ASU Scholarship Showcase
This growing collection consists of scholarly works authored by ASU-affiliated faculty, staff, and community members, and it contains many open access articles. ASU-affiliated authors are encouraged to Share Your Work in KEEP.
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- All Subjects: fused filament fabrication
- All Subjects: Movement
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In-process laser heating technique delivers a cost-efficient way to improve mechanical and geometrical properties to nearly isotropic and extremely smooth, respectively. The technique involves the incorperation of a solid-state laser into a commercial off-the-shelf 3D printer, mechanical system to allow controllable laser allumination on desired surfaces, and a gcode postprocesser to proper control of the mechanical system. This process uses laser for local heating, to enhance mass transfer between boundaries or to enhance surface reflow to smooth surface irregularity, to improve mechanical and geometrical properties. Only less than 3 W of laser power (CO2 laser) was used for high temperature material like PEEK and Ultem; less than 1 W (808nm laser) was found to be sufficient for achieving optimal properties for PLA. This technique has the potential for after-market integration into most commercial FFF 3D printers to achieved nearly isotropic and smooth 3D printed objects with various thermoplastic polymers.
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This chapter is not a guide to embodied thinking, but rather a critical call to action. It highlights the deep history of embodied practice within the fields of dance and somatics, and outlines the value of embodied thinking within human-computer interaction (HCI) design and, more specifically, wearable technology (WT) design. What this chapter does not do is provide a guide or framework for embodied practice. As a practitioner and scholar grounded in the fields of dance and somatics, I argue that a guide to embodiment cannot be written in a book. To fully understand embodied thinking, one must act, move, and do. Terms such as embodiment and embodied thinking are often discussed and analyzed in writing; but if the purpose is to learn how to engage in embodied thinking, then the answers will not come from a text. The answers come from movement-based exploration, active trial-and-error, and improvisation practices crafted to cultivate physical attunement to one's own body. To this end, my "call to action" is for the reader to move beyond a text-based understanding of embodiment to active engagement in embodied methodologies. Only then, I argue, can one understand how to apply embodied thinking to a design process.