MDEF_article_BarbaraDrozdek

Transcript

1. v1 made by us
2. from physical to digital and back 3 2
3. master in design for emergent futures Student: Barbara Drozdek Faculty: Tomas Diez, Oscar Tomico, Mariana Quintero 5 4 Barcelona 2018-2019
4. index 8 - 9 abstract 10 - 21 context/ area of interests 13 - 17 making things is what makes us humans 17 - 18 material intelligence of the 21st century 22 - 29 description of the intervention 28 a new form of relationship in making 29 create a space for conversation 30 -37 state of the art 32-33 matthew stone 33-35 loloysosaku 36-37 unfold studio 38 - 45 project your intervention into the future 41 past experience as a driver into the future 41 opened new development and innovation opportunities for creative sectors 42 - 43 introduction to new tools develop different points of reality 44 - 45 creating a new relationship between makers and craftsman 46 - 57 document your intervention, design action and results 48 - 49 ceramic community network in Barcelona 49 - 51 collaboration with the master in ceramic Marc Vidal 52 gesture recording 53 - 56 processing digital information 56 from atoms to bits and back 56 - 57 craft Processing 62 - 67 describe your sustainability model 64 - 65 what unique can craft offer? 65 - 66 innovation in and through craft 68 - 71 final reflection 72 - 75 bibliography 7
5. abstract The continuity of the craftsman knowledge in the 21st century. Craftsmanship is a way of thinking and doing where humanity is in tune with nature, not working against it. Made by us is a creative collaboration between human and machine that arise from the interaction of traditional technologies and embodied knowledge of the craftsmen with new digital fabrication, data processing tools and the knowledge of makers. It is a new choreography of information based on gesture and material, transfer of knowledge from material to data driven design. It bridges the craftsmanship and maker movement to give space for co-creation new techniques, aesthetics and experiences. 9
6. 11 context / area of interests
7. Making things is what makes us human. Anthropological archaeology is a term that is a combination of anthropology, the study of culture, and archaeology, a study of past civilizations. It is interesting how making things shape our society today, all the way to the past. What I find the most interesting is how it is going to shape it in the future. Can an object show us where it comes from? Can it describe unique elements of culture and human knowledge? Nowadays, at the beginning of the 21st century in the informa- tion society, our profession profiles are changing. The phenomenon of disappearing professions is more and more visible in our society. It seems like every day, another job is taken over by technology or if we look back in time, we can see many jobs that were replaced during the industrialisation time. Due to automation, a result of industrialisation, the role of humans has changed. The common thread to automation is that every routine, everything that can be modelled, framed, repeated and mapped, can be automated. Everything that machine likes about what we do can be automated. But all this means that human work will produce value when it’s not machine liked and that artisanal work can be expected to thrive. What if we can consider the third type value that which appears in the relation of the man and the machine. Today, craftsmanship is as relevant, if not more so, than ever. It is a way of thinking and doing where humanity is in tune with nature, not working against it. It leads to a world that’s built to last. We can all agree, it is something we need to move toward if we are to solve the challenging issues we are facing today—in our environment, in our jobs, and in our human-machine relations. For everybody else the values and principles of craftsmanship  —  autonomy, responsibility and creativity  —  are transforming work and management as we know it. In many ways, that’s what the future of work will be all about. Despite the fact that today’s craftsmanship is the 4th world’s largest economy, the professions associated with this sector are at the forefront of the disappearing professions list. Amongst oth 13 12
8. such as mines, factories, machines and tools into offices and computers. Even earlier, the industrial society left shovels behind. How have things been made over history? How has the economy been operating? How do communities relate to each other? They do so by studying how past civi- lizations had made things. The author of “Craftsmen” R.Sennett said “nearly anyone can become a good craftsmanand that learning to work well enables people to govern themselves and so become good citizens.” This line of thought depends, among other things, that craft abilities are innate and widely distributed, and that, when correctly stimulated and trained, they allow craftsmen to become knowledgeable public per- sons. And what is it that such people know? They know how to negoti- ate between autonomy and authority; how to work not against resistant forces but with them; how to complete their tasks using minimum force; how to meet people and things with sympathetic imagination; and above all they know how to play, for it is in play that we find the origin of the dialogue the craftsman conducts with materials like. In an agricultural society, the means of production are the soil and the shovel. In an industrial society, they are the mines and the factories and in the knowledge economy the offices and computers. In an infor- mation society, the main raw materials in the process are the objects of labour and they are created by humans, but the labour itself is performed by algorithms. Is it possible to fill the gap between the physical and the digital world by transmitting information from the physical world in the form of embodied knowledge of the craftsmen? Can it be the beginning of a creative collaboration between human and machine/algorithm to performing of the labour? When knowledge is imagined as fluid like, as something that flows and transmutes, we are in a better position to un- derstand its transformative and generative potential. The profession of a craftsman is based on embodied knowledge that a person improves over time. We can also name that a memory of mus- cles or manual / hidden skill. The craftsmen’s gestures are his signature. 14 15 The algorithmic factory, immaterial labour, data harvesting / source - https://labs.rs/en/
9. 17 16 An embodied experience. However, what could the craftsmen’s signature look like in the digital world? The education system of craftsmanship has not changed since World Exhibition. It functions in the form of a dual education system which involves downloading theoretical knowledge at a vocational school and acquiring practical knowledge from masters in craft work- shops. What if such plants cease to exist when their numbers are con- stantly declining? Material inelligence of the 21st century. By the material intelligence, I mean literacy in the physical world: the ability to understand it. If we can anchor ourselves in this way, attending closely to the objects near to us, we might just be able to regain our bearings, despite the complicated flux of 21st century life. Though one does not need to be a maker to have material intel- ligence, it could help. Knowledge of one craft or trade can inform an understanding of many others. Experiencing a craftsperson at work, ideally in person, gives an immediate appreciation of the intimate choreography that skill involves. The key thing is to cultivate curiosity about the material world: to get in the habit of wondering how things were made, and by whom. This can help, in turn, to develop a healthy appreciation for just how much humam skill can be embedded within even an apparently simple thing. Material intelligence may feel elusive, because of our practical detachment from our environment, but also because it is difficult to measure.Our tendency to overrate technical and linguistic aptitude and undervalue manual skills. It’s for the same reason that creative pursuits historically practiced by well-to-do white men, like painting and architecture, are accorded a high cultural sta- tus, while those of pretty much everyone else are granted the lower status of craft. With a history of more than 13 thousand years ceramics is one of the oldest industries in the human civilization. It is part of our cultural heritage. It is one of the foundations of many different cultures. The list starts from the palaeolithic era through Greek culture to Delft in
10. 18 19 Nederland, Wedgwood in UK or Bolesławiec in Poland to name only a few. Most of the crafts like ceramic, leather making or textiles, his- torically come from cottage industry. All of these industries began at peoples homes or at a community level, because a lot of them belong to the region where that craft was born. This defines the relation be- tween craft region(human skills) and bioregion (material resource dis- tribution). In the past,crafts knowledge used to spread from master to apprentice. Today the local and the global cannot be disconnected. The revival of local making has been made possible because of the global network that is contending it. It is a perfect collaboration be- tween the best of the local and the best of the global. The material world speaks back to us constantly, by its resis- tance, by its ambiguity, by the way it changes as circumstances change, and the enlightened are those able to enter into this dia- logue and, by so doing, come to develop an “intelligent hand.” Richard Sennett Clay is one of the most distributed materials in the world. We can analyze the properties of the clay but in the process of making it sort of defines itself in how much the craftsmen can learn about the type of material which he works with using his hand as a basic tool. This is some kind of conversation, is our human way of studying materiality. The reverse way of understanding the materiality of the specific kind of gestures that the ceramist has developed in response to the materi- al. The way we collect knowledge from the material and the intelligent hand we use is one of the things that I am focusing on. Material as a physicalization of the embodied knowledge. Nowadays we are increasingly making things by machine. As a result of this we lose our senses of craftsmanship and cultural her- itage. We are what we make. When we lose knowledge on how things are made we will lose the sense of who we are. How do we preserve it in a way to allow for without all having to be totally homogeneous and mass manufactured? What is important is that the way things are made by machine are constantly improving. Technology becomes more and more intelligent over time. Is there a way to use local craft embodied knowledge and machine to create a new value of the future?
11. 20 21 How do we want to make things in the future?
12. description of the intervention 23
13. 25 24 How can we preserve the embodied knowledge of the craftsman?
14. My intervention is focusing on human-machine reconfiguration in the process of making. How can we preserve the embodied knowledge of the craftsmen while using machines? I am bridging the gap between how we have given the knowledge to physical and digital objects. To create a physicalization of the gap between two worlds I will use existing tech- nology (3D printing) to fabricate the gesture of the craftsmen. I am using clay as a representative metaphor of the creation process. It is tech-minded heritage design. I chose pottery as my subject of research. As a member of the in- formation society, I am going to point out the transmission of the knowl- edge from material driven to data-driven design using existing technol- ogies. From physical to digital. From bits to atoms. The dialogue that is between the potter and the material (clay) in the physical world. To capture this dialogue and the notion of control I picked the one tech- nique - that is throwing on a pottery wheel. What can the machine learn from the human whereas what can the human learn from the machine? The extraction of information from the ceramist’s gestures that create a pattern of making in the physical world. In the digital world, it has a form of representation as data, a cloud of points, numbers. This data can evaluate. It could be compared. The more he works with the material, the more the machine has learned from him. The more output it produces, the more information it receives in terms of the craftsmen’ own technique and ability to work with the material. This is the craftsmen ability for generative collaboration with the machine. The result is to create the pattern from the craftsmen. The efficiency of it can increase over time. The first piece is not going to look like that infor- mation pattern given from the craftsman. Therefore I want to train it over time using the algorithm. In this system, the input is a human gesture as a signature and The connecting point between embodied knowledge and digital archive/computing/learning is an object produced by the machine. The object is based on the input from the craftsmen (physical world) throwing the pot on a pottery wheel, where the gestures are a sig- nature of him. The way we extract it will shape something that is neither going to look like it was made in China or information based on embodied knowledge of the craftsmen. The process based on the transfer learning bias on craftsmen’s embodied knowledge (captured intuition). The out- 26 27 Creating a new choreographies of information material and gestures between human and machine changes the process of making things.
15. Create a space for conversation. In this research project, I am facing the question grounded in the relation between the machine and the human in the process of making. How do we receive knowledge from the dialogue with the material? Can the machine understand the meaning of the craftsman’s gestures? Can the machine process material properties using human gestures? How do we transmit knowledge from material-driven to data-driven and not lose any information along the way? What can the machine learn from the human and what can the human learn from the machine? What can this system teach us? 28 29 put is an improved representation of the gesture. It is hand made, based on human skills. They are generated by performing making in creative collaboration between human embodied knowledge and machine/algorithm. It is a new cultural heritage, a physicalization of the material (clay) in the shape of the emerging object. An emerging object as a physical representation of re-appearance in new ways digital craftspeople, a preservation and creation a new crafts techniques that were not possible before. A new form of relationship in making. This is the new form of relationship in making, where both the ma- chine and the human are partners in the process of creation, a genera- tive creative collaboration, a new way of producing things. It will create new aesthetics and value of things in the physical and digital world. Both the machine and the human have an impact on the creative process. A new way of understanding between analogue and digital will emerge, new value connected to the place will be created. What you have created is a craftsman workshop transformable using human-machine reconfig- uration. Bringing craft and technology together to support making a community. How does one transmit locally produced knowledge from the way something is made using local crafts embodied knowledge? The product itself can be produced anywhere in the world using this system doesn’t make sense. Data shows the patterns and shows how the craftsmen worked and learned. Sharing information in a pattern flow of exchanging using data evaluation in the digital world and captured dialogue between human and material to improve the result? Improving the result of cre- ation using the embodied knowledge in dialogue with the material in the physical world.
16. state of the art 31
17. Matthew Stone Stone’s most recent body of work demonstrates an innate enthusiasm for the development of painting within the framework of art history. The new works, use 3d modelling software and paint to break with the history of painting on a flat surface, lifting the strokes into a virtual and free space. The addition of shadows and foreshort- ening creates an illusionistic - trompe l’oeil sense of depth and per- spective within the canvases. He organises and examines complex statements in regard to the relationship between painting, photog- raphy & computer generated imagery disrupting the holy status of painting as the ‘cosmic flesh’ of art history whilst simultaneously pushing the visceral experience of paint forward. The series offers a new technical approach to traditional painting, showing diverse bodies at play and in conflict. 33 32 Painting made with the support of extended intelligence.
18. loloysosaku 35 34 After my visit in the Lolo and Sosaku studio I found yet another perspective to my project. We should not only be respectful to human labour, but we should also respect ma- chine`s work. In their studio they investigate the possibilities of sculpture as an expanded field. The nexus that unites their work is the search for an object in contact with his surround- ings and with the spectator. An object that seeks friction and tension. Their works move between different art languages. It constitutes itself as a subject, and from its machinic materi- ality, through transcendence, to mysticism and the unknown. Private collection of paiting machines.
19. unfold studio All in order to be revealed gradually to the understanding. What is the role of the designer and how is it changing in a time when design and manufacture become increasingly more digitized? This question is key to understanding the work of design studio Unfold. The studio develops projects that investigate new ways of creating, manufactur- ing, financing and distributing in a changing context/environment. A context in which they see a merging of aspects of the pre-industrial craft economy with high tech industrial production methods and dig- ital communication networks. A context that has the potential to shift power, from industrial producers and those regulating infrastructure to the individual designer and the consumer. 37 36 l’artisan electronique.
20. project your intervention into the future 39
21. 41 40 Past experience as a driver into the future - THE CONTINUITY OF KNOWLEDGE. The way how we study movement over generations in art, pho- tography, craft and design or architecture shapes our vision about us in the future. The study of citizens flow in the city shapes the urban plan and architecture. The moment when we were able to capture the movement in photography was the starting point of making movies. In the art in the early 20th century Futurists as a representative of not only the art but also the social movement which was characterized by emphasised speed, technology, youth, violence studied the move- ment. In craft, movement is a gesture in an embodied knowledge of the craftsman. We have been always focused on the final object that the craftsman does and impressed by his skill. But in this practice, there is bigger “hidden” information that I am exploring in my research. I think there is huge potential and precious information coded in the movement about how we make things. Opened new development and innovation opportunities for creative sectors. Traditional ways of making have grown over past generations. They are migrating from person to person, often through work prac- tice, and learned through repetition. It is more exploratory, with the potential to open up dramatic new directions. This can involve redi- recting existing skills, or creating new ones from scratch. Technolog- ical advances have transformed the character of making. Some make a feature of miniaturisation; others reveal the working components as form or performance. photo - Étienne-Jules Marey
22. 42 43 Introduction to new tools develop different points of reality. I am looking for a new extraordinary collaboration between human and machine that will arise from the interaction of traditional technolo- gies and embodied knowledge of the craft people with new digital fab- rication and data processing tools. Digital tools - a new creative collab- oration with machines that offer production possibilities but also the amount of opportunity that generative design gives us is difficult to im- press. But digital and handwork still go together. New material - crafts- man’s hand intelligence in dialogue with the material, understanding the properties of the material. How it behaves in order to configure the way we make things and from where we take our resources - 0 kilometres material. By adding, subtracting or transforming material (also data as a raw material) or by combining three types of process, we could create new crafts techniques in interdisciplinary co-creation between craft people, machines and makers. We use numerous different skills and techniques to shape raw materials in physical and digital. All these techniques may be considered in one combination of all types of processing. Additive techniques combine materials and a well connect layer. This group in- cludes soldering, weaving, painting, data processing. Subtractive tech- niques are about removing materials. It includes carving, drilling, grind- ing and data processing. Transforming techniques —personally my favourite— alter materials themselves. This group includes throwing clay, blowing glass, forging metal, baking. All of them are dependent on time. The transformed states may be temporary or permanent. At every stage of the learning about the process, a maker’s dia- logue with materials and tools changes dramatically and is very individ- ual. What may at first have been frustrating becomes pleasurable habit. Craftspeople start to think through their materials and skills, almost un- consciously. Once they learn how to use and care for a tool, makers might start modifying it or even invent a new tool to replace it. In all these ways, learning a skill is a way of opening up future possibilities and challenges. How can we bridge the gap between the crafts community and the maker movement?
23. 44 45 Creating a new relationship between makers and craftspeople. Interdisciplinary exchange. Co-creation creates opportunities for artists, designers and craftspeople to explore and exchange ideas across borders. Craftspeople and makers work together to share experience and knowledge, collaborate and communicate. This kind of interdisciplinary collaboration to exchange knowledge will bring different conception of work. Education outside of the field of art due to automation will create a new profile of future craftspeople. New knowledge of research and practice. The sensation of effortless flow is a reward in its own right, but it is also a situation of intense learning. Makers who are immersed in what they are doing build on existing skills and discover new ones. Development in making happen, more often than not, when they are least expected. Creating the new infrastructure, “scale down” makerspaces -Training for craftspeople to develop the capability of their workshops by connecting those communities, expanding local making structure. Too many people never get a chance to experience any levels of making. Most can make something, at least at an amateur level, and many reach a professional standard. But there are many layers of expertise beyond that. Education program proposition craft school/artist school and workshops: The empowered student to create their own digital craft technique as a learning process experience. The community of craftsman, maker, computer scientist, designer, as tutors. Makerspaces available for stu- dents after classes as a part of the educational program to have access for tools, tutors and time to experiment and hands-on learning across disciplines whenever they want. Makerspaces in the city open for every- one who wants to develop personal skills. Lifelong learning. Create a relationship between technology and learning. Network Learning and exchange of skills across different networks in it - makers and craft people. Can we make making practice inclusive and open makerspaces for everyone?
24. document your intervention, design action and results 47
25. Ceramic community network in Barcelona. I started my research from people, community places that are connected with pottery in the city but also in the Catalan region in general. I attended to the ceramic workshop with my friend to try pottery making from the first-person perspective. We did it in (Little- Studio) led by Claudia. I got to know the handmade techniques called churros and I had a chance to observe how making engage people and how big pleasure they have from it. I had also throwing clay on a pottery wheel lesson with Julen Ussia master in ceramic. I visited and made an interview with people from many ceramic workshops, studios, schools in Barcelona to understand how this environment works. What kind of hierarchy is there? What kind of teaching system, market, infrastructure is there? How big is the experience and potential of people working with ceramics? Is the average citizen interested in ceramics? Collaboration with the master in ceramic Marc Vidal. In one of this school (L’Escola d’Art La industrial) I met Marc. He is a master in ceramic specialised in throwing clay on a pottery wheel. This collaboration allows me to explore the craftsmanship in ceramic from behind the scenes. I did an interview with him. He has very rich background, naturally as I mentioned before he is a ceramist, a lectur- er and a teacher in art schools in Barcelona (Escola Massana. Art and Design centre and L’Escola d’Art La industrial) and a tutor of ceramic workshops in Catalonia. He also collaborates with many designers, artists and curators in Spain. 49 48 My friend Fifa experiencing her first clay workshop.
26. 51 50 Julen Uissa in a ceramic workshop. Marc Vidal in his studio.
27. Visualization of the capturing process using the hardware (Leap Motion). 53 52 Gesture recording. The signature of the craftsman in a making process is a ges- ture. It doesn’t matter what kind of craftsmanship it is. The embodied knowledge of makers is an individual unique. The cultural heritage of makers is mostly objects. What if the cultural heritage of makers are not only materialized in objects that they make but also in their skills, embodied knowledge in techniques that have been passing from per- son to person over generations. Using the hardware sensor Leap Mo- tion. I started with an explanation of this technology to Marc, he was super curious about it and I can say that during the session he was a bit disturbed by looking on the screen of my computer some to time. I capture the movement of the craftsman’s hands while he was throw- ing the pot (simple cylinder-first step for someone who starts an ad- venture with pottery wheel).To record the dialogue between the man and the material I used the Processing software to control the sensor. I captured one frame per second of each fingertip position and the po- sition of the palm in both hands. I divided the process of throwing the pot on steps that allow me to capture less noise. Instead, one file with structured long data has several shorter strings of information. Processing digital information. The next stage of my design action is to process the data. From material driven to data driven. How in the digital world find a way of representing different languages (different scales). It was surprising that information that I manage to get from the craftsman was a huge cloud of points. In this cloud by cleaning and structuring the data, I found the endless possibilities to unroll the information. I decided to start with a partition on the left and the right hand, then on 10 fingers. Ten different strings of information. In this transformable way of mak- ing like throwing the clay each stage of the process influence for the next stages of that process. This reminds me of the transfer Learn- ing for Deep Learning. In education transfer of learning or transfer of knowledge refers to learning in one context and applying it to another,
28. 54 55 Data structuring/processing. Data structure.
29. 56 57 a frame per second to the structured csv. file. Processing the information is a step of unrolling the string of hidden intention that the craftsman did during the process of making. In a parametric program, Grasshopper captured information in a form of text is used as an input. An algorithm maps step-by-step operations to perform data processing in a way to get extended information in the form of a profiled curve. This geometry is improved every time when more information is added as an input. It means that the algorithm is transfer- ring the information each time to improve the result in the frame of 3D printing possibilities. This step is not only about the extrusion and gcode generation and calibration of the machine. Here the knowledge of the material is needed. The thickness of the clay, it should not have an air bubble inside, the size of the chamotte should not be bigger than the size of the nozzle. In this last step, we can see the mix of material and technical skills needed to create a new bias on human embodied knowledge. What can we learn from the machine? What can the machine learn from us? By unrolling the strings with the craftsman information and simu- lating the spinning wheel I could for the first time see the 3 dimensional forms of the new choreography of making. The new technique that ap- pears in a creative collaboration between human and machine. I use to name this new language/technique that established between physical and digital world -craft processing. From atoms to bits and back. As a maker and the person experienced in 3D printing with clay, I decided to close the loop and use clay as a physicalization of the craftsman’s gestures. In this process, I wanted to go back to the phys- ical world. By using the technology of 3D printing with clay which has its roots in one of the oldest ceramic technique coilings. I fabricated the coded signature of Marc embodied knowledge in the shape of the emerging objects. The next part of the action is the online repository of Marc Vidal embodied knowledge that will exhibit at least a small part of his master’s skills. Craft Processing. It is a new craft technique new choreographies in making based on gestures and material information. It reshapes the way of making, reveals the working components as form or performance, creates new aesthetic and experience. It is emerging by bridging the maker movement and craftsmanship in co-creation and knowledge exchange about technology and material. Capturing the information coded in the embodied knowledge of the craftsman. By using a sensor Leap Motion and the Processing software. It is possible to measure the x,y,z coordinates of both hands and finger- tips positions. Java code allows to storage information captured in
30. New digital craft technique. Process of 3D printing with clay. 58 59
31. The series of emerging objects.
32. Opening the clay on a potery wheel. Centering the clay on a potery wheel. 62 63
33. Pulling the clay on a pottery wheel. Spreading the clay on a pottery wheel. 64 65
34. Finishing the clay on a pottery wheel. 66 67 66 67
35. Generative gesture trucking. 68 69
36. describe your sustainability model 71
37. 73 72 i.e. the capacity to apply acquired knowledge and skills to new situations. Making is the most powerful way that we solve problems, express ideas and shape our world. What and how we make defines who we are and says who we want to be. What kind of new opportunity do makerspaces provide to craft? What benefits can craft bring to the maker movement? What other benefits may appear through this exchange? Makerspaces have a lot in common with a typical/traditional craft workshop. It combines the structure of a studio, a workshop and a classroom in the same space. Makerspaces share many of the current interests of craft. We can start with tools and technologies ending on the funding model that is quite similar. Craft workshop and makerspaces as well have to adapt to changing world and face the problems connected with production, consumption, automatization and education. What unique can craft offer? - Practice-based skills - Way of making - Local techniques - Deep material knowledge - Process material knowledge - Individual expression - Reduce the barrier of making - Sustainable workshop model - Community inclusion - Continuity of local tradition and heritage - Continuity of knowledge All knowledge about making was once new. Someone had to formulate it to make it official. But there is a big difference between traditional forms of making and those which are innovative. Both are very important, and both can be expressive, but they serve different purposes. It does not mean that they can not support each other and create new value based on co-creation and sharing knowledge. Innovation in and through craft. Craft has a huge potential to bring human hands to makerspace. It can also provide an increase in the diversity of techniques, high awareness of material intelligence and sustainable material flows, thus open up all new area of activities in makerspaces. Those two potential- ly different practices of making can be driven mix for innovation. The existing infrastructure and knowledge exchange suggest how it will bring benefit for individuals and communities, organization. Makerspaces are well equipped with digital fabrication tools and space to work in bigger groups of people but on the other hand, they are limited in terms of the number of materials you can work with (wood, plastic). Craftspeople can bring to the makerspace environ- ment materials such as clay and glass to explore and become more educated about materiality. Craft has a rich relationship with the sensory and emotional side of making. Individual creative expression and emotion can drive both personal development and stimulate innovation. The rich material knowledge, iterative processes, collaborative value of craft make it an ideal route to introduce the unexpected in cross-disciplinary partnerships and collaboration. Research and development. Tools and technology. Learning from professional or entrepreneurship. Community and collaboration. By connecting craft and maker spaces we can break the barrier of exclusivity of Fablabs. The specific language and terminology that
38. 75 74 create different communities can be a barrier to. But the new language that they will create together to communicate will bring new diverse value. Working practice, teaching norms, structures manage new pieces of equipment within the new system will be challenging. In leavering knowledge, maker spaces can deliver new opportunities for the field of craft to processes/techniques. The making collective of different people with different backgrounds and skills together will power new effective type of problem-solving, new way of making, new aesthetic. Those whose craft and ingenuity reach the very highest levels can make things. But making is something everyone can do. The knowledge of how to make – for example, everyday objects – is our(human) precious resources.
39. final reflection 77
40. 79 78 How making things shape our society today and all the way to the past? The process of learning new skills enables people to devel- op themselves and become good citizens. Craftsmanship is a way of thinking and doing where humanity is in tune with nature, not working against it. Could everyone become a good craftsman? Many people think that craft is a matter of executing a precon- ceived form or idea, something that already exists in the mind or on paper. Yet making is also an active way of thinking, something which can be carried out with no particular goal in mind. In fact, this is a situation where innovation is very likely to occur. The craft abilities are innate and widely distributed if it is cor- rectly stimulated and trained over the years, they allow craftsmen to become knowledgeable public persons. The person that knows how to translate material dialogue knowledge to our everydayness. They have not only skills about making, they know how to negotiate between au- tonomy and authority; how to work not against resistant forces but with them; how to complete their tasks using minimum force; how to meet people and things with sympathetic imagination; and above all they know how to play, for it is in play that we find the origin of the dialogue the craftsman conducts with materials like. The rich material knowledge, iterative processes, collaborative value of craft make it an ideal route to introduce the unexpected in cross-disciplinary partnerships and collaboration with makers. It can also provide an increase in the diversity of techniques, high awareness of material intelligence and sustainable material flows, thus open up all new area of activities in makerspaces. I see huge potential to bring human hands to makerspaces due to this I think we should stop granting the lower status of craft and create the space to share their knowledge where everyone could experience it.
41. bibliography 80
42. 82 81 Sennett, R. (2008). The craftsman Pallasmaa, J. (2012). The Thinking Hand Charny, D. & Halligan, D. (2018). Craft Makerspaces Harrod, T. (2015). The Real Thing Autodesk (2017). The Future of Making Warnier, C. and Verbruggen, D. (2014). Printing Things Verbruggen, D. (2014). The Digital Craftsman and his Tools Bunnell, K. (2004). Craft and digital technology Gramazio, F. Kohler, M. and Langenberg, S. (2014). Fabricate 2014:Ne- gotiating Design & Making Kirsh, D. (-). Thinking with the Body Ramani, K. (2016). Extracting hand grasp and motion for intent expres- sion in mid-air shape deformation: A concrete and iterative exploration through a virtual pottery application Ramani, K. (2015). A gesture-free geometric approach for mid-air ex- pression of design intent in 3D virtual pottery McNeill, D. (1992). Hand and mind: What gestures reveal about thought Kirsh, D, et al. (2009c). Choreographic Methods for Creating Golden-Meadow (2005). Hearing Gestures: How Our Hands Help Us to Think Gero, J. (-). Ten problems for AI in design Suchman, L. (2007). Human machine reconfiguration