I presented a paper at the conference looking at the pressure of technology on craft traditions. Here is the abstract I presented.
‘Transitioning analogue traditional bell making to the digital 3D Additive Manufacturing processes for new acoustic experience.
Abstract:
The digital design and technology revolution makes possible up new acoustic opportunities for bells that have been cast and tuned in traditional materials and processes. This shift along the manufacturing continuum from analogue processes to digital design technologies has shown exciting opportunities for bells to be used in new urban acoustic design. The ‘Federation Bells Carillon’ in Melbourne (www.federationbells.com.au) and new bell design for the Longnow Foundation’s 10,000-Year Clock (www.longnow.org) as well as the first 3D printed bells in titanium and stainless-steel are rewriting the concept of ‘the bell’ in communal cultural experience. This paper outlines the work of bell designer and founder Anton Hasell in these and other public-space projects.
It was wonderful to listen to so many perspectives on traditional craft futures in an increasingly challenging world. The range of projects and start-up industries in craft and design practices presented at the conference, and the many intense discussions held between participants throughout the event was invigorating. Cebu hosted conference attendees admirably, in face of the covid19 constraint everyone was aware of. I expect interesting papers will be published from the presentations and that these will advance traditional crafting practice’s processes to navigate the changing, challenging global situation.
In my presentation I tried to show that even in arcane and perhaps obscure traditional crafts like bell founding, whose origins emerge from the in the mist of history, there still exists a continuum of technology along which its processes can evolve, and should evolve to keep the craft relevant and vital, tuned into its community and the changes they make toward prosperity in a shifting future.
Where traditional uses for bells is slowing in its demand for product design innovation and production volume, bell founder ought to seek new opportunities to bring the bell back to the community’s consciousness. My work in new bell design and digital design opportunities is oriented to applying the old acoustic ‘place-making’ and way-faring’ roles of bells to new urban design perspectives. New built ecologies ought to include acoustic and other multi-sensory experience in considered ways for increasing wellbeing in human habitats.
Public-space architectures, like the Federation Bells Carillon in Melbourne, that encourage community members to engage in creative play with one another are also important sonic inclusions in contemporary urban design. Accessible, interactive and participatory public artworks from invigorated craft traditions build communal wellbeing while helping the community navigate uncertain futures through their tradition and history.
3D printed bells created in the digital design space offer new sounds from new shapes and materials for new uses in contemporary urban design. The old bell, sounding at the centre of their traditional communities, is being reinvented to serve similar and new roles for contemporary communities changing rapidly in response to global challenges.