Craft and Design Practice from an Embodied Perspective

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Nithikul Nimkulrat (OCAD University, Canada) Camilla Groth (University of South-Eastern Norway)

Craft and Design Practice from an Embodied Perspective

Nithikul Nimkulrat (OCAD University, Canada), Camilla Groth (University of South-Eastern Norway)

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Hardback

Forthcoming
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English

Routledge
30 July 2024

The Arts: General & Reference; Art Forms; Society & culture: general; Sociology; Anthropology

Series: Routledge Advances in Art and Visual Studies

This book brings together contributors from multiple disciplines, such as crafts, design, art education, cognitive philosophy, and sociology, to discuss craft and design practice from an embodied perspective.

Through theoretical overviews of embodied cognition and research-based cases that involve the researchers’ making experiences, different phenomena of human‑material interaction are presented, analysed, and discussed. The practical cases exemplify ways in which embodied notions show up in action. Contributors examine topics such as the embodied basis of craft activities and material manipulation, experiential knowledge and skill learning, reflection in and on action, and material dialogues. Several chapters specifically discuss the hybrid forms of analogue and digital crafting that increasingly takes place in the field of crafts and design, and the changed notions of material engagement that this entails.

The book will appeal to scholars of crafts, design, art education, anthropology, and sociology.

Edited by: Nithikul Nimkulrat (OCAD University Canada), Camilla Groth (University of South-Eastern Norway)
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 246mm, Width: 174mm,
ISBN: 9781032356815
ISBN 10: 1032356812
Series: Routledge Advances in Art and Visual Studies
Pages: 222
Publication Date: 30 July 2024
Audience: College/higher education , Primary
Format: Hardback
Publisher's Status: Forthcoming

Preface Introduction SECTION I: CRAFT AS EMBODIED MAKING AND LEARNING 1. Dynamic affordances in human-material “dialogues” 2. Craft Thinking: A relational approach to making and design 3. Becoming with glass: Medium and materiality in embodied knowledge 4. Feeling how: MET and embodied cognition in the learning of pottery skills 5. Embodied craft practices: Mindful flow, creativity, and collaboration as drivers for wellbeing SECTION II: MATERIALITY OF MATERIALS AND NON-MATERIALS IN CRAFT 6. Embodied knowledge integrated into robotic wire cutting of clay 7. Making, playing, crafting – Connecting embodied practices in play, game design, and hybrid making 8. Hand thought: Hybrid practices and a digital craft ethos 9. Grasping materiality – Digitalization in light of educational arts and crafts practice SECTION III: ARTEFACTS AS MATERIAL EXTENSIONS OF CRAFT EXPERIENCE 10. Traces of craft experience in artefacts 11. Scaffolding visualization and mental rotation in designing and crafting 12. Making bumps and jumping hurdles: Understanding resistance in the processes of raising aluminium from a novice’s perspective 13. Making sense with things in participatory design 14. Interactive connected smart (ICS) materials experience: Collaborative embodied knowledge through material tinkering Afterword

Nithikul Nimkulrat is Associate Professor at OCAD University, Canada. Camilla Groth is Associate Professor at University of South-Eastern Norway, Norway.

Reviews for Craft and Design Practice from an Embodied Perspective

“This splendid collection advances our understanding of embodied cognition and experiential knowledge in craftwork and sets the pace for future theory. Its multidisciplinary cast of authors deliver unique insights into human–material interactions, skilled situated practice and the dynamics of thinking through making – both in traditional crafts and the emerging digital and virtual realms.” Trevor H. J. Marchand, SOAS, University of London “This book shines a light on the nature and value of embodied experiences within the spheres of making and materiality. The various chapters bring ideas around becoming, feeling, well-being, interconnection and relationality to the fore, which are all critical aspects of craft and design practices that seek to counter dominate modes of production and affect positive change. I would recommend this book to those who wish to establish, understand, and champion such practice.” Faith Kane, Toi Rauwhārangi College of Creative Arts, Massey University