jeepsies

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RGB

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I’m using the three base-colors of the computer: Red, Green, Blue: RGB

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2D of 3D? ding of non-ding? 

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This Is What People Thought Of The Internet In The 1980s And 1990s

WWWTXT (1980-94)@wwwtxt

This is my first time on the Internet. Any replies with pointers on how to get around would be appreciated. 94APR

4:07 PM - Oct 7, 2013

57

77 people are talking about this

(https://www.huffingtonpost.com/2013/10/14/1980s-internet_n_4085953.html)

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2D or 3D?

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Wat is 2D, wat is 3D? Wat is virtueel, wat is realiteit?

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Grid patterns made on photoshop projected on the female body. Mixing digital & physical. It looks likes clothing but actually it’s a non-product in a non-space.

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Digitalisering

‘Most people still cling to what I call the rearview-mirror(achteruitkijkspiegel) view of their world. By this I mean to say that because of the invisibility .of any environment during the period of its innovation, man is only consciously aware of the environment that has preceded(voorafgaand) it; in other words, an environment becomes fully visible only when it has been superseded(vervangen) by a new environment; thus we are always one step behind in our view of the world.’

-Marshall McLuhan

Door de digitalisering veranderd onze verhouding tot de dingen en onszelf.

Digitale voorwerpen zijn niet van elkaar te onderscheiden, de voorraad is oneindig en ze verslijten niet. Dingen op de computer zijn non-dingen.(Vilém Flusser)

De digitale wereld is een ‘non-ruimte’, we brengen er steeds meer tijd door. Dit is een verlengstuk van de gewone wereld.

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BALENCIAGA 3D SCANNING AND 3D PRINTING FOR LUXURY FASHION IN AW 2018 COLLECTION

Balenciaga creative director Demna Gvasalia is using 3D printing for high fashion. The results are nearly seamless jackets that form part of Balenciaga’s Autumn/Winter 2018 collection.

Gvasalia took 3D scans of his models’ bodies and then adjusted the body scans in a CAD program to achieve the “tailoring” he desired. The scans were then 3D printed, molded and cast with a lightweight foam. Tweeds and velvets were then bonded to the foam to create the finished jacket.

Haute Couture and additive manufacturing

Speaking to Vogue Gvasalia said “For the first time, I did digital fittings on a laptop. We 3D scanned bodies and then we altered the shapes in files, 3D printed them, and actually made molds. The tailoring part that you see is all printed. There are only two seams on the side and the arm hole”.

The jackets follow a wave of fashion houses in 2018 using 3D printing to innovate their collections and shows. Gucci raised attention in its own Autumn/Winter 2018 show by having models carry 3D printed replicas of their own heads down the catwalk.

But it was back in 2011 that 3D printing for fashion began to ascend, with a Haute Couture runway show at that year’s Materialise World Summit. During that event, work by Iris van Herpen, Elvis Pompilio, Daniel Widrig and Niccolo Casas was shown. Since then the melding of artistic design and technology has proved a popular addition to many other 3D printing events.

Realizing the potential of 3D printing

For Gvasalia the the potential of 3D printing to innovate tailoring is only beginning to be realized, in an i-D magazine interview he said “For me, it represents what I love about tailoring and what Balenciaga stands for in terms of architectural garments. We started quite artisanally, then worked with 3D scanning body moulding specialists — we worked with people who aren’t used to working in fashion. I hope it’s the beginning of a long collaboration”.

Gvasalia’s Autumn/Winter collection for Balenciaga is shortlisted for a 2018 3D Printing Industry Award in the 3D Scanning Project or Application of the year category. You can vote now in the 2018 3D Printing Industry Awards.

(bron: https://3dprintingindustry.com/news/balenciaga-3d-printing-fashion-130162/)

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Das Leben am Haverkamp gaat terug naar de basis

Met 2D-silhouetten en halfnaakte modellen bevragen zij de functie van mode

Want wat is kleding als je de functionaliteit ervan wegneemt? Een schijnbaar lukraak van de straat geplukte groep mensen toonde, slechts gehuld in een witte slip en sokken, de 2D-creaties voor hun lichaam. De plastic silhouetten waren grotendeels doorzichtig met her en der felgekleurde omlijning om duidelijk te maken om welke kledingstukken het ging: van trenchcoats tot een zilveren bomberjack en van badpakken tot jarretels en een kabeltrui.

Het doel van zo’n kunstzinnige collectie? Het collectief ontdoet kleding van haar functie en bevraagt daarmee de noodzaak van functionaliteit. Mode wordt ingezet voor het uitdragen van hun artistieke visie. Draagbaar is het niet, bijzonder des te meer.

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‘An incredibly wonderful, iconic and sexy suit by Gaultier. The fabric is a cotton silk blend, very light and it feels like heaven to the touch. Gaultier named his Spring Summer collection of 1996 "Cyberbaba" but this suit is also known as "body map" as well. ‘

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Jean-paul gaultier S/S 1996 (mijn geboortejaar!)

‘Collaged computer imagery is wittily used in this collection. The shirt (left) is printed photographically with the image of a nude male torso. In the skirt and top (below) digital patterns are contrasted with photographic realism.

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‘Digital technologies have had, and continue to have, a profound effect on contemporary art and culture. Born out of the electronic revolution, the globalization of mass media and the internet, digital culture holds even more potential for societal change than television and radio once did. Whereas television and radio are broadcast media and provide only oneway communication, the internet offers the opportunity of interacting with others and allows acces to a far greater range of information. We are at a time of unprecedented growth and innovation in the world of digital technologies, and the place of digital media in contemporary society and in our daily lives had been firmly established.

Contemporary artists are using the internet as a new art medium and adopting digital tools and techniques as part of their creative process. The computer has enabled artists to create works, and new types of work, never before possible: intricate images that could not be created by hand; sculptures formed in three-dimensional databases rather than in stone or metal; interactive installations that involve internet participation from around the globe; and virtual worlds within which artificial life forms live and die.

As the boundaries of digital art expanded during the mid-1990s, museums began to take a serious interest in its development. Significant exhibitions of digital art have been held in recent years, showing its increasingly widespread acceptance throughout the contemporary art community. In addition, museums and galeries are bringing their collections of traditional art online, making them easily accessible. As a result, the role and presence of art in society is undergoing considerable change and growth. The art in society is undergoing considerable change and growth. The art experience extends now to homes, cybercafes and any pubic or private space where there is internet access or a local area network.

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‘De toekomst is digitaal’

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‘[...]’modern’ life, life surrounded by things, is not the absolute paradise our ancestors perhaps thought it might be. Many non-Western societies in the Third World have good reason to reject it. If our children too are starting to reject it, this is not necessarily reason for despair. On the contrary, we must try and imagine this new life surrounded by non-things.

Admittedly, this is no easy task. This new human being in the process of being born all around us and within us is in fact without hands. He does not handle things anymore, so in his case one cannot speak of action anymore. Nor of practice, nor of work for that matter. The only things left of his hands are the tips of his fingers, which he uses to tap on keys so as to play with symbols. The new human being is not a man of action anymore but a player: homo ludens as opposed to homo faber. Life is no longer a drama for him but a performance. It is no longer a question of action but of sensation. The new human being does not wish to do or to have but to experience. He wishes to experience, to know and, above all, to enjoy. As he is no longer concerned with things, he has no problems. Instead he has programs.’

‘Geabsorbeerd door onze interacties met en via de computer verdwijnt de wereld van de tastbare dingen naar de achtegrond. Dit was bij media als boek en televisie ook al het geval, maar deze namen slechts in abnormale mate onze aandacht in beslag. De digitale wereld is een plaats waar een deel van ons leven zich daadwerkelijk afspeelt. We zouden Flussers redenering kunnen uitbreiden door te verwijzen naar de omgeving waarin we verblijven terwijl we gebruik maken van computers of aanverwante apparatuur als ‘non-ruimte’.

Dit artikel beschrijft precies wat ik vind van de digitale wereld. Het is er. En het gaat niet weg. Het is onze realiteit. Dus kunnen we het beste gaan nadenken hoe we ermee omgaan. Analyseren wat we ermee willen. Het is de toekomst.

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computerstructuren manipuleren om een esthetische doel te bereiken: het licht-donker schema. Tijdsgeest 1969, dus dat zal in die tijd heel bijzonder zijn geweest. Computers bestonden net pas

( ‘In 1938 bouwde de Duitse fysicus Konrad Zuse de eerste computer, de Z1.’’ Door de Tweede Wereldoorlog kreeg de ontwikkeling van computers een snelle vlucht. ‘(bron: wikipedia))

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Dit werk inspireerde mij om verder te gaan met het thema 2D/3D en digitaal, het werkte heel vervreemdend en het was fascinerend!!