Mary Huang and Jenna Fizel are founders of Continuum Fashion, a fashion brand that 
incorporates their background in interactive design and architecture into expressing fashion with digital softwares
and technological design. Their collection "Myth," is the first 3D printed shoe collection that is ready to wear. They aim
to minimize human touches in order to let the digital design speak for itself,
as well as to show what using computational software can make possible. 
Their Laurel tree Sandal, seen at the right, is the first to be made available for purchase. 
It exemplifies the organic forms capable by a digital software that is based upon geometric 
intricacies, imitating a creative process that could originally be produced by human 
signature. A significant detail about the shoe's design is that the 3D printed material
makes it a product of zero waste. Making use of computer softwares ultimately provides a
way to express an artist's image but with higher accessibility. 

With the modern ability to format a relationship of creativity between an artist and a computer,
there is question about how much of what is being produced is actually able to be considered of
human artistry. I think that the art that is made from an agency of an artist and his computer
could still be deemed as original because the artist is able to determine the extent of the
computer's role. The machine produces what the programmer is putting into it, therefore making
it an extension of the programmer's creativity to produce an original piece of work. Art may be
based on the human experience, but the artist is allowing his experience to be expressed digitally. The computer might not be producing its own form of
"art," because it is conformed by human assessment, yet it is producing based on the artist's own consciousness. The formalization of human aesthetics
is in the hands of the human, who is allowing the aesthetics to be created by the computer. There's no way to truly comprehend the computer's own artistic
mind, however, there's little reasoning to justify that a partnership with an artist cannot allow for art of substance to be created.