DESIGN & DIGITAL NETWORK 

Webinar Unfold on Unfold
 Zagreb, 18/2/2020

Unfold on Film " a combmakers tale" & Expo at Z33
 26/jan 2021

Unfold x Digital Network
Design Museum Gent
22/märz 2021

Quotes:

"Investigating on Material Culture in Digital Era"

"We do not feel attracted of the idea of a designer almost in a patriarchic way coming to work with a craftsman and to work together and "solve" craft or open up a new economical model. "

"We collaborated together with a craftsman but not in the sense of making an object together". 

"Why do we value handmade objects but not the effort involved in the making? And why nobody wants to do that work anymore? "


"Handmade objects versus anonymous industrial made products.[...] At the same time nobody seems to be interested anymore in doing this work"

"The film is in part a documentary and in part a poetic speculative project. With the film we wanted to challange humankinds motives"


"Moravec`s paradox = is a paradox in informatica and robotica and computing. What is easy for a human, like screewing in a screw is hard for a robot and the other way around, the computer it is really easy calculate a million decimiles of Pi which for a human is very difficult..[..] "


"For us it is very important that the robot itself also became a narater itself in the film. So that we start to feel empathy with the robot."


"Next to the poetic movie there are interviews with specialists to contextualize the film and topic". 

"If we as humans do not want to preserve crafts, should a Robot save an age old craft?"

" Tanya Harrod : I think that idea of craft preserved in vinegar is a widespread kind of illusion. Craft has always adapted. At one point everything was craft, everything that was made, was not made in an industrial situation. It had to adapt, adapt or die"

"Our investigation between intersections between craftsmanship, technology and design."

"For us these installations (like L`artisan technologic or Via Binaari) are very narrative story tellers. They visualize and question a lot of things that we research and it is up to the visitor to form their answer and also raise their own questions to it."


"We often got the critic from a craft perspective. Why do you make something that is perfectely tactile and turn it into a kind of computer game.  ceramic makers, why we turn a craft that has developed over 1000 of years into a kind of computer game. In first hand it might look like a downgraded wheelthrowing. And kind of downgrade it...The idea of the L`artisan electronique kind of came out of the frustration of these 3-D designing programs and computer interfaces, and if you make a design on the computer, the interface of doing these is not different from our email, there is very limited connection between what the hand does and the object. The relation between the hand and the making is really broken and disconnected." 

"how can we make the digital medium kind of dirty and hands-on again? "

"

Quotes:

- "Investigating on Material Culture in Digital Era"

Thoughts:

- what is all included in "Material Culture? 

-how can a collaboration look like without having to end in an object or a materialistic outcome? 

- As a textile designer we often work like this, the designer draws the design and goes to the facotry (craftsman) and starts to materialise the idea. How can this process be more integrative? 

- Why do we value handmade textile more than for example industrial woven?

- Can we make industrial produced products less anonymous or is there a potential in the anonymousness? Nowadays nothing is anonymous anymore...can that be something nice that it is anonymous? 

- They made the movie with Alexandre Humbert, who did a series of "Object Interviews", telling a story of an object from the point of the object itself. Brings life into an inanimated object. 

- it is very interesting how they combine a poetic approach towards craftsmanship/robotica with an contextualizing approach, by interviewing specialists from the field of: Robotica, AI & Art specialists, Designer and Maker (Gareth Neal), Crafts Historian (Tanya Harrod).

- if you look at the quote of Tanya Harrod, does it mean something that is produced industrially can not be seen as a crafts object? Can we add artisinal touches and crafts-characteristics to an industrialize (maybe even digital) process? 

- maybe i should more rise questions about why do we need to produce our domestic textile or other clothing textiles here in Europe? why do we need to keep it here? Maybe i should also ask the question to the consumer? If they do not care, why should i care as a designer?


- can i look at textile from a "craft-perspective", from a "weavers-perspective", from a "farmers-perspective", from a "consumer-perspective"? --> can all these perspective be combined? is there a common ground within these perspectives? 


- this idea that the hand is disconnected in the industrial textile process, is this true? 

Thoughts:

- How to create frameworks within textiles?

Quotes:

" We see ourselves more as creators of frameworks rather than designers".

" How can the hands be visible in the movements of the machine?"

" We are more mediators"

"We research distributed manufacturing vers.centralized manufacturing"

"Its not only about how an objects i made or produced but also about the whole culture that surrounds an object"

Thoughts:

- Is there medium Collaboration? (like the medium of a textile designer is textile? ) What is there story telling?

- Distributed and centralized manufacturing!! --> very important aspect to research within textile production

- they created kind of a manufacturing network

- which are the classical traderoots of textiles? 

- which culture surrounds domestic textiles?

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