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| | [[ Joeke_Practice_14_15 | Unravel the Code 2014/2015 ]] | | [[ Joeke_Practice_14_15 | Unravel the Code 2014/2015 ]] |
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| − | == MINOR 2015/2016 ==
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| − | [[ Joeke_Project_Week_15_16 | Stealing From the Museum ]]
| + | == MINOR 2015/2016: MUSEUM OF FANTASTIC FORGERIES == |
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| − | [[ Joeke_Fantastic_Forgeries_15_16 | Fantastic Forgeries ]]
| + | '''Projectweek Stealing From the Museum:''' |
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| − | [[ Joeke_Tools_Tech_15_16 | Tools & Tech Workshops ]] | + | [[ Joeke_Project_Week_15_16 | Stealing From the Museum ]] |
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| − | == FANTASTIC FORGERIES: RESEARCH ==
| + | '''Museum of Fantastic Forgeries:''' |
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| − | '''Choosing an artefact:'''
| + | [[ Joeke_Fantastic_Forgeries_15_16 | Fantastic Forgeries Process]] |
| − | <br><br>
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| − | Which artefact challenges me, but also other visitors of the museum, the most to ignore the 'please don't touch' sign and secretly touch the artefact to experience the texture of it?
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| − | <br><br>
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| − | Materials and textures are important elements of my work and craft process. I believe that you have to 'see with your hands' to fully experience an artefact.<br>
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| − | To get an answer to the question above I sampled the bacteria from different artefacts of the Boijmans van Beuningen Museum, by using [http://www.instructables.com/id/Growing-Bacteria-From-Gross-Stuff this] tutorial.<br>
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| − | With this data I hoped to examine which artefact was touched the most by visitors.
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| − | [[File:Small touch01.jpg|264px]] [[File:Small touch02.jpg|264px]] [[File:Small touch04.jpg|264px]] | + | [[ Joeke_Fantastic_Forgeries_Result | Fantastic Forgeries Presentation Page]] |
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| − | [[File:Small touch033.jpg|800px]]
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| | + | '''Written Assignment 1000 words:''' |
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| − | Instructable I used to understand how to sample and grow bacteria:
| + | [[ Joeke_Written_Assignment | Written Assignment Process]] |
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| − | [[File:Instructable.jpg|800px]] | + | [[ Joeke_Written_Assignment_Result | Written Assignment Result]] |
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| − | Sampling bacteria from the following artefacts and objects:<br>
| + | == MINOR 2015/2016: TOOLS OF THE TRADE == |
| − | Salvador Dalí - A Couple with Their Head Full of Clouds, 1936<br>
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| − | Toilet - to compare the results of the artefacts with<br>
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| − | Sarkis - Respiro, 2015<br>
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| − | Satoru Hoshino - A Birth of Bubbles II, 2012 (busted by security!)<br>
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| − | [[File:Small sample dali.jpg|398px]] [[File:Small sample toilet.jpg|398px]]
| + | '''Tools of the Trade:''' |
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| − | [[File:Small sample sarkis.jpg|398px]] [[File:Small sample bubbles.jpg|398px]] | + | [[/Joeke_Tools_Trade_15_16 | Tools of the Trade Process]] |
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| − | [[File:Small qpicks.jpg|800px]] | + | [[/Joeke_Tools_Trade_Result | Tools of the Trade Presentation Page]] |
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| − | Update bacteria September 21:
| + | '''Research Document:''' |
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| − | [[File:Small 21 sep.jpg|800px]] | + | [[/Joeke_Written_Assignment_Tools_Trade | Research Document Process]] |
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| | + | [[/Joeke_Written_Assignment_Tools_Trade_Result | Research Document Result]] |
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| − | '''Final choice:'''<br><br>
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| − | While rubbing my q-tip on the surface of the ceramic artefact 'Birth of Bubbles II' I got busted by a security worker of the museum.<br>
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| − | This made me realize how strange it is that you are not allowed to touch it. <br>
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| − | The artefact 'Birth of Bubbles II' is, according to the description of the sign, a representation of the artists' contact with the soil.<br>
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| − | But as a spectator you can only look at the artefact and think about the artist's experience of the soil, not experience it yourself.<br>
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| − | By reproducing this artefact I want to experience the material myself by using the same technique with other materials.
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| | + | '''Prototype PIR sensor:''' |
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| − | '''Research artefact:'''
| + | [[/Joeke_Prototype_Sensor_15_16 | Prototype Sensor ]] |
| − | <br><br>
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| − | Satoru Hoshino - A Birth of Bubbles II, 2012
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| − | <br><br>
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| − | The Studio of this Japanese ceramic artist was destroyed by an earthquake in 1986. <br>
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| − | Since then he sees the material as a symbol of the power of nature.
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| | + | == MINOR 2015/2016: TOOLS & TECH == |
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| − | [[File:Satoru02.jpg|200px]] [[File:Satoru03.jpg|200px]] [[File:Satoru01.jpg|200px]] [[File:Satoru04.jpg|200px]] | + | [[ Joeke_Tools_Tech_15_16 | Tools & Tech Workshops ]] |
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| − | “I engage in a dialogue with the clay as it sits in from of me, as a soft, flexible lump of matter.
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| − | This dialogue is carried out through a form of body language: the primitive action of pressing
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| − | parts of my body against the body of the clay. This is not a relationship in which I am active and
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| − | the clay is passive, even if I am the first to speak.
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| − | The dialogue can only take place if I empathise with the material, adjusting myself to the time
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| − | contained in the clay and the rhythms of nature."
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| − | - Satoru Hoshino
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| − | | |
| − | “It is essential to understand that he does not treat clay simply as a material.
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| − | His encounter with clay as a physical substance is more primal and fundamental."
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| − | - Arata Tani
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| − | == REPLICA CONCEPT ==
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| − | Making the contrast between the materiality of the artefact and the immaterially of the 'please, don't touch' signs in the museum visible.<br>
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| − | Developing a tool to edit, process and manipulate the material without touching it, focused on the hands.
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| − | | |
| − | == REPLICA RESEARCH ==
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| − | Research to the forms and shapes of hands,<br>
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| − | because hands are important elements of the artefact 'Birth of Bubbles II' (self-made images):
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| − | | |
| − | [[File:Vlees01.jpg|800px]]
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| − | | |
| − | [[File:Vlees02.jpg|398px]] [[File:Vlees03.jpg|398px]]
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| − | Research to marks from materials on hands (self-made images):
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| − | [[File:Hands01.jpg|398px]] [[File:Hands02.jpg|398px]]
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| − | [[File:Hands03.jpg|398px]] [[File:Hands04.jpg|398px]]
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| − | | |
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| − | == REPLICA EXPERIMENTS ==
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| − | '''Prototype #1:'''<br><br>
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| − | A protoype made from 3D printed 'fingertips' based on the fingerprints you can see in the artefact, <br>
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| − | placed before your real fingertips so you don't have to touch the material with your hands while editing the material.<br>
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| − | How to improve: making the prototype stronger so you can really use it, making a more detailed replica of fingertips so it actually looks like fingertips.
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| − | | |
| − | [[File:Detail bubbles01.jpg|398px]] [[File:Detail bubbles02.jpg|398px]]
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| − | | |
| − | [[File: Prototype01.jpg|800px]]
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| − | | |
| − | | |
| − | '''Prototype #2:'''<br><br>
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| − | A 'hand-tool' inspired by the combination of clay working tools and hands.<br>
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| − | First I used the craft 'woodturning' on a lathe to make a handgrip, then I printed five fingers.
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| − | <br><br>
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| − | Inspiration and woodturning on the lathe:
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| − | [[File:Inspiration.jpg|398px]] [[File:Process lathe.jpg|398px]]
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| − | 'Hand-tool':
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| − | [[File: protoype hand01.jpg|800px]]
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| − | | |
| − | [[File:protoype hand02.jpg|398px]] [[File:protoype hand03.jpg|398px]]
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| − | | |
| − | == Written assignment: (Re)open Design==
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| − | | |
| − | '''Orientation'''
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| − | <br><br>
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| − | 1. What is your craft?<br>
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| − | Open Design.
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| − | <br><br>
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| − | 2. What are the tools and media of your craft?<br>
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| − | Sharing communities: Instructables, Thingiverse, Wikipedia, Lynda.<br>
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| − | Open workstations: Fablab (examples: Stadslab Rotterdam, WAAG Amsterdam), hackerspaces, TechShops.<br>
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| − | Open source: Ultimaker, Arduino, Processing, UP.
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| − | <br><br>
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| − | 3. What are the borders of this practice?<br>
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| − | Other disciplines then digital fabrication: OS car.
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| − | <br><br>
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| − | 4. Connect to a historical discourse and give concrete examples of contemporary practitioners.<br>
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| − | Historical discourse: copy rights, copy left, GPL by Richard Stallman, Creative Commons.<br>
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| − | Contemporary practitioners: Eric J. Wilhelm (founder Instructables), Sam Haynor (Artist in Residence at Instructables), <br>
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| − | Randy Sarafan (Design Studio Manager of Instructables), Studio Droog (downloadable design), David Sjunnesson (box creator)
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| − | <br><br>
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| − | 5. Define your position of your practice in relation to newer technologies.<br>
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| − | Involving open design into my work process, by documenting and sharing my experiments and making use of newer technologies <br>
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| − | and open workstations and sharing communities.
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| − | <br><br>
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| − | 'Openness is more than a commercial and cultural issue, it's a matter of survival.'
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| − | - John Thackara
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| − | | |
| − | 'A tutorial is an involved interactive design task.'
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| − | - Mushon Zer-Aviv
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| − | | |
| − | 'Finally, the ordinary person is in the unique position of being able to make almost anything,
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| − | with off-the-shelf modules, parts community and shared code.'
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| − | - Bre Pettis
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| − | Sources:
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| − | <br>
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| − | [https://nl.m.wikipedia.org/wiki/Fab_lab Fab Lab]
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| − | <br>
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| − | [http://wiki.fablab.is/wiki/ConditionsForFabLabLabel Fab Lab Charter]
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| − | <br>
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| − | [https://en.wikipedia.org/wiki/Hackerspace Hackerspace]
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| − | <br>
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| − | [https://en.wikipedia.org/wiki/TechShop TechShop]
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| − | <br>
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| − | [http://opendesignnow.org/ Open Design Now]
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| − | <br>
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| − | [http://www.instructables.com/ Instructables]
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| − | <br>
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| − | [https://en.wikipedia.org/wiki/OScar OS Car]
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| − | <br><br>
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| − | '''Research'''
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| − | <br><br>
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| − | Book: Re-inventing the Art School<br>
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| − | 21st century
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| − | <br><br>
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| − | Essay #4 The Need for Open Design<br>
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| − | Peter Toxler
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| − | <br><br>
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| − | Open Design is:
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| − | <br>
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| − | - A participative method which invites users to modify a design <br>
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| − | - A dynamic, iterative and social design process <br>
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| − | - From a self-reflective to a collective-reflective practice
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| − | <br><br>
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| − | Chapter 1: Industrial Heritage <br>
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| − | - Jamer R. Beniger: 'Control Revolution' (a development of information processing and communication technologies <br>
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| − | for controlling the energy and flows of materials within the industry.<br>
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| − | - Created new qualities of experiences<br>
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| − | - Contingent possibilities as to how the conflicting demands of social, political and economic interests <br>
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| − | engage with technology to produce a 'choice'.
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