Thursday, 30 December 2010

Autumn Work 2010

Articles:
A Darwinian Gale: the Recovery Consumer Marketplace in the Era of Consequences.  The Futures Company (2010).
Brigid Howarth Consultancy Ltd (2009).  Stimulating demand: market development strategy
for contemporary craft in the North East.  Crafts Council. 
Exploring Business Activity & Performance in the Craft Sector.  Cockpit Arts (2008). 
Morris Hargreaves McIntyre (2010) Consuming Craft: The Contemporary Craft Market in a Changing Economy. Crafts Council. 
Schwarz, M. & Yair, K. (2010).  Making Value: craft & the economic and social contribution of makers. Craft Council. 
Hall, L. Hunt, W. Pollard, E. (2010). Crafting Futures - a study of the early careers of crafts graduates from UK higher education institutions. Craft Council. 

Exhibitions and workshops:
Various (2010) Exposed: Voyeurism, Surveillance and the Camera.  London: Tate Modern.   28 May – 3 October 2010.  
Meet David Attenborough: First Life.  (2010) Institute of Education: London.  8 November 2010, with Sir David Attenborough. 
Various.  Bayeux Tapestry.  (1476), wool yarn and linen, Bayeux, Normandy: Musée de la Tapisserie de Bayeux. 

Websites:
http://www.instructables.com/
http://www.etsy.com/
http://www.readymade.com/
http://presentandcorrect.com/
http://www.superuse.org/
http://www.craftscouncil.org.uk
http://www.artscouncil.org.uk/
http://www.artsusa.org/
http://www.inventables.com/
http://solutions.3m.co.uk/
http://www.materialconnexion.com/
http://www.materia.nl/

Christmas Reflection

A very productive month with over 2 weeks off work!  This has allowed me to work and develop my ideas for the Life Beyond a Box project, complete all my analysis on my 250 questionnaire repsonses, build my relationship with the girls at Craft Central and prepare my questions for the team at the Craft Council Research Centre.  I have also continued to chase other contacts who I would like to meet/interview. 

I feel my ideas are definitely coming together, I feel very positive about the progress I am making, and am looking forward to the new year.  

The girls at Craft Central have been so helpful and positive and I really hope that relationship continues in the New Year as I will need their help to get access to the designer makers and interns.  Each week I have been setting myself a number of tasks to complete and have really tried to stick to this.  I feel that the pace of my project has gone up a notch, but really needs to go up again, I know that the research phase needs to end now.  The artefact testing must take more of my time now, I need to be less cautious about the whole process.  

I know have a great bank of contacts for the artefact testing, people I  hope that will really give me great feedback to stretch me. 

I have felt lately that there has been a lot of form filling and project work during a period where we need to be pressing ahead with our personal projects.  Over the last year I have really enjoyed the briefs that have been set, especially the ones that allowed us to work as a group.  I wish there had been more, but I dont think this was the time. I feel that valuable time over the Christmas period was spent on something that did help me progress, but as my momentum was already pretty good I think I was already drawing the same conclusions.  

Tuesday, 28 December 2010

Box designs

Looking at designs for the box that the kit will live in.  I would like it to be made of recycled materials and be in one piece.  I have come up with the following options. 

Monday, 27 December 2010

I have been analyzing the responses to my questionnaires, my favourite quote from the professionals survey so far is:

"Craft can make our lives richer by making design much more democratic, unique and diverse. Craft gives autonomy to groups and individuals to identify and satisfy their own needs rather than buying into existing commodities, and in this way it can bring groups together."

Friday, 24 December 2010

Question Iteration

Traditional Practices and Values
family activities
groups
thrifty
re-using things
using your hands
communicating
learning from other generations
storytelling

Crafting
skill
production
designer/maker
handicrafts
arts & crafts

Thursday, 23 December 2010

Life Beyond the Box

symbiosis
more complex than turtle shell
light
still a network
support
slides
less uniform
grow tall and beautiful
sew photos together
water air
motivation
momentum
quilting
positivity
knitted patches
confidence
plants growing in harsh environments
print photos onto material

Saturday, 18 December 2010

Ed Vaizey, the Minister for Culture, Communications and Creative Industries, believes that ‘craft is enjoying a bit of a Zeitgeist moment’. GQ December 2010.

Monday, 13 December 2010

Craft Central Workshop

Today some of the lovely people at Craft Central in Clerkenwell allowed me observe and participate in a workshop to make Christmas decorations. As it was the last workshop before Christmas there were also a lot Craft Central interns present, these people work for free and have a real interest in crafting, some of them being designer makers themselves.

During the workshop I observed a lot of co-discovery, pupils teaching and helping each other. The attendees were all very warm, welcoming, friendly, encouraging and positive.

Everyone was creative in their own way, some strictly followed the instructions to create beautiful pieces, others interpreted it their own way, and some people just used the equipment and supplies to create their own expressions of their imaginations.

There was a range of people present, there were groups of friends, mother's and daughters, individuals, and even one guy! (Normally I found these things to be predominantly female).

Sunday, 12 December 2010

Craft Central Preparation

Tomorrow I am going to Craft Central to meet the girls I have been talking to, for their Christmas Decoration workshop.

I have been thinking about questions I need to ask them:

- Have you seen a positive crafting trend
- Types of people/ages/families/groups in attendance
- What courses are more popular
- Has there been an increased trend in business growth for the designer/makers
- What effects have they noticed on their industry from the recession
- What can crafting bring to contemporary society?

Thursday, 2 December 2010

LIFE BEYOND A BOX

What creature is your question?

Issued Wednesday 1 December 2010
Presentation: Tuesday 11 January 2011

Hamlet: Do you see yonder cloud that's almost in shape of a camel?
Polonius: By the mass, and t’is like a camel, indeed.
Hamlet: Methinks it is like a weasel.
Polonius: It is backed like a weasel.
Hamlet: Or like a whale?
Polonius: Very like a whale.
Shakespeare, Hamlet Act III Sc II


Introduction

Year Two of the course requires you to take a very high degree of independent initiative in re-evaluating, developing, and managing your major research project, including, essentially, the production of artefacts and their testing by external review, and a number of further re-iteration and re-testing processes.

Towards the end of Year One, you were asked to turn your question into an artefact-critique: a representation of a life form and its necessary support systems. This new project, which will consolidate and progress that experience, takes you through into the Second Year by asking you to build on your analytical and dimensionalisation skills to produce a further artefact that represents your research question in its independent form.

Brief
In response to your reflection and analysis following feedback on the earlier project, your project should be showing signs of flourishing independently in preparation for rigorous external review. You are now asked to create a new artefact that gives dimension to your ambitions and expectations for the evolution and growth of your project. The fragility and dependence of the earlier “life-form” will be giving way to an independent organism that is capable of blossoming, putting down roots, flying, hunting, foraging, grazing, swimming, digging, or whatever it needs to do to thrive and evolve.

As before, your production process should be focused on your ability to communicate rather than your ability to create entrancing objects, and remember that it is legitimate to find someone to help you to manufacture your artefacts.


Presentation

Your artefact is to be presented to your Year 2 Tutor and Tutor Group in the studio on Tuesday 11 January 2011. You are advised to avoid dependence on the functioning of technological elements.

Your representation of your project as an artefact should address at least the following questions:

• What kind of life-form has your project emerged as now?
• What elements of the box it needed to survive when in its previous incarnation has it retained, and how are these now dimensionalised?
• What new elements does it now need in its environment to sustain and develop it?
• Why have you produced your response in this particular way?
• How will you monitor and direct the development of the life-form you have created?
• How, and why, might your life-form fall prey to others in the food chain or to disasters?
• When next re-incarnated, or fully evolved, what might your life-form be?

After the presentation, you should also hand your tutor a hard copy of a revised What Why How If project proposal.


Criteria

The project presentation is not a summative assessment point, but it will be evaluated as part of ongoing formative assessment by your tutor. This will be evaluated against the following criteria:

• Your ability to give dimension to complex ideas through an artefact
• Your ability to critique your personal ambitions for the outcome of your project
• The clarity and relevance of your artefact presentation and its success in capturing your question
• Your ability to focus on essential points
• The level of risk-taking your artefact presentation displays
• Your ability to produce an artefact that does not use an aesthetic appeal as a substitute for content and communication.
• Your ability to evolve your project in response to feedback and other sources of relevant knowledge such as desk research, exhibitions, and other encounters.

Wednesday, 1 December 2010

Bruce Mau's Incomplete Manifesto for Growth


My favourites..

3. Process is more important than outcome.
When the outcome drives the process we will only ever go to where we've already been. If process drives outcome we may not know where we’re going, but we will know we want to
be there.

4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.


6. Capture accidents.
The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.


8. Drift.
Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.

13. Slow down.
Desynchronize from standard time frames and surprising opportunities may present themselves.

14. Don’t be cool.
Cool is conservative fear dressed in black. Free yourself from limits of this sort.

15. Ask stupid questions.
Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

17. ____________________.
Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas
of others.

36. Scat.
When you forget the words, do what Ella did: make up something else ... but not words.

40. Avoid fields.
Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

41. Laugh.
People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

Geometri futuristic curtain

"Subcutaneous patterns give a skeleton shape to the curtain.
Geometrical shapes transform the flat fabric to unexpected volumes, with constructed folds and sculptural crack lines. Hardening elements from rubber and vinyl, in a knitted carrier, makes the pattern movable.
A Soft wall, a Curtain, a Partition Panel, an Acoustic panel
A collection materials as inspiration towards interior textile"