Oslo and Akershus University College of Applied Sciences (HiOA): Open Access Journals
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Planning for (not) taking risk: The creation of a security risk assessment standard in Norway, av Anne Heyerdahl
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Exploring Open-Source 3D Printing as a Transformative Design Tool: Empowering Designers and Enabling Innovation
No full textMy practice explores how to transfer my design knowledge of embroidery and print into 3D printing technologies and software. My Doctoral practice-based research explores the rationale behind using open-source, low-cost 3D printing technologies and software, which enabled me to change, remix and use the 3D printer as a flexible design tool like a sewing machine. The research aims to investigate the digitalisation of traditional textile craft techniques to produce a new taxonomy of design applications. I have produced a collection of 3D-printed embellished textiles demonstrating my practice-based research\u27s ongoing outcomes. By engaging with online communities and Open-Source Technologies, I have developed the skills to apply my specialist knowledge to this alternative technology to translate and interpret traditional textile and manipulation techniques. The exhibition will showcase these outcomes and demonstrate the opportunities within the fashion, textiles and costume industries. The post-production processes engage with my specialist background knowledge of print and dye techniques
Reconstructing the use of plumb level from a 19th century clinker boat tradition
No full textTraditionally, vernacular Nordic clinker boats are built without plans or templates. The local boat traditions all have a system of design that was handed over from master to apprentice. In some local traditions, a simple plumb level was used to guide the boatbuilder. The plumb level was placed on the planks of the hull during the build to give them the right angles of inclination in certain parts of the hull. Knowledge of how to use this plumb level is still considered part of living, unbroken traditions in some areas. In some local traditions, however, there are no longer any living tradition bearers that have the knowledge of how this tool was used in the local context. In this contribution, I will discuss how this lost knowledge can be reconstructed using old artefacts as a source material. I am investigating the tradition of building vernacular, clinker-built boats called ‘öka’ for sailing and rowing. This specific boat building tradition was located in the 19th century Stockholm archipelago. The artefacts in this case are preserved boats built in the old tradition and preserved plumb levels from closely related traditions. A central question in this context is to locate the exact positions in the boat that were measured by the plumb level. Working with reverse engineering, the measuring can be performed on preserved boats, but the right places for measuring still must be located to reconstruct the knowledge of how and where to use the tool. Some preserved plumb levels have markings that can be used in this investigation to match the locations and angles in the preserved boats. In this contribution, I will also discuss the possibility of applying the traditional measuring methods used by the old boatbuilders in today´s surveys and reconstructions, not translating the craft object into a digital 3D model or a lines plan
Post-COVID craft education: Reflections on a virtual artisan woodblock studio exchange between Australia and India
No full textThis paper presents a hybrid model of teaching and learning that proposes new possibilities for exchanging tangible and intangible cross-cultural knowledge in textile craft education. The paper aims to demonstrate how online platforms can be used creatively to disseminate traditional craft knowledge and skills in new ways. The discussion centres on a unique virtual global studio between fashion and textile undergraduate students at the University of Technology Sydney and on an artisanal woodblock print studio, Tharangini, based in Bengaluru (Bangalore), India. The hybrid workshop was an adaptation of the studio in response to travel restrictions caused by the pandemic. The author argues that while the internet cannot replace the immersive cultural experience of studying in another country, digital platforms have a place alongside teaching to offer otherwise impossible opportunities. This paper explores a methodology for disseminating craft knowledge and skills across cultures through a combination of online and in-house practicum. Classes were structured around weekly Zoom sessions with Director Padmini Govind, where sustainable approaches to print production were disseminated through a suite of commissioned films and hand-carved woodblocks to explore on campus. The results show how this unique adaptation allowed students to interact with the artisan craft of woodblock printing in rich and varied ways, and it proposes that this novel hybrid model can be creatively adapted to future craft education in the 2020s
Change and Transformation of Functions in Turkey’s Felt Objects
No full textThis study analyses felt and the practice of felting from the geography of Turkey, as a way to explore felt’s function in material culture. Felting is a method of craft making that consists of compressing fibres (wool or other). Felt, (in Turkish “keçe”) can be defined as the outcome product of felting process. However, keçe represents more than just a cloth or a textile. It was an important part of daily life in the geography of Turkey, for instance among nomads who produced their daily necessities from felt. For the study, first, I introduce some felt products from Turkey. Afterwards, I share the processes and results of a field study, through observations and interviews conducted with feltmakers in Tire region in Turkey. Then I share an analysis and results from the product research and field study. Nowadays felt is found through another range of accessories and artistic works, such as decorational products, hair bands, slippers, vase, tumbler, hats. While felt was commonly used for important functions such as carrying, moving; today, other materials are used for these functions. Therefore, felt objects can be perceived and bought as accessories rather than necessities in modern culture. Nevertheless, felt is still used for the representation of identities. Although felt is considered to have lost its value, for the context of Turkey, I argue that the functions have shifted to new contexts. Through different functionalities such as being tools for self-expressions/communication, felt has a similar value in the current culture
To safeguarding traditional basket making for the future
No full textABSTRACTKorgen lyfter [Raising Basket knowledge] is a Swedish national project started by handicraft consultants from three different regions in 2019. The project aims to promote basket making and knowledge by strengthening contemporary basket makers, make the diversity of domestic basket traditions visible and increase the interest of basket making. Through efforts in training, inventory work, seminars, lectures and networking, nationally and internationally, the project has made knowledge available and problematized the question of the fragile position of basket making. Among other things, the project has been involved in developing shorter courses in basket making and started a basket appeal related to the UNESCOs convention for the Safeguarding of the Intangible Cultural Heritage. Through a traveling exhibition, different events as well as high digital presence, the project has reached many people
From international competition to intercultural competence: Considerations on the use of practice mobility as an internationalisation strategy in Norwegian teacher education
No full textThis study explores international practicums in Norwegian teacher education. The study is based on a qualitative survey of teacher education institutions in combination with discourse analysis of the white paper on the internationalisation of education (Meld. St. 7 (2020—2021)). The aim is to contribute towards synthesising knowledge on the use of international practicums as an internationalisation strategy in Norway. The survey finds that international practicums are widely used, yet variations in content, form and implementation exist between different institutions. This is explained by how international practicums are neither regarded, nor rewarded as a formal internationalisation strategy in Norway. Analysis of the white paper reveals tensions between different educational discourses on internationalisation. While the discourse analysis identifies political recognition of international practicums in teacher education, the Norwegian Government remain reluctant to recognise international practicums as a formalised internationalisation strategy. The study concludes that this prioritisation risks undermining parts of the fundamental purpose of internationalisation, which is understood as the integration of international, intercultural and global dimensions throughout the educational system
Leder. Festskrift for Liv Merete Nielsen
No full textProfessor Emerita Liv Merete Nielsen turns 70 is in March 2023. Nielsen has been a significant supporter of individuals\u27 career paths, and acted as a field builder over many years. She has pushed professional boundaries, and highlighted the social relevance of the Art and crafts subject. In this special issue of FormAkademisk, there are many who express gratitude for Nielsen\u27s having shown the way and generously shared his wisdom and professional insight.Professor emerita Liv Merete Nielsens fyller 70 år i mars 2023. Nielsen har vært en betydelig støtte for enkeltpersoners karrierevei, og fungert som feltbygger over mange år. Hun har flyttet på faglige grenser, og markert Kunst og håndverksfagets samfunnsrelevans. I denne temautgaven av FormAkademisk er det mange som uttrykker takknemlighet for at Nielsen har vist vei og delt generøst av sin klokskap og faglige innsikt
Hilsen til Liv Merete Nielsen fra Notoddenmiljøet
No full textLiv Merete Nielsen har hatt en nøkkelfunksjon innenfor utviklingen av forskning på områdene forming, formgiving, design, kunst og håndverk i Norge. Arbeidet ved hennes faste institusjon, OsloMet, er velkjent. Men hennes arbeid ved Universitetet i Sørøst-Norge (USN), tidligere Høgskolen i Telemark (HiT), er kanskje mindre kjent