a pixelated garment made with vegetable tanned leather by Whitney Bai: http://whitneyyubai.com/
When I was reading Matt Ratto this week I couldn’t shake the feeling that I knew the name from somewhere. Was it some reading we had done earlier, a name mentioned in passing perhaps? No. I had come across the name while I was researching Brian Kane a few weeks ago before his guest lecture.
In my research I came across his and Catherine Andreozzi project where students made wearable technology with “an emotional appeal.” Maybe I’m just not getting the project, but I didn’t feel anything from the photos. The photos themselves lent themselves more to a high art crowd that it is completely devoid of human interaction or appeal–– it is intentionally trying to make itself sterile. For something that is supposed to connect both technology and humans, I found it to be a less than successful attempt, though the concept was an intriguing one.
More than that, Kane was in a publication created by Garnet Hertz all about Critical Making (with a sticker contribution in the back). However, this piece seems to be much more about Critical Design in the form it is presented to us than Making in that the purpose seems to be more about the creation of a narrative between critics than it is about bringing about change. I liked this definition by Tony Dunne:
“Critical design is related to haute couture, concept cars, design propaganda, and visions of the future, but its purpose is not to present the dreams of industry, attract new business, anticipate new trends or test the market. Its purpose is to stimulate discussion and debate amongst designers, industry and the public about the aesthetic quality of our electronically mediated existence.”
The artist is the Maker, of course, but when all we get is this photo presentation on a website, all I can think is that the ultimate goal was CD and not CM, because there is no discussion of the making, all we get is the finished product.
Dunne, A, & Raby, F. “Design Noir: The Secret Life of Electronic Objects.” Birkhäuser Basel, 2001.