Creative encounters with topography and attempts to record and represent the patina of place become of growing importance as we find ways to explore human impact on our environment and to foreground the role of craft as a geo-intervention. Ceramicist Adam Buick maintains an inherently physical connection with the landscape as he walks through the local environment and as he digs for clay and collects materials. His process forms a series of deep maps, which emerge through his ceramic work. Both a concept and a practice, ‘deep mapping’ refers to an approach in which artists, scientists and scholars attempt to capture the different meanings and textures that are associated with particular places. This article discusses the potential of deep mapping as a craft research methodology. To do so, it takes as a case study Earth to Earth (2011–12), in which Buick documents the weathering away of his raw clay moon jar using time-lapse photography. His resulting film and photographic stills tell a story of movement, time and evolution. Buick’s jars draw attention to the matter we manipulate as being subject to its own environmental conversations and witnessing of change. The deep map offers the potential for a methodology that embraces multiplicity, simultaneity and complexity, encouraging a spatially facilitated understanding of our craft stories and products. Framed as a conversation and not a statement, deep maps are inherently unstable, continually unfolding and changing in response to new data and new insights. More than a collapsed or failed pot, Buick’s jars are a deep map of an adventure.
{"title":"Ceramics in the wild: Deep mapping and the moon jars of Adam Buick","authors":"Tara Chittenden","doi":"10.1386/crre_00106_1","DOIUrl":"https://doi.org/10.1386/crre_00106_1","url":null,"abstract":"Creative encounters with topography and attempts to record and represent the patina of place become of growing importance as we find ways to explore human impact on our environment and to foreground the role of craft as a geo-intervention. Ceramicist Adam Buick maintains an inherently physical connection with the landscape as he walks through the local environment and as he digs for clay and collects materials. His process forms a series of deep maps, which emerge through his ceramic work. Both a concept and a practice, ‘deep mapping’ refers to an approach in which artists, scientists and scholars attempt to capture the different meanings and textures that are associated with particular places. This article discusses the potential of deep mapping as a craft research methodology. To do so, it takes as a case study Earth to Earth (2011–12), in which Buick documents the weathering away of his raw clay moon jar using time-lapse photography. His resulting film and photographic stills tell a story of movement, time and evolution. Buick’s jars draw attention to the matter we manipulate as being subject to its own environmental conversations and witnessing of change. The deep map offers the potential for a methodology that embraces multiplicity, simultaneity and complexity, encouraging a spatially facilitated understanding of our craft stories and products. Framed as a conversation and not a statement, deep maps are inherently unstable, continually unfolding and changing in response to new data and new insights. More than a collapsed or failed pot, Buick’s jars are a deep map of an adventure.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139343594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There are accepted academic traditions about how data is visually represented, most often in the form of graphs, tables and maps. To visually represent the findings of a study about quilt makers in New Zealand and be congruent with the research topic, the researcher made a quilt to represent the findings. While much of the existing research about quilts focuses on the analysis of meaning, this article is about encoding meaning in a quilt. The article describes the processes of design and making which drew on a diverse range of quilt making traditions and forms of data representation exemplified by the theory of social semiotics. Quilt design decisions were informed by pattern, symbolism and fabric choice and drew on traditions where quilts have been made to convey information such as quilts as signs for escaping slaves on the underground railroad, storytelling tivaevae quilts from the Cook Islands, and the contemporary temperature quilts where daily high and low temperatures are recorded. Data is also communicated in traditional ways such as through graphs made from fabric. This article describes the process of conceptualizing the design and includes photographs of the finished work.
{"title":"Data becomes quilt: Encoding meaning through social semiotics","authors":"Jayne Jackson","doi":"10.1386/crre_00109_1","DOIUrl":"https://doi.org/10.1386/crre_00109_1","url":null,"abstract":"There are accepted academic traditions about how data is visually represented, most often in the form of graphs, tables and maps. To visually represent the findings of a study about quilt makers in New Zealand and be congruent with the research topic, the researcher made a quilt to represent the findings. While much of the existing research about quilts focuses on the analysis of meaning, this article is about encoding meaning in a quilt. The article describes the processes of design and making which drew on a diverse range of quilt making traditions and forms of data representation exemplified by the theory of social semiotics. Quilt design decisions were informed by pattern, symbolism and fabric choice and drew on traditions where quilts have been made to convey information such as quilts as signs for escaping slaves on the underground railroad, storytelling tivaevae quilts from the Cook Islands, and the contemporary temperature quilts where daily high and low temperatures are recorded. Data is also communicated in traditional ways such as through graphs made from fabric. This article describes the process of conceptualizing the design and includes photographs of the finished work.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Designing Modern Japan, Sarah Teasley (2022) London: Reaktion Books, 424 pp., ISBN 987-1-78023-202-7, h/bk, £30 ISBN 978-1-78023-230-0, e-book, £30
回顾：设计现代日本》，Sarah Teasley（2022 年），伦敦：Reaktion Books，424 页，ISBN 987-1-78023-202-7，印刷版，30 英镑 ISBN 978-1-78023-230-0，电子书，30 英镑
{"title":"Designing Modern Japan, Sarah Teasley (2022)","authors":"Marie O’Mahony","doi":"10.1386/crre_00113_5","DOIUrl":"https://doi.org/10.1386/crre_00113_5","url":null,"abstract":"Review of: Designing Modern Japan, Sarah Teasley (2022) London: Reaktion Books, 424 pp., ISBN 987-1-78023-202-7, h/bk, £30 ISBN 978-1-78023-230-0, e-book, £30","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Tradition/Innovation: Craft and Future Intangible Cultural Heritage, jointly organized by The Craft Study Centre, University for the Creative Arts (UCA) and West Dean College, West Dean West Sussex, UK, 30 March 2023
{"title":"Tradition/Innovation: Craft and Future Intangible Cultural Heritage, jointly organized by The Craft Study Centre, University for the Creative Arts (UCA) and West Dean College, West Dean1","authors":"Paul Harper","doi":"10.1386/crre_00114_5","DOIUrl":"https://doi.org/10.1386/crre_00114_5","url":null,"abstract":"Review of: Tradition/Innovation: Craft and Future Intangible Cultural Heritage, jointly organized by The Craft Study Centre, University for the Creative Arts (UCA) and West Dean College, West Dean West Sussex, UK, 30 March 2023","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: We Are Commoners: A Craftspace National Touring Exhibition, Curated by Emma Daker and Deirdre Figueiredo The Civic, Barnsley, 5 February–23 April 2022
{"title":"We Are Commoners: A Craftspace National Touring Exhibition, Curated by Emma Daker and Deirdre Figueiredo","authors":"Wendy Ward","doi":"10.1386/crre_00112_5","DOIUrl":"https://doi.org/10.1386/crre_00112_5","url":null,"abstract":"Review of: We Are Commoners: A Craftspace National Touring Exhibition, Curated by Emma Daker and Deirdre Figueiredo The Civic, Barnsley, 5 February–23 April 2022","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139347093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study examines why people choose to participate in online and face-to-face craft groups and seeks to understand how the mode of participation impacts individual experience and meaning making. Data from eight semi-structured interviews, text analysis of 345 social media posts, and participant observation of four face-to-face craft group meet-ups are synthesized, resulting in identification of social, technical and expressive meanings that underpin motivation to participate in both online and physical groups. These three categories expand on previous research categorizing motivation and meanings related to physical craft groups, by considering the range of asynchronous making-related online activities. The processes associated with sharing and acquiring knowledge and skills in online and physical craft groups were compared, with online groups being considered more conducive to the sharing of explicit or ‘hard’ knowledge, and physical groups being more suited to the sharing of tacit or ‘soft’ knowledge.
{"title":"Learning in online and physical craft groups: Motivations and meanings","authors":"Miriam Gibson, R. Spronken-Smith","doi":"10.1386/crre_00107_1","DOIUrl":"https://doi.org/10.1386/crre_00107_1","url":null,"abstract":"This study examines why people choose to participate in online and face-to-face craft groups and seeks to understand how the mode of participation impacts individual experience and meaning making. Data from eight semi-structured interviews, text analysis of 345 social media posts, and participant observation of four face-to-face craft group meet-ups are synthesized, resulting in identification of social, technical and expressive meanings that underpin motivation to participate in both online and physical groups. These three categories expand on previous research categorizing motivation and meanings related to physical craft groups, by considering the range of asynchronous making-related online activities. The processes associated with sharing and acquiring knowledge and skills in online and physical craft groups were compared, with online groups being considered more conducive to the sharing of explicit or ‘hard’ knowledge, and physical groups being more suited to the sharing of tacit or ‘soft’ knowledge.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Finnish lace artist Tarmo Thorström redefines the conventional understanding of lace, conceiving it as an absence rather than a presence – a philosophical stance that permeates his innovative bobbin lace creations. His artistic repertoire interlaces disparate themes, transgressing the boundaries of traditional lace artistry. The city of Rauma, located on Finland’s western coast, serves as both muse and canvas, showcasing Thorström’s evocative works in its urban landscape and holding annual bobbin lace festivals to commemorate this living tradition. Thorström’s engagement extends beyond artistic production, encompassing pedagogical and research endeavours that traverse the fields of craft education and studying materials. This multifaceted involvement is underscored by his publications, notably a work on bobbin lace crafting, highlighting its significance within the continuum of cultural heritage. Moreover, Thorström’s artistic praxis embodies sustainability imperatives, evident in his repurposing of discarded materials, such as reclaimed bobbins and threads. This ethos aligns with broader discourses on sustainable crafting practices and material ecologies. Beyond craft, Thorström’s artistic output serves as a locus for profound philosophical contemplation on the nature of existence and humanity’s relationship with the cosmos. This portrait article situates Thorström’s original approach within the larger discourse on materiality and artistic practice, shedding light on the transformative potential of lace as a medium for philosophical and artistic expression.
{"title":"Tarmo Thorström: A forward-thinking lace artist","authors":"Sara Sintonen, Mikko Snellman","doi":"10.1386/crre_00111_1","DOIUrl":"https://doi.org/10.1386/crre_00111_1","url":null,"abstract":"Finnish lace artist Tarmo Thorström redefines the conventional understanding of lace, conceiving it as an absence rather than a presence – a philosophical stance that permeates his innovative bobbin lace creations. His artistic repertoire interlaces disparate themes, transgressing the boundaries of traditional lace artistry. The city of Rauma, located on Finland’s western coast, serves as both muse and canvas, showcasing Thorström’s evocative works in its urban landscape and holding annual bobbin lace festivals to commemorate this living tradition. Thorström’s engagement extends beyond artistic production, encompassing pedagogical and research endeavours that traverse the fields of craft education and studying materials. This multifaceted involvement is underscored by his publications, notably a work on bobbin lace crafting, highlighting its significance within the continuum of cultural heritage. Moreover, Thorström’s artistic praxis embodies sustainability imperatives, evident in his repurposing of discarded materials, such as reclaimed bobbins and threads. This ethos aligns with broader discourses on sustainable crafting practices and material ecologies. Beyond craft, Thorström’s artistic output serves as a locus for profound philosophical contemplation on the nature of existence and humanity’s relationship with the cosmos. This portrait article situates Thorström’s original approach within the larger discourse on materiality and artistic practice, shedding light on the transformative potential of lace as a medium for philosophical and artistic expression.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139343613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From within a network of movements, the dialogue established between craftswomen and material takes the form of craft practice. As a set of beats, what are the rhythms expressed through the crafting process? This question is approached by following closely the way artisans, from the Qom people of Resistencia (capital of the province of Chaco, Argentina), work with cattail, a native plant that grows in flooded environments such as lagoons and estuaries. The craft generated is mainly sold at the local market. The research expands upon the production and commercialization process. The article is part of an ongoing investigation started in 2012. The ethnographic method was used with information obtained through participant observation, ethnographic interview, informal and formal documentation. Among the multiple rhythms concerning the work, are those linked to: frost, sun, moon, rain, urbanization, sale opportunities and housework. Paradoxically, although a product arises, it is not based on the accounting of a homogeneous ‘working hour’. The selling agreements integrate heterogeneous rhythms that are managed with various strategies including rationing and/or storage of materials, order distribution among several people, batch delivery and drying with heat-emitting devices. Rhythms are inevitably expressed, if not in the sales agreement, through bodies, plants and forms.
{"title":"Rhythms in the production and commercialization of crafts in Chaco","authors":"Myriam Fernanda Perret","doi":"10.1386/crre_00110_1","DOIUrl":"https://doi.org/10.1386/crre_00110_1","url":null,"abstract":"From within a network of movements, the dialogue established between craftswomen and material takes the form of craft practice. As a set of beats, what are the rhythms expressed through the crafting process? This question is approached by following closely the way artisans, from the Qom people of Resistencia (capital of the province of Chaco, Argentina), work with cattail, a native plant that grows in flooded environments such as lagoons and estuaries. The craft generated is mainly sold at the local market. The research expands upon the production and commercialization process. The article is part of an ongoing investigation started in 2012. The ethnographic method was used with information obtained through participant observation, ethnographic interview, informal and formal documentation. Among the multiple rhythms concerning the work, are those linked to: frost, sun, moon, rain, urbanization, sale opportunities and housework. Paradoxically, although a product arises, it is not based on the accounting of a homogeneous ‘working hour’. The selling agreements integrate heterogeneous rhythms that are managed with various strategies including rationing and/or storage of materials, order distribution among several people, batch delivery and drying with heat-emitting devices. Rhythms are inevitably expressed, if not in the sales agreement, through bodies, plants and forms.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Knitted fabric is a part of everyday life for many, whether it be worn, made or metaphorically referenced. It can also be, when critically considered, an expressive practice with philosophical merit. The ostensibly simple looping of yarns into a continuous surface suggests conceptual depth through poetic comparisons to processes of living and storytelling, among others. The practice-led research project ‘Stranded colourwork: Meaning-making through experimental knitting practices’ worked to define the intrinsic qualities of knitting that make it meaningful, and to uncover its expressive potential as an experimental artistic practice. Through the creation of a series of figurative machine-knit artworks, the confluence of knitting and narrative created an opportunity to study the implications of stitched life. This article elucidates the theoretical framework behind the project and focuses on knittedness, a concept proposed through the research. Knittedness refers to the specific aesthetic and technical qualities inherent to the process, and how these qualities can become symbolically significant both in art making and in finding meaning and connection in life. The idea of pixelness is also proposed as an integral part of knitting and other pixelated processes, where the process and aesthetic quality is informed by a repetitive technical structure. These concepts can be expanded to advocate for a notion of craftedness, suggesting the value of determining the idiosyncratic expressivity of individual creative practices, and how a maker might use this knowledge to create technique-focused work and find new appreciation for the process.
{"title":"Knittedness: On the expressivity of knitting as metaphoric process","authors":"Linnea Kilpi","doi":"10.1386/crre_00108_1","DOIUrl":"https://doi.org/10.1386/crre_00108_1","url":null,"abstract":"Knitted fabric is a part of everyday life for many, whether it be worn, made or metaphorically referenced. It can also be, when critically considered, an expressive practice with philosophical merit. The ostensibly simple looping of yarns into a continuous surface suggests conceptual depth through poetic comparisons to processes of living and storytelling, among others. The practice-led research project ‘Stranded colourwork: Meaning-making through experimental knitting practices’ worked to define the intrinsic qualities of knitting that make it meaningful, and to uncover its expressive potential as an experimental artistic practice. Through the creation of a series of figurative machine-knit artworks, the confluence of knitting and narrative created an opportunity to study the implications of stitched life. This article elucidates the theoretical framework behind the project and focuses on knittedness, a concept proposed through the research. Knittedness refers to the specific aesthetic and technical qualities inherent to the process, and how these qualities can become symbolically significant both in art making and in finding meaning and connection in life. The idea of pixelness is also proposed as an integral part of knitting and other pixelated processes, where the process and aesthetic quality is informed by a repetitive technical structure. These concepts can be expanded to advocate for a notion of craftedness, suggesting the value of determining the idiosyncratic expressivity of individual creative practices, and how a maker might use this knowledge to create technique-focused work and find new appreciation for the process.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139343453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The editorial highlights how the practitioners featured in issue 14.2 seek intrinsic value within and through making, supported by relationships with the natural and social world. The contributions are clustered into three themes. In ‘materiality and nature’, Tara Chittenden explores ‘Ceramics in the wild: Deep mapping and the moon jars of Adam Buick’, and how the ceramicist’s vessels represent the cycle of a material, and life itself. Myriam Perret‘s ‘Rhythms in the production and commercialization of crafts in Chaco’ reports upon her ethnographic study of the Qow people of Argentina and their craft of cattail harvesting and weaving, revealing seasonal and weather-related choices. Theme 2, ‘making and metaphor’ includes ‘Data becomes quilt’, by Jayne Jackson, who analyses a range of influences and social semiotic meanings encoded within her own and others quilt-making. The relationship of social meanings and craft activities are researched by Miriam Gibson and Rachel Spronken-Smith’s ‘Learning in online and physical craft groups: Motivations and meanings’, while Linnea Kilpi, whose work is featured on the cover, presents ‘Meaning-making through experimental knitting practices’, supported by the concept of ‘Knittedness’. Theme 3, ‘tradition, heritage and the future’, begins with Sara Sintonen and Mikko Snellman’s portrait of ‘Tarmo Thorström’ whose contemporary craft practice is rooted in the cultural tradition of bobbin lace making in Rauma on the west coast of Finland. Wendy Ward’s review of the exhibition, We Are Commoners, speculates on how historical notions of sharing – as represented by ‘the commons’ and exemplified by the Right to Roam and Right to Repair movements – could be re-imagined as the basis for sustainable craft practice. Sarah Teasley’s (2022) Designing Modern Japan, is reviewed by Marie O’Mahony and the Tradition/Innovation: Craft and Future Intangible Cultural Heritage conference held at West Dean College in March 2023, by Paul Harper.
{"title":"Making: Place, material and metaphor","authors":"K. Niedderer, Katherine Townsend, Gemma Potter","doi":"10.1386/crre_00105_2","DOIUrl":"https://doi.org/10.1386/crre_00105_2","url":null,"abstract":"The editorial highlights how the practitioners featured in issue 14.2 seek intrinsic value within and through making, supported by relationships with the natural and social world. The contributions are clustered into three themes. In ‘materiality and nature’, Tara Chittenden explores ‘Ceramics in the wild: Deep mapping and the moon jars of Adam Buick’, and how the ceramicist’s vessels represent the cycle of a material, and life itself. Myriam Perret‘s ‘Rhythms in the production and commercialization of crafts in Chaco’ reports upon her ethnographic study of the Qow people of Argentina and their craft of cattail harvesting and weaving, revealing seasonal and weather-related choices. Theme 2, ‘making and metaphor’ includes ‘Data becomes quilt’, by Jayne Jackson, who analyses a range of influences and social semiotic meanings encoded within her own and others quilt-making. The relationship of social meanings and craft activities are researched by Miriam Gibson and Rachel Spronken-Smith’s ‘Learning in online and physical craft groups: Motivations and meanings’, while Linnea Kilpi, whose work is featured on the cover, presents ‘Meaning-making through experimental knitting practices’, supported by the concept of ‘Knittedness’. Theme 3, ‘tradition, heritage and the future’, begins with Sara Sintonen and Mikko Snellman’s portrait of ‘Tarmo Thorström’ whose contemporary craft practice is rooted in the cultural tradition of bobbin lace making in Rauma on the west coast of Finland. Wendy Ward’s review of the exhibition, We Are Commoners, speculates on how historical notions of sharing – as represented by ‘the commons’ and exemplified by the Right to Roam and Right to Repair movements – could be re-imagined as the basis for sustainable craft practice. Sarah Teasley’s (2022) Designing Modern Japan, is reviewed by Marie O’Mahony and the Tradition/Innovation: Craft and Future Intangible Cultural Heritage conference held at West Dean College in March 2023, by Paul Harper.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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