Hand Thought: Craft values in digital making - Exploring craft values in digital making
- Submitting institution
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University of Northumbria at Newcastle
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 25665383
- Type
- L - Artefact
- Location
- Artist's Private Collection
- Open access status
- -
- Month of production
- June
- Year of production
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This series of CNC milled/hand carved wood tableware and associated digital/analogue drawings were developed to explore both the aesthetic opportunities that CNC (computer numerically controlled) technologies can hold for the craft maker, and to question where the line between hand and machine-made lies. More broadly it seeks to both explore and demonstrate craft approaches and values when engaging with digital production technologies. The aims of this research are to: Investigate the aesthetic opportunities that CNC technologies can hold for the craft/designer maker. Demonstrate a craft-oriented approach to the engagement with digital tools which embodies a distinct Pragmatic approach to, and consideration of, mediating technologies. Use the resulting work as a springboard to instigate debate concerning how the creative use of the digital toolset can challenge the concepts/values of craft and the ‘handmade’. This research builds on previous work carried out by the researcher, (e.g. within the Autonomatic research group 2003-2014), and others exploring both aesthetic opportunities of digital tools: e.g. Masterton (2007), Jorgensen (2013), Zoran (2015), Johnson (2017), Grimshaw (2017), and its significance: McCullough (1996), Pallasmaa (2009), Ingold (2013). The work was created using various configurations of CAD, specialist toolpath software, CNC milling, smart pen (Anoto), a plotter/cutter, hand drawing and traditional wood carving techniques. The 3D artifacts were used within workshops that sort to explore broader craft values in digital making. As such this body of work sought to combine a sophisticated digital making/hybrid practice (as an end in itself) with an explicit investigation into associated theoretical debates. Dissemination: 2020-21: Baltic Open, selected art exhibition, Gateshead. 2019: Handmade by Machines, symposium and exhibition. Birmingham City, School of Jewellery. 2019: RTD conference, Delft. Exhibition and associated paper ‘Enticatypes: Exploring how artefacts can entice conversation on craft values in digital making’. 2018: Gallery North, Great Exhibition of the North, Newcastle.
- Author contribution statement
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- Non-English
- No
- English abstract
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