Speaker 1: Brought to you by Toyota. Let's go places. Welcome to
Speaker 1: Forward Thinking. Hey everyone, and welcome to Forward Thinking, the
Speaker 1: podcast that looks at the future and says into the
Speaker 1: blue again after the money's gone. I'm Jonathan Strickland, I'm
Speaker 1: Lauren Balca, and I'm Joe Reform. So, uh, you know,
Speaker 1: I think it's been about fifteen minutes since we talked
Speaker 1: about three D printers. So guess what we're gonna do
Speaker 1: today talk about three D printers, but in a different
Speaker 1: way than we ever have before. Right, We're not just
Speaker 1: talking about how they could be transformative for multiple industries.
Speaker 1: We're really focusing in on this episode, right, right, we
Speaker 1: wanted to talk about three D printers and art. So
Speaker 1: this week's video is about the future of art generally.
Speaker 1: And one of the most interesting ways that the future
Speaker 1: of technology is already influencing and we'll continue to influence
Speaker 1: the future of art is digital fabrication in general and
Speaker 1: three D printing specifically. Right, So, now we have this
Speaker 1: ability to have a machine to uh, to create three
Speaker 1: dimensional objects layer by layer, something that makes it, you know,
Speaker 1: relatively simple to build relatively complex objects. It's something where
Speaker 1: you know, with the additive manufacturing approach. We often say
Speaker 1: this is different from subtractive manufacturing, where you have to
Speaker 1: cut away or carve away material until you get what
Speaker 1: you want. Well, that's the basis for things like sculpture.
Speaker 1: Right where you're you're taking, for at least some forms
Speaker 1: of sculpture, where you're taking some raw material and cutting
Speaker 1: away stuff until you are left with whatever the artist
Speaker 1: has envisioned within that that block. Oh stuff. And if
Speaker 1: you're taking this other approach where you're building from the
Speaker 1: ground up, where's the place? And art doesn't have a
Speaker 1: place in art. That's the fact that it's a three
Speaker 1: D printer make mean that it shouldn't be an art. Ever,
Speaker 1: I would argue that that the three D printers and
Speaker 1: art tool and that I mean the same same way
Speaker 1: that you're still using your learned skill and talent and
Speaker 1: imagination in order to create a sculpture in the traditional way.
Speaker 1: Oh you are some sort of free thinking radical. Yeah,
Speaker 1: hold on, let me play the the angry person who
Speaker 1: wants things to be how they've always been. Okay, I
Speaker 1: want things to be how they've always been. Jists are
Speaker 1: supposed to you know, when you make a sculpture you're
Speaker 1: supposed to hit a piece of rock with a piece
Speaker 1: of metal until you can see a face in it,
Speaker 1: and then you're supposed to wait a few thousand years
Speaker 1: until it has no arms and it's maybe it's head
Speaker 1: breaks off, or maybe people decide to remove certain parts
Speaker 1: because it no longer fits their aesthetic and they think
Speaker 1: that the naughty bits have got to go. Yeah, that
Speaker 1: could be one thing. Yeah, that that's how it should be.
Speaker 1: I don't like the idea of using machines and computers
Speaker 1: to make art. It just seems wrong because technology has
Speaker 1: never been part of art in the past, has it. Well, Joe,
Speaker 1: that's an fairly different podcast. Let's focus specifically on three
Speaker 1: D printers, shall we. Okay, Well, come on, how can
Speaker 1: you got to sell me on this idea. How can
Speaker 1: something that's made by a machine still be a human
Speaker 1: work of art? Well, a human is still designing the artwork.
Speaker 1: The machine didn't come up with the way that this
Speaker 1: thing looks all by itself. You still have to tell
Speaker 1: it what to print out. I mean, so it's it's
Speaker 1: just instead of instead of taking away all the parts
Speaker 1: of the block of granite that don't look like David,
Speaker 1: you're really just adding in all the parts that do
Speaker 1: look like David. Yeah. So, so, Joe, let me ask
Speaker 1: you a question. Okay, Uh, if I were to hand
Speaker 1: you a a tight manuscript, are printed manuscript of a
Speaker 1: novel I had written, would you argue that the printer
Speaker 1: in fact was the device that wrote that piece of work?
Speaker 1: Are you asking me? Are you asking the angry guy
Speaker 1: who wants things to be how they've always been? Well, okay, yeah,
Speaker 1: even the angry guy who wants things to be how
Speaker 1: they've always been is institute e printing by now and
Speaker 1: sees that as a perfectly valid way of producing a
Speaker 1: work of fiction. Say so. In other words, this three
Speaker 1: D printer, while it's creating a three dimensional object, it is,
Speaker 1: like you were saying, Lauren, it is a manifestation of
Speaker 1: a design that a human has created. It still requires
Speaker 1: artistry and skill to create these virtual models that eventually
Speaker 1: get printed into three dimensions, skill which perhaps not angry Joe,
Speaker 1: but regular Joe is certainly aware of from recent times
Speaker 1: of trying to play around with a three D printer
Speaker 1: and getting it to do your well, oh yeah, it's
Speaker 1: maybe not as easy as you would guess, right, And
Speaker 1: that's just printing. You know, some some fairly basic shapes
Speaker 1: that you have altered in tiny ways. Imagine creating an
Speaker 1: entire shape from scratch that you are just you have
Speaker 1: envisioned what this thing is going to look like once
Speaker 1: it is eventually completed, and then making sure you're working
Speaker 1: within the parameters of the three D printers abilities you know, capacity. Yeah,
Speaker 1: some three D printers don't have very high resolution, so
Speaker 1: that means you're limited in the shapes you can make,
Speaker 1: uh without having some sort of jagged edge to them. Now, granted,
Speaker 1: you could also incorporate jagged edges into your design. That
Speaker 1: might be part of the effect you're going for. Okay,
Speaker 1: So in any case, the creativity is still coming from
Speaker 1: the person. Three D printer is just a tool. It's
Speaker 1: sort of like a chisel, except it's a very advanced chisel.
Speaker 1: It's actually kind of an anti chisel because you don't
Speaker 1: have to cut anything away. Well exactly. Yeah. Um, so okay,
Speaker 1: maybe let's say I'm the angry guy who wants it
Speaker 1: to be how it's always been, and you've convinced me
Speaker 1: this far, I say, okay, okay, maybe it could be
Speaker 1: just as good as as a regular sculpture, you know,
Speaker 1: a chisel the old school way. Are there anyways that
Speaker 1: three D printing or that computer aided fabrication might actually
Speaker 1: allow us to do things that you couldn't do before.
Speaker 1: I came up with this example just off the top
Speaker 1: of my head, and really the more I think about,
Speaker 1: the more I really would love to see someone implement this.
Speaker 1: I personally, I think it has been awesome. And maybe
Speaker 1: maybe it's even possible that I have seen this thing
Speaker 1: and I just don't remember it, and that therefore it
Speaker 1: feels like I've come up with an idea. But really
Speaker 1: I'm just remembering what someone else has already done. It's
Speaker 1: completely possible, it happens. I've seen a version of it.
Speaker 1: But go ahead and explain what you were thinking, so
Speaker 1: that what I was thinking of was you take first
Speaker 1: a piece of software. You design a piece of software
Speaker 1: that can interpret sounds, and based upon those sounds create shapes.
Speaker 1: And so just imagine that any sort of hard consonant
Speaker 1: sound creates a geometric flat edge or or a corner,
Speaker 1: that kind of thing. So do you have the sort
Speaker 1: of the ninety degree angles stuff like that. Then more
Speaker 1: vowel sounds or soft sounds create sort of curved surfaces,
Speaker 1: and then just imagine being able to speak a sentence,
Speaker 1: perhaps a fifteen second long or thirty s long amount
Speaker 1: of speech into a recorder, which actually is quite a
Speaker 1: bit a good Shakespeare quote. Yeah, and then this this
Speaker 1: software would then interpret those sounds and create the shakes
Speaker 1: based upon what the what sounds it caught, and then
Speaker 1: send that to a three D printer, so you get
Speaker 1: a physical manifestation of what it is you said based
Speaker 1: upon the algorithms that inform the software. Right. The thing
Speaker 1: that I was thinking of was, well, a sound wave jewelry,
Speaker 1: which is a thing that made some Internet headlines within
Speaker 1: the past say six months or so. Um, where you
Speaker 1: can record like a word or a sentence and have
Speaker 1: it printed or or etched onto a piece of jewelry,
Speaker 1: like like a ring or something like that, so you
Speaker 1: can you can say I love you and have that
Speaker 1: printed onto your wedding band. That's really cool and uh
Speaker 1: and and also just yeah, I know, right, um. Or
Speaker 1: the kind of stuff that they're doing with some of
Speaker 1: the particle accelerator data art where they're looking at the
Speaker 1: way that things are bouncing around and they're sort of
Speaker 1: letting algorithms spin that out into these very beautiful I
Speaker 1: haven't seen it done with three D printing, but but
Speaker 1: very beautiful two dimensional uh, pieces of art, pieces of
Speaker 1: So the neat thing is that just with you can,
Speaker 1: just with a little imagination, you can create something that
Speaker 1: would allow this sort of two dimensional manifestation become a
Speaker 1: three dimensional manifestation. Now, obviously all of that is dependent
Speaker 1: upon the artist who decides how to design that algorithm.
Speaker 1: Right the algorithms, oh sure the algorithm didn't create itself,
Speaker 1: and artists somewhere along the line has said, this is
Speaker 1: what you do. Yeah, when when X happens, do why?
Speaker 1: And then you just make sure those rules are followed
Speaker 1: properly and uh, then you get the artwork printed out.
Speaker 1: It means that everyone would have unique pieces of art.
Speaker 1: Even if two people said the same sentence, you know
Speaker 1: that the way they say certain words is going to
Speaker 1: be interpreted in different ways from with a machine. Unless
Speaker 1: they sound identical, you're going to get to at least
Speaker 1: subtly different pieces of artwork from it. Which to me, this, this,
Speaker 1: to me is an amazing idea that I wish I
Speaker 1: could implement, but I have very little in the way
Speaker 1: of artistic ability. Well, I love in general the idea
Speaker 1: of taking data and turning that into a new physical
Speaker 1: form of some kind. They are all kinds of ways
Speaker 1: to I guess you would say visualize, but you could also,
Speaker 1: I don't know what the word is audioize any kind
Speaker 1: you can take data and turn that into a format
Speaker 1: that we can sense. Yeah, we talked a little bit
Speaker 1: about that in our feature of music episodes a while back,
Speaker 1: and and some of the visualization projects that people are
Speaker 1: doing with again with some of the particle accelerator data
Speaker 1: or stuff like that. Yeah, but that so this could
Speaker 1: allow you to do this in three dimensions. Um, So
Speaker 1: I want to come back to my angry guy who
Speaker 1: wants it to be how it's always been. Okay, what
Speaker 1: else does angry guy have to say? Well, he's been
Speaker 1: convinced of a couple of things that may maybe it's
Speaker 1: it is just a legitimate tool. Three D print is
Speaker 1: maybe it can even do some things that a chisel
Speaker 1: can't do. Um, but what about the fact that after
Speaker 1: I print one copy of this sculpture I've designed on
Speaker 1: a computer, I can just press print again, make another one,
Speaker 1: and then make another one, make another one, and there's
Speaker 1: really no priority, you know. Yeah, that's a yeah, as in,
Speaker 1: you can't say that this print out version was the
Speaker 1: original and all others are a copy, when in fact,
Speaker 1: if you think about it, the original, the quote unquote
Speaker 1: original print out is itself a physical copy, a physical
Speaker 1: copy of a digital representation. Right, so when you go
Speaker 1: to buy a painting, obviously the original one that the
Speaker 1: painter painted is way more than a print of that. Well,
Speaker 1: and not only that, but that the virtual file, the
Speaker 1: file that the printing is based off of, is itself replicatable.
Speaker 1: You can reproduce of it. You can copy a digital
Speaker 1: file infinite number of times to distribute it. So you
Speaker 1: can't even go back to saying, oh, this one file
Speaker 1: is the original and therefore it's the thing that has value.
Speaker 1: This is tricky, right unless you have either done something
Speaker 1: specific like and like included the reproducibility as part of
Speaker 1: the artistic expression, which is completely valid. Sure, sure create
Speaker 1: something that is in self a statement about reproducibility. Absolutely,
Speaker 1: or perhaps there's there may be cases where the artist
Speaker 1: ends up creating a virtual model, sends it to print.
Speaker 1: Once it's done printing, the artist might destroy that original
Speaker 1: file and then you really do have one copy, one original. Yeah. Oh,
Speaker 1: that's a scary, scary thing to contemplate doing. I think
Speaker 1: it would all depend upon the artist and what the
Speaker 1: artist wanted to say clearly, but I I would want
Speaker 1: to say to angry Joe here that reproducibility is and
Speaker 1: always has been a huge part of and an issue
Speaker 1: in art. I mean, way before three D printing ever existed, Okay,
Speaker 1: I mean, like for for ages, when students are first
Speaker 1: learning how to art, that they sometimes copy or more
Speaker 1: modern le trace work from established artists, and and technology
Speaker 1: for creating replicas of art go back way to ancient
Speaker 1: times like coin stamps, yeah, or or molds for pottery
Speaker 1: or bronze, uh millennium or so. After that, we started
Speaker 1: creating wood cuttings that allowed for creating multiple prints of
Speaker 1: single images, and and later um etched or engraved metal
Speaker 1: surfaces to improve the resolution of that kind of printing technology.
Speaker 1: And then you know lithography or photography, which we're both developed.
Speaker 1: Her photography developed yeah, not only made the pun but
Speaker 1: in the notes yeah her uh yeah, no sorry, those
Speaker 1: those are both developed in the late seventeen and or
Speaker 1: early eighteen hundreds and uh and then motion fell motion
Speaker 1: photography in the late eighteen hundreds, and each of these
Speaker 1: technologies as they were created, brought the possibility for for
Speaker 1: remote viewers to at least in some part experience seeing
Speaker 1: works of art that they might otherwise never have access to.
Speaker 1: Um and and also opened up new avenues for artists
Speaker 1: to make money, which I think we can all agree
Speaker 1: on as being a pretty rad thing. Um but unfortunately
Speaker 1: also did open the door to to forgeries, which kind
Speaker 1: of suck and uh and according to some theory, also
Speaker 1: diluted the cultural value of viewing a k A participating
Speaker 1: in an original work of art like Angry Joe. Is
Speaker 1: kind of implying, by the way, if this, if this
Speaker 1: is a topic that is of some kind of interest
Speaker 1: to you, this theoretical debate, I do highly recommend an
Speaker 1: essay called the Work of Art in the Age of
Speaker 1: Mechanical Reproduction, which was written in nineteen thirty six. I
Speaker 1: told you people have been worried about this for a
Speaker 1: while by a German theorist by the name of Walter Benjamin.
Speaker 1: Um was was during that dawn of what we know
Speaker 1: as the mass media today, and a lot of people
Speaker 1: in the arts were kind of freaking out about it,
Speaker 1: this concept of being able to reproduce through photography or film,
Speaker 1: the experience of seeing something, and he argued that reproductions
Speaker 1: completely removed the the aura or the authenticity of an
Speaker 1: original work of art, furthermore, turn viewers from participants in
Speaker 1: art into passive consumers, and furthermore, allows kind of negative
Speaker 1: stuff like politics or war to be aestheticized in place
Speaker 1: of art. Um And Okay, so so that's all a
Speaker 1: little bit dire and also perhaps off topic from what
Speaker 1: we are talking about. But but I really wanted to
Speaker 1: just demonstrate that this has all been worried about before,
Speaker 1: all right, And and even though these kind of technological
Speaker 1: advances did change the way that we interact with art
Speaker 1: and perhaps even the way that we participate in art,
Speaker 1: it did not in fact result in, OMG, the end
Speaker 1: of all art as we know it, right right, right.
Speaker 1: I I don't think the real me agrees with angry
Speaker 1: means objection about the reproducibility. I don't necessarily see reproducibility
Speaker 1: as a big stumbling block, maybe because I don't necessarily
Speaker 1: believe in the aura of an original piece of art. Oh,
Speaker 1: it's it's it's an interesting theory, and I do think
Speaker 1: that the experience of going and seeing um a Picasso
Speaker 1: or the Mona Lisa, or a pyramid is a different
Speaker 1: experience than seeing a copy of any of those things
Speaker 1: are seeing it on a photograph or in film. But
Speaker 1: like like viewing viewing an original painting as opposed to
Speaker 1: viewing a print or viewing someone else's copy of that
Speaker 1: original painting, even if it looks like it is faithfully
Speaker 1: reproduced it you can you know there is something interesting
Speaker 1: about that. If you were to ask someone, especially if
Speaker 1: they knowingly are viewing a copy, you know, how does
Speaker 1: this make you feel as opposed to knowing that the
Speaker 1: original of this is in some other museum far away?
Speaker 1: You know, there's something psychological there. It doesn't necessarily have
Speaker 1: to be imbued in the object itself, but there is
Speaker 1: something inside us that makes that different. Yeah. Yeah, I
Speaker 1: think it does have to do with I mean, I'm
Speaker 1: not saying we literally believe in magic, but there is
Speaker 1: some kind of idea of contiguous magic that you know,
Speaker 1: it's like oh, this, uh, you know, piece of paper
Speaker 1: was really signed by your favorite celebrities, This was touched
Speaker 1: by that person, this was interacted some of their atoms
Speaker 1: are on that piece of paper. I mean, like, for example,
Speaker 1: just recently this this is also kind of a tangent,
Speaker 1: but just recently I went to Ireland and saw the
Speaker 1: Book of Kells, one of the one of the oldest
Speaker 1: illuminated manuscripts in Europe and uh, particularly I mean in Ireland,
Speaker 1: and and it brought tears to my eyes to see
Speaker 1: this thing. I gonna keep in mind, I was also
Speaker 1: a medievalist in college, so it was very much near
Speaker 1: and dear to my heart. And I've seen countless replicas
Speaker 1: of this and and you know, representations of the artwork
Speaker 1: that's in that book, but it didn't have that emotional
Speaker 1: impact that seeing the real thing did. Oh sure, But
Speaker 1: I would not say that the fact that those reproductions
Speaker 1: can be produced period uh is taking anything away from
Speaker 1: the original. Absolutely, I agree with that, absolutely, I think
Speaker 1: that uh. And in the sense of a three D
Speaker 1: printed piece of artwork, I don't even know that if
Speaker 1: I even if I knew, hey, the artist could just
Speaker 1: hit print and make another one of these, I don't
Speaker 1: necessarily think that would take away my admiration for the
Speaker 1: skill it took and the artistry it took to design it.
Speaker 1: In the first place. Okay, But so all of this
Speaker 1: theoretical discussion aside, three D printing art is a real thing. Um,
Speaker 1: that is really happening. So let's talk about how that works.
Speaker 1: I would imagine, I have not done this myself, that
Speaker 1: you can use a three D scanner in order to make,
Speaker 1: for example, a reproduction of an artwork. Okay, so now
Speaker 1: you're not just a free thinking radical, You're a freethinking
Speaker 1: radical who wants to make forgeries of actual art. I
Speaker 1: got you pinned here, Lauren. I see where this is going.
Speaker 1: But now you're correct. You can use three D scanners
Speaker 1: to to replicate things like like existing pieces of artwork,
Speaker 1: and not just replicate right to create your own. I mean,
Speaker 1: you know, if you were three D scanning UM and
Speaker 1: arm in order to incorporate that into some kind of
Speaker 1: very weird Clive Barker kind of kind of like, let's
Speaker 1: say that you wanted to produce a replica in some
Speaker 1: form of Venus de Milo, but in a place of
Speaker 1: normal human arms, which would have been there but have
Speaker 1: since I've been lost to us terminator arms or I
Speaker 1: was gonna say tentacles, but sure terminating clause. Oh crab clause.
Speaker 1: Oh yeah, Oh that'd be so great. You can totally
Speaker 1: do that. I would love it. Okay, at home, you
Speaker 1: might be thinking, what what what I've heard about three
Speaker 1: D printing? What's deal with three D scanning? Well, three
Speaker 1: D scanners are out there. There a technology that's uh
Speaker 1: the sort of the counterpart to a three D printer,
Speaker 1: the inverse, if you will. So a three D printer
Speaker 1: takes a digital shape and it makes it physical. A
Speaker 1: three D scanner samples of physical shape and makes it digital.
Speaker 1: So it's sort of like a camera, except what a
Speaker 1: camera does is gets a two D picture. A three
Speaker 1: D scanner uses a variety of different ways to get
Speaker 1: a three D picture. Now, what are the different ways
Speaker 1: that a three D scanner could sample a physical object?
Speaker 1: My favorite, of course has to be leasers. So, uh yeah,
Speaker 1: laser You use the laser line passing it over an object.
Speaker 1: This laser line has a sort of a laser and
Speaker 1: a camera sensor together, and the camera sensor what it's
Speaker 1: doing is it's recording three D points in space. Essentially,
Speaker 1: any point where the laser makes contact with a physical
Speaker 1: object that becomes a reference point for the virtual object
Speaker 1: that will be produced in a computer model. So these
Speaker 1: lasers are placed around the outside of the object and
Speaker 1: scan in moor d on. Yeah, and you might have
Speaker 1: a device that allows you to to just lower a
Speaker 1: physical array of lasers that scan the whole thing at once,
Speaker 1: or you might have to rotate the object, or rotate
Speaker 1: the laser around the object and get several scans in
Speaker 1: order to get a full picture, a three dimensional picture
Speaker 1: of this object. There are a lot of different implementations
Speaker 1: of this laser line, patch and spherical are all examples
Speaker 1: of methods to use lasers to to scan a physical object.
Speaker 1: But basically you're doing the same thing over and over again.
Speaker 1: You're creating these these floating three D points in space
Speaker 1: that represent the surface of whatever the object is. Tends
Speaker 1: to be a pretty quick way to make a scan.
Speaker 1: It's also really good for stuff that's free form and flowy,
Speaker 1: kind of organic, you know. The more rounded shapes of
Speaker 1: three D scanning is great for that kind of stuff.
Speaker 1: So there's another one that you're probably not going to
Speaker 1: see popping up in the art world much. This is
Speaker 1: going to be more in industrial use, but it's worth
Speaker 1: mentioning because it is a way of three D scanning
Speaker 1: which would be CT scanning, which uses X rays. Yeah,
Speaker 1: this is what you would often get in a medical setting,
Speaker 1: like if you go in for computerized tomography, that's what
Speaker 1: it stands for. UM. You will go into a room
Speaker 1: and they will penetrate your soft, fleshy outer layers with
Speaker 1: X rays, which they don't penetrate the hard tissue, so
Speaker 1: things like bone tissue they're not going to penetrate. So
Speaker 1: you know, you've probably seen you may have actually had
Speaker 1: a CT scan or you've probably seen at least a
Speaker 1: depiction of one. UH. These are the ones that have
Speaker 1: like the doughnut, the rounded UH chamber that can move
Speaker 1: either move over a patient or the patient is actually
Speaker 1: on a platform that moves through this. The point being
Speaker 1: here that they use X rays, which you don't want
Speaker 1: to be exposed to for very long. Now for patients,
Speaker 1: the X ray does you get in a typical scan
Speaker 1: is pretty low, so the risk of any adverse health
Speaker 1: effects is also very low. Oh, sure, they have the
Speaker 1: operators stand in other rooms because the sheer number of
Speaker 1: these things that they would be exposed to over the
Speaker 1: course of a day or a week or a lifetime
Speaker 1: in the field would in fact be dangerous yes, so
Speaker 1: you would you know, if you were wanting to use
Speaker 1: CT scanning for three D scanning purposes, it would obviously
Speaker 1: be something that you would need the right facility to
Speaker 1: use that without putting yourself at a risk. Right, So
Speaker 1: this might be more often in an industrial setting, say
Speaker 1: to like analyze the structural performance of a part or
Speaker 1: a prototype or something like that. It's probably not something
Speaker 1: you're going to use in your house to scan your
Speaker 1: kid and then make your little action figure of your
Speaker 1: kid for your kid. Right now, Joe, I understand that
Speaker 1: there's possibly a way of scanning something in three dimensions
Speaker 1: using just kind of a simple camera approach. Not just
Speaker 1: possibly there there are ways your mouth. Yeah, optical scanning,
Speaker 1: uh all, I guess lasers would probably also be optical. Show,
Speaker 1: but this would be standard optical scanning with a camera
Speaker 1: camera based scanning for real. Yes, uh I My guess
Speaker 1: is that this is fairly buggy, but I've never used
Speaker 1: it myself, so maybe it would surprise me, but it
Speaker 1: is real. You can use a camera on your phone
Speaker 1: in combination with the specialized app, Like there's one app
Speaker 1: called one to three D Catch, and what you do
Speaker 1: is you take photographs from many angles around the object
Speaker 1: in question, and so you like go in a circle
Speaker 1: around and take photographs from all the different angles. The
Speaker 1: app analyzes the photos and then creates a three D model.
Speaker 1: In fact, the Metropolitan Museum of Art, the MET, actually
Speaker 1: encourages you to use this method to make digital copies
Speaker 1: of their holdings and modify them with your own three
Speaker 1: D printing projects. So, in other words, kind of like
Speaker 1: how a a DJ might remix various pieces of music
Speaker 1: to create something new, you could remake x actual existing
Speaker 1: pieces of art. Yeah. Well, I guess the one exception
Speaker 1: would be in the exhibits that are specifically labeled like
Speaker 1: no photography. But I read I read a little statement
Speaker 1: from somebody at the MET saying like, oh yeah, this
Speaker 1: is great wherever it's permitted in the museum. Scan them
Speaker 1: up and go go home, print them out, do what
Speaker 1: you want, and so crab clause clause's And it actually
Speaker 1: really cool. Also is that the Met put a bunch
Speaker 1: of their pre rendered scans of these exhibits up on
Speaker 1: the thingy Verse. It's a site that hosts downloadable three
Speaker 1: D designs that you can get yourself. You just go up,
Speaker 1: download them, send them to your three D printer. Yeah,
Speaker 1: this is, by the way, not that different from the
Speaker 1: way the connect scans things. I'll talk about a connect
Speaker 1: hack a little bit later, but there are three D
Speaker 1: scanners that specifically use infra red light and cameras in
Speaker 1: order to make a three dimensional scan. Same basic ideas
Speaker 1: what we're talking about here, except instead of using the
Speaker 1: visible light that you know you're typical camera relies upon,
Speaker 1: it's using infrared light, which is not visible to we
Speaker 1: puny mortal humans, but some other animals can see it
Speaker 1: pretty well. Anyway, It's the same basic premise as what
Speaker 1: is being talked about here, It is just using a
Speaker 1: different type of light, a different wavelength. How about digitizing,
Speaker 1: So this is cool. So we've talked about using light
Speaker 1: and lasers and and X rays. All of these are
Speaker 1: electromagnetic means of looking at an object and and getting
Speaker 1: a three dimensional model virtual model. Digitizing is using contact.
Speaker 1: You're actually using something that's that's making contact with the
Speaker 1: physical object itself and running a probe over this object
Speaker 1: in order to get very precise readings of what that object,
Speaker 1: how it shaped, so that you can create an incredibly
Speaker 1: precise three dimensional model of it. Now, this tends to
Speaker 1: be really good for geometric shapes that have a lot
Speaker 1: of flat surfaces, hard angles, that kind of thing. It's
Speaker 1: less good for stuff that happens to have organic free
Speaker 1: form shapes. I imagine that would be just the onus
Speaker 1: of the probe operator to yeah, to being able to
Speaker 1: to fallow around contours. It's it's it's harder to do.
Speaker 1: You know, a flat surface is easier to define with
Speaker 1: a digitizer than something that is lumpy or has these
Speaker 1: these curves surfaces to it, So, uh, you probably would
Speaker 1: want to use lasers or some other methodology for that.
Speaker 1: But for anything that has got you know, flat surfaces
Speaker 1: geometric shapes, this is a really really precise means, and
Speaker 1: depending upon what kind of of object you're scanning and
Speaker 1: what purpose you're scanning it for, you may actually use
Speaker 1: a combination of these approaches to build your virtual model.
Speaker 1: So you may do a pass with a digitizer as
Speaker 1: well as passes with lasers in order to create as
Speaker 1: as uh as faithful virtual replica as you possibly can
Speaker 1: for whatever thing you're trying to to replicate. Um. So,
Speaker 1: there are actually a lot of these scanners out there
Speaker 1: on the market today, but a lot of them are
Speaker 1: very expensive. Well, how expensive is very expensive? Well? I
Speaker 1: found a list online of of a lot of the
Speaker 1: models that are sold. Good number of them were more
Speaker 1: than twenty dollars. That's a little dear, it's a little
Speaker 1: outside of my price range. Certainly for the hobbyist artist.
Speaker 1: That's ah. But there are cheaper ones out there. Um in,
Speaker 1: I believe like maker bot is working on one. They've
Speaker 1: they've got the maker Bot digitizers. Then of course there
Speaker 1: are hacks you can do to turn objects like the
Speaker 1: Xbox three sixty connect this into a scanner. This is
Speaker 1: really cool, tell us about this. So yeah, like I
Speaker 1: was saying that the connect it relies upon infrared sensors
Speaker 1: and cameras. Right, So you've got an emitter that shoots
Speaker 1: out infrared and in for a grid. Think of it
Speaker 1: like think of an overlay that is just a grid
Speaker 1: of infrared light and any physical object that encounters that
Speaker 1: deforms that grid. And so by by measuring that deformation,
Speaker 1: the connect can determine what sort of object is standing
Speaker 1: there and when it's moving. This is what allows you
Speaker 1: to have that kind of movement based gameplay, and in
Speaker 1: fact in three dimensions, right, exactly. So, I mean it's
Speaker 1: just like if you were to make a grid of
Speaker 1: strings and you then move that grid of strings against
Speaker 1: a physical object, that would deform that grid, and you
Speaker 1: could see how that was deformed, and that would define
Speaker 1: the three dimensional object there, right, same sort of things
Speaker 1: that we're just talking about. Light, uh, and it's light
Speaker 1: that you cannot see. Um So anyway, imagine that you
Speaker 1: have this little grid and then you think, well, what
Speaker 1: if I just created some software that could leverage this
Speaker 1: in a different way, not just for a way of
Speaker 1: of recognizing a user or being able to interpret users
Speaker 1: movement as commands for a game, but to actually scan
Speaker 1: the user or any other physical object. Well that there
Speaker 1: are a lot of people who have done this, including
Speaker 1: a kid who uploaded his approach on instructibles and he
Speaker 1: just used stuff that was already out there and kind
Speaker 1: of created a guide of how you could do this yourself.
Speaker 1: And it was great because I watched this video this
Speaker 1: kid made, and I mean the kid had to be, uh,
Speaker 1: you know, pretty young, maybe thirteen fourteen years old something
Speaker 1: along those lines, and he walks through step by step
Speaker 1: explaining exactly what you need to do, how you can
Speaker 1: set up your connect um. Again, this is a three
Speaker 1: sixty connect. The Xbox one connect is more locked down,
Speaker 1: it is less hacker friendly, but the three sixty one
Speaker 1: had a lot of use that people have have leveraged
Speaker 1: for various things, everything from digital puppetry to three D scanners.
Speaker 1: And he demonstrate exactly how to do this, what drivers
Speaker 1: you needed to download, how to connect to your connect
Speaker 1: to a PC so that you can upload the right software,
Speaker 1: and how you could then use it to capture three
Speaker 1: dimensional images. He even used himself as a model, sat down,
Speaker 1: did two full rotations to try and get as accurate
Speaker 1: a model as possible, and then even said, these these
Speaker 1: patchy parts we can fix in editing. So even after
Speaker 1: you are done, even if it's not a perfect three
Speaker 1: dimensional model, you can fix that in editing software. So
Speaker 1: it's really cool. It was, and it was again one
Speaker 1: of those things that anyone could follow, and the kid
Speaker 1: made it very understandable, very easy for you to to
Speaker 1: do yourself. If you have a three connect at home,
Speaker 1: but if you wanted something a little bit little more
Speaker 1: off the shelf, less d I Y, there's an option
Speaker 1: for that too. Write There are plenty of them. The
Speaker 1: one that I have in our notes specifically is three
Speaker 1: D systems since scanner s E N S E scanner
Speaker 1: and this one is another infrared scanner, so it's using
Speaker 1: the same basic technology as a connect but this case
Speaker 1: it's meant as a three dimensional scanner specifically, and it's
Speaker 1: a little handheld unit. It kind of looks like something
Speaker 1: that you would see off Star Trek, you know, like
Speaker 1: you would want to scan the environment, some kind of
Speaker 1: little wand sort of thing. Almost. Yeah, I'm sure I
Speaker 1: could find this out if I looked it up, but
Speaker 1: I don't even know how that would work. If it's handheld.
Speaker 1: I would think that the scanner would need to be stationary,
Speaker 1: not at all. That's the That's the interesting thing is
Speaker 1: that you can actually have this handheld scanner and you
Speaker 1: you wave it across whatever physical object you're trying to scan,
Speaker 1: and the software itself can interpret those three dimensional points
Speaker 1: and build that model. And this would even allow you
Speaker 1: to scan fairly large objects like a motorcycle, and it
Speaker 1: wouldn't even have to be something on a small scale. Um,
Speaker 1: it does help if the object you're scanning is very
Speaker 1: very very still, so scanning a person would be a
Speaker 1: little more problematic. Than say scanning a table or a
Speaker 1: chair or a motorcycle. But it is pretty nifty, not
Speaker 1: cost about three and um, it's something that is proprietary
Speaker 1: to the Cuba Fi three D printer. It's it's meant
Speaker 1: to work with one of those. So that means that
Speaker 1: you're kind of locked down into what equipment you can
Speaker 1: use to to make this useful for three D printing purposes.
Speaker 1: But it's still pretty cool. Yeah, Okay, So let's try
Speaker 1: to imagine this whole process. Uh so you want to
Speaker 1: get a Venus de Milo with a Jonathan Strickland head
Speaker 1: and crab claw arms. Who wouldn't who wouldn't want that
Speaker 1: in their living room? Or you know? Four? What what
Speaker 1: does the whole process look like? So I guess you
Speaker 1: take your handheld scanner to the museum. Where where is
Speaker 1: the Venus Demilo right now? Right now? I don't know.
Speaker 1: She could be anywhere. Yes, she she could be lurking
Speaker 1: around the corner. You're gonna look that up for us, Joe,
Speaker 1: hold on, Yeah, I'm gonna find out. Okay, it looks
Speaker 1: like it's the love Okay, Okay, that's good, assuming that
Speaker 1: she's not actually a weeping angel. Right. So assuming one
Speaker 1: that she's not a weeping angel, and that two you
Speaker 1: are allowed to carry said handheld three three dimensional scanner
Speaker 1: into the louver and then into her wing and exactly.
Speaker 1: But let's let's assume you've got the full clearance to
Speaker 1: do this. So you would go to the Venus de
Speaker 1: milo Uh sculpture and you would scan it thoroughly so
Speaker 1: that you've got a nice virtual model of it. Right.
Speaker 1: Then you would also need a three dimensional model of
Speaker 1: you know, my head. Yeah, so we'd scan your head,
Speaker 1: and we we'd scan some crab clause. Right. If you
Speaker 1: didn't want to create the virtual model of crab clause yourself,
Speaker 1: then you would scan some crab clause, delicious crab clause.
Speaker 1: You would pull all of these together in some form
Speaker 1: of computer aided design program, right, so you'd hook it
Speaker 1: up to your computer. And we've talked about CAD programs before,
Speaker 1: but basically they're they're sort of for the three D
Speaker 1: world what Photoshop is to the two D world. They
Speaker 1: let you manipulate three D objects in a in a
Speaker 1: digital space, and you can do all kinds of reshaping
Speaker 1: and right neat little tricks. You would need to obviously
Speaker 1: scale all three elements properly so that you could fit
Speaker 1: them together for your three dimensional model, right, because if
Speaker 1: you had tiny little crab claws on the Venus de
Speaker 1: Milo that would be ludicrous, or or a ginormous Jonathan
Speaker 1: head that would be disturbing. It's improperly scaled, that would
Speaker 1: be horrible. You don't you don't want to have a
Speaker 1: super deformed Jonathan head Venus de Milo crab claw armed creations.
Speaker 1: So we get done with the final thing. We we've
Speaker 1: combined them all into one file, and then basically you're
Speaker 1: about done. You just well, you might need to go
Speaker 1: through one more step, which is, uh, what's going to
Speaker 1: have to happen with some three D printers is you're
Speaker 1: translating this object file like a dot O b J
Speaker 1: or a dot STL. This is the object file you
Speaker 1: edit into a file that is a direct set of
Speaker 1: instructions for your printer, perhaps a proprietary one I would
Speaker 1: imagine some of the printers deal with I think. So
Speaker 1: it would really depend upon what scanner you were using,
Speaker 1: what what computers. Yeah, so there are some suites where
Speaker 1: you're going to be using a specific scanner, which in
Speaker 1: turn is going to determine what software you use, which
Speaker 1: in which also works with a specific type of printer,
Speaker 1: and if everything is working within that same ecosystem, it's
Speaker 1: relatively simple to go from scan to virtual model to print.
Speaker 1: Some others might mean that you have to do some
Speaker 1: conversion along the way, either from whatever file your scanner
Speaker 1: is creating or whatever file your virtual software is creating
Speaker 1: to whatever files your printer will accept. Then there may
Speaker 1: be more work on your end depending upon that, But
Speaker 1: that's it. There you go after after four or five
Speaker 1: adhesion failures. Of course, assuming that all goes as it should. Yeah,
Speaker 1: then you have your beautiful designed, your your venus district
Speaker 1: lond with crab claws, and the art world has forever changed.
Speaker 1: I mean, you have revolutionized a generation. You might be
Speaker 1: staring at this creation thinking what hath I wrought? And
Speaker 1: you may have a kind of a metaphysical um you know,
Speaker 1: dilemma on your hands about do I allow any other
Speaker 1: human to lay eyes upon this and risk them to
Speaker 1: lose sanity in the great Cathulu Mythos version. But but
Speaker 1: in a fun way, you know, in a in a
Speaker 1: gay culture way. Yeah, it might be one of those
Speaker 1: ways where you you have that and you think well,
Speaker 1: this needs to be shared to the rest of the
Speaker 1: world so that we can all wallow old rich horror
Speaker 1: that we have produced. Yeah. Yeah, but so I wanna
Speaker 1: I want to I want to bring this discussion back
Speaker 1: for completely non nefarious purposes to forgeries. Oh boy, So
Speaker 1: we talked about reproducibility, and now we've introduced scanning. I
Speaker 1: wonder what you could do with the idea of of
Speaker 1: scanning of works of art and endless reproducibility. Okay, I
Speaker 1: have not heard any news stories of forgery artists creating
Speaker 1: and selling three D scanned and printed copies on the
Speaker 1: illegal black market, right well, with some things that might
Speaker 1: be really hard to do because with like say a
Speaker 1: large marble sculpture or something like that, your three D
Speaker 1: printer can't make that right now, nothing yet. I don't know,
Speaker 1: is there a marble printer out there? It would be really, really,
Speaker 1: really hard to do. Yeah. Um, but but similar technology
Speaker 1: for some types of art does exist already on a
Speaker 1: commercial front, So probably it's really only a matter of
Speaker 1: time before we've got some kind of update to the
Speaker 1: Thomas Crown affair that involves right there, there's they're multiple
Speaker 1: incarnations of the Thomas Kroniffair. You don't have to necessarily
Speaker 1: grab one. I'm thinking of that horrible pierced Braska. Please proceed. Alright,
Speaker 1: So already on the market for the discerning but not
Speaker 1: a billionaire art collector. Fuci Film has created a process
Speaker 1: that will let you own a copy of a Van
Speaker 1: Go that's like accurate down to the original frame, the
Speaker 1: three dimensional brush strokes, the paint textures, and the scrawled
Speaker 1: notes on the back of the canvas. They're they're calling
Speaker 1: this process really biography. And each reproduction created with this
Speaker 1: process costs thirty four thousand dollars or so um. But
Speaker 1: that's still cheaper than you know, Van Go so grand.
Speaker 1: I mean, that's that's like nothing, that's nothing in the
Speaker 1: in the world of an original, verified Van Go. How
Speaker 1: much does a van cost? I'm going to how much
Speaker 1: does go for? Oh? No, com Now we're talking millions
Speaker 1: of dollars for an original van Go. Now let me
Speaker 1: ask you this, Lauren. If I were to buy such
Speaker 1: a reproduction, would it be convincing enough for me to
Speaker 1: to go around claiming, oh, this is the original Van Go?
Speaker 1: It would not. It would not fool an expert. It
Speaker 1: would probably fool your friends. Well, my friends are dumb. Okay,
Speaker 1: so that's not saying a lot. Well, I mean they
Speaker 1: have to be friends with me. You gotta have you
Speaker 1: gotta aim low. Well, that is pretty cool, the idea
Speaker 1: that you can use these techniques not just to reproduce
Speaker 1: the two dimensional aspect of painting, but literally the brushstrokes
Speaker 1: the texture of it right right. Um. The Vango Museum
Speaker 1: in Amsterdam has been helping to fund the project and
Speaker 1: therefore has a three year contract out on the technology
Speaker 1: with Fujifilm. But but after that it will hypothetically open
Speaker 1: up to other museums or possibly the public, I mean
Speaker 1: the you know, the really well funded public. The fact
Speaker 1: that the van Go Museum is partnering with this should
Speaker 1: tell you a it's not a legitimate uh threat for
Speaker 1: like a truly convincing not legitimately illegitimate. Well, I mean
Speaker 1: it's not a threat. How about you put that way?
Speaker 1: Otherwise it's not a threat. They don't consider it. They're
Speaker 1: not worried about this becoming such a thing that I
Speaker 1: mean partially because it is such a process that they
Speaker 1: really have to work very directly. I mean, if you
Speaker 1: were going to break into a museum and three ds.
Speaker 1: It's not as simple as just waving a wand over. Yeah, now,
Speaker 1: it is pretty amazing how how incredibly accurate a very
Speaker 1: thorough laser scan can be. But then when you think
Speaker 1: about it, it's light, you know, it's light. Light is
Speaker 1: made up of these tiny little particles, tiny little wavelengths,
Speaker 1: and uh, and it can happen really really fast. I'm
Speaker 1: always amazed this kind of a tangent, but I'm always
Speaker 1: amazed at how quickly light can ascertain something like a
Speaker 1: a scan of a barcode, for example. How it happens
Speaker 1: so quickly, and you think, wow, that lea's fast than
Speaker 1: you're thinking, Oh wait, I'm working with light speed of light,
Speaker 1: so it really shouldn't surprise me that it goes quickly.
Speaker 1: A lot of these classic works are also behind cases
Speaker 1: or I mean it's it would be you would have
Speaker 1: to might be large early people who are to remove
Speaker 1: you forcibly. Yeah, lots of security systems, um. But the
Speaker 1: FUJIFILM isn't even the only people who are working on this.
Speaker 1: A group within Cannon has also been collaborating with Dutch
Speaker 1: researcher Tim Zaman to do essentially the same thing. So
Speaker 1: some artists and designers are creating restorations and fa similies
Speaker 1: of even older works using three D printing plus a
Speaker 1: few other techniques to kind of stitch everything together. There's
Speaker 1: this one design company called Factum art or art or
Speaker 1: I don't know Italian. I think, I think, I think
Speaker 1: it would be okay, excellent Um that's working on a
Speaker 1: life size copy of of King Tut's tomb with the
Speaker 1: hope of eventually taking tourist pressure off of the original.
Speaker 1: That's also, yeah, because with things like archaeological sites, oh yeah,
Speaker 1: every time you walk through it, you're ruining little bits
Speaker 1: of it. So I would I would absolutely love to
Speaker 1: go through a a faithful reproduction of reproduction, something that's
Speaker 1: like a faithful reproduction of any historical site where I
Speaker 1: can feel like I can move through it and have
Speaker 1: the experience of what it would have been like to
Speaker 1: go through that space, and also know that I am
Speaker 1: not simultaneously destroying it. Yeah, destroying it even on just
Speaker 1: a minute level. Because I think about walking through Shakespeare's
Speaker 1: House at Strafford upon Avon and and and loving that experience,
Speaker 1: but then thinking, yeah, just the fact that I'm here
Speaker 1: means that this building has suffered a little ware and tear. Now, granted,
Speaker 1: pretty much every part of that building has been replaced
Speaker 1: at some point or another, but that's a totally different
Speaker 1: philosophical discussion, which we've talked about in another podcast, or
Speaker 1: at least we've alluded to, so we won't go into
Speaker 1: that here. So, so that kind of thing is becoming
Speaker 1: a physical possibility. And furthermore, that same group is working
Speaker 1: with Sir john Son's Museum in London to fabricate pieces
Speaker 1: based on an eighteenth century artist's etchings of ancient Roman artifacts.
Speaker 1: These things only exist at the current moment in two
Speaker 1: dimensional etchings, and they're creating actual sculptures based on what
Speaker 1: this dude was drawing. Okay, so it's is a three
Speaker 1: dimensional representation of a two dimensional representation of a three
Speaker 1: dimensional object. That that's pretty awesome, And like, at that point,
Speaker 1: is it? Is it a forgery? Is an entirely new art?
Speaker 1: Like what are they even doing? It's a copy of
Speaker 1: a copy of an original of a that's yeah, I mean,
Speaker 1: that's that's an interesting it's a brand new question. It's
Speaker 1: brand new category exciting stuff that wouldn't have been possible
Speaker 1: without this kind of level of technology. Okay, so my
Speaker 1: angry art fan who wants things to be how they've
Speaker 1: always been. He's very convinced at this point, except he
Speaker 1: has one last reservation. Okay, he's like, does anybody else
Speaker 1: in the art world take digitally fabricated artwork? Seriously? I mean,
Speaker 1: is there any place in the world where this has
Speaker 1: actually been shown in a museum or short answer, yes, yeah,
Speaker 1: there are actually quite a few museums I have shown
Speaker 1: some three D printed stuff or have incorporated three D
Speaker 1: printing directly into installations. Let us talk about some of those,
Speaker 1: shall we? All right, how about this exhibit out of hand?
Speaker 1: The sounds interesting? Yeah, The MAD the Museum of Arts
Speaker 1: and Design in Manhattan, and it was an exhibit featuring
Speaker 1: not just three D printed objects, but generally digital fabrication,
Speaker 1: and three D printing was one of the aspects of that. Right.
Speaker 1: They also included a lecture series about the various methods
Speaker 1: that art as used so that people could learn more
Speaker 1: about digital fabrication. But a lot of their artworks are
Speaker 1: really cool, and I mean I legitimately I look at
Speaker 1: that and say I want to see that just as
Speaker 1: much as I want to see traditional artworks. Oh sure,
Speaker 1: and it was some terrific functional pieces as well, right,
Speaker 1: like they had like furniture or they even had flatwear
Speaker 1: likewere like strange kling on silverware. Yeah, it kind of
Speaker 1: made me think of something that you had see in
Speaker 1: a science fiction film where you know, you're the the
Speaker 1: human is sat down at the dinner table along all
Speaker 1: the aliens and it's like, I don't know if that's
Speaker 1: a salad fork or an eviscerating knife. I kind of
Speaker 1: kind of thing yea, or or or press thess to
Speaker 1: which um which I think that we talked a little
Speaker 1: bit about way when we first started the show, the
Speaker 1: beautiful things that artists are doing to create wonderful original
Speaker 1: pross theses for customers. Yeah, so it doesn't really make
Speaker 1: all that much sense for us to just try to
Speaker 1: describe how they look on here. But you should go
Speaker 1: look this up. It's the exhibit is called out of
Speaker 1: Hand at the Mad Museum website. You should look it up.
Speaker 1: They've got pictures of a lot of their things from
Speaker 1: this exhibit. It's really cool. You'll try to remember to
Speaker 1: to blog about it or post on so Shellson of
Speaker 1: the links to this staff and there are other examples
Speaker 1: that have been featured in some some museums of note. Right. Yeah,
Speaker 1: one example I found was called Fractal Dot mg X
Speaker 1: and this was at the MET. We talked about the
Speaker 1: matter earlier, um, but it was it was designed. It
Speaker 1: was a three D printed object based on fractal patterns,
Speaker 1: which are fractals are are representations of mathematical sets. And uh,
Speaker 1: this was a table that married the art and beauty
Speaker 1: of fractals with the practicality of furniture. So you had
Speaker 1: to you know, you couldn't just make a bunch of
Speaker 1: three D printed fractals without making some sort of of
Speaker 1: aesthetic changes so that you can make it a functional
Speaker 1: piece of furniture. Is not currently on display at the MET,
Speaker 1: but it is in their collection. Uh. And they've also
Speaker 1: have hosted three D hackathons, which they allow visiting artists
Speaker 1: to come in and create digital fabrication exhibits and and
Speaker 1: also to to just communicate with the public about what
Speaker 1: it is they do and how it's done. Um. I've
Speaker 1: seen some great pictures of people just being able to
Speaker 1: walk through into an enormous room just filled with three
Speaker 1: D printers. So imagine that that lovely little smell we
Speaker 1: get whenever we print a thing here in the office,
Speaker 1: just filling an entire room because there's thirty of these
Speaker 1: things that's going to be the good stuff right there. Uh.
Speaker 1: And then there's also I mean, it's not really like
Speaker 1: an official museum or anything, but there are a lot
Speaker 1: of festivals like maker Fair, uh that have lots of
Speaker 1: folks using three D printers in creative and artistic ways.
Speaker 1: And you know maker Fair, you think of it, it's
Speaker 1: it's usually I think of it as a sense of
Speaker 1: of hackers who have built interesting stuff that does something
Speaker 1: really cool. But in a lot of cases it is
Speaker 1: really a work of art. It's not meant to necessarily
Speaker 1: be something that's practical, or in some cases it's both
Speaker 1: practical and art. You don't have to be one or
Speaker 1: the other. Oh sure. And I think that there's a
Speaker 1: perception within the community or within the greater Western culture
Speaker 1: that that kind of stuff is a craft rather than
Speaker 1: an art, and certainly not a fine art. But I
Speaker 1: think that one of the beautiful things about all of
Speaker 1: this technology and bringing all of this technology into the
Speaker 1: kind of normal consumer level of price range, is that
Speaker 1: it allows any normal person who has the drive to
Speaker 1: do so, to create art and and that's and share
Speaker 1: it with people. Furthermore, I mean, imagine people who have
Speaker 1: these amazing visions of art, but not necessarily the capability
Speaker 1: of bringing it into reality through the traditional means that
Speaker 1: it opens up a world that we would never be
Speaker 1: able to experience because we would never be able to
Speaker 1: see that person's vision writer, or the access to the
Speaker 1: kind of education that some of the great masters would
Speaker 1: have had, or you know. Yeah, So, I mean it's
Speaker 1: really we're really excited about three D printers in their
Speaker 1: place and art and uh, don't don't be the grumpy
Speaker 1: old man. Uh that Joe was portray angry Joe was
Speaker 1: the angry Joe was. Yeah, be the be, the be
Speaker 1: the very mellow accepting man that Joe is. Now. In
Speaker 1: another podcast coming up this week, we're also going to
Speaker 1: talk about another aspect of the angry old man and art,
Speaker 1: who more generally just thinks that art should be low
Speaker 1: tex So if you're interested in that topic, check us
Speaker 1: out again. Yeah, well, we'll definitely be chatting about that
Speaker 1: and having a lot of angry old man type of arguments.
Speaker 1: I might even throw in my own version of the
Speaker 1: angry old Joe, which is really just Jonathan. Yeahs. So, guys,
Speaker 1: if you have any suggestions for future episodes of forward Thinking,
Speaker 1: maybe there's something that you've always wondered about about you know,
Speaker 1: what is this going to be like in the future,
Speaker 1: and you want to hear our take on it, or
Speaker 1: you just maybe you want us to to really dive
Speaker 1: into some specific topic. Let us know, send us a
Speaker 1: message on Facebook or Twitter, or Google Plus or handle
Speaker 1: at all three is f w thinking. We look forward
Speaker 1: to hearing from you and will pop to you again
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