ATMOStags (en) -
tags :Â mobility; fabrication; data; capture; atmosphere; visualization; platform; network; metadata; design; nature; spatial enquiry is an open contest for the development of functional prototypes….
I’ve been coming across a lot of really interesting 3D Printing /Art projects lately - I’ll start reblogging some here.
Bear Bones Bikepacking: Project 'Proper Shopper' ... Finished. -
I scanned some off play-doh this morning (before throwing it out) in order to test 123D Catch with a small object. Despite focusing in quite tightly on the lump, the scan took in most of the room… badly. I used MeshEdit to trim away the wobbly room bits and KeyShot to render the object. The results aren’t to bad.
The following took place within the bounds of an art project set up by RADAR between Cécile B. Evans and Loughborough University Design School. This write-up describes the process of creating three art objects, using different media: CAD, digital imaging, 3D printing and model-making/hand-finishing. This is offered as a record of the making process and as instruction or inspiration to those wanting to carry out similar work (specifically working with the ZCorp machine), within the University or beyond.
Cécile was commissioned by RADAR to create an artwork inspired by the Real-Lives research project carried out within the School of Design. One hundred people were interviewed as part of the project in order to create a database of responses to the question: ‘What are your 3 favourite possessions?’. The participants were videoed describing the reason for their three choices, creating an archive of responses. Cécile used the interviews as inspiration for the art works: Through a process of discussion and reflection, three objects were selected from the broad range of research participant choices. At the same time, an aesthetic for the objects was chosen by Cécile. The objects chosen as representative of the research were a Comb, a Screwdriver, and a pair of Scissors. A ‘Horn’ surface texture was chosen for the parts of the objects that would naturally come into contact with the users hand, inspired by materials present in the Real-Lives data-set.
The three objects were to be 3D printed using one of the Universities ZCorp Z650 full-colour 3D printers. These Additive Manufacture (AM) machines use white clay powder and binder to create 3D objects layer by layer. As the printer deposits the clay and binder for a layer, a second ink-jet print head deposits coloured ink around the layer’s edge. Layer by layer a colour texture is created on the exterior of the 3D model recreating whatever images was mapped or painted onto its surface.
The three objects (Comb, Screwdriver, Scissors) were modelled digitally in CAD software. It was possible to model the comb and screwdriver entirely in PTC Creo, but the scissors - due to their complex curved handles - needed to be created in Rhino surface modelling software. Once modelled, the scissors were imported into Creo, and the blades modelled and assembled. It should be noted that importing the surface data for the handles from Rhino (.STEP file format) into Creo did not result in solid parts. A process of trying different settings was required in order to force Creo to generate solid data. Google and YouTube helped here. Once assembled the objects were exported as .STL mesh 3D data. Creo allows for a high degree of control over the resolution of the mesh data: an important consideration when 3D printing.
Whilst the CAD modelling was taking place, Cécile created imagery for the colour texture that would be applied to the three different models. Two of the images were to be mapped onto the objects in a planar fashion. The cylindrical handle of the screwdriver required the texture to be wrapped around the handle. In order to eliminate a visible seam where the two edges of the texture would meet, the texture was offset (Photoshop > Filter > Other > Offset - plenty of youtube tutorials about this) and the mismatched edge worked on until it disappears. When applied to a cylindrical object using cylindrical mapping, the modified texture wraps seamlessly around the objects.
Texture mapping was carried out in Rhino. Each .STL object was imported individual and mapping parameters created. A custom material was created and applied (drag and drop from material editor to part on screen) to the object. Cécile directed the exact positioning of the texture onto the models in order to make sure certain aspects of the texture were present of the desired surfaces. This was achieved by changing X and Y mapping co-ordinates and rotation around the centre of the mapped image. For the blade of the screwdriver and the scissor blades, no mapping coordinates were required. A simple grey (slightly blue also) material was created to represent metal, and applied to the metal parts. Once material mapping was complete, the object were exported as VRML (.wrl) files. Rhino’s default setting were kept. It is important to note that when opening the .wrl file in another program, the bitmap image file of the texture mapped onto the object must be in the same folder as the .wrl file. If not, the program is unlikely to be able to find the associated image file and apply it. As a final check, the .wrl files were reopened in Rhino and MeshEdit (OSX) to see if the texture mapping worked.
The .wrl files were then opened in the ZCorp machine’s proprietary software. The objects were virtually assembled onto the 3D printers build platform ready for printing. Some of the texture data showed as greyed out on the screen, but a simple process of saving the .wrl files in the native Zcorp file format cured this problem. The parts were then sent (the equivalent of pressing Ctrl + P Print on your desktop computer) to be printed on (in?) the Z650 3D printer. The print was left running over night in order to be collected the next morning.
Once the print has finished, the ZCorp machine enters a drying mode for around 1 hour to make sure the binding agent has cured. Finished parts are extracted from the 3D printer build chamber by vacuuming and brushing away excess build powder, in much the same way as an archaeologists extracts buried artefacts from the ground. We found that delicate parts needed to be left curing for longer than the one hour period. Parts left over night felt much stronger. The scissors, due to their design, had inherent stress raisers where the handles met the blades. These broke shortly after removal from the ZCorp machine. However, we were able to superglue these back in place. Once hardened, the super-glue strengthened the joint considerable as it soaked into the porous material.
Cécile chose a wax coating as the surface finish for the objects. As well as providing the desired surface finish, the wax also increased the contrast of the colours printed onto the surface of the objects. 3kg of wax was heated to a temperature of 85 Deg C in a baking tray large enough to totally submerge the objects. A mesh tray was used to lower the objects safely into the liquid wax. When submerged, the 3D printed parts fizz as wax replaces air in the objects micro-porous structure. This is quite disconcerting - you think the object is dissolving! - they were not. The objets were lifted out of the liquid wax once the majority of the bubbling had stopped. The wax coating did increase the richness of the coloured surface; greatly improving contrast. The super-glued joint, which had dried a slightly milky colour, almost disappeared once waxed.
The objects were allowed to cool and excess wax was removed by heating the surface with a hair-drier and dabbing away the excess liquid wax with kitchen towel. The wax infused models felt noticeably heavier than the pre-treated models, and also perhaps a little stronger. Mounting holes were drilled into some of the models which revealed that the wax had perpetrated deep into the model.
Th final models can be seen displayed at the Wysing Gallery until the end of March (2014).
(14-02-25 - 15:01) v1.1
I made some art pieces with Cécile B. Evans. They are on show at the Wysing Gallery until the end of March. I’ll post a kind of instructable about how we achieved this shortly.
The above image is taken from the Wysing Gallery Web site.
Choice and the Machine -
“Choice manifests itself in society in small increments and moment-to-moment decisions as well as in loud dramatic struggles; and he who does not see choice in the development of the machine merely betrays his incapacity to observe cumulative effects until they are bunched together so closely th February 20, 2014 at 08:55PM
FMF - Friends of Minerals Forum, discussion and message board -
Check out the pictures.
Yesterday I attended a day of seminars and workshops called Bees in a Tin in Birmingham. The organisers brought together artist and designer who’s work explores interactions with physical objects. Games designers, geologists, hardware hackers and artists spoke at the event.
Highlight of the day for me was Holly Gramazio’s talk about her work designing games for public spaces. Holly’s talk Games in places; Places in Games, critiqued some of her work, as well as that of others, in terms of what worked and why. Holly only had a 10 minutes slot but she packed a lot in - all of it clearly very well thought out. The following attributes were offered useful considerations when designing successful and engaging large scale interactions.
Familiarity: people in public spaces are quite often short on time. If you want to maximise the chance that they will engage with your game, familiar modes of interaction creates an immediacy that (she used the example of ping-pong tables in parks) can draw people in and encourage play.
Multi-purpose: if an activity offers a useful function and and opportunity for play, then this can encourage interaction. She used a wonderful example of a slide installed on a flight of steps leading down from the entrance of a train station. Genius! Playing With Scale: Holly explained that works that did this were universally popular - although she didn’t know why…
Swings: Always popular - Put a swing somewhere and people will use it…
Holly described a further set of attributes for successful interactions - the descriptions are my interpretations so sorry if I haven’t understood them correctly.
Deniability: If you present and interaction which allows the user to play in a stealthy manner without drawing attention to themselves, (the may be self conscious being seen playing in public), then the interaction will tempt more people than just extroverts.
Secrecy: Very similar to the above I think: Stealthy play - nobody need know you are playing a game.
Un-childlike: If you want to engage adults, presenting interactions in ways that do not seem childish can increase likelihood of play. I guess swings are the exception to this rule.
Touch, Responsiveness, bright colour, and photo opportunity were described as other seductive interactions, but due to the shortness of the presentation, these really weren’t elaborated on to much - however, they are fairly self-explanatory.
In summing up, Holly made the great point that, in order for users to be able to interact with counter intuitive interfaces, they need to at least have an understanding of the underlying principle of interaction.
Other speakers included a photographer who organises walks in Birmingham for people to take photographs. The photographer was trying to work out what he was doing by facilitating the Photo-Walks: ‘is it art?’ he asked. I wanted to ask why it mattered but didn’t get a chance. I also wanted to explain the it was through photography and photo walks that I learnt how to look around and notice more, and it’s reductive effect on my photography - I see more so don’t feel the need to use a camera very often.
The geologic unsurprisingly gave a talk about rocks, but I admit that I zoned out a bit and did some sketching during that one. I did look up at one point to see that she was showing arial photographs of desert landscapes that looked like Drone footage from Afghanistan. Except she wasn’t. The images were coming from a camera she had mounted to a microscope on the desk in front of her. The desert landscapes were microscopic slithers of rock magnified thousands of times. I still expected to see the screen white out and an explosion at any second though. Another speaker gave a presentation in which she made the point that Facebook was like disco, and twitter was more anarchic and therefor like punk. Amusingly, myspace was compared with prog-rock. I wanted to ask about sub-cultures and if they were still possible in the social media era, but didn’t.
The keynote speaker was Sarah Angiss, a multi-instrumentalist, roboticist and theremin player. Sarah was introduced as having a particular interest in Coupling, which was described as what happens between user interaction and the resulting output. This piqued my (research) interest, but it wasn’t elaborated on. Sarah’s presentation was fascinating, but it was the little incidental points about interactions that resonated most. She talked about how some members of the audience never make the connection between her performance playing a theremin and the music they were hearing. Because she was not touching anything, the connection wasn’t made. Once she understood this, she would act out tuning the theremin (not necessary) on stage before each performance to relate gesture and sound - priming the audience.
Bitcoin security model: trust by computation -
Bitcoin is a distributed consensus network that maintains a secure and trusted distributed ledger through a process called “proof-of-work.” Bitcoin fundamentally inverts the trust mechanism of a distributed system. February 21, 2014 at 07:44PM
I'll Send an OS to the World: "Her" as Critical Design for the Electronic Embrace -
A few years ago, I interviewed for a position at a so-called “innovation consultancy.” At the time, they were collaborating with a mobile phone operator to understand what was driving growth in the telecommunications business. February 17, 2014 at 02:35PM
Information for the World from Outer Space -
What Problem is Outernet Solving? There are more WiFi devices in the world than people, yet only 60% of the global population has access to the wealth of knowledge found on the Internet. February 17, 2014 at 11:30PM
Amazing Sci-Fi Paintings by simonstalenhag
I used to love this kind of thing when I was a kid - Later started to think about it as the Technological Sublime. To my mind, Simon’s images are of our time in the same way and good sci-fi is - they question and play with notions of technological progress. All of the ‘Grand Schemes’ portrayed seem to be in ruin; the robots are presented as machines - not our friends. Old technology is presented as trustworthy, reliable, safe. This is a seductive image of the future to anybody born in the 70’s or early 80’s… but is it deelpy conservative? I struggle with this.
This retro-future aesthetic is something that I have only just become aware of as a thing. Actually, that isn’t true - pop on a Boards of Canada album and spend 40 minutes drifting through Simon’s website. You’ll get the picture, but probably only if you were born in the 70s.
FYI: I owned a Mk2 Polo from 1990 to 2000 and I would never want to own any other car. I secretly believe that all of the cars in Simon’s paintings are retrofitted with clean-tech drive systems. Then everything will be ok. Everything is ok.