Thursday, January 17, 2008

Flat or wrapped machines



All the parts of this sewing have been polished and nickel-plated. Every reference to hand making has been avoided, although this is the most labour-intensive work Marloes Ten Bhomer said she has ever made. The piece deals with the trust humans have in machines.



This next piece contrasts well with the polished sewing machine. Would the artist say that it contains references to a labour-intensive wrapping process? The artist motive for making this beer bar came from seeing a documentary on a meat-factory. This factory made one big piece of meat out of little pieces of meat by gluing it together. Afterwards it was being presented as one big rump steak.
"What I find very interesting about this is the way that people deal with information. Something is not what it seems to be - Marloes Ten Bhomer"

This work by artist Marloes Ten Bhomer stands as an example on how social and individual percepts can be taken for granted in everyday design. The artist usually revisits these percepts and sometimes codifies them into material form. Last year I gave a lecture on semiotic principles for practical design that takes in consideration the visual aesthetic production process from the perception, the conception, the inception and the reception of information. I see a lot of table top interfaces in interaction design. Their references should be made clearer. It would strengthen the definition and context of the project and clarify their research goals. I find the analysis of this process very useful to organize how social and individual percepts are codified into material form.

Posted by Cati Vaucelle
Architectradure

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1 comment:

J Crockett said...

I offer a critique of the relation you give via the artist, in that I see in the first piece "sanitize, mechanize the laborer," and in the second piece, which I see more at convergence to my critique, a distraction. The table top represents the base station of all professions involving the "making" of money, so it does make sense that researchers in the field and artists in relation to them will at best focus there, instead of focusing on extraneous accouterments such as the windows and the ceiling, which is the domain held by the artists; one might say the ulitmate limit for the research in question. Nothing new about that, yet less than zero oldness to it, either.