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2016 | OriginalPaper | Chapter

6. The Focal Practice of 3D Printing

Author : Esther Keymolen

Published in: 3D Printing

Publisher: T.M.C. Asser Press

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Abstract

3D desktop printers enable anyone to print physical objects, tailored to personal needs at home. This chapter explores how the possibility of creating artefacts through 3D printing might change the way we relate to (3D-printed) artefacts. Keymolen argues that 3D printing might enable a new form of technological engagement. 3D desktop printers, she claims, can be considered ‘focal things’, artefacts that invite users to actively interact with them in such a way that the togetherness and interdependency with the object itself and the world it mediates become evident. She provides an analyses on three levels to support this claim. First, 3D desktop printers themselves, as artefacts, invite users to engage in the design process. The printer needs to be ‘played’ with in order to perform properly. Second, it seems feasible that the artefacts produced by a 3D desktop printer will be looked after more carefully than anonymous mass-produced objects, because they are personalized and self-made. And third, it even seems feasible that end users will build more sustainable relationships with mass-produced artefacts, because they can print spare parts for them when they break down, and thus fix them rather than replace them.

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Footnotes
1
Anderson 2012, Berman 2012.
 
2
Anderson 2012, p. 9.
 
3
Weinberg 2013, p. 1.
 
4
Anderson 2012, p. 86.
 
5
Borgmann 1987, Borgmann 2000.
 
6
Verbeek 2000, Verbeek 2002.
 
7
Anderson 2012, pp. 61–62.
 
8
Ibid.
 
9
Spiegel et al. 2013.
 
10
Anderson 2012, p. 32.
 
11
Ibid., pp. 61–62.
 
12
Anderson 2012, Berman 2012.
 
13
Anderson 2012, p. 150.
 
14
Rotman 2013.
 
15
Plessner 1975, p. 310.
 
16
Ibid., p. 310.
 
17
Heidegger 2010.
 
18
Marcuse 2009 [1964].
 
19
Ellul 1990.
 
20
‘Labour’ for Marx is more than ‘just work’. In Capital Marx 1976, p. 290, he states that labour is “the universal condition for the metabolic interaction (Stoffwechsel) between man and Nature, the everlasting Nature-imposed condition of human experience” (cited in Cazeaux 2000).
 
21
Marx, cited in Cazeaux 2000, p. 198.
 
22
Van den Berg and Keymolen 2013.
 
23
Marcuse 2009 [1964], p. 39.
 
24
Although Borgmann’s analysis is partly in line with the work of philosophers such as Heidegger and Ellul, he cannot be counted as a classical philosopher of technology. He differs from the classical approach because he analyses technological artefacts in their specific context and does not take an anti-technological perspective.
 
25
Borgmann 2009, pp. 56–58.
 
26
Borgmann 2000, p. 419.
 
27
Ibid., 420.
 
28
Tijmes 1997, p. 116.
 
29
Borgmann 2009, pp. 59–69.
 
30
Borgmann 2009, p. 59.
 
31
Ibid., p. 421.
 
32
Borgmann 2009, p. 70.
 
33
Verbeek 2000, p. 213.
 
34
Borgmann 2000, p. 419.
 
35
‘Script’ is a term widely used in Science and Technology Studies (Van den Berg 2010; Latour 1992; Oudshoorn and Pinch 2003; Akrich 1992). In general, it refers to the body of presuppositions designers have concerning prospective users. Designers aim to incorporate these ideas about the user and the user-context in the design of the artefact, resulting in a script. In this chapter, ‘script’ has a deviating meaning, not necessarily referring to the ideas of the designers materialized in the artefact. Rather, it touches on the—unintended—working of the mass-produced artefact itself, which, because of its specific manufacturing process, imposes the aforementioned double distance on the relationship of human beings and artefacts.
 
36
Ihde 1990.
 
37
Lipson and Kurman 2013, p. 50.
 
38
Keymolen2013.
 
39
Lipson and Kurman 2013, pp. 49–50.
 
40
Botsman and Rogers 2010.
 
41
Lipson and Kurman 2013, pp. 153–174.
 
42
Anderson 2012, pp. 46–47.
 
43
Ibid, p. 150.
 
44
Lipson and Kurman 2013, p. 51.
 
45
Heidegger 2010.
 
46
Verbeek 2000, pp. 250–253.
 
47
Kenniscafé 2013, 01:42:50 section.
 
49
Anderson 2012, pp. 92–97.
 
50
Ibid., 93.
 
51
Verbeek 2000.
 
54
Ibid.
 
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Metadata
Title
The Focal Practice of 3D Printing
Author
Esther Keymolen
Copyright Year
2016
Publisher
T.M.C. Asser Press
DOI
https://doi.org/10.1007/978-94-6265-096-1_6