The Material Sample Management Tool is a label generator and database to support creative communities in documenting and sharing material experiments. It was designed around the idea of collaboratively building an archive of alternative design materials with an emphasis on materials that are easily renewable, reusable, (home) compostable within 90 days, locally abundant and make use of local waste streams. The open-source tool, which functions as a collaborative archive as well as label generator to help showcase material experiments, was developed to help any community of creatives (especially students) share them with peers online and offline, and showcase them the physical material wall in their shared workspaces, studios and tool shops.The “Material Sample Management Tool” was developed in 2020-2021 by AUAS computer engineering students Alec Wouda, Sam Overheul, Kostas Mylothridis, Mitchell de Vries and Jarno van der Velde, with wonderful guidance from Okechukwu Onwunli and the teaching team of the Enterprise Web Applications semester course.Entries into the material archive are produced by students in several courses at AUAS.This tool is part of a larger material archiving project funded by NWO by means of a Comenius Teaching Fellowship awarded to senior lecturer and researcher Loes Bogers. In close collaboration with Textile Lab Amsterdam at Waag, a dedicated project team consisting of design educators, researchers and partners at Waag will develop archiving tools for sharing research into sustainable design materials in higher education. The project is inspired by, and a continuation of the Material Archive developed at Waag by Cecilia Raspanti, Maria Viftrup and other (2017-2019). The project will run until January 2022.The project is further supported by the AUAS learning community on Critical Making and Research through Design: a partnership between the Amsterdam Fashion Institute and various research groups at the Amsterdam University of Applied Sciences: Fashion Research & Technology Visual Methodologies Collective Play and Civic MediaCC BY-NC-SA 4.0 (Attribution-NonCommercial-ShareAlike 4.0)
LINK
Archives are, more than ever, organizational and technological constructs, based on organizational demands, desires, and considerations influencing configuration, management, appraisal, and preservation. For that reason, they are, more than ever, distortions of reality, offering biased (and/or manipulated) images of the past and present an extremely simplified mirror of social reality. The information objects within that archive are (again: more than ever), fragile, manipulable, of disputable provenance, doubtful context, and uncertain quality. Their authenticity is in jeopardy.The “Allure of Digital Archives” will be more about finding knowledge about the archive as a whole than about finding knowledge hidden in the information objects that are its constituents. It will be about determining the value of a digital archive as a “trusted” resource for historical research. To be successful in that endeavour, it will be necessary to assess the possibility to “reconstruct the past” of the digital archive. That assessment would allow historians to understand quality, provenance, context, content, and accessibility of the digital archive, not only in its design stage but also in its life cycle.In this chapter, I present the theoretical framework of the “Archive–as–Is” as an instrument for such an assessment. It is possible for historians to use this framework as a declarative model for the way archives have been designed, configured, managed, and maintained. It will allow historians to understand why archives are as they are, and why records are part of it (or not). Using the framework, historians can determine the research value of a digital archive as a historical resource.
DOCUMENT
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
Under the umbrella of artistic sustenance, I question the life of materials, subjective value structures, and working conditions underlying exhibition making through three interconnected areas of inquiry: Material Life and Ecological Impact — how to avoid the accumulation of physical materials/storage after exhibitions? I aim to highlight the provenance and afterlife of exhibition materials in my practice, seeking economic and ecological alternatives to traditional practices through sustainable solutions like borrowing, reselling, and alternative storage methods that could transform exhibition material handling and thoughts on material storage and circulation. Value Systems and Economic Conditions —what do we mean when we talk about 'value' in relation to art? By examining the flow of financial value in contemporary art and addressing the subjectivity of worth in art-making and artists' livelihoods, I question traditional notions of sculptural skill while advocating for recognition of conceptual labour. The research considers how artists might be compensated for the elegance of thought rather than just material output. Text as Archive and Speculation— how can text can store, speculate, and circulate the invisible labour and layers of exhibition making? Through titles, material lists, and exhibition texts, I explore writing's potential to uncover latent structures and document invisible labor, considering text both as an archiving method and a tool for speculating about future exhibitions. Using personal practice as a case study, ‘Conditions for Raw Materials’ seeks to question notions of value in contemporary art, develop alternative economic models, and make visible the material, financial, and relational flows within exhibitions. The research will manifest through international exhibitions, a book combining poetic auto-theoretical reflection with exhibition speculation, new teaching formats, and long-term investigations. Following “sticky relations," of intimacy, economy and conditions, each exhibition serves as a case study exploring exhibition making from emotional, ecological, and economic perspectives.
In het project 'Data-Wood' willen projectpartners Fijnhout, Nijboer en Konijn samen met de Hogeschool van Amsterdam (HvA) de digitale opname van resthout onderzoeken met behulp van een industriële 6-assige robot voorzien van diverse grijpers en / of sensoren. Het onderzoek draagt bij aan de ontwikkeling van robotproductie met circulair hout (restanten of gebruikt). Uit eerdere projecten is duidelijk geworden dat het automatiseren van het proces voor het scannen, hanteren en identificeren van eigenschappen van stukken hout (van ongelijk grootte en type) een essentiële stap is op weg naar het gebruik ervan voor beoogde toepassingen. Zonder deze automatisering is de ontvangst van hout te arbeidsintensief om het gebruik ervan voor circulaire toepassingen te rechtvaardigen. Het onderzoek wordt uitgevoerd door de HvA Urban Technology Digital Production Research Group (DPRG), samen met bovengenoemde partners, die leveranciers zijn van resthout (Fijnhout, Konijn) en houtverwerkende industrie (Nijboer, Konijn). De resultaten van het onderzoek zullen een volledig geautomatiseerd proces zijn voor de ontvangst van resthout in een houtwerkfabriek, met behulp van een industriële robot, een 3D-scanner, een camera en specifieke gereedschappen voor het oppakken en wegen van het stuk hout. Hiervoor wordt een algoritme ontwikkeld en getest in een softwareoplossing. Het project leert de partners hoe hun materialen efficiënt kunnen worden gescand en gearchiveerd voor later gebruik in hout productie processen. Dit opent nieuwe toepassingen voor hun materialen, die anders zouden worden verbrand. Geautomatiseerde inname zal nieuwe, economisch levensvatbare toepassingen voor houtafval creëren. Bovendien leren de projectpartners via Data-Wood hoe ze 6-assige robots kunnen toepassen in hun productieprocessen. Het project is een belangrijke stap in de richting van industriële 3D-robotproductie met niet-standaard restmaterialen, die bijdraagt aan de ontwikkeling van ‘smart industry’ en de circulaire economie, beide relevant voor de maatschappelijke uitdagingen zoals vastgelegd in de nationale Kennis- en Innovatie-Agenda’s voor wetenschap en technologie.
