Craft mans

Evident throughout these short films is the growing similarities of a digital aesthetic. This is not perceived as a negative as many ‘Craft’ processes pocess certain aesthetic qualities due to the nature of the human element/interaction.

However Can or Should the term ‘Craft’ be used when describing the creative language of a robotic controlled process?

digital trend

All along with my study in digital crafting, I became more and more curious about the role that technology play in shifting human’s creative design process.

Although the digital aesthetic has become a main stream culture in digital age with the overwhelming worship of 3D-printing, is it really unavoidable as in the near future, everyone could have their own 3D-printer and everybody could be designer? Is it really as simple as it sounds?

Unlike typing a text on a computer or even editing the a photography, drawing the 3D object is not as straightforward. Even if the market is soon flooded with user-friendly design software for 3D printing, the question remains how many people would want to design and make their own items from scratch just because they can.

artists and participants

Although the crafting processes has been shifted by the growing powerful digital technology, and people are excited about, even indulge in the unprecedented liberation of human creativity, the question will be for what people that the growing up digital-tech has the possibilities? I believe that’s the difference between artists and participants.

For those who has a message to communicate, for those who want to engage a larger audience, the digital tech make a difference. They are the ‘ Hagaren’ who make the cold inhuman machine came to alive and bring meaning to the robotic controlled process.

Not every participant in this digital age can be an artist, artists are those who focus on the positive side of people, who trying to find the solutions. And not every adjustment and transformation in the robotic controlled process can contribute to the final communication between artifacts and audience. It must be done with human intelligence and social insight, isn’t it an other kind of crafting that is liberated from its physical boundary and explore deeper to the uncatchable humanity?

Cubics, c 1960, by Jan Slothouber & William Graatsma
A Void, 2014, by Janne Kyttanen
Unique Lattice Ribbon table in cast red bronze with poured white bronze., 2015, by David Wiseman

Reference

James, D. (2010). Crafting Digital Media. 1st ed. Berkeley, CA: Apress.

Shillito, A. (2013). Digital crafts. Industrial technologies for applied artists and designer makers. 1st ed. London: Bloomsbury Academic.

Warnier, C. (2014). Printing things. 1st ed. Berlin: Gestalten.

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