2. Digital Body¶

Week 2

References & Inspiration¶

Trio A - Yvonne Rainer

Judith Butler, Erin Manning, and Yvonne Rainer each explore the performativity of the body and movement from distinct yet interconnected perspectives. Butler's concept of performativity emphasizes how identities, particularly gender, are constructed through repetitive acts shaped by cultural and social norms. This understanding frames the body as a political space where performances can both reinforce and subvert societal expectations.

Building on this notion of the body as an active participant in meaning-making, Erin Manning delves into the relational nature of movement. She argues that movement not only occurs within space but also creates space through interactions between bodies, objects, and the environment. For Manning, the body is a site of transition and connection, where gestures and sensory experiences foster relationships and generate new possibilities for expression.

Yvonne Rainer complements these ideas through her postmodern dance practice, which challenges traditional notions of theatricality and spectacle. By prioritizing everyday movements and "neutral" gestures, Rainer demonstrates how the body can communicate complex ideas without relying on conventional dramatism. Her work redefines the role of the body in artistic performance, aligning with Butler's and Manning's shared interest in the body as a dynamic and transformative site.

Together, these authors highlight the performative potential of the body as a medium for creating, questioning, and redefining cultural and social frameworks through movement and interaction.

Research & Ideation¶

For this task, I wanted to think of the body as a structure that supports the movement of bodies and generates various spaces of interaction with the environment. Through gestures, postures, and senses, bodies in motion act as points of interaction, where the kinetic not only describes physical displacement but also the flows of energy, knowledge, and affect that emerge in these interactions. Manning emphasizes how these movements and sensory experiences allow for a reconfiguration of the senses of space and identity, involving a constant adaptation and transformation of the body in motion.

Triadisches Ballett

Figure 1: Triadisches Ballett by Oskar Schlemmer 1922

Process and Workflow¶

Materials & Tools List¶

Software (Download & Installation)¶

MakeHuman – MakeHuman For creating a digital 3D human body. MakeHuman is an open-source 3D software used to quickly create realistic human body models. It allows users to adjust parameters such as age, gender, body proportions, and facial features without modeling from scratch.
Rhino (Rhinoceros 3D) – Rhino For editing, slicing, and adapting the model. Rhinoceros (Rhino) is a 3D modeling software widely used in industrial design, architecture, engineering, and digital fabrication. It is based on NURBS geometry, which allows the creation of highly precise and complex forms, including organic shapes.
Slicer (e.g., Slicer for Fusion 360 or compatible tool) – Slicer For converting 3D models into 2D laser-cut files. In Fusion 360, a slider is an interactive control used to adjust and explore model parameters dynamically. It is mainly used in parametric design and the timeline, allowing users to modify values such as dimensions, angles, or proportions and see the changes in real time, making it easier to test variations and refine the design.
Laser Cutter Control Software – SmartCarve is a free Windows software used to control laser cutting and engraving machines. It allows users to import designs, adjust parameters such as speed and power, and send files directly to CNC/CO₂ laser machines.

Prototyping Materials¶

MDF (2–3 mm) – For stronger test cuts and detailed modeling
Acrylic sheets (optional) – For translucent or clean aesthetic finishes
White glue or contact adhesive – For assembling parts
Masking tape – For temporary joins or layout tests

Measurement & Finishing Tools¶

Vernier caliper – For precise thickness and spacing measurements
Steel ruler – For straight edges and measurements

Download and Install MakeHuman¶

To get started, I first downloaded MakeHuman from its official website, making sure to choose the correct version for my operating system. After that, I followed the installation steps provided, which are usually straightforward and depend on the system I'm working on.

MakeHuman Interface

Create Your 3D Model in MakeHuman¶

Once I opened MakeHuman, I started a new project and selected a base model as a starting point. From there, I used the sliders to gradually adjust the body proportions, facial features, and overall appearance, shaping the model according to what I needed. The interface makes it easy to experiment with different variations, including basic clothing and textures at this stage. When I was satisfied with the result, I exported the model in a format like .obj or .fbx, so I could continue working with it in other software.

MakeHuman Model Creation

How to Import Models from MakeHuman to Rhino¶

Import the Model¶

To continue the workflow, I imported the model into my 3D software by going to the File > Import menu and selecting the .OBJ or .FBX file exported from MakeHuman. When working with .OBJ files, I made sure to choose the option to import it as a mesh, so the geometry would be preserved correctly. If I used an .FBX file instead, I checked that textures and materials were enabled in the import settings, allowing the model to retain its visual details without needing to rebuild them from scratch.

Optimize the Model in Rhino¶

After importing the model, I usually clean it up before moving forward. If the geometry is too heavy, I use the ReduceMesh command to lower the polygon count and make it more manageable, especially for fabrication or further editing. Then I run RebuildMeshNormals to correct any issues with the mesh normals, ensuring the surface behaves properly in rendering and downstream processes.

Rhino Interface

Select the Figure¶

When working in Rhino, selecting objects is straightforward—I usually just click directly on the object in the 3D view. However, when the scene gets more complex, I rely on selection commands to speed things up. For example, I use SelAll when I need to select everything in the workspace, or SelLast to quickly grab the most recently created object. If I'm working with specific types of geometry, commands like SelSrf help me isolate surfaces, while SelPolysrf lets me select only polysurfaces. These shortcuts make it much easier to stay organized and efficient, especially in more detailed models.

Rhino Selection

Execute the Split Command¶

When I need to divide a geometry in Rhino, I use the Split command. I start by typing Split in the command bar and pressing Enter, then I select the object I want to cut and confirm. After that, I choose the curve or surface that will act as the cutting element and press Enter again. This allows me to break the object into separate parts, which I can then edit or manipulate independently.

Rhino Split Command

Select and Delete Unwanted Parts¶

After splitting the geometry, I can select each resulting piece individually by clicking on it, or speed things up using commands like SelLast to grab the most recently created parts. When the cuts are hard to see, I switch to Wireframe view using F4, which makes it easier to visualize the internal divisions and work more precisely.

Delete the Selected Objects¶

Press the Delete key on your keyboard.
Or use the Erase command and press Enter.

Rhino Delete Process

Activate Surface and Shadow View¶

Wireframe → Only shows object lines.
Shaded → Displays surfaces with base color, without reflections or textures.
Rendered → Applies materials, shadows, and lights.
Ghosted → Allows you to see through surfaces.
X-Ray → Similar to Ghosted, but more translucent.
Technical, Artistic, Pen → Stylized display modes for sketches or technical drawings.

Rhino View Modes

If I need to use the model in another workflow, I export it using File > Export Selected, choosing the format depending on the next step—for example, STL if I plan to move into 3D printing or further digital fabrication processes. This keeps the geometry clean and compatible with other tools.

After that, I use a slicer to translate the 3D model into a 2D fabrication strategy. I open a tool like Slicer for Fusion 360 (or a similar slicing software), import the model, and prepare it for conversion. This step is important because it transforms the digital object into flat sections or patterns that can later be cut and assembled, bridging the gap between 3D design and physical fabrication.

Slicer Software

To prepare the model for fabrication, I opened the slicer software and imported the .stl file. From there, I configured the key parameters based on the material I planned to use, including its thickness and the cutting strategy, making sure everything aligned with the constraints of the laser cutter. Once the setup was ready, I used the slicing tools to generate the 2D patterns. This process translates the 3D model into a series of flat layers that can be cut and later assembled, effectively bridging the digital model with the physical fabrication process.

Slicer Process

Export the 2D Files: Once the slices are prepared, export the 2D files as SVG or DXF files, which are commonly used for laser cutting.

Exported Files

Sometimes certain shapes may be highlighted in red — this usually means that no valid cutting areas were found. It's related to extrusion cuts, so be careful if you're only cutting unnecessary surfaces.

In Fusion 360, sliders marked in red often indicate a broken parametric reference in a sketch or an invalid parameter expression. To fix this, you'll need to check the sketch for the broken parametric link or correct the invalid expression in the Parameters section.

File Export Process

Prepare the Laser Cutter¶

When I started working with the laser cutter, I quickly realized that what you draw on the computer is not exactly what you get in the material. There's always a small amount of material lost due to the laser—the well-known kerf—and if you don't account for it, your joints simply won't work. That's why the Vernier caliper became a key tool in my process, not just for measuring, but for making more informed design decisions.

Vernier Tool

Figure 2: Vernier

The first thing I did was stop trusting the "theoretical" measurements of the material. Even if a sheet of wood is labeled with a specific thickness, in practice there are almost always variations. So I measured the actual thickness, observed how the cut behaved, and started paying attention to those differences. To calculate the kerf, I designed a test piece with known dimensions, cut it, and then compared the real measurements with the original file. The difference, divided by nine, gave me a reliable kerf value. That small piece of information made a big difference, because from that point on I could adjust tolerances directly in my digital model instead of guessing.

Example: 10 mm (main scale) + 0.2 mm (Vernier scale) = 10.2 mm

Measuring with Vernier

Before making the final cut, I carefully measured internal spaces, especially the slots meant for press-fit joints. This is where design stops being purely geometric and becomes more tactile. It's not about having perfectly matching dimensions, but about achieving the right amount of friction. Based on these measurements, I adjusted tolerances in the design until I got a firm fit without forcing the pieces together.

Throughout the process, I kept coming back to the Vernier caliper. It wasn't just a one-time measurement—it became a constant reference to ensure consistency in material thickness, kerf, and cut quality. This helped reduce material waste and gave me more confidence in the results.

Measurement Process 2

Measurement Process 1

Beyond measurement, using the machine safely was just as important. A laser cutter is not something you can operate on autopilot. Before turning it on, I made sure the workspace was clean, free of flammable materials, and properly ventilated. I also checked the machine itself: confirming that the cooling system was working, that there was no visible damage, and that the material I was using was safe for laser cutting (avoiding, for example, materials like PVC that release toxic fumes).

Laser Machine Setup

I never started a job without running a small test first. Adjusting the focus and making a quick test cut in a non-critical area allowed me to fine-tune parameters like power and speed without risking the entire piece. This step might seem optional, but it's actually what separates a controlled process from a trial-and-error one.

Laser Testing

As for the software, I used Smart Carve as a control tool rather than a design platform. All the design work was done beforehand in CAD or vector software, and once the files were ready, I uploaded the 2D drawings—typically in SVG or DXF format—into Smart Carve to prepare them for cutting. From there, I positioned and scaled each piece according to the material, and then assigned the appropriate cutting parameters.

Laser Cutter Parameter 1

Laser Cutter Parameter 2

Always test on scrap material first.
Set Up the Laser Cutter: Load the material you will use (e.g., wood, acrylic, etc.), and adjust the settings (power, speed) according to the material's specifications.
Test Cut: Before starting the full cut, perform a test cut on a scrap piece of the material to ensure everything works as expected.

Laser Cutter Setup 1