{"id":151,"date":"2008-12-05T10:00:53","date_gmt":"2008-12-05T10:00:53","guid":{"rendered":"https:\/\/www.shapeways.com\/blog\/archives\/151-shapeways-member-interviews-george-hart.html"},"modified":"2014-07-03T16:44:36","modified_gmt":"2014-07-03T16:44:36","slug":"shapeways-member-interviews-george-hart","status":"publish","type":"post","link":"https:\/\/www.shapeways.com\/blog\/shapeways-member-interviews-george-hart","title":{"rendered":"Shapeways member interviews: George Hart"},"content":{"rendered":"

Professor George Hart<\/a> is a rapid
\nprototyping pioneer. Back when Shapeways was years
\n<\/a>
\naway from being an idea and the technology was in its infancy and only used by
\nUniversities and big corporates for R&D he was already making
\n<\/a>art on 3D printers.
\nIn addition to being a sculptor he is a Mathematician, a
\nComputer Science Professor at Stony Brook University<\/a> and has
\npublished academically on topics ranging from education,
\npuzzles, cryptography, linear algebra to engineering. Be sure to stop
\nby his site<\/a>.
\nBut, as you might be able to determine from the picture of his office,
\nhis truest love is geometry.
\n<\/a>\n<\/p>\n

So tell us a bit about yourself?<\/i><\/a>
\n
I try to make cool things.<\/p>\n

Are you a mathematician or a sculptor?<\/i>
\n
That isn’t an either\/or question as I consider myself both. Perhaps
\n“applied mathematician” is an understandable category, applying
\nmathematics to sculpture.
\n<\/a><\/a><\/p>\n

\n

How do you approach your rapid prototyping art?<\/i>
\n
My mind is full of forms screaming to get out. Unfortunately, there is
\nno time for me to get to them all. I try to give the most worthy ones
\nthe gift of existence, but there are so many material things one must
\nattend to. Additive fabrication helps me considerably in the process.
\nI hope viewers can see some of what I see in my works.<\/p>\n

Continued below…<\/p>\n

<\/p>\n

What do you teach at Stony Brook?<\/i>
\n
\nI teach a range of courses including some on computer-aided sculpture
\nand algorithms for 3D design. As far
\n<\/a>
\nas I know, my Computers and Sculpture class is the only course in the
\nuniverse specifically about the various ways in which computer technology
\nis applied to sculpture.
\n<\/a>\n<\/p>\n

Why the fascination for three dimensional space?<\/i>
\n
\nWe are stuck in a 3D universe and we have evolved to perceive and enjoy
\nits richness. Sculpture helps one appreciate both the possibilities
\nand the limitations of space.<\/p>\n

What is your Encyclopedia of polyhedra<\/a>?<\/i>
\n
\nThat is web resource I wrote to systematize a great deal of information
\nabout polyhedra, including so <\/a>
\nme mathematical gems and an appreciation
\nfor their history and beauty. It is illustrated with 3D models in
\nVRML, which was the state of the art in the mid 1990s when I wrote it,
\nbut the technology is a bit dated now. I’d like to find a student to
\ndo a project converting everything a more modern format.<\/p>\n

What 3D software tools do you use?<\/i>
\n
<\/a>
\nI use many different tools, but commercial software doesn’t have
\nfeatures I need for the kinds of <\/a>
\nmathematical structures that interest
\nme. So mostly I write my own 3D sculpture CAD tools, which I then use
\nin design. This makes me want new features, so I am constantly varying
\nand editing my software.<\/p>\n

Would you recommend any of them?<\/i>
\n
\nThe tools I write are just for me. Nothing is stable or documented for
\nrelease. I’m mainly interested in producing actual sculptures, and the
\nsoftware tools are just one of many steps along <\/a>
\nthe way.<\/p>\n

What kind of person would you recommend the software tool Mathematica to?<\/i>
\n
\nTo use it well, you need some mathematical maturity, an understanding
\nof basic software concepts such as recursion, and means to get a copy
\ninexpensively. I expect it is far too expensive for individual artists
\nto consider purchasing.
\n<\/a><\/p>\n

You wrote a paper about procedural generation of sculptural forms, could you in laymans terms explain this to us?<\/i>
\n
\nIt is part of a process in which one envisions a 3D form, thinks of its
\nmathematical representation, writes a program to generate a description
\nof the form, then uses additive freeform technology to physically
\nrealize the description. Certain complex structures are most easily
\nrealized with a generative program as an intermediate step.<\/p>\n

Is a procedurally generated sculpture a sculpture? In what sense?<\/i>
\n
\nBy definition. (It isn’t necessarily a “good” sculpture, but that is
\nan issue independent of the material.) A procedurally generated
\nsculpture can be visually engaging, it can make you think, it can evoke
\nemotions, it can open your imagination to new possibilities, it can
\ndelight the senses, it can give you a peek into the mind of the artist
\nwho causes it to exist. These are all things one looks for in
\nsculpture.<\/p>\n

There seems to me to be less ‘intent’ and ‘expression’ than in a traditional sculpture?<\/i>
\n
\nI don’t think so. To appreciate any genre of art requires some
\neducation and alot of individual study. Take my course and I bet you
\nwill see more.<\/p>\n

You also enjoy mathematical puzzles?<\/i>
\n<\/a>
\n
\nYes, especially geometric assembly puzzles, which have much in common
\nwith my sculpture. But all kinds of puzzles can be fun and serve to
\nopen the mind to new directions. They are great for teaching people
\nthat there isn’t usually a cookbook solution to problems.<\/p>\n

Objects need to be 2 manifold to be 3D printed, I’ve been unable to
\nexplain this well to anyone, possibly because I don’t understand it.
\nCan you explain it for us<\/i>?
\n
\nNot concisely. It often takes a while to understand even when I explain
\nit to my students in class after class.<\/a>\n<\/p>\n

Four-Dimensional Polytope Projection Barn Raisings<\/a>, uuum<\/i>?
\n
\nThey’re great fun! I like to organize various kinds of “nerd parties<\/a>”
\nin which people come together<\/a> and form a community that creates
\nsomething cool. Along the way, the professor in me tries to convey a
\nbit of something educational as well. Four-Dimensional Polytope
\nProjection Barn Raisings<\/a> are one example of that. You can get a sense
\nof them from pictures on my web pages<\/a>, but you really must attend one
\nto feel the joy of participatory mathematical constructions.
\n<\/a><\/p>\n

The resulting polytope models seem really beautiful to me, is it because of my natural attraction to symmetry?<\/i>
\n
\nIt is because they are really beautiful.<\/p>\n

Since when have you been involved with rapid prototyping?<\/i>
\n<\/a>
\n
\nI only got even limited access to any machines in the late 1990s.<\/p>\n

How did you initially become involved with the technology<\/i>?
\n
\nI had an “inside man” who liked making some models for me on the side,
\nas they were cooler than the other jobs he had to do.<\/p>\n

What has changed over the years<\/i>?
\n
\nThe cost is coming down and more people are becoming aware of its
\nincredible power to create any form one can think of. The imagination
\nis now the limiting factor in design, not the hands.
\n<\/a>\n<\/p>\n

Do you see this as becoming a mass market technology<\/i>?<\/a>
\n
\nI expect that in under ten years there will be machines in service
\nbureaus everywhere, like Kinkos has photocopiers, then every college,
\nthen every high school. The types of individuals who now have drill
\npresses or table saws will also have additive fabrication machinery.<\/p>\n

Mathematics is of fundamental importance to our society and will only
\nbecome more important in the future. But, if I look around myself most
\npeople I know are turned away from it at a young age. As a teacher, is
\ninspiration an important part of keeping people interested in it? How
\ncould more people understand and be interested in math<\/i>?
\n
\nIt is a shame, because most people never even see any real math to
\nappreciate its beauty. People hate how arithmetic is taught to them in
\nschool and, because that is called “math class”, they think they
\n<\/a>
\nhate math.<\/p>\n<\/p>\n

I love your rhomball model<\/a> and carry it
\nwith me wherever I go. Did you know that in SLS (Selective Laser Sintering or our White, Strong & Flexible material) it bounces very well?<\/i>
\n
\nI have an SLS one, about 3 inches in diameter, which I have
\naccidentally dropped a few times. But I usually try not to bounce it,
\nas I can’t easily replace my models.<\/p>\n

Mathematics and art seem to be polar opposites for some people: one the
\nexact, logical, science, hard truths, the “left brain”, the other
\nromantic, creative, expression, “the right brain.”Would you agree to this or do you seem them much as part of the same thing<\/i>?
\n
\nFor thousands of years, people studied math for its beauty. All
\nthrough history there have been very close connections between art and
\nmath. Math is one of the liberal arts. If we taught students to how
\nsee the beauty of a theorem or the elegance of a proof they might come
\nat mathematics anew.<\/p>\n

You describe Abraham Sharp<\/a> as an “artist of polyhedra”<\/i>?
\n
\nCertainly. My web page about him explains this<\/a>.
\nRead his book and you will see his love for the beauty of geometry. <\/p>\n

Could you explain the “beauty of geometry” to us or do we have to see it<\/i>?
\n<\/a>
\n
\nCan you explain the beauty of the nude human form to us? Appreciating it is just part of being human.<\/p>\n

Do you like learning more than teaching<\/i>?
\n
\nI think so. But even richer are the pleasures of discovering something new on ones own.<\/p>\n","protected":false},"excerpt":{"rendered":"

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