimes it differs to racism and lines such as: 'White Lives Matter' and 'All Lives Matter'.
| |
| − |
| |
| − | The part that caught my interest is the way people bring the message out in different ways then digital. The following images show some examples that proof there are other ways to
| |
| − | get the message out:
| |
| − |
| |
| − | =Research=
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | File:blm1.jpg|Research 1 - Billboard next to the road
| |
| − | File:blm2.jpg|Research 2 - Every age protesting
| |
| − | File:blm3.jpg|Research 3 - Neon lights
| |
| − | File:blm4.jpg|Research 4 - Set in a personal context
| |
| − | File:blm5.jpg|Research 5 - Visual communication
| |
| − | File:blm6.jpg|Research 6 - Written down in portrait
| |
| − | File:blm7.jpg|Research 7 - Text and visual double message
| |
| − | File:blm8.jpg|Research 8 - On the street in a protesting march
| |
| − | </gallery>
| |
| − |
| |
| − |
| |
| − | ==Exhibition Black Lives Matter==
| |
| − |
| |
| − | Floor Steinz and I make the group supporting the 'Black Lives Matter' meme. Together with a few other students we have created the group 'Abuse of power'.
| |
| − | The 3 duo's creating this group have all communicated on the 3rd of september about the theme and approach.
| |
| − | Rens van Pinxteren came with the recent news about refugees. Right now the news is mainly focused on all the refugees that flee overseas and eventually drown, or get send back.
| |
| − | Our group wants to focus on this topic from the point of view from the politics (from the meme Women In Binders), a group covering the violence and lack of respect from authorities (the group with meme;
| |
| − | pepper spray police), my own group will be covering the racism and inequality of value of these lives.
| |
| − |
| |
| − | Floor and I brainstormed about the subject racism and inequality. We came up with the idea to take the symbol of a scale to communicate the distortion in value of lives.
| |
| − | We have made a few sketches to find new ways to make a scale. We decided to make the scale partially 2d so Floor can use her Illustration background. The other part of the scale will be spatial so I can use my background.
| |
| − |
| |
| − | To bring our meme of 'Black Lives Matter' in our piece we decided to print two hearts, one white and one black. Both hearts will be poured in a epoxy weight so they float.
| |
| − | The black heart will be in a small weight representing the value of the heart in the context. The white heart will have a bigger weight and communicate 'more weight, more worth'.
| |
| − | This is obviously not how we think of black and white people, but we hope this will bring consciousness to the viewers of how absurd the situation is.
| |
| − |
| |
| − | The standard of the scale will be a sticker designed by Floor. The stand of the scale is not the most important part of the installation but will support the message so we decided to make that part 2d.
| |
| − | The hearts in weights will be spatially put up in a position were the scale will point the heavier heart lower and the lighter heart higher. This part will come forward so the attention will be on the hearts.
| |
| − |
| |
| − | A few pictures about the overall topic 'refugees':
| |
| − |
| |
| − | ==Refugees, the theme of the group==
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | File:vluchteling 1.jpg|
| |
| − | File:vluchteling 2.jpg|
| |
| − | File:vluchteling 3.jpg|
| |
| − | File:vluchteling 4.jpg|
| |
| − | File:vluchteling 5.jpg|
| |
| − | File:vluchteling 6.jpg|
| |
| − | </gallery>
| |
| − |
| |
| − | =Inspiration=
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | File:blmprinten.jpg|First trial on 3d printer - unfortunatly the 'UP 3d printer' needed a proffesional cleaner for the nozzle. So the first prints failed.
| |
| − | File:blmprinten2.jpg|Me on the left and Floor on the right. We are both keeping an eye on the 3d printer while we discuss the next steps in the process.
| |
| − | File:blmprinten3.jpg|Some sketches as communication tool
| |
| − | File:blmprinten4.jpg|More sketches...
| |
| − | File:blmprinten5.jpg|The result for now - The hearts have been sand down and stripped from the support material. The next step will be painting them with lack.
| |
| − | File:blackandwhite.jpg| One heart is painted black with a matt layer so it fits better with the white heart.
| |
| − | </gallery>
| |
| − |
| |
| − | =Quarter 7 Making Is Connecting=
| |
| − |
| |
| − |
| |
| − | ==About my work==
| |
| − | ===Statement===
| |
| − | My process started with an interest for thin ceramics that give an impression of textile.[[File:Df317d8bd09ff0efcb4c04ecba745499.jpg|400px|right]] When I started to
| |
| − | roll different ceramic sorts into a thin piece I decided I wanted to make my own machine.In the beginning I
| |
| − | bought a spaghetti machine to find out what the best material would be to put in between two rollers.
| |
| − | After finding the right substance I wanted to create my own rolls that shape the material. In the end
| |
| − | I want to try to create a collection of dishes using the thin pieces of ceramics. The dishes will have the
| |
| − | appearence of paper or a product you would normally throw out, but won’t have the functionality of normal dishes that can be washed for instance; furthermore my dishes won’t be able to hold liquids. The process that mostly inspires me is the pressing of the materials and the idea of giving a new look and meaning to a material. The pressing machine has a nice combination of manual labour and machinery. By changing the rolls in the machine, the machine can make an endless amount of different objects, not requiring the craftsman to master all the techniques, by simply rolling the rolls past each other. Any pattern or extrusion in the roll can make the material change shape.
| |
| − |
| |
| − | The content of my work is based on a combination of a few techniques, first of all I want to create a
| |
| − | part of a tool that can be replaced with different parts. I’ve learned more about materials and the
| |
| − | experimenting with them: I did this in my process of finding the right substance for my spaghetti
| |
| − | machine. Additionally, I found a project that doesn’t really fit in the story of Ruskin or the idea of
| |
| − | industrialism. My tool is literally a combination of mastering the right combination of material and the
| |
| − | right combination of rolls,which needs experience.However,it’s also a machine and the actual movement
| |
| − | that gives the material shape is a repetive and not difficult as it is basically circling a wheel forward to
| |
| − | make the rolls move the material in between. Thus, the question I would ask is whether my machine really is a machine that
| |
| − | makes the user feel detached from the object repeating a constant, braindead movement or is the crafter
| |
| − | enough involved in the ‘preparation’ of the actual process that it makes him feel more attached and
| |
| − | fulfilled when he makes the object.
| |
| − |
| |
| − | The machine I’ve been building will be only for me: I made the machine in a way that it fits my needs for this process and therefore it is not for commercial use. The machine works with Velcro and it exclusively for use with textile,which alienates the machine from a normal spaghetti- or clay roller.
| |
| − |
| |
| − | There is a broad historical context to the basics of my tool. Already since the 1st century BC several forms of pasta have been found. My source described the beginnings of pasta as being made of a fine sheet of dough, which reminds me of the thin ceramics I was talking about earlier. The first actual pasta as we know it today has been dated in the 13th and 14th century.
| |
| − |
| |
| − | Source:http://en.wikipedia.org/wiki/Pasta
| |
| − |
| |
| − |
| |
| − | During my progress I realised that I wanted to work on a craft that is my creation. My process started with a commercial object and a historic result but ended up to be a tool that provides to my exact needs. This object definitely makes me want to explore new visual language. If I had more time, I would try to find a wider variety of different roller pieces and I would like to do more tests with clay and baking that in the oven.
| |
| − |
| |
| − | In the end it boils down to these categories:
| |
| − |
| |
| − |
| |
| − |
| |
| − | *Making a tool
| |
| − |
| |
| − | *Experimenting with materials
| |
| − |
| |
| − | *A position in a larger debate
| |
| − |
| |
| − | ==Why I Make==
| |
| − | I make to find a new purpose and understanding of a historical machine.
| |
| − | I want to push the boundaries between crafts and industrialism, ‘When is a machine bad for the well-being of an employee and what is crafts exactly?’
| |
| − | I want people to doubt what they think they know. I want people to reconsider what they have.
| |
| − | In my process I’ve developed from knowing only standard crafts knowledge to a personal, unique way of making and my own drive within my process to grow. I know more about the history of making and the standpoints people can take in that part. I cannot find myself to be completely a crafter or completely involved In industrialism, this is probably because I don’t know the exact difference.
| |
| − | I want to make to understand myself, to know when I made changes and decisions, to understand why I do something wrong or right, to see when I feel successful and when not, to feel the urge of making the next step to see the result. To look back and see what I have done.
| |
| − |
| |
| − | =Summary Making Is Connecting=
| |
| − | ==Chapter 1==
| |
| − |
| |
| − | Making = feeling and thinking
| |
| − | Feeling and thinking = part of making
| |
| − |
| |
| − | Crafting can be fullfilling, nessecary, and can make a person aware of its process. This makes it possible to put ideas and knowledge in the process while the crafter also learns something in the meantime.
| |
| − | So, because of the crafting you become a part of your work and so, it can grow and develop as long as you are a part of it’s creation.
| |
| − | Ruskin was a social thinker and his ideas of a better society were that the industralism would have to go and we should have more respect for the people and the environment.
| |
| − |
| |
| − | For Ruskin, financial wealth which does not contribute to
| |
| − | the stock of human happiness is no wealth at all.
| |
| − | John Ruskin - A human being can be forced to work
| |
| − | as a ‘tool’, following the precise instructions of their masters,
| |
| − | making things correctly, but they are dehumanized and their
| |
| − | spirit is gagged. Or they can be allowed to ‘begin to imagine,
| |
| − | to think, to try to do anything worth doing’ – and this might
| |
| − | lead to roughness, failure, and shame, but also unleashes ‘the
| |
| − | whole majesty’ of the individual.
| |
| − |
| |
| − | We are always in these days endeavouring to separate the
| |
| − | two; we want one man to be always thinking, and another
| |
| − | to be always working, and we call one a gentleman, and the
| |
| − | other an operative; whereas the workman ought often to
| |
| − | be thinking, and the thinker often to be working, and both
| |
| − | should be gentlemen, in the best sense.29
| |
| − |
| |
| − | Conclusie Ruskin
| |
| − | his great contribution was to establish individual
| |
| − | autonomous creativity as a core value which society must
| |
| − | nurture, not crush, if it is to retain any moral authority, or
| |
| − | quality of life.
| |
| − | THE MEANING OF MAKING II:
| |
| − | CRAFT TODAY
| |
| − |
| |
| − |
| |
| − | Les Theorie practice
| |
| − | Ideas Ruskin
| |
| − | Crafting can be important for being happy and feeling like a part of a creation. With the industrialism people cant be involved in the process enough to gain expertise and fullfilment wich ends up in people feeling like a part of a machine, lifeless and unpersonal.
| |
| − | Ideas Morris
| |
| − | Morris believed in the power of individually crafted work and the importance of individual self-expression. Thus he was an opponent of rational systems, which tend to destroy this individual freedom and creativity. Morris fancied the Middle Ages and describes them as a time in which there was a real community with values, arts of its own and no systematic degradation of the human spirit. Morris thought of hands-on engagement with craft, as the true way of understanding craft.
| |
| − | Even though Morris had a vision of a socialist society, he was the owner of a business creating handcrafted luxury objects, sold to the elite. This might be explained by his “all-or-nothing” attitude: He would rather create the ideal book than creating a lower quality book, due to limited resources.
| |
| − |
| |
| − | Whilst ‘fine art’ is more
| |
| − | dependent on hierarchies and elites, upon which it relies
| |
| − | to validate the work, craft is more about creativity and the
| |
| − | process of making at a vibrant, grassroots level: proud of its
| |
| − | grounded, everyday nature, and not insecurely waiting for
| |
| − | an artworld critic, collector, or curator to one day say that it
| |
| − | was all worthwhile.
| |
| − | Punk ideologies are a group of varied social and political beliefs associated with the punk subculture. In its original incarnation, the punk subculture was primarily concerned with concepts such as anti-establishment, equality, freedom, anti-authoritarianism,individualism, direct action, free thought and non-conformity.
| |
| − | What are the similarities and differences between Ruskin and Karl Marx? Karl Marx was a German philosopher, economist, sociologist. Marx's work in economics laid the basis for much of the current understanding of labor and its relation to capital, and subsequent economic thought. He is one of the founders of sociology and social science. Marx believed, were run on behalf of the ruling class and in their interest while representing it as the common interest of all.
| |
| − |
| |
| − | Arts & Crafts movement: The Arts and Crafts philosophy derived partly from Ruskin's social criticism, which related the moral and social health of a nation to the qualities of its architecture and to the nature of work. The aesthetic and social vision of the Arts and Crafts Movement also derived from ideas developed in the 1850s by the Pre-Raphaelite Brotherhood. The Brotherhood was formed by William M. Morris and Edward Burne-Jones. The Arts and Crafts style emerged from the attempt to reform design and decoration and the reaction against contemporary styles that the reformers associated with machine-production. The movement started as a rebellion against the period of the industrial revolution and the cheap and plain massproduction of the victorian period.
| |
| − |
| |
| − |
| |
| − | Whilst ‘fine art’ is more
| |
| − | dependent on hierarchies and elites, upon which it relies
| |
| − | to validate the work, craft is more about creativity and the
| |
| − | process of making
| |
| − |
| |
| − | ==Chapter 2==
| |
| − |
| |
| − | DIY can be spread in 3 different kinds: The decorative, the vernacular and the politics of work.
| |
| − | Decorative: craft that doesnt meet up to the standards of ‘fine art’
| |
| − | The vernacular: craft that speaks the language of the craftsman, were it comes from, wat it knows and wat it can use.
| |
| − | The politics of work: craft with a message
| |
| − | Central to the diy culture was that all was of equal status, to connect with nature, people and themselves
| |
| − |
| |
| − | Ivan Illich believes that children should learn from experience and not from a forced schooling system that only learns abstract ways and not everyday important things like building, growing food etc.
| |
| − | Stewart Brand: wanted people to see a picture of the whole earth so that people would be more concious of their place in a unlimited source of the earth
| |
| − |
| |
| − | PUNK DIY
| |
| − | A similar but different version of the DIY ethos is the ‘lofi
| |
| − | ’ music and zine culture, infl uenced in part by the punk
| |
| − | scene. This DIY culture is characterized by a rejection of the
| |
| − | glossy, highly produced, celebrity-oriented mainstream of
| |
| − | popular culture.
| |
| − |
| |
| − | Amy Spencer
| |
| − | Believes in a different magazine called zine to be a gift, its a about feminism, something she was very involved with.
| |
| − |
| |
| − | DIY culture and web 2.0
| |
| − | The internet has been a great source for the DIY culture. It helped the group of people with the same believes to find a platform to learn, create and share together.
| |
| − | The main reason why people in this time decide to do DIY is because of the sustainability, this is the first century were we recognise the damage we created to the earth and also the urge to stop it.
| |
| − | The biggest cause of damage to the earth has to do with the constant urge of humankind to ‘gather more and more stuff and most of all new stuff because this brings a bigger satisfaction. This is a primal instinct that was usefull when we still lived in small huts with little recources, nowadays the urge is unnecary and caused a lot of serious problems to the earth and our future.
| |
| − | Also within the sustainabiltiy theme, the internet has made much improvement to a ‘cleaner’ way of sharing. A while ago the writer of the book had serious trouble finding a publisher for his book, wich eventually caused him to send 800 copies of his book around the world in hope for recognition. He said that the internet would have made his goal of reaching a wide audience and finding the right people much easier.
| |
| − |
| |
| − |
| |
| − |
| |
| − | =Inspiration=
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | File:Ceramic1.jpg|Insp1 - glazing, cups, individual pieces
| |
| − | File:Ceramic2.jpg|Insp2 - layers, tones, delicate
| |
| − | File:Inspiratie1.jpg|Insp3 - colouring, matt, foulding, attached pieces
| |
| − | File:Inspiratie2.jpg|Insp4 - natural, layers, volume
| |
| − | File:Inspiratie3.jpg|Insp5 - flow, organic, material
| |
| − | File:Inspiratie4.jpg|Insp6 - flowers, natural, think/thick differences
| |
| − | File:Inspiratie5.jpg|Insp7 - cups, folds, natural, one piece
| |
| − | </gallery>
| |
| − |
| |
| − | =Spaghetti=
| |
| − |
| |
| − |
| |
| − | <gallery mode="packed-hover" widths="300px" heights="300px">
| |
| − | File:Spag1.JPG|Spaghetti machine 1 - tests with self drying clay
| |
| − | File:Spag2.JPG|Spaghetti machine 2 - tests with machine, clay and tissue paper
| |
| − | File:Spag3.jpg|Spaghetti machine 3 - the result of the clay and tissue paper. A special texture that reminded me of animal skin
| |
| − | File:Spag5.JPG|Spaghetti machine 4 - using flower to keep clay from getting stuck in machine
| |
| − | File:Spag6.JPG|Spaghetti machine 5- river clay run through the spaghetti machine with different materials: baking paper, aluminum foil, old sheet and paper.
| |
| − | File:Spag7.jpg|Spaghetti machine 6 - first succesfull long, thin piece
| |
| − | File:Spag8.JPG|Spaghetti machine 7 - paper made print in clay
| |
| − | File:Spag12.jpg|
| |
| − | File:Spag9.JPG|Spaghetti machine 8 - amount of clay used for one piece in machine
| |
| − | File:Spag10.JPG|Spaghetti machine 9 - from cube to long piece for better use in the machine
| |
| − | File:Spag13.JPG|Spaghetti machine 10 - mozzarella
| |
| − | File:Spag11.JPG|Spaghetti machine 11 - mozzarella and paper (no succes, will not let go of each other)
| |
| − | File:Spag14.jpg|Spaghetti machine 12 - result of mozzarella and paper
| |
| − | File:Spag15.jpg|Spaghetti machine 13 - bread through spaghetti machine
| |
| − | File:Spag16.JPG|Spaghetti machine 14 - to keep from getting stuck in machine, wrapped between two pieces of tissue paper
| |
| − | File:Spag18.JPG|Spaghetti machine 15 - nice result, firm, dry piece of bread
| |
| − | File:Spag19.JPG|Spaghetti machine 16 - result was good, but was hard to get off tissue paper
| |
| − | File:Spag20.jpg|Spaghetti machine 17 - disassembled spaghetti machine for more information about building my own tool
| |
| − | File:Spag21.jpg|Spaghetti machine 18 - close up of technique inside spaghetti machine
| |
| − | File:Spag22.jpg|Spaghetti machine 19 - view from above
| |
| − | </gallery>
| |
| − |
| |
| − | =Oven=
| |
| − | <gallery mode="nolines" widths="300px" heights="300px">
| |
| − | File:Oven1.JPG|Backing powder and clay experiment
| |
| − | File:Oven2.JPG|Yeast grains and clay experiment
| |
| − | File:Oven3.jpg|Selfrising flower and clay experiment
| |
| − | File:Oven5.JPG|Flower and clay experiment
| |
| − | File:Oven6.JPG|Mixing the ingredients with the clay
| |
| − | File:Oven7.JPG|The amount of added ingredients to the clay per test
| |
| − | File:Oven8.JPG|The clay tests with flower
| |
| − | File:Oven9.jpg|The clay tests with selfrising flower
| |
| − | File:Oven10.JPG|The clay tests with yeast grains
| |
| − | File:Oven11.jpg|The clay tests with baking powder
| |
| − | File:Oven12.JPG|Clay and selfrising flower first time oven 950 degrees (left least flower, right most flower)
| |
| − | File:Oven13.JPG|Clay and yeast first time oven 950 degrees (left least yeast, right most yeast)
| |
| − | File:Oven17.JPG|Clay and flower first time oven 950 degrees (left least flower, right most flower)
| |
| − | File:Oven15.JPG|Textile texture in clay
| |
| − | File:Oven16.jpg|The experiments in the oven
| |
| − | File:Dough1.JPG|Clay with baking powder
| |
| − | </gallery>
| |
| − |
| |
| − | =Folding=
| |
| − |
| |
| − | <gallery widths="300px" heights="300px">
| |
| − |
| |
| − | File:Folding.JPG| folding clay around boxes
| |
| − | File:Folding1.JPG|Cup folded out of glass cup
| |
| − | File:Folding2.JPG|Plastic keeps mold and clay seperated
| |
| − | File:Folding3.JPG|Result of clay around box
| |
| − | File:Folding4.JPG|Result of clay around box with clear edges
| |
| − | File:Dough2.JPG|Folding with pattern
| |
| − | File:Dough4|Folding around box
| |
| − | </gallery>
| |
| − |
| |
| − | =Pasta dough=
| |
| − | <gallery widths="300px" heights="300px">
| |
| − | File:Pasta dough1.JPG|cup made out of pasta dough
| |
| − | File:Pasta dough2.JPG|after the oven
| |
| − | File:Pasta dough3.JPG|pasta dough and sugar
| |
| − | File:Pasta dough4.JPG|pasta dough and pattern
| |
| − | File:Pasta dough5.JPG|set of cup and tray made out of pasta dough
| |
| − | File:Dough3.JPG|Pasta dough with a pattern
| |
| − | </gallery>
| |
| − |
| |
| − | =Machine=
| |
| − | <gallery center widths="300px" heights="300px">
| |
| − | File:Machine1.JPG|Self made machine for rolling textile over clay
| |
| − | </gallery>
| |
