Showing posts with label Initial Research Phase. Show all posts
Showing posts with label Initial Research Phase. Show all posts
Tuesday, 8 February 2011
Thursday, 3 February 2011
Telescopic Views
I really loved the old telescopic scenes in the Museum of London, I found the below on the V&a website, great idea! 
Objects, furniture and people from other times or countries are exotic. They carry a flavour of the strange and mysterious. Scenes painted by artists carry some of that individual's imagination to the viewer.
Postcards are an accessible way of catching this exciting mixture, and of using it to create a fantasy of one's own. One way of doing this is to make a peep box.
Materials
- Selection of postcards to use whole, or to cut images from
- Shoe box
- Tracing paper or coloured tissue paper
- Scissors
- Sellotape
- Glue
Instructions
1. Remove the lid and cut a peephole to look through at one end of the box. Cut one or two small windows out of each side (about three cm square), not directly opposite each other.
2. Cut three windows out of the lid, one very near one end.
3. Place a postcard at the end of the box opposite the peephole.
4. Cut shapes out of other cards to add at the sides. When cutting, include a margin at one side, to fold at right angles and glue to the peep box side.
5. Cut out figures to add interest. Fix an extra strip of card onto the back, with a base tab that folds at right angles to stick to the bottom of the box.
6. When everything is in place, place the lid on top, with the end window farthest away from the peephole. Adjust the lighting by covering the lid and side windows with a book or hand to find the right level. Block windows that you are not using with black sugar paper. Then cover the rest with tracing paper, which will diffuse the light. To create different atmospheres, use coloured tissue paper over the windows.
To create a feeling of distance, insert a spyglass, normally used for security on front doors, into the peephole.
Tuesday, 1 February 2011
Thursday, 27 January 2011
Community Craft
Over the last few weeks I have carried out a lot of research on the importance of craft to people of all age groups and backgrounds. Especially the importance it has in engaging young people in their education.
Today I spoke to the Craft Council about community programmes with children and young people.
They currently have the following:
CAN - Craft Action Network
"CAN aims to tap into the breadth and diversity of the craft, cultural and education sectors and share examples of best practice. The excellent work that teachers, lecturers and makers are already doing to highlight the personal, educational, and socio-economic value of craft can be used as a blue print for creative education.
CAN is a vehicle for ongoing professional development and research in craft education, maintaining learning and participation at its heart.
CAN offers a dedicated networking site for professionals to:
- Network, collaborate, socialise and share resources with other CAN members
- Reflect critically on teaching and learning in contemporary craft practice
- Publish case studies and papers about craft education
- Develop an evidence base to better understand and advocate for all areas of craft"
Firing Up
There has been a decline in interest in ceramics education this program 'refires’ kilns in schools to reinspiryoung people.
"Firing Up is a new national programme of highlighting clay and ceramics. The initiative has been development by the Crafts Council through a steering committee of representatives from NALN, NSEAD, University of the Arts (London), Clayground Collective and Ofsted. The core elements have been designed to:
1. Raise awareness of the importance of clay in our everyday lives and in world cultures;
2. Support schools in using this medium creatively and confidently, and in optimising its educational value for students and creating sustainable local links;
3. Showcase and exhibit the work of young people; and
4. Demonstrate the links between clay-work and the wider creative industry sector showing that working in ceramics is a viable career choice.
The programme uses a ‘cluster’ format that will be constructed around the ceramics departments within partner Higher Education Institutions (HEIs). Each regional cluster will consist of one HEI who will supply a ceramics ‘ambassador’ (usually the ceramics course leader), a technician and up to ten students, and five secondary schools.
It includes the following core elements:
• ‘Kiln Rehab’ – the rejuvenation of clay facilities in participant schools, supported by the expertise of ceramic –specialist staff from partner HEIs.
• ‘Clay Skills Training’ – twilight CPD for cluster teachers to build confidence and expertise using clay in the classroom.
• ‘Project Clay’ – an innovative creative workshop programme designed by Clayground Collective and delivered by local practitioners to enthuse and inspire the school community through a collaborative project.
Each phase of the programme has been carefully designed to support and inspire schools in using this magical material confidently and creatively with their pupils, in as broad a way as possible. In particular, we hope that through the building of sustainable relationships with HEIs and local schools, as ‘critical friends’, schools will feel inspired to take risks and enlarge upon the scope of the medium in a cross-curricular dimension as part of a creative curriculum."
Craft Club
Craft Club provides schools and community groups with a craft learning resource package to help them engage young people in crafts and start their own creative club.
They have "developed this initiative in response to the amount of interest from teachers who need only minimal support in order to set up clubs in their schools during extended hours, at lunch or after school. However, schools are not the only benefactors of this exciting scheme which has the potential to increase participation in craft learning in a range of other educational and cultural venues (see ‘Who?’ for details).
Knit 1, Pass It On
Craft Club launched its first scheme in 2009, called Knit 1, Pass It On. A simple concept with a magnificent ripple effect: knitters are asked to pass on their yarn skills to at least one other person, who can then do the same. And on it goes…"
Craft Club Partners
The project is in conjunction with:
Knit 1, Pass It On
Craft Club launched its first scheme in 2009, called Knit 1, Pass It On. A simple concept with a magnificent ripple effect: knitters are asked to pass on their yarn skills to at least one other person, who can then do the same. And on it goes…"
Craft Club Partners
The project is in conjunction with:
- UK Handknitting Association (UKHKA)
- National Federation of Women’s Institutes (NFWI)
| DCSF: Extended Services Offer | Craft Club Offer |
|---|---|
| 1. Childcare (in primary and special schools) | A safe, supportive and fun place for young people to go to in their lunch or after school |
| 2. A varied menu of activities including study support, sport and music clubs | A rolling programme of craft forms and creative projects for enrichment, including an interactive web package for children and young people to network with craftspeople, share practical tips and resources, and win prizes. |
| 3. Swift and easy access to targeted and specialist services | A network of specialist makers, craftspeople and skilled volunteers to present a high quality learning experience |
| 4. Parenting support including family learning | ‘Cascade’ and intergenerational learning (passing on of skills between groups, e.g. generations of a family) |
| 5. Community access to facilities including adult and family learning, ICT and sports facilities. | An invitation for a wider pool of participants to visit a school or cultural venue to access its facilities and resources and engage in craft learning. |
* from Craft Council website
Revival
This programme is a contemporary craft workshop which is delivered by ReachOutRCA (the Royal College of Art’s lively outreach team). "Revival seems to reveal to the creative educator about approaching teaching the way they approach making: embracing the risks, and sensitive to opportunities offered forth by a particular set of circumstances. The gap between ‘maker’ and ‘learner’ appears to be occupied by something the Revival artists refer to as “surprising” and “an inspiring privilege” – qualities evocative of the most rewarding creative journey."
Revival aims to raise the aspirations of the pupils involved, developing the making/thinking abilities. Much like the Creative partnerships programmes it brings contemporary practitioners into the classroom.
Arts awards Welcome
Finally, this programme supports young people’s development through arts awards opportunities. Giving young people a certificate at 3 different levels, much lift Duke of Edinburgh schemes or IT training they complete in secondary schools.
the qualification looks great on their CV but even better by completing and applying for an award they build up their very own portfolio's.
• Bronze award: take part in a club, and share your skills
• Silver award: take up a new challenge, organise an event or lead a Craft Club session
• Gold Award: run a Craft Club and deliver an event for Arts Leadership challenge like a craft sale or a fashion show
the qualification looks great on their CV but even better by completing and applying for an award they build up their very own portfolio's.
• Bronze award: take part in a club, and share your skills
• Silver award: take up a new challenge, organise an event or lead a Craft Club session
• Gold Award: run a Craft Club and deliver an event for Arts Leadership challenge like a craft sale or a fashion show
Wednesday, 26 January 2011
Tuesday, 25 January 2011
Ethnography Interview Guide for non-craft people
I would like to ask these questions of the volunteers I get to take part in different activities. These people will not normally take part in such activities. From these ethnographic studies I hope to unearth elements to involve in my artefact.
Introduction
Name, age, have you ever got involved in crafting before, if so, what?
If not, why? Are you interested/excited about the possibility?
Personal and professional ambitions?
WHAT
What did you get involved in today?
What do you feel you have learnt?
What could you gain from a pursuit like this?
What were your expectations and opinions before you tried this? What were your assumptions about crafting and people who craft?
WHY
for the above?
HOW
Will you continue/try anything else?
How will you find out more?
WHO
Who will you ask for help?
Who will you tell?
Who will you get involved?
IF
If you could take anything form this what would it be?
If you could ask a craft/designer/maker something, what would it be?
Have your assumptions about crafting changed?
Introduction
Name, age, have you ever got involved in crafting before, if so, what?
If not, why? Are you interested/excited about the possibility?
Personal and professional ambitions?
WHAT
What did you get involved in today?
What do you feel you have learnt?
What could you gain from a pursuit like this?
What were your expectations and opinions before you tried this? What were your assumptions about crafting and people who craft?
WHY
for the above?
HOW
Will you continue/try anything else?
How will you find out more?
WHO
Who will you ask for help?
Who will you tell?
Who will you get involved?
IF
If you could take anything form this what would it be?
If you could ask a craft/designer/maker something, what would it be?
Have your assumptions about crafting changed?
Monday, 24 January 2011
Ethnography Interview Guide for people in the craft industry
WHAT
Introduction - name, age, craft or creative pursuit of choice!
Personal and professional ambitions?
WHY
Why does it interest you?
Why do you enjoy that?
Why do you get involved?
How has it helped with your ambitions?
HOW
How did you get interested?
How did you learn?
How did you get involved?
How have you got help/funding you needed?
WHO
Who else has been involved in this?
Who do you work with?
Who is interested in your work?
IF
If you could change anything about your field, what would it be?
If you could achieve your personal/professional ambitions what would that look like?
If you could teach others/tell other about what you do what would you say?
Introduction - name, age, craft or creative pursuit of choice!
Personal and professional ambitions?
WHY
Why does it interest you?
Why do you enjoy that?
Why do you get involved?
How has it helped with your ambitions?
HOW
How did you get interested?
How did you learn?
How did you get involved?
How have you got help/funding you needed?
WHO
Who else has been involved in this?
Who do you work with?
Who is interested in your work?
IF
If you could change anything about your field, what would it be?
If you could achieve your personal/professional ambitions what would that look like?
If you could teach others/tell other about what you do what would you say?
Friday, 21 January 2011
Video Ethnography
I have decided to use this research technique for my project, so I am going to explain it a little in this entry, I feel I will gain some great insights to help me evolve my project further, the results are very visual and therefore suited to a final exhibition.
Ethnography is a way of studying human social phenomena and communities using fieldwork. It is a research method often used in social anthropology. It involves observing and participating whilst trying to retain objectivity. Ethnography allows you to develop close-up, intimate portraits of people’s experiences. I hope it will help me understand the social and cultural factors influencing people’s decisions and behaviours around crafting and community/group activities.
I have chosen to work with film as I have always thought it was a beautiful medium, it's powerful, emotional and inspiring. Storytelling is key to my project, I feel that the activities I am investigating allow generational stories to be handed down and video itself tells a wonderful story.
Ethnography is a way of studying human social phenomena and communities using fieldwork. It is a research method often used in social anthropology. It involves observing and participating whilst trying to retain objectivity. Ethnography allows you to develop close-up, intimate portraits of people’s experiences. I hope it will help me understand the social and cultural factors influencing people’s decisions and behaviours around crafting and community/group activities.
I have chosen to work with film as I have always thought it was a beautiful medium, it's powerful, emotional and inspiring. Storytelling is key to my project, I feel that the activities I am investigating allow generational stories to be handed down and video itself tells a wonderful story.
Thursday, 20 January 2011
Creative Classes
Today I read the 'National Survey of Craft in Secondary Schools' from 1995:
The pupils spoke enthusiastically about art/design/craft/technology classes where they could make things, they felt less restricted, like not having to sit behind a desk.
They enjoyed the freedom to do their own work, felt a real sense of achievement, more so than in the any other subjects.
They enjoyed being allowed to talk to their friends, works in groups and individually, they felt it was a happier environment.
Pupils felt these classes were more practical and relative to the real world.
They didn't like the time pressures, they wanted to be able to finish their projects, which wasn't always possible.
The researchers also found that there was a clear influence on pupils' attitudes to making from their families. If a family member engaged themselves, it clearly motivated the children.
Topping (1983) said practical skills continue to be valued highly in many lower socio-economic homes and especially in families where parents have been low academic attainers themselves.
The pupils spoke enthusiastically about art/design/craft/technology classes where they could make things, they felt less restricted, like not having to sit behind a desk.
They enjoyed the freedom to do their own work, felt a real sense of achievement, more so than in the any other subjects.
They enjoyed being allowed to talk to their friends, works in groups and individually, they felt it was a happier environment.
Pupils felt these classes were more practical and relative to the real world.
They didn't like the time pressures, they wanted to be able to finish their projects, which wasn't always possible.
The researchers also found that there was a clear influence on pupils' attitudes to making from their families. If a family member engaged themselves, it clearly motivated the children.
Topping (1983) said practical skills continue to be valued highly in many lower socio-economic homes and especially in families where parents have been low academic attainers themselves.
Monday, 17 January 2011
Tuesday, 11 January 2011
What? Why? How? If? - Proforma Take 3
MA Design Studies applying your imagination
What? Why? How? If? - Proforma
Name: Annahita Mackee
Date: 11/01/11
Tutor: Richard Reynolds
WHAT
What is your main personal ambition?
To feel joy, love and passion. Expand and discover more about myself. Undo my conditioning, clearing personal and generational history and transforming myself.
What is your main professional ambition?
To find a profession that utilizes the best and most creative parts of myself; and affords me the opportunity to grow. To work for myself in an environment that attracts like-minded souls.
What is your main area of research interest?
Craftsmen, artisans, lost skills and the possible creative collaborations, collusions and collisions with new manufacturing techniques and materials. The values related to these traditional past-times, and what contemporary society can learn from them. Communication, storytelling and the importance of community.
What is your question? (Your question needs to ask, “how can” and must indicate the means as well as the end that you hope to achieve)
How can traditional practices and culture be maintained with the use of crafting in contemporary society?
WHY
Why do you think that this question will enable you to achieve your main personal ambition?
I believe my question will allow me to meet a wide range of people with a variety of skills that I can learn, it will allow me to create, and help me find my passion. I hope these new skills and my new found understanding of lost crafts will allow me to develop my creativity and myself. Through meeting other people that have taken less conventional career routes I hope to undo my conditioning.
Why do you think that this question will enable you to achieve your main professional ambition?
I hope to meet like-minded souls through this project and see how they make a living using their creativity, which will help me reverse my conditioning and allow me to fulfil my true potential. I hope to build up a portfolio of work throughout the project and exhibit my work online and physically, allowing me to build a network of useful contacts, and grow in confidence allowing me to take on freelance work.
HOW
How has your research informed your question so far?
My research so far has allowed me to search out lost crafting skills. Look at combinations of old and new techniques, allowing me to compare labour-intensive quality items that are locally sourced, low energy, recycled or recyclable with mass-produced high energy, high waste, high toxin items. I have been able to focus in on the key elements that interest me. I have also carried out an extensive survey (of 253 people) on their crafting, social and consumer habts, their family lives and interests.
How will desk research inform your outcome?
Desk research will allow me to investigate lost crafts and skills as well as new manufacturing techniques and materials. To find craftsmen to visit, courses to attend, centres and groups to get involved with. Investigate product innovations and creative collaborations. I have also completed a variety of market research on what consumers are really demanding from designers, new products, and services; this will allow me to investigate ways of utilizing forgotten skills to satisfy these needs. During my research at the Craft Council Research Centre I drew up 3 key areas of research focus:
- lost techniques
- new materials
- the relationship between crafting and contemporary society and what can be learnt from combining crafting and contemporary society.
How will field research inform your outcome?
I will need to meet a lot of artisans and craftsmen to understand their artistry and hope that I can reach a level of proficiency in a number of new disciplines. I will also need to meet designers that currently use old methods with a contemporary twist. I also hope to see first hand various new manufacturing techniques. So far I have meet a wide range of designer makers and crafting enthusiasts, talking to them has really informed my question and my research. I have spoken to members of staff and interns at Craft Central, designer makers at Craft Central, Cockpit Arts, Great Western Studios, I have also attended and observed workshops at these places and at The Make Lounge; all of this has directed my research further.
How has your artefact extended your understanding of the potential of your question?
By looking at artefacts created using ancient techniques or artefacts that combine modern technology/thinking with traditional ideas I can see that there is a real depth to my question and a real opportunity to develop this further. My first iterations of artefact have helped me develop the potential of my question so that I am now thinking more about the values, and societal aspects of my project. My first few artefacts were looking at how you could combine traditional techniques with LED strips to create a portable, flexible and waterproof light for group occasions, festivals, parties, BBQs etc.
How do you intend to develop the next stages of artefact iterations?
With the development of my skills and ideas I hope do produce a variety of artefacts throughout my journey. The conclusion of this project will be the production of an artefact that fully integrates the modern and the traditional, involves groups of people in an activity they enjoy and would not normally participate in and leaves them with their own artefact to be proud of. I have already developed from the initial idea of a kit, to a part kit, part scavenger hunt for the components, and then iterated again to the possibility of the final artefact that participants create being a game they can then play together.
How do you intend to ensure that your feedback will challenge as well as support your preconceptions?
I hope to get feedback from a variety of sources, designers, craftsmen, consumers and businesses. I would like to test my artefact in the crafting community I have now been involved in, and am hoping to complete ethnographic research of the process which I would like to show in video format. With this footage I would then like to discuss with the participants there feedback to really pull out the key learnings.
How do you know that the individuals and organization/s that you need to inform your research are prepared to co-operate?
I understand that there will always be some difficulty getting access to the appropriate gate-keepers, however so far I have not had that experience. I have spoken to a number of people who specialise in traditional handicrafts who have all been very interesting in passing on their techniques. I have also visited the studios of a number of Creatives and spoken to them about the possibility of combining new and old techniques. So far about 80% of the people I have met have been extrememly happy to help and support me, a number have been very busy, but have still been happy to have telephone conversations and complete online questionnaires.
How does theory play a role in the methods you are using to define, gather and analyze your research question?
I have initially used qualitative research techniques to look at, describe and understand the crafting skills and ideas, as well as the new technologies available. There has also been a level of qualitative research into the beliefs and values of consumers about new and old technologies, which will allowed me to form the questions, and identify the sample group for the quantitative research. I have already completed a lot of my quantitive research with my extensive questionaires. I will also be using video ethnography to provide close-up, intimate portraits of people's experiences, to help understand the cultural and social factors influencing and shaping people's behaviours.
How important is time planning to the achievement of your outcome and how have you worked out your strategy for using time?
Time planning is essential to ensure I schedule in the time needed for the desk research as well as the very time consuming visits to specialists to observe and learn new techniques. Without this I will not have the skills or the time to create and develop my artefact. I have developed a detailed timeplan, which I will need to update and follow as closely as possible. A lot of my artefact iteration will involve input from others, so I will need to achieve reach certain milestones to ensure I have things ready for these meetings, and for the video ethnography. I have however allowed flexiblilty as I do not feel you can schedule in creativity.
How are you going to be able to manage the resource implications of your research strategy?
My research project has already had a variety of costs from visiting craftsmen and producing artefacts to postcards for the exhibition. I have created a budget for this.
How do you intend to balance your research project with your commitment to the exhibition team (answer this with clarification of your role responsibilities and time allocation)?
I am fully aware of the time and responsibility planning an exhibition will take, and am really looking forward to applying the skills I use in my job or past roles (project management/PR/event planning) to help the exhibition team; this is included in my time plan. We have alerady created a facebook group and have begun discussions about our sponsorship possibilities which I have already taken advice on from an external source. I am currently collecting things that inspire me as ideas or themes for the exhibition in my MADS Journey blog, which I can pull out when needed. I have spoken to a recent exhibition and gallery design graduate, who has said he is happy to help with ideas, planning, designing, space layouts etc. I am also seeking help from my friends in Consumer and technology PR about creating an outline PR plan and gain contacts for the exhibition team.
IF
If all goes well where do you hope your mastery of your subject will position you at the end of the Course?
I look forward to completing this process as I feel it will allow me to grow personally and professionally and lead me to some creative and productive answers as well as new questions! I would then like to develop these new questions after my course, one outcome I would like to achieve would be to produce a model/template of how to combine the old and the new to create sustainable designs for the future. I would like to also investigate the use of design thinking and tools in ethnographic research.
What? Why? How? If? - Proforma
Name: Annahita Mackee
Date: 11/01/11
Tutor: Richard Reynolds
WHAT
What is your main personal ambition?
To feel joy, love and passion. Expand and discover more about myself. Undo my conditioning, clearing personal and generational history and transforming myself.
What is your main professional ambition?
To find a profession that utilizes the best and most creative parts of myself; and affords me the opportunity to grow. To work for myself in an environment that attracts like-minded souls.
What is your main area of research interest?
Craftsmen, artisans, lost skills and the possible creative collaborations, collusions and collisions with new manufacturing techniques and materials. The values related to these traditional past-times, and what contemporary society can learn from them. Communication, storytelling and the importance of community.
What is your question? (Your question needs to ask, “how can” and must indicate the means as well as the end that you hope to achieve)
How can traditional practices and culture be maintained with the use of crafting in contemporary society?
WHY
Why do you think that this question will enable you to achieve your main personal ambition?
I believe my question will allow me to meet a wide range of people with a variety of skills that I can learn, it will allow me to create, and help me find my passion. I hope these new skills and my new found understanding of lost crafts will allow me to develop my creativity and myself. Through meeting other people that have taken less conventional career routes I hope to undo my conditioning.
Why do you think that this question will enable you to achieve your main professional ambition?
I hope to meet like-minded souls through this project and see how they make a living using their creativity, which will help me reverse my conditioning and allow me to fulfil my true potential. I hope to build up a portfolio of work throughout the project and exhibit my work online and physically, allowing me to build a network of useful contacts, and grow in confidence allowing me to take on freelance work.
HOW
How has your research informed your question so far?
My research so far has allowed me to search out lost crafting skills. Look at combinations of old and new techniques, allowing me to compare labour-intensive quality items that are locally sourced, low energy, recycled or recyclable with mass-produced high energy, high waste, high toxin items. I have been able to focus in on the key elements that interest me. I have also carried out an extensive survey (of 253 people) on their crafting, social and consumer habts, their family lives and interests.
How will desk research inform your outcome?
Desk research will allow me to investigate lost crafts and skills as well as new manufacturing techniques and materials. To find craftsmen to visit, courses to attend, centres and groups to get involved with. Investigate product innovations and creative collaborations. I have also completed a variety of market research on what consumers are really demanding from designers, new products, and services; this will allow me to investigate ways of utilizing forgotten skills to satisfy these needs. During my research at the Craft Council Research Centre I drew up 3 key areas of research focus:
- lost techniques
- new materials
- the relationship between crafting and contemporary society and what can be learnt from combining crafting and contemporary society.
How will field research inform your outcome?
I will need to meet a lot of artisans and craftsmen to understand their artistry and hope that I can reach a level of proficiency in a number of new disciplines. I will also need to meet designers that currently use old methods with a contemporary twist. I also hope to see first hand various new manufacturing techniques. So far I have meet a wide range of designer makers and crafting enthusiasts, talking to them has really informed my question and my research. I have spoken to members of staff and interns at Craft Central, designer makers at Craft Central, Cockpit Arts, Great Western Studios, I have also attended and observed workshops at these places and at The Make Lounge; all of this has directed my research further.
How has your artefact extended your understanding of the potential of your question?
By looking at artefacts created using ancient techniques or artefacts that combine modern technology/thinking with traditional ideas I can see that there is a real depth to my question and a real opportunity to develop this further. My first iterations of artefact have helped me develop the potential of my question so that I am now thinking more about the values, and societal aspects of my project. My first few artefacts were looking at how you could combine traditional techniques with LED strips to create a portable, flexible and waterproof light for group occasions, festivals, parties, BBQs etc.
How do you intend to develop the next stages of artefact iterations?
With the development of my skills and ideas I hope do produce a variety of artefacts throughout my journey. The conclusion of this project will be the production of an artefact that fully integrates the modern and the traditional, involves groups of people in an activity they enjoy and would not normally participate in and leaves them with their own artefact to be proud of. I have already developed from the initial idea of a kit, to a part kit, part scavenger hunt for the components, and then iterated again to the possibility of the final artefact that participants create being a game they can then play together.
How do you intend to ensure that your feedback will challenge as well as support your preconceptions?
I hope to get feedback from a variety of sources, designers, craftsmen, consumers and businesses. I would like to test my artefact in the crafting community I have now been involved in, and am hoping to complete ethnographic research of the process which I would like to show in video format. With this footage I would then like to discuss with the participants there feedback to really pull out the key learnings.
How do you know that the individuals and organization/s that you need to inform your research are prepared to co-operate?
I understand that there will always be some difficulty getting access to the appropriate gate-keepers, however so far I have not had that experience. I have spoken to a number of people who specialise in traditional handicrafts who have all been very interesting in passing on their techniques. I have also visited the studios of a number of Creatives and spoken to them about the possibility of combining new and old techniques. So far about 80% of the people I have met have been extrememly happy to help and support me, a number have been very busy, but have still been happy to have telephone conversations and complete online questionnaires.
How does theory play a role in the methods you are using to define, gather and analyze your research question?
I have initially used qualitative research techniques to look at, describe and understand the crafting skills and ideas, as well as the new technologies available. There has also been a level of qualitative research into the beliefs and values of consumers about new and old technologies, which will allowed me to form the questions, and identify the sample group for the quantitative research. I have already completed a lot of my quantitive research with my extensive questionaires. I will also be using video ethnography to provide close-up, intimate portraits of people's experiences, to help understand the cultural and social factors influencing and shaping people's behaviours.
How important is time planning to the achievement of your outcome and how have you worked out your strategy for using time?
Time planning is essential to ensure I schedule in the time needed for the desk research as well as the very time consuming visits to specialists to observe and learn new techniques. Without this I will not have the skills or the time to create and develop my artefact. I have developed a detailed timeplan, which I will need to update and follow as closely as possible. A lot of my artefact iteration will involve input from others, so I will need to achieve reach certain milestones to ensure I have things ready for these meetings, and for the video ethnography. I have however allowed flexiblilty as I do not feel you can schedule in creativity.
How are you going to be able to manage the resource implications of your research strategy?
My research project has already had a variety of costs from visiting craftsmen and producing artefacts to postcards for the exhibition. I have created a budget for this.
How do you intend to balance your research project with your commitment to the exhibition team (answer this with clarification of your role responsibilities and time allocation)?
I am fully aware of the time and responsibility planning an exhibition will take, and am really looking forward to applying the skills I use in my job or past roles (project management/PR/event planning) to help the exhibition team; this is included in my time plan. We have alerady created a facebook group and have begun discussions about our sponsorship possibilities which I have already taken advice on from an external source. I am currently collecting things that inspire me as ideas or themes for the exhibition in my MADS Journey blog, which I can pull out when needed. I have spoken to a recent exhibition and gallery design graduate, who has said he is happy to help with ideas, planning, designing, space layouts etc. I am also seeking help from my friends in Consumer and technology PR about creating an outline PR plan and gain contacts for the exhibition team.
IF
If all goes well where do you hope your mastery of your subject will position you at the end of the Course?
I look forward to completing this process as I feel it will allow me to grow personally and professionally and lead me to some creative and productive answers as well as new questions! I would then like to develop these new questions after my course, one outcome I would like to achieve would be to produce a model/template of how to combine the old and the new to create sustainable designs for the future. I would like to also investigate the use of design thinking and tools in ethnographic research.
Friday, 7 January 2011
Thursday, 6 January 2011
Wednesday, 5 January 2011
Saturday, 1 January 2011
Survey
I have spent most of the Christmas and New Year trying to analyze the results from my survey, after over 250 people responded, the below are some key points.
Firstly the make up of those that completed the survey:
Sex
- Female ____179_____71%
- Male _____72_____28%
Marital status
- Engaged__________________10_______4%
- Married___________________22_______8%
- Divorced___________________2_______0%
- Single in a relationship______104______41%
- Single not in a relationship___112______44%
Children
- Yes ______22 ______8%
- No ______230 _____91%
The below are charts showing results of the questions in my survey:
Some of the answers to this question were:
I taught a friend to crochet. It felt good showing someone a skill which they can use over and over and also pass on to other friends. It was also nice doing something productive with a friend.
It was nice experience. People gets very curious. I like that I have answers.
Nice that I had taught them something they enjoyed.
It was nice to be able to impart knowledge and know that it's has been sucessful.
Lovely to know that I had passed something meaningful on so as they could enjoy it too!
Nice to pass on something you havent learnt, especially if I taught it to someone else quicker than I learnt it...
It was a rewarding feeling, I like sharing my ideas and skills with others
great! Nurturing somebody always makes me feel heartened.
Yes taught my children how to cook and sew, they loved it so it felt good & useful
really amazing feeling.
Very fullfilling. It feels as if you are passing something on that no one else could do.
A warm fuzzy feeling.
Excellent. the bonus: when you teach, you learn something in exchange.
It's great to teach something; often you learn something yourself in return.
Sharing humanity.
Some of the answers to this question were:
Helpful as you can review what is being said at your own pace.
Online was harder than face to face.
I watched a you tube video in how to craft a cake in the shape of a beehive for a cake design I wanted to bake for a friend and had no idea how to start. I didn't use the example on the video, but seeing somebody else do it gave me inspiration and a vision of how I wanted to do the cake design myself, and ultimately better than the cake I saw in the video which was hugely satisfying.
For cookery, I find it useful to see the consistencies and textures, step-by-step.
I learnt how to create a lightbox and how to home screen print,it was really helpful and there methods were very inspirational to me and my art.
Not as useful as having someone teaching me. An online tutorial recommends one way of achieving a result and does not cover different alternatives that may work better for you
Difficult, too long and too detailed. possibly.
I have learned many skills online including, knitting, sewing, and cooking. When an appropriate tutorial is easy to find and genuinely clear/informative it is an excellent way to learn.
I looked up a recipe for making mince pies, I had to look at several different recipes first to find one that seemed easiest.
Depending on the quality of video!
Not very useful
I often use the internet to find recipes for meals or cakes. I have also used it to find knitting and crochet patterns in the past.
How many times have you made flat-pack furniture? If so, did you enjoy this process?
A couple of interesting responses on this question:
Lego for grown-ups (I used to play with Lego a lot).
Hard but you have a sense of achievement once it's completed.
I would never attempt this alone, as the instructions are nearly always useless and I need a second brain to help try and make sense of all the bits and pieces. It is almost always a slow and painfully frustrating process.
I find it enjoyable and like seeing the end creation. Not very enjoyable, found it quite stressful and confusing
I love making flat-pack furniture!
Yes - like sense of satisfaction when you complete it but can be frustrating if instructions are poor or parts missing
I really enjoyed the process of assembling flat packed furniture. It makes you more engaged with the object. It feels like you are somehow creating the furniture, not only reassembling it.
Do you think it would be more enjoyable with the help of friends and family?
Have you ever customised an item of clothing or furniture yourself? If so, did you enjoy this? If not, would you like to know how to customise or personalise items?
I love customising and personalising things. Something basic can become something much more unique with minimal effort and maximimum imagination! :)
I regularly print my own tshirts i love wearing something original.
I like customizing things to make them feel more like my own. Especially if you haven't made or put a piece of furniture together yourself, it is nice to add things which represent your personality and personal input.
I would love to know how.
The overall enjoyment depends on the success of the end result. If it turns out bad the enjoyment of the creative process is overshadowed by the failure.
Have you ever designed a piece of clothing, accessory or something for you home yourself?
Do you recycle?
Do you ever reuse items for a new and different use?
Have you ever used objects you no longer needed in a different way, or combined them with something else to make something new?
Would you prefer your belongings to be:
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/
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."
"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."
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).
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).
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