Thinking Through Craft

Adamson, Glenn

doi:10.5040/9781350036062

Cited by 248 publications

(146 citation statements)

References 0 publications

Supporting

Mentioning

131

Contrasting

Unclassified

Order By: Relevance

“…By photographing this and sharing it via Instagram we might speculate that others too, are interested in this information. A broad speculation extending from this activity may be related to the resurgence of the maker movement (Adamson 2007(Adamson , 2010Gauntlett 2011), or the "third wave" of craft (Hampton 2010), and the manner in which these communities engage with Instagram (see for example, Budge 2012Budge , 2013Budge , 2015. Those posting may be makers or craftspeople themselves, and part of their recording of such details is a way for them to maintain a record for themselves and communicate the information to others in their field.…”

Section: Speculationmentioning

confidence: 99%

Objects in Focus: Museum Visitors and Instagram

Budge¹

2017

Curator The Museum Journal

View full text Add to dashboard Cite

While there is increasingly widespread use of social media by those visiting museum exhibitions relatively little is understood about this practice. Further still, the focus of such practices is unknown yet research in this area can reveal much about how visitors using applications driven by smart phone technology are engaging with exhibition content, space, design, architecture and people. This article draws on a case study of one exhibition using visual content analysis to frame, explore and interpret visual and text based posts by visitors using the social media application, Instagram, as part of their experience. Findings suggest that museum visitors using this application do so to account for and record details of their experience that draws attention to exhibition content, specifically objects. The implications are extensive for cultural institutions given the uptake of social media in all corners of life, with museums and galleries being a lively context for social media use via mobile technologies.

show abstract

Section: Speculationmentioning

confidence: 99%

Objects in Focus: Museum Visitors and Instagram

Budge¹

2017

Curator The Museum Journal

View full text Add to dashboard Cite

show abstract

“…As the world of art has lately become increasingly engaged in involving and interacting with the audience, this situation has started to change. The renewed evaluation of crafts as an artistic tool has also led to an evaluation of the qualities of vernacular traditions in the field (Adamson, 2007). As an avant-garde, meaning the troop that is walking in front to pave the way for a broader improvement, their contribution is highly needed.…”

Section: In a Broader Perspectivementioning

confidence: 99%

FORMakademisk 8-1 2015 THE WHOLE ISSUE

Reitan¹

2015

FormAkademisk

View full text Add to dashboard Cite

in Oslo. The conference was a cooperative event between the Design Research Society (DRS) and the International Association of Universities and Schools of Design, Art and Media (CUMULUS), and hosted by the Faculty of Technology, Art and Design at HIOA. The theme for the conference was Design Learning for Tomorrow -Design Education from Kindergarten to PhD. The conference received an overwhelming response both ahead of the conference, with 225 admitted papers, and during the conference with 280 delegates from 43 countries listening to 165 presentations and having a good time in Oslo. The last day of the conference was the 17 th of May, Norway National Day, with traditional songs and a children's parade in the centre of Oslo.We see this positive response to the conference as a growing awareness of perceiving design in a broad interdisciplinary perspective in support for a better tomorrow. For years the Design Literacy Research Group, with a base at HIOA in Oslo, has promoted the idea that sustainable design solutions should include more than 'professional' designers; they should also include the general public as 'conscious' consumers and decision makers with responsibility for quality and longevity, as opposed to a 'throw-away' society. This is also the reason why the conference focused on design education from Kindergarten to PhD. This perspective was put forward as a contrast to most design education conferences where there is either a focus on design education for professionals or general education for children and non-designers. In the call for conference papers, we argued for a longitudinal perspective on design education where the education of professional designers is seen in relation to the general education of the public. This is becoming increasingly relevant as more decisions are being made on the basis of visual representations. We regard education at many different levels as important in securing a sustainable future for the design of everyday life solutions. For that, we need qualified and reflective decision makers with a consciousness for quality of design and solutions.Why have these issues of concern been so important for Norwegian researchers within this field? The answer goes back to the 1960 National Curriculum for primary and lower secondary schools in Norway, when art and crafts were merged into one subject. Currently, this subject includes art, architecture, design and visual communication. No other Nordic-or European-country seems to have developed a model similar to this. Today, we see the benefit of this merger where design is at the core of the subject for youngsters-building upon the best from art and the best from craft to become creative problem solvers and critical consumers. Hopefully we will soon see UNESCO or other organizations with responsibility for funding research recognize that we need more research and knowledge on what impacts design education from Kindergarten to PhD have on consumer habits and sustainable development at large. We hope that such projects are not far off...

show abstract

“…34 Seen as such, it is not a classification of objects but a way of doing things, 'an approach, an attitude, or a habit of action' (p. 4) 34 or -alternatively -'a set of concerns implicated across many types of cultural production' (p. 3). 35 Out of Adamson's principles of craft practices -for example, that the craft is supplemental rather than autonomous or that its focus is on material experience rather than on optical effects -the one that is most relevant to the present discussion is that craft is grounded in skill.…”

Section: Model Craftmentioning

confidence: 99%

Activist systems: Futuring with living models

Roudavski

Jahn

2016

International Journal of Architectural Computing

View full text Add to dashboard Cite

This article considers how computational simulation can be used to amplify imagination and make its effects sharable, persuasive and activist. It argues that this is not only possible but important for the future of design and introduces the concept of living models as a device that can express the futuring potential of such simulations. Developing this argument, the article explores whether, by postponing top-down rationalisms in favour of a ‘methodological naiveté’, designers can gain the capacity to uncover and engage with the unusual participants of the complex dynamic assemblages they aim to change. When designers collaborate with the agencies of the living models they deploy, the outcomes prove useful for the exploration of alternative values and worldviews. Explorations of this kind are significant because human designs need to improve their integrations with existing complex systems and are innovative in their ambition to see creative agency in non-human actors. In a practical demonstration of such approaches, the experiments in generative computation presented in this article illustrate that design creativity occurs through humans but not entirely because of them.

show abstract

Thinking Through Craft

Cited by 248 publications

References 0 publications

Objects in Focus: Museum Visitors and Instagram

Objects in Focus: Museum Visitors and Instagram

FORMakademisk 8-1 2015 THE WHOLE ISSUE

Activist systems: Futuring with living models

Contact Info

Product

Resources

About