MY ARTISTIC PRACTICE:
Crafting Interactive Artworks
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> Eevi Rutanen
> Etelä-Tapiolan lukio 03.03.2025
> slides.eevirutanen.com/etis
STUDIES
> Visual Communication Design BA, Aalto ARTS 2011-2017 (1)
> Bioinformation Technology BSc, Aalto ELEC 2012-2015 (2)
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> Computational Arts MFA, Goldsmiths College, University of London 2017-2019
STUDIES
Text
> Teaching Creative Computation at Aalto ARTS 2020- (1)
> Visiting lecturer at Estonian Academy of Arts 2020- (2)
> Various workshops on electronics, robotics and
e-textiles (3)
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TEACHING
MY ARTISTIC PRACTICE
> Softening the "Hard Sciences"
Who contributes to science? Where?
How is scientific knowledge defined?
MY ARTISTIC PRACTICE
> Softening the "Hard Sciences"
What is considered "technology"?
To whom (and to what end) are new technologies created?
Who decides what technology should look like?
MY ARTISTIC PRACTICE
> Softening the "Hard Sciences"
How to include more diverse voices in the fields of computation and engineering?
How are technology and gender intertwined? How do they shape each other?
> Grasper (2018) at Binary Codes group exhibition at Seager Gallery, London
What I want to say
- Convey a message
- How?
What I want to make
- Try new technology
- Try new medium
- Found materials
What can be made
- Interaction / functionality
- Tech and components
What should be made
- Durability
- Time
- Resources
- Cost
HOW IDEAS ARE BORN?
> Uncanny Dimple Theorem by Eevi Rutanen (2019) based on the Uncanny Valley theory by Masahiro Mori (1970)
> Uncanny Dimple (2019) Computational Arts MFA Degree Show at Goldsmiths, London
> Fuzzy Logic (2022) solo exhibition at Huuto Gallery, Helsinki
FORMAL LOGIC
FUZZY LOGIC
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FALSE
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FALSE
TRUE
> Fuzzy Logic (2022) solo exhibition at Huuto Gallery, Helsinki
USING RECYCLED MATERIALS
ARTWORK PROCESS
1. Researching and sourcing components
2. Designing and testing circuits
3. Soldering circuits
ARTWORK PROCESS
let sensorValue = digitalRead(SENSOR_PIN);
if(sensorValue > 300){
motor.move(FORWARD);
}
else {
motor.move(STOP);
}
4. Writing code
5. Building and developing prototypes
6. Putting everything together
ARTWORK PROCESS
6. Installing
7. Documenting and publicising
> Kodinhengetär [Homemaker] solo exhibition at Salo Art Museum 17.5.2024-1.9.2024
> Edistys [Progress] (2024)
> Details of Edistys [Progress] (2024)
> Digihinkki [Digi-jug] (2024)
> Digihinkki [Digi-jug] (2024)
> Täysin automatisoitu pyykinkäsittely I & II [Fully automated laundry handling I & II] (2024)
> Täysin automatisoitu pyykinkäsittely I & II [Fully automated laundry handling I & II] (2024)
> Niin makaa kuin petaa [You have made your bed, now lie in it] (One cannot live outside the machine for more perhaps than half an hour) (2024)
> Niin makaa kuin petaa [You have made your bed, now lie in it] (One cannot live outside the machine for more perhaps than half an hour) (2024)
> Niin makaa kuin petaa [You have made your bed, now lie in it] (One cannot live outside the machine for more perhaps than half an hour) (2024)
DAY-TO-DAY AS AN ARTIST
PROS
- DOESN'T FEEL LIKE WORK
- Flexible hours
- Being your own boss
- As much variety as you wish
CONS
- No structure
- Irregular schedules
- Financially unstable
- Can be emotionally and mentally draining
- Working alone
BUT HOW TO MAKE A LIVING?
INCOME
- Grants
- Project grants
- Working grants
- Prizes
- Exhibition compensation
- Artwork sales
- Private collections
- Museum collections
- Commissions
- Other work
EXPENSES
- Living :)
- Studio space
- Artwork material costs
- Gallery fees
- Hired services
- Technicians
- Manufacturing
- Accounting
- Media
- Travel & transportation
- Insurance & pension
SOURCES OF INSPIRATION
Anu Tuominen (b. 1961)
Mika Rottenberg (b. 1976)
Tony Oursler (b. 1958)
Patricia Piccinini (b. 1965)
Rafał Zajko (b. 1988)