Difference between revisions of "User:Mmvink"
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| + | TOOLS OF THE TRADE | ||
| + | RESEARCH DOCUMENT 1 | ||
| + | [[File:Written Assignment.pdf]] | ||
| − | [[File: | + | RESEARCH DOCUMENT 2 |
| + | [[File:Research document 2.pdf]] | ||
| + | RESIT DIGITAL CRAFT MOVIE #1 | ||
| − | [[/ | + | [http://youtu.be/pQpuAwza2U4 CULTURAL CONTEXT FILM LINK CLICK HERE] |
| − | [[/ | + | |
| − | [[/ | + | movie tekst: |
| − | [[/ | + | |
| − | [[/ | + | Beads are as old as the world. Besides the decoration function beads have a very rich history, symbolic and practical. Of course beads are always part of a bigger picture, the chain. |
| + | The first beads are the form of the sun and the moon, and nowadays it’s still the archetype for the bead. | ||
| + | |||
| + | At all early object there is a reason to decorate. A higher purpose for every form, colour, and pattern. That is also true for the human decorations. They where status symbols with hidden messages as the religion, the marital status and the ancestry. But also the status of grief, was communicated through chains, and body decoration. There are still a lot of tribes, that keep their history of chains, and beads alive. A hundred thousand years ago, beads where buried with the body as a burial gift, to provide luck in the hereafter, and between the 16th and 20th century, beads were a medium of exchange. All sorts of meanings, are awarded to the same bead. An object so universal that it can be anything. The human projection ís the value. It has so many different appearances, and still, the shape is always the same. | ||
| + | |||
| + | |||
| + | FILM 1 | ||
| + | technical walkthrough | ||
| + | hoe de machine optimaal zou werken / eruit zou zien / zou kunnen / | ||
| + | bv. teken de rest van de machine | ||
| + | |||
| + | FILM 2 | ||
| + | cultural context | ||
| + | wat de kraal kan zijn en de geschiedenis . believe . religion . symbolic meaning . purpose . | ||
| + | van mythe naar mathematics | ||
| + | clootcransbewijs en het eeuwig draaien van de aarde geprojecteerd op een kraal als ideaal | ||
| + | |||
| + | FILM 3 | ||
| + | handmade and machinemade | ||
| + | imperfectie is sexy | ||
| + | het verlangen van de mens naar authentiek . ellen rutte . walter benjamin . aura van het object etc . | ||
| + | |||
| + | ............................................................................................................................................................................................................................................... | ||
| + | ............................................................................................................................................................................................................................................... | ||
| + | ............................................................................................................................................................................................................................................... | ||
| + | |||
| + | Een machine die handwerk imiteert | ||
| + | |||
| + | Creatieve imperfectie volgens Ellen Rutte | ||
| + | In tijden van technologische vooruitgang heeft de mens meer behoefte aan authenticiteit | ||
| + | |||
| + | *. in de loop van onze geschiedenis versterken technologische vernieuwingen ons existentiele verlangen naar het niet-volkomene | ||
| + | *. in periodes van drastische technologische vooruitgangzetten creatieve professionals imperfectie in om het publiek te overtuigen van hun oprechtheid | ||
| + | |||
| + | [[File:Imperfectie is sexy klein.pdf]] | ||
| + | |||
| + | machinaal handwerk produceren / imiteren | ||
| + | |||
| + | best of both worlds : de ambacht en oprechtheid van het object . de aura . en de productiviteit en efficiëntie van een machine | ||
| + | |||
| + | handwerk is een term die al snel gebruikt wordt omdat het geassocieerd wordt met kwaliteit . aandacht . ambacht . | ||
| + | wanneer is iets handwerk en wanneer mag iets handwerk heten? Wanneer ziet iets eruit als handwerk? | ||
| + | |||
| + | KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN .KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . | ||
| + | |||
| + | |||
| + | [http://nl.wikipedia.org/wiki/Kraal_(versiering) Kraal] | ||
| + | |||
| + | 100.000 jaar oud . brons . glas . rijkdom . statussymbool . ruilmiddel . boekhouding . versiering . | ||
| + | |||
| + | Waarom maak je kralen? | ||
| + | Waarom mogen de kralen niet hetzelfde zijn? | ||
| + | Wat doet de imperfectie? | ||
| + | Wat mag de imperfectie wel of niet zijn? | ||
| + | Wat is een kraal? | ||
| + | Waarom wil ik nog meer kralen maken? | ||
| + | |||
| + | Beads are as old as the world. Besides the decoration function beads have a very rich history, symbolic and practical. Of course brads are always part of a bigger picture, the chain. | ||
| + | The first beads are the form of the sun and the moon, and nowadays it’s still the archetype for the bead. | ||
| + | |||
| + | The circle is the symbol of infinity, perfection and therefore of God. It is the natural symbol of the sun and moon. For the primitive human the sun and moon where equivalent. Visually, they are also the same size. The first houses were circular tents. The first dance was a circle dance, they brought people into a trance and gave a sense of wholeness. The presentation of the philosopher's stone, the snake in the form of a circle biting its own tail was with the Gnostics the symbol of wisdom and immortality. God is described as a circle where the circumference nowhere and center everywhere. The egg is the ancient symbol of creation and expression of creativity. It is round in cross section but it has also an oval profile, it’s the magic "vesica piscis". In the Zen Buddhism the circle means the lights, the perfection of the human united with the primary principle. God is often described as ‘an infinite sphere whose center is everywhere and nowhere edge’. The painting ‘Gods eye’ looks like a bead. The bead is an archetype, and you find it everywhere. In nature, as berries and stones, the sun and the moon and even in the most characteristic part of a person, his DNA, looks like beads. | ||
| + | |||
| + | 100.000 Years ago beads where buried with the body as a burial gift to provide luck in the hereafter. But the beads also where status symbols with hidden massages as the religion, the marital status and the ancestry. But also the status of grief was communicated through chains. It was a medium of exchange between the 16th and 20th century and the beads throwing at the mardi gras festival in new Orleans is still a competition because, the more the better. Young women are flashing their boobs in exchange for extra beads. | ||
| + | |||
| + | En waar kralen zijn, daar is cultuur, en niet zo’n beetje ook, schrijven Christopher Henshilwood en collega’s in het vakblad Science. | ||
| + | “In menselijke leefgemeenschappen hebben kralen tal van verschillende functies, allemaal duidelijk symbolisch. | ||
| + | Men kan ervan uitgaan dat een volledig ontwikkelde taal noodzaak is om de symbolische betekenis van kralen te delen en over te dragen.” | ||
| + | |||
| + | [http://www.npowetenschap.nl/nieuws/artikelen/2004/april/Louvre-voor-holbewoners.html NPOwetenschap.nl Louvre voor holbewoners] | ||
| + | |||
| + | [[File:Kralen volgens internet.png|1000px|]] | ||
| + | |||
| + | [[File:500-300BC.jpg|500px|bronzen kralen]] | ||
| + | [[File:Kralenfoto.jpeg|500px|beads]] | ||
| + | [[File:Baking beans.png|1000px|ceramic baking beans]] | ||
| + | |||
| + | [[File:Worrybeads.jpg|200px|]] | ||
| + | [[File:Buddist prayerbeads.jpg|200px|]] | ||
| + | [[File:Islam prayerbeads.jpg|200px|]] | ||
| + | [[File:Cristian prauerbeads.JPG|200px|]] | ||
| + | [[File:Catholic prayer beads.jpg|200px|]] | ||
| + | |||
| + | [[File:Aureool.jpg|300px|aureool]] | ||
| + | [[File:God's eye.jpg|500px|god’s eye]] | ||
| + | |||
| + | [[File:Piece of dna.jpg|500px|dna looks like beads]] | ||
| + | [[File:Dna1.jpg|500px|dna looks like beads]] | ||
| + | [[File:Dna 2.jpg|500px|dna looks like beads]] | ||
| + | [[File:Dna3.jpg|500px|dna looks like beads]] | ||
| + | |||
| + | [[File:Il 340x270.618601789 o9zv.jpg|500px| White rubber beads]] | ||
| + | [[File:Clay marbles large.jpg|500px| Klei stenen]] | ||
| + | |||
| + | [[File:Handmade-Etched-Light-Ivory-Lampwork-Spacer-Beads LRG.jpg|500px| Ivory beads]] | ||
| + | [[File:Bonebeads.jpg|500px| bone beads]] | ||
| + | |||
| + | [[File:1 188112 shell beads large.jpg|500px| Parelmoer]] | ||
| + | [[File:DAFRICANSHELL.jpg|350px| African shell beads]] | ||
| + | |||
| + | [[File:1921 75 93.jpg|800px| Shell beads]] | ||
| + | |||
| + | [[File:Hex berries.jpg|500px|berries nature]] | ||
| + | [[File:Olives.jpg|500px|olives]] | ||
| + | |||
| + | [[File:Telraam.jpg|500px|learning beads]] | ||
| + | |||
| + | [[File:Pearls-are-always-grey-corian-jewellery-by-Marina-Stanimirovic dezeen 468 19.jpg|500px|]] | ||
| + | |||
| + | [[File:African beads.jpg|500px|]] | ||
| + | [[File:Belly beads.jpg|500px|]] | ||
| + | [[File:Waist beads.jpg|500px|]] | ||
| + | |||
| + | Beads were also used for numerous celebratory purposes. Women and men alike adorned their necks, upper arms, wrists, and heads with colorful beaded adornments. Waist beads, however, which date back as early as the 15th century, were a special form of adornment only for women. Its meaning varied from region to region across several African countries. Many women who adopted the practice of wearing weaist beads did so to signify important milestones in life, such as maturity, being ready for marriage, and pregnancy. Baby girls would be given waist beads to indicate their growth and keep track of how much weight they gained. In some areas, multiple waist beads were worn to shape a girl’s body from a young age. | ||
| + | Belly beads weren’t only worn to symbolize a woman’s progress in life, but to honor her femininity and sexuality. In many ancient African cultures, such as in Ghana, they were used as what’s present-day called lingerie; meant only for their husband to see. Senegalese women, in particular, heightened their allure with the gently clicking of sweetly perfumed tiny bead strands worn underneath their clothing. | ||
| + | |||
| + | |||
| + | [[File:Richard long.jpg|500px|Drawing Richard Long]] | ||
| + | |||
| + | [http://www.richardlong.org/Drawings/drawings.html Richard Long Drawings] | ||
| + | |||
| + | [[File:Giuseppe Randazzo.jpg|500px|Stonefield Giuseppe Randazzo]] | ||
| + | |||
| + | [http://www.thisiscolossal.com/2014/10/stone-fields/ Digital artist Giuseppe Randazzo creates Elaborate Arrays of 3D-Printed Stones] | ||
| + | |||
| + | [http://thecreatorsproject.vice.com/nl/blog/these-hyper-realistic-stone-fields-were-made-with-a-3d-printer These hyperrealistic stone fields were made with a 3d printer] | ||
| + | |||
| + | [[File:Kersenpitten-snoer.jpg|500px| Erna Huppelschoten Studio Zand]] | ||
| + | |||
| + | [[File:6f68f6e4ab.jpg|500px| Tekening beads]] | ||
| + | |||
| + | [[File:Tumblr lo0tjgT0bp1qdbmm4o1 500.png|500px| Damien Hirst]] | ||
| + | |||
| + | [[File:4cycle.jpg|650px| Brigitte Coremans]] | ||
| + | |||
| + | Hier staan de kralen symboliek voor iets persoonlijks, iets wat de kijker aangaat waardoor ze persoonlijk worden betrokken of aangesproken door het werk. Dat is iets wat ik ook wil gebruiken. | ||
| + | Maar, zoals eerder besproken, als ik de kijker een doel laat kiezen voor de kraal, (bijvoorbeeld een rozenkrans kraal = geloof) wat is dan de consequentie? En hoe betrek ik de kijker? Wie van de doelgroep en bezoekers is nu nog dagelijks betrokken bij een geloof en heeft daar een duidelijke mening over? Voor wie wordt dat echt een keuze? En voor wie is, en blijft, het een nietszeggende handeling? | ||
| + | |||
| + | Een geloof is heel sterk en krachtig als je erin gelooft, maar zo niet, dan heeft het geen waarde. | ||
| + | |||
| + | |||
| + | [[File:Anish kapoor.jpg|800px|anish kapoor]] | ||
| + | |||
| + | Anish Kapoor . willekeur . chaos . toeval | ||
| + | |||
| + | [[File:Jean-Michel Othonie.jpg|800px|Jean-Michel Othonie]] | ||
| + | |||
| + | Pracht en kraal, van madonna tot de masaï . Loan Oei | ||
| + | |||
| + | [https://books.google.nl/books?id=bNprXd4G1qUC&pg=PA64&lpg=PA64&dq=kralen+traditie&source=bl&ots=nD6OjYqqH0&sig=-j9m4HfQ3b9zWNg8oRfJkX248C0&hl=en&sa=X&ei=nJqUVJyQAofgatL4gPAN&redir_esc=y#v=onepage&q=kralen%20traditie&f=false Pracht & kraal] | ||
| + | |||
| + | [[File:Schermafbeelding 2015-01-08 om 14.12.08.png|350px|bead made my maud mosa]] | ||
| + | |||
| + | Visually similar images by google: | ||
| + | |||
| + | [[File:Schermafbeelding 2015-01-08 om 14.13.19.png|800px| Google image search]] | ||
| + | |||
| + | HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . | ||
| + | |||
| + | In the first writing assignment I explained why the end result, tactility, material and making process are a whole and need to be shown or refer to each other. Having this said, I think it’s about the handmade vs. machine made battle. Where handicraft is associated with quality, status (high price) and beauty, machine made is associated with ‘made in china’-crap, and lots and lots of the same bright coloured plastic. But is this true? Are the production chains not super improved in the couple of decades, and is ‘handmade’ not already an advertising term? | ||
| + | |||
| + | Before the industrial revolution basically everything was handmade. From the Middle Ages to the late 18th century the guild was overarching, not only the craft, but also material goods that belong to everyone, and all of craftsman and their knowledge including the professional secrets. The guild guaranteed the quality of the craftsman en therefore the quality of the work. This fact is a big part of the positive influence the guilds had on the economics development, al well locally as international. Nowadays ‘handmade’ is still associated with the quality of a craftsman and the attention, love and time he spend while making it. You can see the increase of the use of the word handmade, and you can tell it’s a bigger part of our society. When is something called handmade? | ||
| + | |||
| + | I believe it’s allowed to call it handmade if there is only one small part in the production chain done by hand. In 2010 Louis Vuitton, maker of handmade bags and wallets, was forced to call two advertisements back. In the photo was a women sewing a bag with a needle and thread, suggesting the bags are fully handmade. While actually the handmade part of the bags is using a hand driven sewing machine in a very small part of the, mostly mechanised, production chain. And still the bags are called handmade. But Louis Vuitton is a high segment brand that also stands for quality and craft. I remember an episode of ‘keuringsdienst van waarde’ about a handmade, mouth blown ‘made in china’ wineglass from Ikea, for only €1,50 a piece. An experienced glass craftsman from Holland said it was exceptional work and required a lot over expertise, if it was done by hand. There are a very few so skilled and if it was sold for that price, in that volume, it was a machine made glass recording the craftsman. Because the quality of the machines is so improved, the quality is almost the same but a lot more efficient and cheaper. But in the factory in China there where a 1000 people making the ikea wineglasses by hand. But ikea has next to the handmade wineglass 151 other handmade products in there assortment. And a lot of objects have a ‘handmade character’. What happens if you can’t tell the different between handmade and machine made anymore? And what does handwork look like? And are handmade items sometimes machine made? | ||
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| + | |||
| + | The newer technologies are meanly focused on the individual production and unique pieces. They can’t replace the real production chains. The newer technologies are not very useful for volume and quantity. | ||
| + | |||
| + | [[File:Handmade.png|500px|handmade]] | ||
| + | |||
| + | [[File:Use over time handmade.png|500px|]] | ||
| + | [[File:Ikea handmade.jpeg|200px|ikea handmade]] | ||
| + | |||
| + | [[File:Handmade volgens internet.png|800px|google image handmade]] | ||
| + | |||
| + | [[File:Pg-22-louis-vuitton.jpeg|500px|]] | ||
| + | |||
| + | [[File:Roos meerman.jpg|500px|Roos Meerman Aera Fabrica]] | ||
| + | |||
| + | Roos Meerman . Aera Fabrica . | ||
| + | 3d objecten printen en dan vervormen met een glasblaas techniek, door de verschillende luchtdrukken en behandelingen wordt elk object anders | ||
| + | |||
| + | [[File:Improvisationmachine annika frye.jpg|800px|improvisationmachine annika frye]] | ||
| + | |||
| + | improvisation machine by Annika Frye | ||
| + | [http://www.annikafrye.de/process-videos/ Annika Frye] | ||
| + | |||
| + | |||
| + | [[File:Thijs Rijkers.jpg|800px|Writing machine by Thijs Rijkers]] | ||
| + | |||
| + | writing machine by Thijs Rijkers . | ||
| + | [http://vimeo.com/115314709 video writing machine] | ||
| + | |||
| + | [[File:Toysoldiers.JPG|500px|toysoldiers]] | ||
| + | [[File:Toysoldiers2.jpg|500px|toy soldiers]] | ||
| + | |||
| + | [[File:10.000 B.C.5000 B.C. arrowhead . mouse cursor.png|500px|digital is the new tool]] | ||
| + | |||
| + | MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . | ||
| + | |||
| + | [[File:Ultimarker.jpg|400px|Dennis de Bel]] | ||
| + | |||
| + | [[File:Ultimarkereffect.jpg|400px|Dennis de Bel]] | ||
| + | |||
| + | [[File:Lasermarker.jpg|400px|Dennis de Bel]]. | ||
| + | |||
| + | Dennis de bel: dit maar dan andersom-om | ||
| + | |||
| + | [[File:Dezeen Mouth-Factory-by-Cheng-Guo 4.jpg|500px|]] | ||
| + | [[File:Dezeen Mouth-Factory-by-Cheng-Guo 13.jpg|500px|]] | ||
| + | |||
| + | [[File:Kahn-man-industrial-palace.jpg|500px|der mensch als industiepalast]] | ||
| + | [[File:Roy ascott.jpeg|500px|roy ascott]] | ||
| + | |||
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| + | simple assignment for human, very hard for a computer | ||
| + | |||
| + | [http://whiteglovetracking.com/gallery.html white glove tracking] | ||
| + | |||
| + | The artist makes the viewers and visitors (only female) part of the golden rain by picking it up and put in in a basket to transfer it upstairs again | ||
| + | |||
| + | [https://www.youtube.com/watch?v=UCCSls6SERw Vadim Zakharov venice art biennale 2013 russian paviljoen] | ||
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| + | PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . | ||
| + | |||
| + | Gedachten experiment van Simon Stevin met een kralensnoer in de hoofdrol: | ||
| + | |||
| + | [[File:Clootcransbewijs.gif|500px|Clootcransbewijs]] | ||
| + | |||
| + | [http://nl.wikipedia.org/wiki/Clootcransbewijs Clootcransbewijs] | ||
| + | |||
| + | [[File:Perpetuum mobile.png|400px|perpetuum mobile]] | ||
| + | [[File:Perpetuum mobile2.jpg|400px|perpetuum mobile]] | ||
| + | [[File:Perpetuum mobile3.jpg|400px|perpetuum mobile]] | ||
| + | [[File:Perpetuum mobile4.gif|400px|perpetuum mobile]] | ||
| + | |||
| + | [http://nl.wikipedia.org/wiki/Perpetuum_mobile Perpetuum Mobile] | ||
| + | |||
| + | [https://www.youtube.com/watch?v=abDJ-xTHX_Y Dough Devider Machine] | ||
| + | |||
| + | [https://www.youtube.com/watch?v=Lr-kbdSRzRk Rullatrice per boiles] | ||
| + | |||
| + | [[File:Growth modeling device.png|400px|David Bowen Growth modeling device]] | ||
| + | |||
| + | [http://www.dwbowen.com/gmdmovie.html David Bowen Growth modeling device] | ||
| + | |||
| + | [[File:Ribbelwals.jpg|400px|proef print]] | ||
| + | |||
| + | proefprint, trekt krom | ||
| + | |||
| + | [[File:Ribbelwals6.jpg|400px|]] | ||
| + | |||
| + | print verticaal | ||
| + | |||
| + | [[File:Ribbelwals8.jpg|400px|]] | ||
| + | |||
| + | door de vacuümvorm mal te maken zijn de geprinte vormen gesmolten | ||
| + | |||
| + | [[File:Ribbelwals7.jpg|500px|]] | ||
| + | gesmolten ribbelwals | ||
| + | |||
| + | [[File:Ribbelwals9.jpg|400px|]] | ||
| + | |||
| + | [[File:Ribbelwals10.JPG|800px|]] | ||
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| + | [[File:Ribbelwals11.jpg|400px|]] | ||
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| + | [[File:Gietsel.JPG|800px|]] | ||
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| + | [[File:Ribbelwals12.JPG|800px|]] | ||
| + | [[File:Proefribbelwals.JPG|800px|]] | ||
| + | [[File:Boorsel1.JPG|800px|]] | ||
| + | [[File:Boorsel.JPG|800px|]] | ||
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| + | [[File:Ribbelwals13.JPG|800px|]] | ||
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| + | [[File:Ribbelwals13.1.JPG|800px|]] | ||
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| + | [[File:Extruder.JPG|800px|]] | ||
| + | [[File:Extruder1.jpg|400px|]] | ||
| + | [[File:Ribbelwals1.jpg|400px|]] | ||
| + | [[File:Ribbelwals2.jpg|400px|]] | ||
| + | [[File:Ribbelwals4.jpg|400px|]] | ||
| + | [[File:Ribbelwals5.jpg|400px|]] | ||
| + | [[File:Ribbelwals3.jpg|400px|]] | ||
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| + | [[File:Stofzuigerslang.jpg|500px|]] | ||
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| + | [[File:Pastamachine.jpg|500px|]] | ||
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| + | deze machine ga ik proberen te hacken en er een kralen machine van te maken | ||
| + | wanneer mijn site bezocht wordt, wordt de kralen machine in gang gezet | ||
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| + | STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . | ||
| + | |||
| + | i want the three movies to complimented each other, in the same style, an calm image, and a subtle way of sending the viewer. | ||
| + | The technical walkthrough is showing the 'handmade' bead made by a machine. the outcome, an unique bead, made with a thousand a minute, very large volume, lots of mountains of beads, maybe with the sound of rolling beads under need it or otherwise the very machinery sound. the sound of a factory, with air pressers venting and stuff like that. | ||
| + | ik wil ook graag iets doen met gietklei die of over de machine loopt of die een soort gordijn maakt op het scherm waarna er kralen ontstaan | ||
| + | en in de culturele context wil ik het graag hebben over het verschil en de overeenkomsten tussen handwerk en digitaal gemaakt misschien aan de hand van twee kralen, een handgemaakt en een machine gemaakt en daar dan over vertellen terwijl ze langzaam van alle kanten gefilmd worden. wordt vervolgd. | ||
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| + | mechanical principles | ||
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| + | [https://www.youtube.com/watch?v=mkQ2pXkYjRM mechanical principles] | ||
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| + | Sfeerbeelden uit eigen archief | ||
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| + | [[File:Kraal sfeerbeeld.png|600px|kraal sfeerbeeld]] | ||
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| + | [[File:Gietklei sfeerbeeld.png|600px|gietklei sfeerbeeld]] | ||
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| + | [[File:Sfeerbeeld.png|600px|sfeerbeeld]] | ||
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| + | RESEARCH DOCUMENT | ||
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| + | MY CRAFT | ||
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| + | [[File:MY CRAFT.pdf]] | ||
| + | |||
| + | THE DIGITALIZATION OF THE MAKING PROCESS | ||
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| + | [[File:Written Assignment.pdf]] | ||
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| + | OBJECT FANTASIC FORGERIES | ||
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| + | chosen object from the boijmans is a headpiece by Shilpa Chavan for her own label Little Shilpa from the spring summer 2014 collection | ||
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| + | the site of Little Shilpa: [http://www.littleshilpa.com] | ||
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| + | [[File:Little shilpa by shilpa chavan SS'14.jpeg|500px|left|chosen object by Little Shilpa SS2014 grey matter collection]] | ||
| + | |||
| + | The 3 most interesting things about this headpiece are: | ||
| + | . it's body decoration | ||
| + | . it has a cultural origin | ||
| + | . it has a symbolic meaning | ||
| + | |||
| + | The designer is from India and uses typical Sari fabrics and classic sari's that she transforms to contemporary designs. | ||
| + | She re-use the history of her origin in a modern way. | ||
| + | Shilpa is also referring to the old habits and symbolic meaning, like the superstition for having a nose ring on the left side will help by the birth of children. | ||
| + | |||
| + | I tried to fold paper the way the sari fabric is fold and modelled and made a mini headdress from a post-it | ||
| + | stap 1, making and forming the shape from wire (iron) | ||
| + | stap 2, covering the skelet with paper-mache | ||
| + | |||
| + | After forming the headpiece it's time to get the right texture. For the black edge i'm using indian ink ;-) | ||
| + | I bought gold pailletten for the gold band but first a ground layer of email paint because it is so shiny | ||
| + | and just normal acrylic paint in a light grey color so the first layer will cover all the contrast of the paper and the second layer will be bright white | ||
| + | i'm still in doubt in what way i wanna transfer the plaid print..... | ||
| + | |||
| + | the form is quite well intimidated, but the texture and print are a bit clumsy. it's obvious a home made remake, a craft project, and is not reaching for the level i was searching for. i'm afraid if i start to add the squares, also by hand, its only getting more clumsy. the original object is a museum piece and by remaking it, i want to reach the same level. thats not happening in this way. | ||
| + | there are a couple solutions: transfer the print in another way, like mapping / beaming. use paper with the wanted print to cover the object or glue rope on it instead of drawing it. but either way it will not have the same result as in the original. because i formed a 3d object the 2d print is a interference factor. this object asks for a different approach because its not the same. i invest a lot of time in this object and still it is not coming close to what i imagined and hoped. if i can make changes to the final design i will adjust the print or design and find a compromise to still be happy what i'm making. but i feel like because of the copying assignment thats not possible. maybe if the object is one plain color, it emphasizes the form and this object could still be something. But now i'm not sure if it's something i need to go trough with. I'm already thinking of new ways to make a new object. maybe air dry clay of potato flour..... | ||
| + | |||
| + | at the same time i'm busy with my transformation. i want to make a old dutch ear iron. a object that was used to keep the lady's hat in place, first invisible but later on it became a part of the costumes. most of the time a very expensive jewel because it was made out of silver, gold or copper. i want to keep the form of the traditional north dutch version (helmet slash headphone) but change the function. | ||
| + | |||
| + | because there is so much going on around us, all day long, i want to link an action to unplugging for a moment, | ||
| + | a moment in the day you want to come back to our own thoughts. by removing the sound a sort of resting is started. like charging by getting uncharged. | ||
| + | |||
| + | i'm forming the ear iron out of copper, in the old fashion way like me and a hammer. | ||
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| + | [[File:Paper trial.png|400px|left|paper trail]] | ||
| + | |||
| + | [[File:Scale model.png|800px|left|post-it scale model]] | ||
| + | |||
| + | [[File:Stap1.png|400px|left|stap 1]] | ||
| + | |||
| + | [[File:Stap 2 iron skelet .png|800px|left|stap 2 iron skelet]] | ||
| + | |||
| + | [[File:Stap 3 proces.png|800px|left|Stap 3 proces]] | ||
| + | |||
| + | [[File:Stap 4 proces.png|800px|left|Stap 4 proces]] | ||
| + | |||
| + | [[File:Papermache_remake.png|400px|left|paper-mache remake]] | ||
| + | |||
| + | [[File:Papermache_remake_2.png|800px|left|wearing the paper-mache re-make]] | ||
| + | |||
| + | [[File:Stap 5 meten en grondlaag.png|800px|left|mesurements and ground layer]] | ||
| + | |||
| + | [[File:Stap 6 textuur.png|800px|left|Indian ink, email paint and acrylic ground layer to imitate the texture]] | ||
| + | |||
| + | [[File:Texture detail.png|800px|left|texture detail]] | ||
| + | |||
| + | [[File:Clay ear iron.png|800px|left|ear iron, clay trail]] | ||
| + | |||
| + | [[File:Test ear iron.png|800px|left|material test]] | ||
| + | |||
| + | [[File:Workspace.png|400px|left|workspace]] | ||
| + | |||
| + | [[File:Copper ear iron.png|800px|left|copper ear iron]] | ||
| + | |||
| + | [[File:Oorijzer.JPG|400px|left|oorijzer koper]] | ||
| + | |||
| + | [[File:Materiaal test pen.png|800px|left|materiaal test paper-mache pulp pen]] | ||
| + | |||
| + | [[File:Materiaal test krant.png|800px|left|test paper-mache pulp newspaper]] | ||
| + | |||
| + | [[File:Oorijzer pepermache.png|800px|left|paper-mache oorijzer]] | ||
| + | |||
| + | [[File:Proefjes.JPG|800px|left|paper-mache pulp proefjes]] | ||
| + | |||
| + | [[File:Schakeling.jpg|800px|left|schakeling tDCS]] | ||
| + | |||
| + | [[File:Printplaatje.jpg|400px|left|printplaatje tDCS]] | ||
| + | |||
| + | [[File:Printplaat tekening.JPG|800px|left|printplaatje tekening]] | ||
| + | |||
| + | [[File:Elektrode gaas.png|800px|left|elektrode gaas]] | ||
| + | |||
| + | [[File:Eertse elektrode.png|800px|left|elektrode voor tDCS 1ste versie]] | ||
| + | |||
| + | [[File:Tweede elektrode.jpg|400px|left|tweede versie elektrode]] | ||
| + | |||
| + | [[File:TDCS kastje.JPG|400px|left|tDCS kastje]] | ||
| + | |||
| + | [[File:Tdcskastjefront.JPG|400px|left|tDCS kastje front]] | ||
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| + | |||
| + | |||
| + | |||
| + | [[/logboek | | ||
| + | |||
| + | == logboek == | ||
| + | ]] | ||
| + | [[/aantekeningen | | ||
| + | == aantekeningen == | ||
| + | ]] | ||
| + | [[/portfolio | | ||
| + | == portfolio == | ||
| + | ]] | ||
Latest revision as of 09:58, 19 February 2015
Maud Mosa Vink
TOOLS OF THE TRADE
RESEARCH DOCUMENT 1 File:Written Assignment.pdf
RESEARCH DOCUMENT 2 File:Research document 2.pdf
RESIT DIGITAL CRAFT MOVIE #1
CULTURAL CONTEXT FILM LINK CLICK HERE
movie tekst:
Beads are as old as the world. Besides the decoration function beads have a very rich history, symbolic and practical. Of course beads are always part of a bigger picture, the chain. The first beads are the form of the sun and the moon, and nowadays it’s still the archetype for the bead.
At all early object there is a reason to decorate. A higher purpose for every form, colour, and pattern. That is also true for the human decorations. They where status symbols with hidden messages as the religion, the marital status and the ancestry. But also the status of grief, was communicated through chains, and body decoration. There are still a lot of tribes, that keep their history of chains, and beads alive. A hundred thousand years ago, beads where buried with the body as a burial gift, to provide luck in the hereafter, and between the 16th and 20th century, beads were a medium of exchange. All sorts of meanings, are awarded to the same bead. An object so universal that it can be anything. The human projection ís the value. It has so many different appearances, and still, the shape is always the same.
FILM 1
technical walkthrough
hoe de machine optimaal zou werken / eruit zou zien / zou kunnen /
bv. teken de rest van de machine
FILM 2 cultural context wat de kraal kan zijn en de geschiedenis . believe . religion . symbolic meaning . purpose . van mythe naar mathematics clootcransbewijs en het eeuwig draaien van de aarde geprojecteerd op een kraal als ideaal
FILM 3 handmade and machinemade imperfectie is sexy het verlangen van de mens naar authentiek . ellen rutte . walter benjamin . aura van het object etc .
............................................................................................................................................................................................................................................... ............................................................................................................................................................................................................................................... ...............................................................................................................................................................................................................................................
Een machine die handwerk imiteert
Creatieve imperfectie volgens Ellen Rutte In tijden van technologische vooruitgang heeft de mens meer behoefte aan authenticiteit
- . in de loop van onze geschiedenis versterken technologische vernieuwingen ons existentiele verlangen naar het niet-volkomene
- . in periodes van drastische technologische vooruitgangzetten creatieve professionals imperfectie in om het publiek te overtuigen van hun oprechtheid
File:Imperfectie is sexy klein.pdf
machinaal handwerk produceren / imiteren
best of both worlds : de ambacht en oprechtheid van het object . de aura . en de productiviteit en efficiëntie van een machine
handwerk is een term die al snel gebruikt wordt omdat het geassocieerd wordt met kwaliteit . aandacht . ambacht . wanneer is iets handwerk en wanneer mag iets handwerk heten? Wanneer ziet iets eruit als handwerk?
KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN .KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN . KRALEN .
100.000 jaar oud . brons . glas . rijkdom . statussymbool . ruilmiddel . boekhouding . versiering .
Waarom maak je kralen? Waarom mogen de kralen niet hetzelfde zijn? Wat doet de imperfectie? Wat mag de imperfectie wel of niet zijn? Wat is een kraal? Waarom wil ik nog meer kralen maken?
Beads are as old as the world. Besides the decoration function beads have a very rich history, symbolic and practical. Of course brads are always part of a bigger picture, the chain. The first beads are the form of the sun and the moon, and nowadays it’s still the archetype for the bead.
The circle is the symbol of infinity, perfection and therefore of God. It is the natural symbol of the sun and moon. For the primitive human the sun and moon where equivalent. Visually, they are also the same size. The first houses were circular tents. The first dance was a circle dance, they brought people into a trance and gave a sense of wholeness. The presentation of the philosopher's stone, the snake in the form of a circle biting its own tail was with the Gnostics the symbol of wisdom and immortality. God is described as a circle where the circumference nowhere and center everywhere. The egg is the ancient symbol of creation and expression of creativity. It is round in cross section but it has also an oval profile, it’s the magic "vesica piscis". In the Zen Buddhism the circle means the lights, the perfection of the human united with the primary principle. God is often described as ‘an infinite sphere whose center is everywhere and nowhere edge’. The painting ‘Gods eye’ looks like a bead. The bead is an archetype, and you find it everywhere. In nature, as berries and stones, the sun and the moon and even in the most characteristic part of a person, his DNA, looks like beads.
100.000 Years ago beads where buried with the body as a burial gift to provide luck in the hereafter. But the beads also where status symbols with hidden massages as the religion, the marital status and the ancestry. But also the status of grief was communicated through chains. It was a medium of exchange between the 16th and 20th century and the beads throwing at the mardi gras festival in new Orleans is still a competition because, the more the better. Young women are flashing their boobs in exchange for extra beads.
En waar kralen zijn, daar is cultuur, en niet zo’n beetje ook, schrijven Christopher Henshilwood en collega’s in het vakblad Science. “In menselijke leefgemeenschappen hebben kralen tal van verschillende functies, allemaal duidelijk symbolisch. Men kan ervan uitgaan dat een volledig ontwikkelde taal noodzaak is om de symbolische betekenis van kralen te delen en over te dragen.”
NPOwetenschap.nl Louvre voor holbewoners
Beads were also used for numerous celebratory purposes. Women and men alike adorned their necks, upper arms, wrists, and heads with colorful beaded adornments. Waist beads, however, which date back as early as the 15th century, were a special form of adornment only for women. Its meaning varied from region to region across several African countries. Many women who adopted the practice of wearing weaist beads did so to signify important milestones in life, such as maturity, being ready for marriage, and pregnancy. Baby girls would be given waist beads to indicate their growth and keep track of how much weight they gained. In some areas, multiple waist beads were worn to shape a girl’s body from a young age. Belly beads weren’t only worn to symbolize a woman’s progress in life, but to honor her femininity and sexuality. In many ancient African cultures, such as in Ghana, they were used as what’s present-day called lingerie; meant only for their husband to see. Senegalese women, in particular, heightened their allure with the gently clicking of sweetly perfumed tiny bead strands worn underneath their clothing.
Digital artist Giuseppe Randazzo creates Elaborate Arrays of 3D-Printed Stones
These hyperrealistic stone fields were made with a 3d printer
Hier staan de kralen symboliek voor iets persoonlijks, iets wat de kijker aangaat waardoor ze persoonlijk worden betrokken of aangesproken door het werk. Dat is iets wat ik ook wil gebruiken. Maar, zoals eerder besproken, als ik de kijker een doel laat kiezen voor de kraal, (bijvoorbeeld een rozenkrans kraal = geloof) wat is dan de consequentie? En hoe betrek ik de kijker? Wie van de doelgroep en bezoekers is nu nog dagelijks betrokken bij een geloof en heeft daar een duidelijke mening over? Voor wie wordt dat echt een keuze? En voor wie is, en blijft, het een nietszeggende handeling?
Een geloof is heel sterk en krachtig als je erin gelooft, maar zo niet, dan heeft het geen waarde.
Anish Kapoor . willekeur . chaos . toeval
Pracht en kraal, van madonna tot de masaï . Loan Oei
Visually similar images by google:
HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE . HANDMADE VS MACHINE MADE .
In the first writing assignment I explained why the end result, tactility, material and making process are a whole and need to be shown or refer to each other. Having this said, I think it’s about the handmade vs. machine made battle. Where handicraft is associated with quality, status (high price) and beauty, machine made is associated with ‘made in china’-crap, and lots and lots of the same bright coloured plastic. But is this true? Are the production chains not super improved in the couple of decades, and is ‘handmade’ not already an advertising term?
Before the industrial revolution basically everything was handmade. From the Middle Ages to the late 18th century the guild was overarching, not only the craft, but also material goods that belong to everyone, and all of craftsman and their knowledge including the professional secrets. The guild guaranteed the quality of the craftsman en therefore the quality of the work. This fact is a big part of the positive influence the guilds had on the economics development, al well locally as international. Nowadays ‘handmade’ is still associated with the quality of a craftsman and the attention, love and time he spend while making it. You can see the increase of the use of the word handmade, and you can tell it’s a bigger part of our society. When is something called handmade?
I believe it’s allowed to call it handmade if there is only one small part in the production chain done by hand. In 2010 Louis Vuitton, maker of handmade bags and wallets, was forced to call two advertisements back. In the photo was a women sewing a bag with a needle and thread, suggesting the bags are fully handmade. While actually the handmade part of the bags is using a hand driven sewing machine in a very small part of the, mostly mechanised, production chain. And still the bags are called handmade. But Louis Vuitton is a high segment brand that also stands for quality and craft. I remember an episode of ‘keuringsdienst van waarde’ about a handmade, mouth blown ‘made in china’ wineglass from Ikea, for only €1,50 a piece. An experienced glass craftsman from Holland said it was exceptional work and required a lot over expertise, if it was done by hand. There are a very few so skilled and if it was sold for that price, in that volume, it was a machine made glass recording the craftsman. Because the quality of the machines is so improved, the quality is almost the same but a lot more efficient and cheaper. But in the factory in China there where a 1000 people making the ikea wineglasses by hand. But ikea has next to the handmade wineglass 151 other handmade products in there assortment. And a lot of objects have a ‘handmade character’. What happens if you can’t tell the different between handmade and machine made anymore? And what does handwork look like? And are handmade items sometimes machine made?
The newer technologies are meanly focused on the individual production and unique pieces. They can’t replace the real production chains. The newer technologies are not very useful for volume and quantity.
Roos Meerman . Aera Fabrica . 3d objecten printen en dan vervormen met een glasblaas techniek, door de verschillende luchtdrukken en behandelingen wordt elk object anders
improvisation machine by Annika Frye Annika Frye
writing machine by Thijs Rijkers . video writing machine
MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS . MACHINE EN MENS .
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Dennis de bel: dit maar dan andersom-om
simple assignment for human, very hard for a computer
The artist makes the viewers and visitors (only female) part of the golden rain by picking it up and put in in a basket to transfer it upstairs again
Vadim Zakharov venice art biennale 2013 russian paviljoen
PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES . PROCES .
Gedachten experiment van Simon Stevin met een kralensnoer in de hoofdrol:
David Bowen Growth modeling device
proefprint, trekt krom
print verticaal
door de vacuümvorm mal te maken zijn de geprinte vormen gesmolten
gesmolten ribbelwals
deze machine ga ik proberen te hacken en er een kralen machine van te maken wanneer mijn site bezocht wordt, wordt de kralen machine in gang gezet
STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS . STORYBOARDS .
i want the three movies to complimented each other, in the same style, an calm image, and a subtle way of sending the viewer. The technical walkthrough is showing the 'handmade' bead made by a machine. the outcome, an unique bead, made with a thousand a minute, very large volume, lots of mountains of beads, maybe with the sound of rolling beads under need it or otherwise the very machinery sound. the sound of a factory, with air pressers venting and stuff like that. ik wil ook graag iets doen met gietklei die of over de machine loopt of die een soort gordijn maakt op het scherm waarna er kralen ontstaan en in de culturele context wil ik het graag hebben over het verschil en de overeenkomsten tussen handwerk en digitaal gemaakt misschien aan de hand van twee kralen, een handgemaakt en een machine gemaakt en daar dan over vertellen terwijl ze langzaam van alle kanten gefilmd worden. wordt vervolgd.
mechanical principles
Sfeerbeelden uit eigen archief
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RESEARCH DOCUMENT
MY CRAFT
THE DIGITALIZATION OF THE MAKING PROCESS
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OBJECT FANTASIC FORGERIES
chosen object from the boijmans is a headpiece by Shilpa Chavan for her own label Little Shilpa from the spring summer 2014 collection
the site of Little Shilpa: [1]
The 3 most interesting things about this headpiece are: . it's body decoration . it has a cultural origin . it has a symbolic meaning
The designer is from India and uses typical Sari fabrics and classic sari's that she transforms to contemporary designs. She re-use the history of her origin in a modern way. Shilpa is also referring to the old habits and symbolic meaning, like the superstition for having a nose ring on the left side will help by the birth of children.
I tried to fold paper the way the sari fabric is fold and modelled and made a mini headdress from a post-it stap 1, making and forming the shape from wire (iron) stap 2, covering the skelet with paper-mache
After forming the headpiece it's time to get the right texture. For the black edge i'm using indian ink ;-) I bought gold pailletten for the gold band but first a ground layer of email paint because it is so shiny and just normal acrylic paint in a light grey color so the first layer will cover all the contrast of the paper and the second layer will be bright white i'm still in doubt in what way i wanna transfer the plaid print.....
the form is quite well intimidated, but the texture and print are a bit clumsy. it's obvious a home made remake, a craft project, and is not reaching for the level i was searching for. i'm afraid if i start to add the squares, also by hand, its only getting more clumsy. the original object is a museum piece and by remaking it, i want to reach the same level. thats not happening in this way. there are a couple solutions: transfer the print in another way, like mapping / beaming. use paper with the wanted print to cover the object or glue rope on it instead of drawing it. but either way it will not have the same result as in the original. because i formed a 3d object the 2d print is a interference factor. this object asks for a different approach because its not the same. i invest a lot of time in this object and still it is not coming close to what i imagined and hoped. if i can make changes to the final design i will adjust the print or design and find a compromise to still be happy what i'm making. but i feel like because of the copying assignment thats not possible. maybe if the object is one plain color, it emphasizes the form and this object could still be something. But now i'm not sure if it's something i need to go trough with. I'm already thinking of new ways to make a new object. maybe air dry clay of potato flour.....
at the same time i'm busy with my transformation. i want to make a old dutch ear iron. a object that was used to keep the lady's hat in place, first invisible but later on it became a part of the costumes. most of the time a very expensive jewel because it was made out of silver, gold or copper. i want to keep the form of the traditional north dutch version (helmet slash headphone) but change the function.
because there is so much going on around us, all day long, i want to link an action to unplugging for a moment, a moment in the day you want to come back to our own thoughts. by removing the sound a sort of resting is started. like charging by getting uncharged.
i'm forming the ear iron out of copper, in the old fashion way like me and a hammer.
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