https://sambourgault.com sam_bourgault Thu, 24 Jul 2025 16:04:19 +0000 https://sambourgault.com en https://sambourgault.com/Home Thu, 02 Jun 2022 23:01:12 +0000 sam_bourgault https://sambourgault.com/Home <img width="5568" height="3712" width_o="5568" height_o="3712" data-src="https://freight.cargo.site/t/original/i/2993b3303a0854d136c97c421e5cee5a488bb7175f29926e35db28c0507fcc35/DSC_6434-transparent-background.png" data-mid="238567164" border="0" src="https://freight.cargo.site/w/1000/i/2993b3303a0854d136c97c421e5cee5a488bb7175f29926e35db28c0507fcc35/DSC_6434-transparent-background.png" /> <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/814f34b54212ef74a27573cd52e6070bfdb188fe46e10cc27b4900855923a0f5/mc_trio-1.png" data-mid="174881221" border="0" alt="clay &eacute; argile" data-caption="clay é argile" src="https://freight.cargo.site/w/1000/i/814f34b54212ef74a27573cd52e6070bfdb188fe46e10cc27b4900855923a0f5/mc_trio-1.png" /> <img width="1500" height="738" width_o="1500" height_o="738" data-src="https://freight.cargo.site/t/original/i/34c1371cd4d6169cded18c7ef97916ff58ed87a99d11fd1fb8b5d485c1258cbc/teapot.png" data-mid="175988940" border="0" src="https://freight.cargo.site/w/1000/i/34c1371cd4d6169cded18c7ef97916ff58ed87a99d11fd1fb8b5d485c1258cbc/teapot.png" /> <img width="3360" height="1889" width_o="3360" height_o="1889" data-src="https://freight.cargo.site/t/original/i/96b330325222f229e9b441d05b9476c054c1f28608b931b1248da48eb19fdecb/pero3.png" data-mid="144401589" border="0" alt="Pero sans Cimon" data-caption="Pero sans Cimon" src="https://freight.cargo.site/w/1000/i/96b330325222f229e9b441d05b9476c054c1f28608b931b1248da48eb19fdecb/pero3.png" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/4bbd857643d186f5905ee4eb84ff842352c5c26700f407d81d669a3ae7b3ff0a/img30.jpg" data-mid="175152195" border="0" alt="Mycocene" data-caption="Mycocene" src="https://freight.cargo.site/w/1000/i/4bbd857643d186f5905ee4eb84ff842352c5c26700f407d81d669a3ae7b3ff0a/img30.jpg" /> <img width="752" height="1061" width_o="752" height_o="1061" data-src="https://freight.cargo.site/t/original/i/541da38a45209787453f41e42e67f554f3fa12bd5f951b659c38a622e1ca81ed/ceramwrap_vase_dot.png" data-mid="195868469" border="0" src="https://freight.cargo.site/w/752/i/541da38a45209787453f41e42e67f554f3fa12bd5f951b659c38a622e1ca81ed/ceramwrap_vase_dot.png" /> <img width="4022" height="2264" width_o="4022" height_o="2264" data-src="https://freight.cargo.site/t/original/i/0cb5a52bcf948e5c0f46a417727511511729c9dd4aa16c48533eb1a6ef417fc4/attache7.png" data-mid="175157712" border="0" alt="une attache &agrave; pain en promenade sur un clou" data-caption="une attache à pain en promenade sur un clou" src="https://freight.cargo.site/w/1000/i/0cb5a52bcf948e5c0f46a417727511511729c9dd4aa16c48533eb1a6ef417fc4/attache7.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d0f6dc84b05714c08a96f0b58017a490d1181ff731bb32195032bfbc7034b160/sympBite4-min.png" data-mid="175175140" border="0" alt="sympathetic bite" data-caption="sympathetic bite" src="https://freight.cargo.site/w/1000/i/d0f6dc84b05714c08a96f0b58017a490d1181ff731bb32195032bfbc7034b160/sympBite4-min.png" /> <img width="3216" height="2136" width_o="3216" height_o="2136" data-src="https://freight.cargo.site/t/original/i/2aefe1b3aba6d4d79e204961b4205212f2b501a72fdf04eac730bc1fd3a5d87f/vociferer10.png" data-mid="175274650" border="0" alt="vocif&eacute;rer" data-caption="vociférer" src="https://freight.cargo.site/w/1000/i/2aefe1b3aba6d4d79e204961b4205212f2b501a72fdf04eac730bc1fd3a5d87f/vociferer10.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/37aba1f3f2b5315b8d2cda22a67eb3bb8c4df785e6a9880e6a26150a6fd4cc28/050.jpg" data-mid="175277302" border="0" alt="MULTIPLEXER" data-caption="MULTIPLEXER" src="https://freight.cargo.site/w/1000/i/37aba1f3f2b5315b8d2cda22a67eb3bb8c4df785e6a9880e6a26150a6fd4cc28/050.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4e6a7f2d397106840c52b1ba7857d12482227d722541ec9e077fc0f829cd4336/ripaProxDance_80.png" data-mid="175279603" border="0" alt="prox.Dance" data-caption="prox.Dance" src="https://freight.cargo.site/w/1000/i/4e6a7f2d397106840c52b1ba7857d12482227d722541ec9e077fc0f829cd4336/ripaProxDance_80.png" /> <img width="2144" height="3804" width_o="2144" height_o="3804" data-src="https://freight.cargo.site/t/original/i/48e6e1eb1eb823ed1fd5d6bb0b604a6ef80bd07f043b540186db85d54dc507f9/inflatable2.png" data-mid="175286833" border="0" alt="body circuit/parcous corporel" data-caption="body circuit/parcous corporel" src="https://freight.cargo.site/w/1000/i/48e6e1eb1eb823ed1fd5d6bb0b604a6ef80bd07f043b540186db85d54dc507f9/inflatable2.png" /> <img width="1884" height="1824" width_o="1884" height_o="1824" data-src="https://freight.cargo.site/t/original/i/d37f87519c904bd05905008ff1b80d6a8c42f63c446d25e6dc7a979c5d18e2aa/skin1_small.png" data-mid="175289065" border="0" alt="peau &eacute;ph&eacute;m&egrave;re" data-caption="peau éphémère" src="https://freight.cargo.site/w/1000/i/d37f87519c904bd05905008ff1b80d6a8c42f63c446d25e6dc7a979c5d18e2aa/skin1_small.png" /> <img width="3326" height="1858" width_o="3326" height_o="1858" data-src="https://freight.cargo.site/t/original/i/2f027c2e3ecc011c49f1db09f1fd09aa39ea53f919f5252704458cba0923489f/face_flower2.png" data-mid="175301126" border="0" alt="Megafauna" data-caption="Megafauna" src="https://freight.cargo.site/w/1000/i/2f027c2e3ecc011c49f1db09f1fd09aa39ea53f919f5252704458cba0923489f/face_flower2.png" /> <img width="1574" height="1314" width_o="1574" height_o="1314" data-src="https://freight.cargo.site/t/original/i/8efaccc9b5c0aa7c87e0ed3ccffce47cf1b212332bf653910835a626aa90affb/vitrified_sound_printing.png" data-mid="210635328" border="0" src="https://freight.cargo.site/w/1000/i/8efaccc9b5c0aa7c87e0ed3ccffce47cf1b212332bf653910835a626aa90affb/vitrified_sound_printing.png" /> <img width="1280" height="800" width_o="1280" height_o="800" data-src="https://freight.cargo.site/t/original/i/97625af8e862b3a56f932d038777997660b48ed97b56f1c665e7eb049a3770f6/ca1.png" data-mid="175318018" border="0" alt="carcassesSolubles" data-caption="carcassesSolubles" src="https://freight.cargo.site/w/1000/i/97625af8e862b3a56f932d038777997660b48ed97b56f1c665e7eb049a3770f6/ca1.png" /> <img width="3346" height="1714" width_o="3346" height_o="1714" data-src="https://freight.cargo.site/t/original/i/9f8d4fdf33ae517ccada4878e94cb95c1673d7ae9bca64425cd762e54fff218d/bubblegum2.png" data-mid="175319490" border="0" alt="bubblegum" data-caption="bubblegum" src="https://freight.cargo.site/w/1000/i/9f8d4fdf33ae517ccada4878e94cb95c1673d7ae9bca64425cd762e54fff218d/bubblegum2.png" /> https://sambourgault.com/about Tue, 11 Apr 2023 01:07:33 +0000 sam_bourgault https://sambourgault.com/about allô. I develop action-oriented systems for digital fabrication applications informed by craft workflows through collaboration with domain experts. I completed my Ph.D. in Media Arts and Technology at the University of California, Santa Barbara, under the supervision of Prof. Jennifer Jacobs in the Expressive Computation Lab. I am now beginning my postdoctoral research at Princeton University, currently working with Prof. Forrest Meggers in the School of Architecture. I also make art and perform with various materials. You can reach out to samuelle.bourgault [at] gmail.com <img width="4075" height="3476" width_o="4075" height_o="3476" data-src="https://freight.cargo.site/t/original/i/dc82b545bd8032aa0524d00493c4746de9d550bd7bbe77221e4660a92dfd2f02/DSCF2164.JPG" data-mid="213467391" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/dc82b545bd8032aa0524d00493c4746de9d550bd7bbe77221e4660a92dfd2f02/DSCF2164.JPG" /> education 2025_ ︎︎︎ Princeton Presidential&nbsp;Postdoctoral Fellow, Princeton, NJ, USA 2019_2025 ︎︎︎ Ph.D. in Media Arts and Technology,&nbsp;Expressive Computation Lab,&nbsp;University of California, Santa Barbara, CA, USA 2019_2022&nbsp;︎︎︎ Master of Science in Media Arts and Technology, University of California, Santa Barbara, CA, USA 2016_2019&nbsp;︎︎︎ Bachelor of Fine Arts in Computation Arts, Concordia University, Montreal, QC, CAN 2011_2015&nbsp;︎︎︎ Bachelor of Engineering in Physics Engineering, Polytechnique Montreal, Montreal, QC, CAN 2013_2014&nbsp;︎︎︎ International Student Exchange, University of New Mexico, Albuquerque,&nbsp; NM, USA publications Bourgault, S., Aponte, A., Ondo, M., Yu, E., and Jacobs, J., WORM: Programming Collaborative Robots Through Manual Actions for Craft-Aligned Digital Fabrication. ACM Symposium on User Interface Software and Technology (UIST) 2025, Busan, KR. doi:&nbsp;https://doi.org/10.1145/3746059.3747616 Bourgault, S., Wei, L.-Y., Jacobs, J., and Habib Kazi, R.,&nbsp;Narrative Motion Blocks: Combining Direct Manipulation and Natural Language Interactions for Animation Creation, ACM Designing Interactive Systems Conference (DIS) 2025, Funchal, PT. doi:&nbsp;https://doi.org/10.1145/3715336.3735766 🏆&nbsp;Best Paper Award&nbsp;(top 1%) Moyer, I., Bourgault, S., Frost, D., and Jacobs J.,&nbsp;Don't Mesh Around: Streamlining Manual-Digital Fabrication Workflows with Domain-Specific 3D Scanning, ACM Symposium on User Interface Software and Technology (UIST), 2024,&nbsp;Pittsburgh, PA, USA. doi: https://doi.org/10.1145/3654777.3676385&nbsp;🏆 Best Demo Award Bourgault, S., and Jacobs J., Millipath: Bridging Materialist Theory and System Development for Surface Texture Fabrication, ACM Designing Interactive Systems Conference (DIS) 2024, Copenhagen, Denmark. doi:&nbsp;https://dl.acm.org/doi/10.1145/3643834.3661599 Toka*, M., Frost* D., Bourgault, S., Farber, A., Friedman-Gerlicz, C., Paek, E.-H., Lee, R., Wiley, P., Jacobs, J., Practice-driven Software Development: A Collaborative Method for Digital Fabrication Systems Research in a Residency Program, ACM Designing Interactive Systems Conference (DIS) 2024, Copenhagen, Denmark. doi:&nbsp;https://dl.acm.org/doi/10.1145/3643834.3661522 Moyer, I., Bourgault, S., Frost, D., and Jacobs, J., Throwing Out Conventions: Reimagining Craft-Centered CNC Tool Design through the Digital Pottery Wheel, ACM Conference on Human Factors in Computing System ​(CHI) 2024, Hawai’i, USA. doi: https://doi.org/10.1145/3613904.3642361 &nbsp;🏆 Best Paper Award (top 1%) Toka*, M., Bourgault*, S., Friedman-Gerlicz, C., and Jacobs, J.,&nbsp;An Adaptable Workflow for Manual-Computational Ceramic Surface Ornamentation, ACM Symposium on User Interface Software and Technology (UIST) 2023, San Francisco, USA. doi:&nbsp;https://doi.org/10.1145/3586183.3606726&nbsp; *Equal Contribution Bourgault, S., Wiley, P., Farber, A., and Jacobs, J., CoilCAM: Enabling Parametric Design for Clay 3D Printing Through an Action-Oriented Toolpath Programming System, ACM Conference on Human Factors in Computing System ​(CHI) 2023, Hamburg, Germany. doi:&nbsp; https://doi.org/10.1145/3544548.3580745 ⭐️&nbsp;Best Paper Honorable Mention (top 5%) Bourgault, S., and Jacobs, J., Preserving Hand-Drawn Qualities in Audiovisual Performance Through Sketch-Based Interaction, Journal of Computation Languages, 2023, Elsevier (Extended Version of the VL/HCC paper) doi:&nbsp;https://doi.org/10.1016/j.cola.2022.101186Bourgault, S., and Jacobs, J., Preserving Hand-Drawn Qualities in Audiovisual Performance Through Sketch-Based Interaction, IEEE Symposium on Visual Languages and Human-Centric Computing (VL/HCC) 2021, St. Louis, MO, USA (Virtual Event) doi:&nbsp;10.1109/VL/HCC51201.2021.9576315Benabdallah*, G., Bourgault*, S., Peek, N., and Jacobs, J., Remote Learners, Home Makers: How Digital Fabrication Was Taught Online, ACM Conference on Human Factors in Computing System ​(CHI) 2021, Tokyo, Japan (Virtual Event) doi:&nbsp;https://doi.org/10.1145/3411764.3445450&nbsp;⭐️ Best Paper Honorable Mention&nbsp;(top 5%) *Equal Contribution Bourgault, S., Forgues, E., and Jacobs, J., Experimenting with Robotic Softness, International Symposium on Electronic Art (ISEA) 2020, Montreal, CAN (Virtual Event). Available here.Khaled, R., Sych, S., Bourgault, S., and Barr, P., NEO//QAB: Creating a World Through Speculative Play, International Symposium on Electronic Art (ISEA) 2020, Montreal, CAN (Virtual Event). other writings Bourgault, S.,&nbsp;Developing Action-Oriented Systems for Manual-Computational Craft Workflows, ACM Symposium on User Interface Software and Technology (UIST) 2023 Adjunct, Doctoral Symposium, San Francisco, USA. doi: https://doi.org/10.1145/3586182.3616708 Bourgault, S. and E, J., Exploring the Horizon of Computation for Creativity, XRDS 29, 4 (Summer 2023), doi: https://doi.org/10.1145/3596921Bourgault, S., Frost, D., Wiley, P., Farber, A., and Jacobs, J.,&nbsp;Demonstration of CoilCAM: an Action-Oriented Toolpath Programming System for Clay 3D Printing. ACM Conference on Human Factors in Computing System ​(CHI) 2023 Extended Abstracts, Hamburg, Germany. doi: https://doi.org/10.1145/3544549.3583921 exhibitions 2025&nbsp;︎︎︎ Deep Cut, EoYS 2025 in Media Arts and Technology, Santa Barbara, CA, USA 2024&nbsp;︎︎︎ Materials Collection, Center for Craft,&nbsp;Asheville, NC, USA 2024&nbsp;︎︎︎ soft AI+M, EoYS 2024 in Media Arts and Technology, Santa Barbara, CA, USA 2023 ︎︎︎ ISEA 2023, Forum des Images, Paris, FR 2022 ︎︎︎ PHUSIS:&nbsp;Projet Emergent, perte de signal, Montreal, QC, CAN 2022&nbsp;︎︎︎&nbsp;Eco(Systems) of Hope @ Anteism Books, Montreal, QC, CAN&nbsp; [as somme] 2022&nbsp;︎︎︎ SYMADES, EoYS 2022 in Media Arts and Technology, Santa Barbara, CA, USA2019&nbsp;︎︎︎&nbsp;ELEKTRA XX at Oboro, Montreal, QC, CAN [as somme] 2019 ︎︎︎ Sight+Sound, Eastern Bloc, Montreal, QC, CAN 2019&nbsp;︎︎︎ ICRA-X: Robotic Art Program,&nbsp;ICRA 2019, Montreal, QC, CAN 2018&nbsp;︎︎︎ You are here, Computation Arts Graduation Show, Concordia University, Montreal, QC, CAN&nbsp; [as somme] 2018 ︎︎︎ Winter Programming 2018, VAV Gallery, Concordia University, Montreal, QC, CAN 2018&nbsp;︎︎︎ Art Crush in Time, Art Matters 2018, Galerie Articule, Montreal, QC, CAN2017&nbsp;︎︎︎ Mutek - Next Era, Maison du développement durable, Montreal, QC, CAN2017&nbsp;︎︎︎ May Contain, Computation Arts Graduation Show - Concordia University, Montreal, QC, CAN performances 2024&nbsp;︎︎︎ HOUSE SHOW,&nbsp;Red Barn, University of California, Santa Barbara, CA, USA 2021&nbsp;︎︎︎ Mutek with GOLPESAR (Rouzbeh Shadpey),&nbsp;Cinquième Salle, Montreal, QC, CAN 2019&nbsp;︎︎︎ sun sets,&nbsp;OFFTA 2019,&nbsp;Édifice Wilder—Espace danse, Montreal, QC, CAN 2019 ︎︎︎ RIPA 2019, Fonderie Darling, Montreal, QC, CAN 2018 ︎︎︎ pedagogy, Art Matters 2018, Espace Projet, Montreal, QC, CAN 2018&nbsp;︎︎︎ IN BLOOM, Eastern Bloc, Montreal, QC, CAN talks 2025 ︎︎︎ UIST 2025, Busan, KR (demo+talk) 2025 ︎︎︎ DIS 2025, Funchal, Madeira, PT 2025&nbsp;︎︎︎ Grasshopper in Architecture class,&nbsp;University of New Mexico, Virtual Event. Host: Camila&nbsp;Friedman-Gerlicz 2024 ︎︎︎ Computational Fabrication class, University of New Mexico, Virtual Event. Host:&nbsp;Leah Buechley 2024&nbsp;︎︎︎ DIS 2024, IT University, Copenhagen, DK 2024 ︎︎︎ UCSD Vis Arts Seminar Series, University of California San Diego, Virtual Event. Host: Sölen Kiratli 2024 ︎︎︎ Open Source Arts Contributors Conference, Denver, USA 2024 ︎︎︎ ATLAS Colloquium, Boulder, USA. Host: Ellen Do 2023 ︎︎︎ Doctoral Symposium,&nbsp;UIST 2023, Fairmont, San Francisco, USA 2023 ︎︎︎ Focus Québec,&nbsp;ISEA 2023, Forum des images, Paris, FR 2023 ︎︎︎ CHI 2023, HHC, Hamburg, GE 2021 ︎︎︎ VL/HCC 2021, Virtual Event 2021 ︎︎︎ CHI 2021, Virtual Event 2020 ︎︎︎ ISEA 2020, Virtual Event2019 ︎︎︎&nbsp;MIAN – International Marketplace for Digital Art, Centre Phi, Montreal, QC, CAN academic service 2026 ︎︎︎ Associate Chair for TEI 2026 Paper and Pictorial Tracks, Reviewer for CHI 2026, DIS 2026. 2025 ︎︎︎ Associate Chair for CHI 2025 Paper Track and TEI 2025 Paper Track, Reviewer for DIS 2025, UIST 2025, and the Personal and Ubiquitous Computing Journal 2024 ︎︎︎ Associate Chair for DIS 2024 Pictorial Track, Reviewer for IEEE VR 2024 2023 ︎︎︎ Guest Editor for the XRDS Magazine, Summer 2023 edition 2023 ︎︎︎ Reviewer for CHI 2023, and SCF 2023 2022 ︎︎︎ Reviewer for UIST 2022, SCF 2022 and C&amp;C 2022 2021 ︎︎︎ Reviewer for&nbsp;DIS 2021 work 2020_2025 ︎︎︎ Graduate Student Researcher with Professor Jennifer Jacobs, Expressive Computation Lab, UCSB, Santa Barbara, CA, USA 2024 ︎︎︎&nbsp;Research Scientist/Engineer Intern with Rubaiat Habib, Li-Yi Wei, Wilmot Li, Adobe Research, Adobe Inc, Seattle, WA, USA 2017_2019&nbsp;︎︎︎&nbsp;Research Assistant with Professor Rilla Khaled, Technoculture, Art, and Games (TAG), Concordia University, Montreal, QC, CAN 2017_2019&nbsp;︎︎︎&nbsp;Research Assistant with Professor Jason Lewis, Obx Labs, Concordia University, Montreal, QC, CAN 2017_2019&nbsp;︎︎︎&nbsp;Teacher Assistant in Creative Computing with Professor Pippin Barr, Concordia University, Montreal, QC, CAN 2018&nbsp;︎︎︎&nbsp;Lead Programmer and Programming Instructor for&nbsp;Skins 6.0 Workshop, The Initiative for Indigenous Future, Montreal, QC, CAN, and Kanaeokana, Honolulu, HW, USA notable awards 2025&nbsp;︎︎︎ UCSB winner of WAGS/ProQuest Innovation in Technology Dissertation Award 2025&nbsp;︎︎︎ Princeton Presidential Postdoctoral Fellowship 2021&nbsp;︎︎︎ Social Sciences and Humanities Research Council Doctoral Fellowships, Canada 2020 ︎︎︎ William and Meredith Saunderson Prizes for Emerging Artists from the&nbsp;Hnatyshyn Foundation 2019 ︎︎︎ Chancellor’s Fellowship from the University of California, Santa Barbara 2019&nbsp;︎︎︎ Master’s Scholarship, Fond de Recherche du Québec - Société et Culture 2019&nbsp;︎︎︎ Computation Arts Prize at Concordia University Convocation 2017&nbsp;︎︎︎&nbsp;Public Award at Mutek Next Era Competition 2014&nbsp;︎︎︎&nbsp;Feynman Award for best student in Contemporary Physics from the University of New Mexico, Albuquerque 2014&nbsp;︎︎︎&nbsp;Roger-Lessard Scholarship for the best student in Mathematics from Polytechnique Montreal https://sambourgault.com/coilCAM Mon, 10 Apr 2023 20:11:20 +0000 sam_bourgault https://sambourgault.com/coilCAM coilCAM <img width="590" height="480" width_o="590" height_o="480" data-src="https://freight.cargo.site/t/original/i/963a8208930aa89459f526c3b136a62a79c4448720e190ca05b7420ffb732872/printing.gif" data-mid="174862017" border="0" src="https://freight.cargo.site/w/590/i/963a8208930aa89459f526c3b136a62a79c4448720e190ca05b7420ffb732872/printing.gif" /> Samuelle Bourgault, Pilar Wiley, Avi Farber, and Jennifer Jacobs. 2023. CoilCAM: Enabling Parametric Design for Clay 3D Printing Through an Action-Oriented Toolpath Programming System. CHI 2023, Hamburg, Germany. doi: https: //doi.org/10.1145/3544548.3580745&nbsp;︎ Best Paper Honorable Mention Clay 3D printing provides the benefits of digital fabrication automation and reconfigurability through a method that evokes manual clay coiling. Existing design technologies for clay 3D printing reflect the general 3D printing workflow in which solid forms are designed in CAD and then converted to a toolpath. In contrast, in hand-coiling, form is determined by the actions taken by the artist’s hands through space in response to the material. We theorize that an action-oriented approach for clay 3D printing could allow creators to design digital fabrication toolpaths that reflect clay material properties. We present CoilCAM, a domain-specific CAM programming system that supports the integrated generation of parametric forms and surface textures through mathematically defined toolpath operations. We developed CoilCAM in collaboration with ceramics professionals and evaluated CoilCAM’s relevance to manual ceramics by reinterpreting hand-made ceramic vessels. This process revealed the importance of iterative variation and embodied experience in action-oriented workflows. This work is part of my Ph.D. in Media Arts and Technology at the Univeristy of Califronia, Santa Barbara in the&nbsp;Expressive Computation Lab.&nbsp; In Collaboration with Pilar Wiley, Avi Farber and Jennifer Jacobs. Downloadable library&nbsp; at coilCAM.com. Downloadable paper on the ECL website. &nbsp; Presented at CHI 2023, Hamburg, Germany COSA 2023, Dever, CO, USA [Presented by Devon Frost] CoilCAM is programming system that supports the design of mathematically-defined toolpath operations for clay 3D printing. We built our system using custom Grasshopper Python Script components. <img width="4479" height="796" width_o="4479" height_o="796" data-src="https://freight.cargo.site/t/original/i/7e95874032723058867d653ca943ec990bdc57f18b653c1627c48b774cf032dc/Asset-90grasshopper_component.png" data-mid="175986529" border="0" src="https://freight.cargo.site/w/1000/i/7e95874032723058867d653ca943ec990bdc57f18b653c1627c48b774cf032dc/Asset-90grasshopper_component.png" /> For sake of clarity (and aesthetic!), we use color-coded nodes to visualize CoilCAM’s components. <img width="4482" height="795" width_o="4482" height_o="795" data-src="https://freight.cargo.site/t/original/i/203b881955e126129fb4d92689b25e0f64adfe2dfd38d3c6217a528f2262970b/Asset-84grasshopper_component.png" data-mid="175986528" border="0" src="https://freight.cargo.site/w/1000/i/203b881955e126129fb4d92689b25e0f64adfe2dfd38d3c6217a528f2262970b/Asset-84grasshopper_component.png" /> Our system is designed around the toolpath unit generator (TUG), which offers four shaping parameters: radius, scale, rotate and translate. By default, the TUG consists of a cylindrical toolpath. However, this default toolpath can be modified by modulating the shaping parameters. <img width="800" height="642" width_o="800" height_o="642" data-src="https://freight.cargo.site/t/original/i/c85cca69082a6e701b15bd1e4642af562700c2438f13fbe3d0df352d05feacdf/tug_gr.gif" data-mid="175988357" border="0" src="https://freight.cargo.site/w/800/i/c85cca69082a6e701b15bd1e4642af562700c2438f13fbe3d0df352d05feacdf/tug_gr.gif" /> To modulate the TUG’s shaping parameters, the system offers currently five function operators: linear, sinusoidal, square wave, staircase and exponential. By chaining these function blocks together, a craftsperson can create increasingly complex functions. The system also implements two Boolean operators: union and difference. These Boolean operations are done at the level of the toolpath which ensures that the desin can be fabricated. <img width="2012" height="345" width_o="2012" height_o="345" data-src="https://freight.cargo.site/t/original/i/3d340071871c4dc1cc6611c30c57b686ec1f9831d99abec73608dd283a306ef3/fig5_operators.png" data-mid="175988545" border="0" src="https://freight.cargo.site/w/1000/i/3d340071871c4dc1cc6611c30c57b686ec1f9831d99abec73608dd283a306ef3/fig5_operators.png" /> Since the system is parametric, CoilCAM enables craftspeople to work through rapid and emergent variations. The following figure shows how we designed a functional pitcher starting from a default cylindrical toolpath. <img width="181" height="150" width_o="181" height_o="150" data-src="https://freight.cargo.site/t/original/i/24099d175711c225e08a3873eaac316298ceb49713ea548d88982dd284cfe262/Asset-19coilcam_variations.svg" data-mid="175983647" border="0" src="https://freight.cargo.site/w/181/i/24099d175711c225e08a3873eaac316298ceb49713ea548d88982dd284cfe262/Asset-19coilcam_variations.svg" /> CoilCAM’s low-level control over toolpath operations enables skilled craftspeople to plan for collaborative opportunities with the 3D printer and clay during fabrication. In this sample teapot, the craftsperson uses a tool or a finger to guide and support a gravity-shaped handle in real-time. <img width="3182" height="646" width_o="3182" height_o="646" data-src="https://freight.cargo.site/t/original/i/0ad52f0962b7520e6100c4c4b4de2f32a3bea2a28449824c66036c45ca277957/teapot2.png" data-mid="175988976" border="0" src="https://freight.cargo.site/w/1000/i/0ad52f0962b7520e6100c4c4b4de2f32a3bea2a28449824c66036c45ca277957/teapot2.png" /> CoilCAM's representation of machine actions enabled craftspeople to plan for manual modifications such as part assembly of 3D-printed clay artifacts. <img width="3180" height="726" width_o="3180" height_o="726" data-src="https://freight.cargo.site/t/original/i/46b0c0651737bf3998c337d922a9f7d0f0d64c0088ebbf4d568352dca9bda7e6/assembly_gr.png" data-mid="175990126" border="0" src="https://freight.cargo.site/w/1000/i/46b0c0651737bf3998c337d922a9f7d0f0d64c0088ebbf4d568352dca9bda7e6/assembly_gr.png" /> We also created many artifacts to demonstrate the wide range of forms and textures that CoilCAM enables. We identifed design patterns available through the use continuous and discrete-like function operators. Continuous function operators (linear, sinusoidal) appeared to be particularly useful for designing forms, while discrete-like function operators (square wave and staircase) served well to create intricate surface textures. The following tea set shows how CoilCAM enables the design of non-cylindrical forms (the teapot), parametric variations (matching but unidentical teacups) and intricate textures (the planter). <img width="5324" height="1397" width_o="5324" height_o="1397" data-src="https://freight.cargo.site/t/original/i/5ce51be6b31c35ec0dd744398e54f8ad283f83995f558eceff0256d735df1573/Asset-81teaset_process.png" data-mid="175985859" border="0" src="https://freight.cargo.site/w/1000/i/5ce51be6b31c35ec0dd744398e54f8ad283f83995f558eceff0256d735df1573/Asset-81teaset_process.png" /> <img width="2154" height="1186" width_o="2154" height_o="1186" data-src="https://freight.cargo.site/t/original/i/483088d1d38ad61c612d9ec556bfe0349bd132559954f059c2d5c9303e696ee7/coilcam1.png" data-mid="174861392" border="0" src="https://freight.cargo.site/w/1000/i/483088d1d38ad61c612d9ec556bfe0349bd132559954f059c2d5c9303e696ee7/coilcam1.png" /> And some more stuff! <img width="2124" height="505" width_o="2124" height_o="505" data-src="https://freight.cargo.site/t/original/i/57975458e94144071158939a7eb3675b9e477054dc575018cee33ce778c5a5bf/coilcam_band.png" data-mid="175984180" border="0" src="https://freight.cargo.site/w/1000/i/57975458e94144071158939a7eb3675b9e477054dc575018cee33ce778c5a5bf/coilcam_band.png" /> https://sambourgault.com/worm Thu, 24 Jul 2025 16:04:19 +0000 sam_bourgault https://sambourgault.com/worm WORM <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/4bbc2824a26e9604f9e769da9ad410774b78d6118bd2741c8b42260a8f2b8f82/textured_cups-6.jpg" data-mid="238566652" border="0" src="https://freight.cargo.site/w/1000/i/4bbc2824a26e9604f9e769da9ad410774b78d6118bd2741c8b42260a8f2b8f82/textured_cups-6.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/eda5d75c070f76504516181d786ea3dfb785487a80d0f283fca631506f6ad0ac/textured_cups-2.jpg" data-mid="238665879" border="0" src="https://freight.cargo.site/w/1000/i/eda5d75c070f76504516181d786ea3dfb785487a80d0f283fca631506f6ad0ac/textured_cups-2.jpg" /> Sam Bourgault, Alejandro Aponte, Megumi Ondo, Emilie Yu, Jennifer Jacobs. 2025. WORM: Programming Collaborative Robots Through Manual Actions for Craft-Aligned Digital Fabrication, UIST 2025, Busan, Korea. doi:&nbsp;https://doi.org/10.1145/3746059.3747616 Collaborative robotic (cobot) arms enable digital fabrication practitioners to engage in safe and adaptable robotic interactions. Cobot machining involves similar principles to CNC operation; however, cobot fabrication workflows are more complex than CNC because they require both programming expertise and material knowledge. These requirements limit the adoption of cobots in manufacturing and craft. Prior cobot fabrication research frames the robot as a generative partner, but we seek to enable artists to precisely specify domain-specific machining operations. We contribute a novel cobot programming framework that allows artists to use manual interaction with the robot to define robotic behaviors. We identified four interaction modes to enhance human-robot collaboration in digital fabrication. We used these modes to develop the Workflow-Oriented Robotic Manufacturing (WORM 🪱) system. We informed our development through need-finding interviews with two professional ceramicists and assessed our system through a preliminary study with a professional painter, production of exemplar artifacts, and an expert evaluation with a professional ceramicist. This work was done in collaboration with Alejandro Aponte, Megumi Ondo, Emilie Yu and Jennifer Jacobs at the Expressive Computation Lab (UCSB). Acknowledgement:&nbsp;We would like to express our gratitude to the artists we interviewed and those who participated in our evaluation effort. Thank you, Camila Friedman-Gerlicz, Joey Watson, and Paul Bourgault, for your help! We also thank Elijah Frankle for his contributions to the initial prototype of the desktop interface. Lastly, we want to thank all our friends and colleagues in the Expressive Computation Lab at UCSB who read and provided feedback on our paper. This research was funded in part by the NSF CAREER Program (Award: 2441766). Jump to: Context Approach Workflow Recreation Examples Expert Evaluation &nbsp; Presented at UIST2025, Busan, Republic of Korea ContextApproach Workflow Examples Expert Evaluation https://sambourgault.com/Narrative-Motion-Blocks Sat, 07 Jun 2025 23:20:31 +0000 sam_bourgault https://sambourgault.com/Narrative-Motion-Blocks Narrative Motion Blocks <img width="582" height="654" width_o="582" height_o="654" data-src="https://freight.cargo.site/t/original/i/dfa5d797e02c88799f460ad9aa0179936e4bec033dbc5e71bd9c18e329129ba6/chat_anim_full.gif" data-mid="235158171" border="0" src="https://freight.cargo.site/w/582/i/dfa5d797e02c88799f460ad9aa0179936e4bec033dbc5e71bd9c18e329129ba6/chat_anim_full.gif" /> Sam Bourgault, Li-Yi Wei, Jennifer Jacobs, and Rubaiat Habib Kazi. 2025.&nbsp;Narrative Motion Blocks: Combining Direct Manipulation and Natural Language Interactions for Animation Creation, DIS 2025, Madeira, Portugal. doi: https://doi.org/10.1145/3715336.3735766 🏆 Best Paper Award Authoring compelling animations often requires artists to come up with creative high-level ideas and translate them into precise low-level spatial and temporal properties like position, orientation, scale, and frame timing. Traditional animation tools offer direct manipulation strategies to control these properties but lack support for implementing higher-level ideas. Alternatively, AI-based tools allow animation production using natural language prompts but lack the fine-grained control over properties required for professional workflows. To bridge this gap, we propose aniMate, a hand-drawn animation system that integrates direct manipulation and natural language interaction. Central to aniMate are Narrative Motion Blocks, clip-like components located on a timeline that let animators specify animated behaviors with a combination of textual and manual input. Through an expert evaluation and the creation of short demonstrative animations, we show how focusing on intermediate-level actions provides a common representation for animators to work across both interaction modalities. This work was done as part of an internship at Adobe Research during the summer of 2024 in collaboration with Li-Yi Wei,&nbsp;Jennifer Jacobs and Rubaiat Habib Kazi. Acknowledgement:&nbsp;We want to thank the four animators who participated in our formative steps and expert evaluation tasks, James Ratliff, Val Head, Rima Cao, and Seth Walker. We also want to thank Emilie Yu and Ana Maria Cardenas Gasca for helping us pilot our study. We appreciate the help from our colleagues at the Expressive Computation Lab at UCSB and at Adobe Research, who contributed valuable feedback to improve this work. Lastly, thank you to Matthew Beaudouin-Lafon for our long conversations on generative AI and creativity and feedback during the system development. Jump to: Context Approach Overview Workflow Recreation Examples Expert Evaluation &nbsp; Presented at DIS 2025, Madeira, Portugal Context Authoring compelling animations requires artists to come up with creative high-level ideas and translate them into precise low-level spatial and temporal properties.&nbsp;For instance, the narrative idea “a ball rolls towards the cat” is represented by sequences of position and rotation values changing across time frames. high level idea low-level properties “a ball rolls towards the cat” <img width="818" height="514" width_o="818" height_o="514" data-src="https://freight.cargo.site/t/original/i/23997c87e4508c7af79b0c60f6897f56e6bfd1ec897540536177547b341608f9/cat_context.gif" data-mid="235152339" border="0" src="https://freight.cargo.site/w/818/i/23997c87e4508c7af79b0c60f6897f56e6bfd1ec897540536177547b341608f9/cat_context.gif" /> Traditional animation tools offer direct manipulation strategies to precisely control these properties but lack direct support for implementing higher-level ideas and often involve a complex UI. Alternatively, natural language-based tools allow the generation of stylized and realistic video using natural language prompts, usually through a simple input text box interface, but lack the fine-grained control over properties that is both familiar and necessary to professional animation workflows. direct manipulation tools natural-language-based tools precise authoring control ✅ supports unique style of expression ✅ familiar to professionals ✅ interaction separate from narrative goals ⛔️ complex user interface ⛔️ narrative approach based on natural language ✅ simple user interface ✅ challenging to describe spatial and temporal information ⛔️ outcomes don't meet intentions ⛔️ limited sense of agency ⛔️ While low-level direct manipulation and high-level natural language specifications involve fundamentally different interaction models, prior research suggests that combining these modalities can enhance creative tasks by better aligning with users’ intentions and increasing the AI spatial awareness (Masson, DirectGPT, 2024; Kim, Stylette, 2022). Approach We propose that a bidirectional strategy that enables the representation and editing of animated content both iconically and symbolically over time could provide the flexible interactions necessary for animation. To investigate the combination of direct manipulation control and natural language, we introduced Narrative motion blocks. The narrative motion blocks are clip-like segments located on a timeline that enable animators to prompt an LLM (GPT-4o) for generating motions of visual elements on a canvas. Each block represents the motion of a specific visual element over a defined number of frames, determined by its length. <img width="3984" height="1877" width_o="3984" height_o="1877" data-src="https://freight.cargo.site/t/original/i/dd34452de7e7b229388334d8b99e3eda13b341fd09068cb7a8ff00650b45c66e/Asset-40ui_for_website.jpg" data-mid="235158234" border="0" src="https://freight.cargo.site/w/1000/i/dd34452de7e7b229388334d8b99e3eda13b341fd09068cb7a8ff00650b45c66e/Asset-40ui_for_website.jpg" /> We developed the web application, AniMate, to explore the opportunities of the Narrative motion blocks for animation creation. AniMate consists of 1) a canvas, where animators can draw and manipulate visual elements and motion paths,&nbsp; 2) a timeline, where animators create narrative motion blocks and modify their temporal properties, and 3) a panel displaying the dynamic user interface generated by the system for each block. Overview <img width="4001" height="780" width_o="4001" height_o="780" data-src="https://freight.cargo.site/t/original/i/67ddbfd835e1e500ba2e8a0bb207917ede4bc610c27aec4ea1356de4c38d865b/Asset-41teaser1.png" data-mid="235229247" border="0" src="https://freight.cargo.site/w/1000/i/67ddbfd835e1e500ba2e8a0bb207917ede4bc610c27aec4ea1356de4c38d865b/Asset-41teaser1.png" /> A) The animator creates a narrative motion block and uses natural language to specify an action (e.g. roll tomato <img width="54" height="46" width_o="54" height_o="46" data-src="https://freight.cargo.site/t/original/i/ac55fc80dd3ff6b03b0978646b6b8085b70bd4a053f5d2da174501410ee49f2b/tomato.png" data-mid="235229296" border="0" data-scale="2&quot; style=&quot;margin-bottom: 0px;" src="https://freight.cargo.site/w/54/i/ac55fc80dd3ff6b03b0978646b6b8085b70bd4a053f5d2da174501410ee49f2b/tomato.png" />). The system processes the request and generates a set of custom sliders parametrizing the action. B) If the animator wants to add irregularities in the motion path (e.g. to avoid a rock&nbsp;<img width="79" height="44" width_o="79" height_o="44" data-src="https://freight.cargo.site/t/original/i/5f3cf04299fa22015d4408798c8ec3ef6dae89c9c92cbc1cd265b48c28ba4c35/rock0.png" data-mid="235229532" border="0" data-scale="2" src="https://freight.cargo.site/w/79/i/5f3cf04299fa22015d4408798c8ec3ef6dae89c9c92cbc1cd265b48c28ba4c35/rock0.png" />), C) they can directly move the points of the tomato's motion path around the rock. <img width="4001" height="780" width_o="4001" height_o="780" data-src="https://freight.cargo.site/t/original/i/4b18787f45579d4155e1c22ccaf6091fc815c7d5237c2260bbef5a42a60b312f/Asset-42teaser2.png" data-mid="235229251" border="0" src="https://freight.cargo.site/w/1000/i/4b18787f45579d4155e1c22ccaf6091fc815c7d5237c2260bbef5a42a60b312f/Asset-42teaser2.png" /> D) The animator can also draw the motion path directly by moving the visual element (e.g. the butterfly <img width="53" height="54" width_o="53" height_o="54" data-src="https://freight.cargo.site/t/original/i/a36c1be92f81e49f9395f7888bd9af273666ea2472922f221bfeda23d4530e42/butterfly.png" data-mid="235229533" border="0" data-scale="2" src="https://freight.cargo.site/w/53/i/a36c1be92f81e49f9395f7888bd9af273666ea2472922f221bfeda23d4530e42/butterfly.png" />), which automatically generates a block. E) To add specificity, stylization or secondary motion to the animation, the animator can edit the block by using natural language input to generate additional controls (e.g. add loops, and align to path). F) Using the newly generated sliders, the animator can modify the new effects (e.g. change the amplitude of the loops). Under the hood, we used the LLM: 1) to look through some template functions associated with simple intermediate-level actions like move and rotate, 2) combine template functions together when necessary, or 3) generate novel functions. We then combine the data generated by the LLM with the direct manipulation data. <img width="2973" height="1323" width_o="2973" height_o="1323" data-src="https://freight.cargo.site/t/original/i/5d613e4c7de7396b3338a01401b9335c09569c8e2c27e2e56c365bfc6a105211/fig8_functionality.png" data-mid="235158250" border="0" src="https://freight.cargo.site/w/1000/i/5d613e4c7de7396b3338a01401b9335c09569c8e2c27e2e56c365bfc6a105211/fig8_functionality.png" /> Workflow1. Visual elements creation: The animator can draw object using a brush tool with adjustable thickness and color. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/a3a0315eb0f5cfabe112bccb97c34e36ee77d4abf7d7aa5989f1eb21f947c8b9/workflow1.gif" data-mid="235158459" border="0" data-scale="50" src="https://freight.cargo.site/w/800/i/a3a0315eb0f5cfabe112bccb97c34e36ee77d4abf7d7aa5989f1eb21f947c8b9/workflow1.gif" /> They then use one of three methods to create a narrative motion block. 2-a. Adding a narrative motion block directly: The first method consists of directly adding a new block to the timeline by clicking the + button. This opens up a menu of existing block templates. Here the animator selects the action+object template, which creates a dropdown to select recurrent actions followed by a second dropdown to select an object on the canvas.&nbsp; <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/6d2027660070f1e5b362c34c0c400331a57866404046dbed7eba1352953df0d7/workflow2.gif" data-mid="235158500" border="0" data-scale="50" src="https://freight.cargo.site/w/800/i/6d2027660070f1e5b362c34c0c400331a57866404046dbed7eba1352953df0d7/workflow2.gif" /> By default this template is set to “move” the first object drawn on the canvas. But The animator can choose another action or write their own. Here they select to roll the smiling face. And they press ENTER to trigger the system to generate a rolling action. Once the request is completed, the system generates a motion path and a corresponding dynamic UI panel. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/048910e728f08f401c3391019b2f13331780664b21c47df8f860cdf643d7154e/workflow3.gif" data-mid="235270543" border="0" data-scale="51" src="https://freight.cargo.site/w/800/i/048910e728f08f401c3391019b2f13331780664b21c47df8f860cdf643d7154e/workflow3.gif" /> Once an animation is generated, the animator can make adjustments in two ways: by using the sliders in the dynamically generated UI or by manually altering the generated motion path. Here they are changing the traveled distance, the rotating angle, and the ease in and out values in the panel. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/06dd310a1c63dfbca95ee7a712f1e0ead516a34e1a2795e45849999ee9e3bdcf/workflow4.gif" data-mid="235273175" border="0" data-scale="51" src="https://freight.cargo.site/w/800/i/06dd310a1c63dfbca95ee7a712f1e0ead516a34e1a2795e45849999ee9e3bdcf/workflow4.gif" /> The animator can also write a custom action. Here they want the smiling face to “shake”. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/78c2d9a65384d913561cec99ec60b5536c2b97be3f5036e8d31d76a40392315e/workflow5.gif" data-mid="235275050" border="0" data-scale="51" src="https://freight.cargo.site/w/800/i/78c2d9a65384d913561cec99ec60b5536c2b97be3f5036e8d31d76a40392315e/workflow5.gif" /> They are however not satisfied with the resulting animation. So they modify the narrative motion block to add more specificity to the action and request specific controls. They request an adjustable frequency to control the speed of the shake, which the system generates as a slider tunable by the animator. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/5e0141d6c12f1f53424c3f4e2a7dbc01863cc71c6cc6a18ddc9f72329bed7f89/workflow6.gif" data-mid="235275051" border="0" data-scale="51" src="https://freight.cargo.site/w/800/i/5e0141d6c12f1f53424c3f4e2a7dbc01863cc71c6cc6a18ddc9f72329bed7f89/workflow6.gif" /> 2-b. Animating a visual element directly to create a new narrative motion block: A second method to create a narrative motion block is to animate a visual element directly in the canvas. Here the animator traces the butterfly motion path manually. This action automatically generates a new block on the timeline. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/e1d40cbc7f73baaaebc6075b698ee34250cde4f93fe9a18222c77dcb64881592/workflow7.gif" data-mid="235275144" border="0" data-scale="52" src="https://freight.cargo.site/w/800/i/e1d40cbc7f73baaaebc6075b698ee34250cde4f93fe9a18222c77dcb64881592/workflow7.gif" /> While preserving the motion path, the animator can ask the system for further modifications. Here they ask for alternating between two butterfly poses and to align the butterfly elements to the direction of the path. This creates the effect of a frame-by-frame animation. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/37a054464a2e03471546a5139246acc33f05fb380178463656a852211ff33f01/workflow8.gif" data-mid="235275154" border="0" data-scale="52" src="https://freight.cargo.site/w/800/i/37a054464a2e03471546a5139246acc33f05fb380178463656a852211ff33f01/workflow8.gif" /> 2-c. Duplicating existing narrative motion block: Finally, the animator can duplicate an existing block and modify the parameters of the new block. They can also change the object it is linked to. Here they relink the new block to green sun rays. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/851499ec2653f4de5a00cffb8597024bde29e579aa1d638252ef286ed9f6f63a/workflow9.gif" data-mid="235275960" border="0" data-scale="53" src="https://freight.cargo.site/w/800/i/851499ec2653f4de5a00cffb8597024bde29e579aa1d638252ef286ed9f6f63a/workflow9.gif" /> By duplicating the initial sunrays’s block, offsetting the copy in time, and changing the final scale, they are able to create a background for the animation. <img width="800" height="586" width_o="800" height_o="586" data-src="https://freight.cargo.site/t/original/i/2bdec1495e3f97d0e4b42654a6a097994db5d8126a9e78ee58af4642c060b5c2/workflow10.gif" data-mid="235276307" border="0" data-scale="53" src="https://freight.cargo.site/w/800/i/2bdec1495e3f97d0e4b42654a6a097994db5d8126a9e78ee58af4642c060b5c2/workflow10.gif" /> Recreation Examples We evaluated our system by making three demonstrative examples. Beyond the example I just walked you through, we recreated a sushi animation by Clemens Makoschitz&nbsp; to test our system’s ability to animate visual elements that appear to interact with one another. Original sushi animation by Clemens Makoschitz <img width="797" height="594" width_o="797" height_o="594" data-src="https://freight.cargo.site/t/original/i/677535557a6672265a937b0c306a8bf64dffc507880f4fe3754a9450fc0f80b6/sushi1.gif" data-mid="235278062" border="0" data-scale="97" src="https://freight.cargo.site/w/797/i/677535557a6672265a937b0c306a8bf64dffc507880f4fe3754a9450fc0f80b6/sushi1.gif" /> Jumping sushi recreated with AniMate <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/29fc6aef525f25be24b988dd59f77887130829b2fdb87eb09a546bc67e6777f3/sushi2.gif" data-mid="235278064" border="0" data-scale="97" src="https://freight.cargo.site/w/800/i/29fc6aef525f25be24b988dd59f77887130829b2fdb87eb09a546bc67e6777f3/sushi2.gif" /> We also recreated the abstract cylinder animation by RAPAPAWN studio to attempt the creation of motion graphics and narratives that extend our templated options. Original animation by RAPAPAWN Studio <img width="562" height="310" width_o="562" height_o="310" data-src="https://freight.cargo.site/t/original/i/655a1559bf0f0b96bb59f67db91079839120d0948eee1845a2f879275d8f09c8/rapapawn_ex.gif" data-mid="235278487" border="0" src="https://freight.cargo.site/w/562/i/655a1559bf0f0b96bb59f67db91079839120d0948eee1845a2f879275d8f09c8/rapapawn_ex.gif" /> Oscillating cylinders recreated with AniMate <img width="562" height="310" width_o="562" height_o="310" data-src="https://freight.cargo.site/t/original/i/f60ac3f7385f254ff9e3d3fca39577b96918da65a150b045d12b94383dc3747b/rapapawn_animate2.gif" data-mid="235278515" border="0" src="https://freight.cargo.site/w/562/i/f60ac3f7385f254ff9e3d3fca39577b96918da65a150b045d12b94383dc3747b/rapapawn_animate2.gif" /> Expert Evaluation We conducted an expert evaluation consisting of two tasks with three professional animators. In the first task, we asked them to reproduce an animation we previously created without telling them how we achieved it. The animators successfully produced similar animations within 15 minutes, using both similar and different strategies then the ones we used. Animation created by authors <img width="2164" height="458" width_o="2164" height_o="458" data-src="https://freight.cargo.site/t/original/i/a66409369d762a188ecee1a4041d6b2b5ba0b2fdddabab9657815304a84a2d7b/Asset-34timeline_sam.png" data-mid="235278756" border="0" src="https://freight.cargo.site/w/1000/i/a66409369d762a188ecee1a4041d6b2b5ba0b2fdddabab9657815304a84a2d7b/Asset-34timeline_sam.png" /> <img width="800" height="430" width_o="800" height_o="430" data-src="https://freight.cargo.site/t/original/i/f03f79d483ad9a556c5081fc3a7f1a068c5cd0bf30998ee4c01d73cb049ac460/task1_sam.gif" data-mid="235278819" border="0" src="https://freight.cargo.site/w/800/i/f03f79d483ad9a556c5081fc3a7f1a068c5cd0bf30998ee4c01d73cb049ac460/task1_sam.gif" /> Reproduced by animator Rima Cao <img width="2164" height="458" width_o="2164" height_o="458" data-src="https://freight.cargo.site/t/original/i/fb565a360c72176696ee0409ceaa34ee990d0bdcc2ea209d2969230640d0873d/Asset-33timeline_rima.png" data-mid="235278770" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/fb565a360c72176696ee0409ceaa34ee990d0bdcc2ea209d2969230640d0873d/Asset-33timeline_rima.png" /> <img width="800" height="430" width_o="800" height_o="430" data-src="https://freight.cargo.site/t/original/i/05a992a19d9d7c74e7f29ea00d7a3b653bd3b78443935a00843d37e3523ece13/task1_rima.gif" data-mid="235278820" border="0" src="https://freight.cargo.site/w/800/i/05a992a19d9d7c74e7f29ea00d7a3b653bd3b78443935a00843d37e3523ece13/task1_rima.gif" /> In the second task, we asked the animators to create a unique animation using the AniMate software. <img width="800" height="416" width_o="800" height_o="416" data-src="https://freight.cargo.site/t/original/i/8465d54a5741b27984b1bc817e16cc335767b3d7dcea6e208720d60058891e75/task2.gif" data-mid="235278909" border="0" data-scale="73" src="https://freight.cargo.site/w/800/i/8465d54a5741b27984b1bc817e16cc335767b3d7dcea6e208720d60058891e75/task2.gif" /> Our evaluation revealed that expert animators saw natural language interaction for animation as a way to quickly generate low fidelity actions. They also found benefits in having narrative motion block represent and implement multiple targeted actions simultaneously, such as scale and rotate, and provide a straightforward way to literally read the timeline and understand it. While they found that the system didn’t provide all the parameters they wish they had access to, they appreciated that the dynamically generated panel enabled them to focus on one action at a time. <img width="800" height="389" width_o="800" height_o="389" data-src="https://freight.cargo.site/t/original/i/06e2db7e4bdb6a5a133033d21f5b1ab3471a6dfebc48141dd3aeec5bed6452b9/chase.gif" data-mid="235158402" border="0" src="https://freight.cargo.site/w/800/i/06e2db7e4bdb6a5a133033d21f5b1ab3471a6dfebc48141dd3aeec5bed6452b9/chase.gif" /> https://sambourgault.com/millipath Sun, 26 May 2024 05:40:48 +0000 sam_bourgault https://sambourgault.com/millipath Millipath <img width="6240" height="3512" width_o="6240" height_o="3512" data-src="https://freight.cargo.site/t/original/i/48fa86c8f6cf2124963520c8d3fc53d7369a83fa02e7730bed5a58c057dc5712/DSCF1467.JPG" data-mid="213467584" border="0" src="https://freight.cargo.site/w/1000/i/48fa86c8f6cf2124963520c8d3fc53d7369a83fa02e7730bed5a58c057dc5712/DSCF1467.JPG" /> Samuelle Bourgault, and Jennifer Jacobs. 2024. Millipath: Bridging Materialist Theory and System Development for Surface Texture Fabrication. DIS 2024, Copenhagen, Denmark. doi:&nbsp;https://doi.org/10.1145/3643834.3661599&nbsp; Proponents of digital fabrication argue that future technologies will fundamentally reshape manufacturing; however, we still have a limited understanding of the relationship between contemporary digital fabrication technologies and the values and labor of people who make things. Contemporary materialist theories can offer insights into how interaction modalities with machines and materials influence human production activities. We aim to implement these theoretical principles in technical system development. We focus on action as a bridging concept between abstract notions regarding human-machine-material relationships and concrete digital fabrication system features. We use CNC-milled surface texture production on wood as a case study. We follow a research-through-design process to develop Millipath, an action-oriented programming platform enabling the parametric design of machine toolpaths. Through the analysis of autobiographical data from fabricating artifacts, we investigate how digital fabrication systems informed by materialist theories support expressive modes of production and design decisions in response to material behaviors. This work is part of my Ph.D. in Media Arts and Technology at the Univeristy of Califronia, Santa Barbara in the&nbsp;Expressive Computation Lab.&nbsp; In collaboration with&nbsp;Jennifer Jacobs. Downloadable paper on the ECL website. &nbsp; Presented at DIS 2024, Copenhagen, Denmark Through the analysis of a design space of carved textures, I conceptualized three design articulations – movement, grid, and boundary - as the main components of the carving action. I used sections of Fossil by Andrew Daniels (A and B) and&nbsp;the Shawl wall panel by the Naqsh Collective (C) to showcase how these components apply to textured surfaces. <img width="855" height="503" width_o="855" height_o="503" data-src="https://freight.cargo.site/t/original/i/dd0d1e0634532efd8e82402d6e68a9aa76743ca316a4ce2d61b00c119e3fb045/fig4_component_small2.png" data-mid="218750605" border="0" data-scale="63" src="https://freight.cargo.site/w/855/i/dd0d1e0634532efd8e82402d6e68a9aa76743ca316a4ce2d61b00c119e3fb045/fig4_component_small2.png" /> These design components informed the development of a programming platform for creating CNC-milled surface texture called Millipath. Millipath is a parametric system that enables the design and fabrication of carving actions by specifying machine toolpaths. Millipath is a web application built with the JavaScript framework p5.js&nbsp;where a craftsperson can specify machine movements, boundaries, and grids programmatically, and produce OpenSBP code to execute on a ShopBot CNC router. <img width="1691" height="1355" width_o="1691" height_o="1355" data-src="https://freight.cargo.site/t/original/i/4a7077d66a3dfa7ebbd823f90f733ab97b1fcdfdc990dae34c9b25c9a756806a/fig5_interface.png" data-mid="218750606" border="0" src="https://freight.cargo.site/w/1000/i/4a7077d66a3dfa7ebbd823f90f733ab97b1fcdfdc990dae34c9b25c9a756806a/fig5_interface.png" /> To gain insights into the expressive potential of our movementgrid-boundary model of the carving action, I applied Millipath to the design and fabrication of five collections of texture samples.&nbsp;The samples were designed around fve visual components that recurred systematically throughout our design space: dot, line, motif, pattern superposition, and triangle. The dot, the motif and the superposition studies are shown below. <img width="875" height="667" width_o="875" height_o="667" data-src="https://freight.cargo.site/t/original/i/d94cf885a4ca36a6b57b743f652997bc6f3678995a7203b6d5adf9227f3f3d25/fig9_dot_study.png" data-mid="218751432" border="0" data-scale="65" src="https://freight.cargo.site/w/875/i/d94cf885a4ca36a6b57b743f652997bc6f3678995a7203b6d5adf9227f3f3d25/fig9_dot_study.png" /> <img width="849" height="477" width_o="849" height_o="477" data-src="https://freight.cargo.site/t/original/i/c1440ce520f7a311e3d97919b6fb483beb191bb0c476d380e9b392198a46158f/fig12_superposition_study.png" data-mid="218751434" border="0" data-scale="65" src="https://freight.cargo.site/w/849/i/c1440ce520f7a311e3d97919b6fb483beb191bb0c476d380e9b392198a46158f/fig12_superposition_study.png" /> <img width="880" height="971" width_o="880" height_o="971" data-src="https://freight.cargo.site/t/original/i/312ccd0c0c705dfc953c35d1d22eae23382cda88c60c60479455e43362f75221/fig11_motif_study.png" data-mid="218751433" border="0" data-scale="67" src="https://freight.cargo.site/w/880/i/312ccd0c0c705dfc953c35d1d22eae23382cda88c60c60479455e43362f75221/fig11_motif_study.png" /> To evaluate the viability and opportunities of CNC-milled surface textures in craft production, I then used Millipath to create three artifacts using diferent materials and decorative techniques. During five months, I iterated on the design and fabrication of a plywood stool, four textured ceramic cups, and an inlaid wooden tray using the actions and visual language developed in our first studies.For the plywood stool, I used the superposition of shallower and deeper dot patterns.&nbsp;This stool exemplar shows how Millipath not only facilitates the creation of surface textures but, through its grid-movement-boundary model, also enables the production of functional joinery and furniture. &nbsp;<img width="1716" height="1239" width_o="1716" height_o="1239" data-src="https://freight.cargo.site/t/original/i/39a4c97893fd3ec64059be1b1ae6c29ccc727a119d1243f5b850757444dbd2cd/fig14_stool.png" data-mid="218752388" border="0" src="https://freight.cargo.site/w/1000/i/39a4c97893fd3ec64059be1b1ae6c29ccc727a119d1243f5b850757444dbd2cd/fig14_stool.png" /> For the inlay tray, I used linear superficial action within integer rotation of pi/4. The inlay tray shows how Millipath enables the layering of operations wherein each operation is contingent on the previous one. This includes pocketing, texturing, and cutting. In addition to providing the code representation of the toolpath, Millipath generates a vectorial toolpath representation. <img width="1717" height="1240" width_o="1717" height_o="1240" data-src="https://freight.cargo.site/t/original/i/8d6d0566d857e41fc958e39dca0d38571ef79de00b2b02db6d9b8a629d650983/fig17_tray.png" data-mid="218752397" border="0" src="https://freight.cargo.site/w/1000/i/8d6d0566d857e41fc958e39dca0d38571ef79de00b2b02db6d9b8a629d650983/fig17_tray.png" /> Finally, because I needed a little ceramic in the mix ;), I used millipath to carve plaster slabs. &nbsp; <img width="859" height="444" width_o="859" height_o="444" data-src="https://freight.cargo.site/t/original/i/69d8e91077fc49687c4a72a63b23cae6a9e69718444e8f5537ee9bc199a5c6ed/fig15_plaster.png" data-mid="218752389" border="0" data-scale="52" src="https://freight.cargo.site/w/859/i/69d8e91077fc49687c4a72a63b23cae6a9e69718444e8f5537ee9bc199a5c6ed/fig15_plaster.png" /> I then rolled clay slabs on the textured plaster to create a set of cups.&nbsp;These cup exemplars show how using CNC-milled surface texture as mold emphasizes the aesthetic qualities of the carving end mill. The textures extend beyond their immediate use and become tools themselves. The cup-making process also demonstrates how CNC-milling actions can integrate complex manual ceramic decoration workfows to create functional artifacts. <img width="1720" height="1662" width_o="1720" height_o="1662" data-src="https://freight.cargo.site/t/original/i/774f68c784418a2d1f29dc2bc3d393d9ed66bc1fb81c82318075a4c22b0db827/fig16_cups.png" data-mid="218752392" border="0" src="https://freight.cargo.site/w/1000/i/774f68c784418a2d1f29dc2bc3d393d9ed66bc1fb81c82318075a4c22b0db827/fig16_cups.png" /> https://sambourgault.com/CeramWrap Mon, 23 Oct 2023 22:21:31 +0000 sam_bourgault https://sambourgault.com/CeramWrap CeramWrap <img width="1556" height="1648" width_o="1556" height_o="1648" data-src="https://freight.cargo.site/t/original/i/7b5ff228605367b03aa52420a08546a104816fdc63c3ca8d5858da44c87ca951/sbcast_show.png" data-mid="195380359" border="0" src="https://freight.cargo.site/w/1000/i/7b5ff228605367b03aa52420a08546a104816fdc63c3ca8d5858da44c87ca951/sbcast_show.png" /> Mert Toka*, Samuelle Bourgault*, Camila Friedman-Gerlicz, and Jennifer Jacobs. 2023. An Adaptable Workflow for Manual-Computational Ceramic Surface Ornamentation. UIST 2023, San Francisco, USA.doi: https://doi.org/10.1145/3586183.3606726 *equal contribution to this research Surface ornamentation is a rich component of ceramic manufacture wherein craftspeople use multiple methods to create intricate patterns on vessels. Computational fabrication can extend manual ceramic ornamentation through procedural pattern generation and automated fabrication; however, to be effective in traditional ceramics, computational fabrication systems must remain compatible with existing processes and materials. We contribute an interactive design workflow, CeramWrap, in which craftspeople can procedurally design and fabricate decorative patterned stencils tailored to radially symmetrical vessels. Our approach extends manual techniques through a workflow where craftspeople design and edit repetitive motifs directly on a 3D digital model of a vessel and then interactively adjust the unrolling of the 3D design to a 2D format suitable for digitally fabricating stencils and templates. Through a series of example artifacts, we demonstrate how our workflow generalizes across multiple vessel geometries, supports manual and digital clay fabrication, and is adaptable to different surface ornamentation methods. This work is part of my Ph.D. in Media Arts and Technology at the Univeristy of Califronia, Santa Barbara in the&nbsp;Expressive Computation Lab.&nbsp; In Collaboration with Mert Toka, Camila Friedman-Gerlicz, and Jennifer Jacobs. &nbsp; Presented at UIST 2023, San Francisco, USA (Mert Toka) The transformation process of wet clay into solid ceramics involves different drying and firing stages, during which the material undergoes shrinkage and distortion in unexpected ways. To support the dynamic qualities of clay and the different spatial organization levels of decorative elements, CeramWrap’s computational tools include the parametric creation of patterns where a decorative element created in rhino is projected onto the surface of a digital model and modified in number, scale, rotation and translation using transform functions. <img width="600" height="350" width_o="600" height_o="350" data-src="https://freight.cargo.site/t/original/i/8c5a8a99401905a4c46b052f082a2602f753ef9a3aef88dc782c3eb8318d2ace/ceramwrap_pattern_gen.gif" data-mid="195379308" border="0" src="https://freight.cargo.site/w/600/i/8c5a8a99401905a4c46b052f082a2602f753ef9a3aef88dc782c3eb8318d2ace/ceramwrap_pattern_gen.gif" /> And a selective unrolling tool to generate a two dimensional patterned template. <img width="600" height="370" width_o="600" height_o="370" data-src="https://freight.cargo.site/t/original/i/5178473377b215ca7620d6db03c8cec02cde723d0e1a866f1288a4c26418ec3b/ceramwrap_unroll.gif" data-mid="195379315" border="0" src="https://freight.cargo.site/w/600/i/5178473377b215ca7620d6db03c8cec02cde723d0e1a866f1288a4c26418ec3b/ceramwrap_unroll.gif" /> A craftsperson engaging in the full workflow first fabricates a physical vessel, in this case throw a bowl shape on the wheel. Once the piece is made, it needs to dry to its ideal condition for a desired decoration techniques, here the craftsperson waits for the clay to be leather-hard. Taking measurements of the physical vessel, the craftsperson creates a digital model with simple Rhino functionalities and generates decorative elements using Rhino drawing tools. A pattern is then created with CeramWrap’s pattern generation tool. The pattern is unrolled and fabricated, here with a laser cutter. The template is then installed on the vessel. If the template doesn’t fit due to distortion, the craftsperson adjusts the model and re-generates the pattern until a desirable fit is achieved.&nbsp; The fitted template is installed and the decorations are applied through it. Here the pattern is first marked and then drilled on the piece. The decorated artifact can then follow the traditional ceramics pipeline, including drying until the vessel is bone dry, bisque firing and glaze firing in the kiln to get to the final piece. Some more stuff made with CeramWrap! <img width="3689" height="1153" width_o="3689" height_o="1153" data-src="https://freight.cargo.site/t/original/i/ae9baa01f3eeb7d4ea838f537bfa63f7972fc26504afaa1669441ba42a774add/ceramwrap_banner.png" data-mid="195380617" border="0" src="https://freight.cargo.site/w/1000/i/ae9baa01f3eeb7d4ea838f537bfa63f7972fc26504afaa1669441ba42a774add/ceramwrap_banner.png" /> https://sambourgault.com/Megafauna Mon, 10 Apr 2023 20:52:32 +0000 sam_bourgault https://sambourgault.com/Megafauna Megafauna <img width="3326" height="1858" width_o="3326" height_o="1858" data-src="https://freight.cargo.site/t/original/i/d71d7821f9ebe59315bb1dd9bc7b3dc10dcb03cc4da15c0b3c1e6845380e86a6/face_flower.png" data-mid="174864871" border="0" src="https://freight.cargo.site/w/1000/i/d71d7821f9ebe59315bb1dd9bc7b3dc10dcb03cc4da15c0b3c1e6845380e86a6/face_flower.png" /> Sam Bourgault, and Jennifer Jacobs. 2023. Preserving Hand-Drawn Qualities in Audiovisual Performance Through Sketch-Based Interaction. Journal of Computational Languages. doi:&nbsp;https://doi.org/10.1016/j.cola.2022.101186 [Extended article from VL/HCC] Sam Bourgault and Jennifer Jacobs. 2021.&nbsp;Preserving Hand-Drawn Qualities in Audiovisual Performance Through Sketch-Based Interaction, 2021 IEEE Symposium on Visual Languages and Human-Centric Computing (VL/HCC), St Louis, MO, USA. doi: 10.1109/VL/HCC51201.2021.9576315. Live coding – the real-time procedural creation of audiovisual works – suggests opportunities to extend hand-drawn animation; however, existing live coding systems are incompatible with manual animation workflows. Manual input is not a primary datatype in existing live coding languages and live coding tools require using symbolic programming environments. We theorize that by applying direct manipulation to the domain of live coding, we can enable animators to create expressive mappings between hand-drawn animations and audio effects in realtime. We present Megafauna, a sketch-based system for audiovisual performance, informed by interviews with professional animators. Megafauna supports the integrated generation and control of hand-drawn animation and audio sequences by enabling animators to directly sketch mapping functions between animation frames and sound generators. We demonstrate the expressive potential of Megafauna by reproducing animated compositions from procedural and manual domains. We evaluate the opportunities of our approach for live production through an expert review of a performance piece created with Megafauna. This work was part of my&nbsp; Master’s in Media Arts and Technology at the Univeristy of Califronia, Santa Barbara in the&nbsp;Expressive Computation Lab.&nbsp; Presented at&nbsp; VL/HCC 2021, Saint Louis, MO, USA [Virtual event] <img width="3326" height="1858" width_o="3326" height_o="1858" data-src="https://freight.cargo.site/t/original/i/f69a3f57ac3ff675dbbb5ad3481ee3fa2e52ca977d4c5a87b69823e4ebf80365/ui.png" data-mid="174864879" border="0" src="https://freight.cargo.site/w/1000/i/f69a3f57ac3ff675dbbb5ad3481ee3fa2e52ca977d4c5a87b69823e4ebf80365/ui.png" /> <img width="3326" height="1858" width_o="3326" height_o="1858" data-src="https://freight.cargo.site/t/original/i/66e487c03e9d8e4fba65899df6978411e0e0d324218e6f9c4ecfb36c104aa06e/full_view.png" data-mid="174864875" border="0" src="https://freight.cargo.site/w/1000/i/66e487c03e9d8e4fba65899df6978411e0e0d324218e6f9c4ecfb36c104aa06e/full_view.png" /> <img width="1428" height="966" width_o="1428" height_o="966" data-src="https://freight.cargo.site/t/original/i/88cc4afe955bf745ab3c8121072728b86c1a0da71a594ec7efe3b17b06490548/final_impro.png" data-mid="174864874" border="0" src="https://freight.cargo.site/w/1000/i/88cc4afe955bf745ab3c8121072728b86c1a0da71a594ec7efe3b17b06490548/final_impro.png" /> <img width="3360" height="1829" width_o="3360" height_o="1829" data-src="https://freight.cargo.site/t/original/i/436c63135c44bab98d8a93cccf9a2c945b429483c806aaddeb3da6ce46168a39/full_view2.png" data-mid="174864876" border="0" src="https://freight.cargo.site/w/1000/i/436c63135c44bab98d8a93cccf9a2c945b429483c806aaddeb3da6ce46168a39/full_view2.png" /> https://sambourgault.com/remote_learners Tue, 11 Apr 2023 22:04:32 +0000 sam_bourgault https://sambourgault.com/remote_learners Remote Learners, Home Makers <img width="1112" height="1384" width_o="1112" height_o="1384" data-src="https://freight.cargo.site/t/original/i/103a3d2a7e4fe03c8ce49b3d4dbadcadb87a2dca2e23d4fce1609472850924e2/remote_learners.png" data-mid="175299572" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/103a3d2a7e4fe03c8ce49b3d4dbadcadb87a2dca2e23d4fce1609472850924e2/remote_learners.png" /> Gabrielle Benabdallah, Sam Bourgault, Nadya Peek, and Jennifer Jacobs. 2021. Remote Learners, Home Makers: How Digital Fabrication Was Taught Online During a Pandemic. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems (CHI '21). Association for Computing Machinery, New York, NY, USA, Article 350, 1–14. doi:&nbsp;https://doi-org/10.1145/3411764.3445450 ︎ Best Paper Honorable Mention&nbsp; Digital fabrication courses that relied on physical makerspaces were severely disrupted by COVID-19. As universities shut down in Spring 2020, instructors developed new models for digital fabrication at a distance. Through interviews with faculty and students and examination of course materials, we recount the experiences of eight remote digital fabrication courses. We found that learning with hobbyist equipment and online social networks could emulate using industrial equipment in shared workshops. Furthermore, at-home digital fabrication offered unique learning opportunities including more iteration, machine tuning, and maintenance. These opportunities depended on new forms of labor and varied based on student living situations. Our findings have implications for remote and in-person digital fabrication instruction. They indicate how access to tools was important, but not as critical as providing opportunities for iteration; they show how remote fabrication exacerbated student inequities; and they suggest strategies for evaluating trade-offs in remote fabrication models with respect to learning objectives. This work was done as a collaboration between the Machine Agency Lab at UW and the Expressive Computation Lab at UCSB. Presented at CHI2021, Tokyo, JP [Virtual event] https://sambourgault.com/robotic_softness Tue, 11 Apr 2023 22:05:15 +0000 sam_bourgault https://sambourgault.com/robotic_softness robotic softness <img width="3360" height="1881" width_o="3360" height_o="1881" data-src="https://freight.cargo.site/t/original/i/b7a4db7509195a8afe29f79d185de14bd8c2d374fea09729889eb95b40707342/pero2.png" data-mid="175300164" border="0" src="https://freight.cargo.site/w/1000/i/b7a4db7509195a8afe29f79d185de14bd8c2d374fea09729889eb95b40707342/pero2.png" /> Samuelle Bourgault, Emma Forgues, and Jennifer Jacobs. 2020. Experimenting with Robotic Softness. In Proceedings of International Symposium on Electronic Art (ISEA). This paper presents Pero sans Cimon, a dynamic sculpture that critiques female body use and identity through the medium of soft robotics - a domain of robotics that uses materials and actuation mechanisms that mimic biological structures. Existing soft robotics research emphasizes the practical affordances of soft robotic mechanisms for locomotion, manipulation, wearable technology, and architecture. Instead, our objective is to examine soft robotics as an aesthetic medium through the analysis of the Pero sans Cimon artwork. We use Andreas Broeckmann’s five aspects of the aesthetics of the machine: associative, symbolic, formalist, kinetic, and automatic to demonstrate how soft robotics, in continuity with twentieth-century machine art, can enable artistic expressiveness. Furthermore, we extend these principles by describing how the formalist and kinetic properties of soft robotics support new forms of artistic representation. We conclude by discussing the artistic implications of this technology. Specifically, we examine the potential social symbolism that may emerge from a robotic medium developed primarily for its aesthetic and mechanical resemblances to the human body. The paper is available to download here.