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Dear Liv
Get PDF…for me you are a bright, wise, and compassionate woman and an exemplary academic, providing an embracing environment for her colleagues. I was most fortunate to be introduced to you first in 2018 for the preparations of the Learn X Design 2019 Ankara conference. That initial shy communication conducted via emails, turned into regular online meetings when I joined the DRS EdSIG convening group in late 2019, and then into intense engagements as we started working collectively for the Learn X Design 2021 Jinan conference. Many were involved with their hard work and valuable contribution, but your involvement in particular, has been a motivation for me in the process. We spent many productive hours in online meetings, organizing the event, and building the background to realise it. I love the tapestry that you have behind you on screen in the background, and I love that it is you who have made it. I love you telling us that you will go skiing after the meeting. I can actually imagine you in your suit, grasping your gear, and starting to ski immediately as you step out of the cabin. That is how skilled and talented I find you. Many times, I have felt a reciprocal understanding between the two of us, which has always been reassuring and encouraging. I have learned a lot from you.
Thank you for being a friend
Capturing and Cultivating Print & Book : Craft Practices in the UK
Get PDFThe type of intensive training previously needed for crafts in the printing trade is now redundant, but as craft practices are added biannually to Heritage Craft’s UK Red List of Endangered Crafts, there is a pressing need to preserve skills whilst also creating and developing new methodologies for practice in the UK to ensure these crafts survive as part of a thriving cultural heritage.The Dissecting Crafts project was centred around supporting book craft practitioners (typesetters and manufacturers, a letterpress printer and a book binder) to gain insight and extend their practice. Using qualitative research methods, an embodied knowledge methodology was developed as a system of self-evaluation. A freely available online tool kit was developed from project findings to enable other practitioners at all skill levels access to the programme. Sharing the research stages sensitively with case study practitioners evidenced their connectedness with their tools and with what they make, through a process of validation that was not anticipated in the project. Unintrusive methods of documenting in-progress activities, the practitioner-researchers’ recordings of the craft participants’ experiential dialogue proved valuable for them to be able to harness and transfer their knowledge. The methodology and tool kit were extended to other maker practices with feedback types ranging from practice development, reflection skills, and articulation to validation
The story behind an exhibited rag rug : report from a workshop cleaning
Get PDFIn my paper, I describe my insights as manager of the textile workshop at the Department of Design at Linnaeus University, as well as how we teach material-based work. Part of my work as a workshop manager is to conduct a major clean-up at the end of every year. Last year, when I was standing in front of a pile of waste textiles, I began to reflect on how this pile of textile had been transformed from well-working material into waste. In a previous project with the research group Praktikforum, together with my colleagues, I explored what kinds of waste we produced when we made material-based artistic work. Thus, it was no surprise that practice-based work produced waste. The surprise was what I could understand from it. Looking closer into the waste, I obtained a deeper understanding of what had happened in the workshop during the year; how the students had used the material, what they had learned and what sometimes went wrong became obvious. I gained a deeper understanding of how we use, understand and teach/learn about materials and how we can develop the workshop by learning from the waste. At the same time, I learned the technique of ‘inbraiding’. For me, this was a new craft technique, in which waste textiles can be used when making rugs. I saw the opportunity to use the waste and upcycle it. By exhibiting the rug, I want to discuss the possibility of working more sustainably with crafts
Digital imaging to unveil traditional craft methods: A case study of a Renaissance Flemish panel
Get PDFTo understand the creation and the function of a Flemish oil on panel, non-invasive technical investigations including UV, IRR, X-ray and µ-XRF have been used as a method to unveil its specific material features. The undated and unsigned panel has been attributed to The Master of the Female Half-Lengths possibly active during the early 16th Century, due to its stereotype motif, materials and dimensions. The analysis reveals that the panel has several damages due to natural and forced interventions. The painting process shows various inconsistencies, interpreted with the aid of literary sources as a product of a workshop adapted to producing art as a response to the great demand of Flemish panels from the blooming Early Dutch art market
A ‘reverse’ academic drift? : Changes in Swedish educational Crafts
Get PDFThe prerequisites for formal training in Swedish educational Crafts have changed over time under the influence of two long-lasting societal processes: academisation and digitalisation. In different, yet interconnected ways, these processes of change are challenging the materiality, the making and the action-based knowledge that characterise educational Crafts. The paper presents how primary school teachers’ view the influence of academisation and digitalisation in their work and explores the consequences that change processes hold for the teaching practice in Crafts. The study is based on qualitative interviews with Craft teachers whose graduation year was between 1983 and 2021. Theoretically, Craft is considered to be a living ecology in an educational system. In the analysis, academic drift on various levels is combined with media-ecology concepts to clarify the diffusion of academisation and digitalisation in both time and space. The findings show academic drift leading to increased text-based knowledge production on several levels, yet also an unexpected weakening of action-based knowledge in Crafts. Balancing student and staff drift is further shown to result in the avoidance of written text in favour of digital visual, oral and bodily mediations in the production of knowledge. The study’s overall results question an ongoing ‘reverse’ academic drift and what is at stake in the Crafts ecology’s efforts to achieve balance.The prerequisites for formal training in Swedish educational Crafts have changed over time under the influence of two long-lasting societal processes: academisation and digitalisation. In different, yet interconnected ways, these processes of change are challenging the materiality, the making and the action-based knowledge that characterise educational Crafts. The paper presents how primary school teachers’ view the influence of academisation and digitalisation in their work and explores the consequences that change processes hold for the teaching practice in Crafts. The study is based onqualitative interviews with Craft teachers whose graduation year was between 1983 and 2021. Theoretically, Craft is considered to be a living ecology in an educational system. In the analysis, academic drifton various levels is combined with media-ecology concepts to clarify the diffusion of academisation and digitalisation in both time and space. The findings show academic drift leading to increased text-based knowledge production on several levels, yet also an unexpected weakening of action-based knowledge in Crafts. Balancing student and staff drift is further shown to result in the avoidance of written text in favour of digital visual, oral and bodily mediations in the production of knowledge. The study’s overall results question an ongoing ‘reverse’ academic drift and what is at stake in the Crafts ecology’s efforts to achieve balance
Exploring Open-Source 3D Printing as a Transformative Design Tool: Empowering Designers and Enabling Innovation
Get PDFMy 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
Horsehair weaving for sievewrights : Documentation of an ongoing craft project
Get PDFThis paper aims to discuss methods for reviving a craft – horsehair weaving – inspired by the concept of a moving searchlight approach and a forensic perspective. Isolated artefacts, tools, tools with ongoing processes and photographs, together with preserved documentation, have been analysed. Ongoing documentation on social media and a webpage were used during this process. Social media aimed to get people interested in the subject, test thoughts and maintain a dialogue. The webpage aimed to gather documentation demonstrating the horsehair weaving process and how the sievewright was made. The public documentation also aimed to inspire and engage other crafters. The public display of the ongoing project has been a positive learning experience. Different methods of documentation have different advantages
Aesthetic democracy as the roots of sustainable cities and communities
Get PDFThis article is a reflection on the crucial role that aesthetic democracy plays in generating and maintaining the 17 Sustainable Development Goals (SDGs) of the United Nations (UN), as summarised in goal 11, pertaining to the development of sustainable cities and communities. The article follows the structure of a three-step imaginary mechanism rooted in a radical perspective (Juguero, 2021). The first step relates to imaginary projection and addresses the concept of achieving the 17 SDGs. The second step relates to the roots of the situation and analyses the current global context and grounded concepts. The third step relates to an action plan, reflects on how to achieve the SDGs, and advocates for aesthetic democracy. The conclusion asserts that emotional evolution through aesthetic revolution is essential to the process.
This article results from a postdoctoral research project developed at the University of Stavanger.
Cover image: Drawing by Edér Rosa
Denne refleksjonen tar for seg rollen til det estetiske demokratiet i å bygge og opprettholde bærekraftige byer og samfunn, som er et av FNs sytten bærekraftsmål som skal nås innen 2030. Studiens format er inspirert av en dramaturgisk komposisjon og kobler sammen den imaginære prosessen. med vitenskapelige refleksjoner. Artikkelen fremhever relevansen av den imaginære mekanismen for menneskelige kreasjoner og presenterer en imaginær bærekraftig by og et samfunn sitt fiktive liv i 2130, et århundre etter den tiltenkte implementeringen av 2030-agendaen. Deretter tar den for seg den ontologiske rollen estetiske egenskaper spiller i forankring av verdier, atferd og tilhørighetsbånd som opprettholder eller transformerer sosiale strukturer. Konklusjonen antyder at bærekraftige byer bør være basert på bærekraftige samfunn forankret i en ny kultur fremmet av estetisk demokrati
Den kulturelle skolesekken som dissens og kunstens betydning i lærerutdanningen
Get PDFThe article provides an insight into parts of the national research project pARTiciPED Empowering student teachers for cross-sectoral collaborations with The Cultural Schoolbag (TCS) in Norwegian Schools (2021-2023). More specifically, the article refers to results from teacher students\u27 participation in The cultural schoolbag workshop Teiporama by the Swedish artist Sandra Norrbin. The preliminary results provide an opportunity to discuss whether the cultural schoolbag can represent a productive disturbance to dominant understandings of education, and thus create a third space between art and pedagogy.Artikkelen gir et innblikk i deler av det nasjonale forskningsprosjektet pARTiciPED Empowering student teachers for cross-sectorial collaborations with The Cultural Schoolbag (TCS) in Norwegian Schools (2021-2023). Mer spesifikt vises det i artikkelen til resultater fra lærerskolestudenters deltakelse i Den kulturelle skolesekken workshopen Teiporama av den svenske kunstneren Sandra Norrbin. Forskning knyttet til Teiporama utgjør en del av en av arbeidspakken Lab for initiating dissensus and exploring the edges in between art and education ved Universitetet i Agder (UiA). Delundersøkelsens foreløpige resultater gir anledning til å diskutere betydningen av å konfrontere lærerskolestudenter med kunst og om Den kulturelle skolesekken kan representere en produktiv forstyrrelse til dominerende forståelser av hva undervisning og pedagogikk skal være, og på den måten skape et tredje rom mellom kunst og pedagogikk
Programmering i Kunst og håndverk 2018-2022 : Utviklingen av pseudokodemodellen
Get PDFSince it became known in early 2018 that programming would be implemented in the upcoming curricula in Art and Crafts, I started holding short workshops in the topic for teacher training students in design, arts and crafts. The purpose was firstly to give the students an insight into the possibilites that lay in combining programming and Art and crafts, and hopefully contribute to some of them wanting to orient themselves further in the topic on their own. The development of this teaching has gradually changed from year to year, in interaction with overlapping projects. Through design-based research with the aim of developing and improving my own practice, this paper looks at five years of teaching programming with an emphasis on Scratch. One experience is that it is more important that the students (and pupils) get started quickly with exploring the possibilities and limitations of programming, rather than to receive a lot of instructions before they start. Another result of these experiences is that the teaching is organized like a code, which has been named the pseudocode-model.
Helt siden det tidlig i 2018 ble kjent at programmering skulle bli en del av Kunst og håndverk i kommende læreplaner, startet jeg å holde korte kurs i programmering for faglærerstudenter i design, kunst og håndverk. Hensikten var først å gi studentene et innblikk i hva slags muligheter som lå i programmering i Kunst og håndverk, og forhåpentligvis bidra til at enkelte av studentene ville orientere seg videre i temaet på egenhånd. Utviklingen av denne undervisningen har gradvis utviklet seg fra år til år, i en vekselvirkning sammen med andre relevante prosjekter. Gjennom designbasert forskning med mål om å utvikle og forbedre egen praksis, ser denne artikkelen på fem års undervisning i programmering med hovedfokus på Scratch. En erfaring er at det er viktigere at studenter (og elever) får komme fort i gang med å utforske programmeringens muligheter og begrensninger, enn at de skal få veldig mye opplæring i forkant av en økt. Et annet biprodukt eller resultat av disse erfaringene er at strukturen på undervisningen settes opp som en egen kode, som har fått navnet pseudokodemodellen