Design- and Craft thinking analysed as Embodied Cognition

Groth, Camilla

doi:10.7577/formakademisk.1481

Cited by 54 publications

(46 citation statements)

References 16 publications

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“…Gjennom en multimodal formidling, ved å vise foto og muntlig fortelling fra min egen tekstile bildeskapende prosess formidlet jeg også samspillet mellom følelser og kroppsbasert erfaring og laering. En slik form å formidle utøverens erfaringskunnskap i praksis, har likhetstrekk med videodokumentasjon slik Groth (2017) og Riis (2016) viser til i sine PHD-undersøkelser. Gjennom narrativ strategi kom jeg naermere en kroppsforankret formidling.…”

Section: Personlig Erfaring Med Nettundervisningunclassified

Narrativ strategi

Baskår

2020

FormAkademisk

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Faget kunst og håndverk har en lang tradisjon i norsk lærerutdanning og bygger på ulike målformuleringer, teoretiske forankringer og metodiske tilnærminger. I denne artikkelen vil jeg både rette oppmerksomheten på faget og på undervisningen i en nett- og samlingsbasert studieform. Jeg analyserer et empirisk materiale fra to gjennomførte undervisningsforløp med lærerstudenter i valgfaget kunst og håndverk innenfor en nett- og samlingsbasert studiemodell i lærerutdanningen. Det empiriske materialet bygger på observasjonsnotater fra et undervisningsforløp hvor narrativ strategi danner grunnlaget for aksjonsforskning. I analyse av datamaterialet anvender jeg, Jerome Bruner sitt prinsipp om spirallæring og Albert Bandura sin teori om modellæring som stedfortredende forsterkning.

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Section: Personlig Erfaring Med Nettundervisningunclassified

Narrativ strategi

Baskår

2020

FormAkademisk

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“…Kane and Philpott (2013), based on Igoe (2010), highlight that this type of knowledge, textile thinking, 'has the capacity to originate new material and material systems, as well as to express and enhance the potential sensory pleasure of existing materials. ' Polanyi (1966) presents the term 'tacit knowledge', which is understood as undeclarative practically-oriented knowledge which is close to experiential knowledge (Groth 2017).…”

Section: Grounding Textile Thinkingmentioning

confidence: 99%

Transforming Fashion Expression through Textile Thinking

Salolainen

Leppisaari

Niinimäki

2018

Arts

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The focus of this research is on the experiences of a new fashion pedagogy linked to textile studios at Aalto University, School of Arts, Design and Architecture, in Helsinki, Finland. Rich practice-based research and skilled use of materials and textile techniques are elements of transforming fashion design implemented through studio-based pedagogy. Effective learning is constructed by adding tacit and haptic knowledge of textiles into fashion expression. Furthermore, while textile design combines elements from aesthetic creativity with technical skills, this knowledge, textile thinking, can form a new grounding for fashion design. Through reflective learning, practically oriented and theoretical knowledge can be combined, and hands-on studio pedagogy has established the platform for this type of learning. Fashion students’ textile studies extend to woven fabrics and jacquards as well as knits, embroideries, prints, and other finishing techniques and aim to teach them about industrial manufacturing and provide them with an understanding of industrial processes and requirements. This research observes this transformation process of fashion expression through textile thinking based on observations, teachers’ reflections, and student interviews. Further, the learning outcomes have been reflected against the transformation of the curriculum to provide understanding for this development process.

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“…al discuss the role of autoethnography in documenting designers' working processes (Seitamaa-Hakkarainen, Laamanen, Viitala, & Mäkelä, 2013). Groth examines the links between emotion and decision making as well as tacit knowledge and embodied cognition in craft making processes (Groth, 2016). Anne Louise Bang reflects on the design process, in particular in terms of emotion and tacit knowledge, outside of a strictly craft-based setting within the textile design field (Bang, 2009(Bang, , 2011.…”

Section: Section 1: Designers' Emotions As Key Drivers In Decision-mamentioning

confidence: 99%

Designer’s Emotions in the Design Process

Biagioli¹,

Grimaldi²,

Ali³

2018

Proceedings of DRS

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This is a position paper towards the establishment of a research network to address the impact of tacit experiential knowledge, emotion, and cultural perspective on a designer's decision-making during a design process. With this network, we are aiming to start a focused discussion across geographies and cultures regarding the role and impact of designers' emotions within their own design process. The function of this is to foreground the experiential and emotional domain of designers' practice and examine the role of tacit experiential knowledge in design decision-making. The paper sets up the basis and context of discussion, exploring the three key areas to be addressed by the network: designers' emotions as key drivers in decisionmaking; tacit experiential knowledge; and addressing emotion in culturally-situated design practice. This is followed by our proposed methodology and network objectives and expected impact and outcomes.

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Design- and Craft thinking analysed as Embodied Cognition

Cited by 54 publications

References 16 publications

Narrativ strategi

Narrativ strategi

Transforming Fashion Expression through Textile Thinking

Designer’s Emotions in the Design Process

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