 Okay, so I hope you can see all the screen now and hear me well. Thank you. So, first of all, thank you so much for having me here. It's quite a pleasure. And it's quite exciting to see such an in-depth work about Shirley Tse and her printing. I was not aware of the complexity behind the work. So I will try to add a little bit on to being more of an experimental guy working on how to bend the rules of 3D printing and what comes out of that. So I structured this talk in three different directions, one being thermal deformations while simulating substance. The second one is the sintering process and exploring porosity. These are mostly unwanted elements of 3D printed and 3D printing. And lastly, conglomerate materials and balancing stresses, which I think partly might have even to do with the talk that we just heard. So during most of the fractures might have been stress fractures. So first of all, thermal deformation simulating substances. Now, this goes back to a work from 2006 talking about object printing or multi-object printing, which was back then an extremely rare and still today and not very often used technology. And it does some UV-based polymerization techniques using object printers from what was then called, well, which is now from the company Stratasys. It's a multi-printer hat technology that allows multiple materials to be fused into a single model continuously or even gradients. The work then was worked in a clear resin material. I don't think that material even still exists today. The work was never conceived to move or change and was actually interestingly talking from 2006 to 2020 when it was the last time exhibit is that though no breakages happened in the work, the various temperature differences of exhibition environments and lighting continues to form and basically change the appearance of the object. So it's a very simple relationship between thermal expansion and what is then ABS or VeroBite. VeroBite is one of the more UV-based polymers in DLP, SOA or multi-object print. Now the work itself takes reference from body and there was an idea about substance and how to make something that in itself can grow. It is based on MRI scans and their translation from voxel shapes into, first of all, masses and mesh data would be heard already and taking thus a very malleable data into a concrete data, a dataset that has gradients into one that is finite. The installation itself is extremely complex and features reflecting angles of laser cut acrylic plates intertwined with 3D printed large bodies, about a meter long, various components, all in all, first suspended and then later actually placed into this Belgian black marble plate. This is in 2008. At this point you see that there's quite a lot of heavy weight going on and very thin tendril like connections that at that point we're not yet deforming. But after a second exhibition exposed to a little bit more stronger direct spot light deformation and twisting started to happen. It's quite interesting and not something that I saw and not something that was wanted but something that was embraced later on, because it actually added to the material narrative starting from the organelles of the MRI scan, and the kind of replication of something that is actually shifting and changing and aging into a material narrative where even the parts themselves started to, well you could say twist and twirl and bend and kind of react. In 2020 the work was shown last in the University Museum Art Gallery. Not because it broke too much or so but frankly because the material aging of what was then already a fairly experimental 3D printed material basically would make any further exhibition very very difficult. Of course the data exists and can be reprinted in any other material. These differently to FDM printing the printer direction of the G-code file would actually not matter that much. Of course they are printing direction elements for the stressing for the expansion, but frankly as this work was commissioned at the time or I commissioned a 3D printing company to do that. I wouldn't even have the SDR, the G-code file to reconstruct the printing direction and thus could even reconstruct the idea of the twisting. So that was an unwanted and observed problem and maybe a lucky experiment. Let's go more to one that is an experiment where I looked into the problematic of kind of how 3D printing is articulated rather than mechanics behind it. And one of the 3D printing method that is very very very stable and at the same time quite interesting is SLS, Selective Laser Sintering. It was long time only provided very very limited color gradients only white or sometimes gray. It has now today been expanded a little bit to black and slightly darker rates which makes obviously aging in UV light less problematic. But sintering the work how I started the exploration into sintering is the notion of porosity and particularly an idea extending from the investigation into my own body about how to 3D print bones and if that would even be possible. So the porosity of human bones and a bone can be built up from calcium clust and calcium blast and adjusts its density interior and internally to outer stress factors, hence, chins of tyvoxes are a lot, chimbells are a lot lot denser in the inner workings than actually of normal people like me. So it's a reactive material that is on the one hand side an organic material on the other side an inorganic material between proteins and calcite or calcium structures to date that is still more possible to produce such a complex material. It's actually 3D print hearts or muscle fibres or organ parts and using stem cells alongside structures, polymer structures but a reactive material or a material that has the ability to be an organic and organic at the same time was then not possible and it's not possible now. Now this porosity that we're thinking about the processes behind it and one of the idea was to see what kind of, what kind of surfaces could be activated within 3D printing because most 3D printing are extremely inactive polymerizations after the fact of 3D printing and exposure to UV light or thermal plastics they usually vary in non-reactives. So how could one recreate for instance the idea of a material bound, this is an horizon of myself, again I do start quite often this looking into myself and thinking about like how can this be activated interactively or as in the pure narrative. And some little thinking structures of what I was thinking about going through a bit of scanning in Great Oldman Street in London so we're talking then a fairly old work and I have blessed a nice, that's quite nice. So I started with a lot of testing on the porosity of material using crystals, available crystals that are soluble in temperatures that are achievable in laboratory grades so nothing too fancy and too difficult. And looking into the porosity and the relationship between the exterior shape and the idea of how much fluid material can be actually put onto the various 3D prints, either due to its porosity of the shape itself or due to the 3D printed material. And you can see quite a lot of the materials, this is actually a PLA material, this is an SLA material so resin are very, very, very closed and thus doesn't give the chance for micro porosity or the nucleation of crystals to actually happen. In fact, when looking into SOS, we're looking into a technology that is an extremely porous material so you would have here the 3D printed stratus fine so the layers of 3D printing in the Z axis. And you would see that the granulate of SOS is a polymer powder that gets heated up in the 3D printer and then the last part the sintering with the laser would actually leave a lot of gaps in this material. Hence, a lot of the 3D prints from SOS feel like a very high graphite grain sandpaper. So this relationship made it possible to start thinking about the nucleation of crystals in super saturated fluids when cooling down to be maybe even manipulated to bond into the material. And so I started this series of works called slow selfies that started in the Victorian Albert Museum in 2000 and this would be, I think it's about 12 2012 and then extended to a couple of exhibitions and installations in the Museum of Vancouver and the Museum of Moscow. And this one was the latest one, always talking about reification or actualization of material through stimulation of the outer surface of selective laser sintered surfaces. So the blank was basically one state of MRI scan of the skull and the slow selfies the work of the she refers to the idea of photographic development and the chemistry chemistry behind it now being changed into three dimensional activation. And so the formation would happen via projection mapping and stimulating micro differences in the temperature of the bass of super saturated fluids, cooling down and thus crystallizing onto the material itself. That of course is in a highly entropic state and reproduction of any of these works is completely impossible. And this is a little video we made after the fact shows in a time speed of version, how the projection mapping onto the material would activate the crystals this is though after the fact of the bass because most of the best, most of the super saturated fluid are not clear enough to film the chemical process. Oh, sorry, that should be the video. So this would be the projection mapping with strong black and white shadows so obviously changing temperature differences on to the surface, while being in the bass and crystallization. In this case, the video shows the crystallization happened already of the part. The lower part of this. Now this is some of the first results and this was slow selfie one made of a period of four days in the Victorian elder museum. You can see the blanks that you can still having the various part of the slow circle of the kind of medium before being crystallized. Okay, the third part of this talk talking about conglomerate conglomerate materials or materials that are made from various different parts and different methods. This is also about the notion of the craftsmanship as this car is introduced as well as one of the research topics that I wrote as well my PhD about. And it is about combining traditional knowledge of materials with new materials and new methods of making me sweetly printed. I want to give a big shout out to the coach of the school of glass was a artist in residence in 2017, having previously absolutely no idea about what to do with glass. And six weeks that they had been there and then afterwards in the museum of glass into coma really enriched my practice and thinking and writing about digital craftsmanship and possibilities of combining traditional methods with new materials. So apart from blowing glass and understanding the idea of centric and non centric and centrifugal forces and inflation and temperature control and the idea of annealing and integrating the world basically making glass stable for a longer period of time. Well, approximately half time of glasses a million years. I started to develop massive soft digitizing glass, which is quite difficult to do its reflection reflection. So this is actually gypsum powder and hairspray works on glass bodies before trying to see the stand them. And with that digitization. In the studio I explored a world of trying to build interfaces between glass, it's really printing, and how this kind of glass elements be formed or held, or kind of held and blame or even amalgamated into glass itself. So the first idea of that is really to find exactly the right temperature point between glass and PLA material in district school of glass that is actually to three or four 3d printers of PLA, mostly used for investment cast in glass, because the burner temperature of 400 degrees Celsius in the ovens allows the burning out of the organic PLA from electric acid 3d prints and then therefore allows custom glass. So in the annealing process we try to figure out the exact point of the melting point from the PLA prints to be actually put onto the glass and fuse with the glass. This is a extremely wonderful and very very stupid process. And obviously it became a total failure, which was great as well because we learned a lot about it as the melting point of PLA is so this position quite close to some of the most fragile times in the annealing process of the glass or any tension on the outer surface of the glass needs the glass to completely rupture. So in that case, that idea of fusing two materials together was impossible to achieve. In hindsight that is not necessarily a problem because what I learned through that and that is a very interesting part is that the anticipation of stresses in the PLA material or in any 3d printed material with enough with enough knowledge or enough control is enough training is enough trial and error is actually something that can be anticipated. And so, in the end, what I walked off with this was this idea of making a set of works, where the print itself is anticipated stress to hold glass bodies in place and even elevate them. So these were the first elements and parts things in the residency and later some of the 3d scan data to be prepared for 3d printing for actually working like 3d modeling around and printing. And then first test about how much as a business as material is stretchable. So how much can you anticipate in the two and a half the surface of your computer screen with a 2d mouse. And so the visual link stresses without simulating them because the simulation of something that is not 3d scanned entirely perfect it's almost impossible again to find the point of gravity but as well to use the the material properties of 3d prints particular SLS being slightly more bendable when coming out of a machine which is a temperature thermal plastic. And then later on than months later. So now this these these works are two years old, some of the oldest 3d prints are two years old. The material is still not brittle and the tension is still hasn't sacked in any formal way. So any of these connections are made by simply stretching the material alive by sheer force and pushing the glass bodies into the 3d printed manchats so to speak. So there's no adhesive in any of these following work so we started from the very simple kind of like corset like stretchable or reputable elements to then these much more complex floating glass entanglements. So these are some of the images of the museum. The museum of art gallery and the exhibition of confrontation metamorphosis or confrontation. And these are obviously much more complex 3d prints in form and shape in pushing the 3d prints to be going through the glass with small openings and then expanding within the glass, or balancing and holding these elements by pushing the glass bodies that were separated to spread the glass 10 light structures. The exhibition was quite interesting because it was placed on Chinese furniture that were up to 300 years old, and the dialogue created between the material of polymers, the formal language that was obviously has its references from the organic, all the qualities from the human body and the studies of my own body and then the kind of like more cocoa ask symmetry and super symmetries really work really well with the furniture that we tested on the museum. Now the last bodies of work because I'm running out of time is the idea of combining not only the visible material properties of 3d printing, but as well the idea of invisible properties and the chemical balances between that chemical and mechanical balances between glass and 3d printing. So one of the work I wanted to talk is in balance, in which mechanical forces are applied to glass and 3d print in vessels that are filled with ferromagnetic fluid, and thus continuously changing the blockchain balancing systems through magnets that are pushed into the three print material itself. This is a rendering. I said the idea is to visualize invisible forces such as magnetism and to create a chaotic or entropic state within works. That's my timeline, so I'll do it quick. So in order where you see that this type of balancing system induction of energy, this is a simple belt that goes in one direction and moves the work in one direction. Now the second one is obviously the point of gravity continuously shifting. That is predictable and would be only one system or one border of the relationship. Again, all these things are, there's no adhesive or so are stretched over in three different parts over the glass body. The clicking sound that you should hopefully hear. It's very faint though is from the magnets rolling within these tendrils with a spherical magnets. Basically creating a shifting magnetic field and that shifting magnetic field is then continuously activating ferromagnetic fluids that are in the glass bodies itself. Thus, from the very simple linear movement to a complete entropic state of movements that are continuously unbalancing itself. This work can only exist with the SLS and with the notion of being able to stretch and being able to predict the idea of how much material can be stretched. And as well because chemically speaking and aging wise, the new black SLS materials are incredibly stable. But yeah, I would say in terms of conservation this might be the blankest nightmare possible to reassemble and unassemble and make actually a conversation about it. The last work and I'll finish with that is at the moment in the Museum of Glass, the Tacoma. It's a work that condenses chemically our breath in these condensers which is really printed and have quite an enlarged volume of the large surface area. Inside it uses chemicals that are commonly used for the humidifying in various layers and charcoal filters. So it literally dries out the air around it and then makes the air condenses the water into a glass vessel. The notion of that is that the presence of those in the museum basically started to condense the water into the, any presence of visitors condensing more water into the vessels. This is the previous version of that where the condensers were not connected and in a slightly different SLS material, slightly grayer and slightly more porous, you see here the surface quality of SLS is quite clear. But even though this surface is more close now in this black poly mass, it still retains a bit of a force. In the final version, these were actually installed using them because the breath air, the filtered air was the chemical catalyst where it's becoming slightly saline. So in the end these are the wrong plants in the museum. There are three mangroves over them creating a cohabitation between chemical filtration and then in the end plant life. The exhibition will be on for about eight months. This concludes my 20 minutes of lucky accidents and material narratives are so sweet and great. Thank you so much.