RMIT DESIGN HUB
11 DECEMBER 2015 –30 JANUARY 2016

TECHNICS & TOUCH » INTRODUCTION

Welcome to Design Hub
Technics & Touch explores creative working
relationships between robots and humans
through the seemingly simple activity ofdrawing together. Engaging humans androbots in friendly competition, the project
explores ways to pose questions to one
another and expose what both can do welland what both can do better.
Through real-time feedback systems between
robots, materials, the environment andhuman actions, the human and non-humancollaborators learn from each other and create
works which either participant by themselves
would not be able to conceive.
The exhibition extends our commitment at
Design Hub to place the exhibition design
as central to (rather than simply supporting)the exploration and mediation of design
research ideas. For Technics & Touch wehave worked closely with graphic designer
Sean Hogan to transform the Project Spaces
into part-factory, part-laboratory, partreflection zone.
As such, the exhibition has been designed
to consist of two parallel spaces: a ‘live lab’
located in Project Room 1, where our artists
in residence – Charles Anderson and Jondi
Keane – will produce drawings in conjunction
with the robot.

While Project Room 2 reflects upon a diverse
range of works by practitioners who explore
rule-based or procedural drawing which use
a set of parameters to enable an idea or task
to be performed.
Here, the works speak to three themes:
Figure, Frame and Fugue. These groupings
frame ways in which the activity of drawing
assists us in understanding our relationshipto the world, materializes our thoughts
or enables complex interactions throughalgorithmic design processes.
Importantly, the exhibition moves beyond
the fetishisation of new technologies androbotic processes to deeply explore theinter-relationship between humans and robots.
It examines how designers might develop more
effective interfaces to expand upon current
capabilities and envisage new and progressive
collaborative outcomes.
Technics & Touch responds to and extends
upon Design Hub’s overarching curatorial
intent to produce highly experimental exhibition
environments that ‘perform’ design ideas andinvite the audience to take an active partwithin the research process.

Fleur Watson
CuratorRMIT Design Hub

TECHNICS & TOUCH » INTRODUCTION

It can be argued that all knowledge isdiscursive. That is, thinking itself isconstitutionally relational and, therefore,
is necessarily mobile. Thinking, then, is thatwhich occurs in the dynamic movement ofan ongoing and open-ended conversation.
This conversation can be between humans;
between humans and their environment,
between humans and things, even between
things themselves. In such a way thinking
can be said to be distributive – comprising ofmultiple acts of co-creation. What we call ‘mind’
may be that which is configured as an ecologyof thought and enacted collectively.
If knowledge is co-composed in this way and thefeatures and continuity of our world are coselected, then each time a new agent or actor
appears the whole field of endeavour, of inquiry
and realization, re-constellates and shifts to
re-calibrate and re-align. If the new agent is atechnology then it can either be subservient to
the functions with which it has been charged
or it might – through specific materiality andprocesses – become a new force generating
new affects. For instance, in order for robot
agency to flourish it must break the recursivefunction of mirroring human thought anddevelop its’ own modes of existence. This does
not require a robot to be a fully autonomous
artificial intelligence, although the project weare pursuing might be headed in that direction.
Yet before we can arrive there, together,humans need to be double agents, interested
in the actualization of thought that would allow
each mode of existence to flourish and develop
in relationship to their respective trajectories.
Technics & Touch is designed as a living lab
whose organisational structure takes theform of a conversation. It can be argued thatthe act of drawing can itself be construed
as one instance of just such an open-ended
conversation. To draw a line is to ask aquestion. The aim of the lab is to ask questions
that work through the assumptions we haveabout the way robots function by working

TECHNICS & TOUCH » INTRODUCTION

alongside and with them. Inevitably, we must
pass through the familiar, that is, through ourown habits of perception, action and thought
to begin to ask meaningful questions.
The conversation may begin with the humandrawing a line to ask: “What if…” which invites a
response of “then this … and this… or this andthat…” which then becomes another “what if
this…” and so on. The robot asks and answers,that is, its actions are already the answer toan explicit question. So the robot asserts “ifthis, then that”. The programmer asks: “If I
ask the robot to ignore or attend to a certain
range of values, what happens then…?” Theaudience might actively disrupt the process byasking: “What if the robot not only stands with
its feet on the ground, but, in relation to allother robots, it stands on its head, and evolves
out of its silicon brain grotesque ideas, farmore wonderful than science fiction ever was.”1
Here, the audience actively amplifies fearand exuberance.
This correspondence between the “what if –then this” of drawing is remarkably similar
to the simple coding of ‘if/then’ statements
in computing. Algorithms operationalize
instructions even speculative ones. It isthrough the process of “…what if; if/then; thisand that…” that the unthinkable is able to be
imagined. “Unthinkable for whom?” asks therobot. There is also the process of translation,interpretation and misunderstanding toconsider: what is ‘the glitch’ in the system? Is it
really just an instance of technical ‘error’ or isit a moment of incomprehension? The human andthe robot ask: “What am I not understanding?”
Much of the tradition of rule based explorationin creative practices (visual art, writing,dance) can be understood as attempts to depersonalise, to pluralise authorship, to avoid ormove beyond the entrapments of style and theenclosures of self, in favour of process and ofan embrace of open-endedness, unpredictability
and emergence etc.

1. This question is based on Marx’s poetic description of“The Fetishism of Commodities and the Secret Thereof”
in which he states: “It [the commodity] not only stands
with its feet on the ground, but, in relation to all othercommodities, it stands on its head, and evolves out of
its wooden brain grotesque ideas, far more wonderfulthat “table-turning” ever was.” (1992:163) The mention
of “table-turning” refers to the seances common in the
1850’s in which the spirits would often communicate withthe living by making the table move.
Marx, K. (1992) Capital: A Critique of Political Economy,
Vol 1, B. Fowkes (trans), London: Penguin.

In many ways this can be seen as a rediscoveryof the generative power of traditional formal
constraints. What better way to propel oneself
beyond habits of thought into unforeseen
imaginative worlds, than to be forced to makea rhyme at the end of every second line? It islittle surprise that most writers feel that they
are successful when their characters take on alife of their own.
Of course, the autonomy afforded to thesuccessful work of art and the processes thatenable it are complex, yet they are profoundly
influential in the design fields. In particular the
fascination with self-organizing systems, anda subsequent move from systems of control toopen ended forms of discovery has led to anincreasing drive towards autonomy, whether
it be the process itself or the outcome of thatprocess – the ‘made’ object. Concurrently, thisnotion of autonomy seems to be accompanied
by not only ‘existential’ quandaries arounddecision-making, but also with a simultaneousemphasis on interactivity. Having liberated
things from their need to be in isolation, we
now seek to find ways of re/engaging withthem. One might ask: Is this an anxiety thatthey may be quite happy without us? Or that
we need to re-exercise a quantum of control?
Certainly in robotics this simultaneous drive
towards autonomy (artificial intelligence) andmore sophisticated feedback systems andsensorial capacities is currently in full flight.
Instead of elaborating further on autonomy,
this project seeks to bridge the divide between
humans and non-humans (in this case robots)through an exploration of their co-dependence
and a deepening of the understanding of
thinking and creative act as inherently
performative, distributive and conversational.
Such an enquiry posits the potential of what
could be termed ‘hybrid ecologies’ which,in this instance, refers to a configuring ofrelations between humans and non-humans
and a dynamic inter-relationship between
humans, robots, software programs, digital
and analogue tools, diverse materials, andsituation.

Such a modality suggests a universe of
possibilities and modes of endeavour, whichmight be understood through Leibniz’s calculus
as an infinitesimally small mode of initiatingand (through Varela’s theory of cognition) as
enaction. Thought in action makes the coselection and co-construction of the worldperceptible and palpable. Since each enactment
contributes to the shaping of a shared world,
it is important to consider the directions
proposed by each description, each variationand scripting.
In their individual practices, the exhibitors
and participants in this exhibition are
fully engaged with and exercised by thesequestions. Some are indeed the pioneering‘linguists’ in the discourse, creating thelanguages in which the conversation can be
had and the questions asked. Some of thework develops this language to enable morenuanced and exploratory discussion while somedemonstrates the creative generative potentialof the conversation. Almost all of the work
exhibited raises questions implicitly or explicitly,
regarding the status of the ‘traditional’
drawing to question mimetic paradigms and reconceive our understanding of the relationshipbetween ‘drawing’, ‘thing’ and ourselves and, byextension, between ourselves and the world.
Here and now, drawing is evidenced to be
an operational trace of the to-and-fro of
discourse – of an idea coming to be, just as
much as it is a representational or instrumental
tool. In this context, code is understood asa performative notation – both a drawing anda scripting. The code for the fabrication ofan object is simultaneously the drawing of
the object and the object itself. In this very
process the activity that we call ‘drawing/
thinking’ can be seen to be re-conceived andre-invigorated.

Charles Anderson and Jondi Keane

TECHNICS & TOUCH » LIST OF WORKS: PROJECT ROOM 2TECHNICS & TOUCH » LIST OF WORKS: PROJECT ROOM 2

List of works(see floor plan for gallery positions)4. The Very Vary

1. Tissue
Casey Reas
2002 – 2015
Interactive computer drawing system
and Ink jet prints
Infinite number of ink jet prints (297 x 210mm)
Tissue is a series of drawings made via aninteractive software system that documents
the movement of synthetic neural systems.
Each line reveals the history of one system’s
movement as it navigates its environment.
Tissue is built around the ideas ofneuroanatomist Valentino Braitenberg.

2. Cloud Chamber 2Charles Anderson with Tim Schork
2015
Interactive computer drawing system
and Ink jet printerDimensions and number of works variable
and infinite
13. Cloud ChamberCharles Anderson with Tim Schork2012
Laser etched plywood panels; light boxes,
photographic transparencies; computer
animation
156 plywood panels (613 x 445mm)
Series of plywood light boxes(615 x 445 x 180mm)
Series of photographic transparencies(613 x 445mm)
Cloud Chamber is an ongoing series ofworks that trace the encounters between
architectural spaces and their virtuallypresent clouds of spatial data. In Cloud
Chamber 2 we relinquish control of the processof production and invite others to engage
directly with the generation of the drawing.

Consequently, Cloud Chamber 2 suggests
the following questions: Is place infinitely
reconfigurable and dependent upon individualinterpretation and intervention? Or does
this process, through the open ended andpotentially infinite iteration of the same but
different drawing, reveal what could betermed an emergent ‘tendency of place’ or
spatial ‘grain’?

3. Theatre of the Self
Twilight of Idols
Jondi Keane
1985
Pen, ink and conte on paper
2 drawings (770 x 560 mm)
Body-Fold
Jondi Keane
1989 – 1995
Pen and ink on paper
Series of 25 small drawings (100 x 160mm)
The going particle; Blunted Cube;
Fixations on Rilke
Jondi Keane
1985 – present
Acrylic paint, ink, collage on found books
and journals
Series of books (148 x 210mm, 201 x 297mm
and 297 x 420mm)
These drawings and books were produced
at the time when the trans-avant-garde(1980’s New York) used irony to pry open
a space for heroic imagery of history painting
to speak to existential modes of being.
These works support large easel paintings
that played out the ‘anxiety of influence’and the ruins of representation, which werepervasive in that era.

Body-Fold
Jondi Keane
1989 – 1995
Pen and ink on paper
Series of 25 small drawings (100 x 160mm)
With/Out/With; Infinity Wallpaper; In&On; Erot
Jondi Keane
1985 – present
Acrylic paint, ink, collage on found books
and journals
Series of books (148 x 210mm, 201 x 297mm
and 297 x 420mm)
These works correspond to a shift away fromthe dramatisations of the soap opera of theworld towards an exploration of perceptualand conceptual processing of our surroundings.
The drawings proceed through continuous
variation and modulate the body-environment
relation. In the 1990’s – 2000 the work they
support were large-scale paintings taken off
the stretchers and hung as skins, installations
comprised of wall paintings, light with motion
sensors and objects selected for their materialand cultural resonance.

5. Con-sequencing
Note-line
Jondi Keane
2005
Collage on lined note-paper
4 drawings (210 x 297mm)
Colour barometer
Jondi Keane
2010
Water colour and acrylic paint on paper
5 drawings (110 x 200 mm)
Emblem Series
Jondi Keane
1997 – 2010
Acrylic paint and pastels on paper
2 drawings (770 x 560 mm)“Contracoup”; “Fear and Trembling”;“Procedural Drawing Book”
Jondi Keane
1985 – present
Acrylic paint, ink, collage on found books
and journals
Series of books (148 x 210mm, 201 x 297mm
and 297 x 420mm)
These drawings and books investigate ‘systems
of attention’ by setting out a procedural(task-oriented) approach to drawing as a way
to prompt and track embodied sequences andconsequences. These works move away fromexpression, opting instead to enacting a rangeof expanded, embedded and embodied affects,
in-situ. They support ongoing and current
projects: blackboards drawings in the studioand large-scale, site-specific performative
installations.

6. Bodily Algorithms
Charles Anderson with Tim Schork,
Gideon Obarzanek
2011
Digital prints
34 images (297 x 210mm)
1 image (1200 x 850mm)
Bodily Algorithms is an ongoing project
exploring space through rule-based
behavioural systems and dynamic interactivemodelling techniques. Working with dancer andchoreographer Gideon Obarzanek, the Bodily
Algorithms workshop invited participants
to work from a series of rules and everyday
objects to create a performance connecting
the organised and the unpredictable. Such arule based choreography provides a fertile
way of engaging with the spatial behaviours
emergent in the relationships between
individuals, crowds and urban environments,
and aims towards a new understanding ofform which develop implicitly from theorganisational characteristics of network
structures and introduces this understanding
to a wider audience.

TECHNICS & TOUCH » LIST OF WORKS: PROJECT ROOM 2

7. A House for Hermes 02: Bel Povera (v1)Charles Anderson with Tim Schork
2012
Computer animation
Dimensions variable
A House for Hermes is an ongoing project
musing upon what constitutes ‘house’, ‘home’and ‘place’ in the contemporary world ofceaseless change, displacement and exile. This
computer animation is the first iteration of alarger work which forms part of A House for
Hermes 2: Bel Povera. A dynamic behaviouralbased modeling system was used to visualise
the continual formation and dissolution of aseries of houses. Each house is achieved as a
momentary poise in a turbulent cloud of dust
particles – a kind of choreography of dust.

8. Topographies of ThoughtCharles Anderson
2014 – present
Various media on paper
207 drawings (210 x 148mm)
Topographies of Thought is an ongoing seriesof drawings which trace an attempt to draw astraight line in a variety of situations and overa range of times and durations. Adopting simple
rule sets governing the drawing procedure andthe type of drawing implement used, generates
an emergent drawing which is both unforeseen
and responsive to the particularities of its
situated performance: a kind of terrain map ofthoughtful places, or a process diagram of aline becoming more than a line.

9. Painterly Forms
Kokkugia / Roland Snooks
Project team: Roland Snooks, Marc Gibson,
Cam Newnham
2015
Digital prints
4 prints (960 x 540mm)
Painterly Forms explores the design ofstrange objects through the interaction ofself-organisational and gestural operations.
These experiments attempt to blur the
relationship between the complex order thatis generated through algorithmic processesof self-organisation and the direct operationof the hand. These two types of operation
are placed within a feedback loop where eachmanipulates and reforms the other. This is anattempt to tease out the qualities of distinctly
different processes and explore the blurring ofrecognition that their interaction creates.

10. Sagrada Família Basilica
Passion façade (upper colonnade)Jane Burry2008 – 2015
Printed plaster model(211 x 181 x 380mm)
The model is part of one version or instancein a long process of negotiation of interacting
algorithms. The computational model marries
the contrasting but interdependent geometriesof the upper colonnade for Passion façade ofAntoni Gaudí’s Sagrada Família Basilica. Thismodel aimed to tease the geometries as close
as possible to the intentions evident in Gaudi’s
mixed media drawing for the façade, of which
one historic photograph survives. This printed
model is a step in a process leading to thesubsequent design of the individual granite
components, which are now cut and almost
fully assembled on site.

TECHNICS & TOUCH » LIST OF WORKS: PROJECT ROOM 2

11. Urban Jungle 1-6(Central Hong, Kong, Mid-Levels, Happy Valley,
Quarry Bay, Repulse Bay, Sheung Wan)
Kristof Crolla
2015
Ink on paper
6 drawings (841 x 594mm)
Laboratory for Explorative Architecture& Design Ltd. (LEAD)

12. Stigmergic Contours
Gwyllim Jahn & Christopher Ferris
2015
Texta drawings on butchers paper
Video of autonomous drawings generated
through feedback between computer visionsystems, robotic motion and design behaviours
7 drawings (1 drawing 530 x 465mm, 1 drawing
293 x 293mm, 5 drawings 335 x 335mm)

Urban Jungle looks at the clash between Hong
Kong’s natural and concrete jungle througha unique lens that merges traditional Chinese
ink painting techniques with algorithmic design
tools and low-tech robotics. A series of original
drawings are presented that are made with atailor-made drawing robot that uses ink pencil
brushes and specifically designed drawing
algorithms to produce its output. The artwork
addresses Hong Kong’s confrontation between
the built environment and nature, and visualises
the resulting forces that drive the vertical city
upwards into its unique high-rise typology. The
premise is that both the natural and concrete
jungle are organically growing ecologies. The
developed drawing style visualises these twosystems as ‘alive’ and ‘interconnected’ in amutually parasitic relationship.

These drawings are the artefacts of a processof calibrating vision systems with algorithms
directing robotic behaviours. Although they
carry a functional value as a litmus test of
the suitability of algorithms designed to trace
the profile of previously deposited material(or drawn lines), they possess qualities thatare unique to the complex feedback between
systems driving the motion of the robot,
observing changes in the physical environment,
and directing behaviours within digital
simulations.

TECHNICS & TOUCH » FLOOR PLANTECHNICS & TOUCH » PUBLIC PROGRAM

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2. Cloud Chamber 2Charles Anderson with Tim Schork
2015

3. Theatre of the Self
Jondi Keane
1985 – present

4. The Very Vary
Jondi Keane
1985 – present

5. Con-sequencing
Jondi Keane
1985 – present

6. Bodily Algorithms
Charles Anderson with Tim Schork,
Gideon Obarzanek
2011

7. A House for Hermes 02: Bel Povera (v1)Charles Anderson with Tim Schork
2012

Technics & Touch Conversations
Every Tuesday and Thursday, 3–4pm
Project Room 1, Level 2
RMIT Design HubMPavilion brings together Gertrude
Contemporary, West Space, RMIT Design Hub
and Next Wave to present an intriguing andhonest conversation about the issues within(and surrounding) emerging and experimental
art and design.

Every Tuesday and Thursday afternoon
visitors to the exhibition are invited to joinCharles Anderson and Jondi Keane in the ‘lab’
to take part in a series of informal and open
conversations exploring human and robot
collaborations. These conversations will prove
an important ‘feedback’ loop in progressing the
project to its next stage so come and be partof the live experiment!

For this discussion, the panellists will delve
into the idea of galleries as ‘testing spaces’
for risk, experimentation, play and speculation.
Following an introduction from RMIT Design
Hub Curator Fleur Watson, artist andlandscape architect Charles Anderson andarts academic Jondi Keane will exchange
ideas with invited guests about the exhibition.

Project Rooms 1 & 2, Level 2 Floor Plan

1. Tissue
Casey Reas
2002 – 2015

MTalks Consortium Event at MPavilion
Tuesday 15 December, 6.15pm
Queen Victoria Gardens, St Kilda Rd,
Melbourne

8. Topographies of ThoughtCharles Anderson
2014 – present

9. Painterly Forms
Kokkugia / Roland Snooks
Project team: Roland Snooks, Marc Gibson,
Cam Newnham
2015

Using the Technics & Touch lab as aspringboard, Charles and Jondi will explore
how gallery spaces can present exciting
opportunities for autonomous intelligencesystems to interact with performers and the
public – meaning further interactions between
arts organisations and new technology. Will
this change the function of gallery spaces as
we know them? And how will the artist’s rolechange with these developments?

10. Sagrada Família Basilica
Passion façade (upper colonnade)Jane Burry2008 – 2015

Technics & Touch Symposium
Thursday 28 January, 1–4pm
Project Room 1, Level 2
RMIT Design Hub

11. Urban Jungle 1-6
Kristof Crolla
2015

12. Stigmergic Contours
Gwyllim Jahn & Christopher Ferris2015

13. Cloud ChamberCharles Anderson with Tim Schork
2012

Join Charles Anderson and Jondi Keane for ahalf-day symposium exploring the implications
and applications of the Technics and Touch
research project.
Speakers include Roland Snooks, Tim Schork,
Jane Burry, Gwyllim Jahn, Pia Ednie-Brown
amongst other invited guests.

Further programs and invited speakers will
be announced via the Design Hub website:
http://designhub.rmit.edu.au/exhibitionsprograms/technics-touch
Connect with us via
Instagram, Twitter and Facebook:@RMITDesignHub#RMITDesignHub#TechnicsandTouchTECHNICS & TOUCH » ARTIST BIOGRAPHIESTECHNICS & TOUCH » ARTIST BIOGRAPHIESCharles Anderson

Kristof Crolla

Jondi Keane

Tim Schork

Charles Anderson is an artist and designerwith over 30 years experience exhibiting
and making work in Australia and aroundthe world. Charles creates a kind of vagrantwork variously inhabiting the ‘worlds’ of art,architecture, landscape architecture, urban
design, performance and couture. Embracing
collaborative partnerships, Anderson hybridizes
generative procedures to materialise processesof time in order to reformulate the spatial
hierarchies that characterize the lived spacesof our world. A founding director of Stutterheim/ Anderson Landscape Architecture (SAALA),
Anderson is a registered Landscape Architect
and a Senior Lecturer in the School ofArchitecture & Design, RMIT University.

Kristof Crolla is a licensed architect who
combines his architectural practice ‘Laboratory
for Explorative Architecture & Design Ltd.’(LEAD) with his position as Assistant Professor
in Computational Design at the Chinese
University of Hong Kong. After graduating
Magna Cum Laude as Civil ArchitecturalEngineer at Ghent University in 2003, hepracticed in Belgium and built his first project,‘House for an Artist’. He moved to London in2005 to attend the Architectural Association
School of Architecture, London (AA)’s Masterof Architecture program Design ResearchLaboratory, from where his student work was
exhibited at the 2006 Venice Architecture
Biennale. Following this he worked for several
years as Lead Architect for the Pritzker prize
winning Zaha Hadid Architects, while teachingin parallel at the AA and other institutions
worldwide. He has been invited as jury critic,
lecturer and tutor in numerous institutions
across the globe.

Jondi Keane is an arts practitioner, criticalthinker and Associate Professor in the Schoolof Communication and Creative Arts at Deakin
University. Since the 1980’s, he has exhibited,performed and published in the USA, UK,
Europe and Australia producing works
informed by studies in perception and actionand enactive theories of cognition.

Tim Schork is a founding partner of MESNE
Design Studio and a founding director of RAW– The Monash Laboratory of Materials andProcesses. Hosted within the Department ofArchitecture at Monash University, RAW isconcerned with the transformative effects andcontributory role that an informed engagementwith materials and technologies can haveon the practices of architecture and ourbuilt environment. RAW involves experts fromarchitecture, structural engineering, materialscience, computer science, the arts and crafts,
product design and robotics and is dedicatedto the study, experiment, development andapplication of innovative material systems
and progressive building technologies.
Tim is internationally renowned for his design
excellence and innovative work and holds a
PhD from RMIT University.

Jane Burry
Jane Burry is an architect who has worked
since 2000 with partner Mark Burry andthe team researching the construction of
the Sagrada Família Basilica where she was
responsible for the basic design of the Passion
colonnade. She is an associate professor inarchitecture and design at RMIT University
where she directs the Spatial Information
Architecture laboratory and leads the Masterof Design Innovation and Technology. She
has a PhD relating modern mathematics andits philosophy with computational design inarchitecture. She is lead author of The New
Mathematics of Architecture, Thames andHudson. She is also engaged research into
the integration of analysis feedback in early
design in architecture (Designing the Dynamic,
Melbourne Books, 2013). She has over seventy
publications, has practiced, taught andresearched internationally.

Gwyllim Jahn
Gwyllim Jahn is an Associate Lecturer in
Architectural Design at RMIT in Melbourne
and is a founding member of the Exlab and
Elseware collectives where he is developing anarchitectural and artistic practice concernedwith complex architectural geometry andbehavioral systems, interactive environments,
algorithmic design and digital fabrication. The
speculative design work of this practice has
been awarded and exhibited internationally,and documented in the form of contributions toleading international design conferences. This
agenda is complemented by teaching design
studios focusing on material computation,
eco criticism and autonomous robotics, andindependent design-make research in the modeof collaborative workshops in Iran, India andelsewhere. He is currently working towards his
PhD at RMIT.

Casey Reas
Casey Reas writes software to explore
conditional systems as art. Through defining
emergent networks and layered instructions,
he has defined a unique area of visualexperience that builds upon concrete art,
conceptual art, experimental animation, anddrawing. While dynamic, generative softwareremains his core medium, work in variable
media including prints, objects, installations,and performances materialize from his visualsystems. Reas is a professor at the Universityof California, Los Angeles. With Ben Fry, Reas
initiated Processing in 2001. Processing is
an open source programming language andenvironment for the visual arts.

Roland Snooks
Roland Snooks is a partner of the researchcollaborative Kokkugia, and director of thearchitecture practice Studio Roland Snooks.
He is a senior lecturer in architecture at RMIT
University having previously taught widelyin the US including at Columbia University,
University of Pennsylvania, Pratt Instituteand SCI-Arc. Roland received a PhD from RMIT
University, in which his architectural design
research is focused on behavioral processesof formation that draw from the logic of swarm
intelligence. He holds a Masters in advanced
architectural design from Columbia University
where he studied on a Fulbright scholarship.
In addition to his work with algorithmic design
Roland directs the Architectural Robotics Lab
at RMIT University.

TECHNICS & TOUCH » INFO

Acknowledgements

RMIT Design Hub

Technics & Touch: Body-Matter-Machine
11 December 2015 – 30 January 2016

Location:
Corner Victoria and Swanston Streets,
Carlton, 3053
hello.designhub@rmit.edu.au
www.designhub.rmit.edu.au

Project Room 1
Practitioners/performers:
Charles Anderson and Jondi Keane
Project Room 2
Works by Charles Anderson, Jane Burry,
Kristof Crolla, Gwyllim Jahn, Jondi Keane,
Casey Reas, Tim Schork, Roland Snooks

Curators: Charles Anderson,
Fleur Watson, Kate Rhodes
Creative Production: Nella Themelios
Exhibition Technician: Erik North
Exhibition Assistants: Kate Riggs,
Audrey Thomas-Hayes
Technical Assistants: Tim McLeod,
Robert Jordan, Gavin Bell
Graphic Design: Sean Hogan, Trampoline
RMIT Architectural Robotics Lab Director:
Roland Snooks
Programming and Development:
Jules Rutten, Cam Newnham, Chris Ferris

Thank you
Boom Studios
Professor Richard Blythe
RMIT School of Architecture & Design
RMIT Landscape Architecture Program
RMIT School Research Committee

Opening hours:
Tuesday–Friday, 11am–6pm
Saturday, 12pm–5pm
Closed Sunday, Monday and Public Holidays
Admission is free
Please note the exhibition will be closed from24 December 2015 – 11 January 2016.

RMIT Design Archives
By Appointment
The RMIT Design Archives is located on
the western side of the forecourt.
Contact the Archives to make an
appointment to view the collection:
rmitdesignarchives@rmit.edu.au

Disclaimer
RMIT University has made every effort to trace
copyright holders and provide correct crediting
and acknowledgements in consultation with theproviders of the exhibition.