Crafts in higher education (HE) are scattered and typically lack departments of their own, instead being integrated in art, design, technology, education or culture-oriented departments. The purpose of this research is to shed light on the orientations of crafts in HE programmes that have crafts as their foci. Based on document analysis of the curricula of one American and four European (Finland, Sweden, Estonia and United Kingdom) craft study programmes and fieldwork observations, the following five orientations were identified: educational crafts, traditional crafts, critical crafts, cultural heritage of crafts and design-based crafts. Both similarities and differences were found. The targets, prospective career paths and pedagogical methods of these study programmes were adapted to the broader targets of the various departments. Craft teaching followed the basic principles of studio pedagogy. The sought-after skill acquisition level varied from expressive purposes to ability to make quality products. There were also differences in whether a programme focused on a specific craft field or covered a broad spectrum. The requirements of academization were adapted in all study programmes. However, the role of writing differed from free and short reflective writing in the art department to a strict academic writing style in the education department. Professional goals varied from becoming a teacher or an artist to self-employment in a small-scale craft enterprise or achieving commercial success in industrial production. Concerns about losing craft traditions and dedication to maintaining them were shared across programmes. Despite being situated on the outskirts of academia, the status of crafts as an HE discipline adds value and visibility to the crafts and strengthens their identities.
{"title":"Orientations on studying crafts in higher education","authors":"S. Kokko","doi":"10.1386/crre_00086_1","DOIUrl":"https://doi.org/10.1386/crre_00086_1","url":null,"abstract":"Crafts in higher education (HE) are scattered and typically lack departments of their own, instead being integrated in art, design, technology, education or culture-oriented departments. The purpose of this research is to shed light on the orientations of crafts in HE programmes that have crafts as their foci. Based on document analysis of the curricula of one American and four European (Finland, Sweden, Estonia and United Kingdom) craft study programmes and fieldwork observations, the following five orientations were identified: educational crafts, traditional crafts, critical crafts, cultural heritage of crafts and design-based crafts. Both similarities and differences were found. The targets, prospective career paths and pedagogical methods of these study programmes were adapted to the broader targets of the various departments. Craft teaching followed the basic principles of studio pedagogy. The sought-after skill acquisition level varied from expressive purposes to ability to make quality products. There were also differences in whether a programme focused on a specific craft field or covered a broad spectrum. The requirements of academization were adapted in all study programmes. However, the role of writing differed from free and short reflective writing in the art department to a strict academic writing style in the education department. Professional goals varied from becoming a teacher or an artist to self-employment in a small-scale craft enterprise or achieving commercial success in industrial production. Concerns about losing craft traditions and dedication to maintaining them were shared across programmes. Despite being situated on the outskirts of academia, the status of crafts as an HE discipline adds value and visibility to the crafts and strengthens their identities.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44535841","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 article sets out from the digital reconstruction of a historic building and assesses and discusses the use of a Virtual Reality Application as a self-standing research output. Despite the recognized possibilities and the amount of research that goes into the creation of scientific virtual reconstructions, there is still a need for broadly accepted procedures to not only publish them but also incorporate them into the academic systems as research outputs in their own right. The empirical material – a digital reconstruction of a wooden stave church – is here explored as both a hermeneutic device in the research process and a research output. We argue that the use of technology such as virtual reality that can communicate presence is particularly important in research on embodied craft skills and sensory-based judgements to reduce the loss of information in translations between modes, medias and formats. However, to function and have an impact as a research output, new formats have to adapt to fundamental and broadly accepted conventions within academia which have been established by the text-on-paper formats and establish conventions that facilitate access, navigation and referencing.
{"title":"Bringing a building into being: A Virtual Reality Application as a non-traditional research output","authors":"Jonathan Westin, G. Almevik","doi":"10.1386/crre_00080_1","DOIUrl":"https://doi.org/10.1386/crre_00080_1","url":null,"abstract":"This article sets out from the digital reconstruction of a historic building and assesses and discusses the use of a Virtual Reality Application as a self-standing research output. Despite the recognized possibilities and the amount of research that goes into the creation of scientific virtual reconstructions, there is still a need for broadly accepted procedures to not only publish them but also incorporate them into the academic systems as research outputs in their own right. The empirical material – a digital reconstruction of a wooden stave church – is here explored as both a hermeneutic device in the research process and a research output. We argue that the use of technology such as virtual reality that can communicate presence is particularly important in research on embodied craft skills and sensory-based judgements to reduce the loss of information in translations between modes, medias and formats. However, to function and have an impact as a research output, new formats have to adapt to fundamental and broadly accepted conventions within academia which have been established by the text-on-paper formats and establish conventions that facilitate access, navigation and referencing.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44833512","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}
Digital tools such as computer-aided design and computer-aided manufacturing (CAD/CAM) have expanded the nature of craft practice, offering new means of design and making. However, in weaving, handmaking continues to be privileged, despite the acceptance of digital design and computer-controlled lifting mechanisms. Through experimental design research methods, self-forming three-dimensional textiles were designed in CAD software and woven on a computer-controlled jacquard power loom (a CAM tool). The textiles’ three dimensionality arises from the combination of materials (contrasting shrinking and stiff yarns), structure and finishing. They are contextualized as craft objects through Pye’s concept of ‘the workmanship of risk’. As outcomes of a craft process, they illustrate the potential of industrial looms as tools for producing complex textile systems and expressions. The results include a method for crafting at the intersection of the workmanship of risk and CAD/CAM, providing a framework for this hybrid practice. The concept of emergent behaviour is discussed as a craft strategy when the workmanship of risk is focused on material forming rather than the tool or technique. This concept is contextualized beyond weaving, suggesting its applicability to other craft fields and practices, whether produced by hand or with the use of digital tools.
{"title":"Emergent behaviour as a forming strategy in craft: The workmanship of risk applied to industrial-loom weaving","authors":"K. Walters","doi":"10.1386/crre_00082_1","DOIUrl":"https://doi.org/10.1386/crre_00082_1","url":null,"abstract":"Digital tools such as computer-aided design and computer-aided manufacturing (CAD/CAM) have expanded the nature of craft practice, offering new means of design and making. However, in weaving, handmaking continues to be privileged, despite the acceptance of digital design and computer-controlled lifting mechanisms. Through experimental design research methods, self-forming three-dimensional textiles were designed in CAD software and woven on a computer-controlled jacquard power loom (a CAM tool). The textiles’ three dimensionality arises from the combination of materials (contrasting shrinking and stiff yarns), structure and finishing. They are contextualized as craft objects through Pye’s concept of ‘the workmanship of risk’. As outcomes of a craft process, they illustrate the potential of industrial looms as tools for producing complex textile systems and expressions. The results include a method for crafting at the intersection of the workmanship of risk and CAD/CAM, providing a framework for this hybrid practice. The concept of emergent behaviour is discussed as a craft strategy when the workmanship of risk is focused on material forming rather than the tool or technique. This concept is contextualized beyond weaving, suggesting its applicability to other craft fields and practices, whether produced by hand or with the use of digital tools.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45355359","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}
Camilla Groth, V. Jousmäki, Veli-Matti Saarinen, R. Hari
Collaboration between disciplines is necessary when research questions cannot be answered within a single discipline. Joining of forces can produce results that neither discipline could provide alone. Here we exemplify collaboration between a ceramic craft researcher and three neuroscientists working in the field of human brain imaging. In our case study of clay throwing, the researcher–practitioner’s eye gaze, muscular activity and hand acceleration were recorded online, synchronized with video and thermal-camera recordings. We describe the experimental setting and discuss, besides the possible future interests in this kind of research, also the different levels of collaborative work between disciplines. We found that the monitoring methods worked well in the naturalistic setting in a ceramic studio, providing some new perspectives into the craft practice. For neuroscientists, clay throwing – involving accurate sensorimotor hand control, haptics and eye–hand coordination – provides an attractive setup to extend previous neuroscientific and behavioural findings in strictly controlled laboratory experiments into naturalistic situations. The applied monitoring devices might allow practitioner–researchers in crafts to become aware of unconscious steps in the making process. The applied methods could also help to accumulate general craft-making knowledge and build related theory.
{"title":"Craft sciences meet neuroscience","authors":"Camilla Groth, V. Jousmäki, Veli-Matti Saarinen, R. Hari","doi":"10.1386/crre_00079_1","DOIUrl":"https://doi.org/10.1386/crre_00079_1","url":null,"abstract":"Collaboration between disciplines is necessary when research questions cannot be answered within a single discipline. Joining of forces can produce results that neither discipline could provide alone. Here we exemplify collaboration between a ceramic craft researcher and three neuroscientists working in the field of human brain imaging. In our case study of clay throwing, the researcher–practitioner’s eye gaze, muscular activity and hand acceleration were recorded online, synchronized with video and thermal-camera recordings. We describe the experimental setting and discuss, besides the possible future interests in this kind of research, also the different levels of collaborative work between disciplines. We found that the monitoring methods worked well in the naturalistic setting in a ceramic studio, providing some new perspectives into the craft practice. For neuroscientists, clay throwing – involving accurate sensorimotor hand control, haptics and eye–hand coordination – provides an attractive setup to extend previous neuroscientific and behavioural findings in strictly controlled laboratory experiments into naturalistic situations. The applied monitoring devices might allow practitioner–researchers in crafts to become aware of unconscious steps in the making process. The applied methods could also help to accumulate general craft-making knowledge and build related theory.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47719781","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}
Nottingham was once the centre of a global lace industry employing tens of thousands of people in its manufacture. Therefore, its slow decline and sudden demise in the early years of the twenty-first century impacted upon both the sense of identity of the citizens who were involved in its success and those who enjoyed its resonance. The cultural venues whose collections celebrated this once powerful industry closed and their collections were rendered invisible. This amplified the sense of being bereft of both individual and regional identity, but also the cohesion it brought to the city. It is within this context that we share a number of collaborations between cultural, educational, community and business partners to begin to address this sense of loss, to improve the visibility and legacy of Nottingham lace and continue to tell its story with renewed vigour and through the voices of those who worked within it. Through two funded projects Lace Unravelled and Textile Tales, we provide testimony from those still involved in lace production, now reduced to less than a 100 people, and from former lace workers. These current and former employees reflect upon the values implicit within lace manufacture, then and now, of skill, craft and a pride in work.
{"title":"Lace legacies: How partnerships enhance understanding of craft and heritage","authors":"A. Briggs-Goode, Tonya Outtram, Deborah M. Dean","doi":"10.1386/crre_00084_1","DOIUrl":"https://doi.org/10.1386/crre_00084_1","url":null,"abstract":"Nottingham was once the centre of a global lace industry employing tens of thousands of people in its manufacture. Therefore, its slow decline and sudden demise in the early years of the twenty-first century impacted upon both the sense of identity of the citizens who were involved in its success and those who enjoyed its resonance. The cultural venues whose collections celebrated this once powerful industry closed and their collections were rendered invisible. This amplified the sense of being bereft of both individual and regional identity, but also the cohesion it brought to the city. It is within this context that we share a number of collaborations between cultural, educational, community and business partners to begin to address this sense of loss, to improve the visibility and legacy of Nottingham lace and continue to tell its story with renewed vigour and through the voices of those who worked within it. Through two funded projects Lace Unravelled and Textile Tales, we provide testimony from those still involved in lace production, now reduced to less than a 100 people, and from former lace workers. These current and former employees reflect upon the values implicit within lace manufacture, then and now, of skill, craft and a pride in work.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48542070","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}
{"title":"Olof Appelgren: A portrait of a practitioner-researcher","authors":"G. Almevik, Tina Westerlund","doi":"10.1386/crre_00087_7","DOIUrl":"https://doi.org/10.1386/crre_00087_7","url":null,"abstract":"","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46133794","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 article seeks to shed light on the transposition of traditional crafts related to the popular religion of the Azores into the secular context of art in the works of Catarina Branco, taking two of the artist’s exhibitions ‐ Fez-se Luz, 2012, and Alminhas, 2013 ‐ as case studies. The research first shows how this transposition leads to the cross-fertilization of the religious and artistic domains, imbuing art with greater spirituality and introducing reflections concerning contemporary issues, such as emigration and the position of women into the context of religion. Second, I discuss how the contingent nature of craft in art is used as a disruptive element that liberates the imagination, thought and feelings, dismantling hierarchies between the manual and the intellectual, the masculine and the feminine, as well as those between religion, art and craft, through embodied gesture. Religion is here understood in its wider sense as a form of mediation of the transcendent (Meyer 2009). I argue that these works can be seen as a political gesture, which highlights the past of women who lived in anonymity, simultaneously preserving and renewing traditional crafts that are dying out while also deconstructing the false dichotomy between the manual and the intellectual or spiritual. The act of papercutting gives physical form to the experiences of Azorean women, while at the same time addressing questions relevant to the human condition, including migration and the eternal search for transcendence. Through its inevitable polysemy, this act reveals meanings that have been hidden by habit, allowing the viewer to rediscover them.
本文以卡塔琳娜·布兰科的两个展览——2012年的Fez se Luz和2013年的Alminhas——为个案研究，试图揭示卡塔琳娜·Branco作品中与亚速尔群岛流行宗教相关的传统工艺与世俗艺术背景的转换。研究首先表明，这种换位是如何导致宗教和艺术领域的交叉融合，赋予艺术更大的灵性，并引入对当代问题的思考，如移民和妇女在宗教背景下的地位。其次，我讨论了艺术中工艺的偶然性如何被用作一种颠覆性元素，解放想象力、思想和情感，通过具体的姿态打破手工与知识分子、男性与女性以及宗教、艺术与工艺之间的等级制度。在这里，宗教在更广泛的意义上被理解为超越者的一种中介形式（Meyer，2009）。我认为，这些作品可以被视为一种政治姿态，它突出了匿名女性的过去，同时保留和更新了正在消亡的传统工艺，同时也解构了手工与知识或精神之间的错误二分法。剪纸为亚速尔妇女的经历赋予了物理形式，同时也解决了与人类状况相关的问题，包括移民和对超越的永恒追求。通过不可避免的多义性，这一行为揭示了被习惯隐藏的含义，让观众重新发现它们。
{"title":"Crafting political gestures of locality: The transposition of artisanal traditions in the artwork of Catarina Branco","authors":"Ana Nolasco","doi":"10.1386/crre_00065_1","DOIUrl":"https://doi.org/10.1386/crre_00065_1","url":null,"abstract":"This article seeks to shed light on the transposition of traditional crafts related to the popular religion of the Azores into the secular context of art in the works of Catarina Branco, taking two of the artist’s exhibitions ‐ Fez-se Luz, 2012, and Alminhas,\u0000 2013 ‐ as case studies. The research first shows how this transposition leads to the cross-fertilization of the religious and artistic domains, imbuing art with greater spirituality and introducing reflections concerning contemporary issues, such as emigration and the position of women\u0000 into the context of religion. Second, I discuss how the contingent nature of craft in art is used as a disruptive element that liberates the imagination, thought and feelings, dismantling hierarchies between the manual and the intellectual, the masculine and the feminine, as well as those\u0000 between religion, art and craft, through embodied gesture. Religion is here understood in its wider sense as a form of mediation of the transcendent (Meyer 2009). I argue that these works can be seen as a political gesture, which highlights the past of women who lived in anonymity, simultaneously\u0000 preserving and renewing traditional crafts that are dying out while also deconstructing the false dichotomy between the manual and the intellectual or spiritual. The act of papercutting gives physical form to the experiences of Azorean women, while at the same time addressing questions relevant\u0000 to the human condition, including migration and the eternal search for transcendence. Through its inevitable polysemy, this act reveals meanings that have been hidden by habit, allowing the viewer to rediscover them.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42888938","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 article presents an experimental study of patterns created on latex-coated fabric by applying artistic and local craft techniques to create value-added aesthetics. The study sample was a southern community enterprise group in Southern Thailand, where the primary career was growing rubber trees. At present, rubber latex is used to coat fabrics in agricultural products such as artificial flooring pound, lime planting and planting trees for propagation. The experimental creative research was set up with the latex formula used for ponds or planting containers, local, readily available fabrics and techniques that can be applied by the community enterprise. The results found that the latex formula needed to be adjusted to reduce the stickiness so that it was suitable for particular pattern-making techniques. Using latex, it was possible to mix it with poster paint, acrylic paint, latex pigment and coloured latex to create other new colours. The rubber coating material was excellent in terms of water, and friction resistance, was washable and durable. The resulting coatings were combined with different textile techniques and applied as a material to enhance the aesthetics of other fabric and rubber-based products. The experiment resulted in new ways to create added value in the field of aesthetics to develop handicrafts imbued with local cultural identity. This innovative crafting process has the potential to be developed in association with a wide range of products, while increasing the economic value of rubber and the sustainability of the community.
{"title":"Crafting latex-coated fabrics: An experimental study with a local material of southern Thailand","authors":"Pharitporn Kawkamsue, Prachya Kritsanaphan","doi":"10.1386/crre_00069_1","DOIUrl":"https://doi.org/10.1386/crre_00069_1","url":null,"abstract":"This article presents an experimental study of patterns created on latex-coated fabric by applying artistic and local craft techniques to create value-added aesthetics. The study sample was a southern community enterprise group in Southern Thailand, where the primary career was growing\u0000 rubber trees. At present, rubber latex is used to coat fabrics in agricultural products such as artificial flooring pound, lime planting and planting trees for propagation. The experimental creative research was set up with the latex formula used for ponds or planting containers, local, readily\u0000 available fabrics and techniques that can be applied by the community enterprise. The results found that the latex formula needed to be adjusted to reduce the stickiness so that it was suitable for particular pattern-making techniques. Using latex, it was possible to mix it with poster paint,\u0000 acrylic paint, latex pigment and coloured latex to create other new colours. The rubber coating material was excellent in terms of water, and friction resistance, was washable and durable. The resulting coatings were combined with different textile techniques and applied as a material to enhance\u0000 the aesthetics of other fabric and rubber-based products. The experiment resulted in new ways to create added value in the field of aesthetics to develop handicrafts imbued with local cultural identity. This innovative crafting process has the potential to be developed in association with\u0000 a wide range of products, while increasing the economic value of rubber and the sustainability of the community.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45567876","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}
Theatre of the Imagination aims to demonstrate that making artefacts provokes a transformative way of thinking about the world while fostering independent learning skills in children. Signature pedagogies from art and design education help to build a learning culture that embraces the concept of childhood as a time of being and becoming. The workshops set out to explore the potential of making as a way of thinking in primary education through a constructionist epistemology, which demonstrates how sharing three-dimensional artefacts can help cultivate mutual respect. Transition design thinking is introduced to foster a socially and culturally inclusive vision for the future. Children and their teachers are encouraged to undertake interventions aimed at incremental change in the way we collaborate with others who live locally and with those who live on other continents. The UN global goals for sustainable development framework is used to set up situations worthy of debate at a time of social and environmental disruption. Insights emerging from Theatre of the Imagination suggest new ways of exploiting the value of design and making in mainstream primary education at a time of impecunity. Making as thinking provokes reflection and helps children and teachers to visualize ideas about how we may protect non-human and human life on earth.
{"title":"Theatre of the Imagination: A blueprint for design and making in primary education","authors":"Robert Pulley","doi":"10.1386/crre_00066_1","DOIUrl":"https://doi.org/10.1386/crre_00066_1","url":null,"abstract":"Theatre of the Imagination aims to demonstrate that making artefacts provokes a transformative way of thinking about the world while fostering independent learning skills in children. Signature pedagogies from art and design education help to build a learning culture that embraces\u0000 the concept of childhood as a time of being and becoming. The workshops set out to explore the potential of making as a way of thinking in primary education through a constructionist epistemology, which demonstrates how sharing three-dimensional artefacts can help cultivate mutual respect.\u0000 Transition design thinking is introduced to foster a socially and culturally inclusive vision for the future. Children and their teachers are encouraged to undertake interventions aimed at incremental change in the way we collaborate with others who live locally and with those who live on\u0000 other continents. The UN global goals for sustainable development framework is used to set up situations worthy of debate at a time of social and environmental disruption. Insights emerging from Theatre of the Imagination suggest new ways of exploiting the value of design and making\u0000 in mainstream primary education at a time of impecunity. Making as thinking provokes reflection and helps children and teachers to visualize ideas about how we may protect non-human and human life on earth.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45970953","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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