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'''Christina Agapakis''' | '''Christina Agapakis''' | ||
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| + | Synthetic biology is frequently defined as the application of engineering design principles to biology. Such principles are intended to streamline the practice of biological engineering, to shorten the time required to design, build, and test synthetic gene networks. This streamlining of iterative design cycles can facilitate the future construction of biological systems for a range of applications in the production of fuels, foods, materials, and medicines. The promise of these potential applications as well as the emphasis on design has prompted critical reflection on synthetic biology from design theorists and practicing designers from many fields, who can bring valuable perspectives to the discipline. While interdisciplinary connections between biologists and engineers have built synthetic biology via the science and the technology of biology, interdisciplinary collaboration with artists, designers, and social theorists can provide insight on the connections between technology and society. Such collaborations can open up new avenues and new principles for research and design, as well as shed new light on the challenging context-dependence—both biological and social—that face living technologies at many scales. This review is inspired by the session titled "Design and Synthetic Biology: Connecting People and Technology" at Synthetic Biology 6.0 and covers a range of literature on design practice in synthetic biology and beyond. Critical engagement with how design is used to shape the discipline opens up new possibilities for how we might design the future of synthetic biology. | ||
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| + | [[File:Agapakis.jpg]] | ||
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| + | [[File:Agapakis2.jpg]] | ||
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| + | '''Fish tank''' | ||
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| + | [[File:Fish.jpg]] | ||
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| + | Fish on Wheels allows the aquatic occupant to move its contained environment around a space rather than remaining static. | ||
=Fantastic Forgeries= | =Fantastic Forgeries= | ||
Revision as of 19:39, 3 December 2014
Ilja Sofia
ILJA SOFIA VAN VLAARDINGEN
24 | ROTTERDAM
PORTFOLIO
Tools of the Trade
The notion of a ‘tool’ in contemporary artistic practice is much wider than a simple hand-held implement. Tools can move material as well as ideas. Tools can fabricate as well as disseminate. Knowing one’s tools (how they are defined, designed, and put in effect) not only gives one agency, but often becomes the crux of one’s artistic practice. This holds particularly true for digital craftsmen. The current range and access to new digital instruments--from dozens of desktop CNC technologies that can make almost anything to hundreds of sensors to measure can pretty much everything--have given rise to a new wave of artist-built machines. Moreover, recent critical practices that break away from the more commercial and industrial (affirmative) applications have brought a new spectrum of objects that instrumentalise design’s potential as a discursive tool. Whether milling-out matter or carving-out meaning, this project ask you to both envision and build new tools for you practice. In this quarter you will define, design, and put into effect a new tool or medium that will strive for two main aims: it will carry your traces and signature as maker, as well as apply/reflect on the technological possibilities of our time.
Defining my craft/tool
Last semester I wanted my written statement to be on the upcoming and evolving DIY design culture. The question ‘Can anyone be a graphic designer’ interests me a lot. It’s made very easy to design something with open source programs, tutorials and templates. Somehow it turned out to be on something else so I want this project to deal with this question. So, can anyone be a graphic designer? And what does this mean for my craft? I want to explore this topic.
Potential ideas could be:
- Not DIY but do nothing, can I create something that creates itself? Think of algorithms that rewrite themselves etc.
- Or can big data design? We created such an incomprehensible amount of data, can I come up with something to visualise this? Maybe I even discover new data, is there any in plants for example? Could I make plants say/do something? Anti-craft.
- It could also be the outcome of this DIY culture, some sort of dystopian or maybe utopian prophecy. What it could turn out to be in the future.
I'm going to collect data from plants. As a reaction to the DIY culture, I'm going to let plants make my design to show that anyone can be a designer nowadays. I don't know the outcome yet, it could be a book, a newspaper, a music album but the plants would actually be the distributor. Without any human interaction, except for me being the director. Then my tool would be 'generative design'.
Sensor demo
For the sensor demo I chose the humidity sensor. My plants always die so I wanted to make my plant scream for water.
I used this tutorial and added the piezo buzzer to it, because it has the most annoying tone ever: http://www.hobbyist.co.nz/?q=documentations/wiring-up-dht11-temp-humidity-sensor-to-your-arduino
Because I was ill for the whole week and couldnt make it to the presentation I made a video explaining the sensor: http://vimeo.com/iljasofia/humiditysensor
Generative design
'Debug chair' designed by Dutch studio Edhv was created using the trail patterns of insects.
Edhv’s previous ‘debug’ project used the data collected from the movements of insects to generate visuals.
Porcelain plates made in collaboration with an ant. The journey of an ant forms a unique drawing on every plate by following it 's path with a pencil.
Plants
Plants are essential for our existence, they can feel pain and communicate with each other. They adjust to changes in their environment (acclimatisation). They behave in mysterious ways, can we think of them as having a form of intelligence of their own?
Mendel's law
Mendel discovered that, when he crossed purebred white flower and purple flower pea plants (the parental or P generation), the result was not a blend. Rather than being a mix of the two, the offspring (known as the F1 generation) was purple-flowered. When Mendel self-fertilized the F1 generation pea plants, he obtained a purple flower to white flower ratio in the F2 generation of 3 to 1. The results of this cross are tabulated in the Punnett square above.
Moving plants
Mimosa pudica is a creeping annual or perennial herb often grown for its curiosity value: the compound leaves fold inward and droop when touched or shaken, to protect them from predators, re-opening minutes later.
Venus fly trap, when an insect or spider crawling along the leaves contacts a hair, the trap closes if a different hair is contacted within twenty seconds of the first strike
Plants feel
http://www.whataplantknows.com/home/plant-senses
Plant action potential
In physiology, an action potential is a short-lasting event in which the electrical membrane potential of a cell rapidly rises and falls, following a consistent trajectory. Action potentials occur in several types of animal cells, called excitable cells, which include neurons, muscle cells, and endocrine cells, as well as in some plant cells.
Plant and fungal cells are also electrically excitable. The fundamental difference to animal action potentials is that the depolarisation in plant cells is not accomplished by an uptake of positive sodium ions, but by release of negative chloride ions. Together with the following release of positive potassium ions, which is common to plant and animal action potentials, the action potential in plants infers, therefore, an osmotic loss of salt (KCl), whereas the animal action potential is osmotically neutral, when equal amounts of entering sodium and leaving potassium cancel each other osmotically. The interaction of electrical and osmotic relations in plant cells indicates an osmotic function of electrical excitability in the common, unicellular ancestors of plants and animals under changing salinity conditions, whereas the present function of rapid signal transmission is seen as a younger accomplishment of metazoan cells in a more stable osmotic environment. It must be assumed that the familiar signalling function of action potentials in some vascular plants (e.g. Mimosa pudica), arose independently from that in metazoan excitable cells.
I discussed this with Simon who showed me a project he actually worked on which is exactly what I want to do. He also told me that it's impossible to gather this data in a few weeks so he advised me to collect it from other parameters like the soil, air, pH, natrium etc.
Mythbusters
"Seven small greenhouses were set up on the M5 Industries roof. Four were set up with stereos playing endlessly looping recordings (as having the Mythbusters actually talk to the plants could contaminate the samples with their expelled carbon dioxide): Two of negative speech, two of positive speech (Kari and Scottie each made one positive and one negative soundtrack), a fifth with classical music and a sixth with intense death metal music. A seventh greenhouse, used as a control sample, had no stereo. The greenhouses with the recordings of speech grew better than the control, regardless of whether such talk was kind or angry. The plants in the greenhouse with the recording of classical music grew better, while the plants in the greenhouse with the recording of intense death metal grew best of all."
Does talking to plants help them grow? Become a MythBuster and find out. Tweet a message, and your words will be read aloud to the plant. Go ahead, get something off your chest, wish it well, or just pass along today's musings. The plant doesn't care; it just wants to hear from you.
Acoustic sensors measuring hydraulic emissions from plant leaves in a Duke University laboratory.
"We have identified that plants respond to sound and they make their own sounds, the obvious purpose of sound might be for communicating with others."
"The smell we associate with freshly cut grass is actually a chemical distress call. What if we could hear it?"
Moss
Moss is seen as an unwanted weed. But it has a lot of interesting specifications. For starters they transport their nutrients externally, which makes it easier to track. They can survive any kind of weather, grow on almost anything and there's a lot of different species.
https://ivn.nl/afdeling/gooi-en-omstreken/natuur-abc/mossen
"Omdat mossen geen vaatstelsel hebben vindt het transport van voedingsstoffen voornamelijk uitwendig plaats, langs stengels en bladeren."
Moss graffiti [1]
Live Life - Sebastian Huvenaars
The beauty of nature is everywhere, also in the small green stuff that grows on your garden stones or roof tiles. Amazed by the way people exterminate moss and weeds from their meticulously trimmed gardens, Sebastian Huvenaars designed a miniature greenhouse that fosters a fragment of ‘unwanted’ nature. A tiny camera inside shows its growth extremely enlarged on your computer desktop. The seemingly indefinable mossy content in fact appears to be a lush and magnificent piece of art, that evolves as you water it. “A lot of beauty comes for free,” says Sebastian, “all you need to do is take a really good look.”
Moss electricity
Moss Table makes use of the small electrical charge produced when bacteria consume organic compounds released by moss; here, a battery supplements that power to light the lamp.
“Most people don’t notice moss unless they scrape it off their driveways or their roofs,” says Swiss designer Fabienne Felder. “They might think it’s a weed.” But Felder (whose friends have dubbed her “Moss Lady”) brings a different perspective to the table. Not only has moss been used historically in everything from medicine to furniture stuffing — it now produces electricity. Along with two scientists from the University of Cambridge, Felder developed a way to use moss as a “biological solar panel.” Put simply, moss creates surplus electrons during photosynthesis. Felder’s collaborators have tapped into this electricity on a small scale — they’ve built a functional, moss-powered radio.
Synthetic biology
a) the design and construction of new biological parts, devices and systems
b) the re-design of existing natural biological systems for useful purposes
Open Wetlab
Open Wetlab promotes the production of bio-art because we believe that bio-art is visionary and can be guiding for new prototypes and applications. Thus, we investigate to what extent and how art and science can work together and in what way art can influence a scientific agenda. Finally, Wetlab develops products and services in the field of biotechnology and sustainability.
Without Once Awakening
Commanding a space between inanimate object and animal, plants live in the realm beyond consciousness. Inspired by an exploration of Bonsai keeping as an expression of psychological conditions, the work draws a symmetry between the plant and the mind. Looking at a plant as a metaphor for the psyche – the visible (behavioural) expression and the invisible (subconscious) root system.
Considering the potential roles of engineered plants, psycho behavioural functions can be accentuated by bespoke specimens created with synthetic biology. Plants become an attachment object which demands physical proximity in exchange for codependency, they automatically change their colour in reenactment of predictable seasons, they construct a visceral monument of grafted scents.
Plants have a remarkable ability for chemical synthesis, these stationary chemical factories operate on a different time scale to animal time, reminiscent of early photographic processes. These portraits are thus printed in plant time, over weeks of exposing plant solution on paper to UV light inside a specially made exposure box.
Sea Me
Sea me is a rug made of sea algae yarn, knotted by hand in an old fishing net. Capturing the contrast between the polluting plastic waste issues and the beautiful things the sea has to offer. Nienke Hoogvliet wanted to draw attention to this rather new material. A yarn made of sea algae could perhaps offer a solution for the sustainability issues in the textile industry. Sea algae grow much faster and need less nutrients then cotton for example. She would like to do more research to increase the usage of this material in the industry. To capture the duality, she used a old fishing net as the base for the rug. The waste can be reused in this way and have an aesthetically and practical use.
Nano supermarket
Eco friendly lamp powered by algae.
Christina Agapakis
Synthetic biology is frequently defined as the application of engineering design principles to biology. Such principles are intended to streamline the practice of biological engineering, to shorten the time required to design, build, and test synthetic gene networks. This streamlining of iterative design cycles can facilitate the future construction of biological systems for a range of applications in the production of fuels, foods, materials, and medicines. The promise of these potential applications as well as the emphasis on design has prompted critical reflection on synthetic biology from design theorists and practicing designers from many fields, who can bring valuable perspectives to the discipline. While interdisciplinary connections between biologists and engineers have built synthetic biology via the science and the technology of biology, interdisciplinary collaboration with artists, designers, and social theorists can provide insight on the connections between technology and society. Such collaborations can open up new avenues and new principles for research and design, as well as shed new light on the challenging context-dependence—both biological and social—that face living technologies at many scales. This review is inspired by the session titled "Design and Synthetic Biology: Connecting People and Technology" at Synthetic Biology 6.0 and covers a range of literature on design practice in synthetic biology and beyond. Critical engagement with how design is used to shape the discipline opens up new possibilities for how we might design the future of synthetic biology.
Fish tank
Fish on Wheels allows the aquatic occupant to move its contained environment around a space rather than remaining static.
Fantastic Forgeries
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Research
The artist
Jacob Jongert 1883 — 1942 was a Dutch graphic designer, illustrator and art teacher. He studied at the arts academy in Amsterdam and got his teaching degree in 1905. In the same period he assisted the artist Roland Holst with his monumental murals. He thought this to be the direction in arts that suited him best but he never really managed to master the exact right technique. He found a new inspiration in S.H. de Roos, a book designer and typographer who brought the Arts & Crafts ideas of William Morris[2] to the Netherlands. After experimenting with several printing techniques he discovered graphic design as his ideal art form. Nothing is more effective in reaching a large audience than the mass production of posters and packages. Jongert was also a very active member of the social democratic party which shows through in his work. Graphic design was a logical choice, as it has the largest distribution. Although in 1911 Roland Horst advised him to leave politics behind and concentrate on his profession, which he did. In the early 20s Kees van der Leeuwen hired Jongert to design products for Van Nelle such as packaging for coffee, tea and cigarettes. His work is characterised by a certain simplicity: the colours powerful, the shapes angular, yet his ornamental background notable. He was inspired by the modern German design he saw on the Werkbund exhibition in Koln. He is seen as one of the pioneers in graphic design as he was the first artist to be hired to design products for commercial purposes.
The era
Post WWI / Interbellum
Bauhaus
Constructivism
De Stijl
The object
- Coffee tin
- 1930
- 37cm x 41,5cm x 28cm
- Red, yellow, white, blue
- Silk-screened
- Bought in 1986 by Boijmans
- Primary colours
- Asymmetric composition
- Modern
- Sans-serif typeface
Typography
Sans serif type, designed by Jacob Jongert, only for Van Nelle
Out-of-context mapping class
Why interesting
- Impact first World War, De Stijl, Bauhaus, Constructivism
- Beginning advertising, first artist to design products for commercial purposes
- It's already a reproduction
- Difference between the value of the product then and now (a gulden—750 euros)
Technique
- Injection moulding
- Bending
- Folding
- Glass
- Laser cutting
- Make out of one piece
- Ceramics
- 3d Printing
Context
- Grandma's time capsule with cookies, knit works, cat hook(?) and a revolver.
- Trading/slavery, transport, economy, unesco
Compagnon
- A save
- Cigarettes
Web
Some screenshots of websites.
Imperfections
One of the most interesting things about the object, in my opinion, is the difference between its value then and now. Why would people pay 750 euros for it in 2014 when it used to be a worthless tin, given freely to sellers in the 20's? I found out people love it because of its scratches and dents; its imperfections. I thought this to be a very interesting and unique approach for my replica.
I associate those imperfections with pixels.
imperfections ≠ pixels
When you zoom in on the object you can easily see the pixels and therefore a whole range of colours.
The design used to be loved because it only had three colours (yellow, red and blue) and now it has a lot more.
The technique I thought to be perfect for showing the colour range and relief is:
2.5d printing
I'm now busy trying to get the artists Jannie Schmitz and Daan de Haan, who were the first to experiment with this relatively new technique, to answer some questions. And I'm trying to convince the company Océ that I should be the next person to experiment with the printer as I want to try it on different materials. In the meantime I will be experimenting myself in the FabLab to see how 3D printing small layers on metal will turn out.
First tests
While waiting for Océ and the artists to call me back (which of course won't happen) I did some tests. These are the first 3D models I've ever made, I used Maya which was a pain in the ***. I tried to get the 2.5d effect with the 3d printer but unfortunately that didn't really work out. First I lost the little square 'pixel' pieces on my way home and it just didn't look like I hoped it did.
So I had to think about another technique to show the imperfections/relief (= lasercutting)
Files for experimenting with the lasercutter.
The last one (on perspex) is the most aesthetic one in my opinion. And also the most relevant to my statement of the original object being worn out but super expensive. It now looks more modern and designy.
Files for lasercutting
front // back
sides
lid front // back
This approach was maybe be a bit too easy. So I thought of a way to generate the pixels in a more random way, just like it would if it actually was worn out. I wrote a code with a lot of help from openprocessing.org in processing which generates these pixels.
Projection mapping
Now maybe lasercutting the pixels was a bit weird, cause real damages are not fixated as well so I had to come up with a more natural way. Maybe something that damages the object everytime someone touches it. I thought of another way and came up with projection mapping. I now want to lasercut the 'clean' undamaged image on perspex still (cause thats the easiest to beam on) and then make an interactive installation with processing and an ipad e.g. where you can damage the object until theres only a glitched image left.
Now there had to be something that triggered the damaging process. In real life the damages are due to movement so I translated that movement to the movement of a human being detected by a Kinect. Also, it's still a piece of art, which you cannot touch. I got a Kinect at the rental and tried to get it to work which it didn't. Google told me I could fix it by replacing the libfreenect.0.1.2.dylib and libusb-1.0.0.dylib files with an older version because I'm using Mavericks. After a few days of errors Brigit helped me to get it to work with homebrew and the terminal, which was totally incomprehensible for me, but in the end it worked! Now I had the Kinect working but only the weekend left for me to find the right codes which is also beyond me so I'm trying to get help from several processing fora. I think I want to use madmapper and Syphon for the projection [3]
In the meantime I'm also lasercutting my replica from perspex.
Presentation
After some sleepless nights of programming and trying to get the kinect worked it finally did on monday night. Just in time for the presentation, I was insanely happy.
When the Kinect detects movement, it slowly generates pixels that evolve to a glitched image of the design of the object.
Summary
The thing I find the most interesting about the object is the difference between its value now and then. I asked around why people loved it so much they would pay 750 euros for it when it used to be given freely to distributers of coffee and tea. They told me it was because of its imperfections, because it damaged over the years. I really liked that approach. I translated those damages to digital damages, which are pixels and glitches. I decided to make the perfect copy out of perspex to give it a more modern and contemporary look. It maybe is one of the most used materials to lasercut but that has it's reasons, it looks super designy. I used projection mapping to beam those imperfections on it. Because the actual damages are also caused by movement, I used a kinect to detect human movement to trigger the damaging process. I think my project suits Digital Craft well because I have an interesting combination of analog en digital, new media and only used open source programs and codes.
Written statement
WHAT IS YOUR CRAFT? (DEFINE YOUR DISCIPLINE, METHOD OR APPROACH)
My craft is graphic design but I always try to take it a step further by using either a mix between analog/digital, or trying out new media/technologies. I always try to make as many tests as possible to get to surprising results.
WHAT ARE THE TOOLS AND MEDIA OF YOUR CRAFT?
Adobe Creative Suite, paper, pen, camera, processing, kinect, google.
WHAT ARE THE BORDERS OF THIS PRACTICE? (WHAT NEW MEDIA TECHNOLOGIES HAVE ARISEN / WHAT IS ITS FUTURE)
Since the rise of 3d printers and lasercutters there’s a lot more possibilities. Also by combining the digital and analog, as in Kinect or Arduino. People think the future may be the end of the need of graphic designers because it’s made very easy for laymen to DIY at home or give even more possibilities.
CONNECT TO A HISTORICAL DISCOURSE AND/OR GIVE CONCRETE EXAMPLES OF CONTEMPORARY PRACTITIONERS
For now, I don’t think I can give a concrete example of a contemporary practitioner. Just as when people just started to design with computers in the 90s, people are merely experimenting and not necessarily making ‘good’ or finished things. I think the idea of the craft going away is not realistic. People always tend to lose their minds when a new technology arises but the rise of computers didn’t kill graphic design either, so won’t this.
DEFINE YOUR POSITION OF YOUR PRACTICE IN RELATION TO NEWER TECHNOLOGIES.
As I was saying, I’m not afraid of this newer technologies but rather embrace them. I think the possibilities and innovations are endless and new things will pop up every time. I will always try to use these in my work and be unique.
How will the 3D printer and DIY culture influence the graphic design world?
In 1986, in his book ‘Engines of creation; the coming era of nanotechnology’, the American scientist Eric Dexler predicted a machine that could make everything by piling up elementary particles. He thought this machine to be in every household in 10 or 15 years. Anno 2014 it is indeed possible to print a product with a 3d modelling program and a 3d printer. This creates endless possibilities for several products, especially because it’s possible to print replicas. A 3D printer creates your design by constructing it layer by layer. This technique is still rather expensive and almost only used in the business world. Especially the medical, science and architecture world use these printers to easily shape their concepts. Nowadays the printer slowly comes closer to the art world. 3d printed paintings are sold and according to an article from NU.nl, a Dutch researcher and PhD from the Delft Technical University, Tim Zaman, reproduced two paintings from Rembrandt and one from Van Gogh that are indistinguishable from the original. He created scanning software, which can do this quite easily. How will this machine influence the art and design world?
The Dutch science show 'Wetenschap24' explains in their episode from 28-10-11 that there are already 10 million people in the world with 3d printed hearing devices. The market increases rapidly; the global sales were 2,2 billion dollars then and will have increased by 3,7 billion in 2015, according to Garner’s expectations. A lot of individuals own a 3d printer allready. Companies like 3D-systems or the Dutch Ultimaker sell cheaper printers, realized for the private individual. Worldwide, around 60.000 were sold in 2012 and if this goes on, this will eventually lead to mass production (just as with the Ford-T in the beginning of the 20th century).
Aswell, a kickstarter project is being developed on a pocket-sized 3D print pen. It’s called the LIX 3D Printing pen and the results are truly amazing. One can very easily draw in the air; it also uses a certain technique of melting and cooling down plastic. This way the machine will be available to do-it-yourself-ers and prosumers (professional + consumer, someone who becomes involved with designing or customizing products for their own needs). This leads to instruction videos and presets that are available to everyone. Everyone can design something and print it. This could lead to the the point where no professionals are needed in the art world. Just as the use of iPhones and open software endangers the need of professional photographers, everyone has access to a camera and a ’dark room’. Therefore, we might also have to come up with a new way of copyrighting. If you look at the music industry, where everything became freely downloadable because of the internet, people eventually quit trying to control everything but came up with new ways of sharing the rights like Creative Commons. Or concepts like Radiohead’s where you could pay whatever you thought the album was worthy of. But what designs will be able to get some kind of license, and what designs won’t mean a thing?
In the book ‘Everyone is a graphic designer in the age of social media’, Mieke Gerritzen describes a design utopia in which everyone is creative. Gerritzen says everyone designs. If everyone designs, the need for professionals increases. A counter argument for this is of course that you cannot learn to be creative. If everyone can build 3d objects, eventually the good, innovative and creative ones will stand out. Everyone can use paint and a canvas but only a few make paintings that are admired.
In the case of a short hype, if the 3d printer will continue to be unaffordable to the private individual, this won’t lead to mass production and only be used by hobbyists and companies. In this way there will be new shapes. In a survey done the 18th of december 2012, 43% of the responders think the 3d printer will have influence on the art world in some way. We now already see the easy replicas but also street art projects like ‘Mysterabbit’ from designer Ji Lee in 2013. He hid 10.000 3d printed small bunny statues in random places in the world as a public artwork. You can also download a blueprint of the bunny and print your own.
Another more economical reason is the fact that the field of a designer broadens. In this way, he or she can be of use in more areas. This leads to more potential jobs and clients. Like Thomas Frey predicted in 2012, there will be around 2 billion jobs gone in 2050 but I think there will be a lot of new ones instead. There will be a question for repairs, but also material distributors and designers. A lot of people think the future may mean the end of the need of designers cause it’s made very easy for laymen to do-it-yourself at home. Just as when people just started to design with the computer in the 90s, everybody thought it would be the end of craftsmanship. Nevertheless it still exists, there are even more possibilities and jobs compared to then. You could say that the 3d printer has a positive influence on the designer. He or she has a wider range of possibilities and could also help in areas that are relatively new to the designer, like the medical science or planning studies.
How the 3D printer will influence the design culture, depends on the growing need for 3D printers in the private individual world. Those possibilities can have both a positive as a negative effect; either new shapes or jobs will appear, or the need for professional designers will decrease, because everyone can design. I personally rather embrace newer technologies in design, but I’ll always stay wary of. History usually tells that changes in the art culture will lead to new possibilities. Only time will tell how great those changes will be. The thing I’m a bit skeptical about is the endless range of free templates and presets for laymen to, for example, build your own website. I was so let down after I finished writing almost all the code for my website, spending hours on it, and then seeing the new website of a friend of mine the week after, which was made in Tumblr in not even 5 minutes. And actually looked better than mine. But then again, they’ll never be able to create their own customized design.
SOURCES
Drexler, Eric. 1986. Engines of creation: the coming era of nanotechnology.
Kraan, Jeroen. 2013. Nederlander 3d-print werken van meesterschilders. [4]
Wetenschap 24. 2013). Doe-het-zelf: 3D-printen. [5]
Rivera, Janessa & van der Meulen, Rob. 2013) Gartner says worldwide shipments of 3D printers to grow 49 percent in 2013. [6]
Gerritzen, Mieke. 2001. Everyone is a graphic designer in the age of social media.
Dierckx, Lien. 2013. Resultaten enquête. [7]
Frey, Thomas. 2012. Dr Thomas Frey at Ci2012: "2 billion jobs to disappear by 2030." [8]
The Huffington Post. 2014. 14 Ways 3D printing has changed the art world. [9]
Michael Weinberg. 2013. What’s the deal with copyright and 3D printing? [10]
