Processes, Methods and Knowledge Creation in Jewellery Design Practice

Rajili, Noor Adila Binti Mohd; Liem, André; Olander, Elin; Warell, Anders

doi:10.1007/978-81-322-2232-3_27

Cited by 1 publication

(2 citation statements)

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“…In each of these examples, the interactivity between the person and the materials to hand create opportunities for the recognition of problem solutions. As one of the jewellers interviewed by Rajili et al (2015) puts it, jewellery design involves '…being very analytic and then go [ing] back to working with your hands then look [ing] at what you've been doing and analysing it and taking it further. …it allows you to kind of digest your thought and it's there in the back of your head all time anyway and so it kind of leads you anyway towards what you would like to express.'…”

Section: Creativity and Action In Jewellery Makingmentioning

confidence: 99%

“…Jewellers' engagement with their creative practice has received surprisingly limited attention in the literature (Rajili et al 2015). One can draw parallels between jewellery and other artisanal practices, such as pottery, glassmaking and furniture making, and realise that the processes of 'designing' and 'making' are often difficult to disentangle (Malafouris 2008;Ingold 2010).…”

Section: Introductionmentioning

confidence: 99%

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What the Jeweller’s Hand Tells the Jeweller’s Brain: Tool Use, Creativity and Embodied Cognition

Baber

Chemero

Hall³

2017

Philos. Technol.

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The notion that human activity can be characterised in terms of dynamic systems is a well-established alternative to motor schema approaches. Key to a dynamic systems approach is the idea that a system seeks to achieve stable states in the face of perturbation. While such an approach can apply to physical activity, it can be challenging to accept that dynamic systems also describe cognitive activity. In this paper, we argue that creativity, which could be construed as a 'cognitive' activity par excellence, arises from the dynamic systems involved in jewellery making. Knowing whether an action has been completed to a 'good' standard is a significant issue in considering acts in creative disciplines. When making a piece of jewellery, there a several criteria which can define 'good'. These are not only the aesthetics of the finished piece but also the impact of earlier actions on subsequent ones. This suggests that the manner in which an action is coordinated is influenced by the criteria by which the product is judged. We see these criteria as indicating states for the system, e.g. in terms of a space of 'good' outcomes and a complementary space of 'bad' outcomes. The skill of the craftworker is to navigate this space of available states in such a way as to minimise risk, effort and other costs and maximise benefit and quality of the outcome. In terms of postphenomonology, this paper explores Ihde's humantechnology relations and relates these to the concepts developed here.Philos. Technol.

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Section: Creativity and Action In Jewellery Makingmentioning

confidence: 99%