Practitioners’ Experience in Clay 3D Printing
Metaphorical viewing for gaining embodied understanding
DOI:
https://doi.org/10.7577/formakademisk.4200Emneord (Nøkkelord):
Practice, Experience, Clay 3D printing, Embodied understanding, MetaphorSammendrag
In the context of artistic research, making has been traditionally understood as a process between the maker and the material. However, the digitalization that influences all practices brings us new kinds of making processes in which the ‘digital tools’ have a profound impact on the practitioner’s experience – also in the context of art, craft and design. This study explores the maker’s experience from a practice-led approach to understanding the subjective experience with clay 3D printing. To open up the 3D printing process with clay using our embodied understanding, the full process is viewed metaphorically – borrowing from music. The preliminary findings show that metaphorical viewing and the use of a score enables a successful review of the nature of computer-based practices in a way that all aspects and potentials fall naturally into place.
Referanser
Aktaş, B. M. (2018). Material as the co-designer: Exploring a new practice in the nature and at the studio. SYNNYT/ORIGINS, 2018(3), 332-348. https://wiki.aalto.fi/pages/viewpage.action?pageId=145123907&preview=/145123907/145124264/16_Aktas_OK.pdf
Aktaş, B. M., & Mäkelä, M. (2019). Negotiation between the Maker and Material: Observations on Material Interactions in Felting Studio. International Journal of Design 13(2), 55-67. http://www.ijdesign.org/index.php/IJDesign/article/view/3267/857
Bertinetto, A. (2012). Performing the Unexpected Improvisation and Artistic Creativity. Daimon Revista International de Filosofia, 57, 117-135. https://revistas.um.es/daimon/article/view/153621
Bjerstedt, S. (2014). Storytelling in Jazz Improvisation: Implications of a Rich Intermedial Metaphor. [Doctoral dissertation, Lund University]. https://portal.research.lu.se/portal/en/publications/storytelling-in-jazz-improvisation-implications-of-a-rich-intermedial-metaphor(a8ce01c9-10c4-47fc-bbb3-c417c600b18c).html
Bunnell, K. (2004). Craft and digital technology. Keynote speech In World Craft Council 40th Annual Conference, Metsovo, Greece. http://repository.falmouth.ac.uk/537/
Damibaru. (post 1850). The first page of the score from Frédéric Chopin's Piano Concerto No. 1 in E minor, Op. 11. Breitkopf & Härtel. In Wikimedia Commons. CC BY-SA 4.0. https://commons.wikimedia.org/wiki/File:The_first_page_of_the_score_from_Fr%C3%A9d%C3%A9ric_Chopin%27s_Piano_Concerto_No._1_in_E_minor,_Op._11.png
Dewey, J. (2005/1934). Art as experience. TarcherPerigee.
Dufva, T. (2018). Art education in the post-digital era: Experiential construction of knowledge through creative coding. [Doctoral dissertation. Aalto University]. https://aaltodoc.aalto.fi/handle/123456789/31304
Dufva, T., & Dufva, M. (2019). Grasping the future of the digital society. Futures, 107, 17-28. https://doi.org/10.1016/j.futures.2018.11.001
Encyclopædia Britannica. (2017). Score. In Encyclopædia Britannica. Retrieved October 23, 2020, from https://www.britannica.com/art/score-music
Falin, P. (2014). Connection to materiality: Engaging with ceramic practice. Ruukku: Studies in Artistic Research, 2, 1-9. https://doi.org/10.22501/ruu.44836
Falin, P., & Falin, P. (2014). Making and perceiving: Exploring the degrees of engagement with the aesthetic process. In Y-k. Lim, K. Niedderer, J. Redström, E. Stolterman & A. Valtonen (Eds.) Proceedings of DRS2014: Design's big debates (pp. 1612-1625). Umeå Institute of Design, Umeå University.
Fors, A. C. (2010). The beauty of the beast: the matter of meaning in digitalization. AI & Society Special Issue: Ethics and Aesthetics of Technologies, 25(1), 22-33. https://doi.org/10.1007/s00146-009-0236-z
Gehrkens, K. W. (2006) Music Notation and Terminology. The Project Gutenberg eBook. https://www.gutenberg.org/files/19499/19499-h/19499-h.htm#Page_101
Groth, C. (2017). Making Sense Through Hands. Design and Craft Practice Analysed as Embodied Cognition. [Doctoral dissertation, Aalto University]. https://aaltodoc.aalto.fi/handle/123456789/24839
Gürsoy, B. (2018). From Control to Uncertainty in 3D Printing with Clay. In Kepczynska-Walczak, A. Bialkowski, S. (Eds.) Proceedings of the 36th eCAADe Conference: Computing for a better tomorrow (pp. 21-30). Lodz University of Technology. http://papers.cumincad.org/data/works/att/ecaade2018_104.pdf
Hansen, F. T. (2013). An Experiment with The Voice to Design Ceramics. In E. Brandt, P. Ehn, T. D. Johansson, M. H. Reimer, T. Markussen and A. Vallgårda (Eds.) Proceedings of Nordes2013: Experiments in design research (pp. 358-361). http://conference2013.nordes.org/pictures/Nordes2013Proceedings.pdf
Hansen, F. T., & Falin, P. (2016). 3D Printing as a Ceramic Craft Tool in Its Own Right. In M. Mäkelä, B. Schmidt, P. Falin and M. Juolahti (Eds.), Ceramics and its Dimensions: Shaping the Future (pp. 114-128). Aalto University. http://urn.fi/URN:ISBN:978-952-60-7041-4
Hansen, F. T., & Tamke, M. (2019). A Visual Programming Interface as the Common Platform for Sharing Embodied Knowledge. In N. Nimkulrat, K. Kuusk, J. V. Noronha, C. Groth & O. Tomico (Eds.) Proceedings of EKSIG2019: Knowing Together: Experiential knowledge and Collaboration (56-70). Estonian Academy of Arts. https://eksig2019.artun.ee/wp-content/uploads/2019/09/3.pdf
Horsanali, N. (2019). Digitalization meets improvisation: Developing a personal way of dealing with the rising digital presence in design. (Master's thesis) Aalto University.
Ingold, T. (2010). The Textility of making. Cambridge Journal of Economics 2010, 34, 91-102. https://doi.org/10.1093/cje/bep042
Johnson, M. (2015). Embodied understanding. Frontiers in Psychology, 6, Article 875. https://doi.org/10.3389/fpsyg.2015.00875
Klein, T. (2008). Augmented Fauna and Glass Mutations: A Dialogue Between Material and Technique in Glassblowing and 3D printing. Leonardo, 51(4), 336-342. https://doi.org/10.1162/leon_a_01640
Lakoff, G. & Johnson, M. (1999). Philosophy in the flesh: The embodied mind and its challenge to western thought. Basic Books.
Malafouris, L. (2008). At the Potter's Wheel: An Argument for Material Agency. In C. Knappett & L. Malafouris (Eds.), Material Agency: Towards a non-anthropocentric approach (pp. 19-36). Springer. https://doi.org/10.1007/978-0-387-74711-8_2
Maravita, A., & Iriki, A. (2004). Tools for the body (schema). TRENDS in Cognitive Sciences, 8(2), 79-86. https://doi.org/10.1016/j.tics.2003.12.008
McCullough, M. (1998). Abstracting Craft: The Practiced Digital Hand. MIT Press.
Mäkelä, M. (2007). Knowing Through Making: The Role of the Artefact in Practice-led Research. Knowledge, Technology & Policy, 20(3), 157-163. https://doi.org/10.1007/s12130-007-9028-2
Mäkelä, M. (2016). Personal exploration: Serendipity and intentionality as altering positions in a creative process. FORMakademisk 9(1), Article 2, 1-12. https://doi.org/10.7577/formakademisk.1461
Niedderer, K. (2007). Mapping the Meaning of Knowledge in Design Research. Design Research Quarterly, 2(2), 1-13. http://hdl.handle.net/2436/38736
Nimkulrat, N. (2009). Paperness: Expressive Material in Textile Art from and Artist's Viewpoint. [Doctoral dissertation, University of Art and Design, Helsinki]. https://aaltodoc.aalto.fi/handle/123456789/11893
Omholt, K. (2019). Tying Knots: Creating Metaphors for Interpersonal Relationships. SYNNYT/origins: Research in Art Education, (3), 1-13. https://wiki.aalto.fi/download/attachments/172982823/Knut_Omholt.pdf?version=1&modificationDate=1589292660749&api=v2
Pallasmaa, J. (2009). The thinking hand: Existential and embodied wisdom in architecture. Wiley.
Rushkoff, D. (2010). Program Or Be Programmed: Ten Commands for a Digital Age. OR Books. https://doi.org/10.2307/j.ctt207g7rj
Sawyer, R. K. (2011). Improvisation. In M. Runco & S. Pritzker (Eds.), Encyclopedia of Creativity (2nd ed., pp. 647-652). Academic Press/Elsevier. https://doi.org/10.1016/B978-0-12-375038-9.00120-5
Sennett, R. (2008). The Craftsman. Penguin Books.
Tackley, C. & Barker, N. (n.d). Understanding musical scores. In Open Learn by The Open University. https://www.open.edu/openlearn/ocw/mod/oucontent/view.php?id=26859§ion=1
Thomsen, M. R., Tamke, M., & Pedersen, C. P. (2012). Digital Crafting, A network on Computation and Craft in Architecture, Engineering and Design. http://www.digitalcrafting.dk/
Yamamoto, Y., Uchiyama, H., & Kakehi, Y. (2011). onNote: playing printed music scores as a musical instrument. In Proceedings of the 24th annual ACM symposium on User interface software and technology (pp. 413-422). https://doi.org/10.1145/2047196.2047249
van der Lei, A., & Mavrostomos, K. (2014). A Dialogue with Glass. [Unpublished Master's thesis]. Aalto University.
Verbruggen, D. (2014). The Digital Craftsman and His Tools. In All Makers Now: Craft Values in 21st Century Production - Conference Proceedings (pp. 173-177). Falmouth: Falmouth University. http://unfold.be/pages/the-digital-craftsman-and-his-tools-essay
Nedlastinger
Publisert
Hvordan referere
Utgave
Seksjon
Lisens
Opphavsrett 2021 Priska Falin, Nur Horsanali, Flemming Tvede Hansen, Maarit Mäkelä
Dette verket er lisensiert under Creative Commons Attribution-NoDerivatives 4.0 International License.
- Forfatteren(e) beholder sin opphavs- og kopieringsrett til eget manuskript, men gir tidsskriftet varig rett til 1) å fremføre manuskriptet for offentligheten i den opprinnelig publiserte digitale form, og 2) å registreres og siteres som første publisering av manuskriptet.
- Forfatteren må selv forvalte sine økonomiske kopieringsrettigheter overfor eventuell tredjepart.
- Tidsskriftet gir ingen økonomisk eller annen kompensasjon for innsendte bidrag, medmindre det er gjort særskilt avtale om dette med forfatteren(e).
- Tidsskriftet plikter å arkivere manuskriptet (inklusive metadata) i den opprinnelig publiserte digitale form, i minst ett dertil egnet åpent tilgjengelig langtidsarkiv for digitalt materiell, som for eksempel i de norske universitetenes institusjonsarkiv innen rammen av NORA-samarbeidet.
- Lesere av tidsskriftet kan ta utskrift av de fremførte manuskriptene under samme betingelser som gjelder ved kopiering av fysiske eksemplar. Dette innebærer at masseframstilling av fysiske eksemplar, eller framstilling av eksemplar for kommersielle formål, ikke er tillatt uten etter avtale med forfatteren(e).