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International audience; We are all researchers, practitioners, and educators – but many of us are also artists, makers, curators. Our arts practice is part of what makes up our sense of self, but also influences our interests and directions in digital and technological enquiry. There exist spaces where the traditional lives alongside the computational, or where the two are blended, no less valid in purpose or value. We seek to investigate this liminal environment, and explore the current state of art in HCI, computer science and other related fields, shifting boundaries as to what ”art” is in these spaces. By bringing together like-minded and creative individuals, this workshop aims to both inspire and legitimise our diverse practices, present viewpoints, create meaningful outputs, host discussions, and work toward the future of this plurality.

The project aims to investigate, analyze, and contextualize the rich historical and traditional craft of wooden boat design in Sweden. Through individual research, contextual investigation, material explorations, interactions with a broad community of expert and amateur boat enthusiasts, and the development of prototypes, the project sees its realization in three wood furniture prototypes. The process consisted of an investigation, analysis, and identification of theoretical influences and inspirations, culminating in finished results. It explores the traditional world of Scandinavian wooden boat craft, and aims to discover how the methods, techniques, and mentality of boat building can be used in applications for contemporary furniture design and construction. The project aims to demonstrate one way in which humans can continue to practice and promote traditional artistic practices and skill sets, while remaining relevant in a modern context. By applying such construction methods and techniques, the project provides an example of how the younger generation of furniture designers and makers can develop and nurture the wood furniture platform. The project embraces the idea that wood furniture can be designed and constructed more sustainably by moving away from the traditional single life cycle, and welcoming circularity, keeping a traditional wood craft alive. It provides insights and an understanding of the contexts that have influenced my design choices. It also presents a comprehensive explanation and justification of the practical application of these choices, following critical feedback, culminating in three pieces of wooden boat influenced furniture. Information on the history and background of Swedish and Scandinavian wooden boat design and construction, its current state, and the potential for this fading industry to positively influence furniture design are explored, responding to key questions, including: How can the characteristics of Swedish wooden boat building be applied to a contemporary furniture context? How can incorporating boat building techniques and aesthetics aid us in keeping a traditional Swedish craft alive, and what can we learn from this application? From a perspective of circular design, how can the knowledge gained from this project contribute to the Swedish furniture industry in terms of sustainability and materiality 3 The author’s approach, a summary of the documentation prepared, and a timeline for completion of the project, with details on the design, the design models used, and the outcomes of the project, with detailed descriptions and illustrations of the three prototypes - the Pettersson chair, the Archipelago Bench, and the Clinker Roll, are presented.

In this work, a hand-woven fashion collection is designed. The aim is to create clothes that connect us with life and nature and make us feel that we are part of a vibrant surrounding. Following the idea of clothes as a social mean to connect to one’s environment, this work examines several concepts and techniques that already incorporate certain aspects of connectedness and directness. A particular interest lies in how the form of clothes can relate to the way they are made and the tools that are used – with focus on the weaving technique. Historical and cultural sources, as well as contemporary design research are consulted, that show how the form and material of clothing are developed simultaneously instead of separately. Throughout the process of this work, I want to practically explore the following questions: How can the process of making become tangible in the outcome? How can the way of making become a tool for artistic expression? This work aims to find practical answers to these questions in form of woven clothes. Weaving techniques are applied to the design of the garments. Tapestry techniques are used in order to create vertical slits/ openings for body parts. Garment forms are developed by experimenting with rectangular shaping/ block pattern making. The result is a collection of seven unique wearable pieces. They are one-of-a-kind luxury clothes, couture so to speak, made using different materials and woven structures on different types of looms. Last but not least the row of garments represent and show my learning process and adaption to a new way of working, a different way of designing and making clothes.

This open access book explores the experience of working as a craftsperson or designer maker in the contemporary creative economy. The authors utilise evidence from the only major empirical study to explore the skills required and the challenges facing contemporary makers in an increasingly crowded marketplace. Drawing upon 180 interviews with peak organisations, established and emerging makers, and four years of fieldwork across Australia, this book offers a unique insight into the motivations informing those who seek to make an income from their craft or designer maker practice, as well as the challenges and opportunities facing them as they do so at this time of renewed interest internationally in the artisanal and handmade. Offering a rich and deep collection of real-life experiences, this book is aimed both at an academic and practitioner audience.

The paper discusses how a teaching approach, interdisciplinary design and invention pedagogy, affected primary school student teachers' learning outcomes through the craft design process in pre-service teacher education. This study applies developmental work research (Engestrom in J Educ Work 14(1):133-156, 2001; Engestrom in Yhteiskehittely ja vaihdon vyohykkeet tutkijoiden ja elinkeinoelaman valilla 2013; Galison in Image & logic: a material culture of microphysics. The University of Chicago Press, Chicago, 1997; Gorman in Trading zones, interactional expertise and interdisciplinary collaboration 2005) that aims to develop educators' work involved here. To support a craft-designing process and making innovative artefacts, two disciplinesnatural science (physics) and dramaas examples of interdisciplinarity were invited to contribute to the craft process. The craft course on smart textiles' was carried out in the spring of 2014 and 2015 at the University of Helsinki in pre-service primary teacher education. The aim of the crafts course was to get student teachers familiar with different dimensions of crafts (textile, design and technology), inquiry-based designing and an interdisciplinary teaching approach to be used in a primary school context. The craft task included working in small groups and designing smart textiles. Student teachers documented their designing and implementation processes through photos and videos using applications such as iMovie or Movie maker. In addition, participants wrote comprehensions of their projects in learning diaries. The data consist of student teachers' learning diaries (N=17) and prototypes (N=17), which are analysed by qualitative content analysis. As results, first, the paper presents some innovative artefacts that student teachers created. Second, it describes the learning that emerged in pedagogical thinking of student teachers related to the interdisciplinary designing process, including (1) four interdisciplinary contexts, (2) new pedagogic thinking and (3) change of attitude towards integrative teaching.

Learning about circuitry by connecting a battery, light bulb, and wires is a common activity in many science classrooms. In this paper, we expand students’ learning about circuitry with electronic textiles, which use conductive thread instead of wires and sewable LEDs instead of lightbulbs, by integrating programming sensor inputs and light outputs and examining how the two domains interact. We implemented an electronic textiles unit with 23 high school students ages 16–17 years who learned how to craft and code circuits with the LilyPad Arduino, an electronic textile construction kit. Our analyses not only confirm significant increases in students’ understanding of functional circuits but also showcase students’ ability in designing and remixing program code for controlling circuits. In our discussion, we address opportunities and challenges of introducing codeable circuit design for integrating maker activities that include engineering and computing into classrooms.

‘Redefining Luxury’ – Social and Cultural Innovation through Craft- re-generating the silversmithing industry. For centuries, people worldwide have satisfied themselves with the possession of beautiful things. Traditionally, luxury goods have been defined as “goods for which the mere use of display of a particular branded product brings prestige to the owner”(Husic and Cicic 2007) Luxury Consumption Factors. In my research I am concerned with Design Culture, Value, Attitude and Behaviour around who the luxury consumer is, but more importantly, what exemplifies sustainable luxury? Furthermore, I set out to challenge the traditional culture of collecting contemporary silversmithing by exploring material perceptions within a changing society by re-shaping drivers that stimulate a desire to invest in precious metal artefacts. The research investigates how different cultures associate with silver through their cultural identity. I approach silver unconventionally and with insight. I aim to present silver from fresh perspectives and to give it contemporary relevance in people’s everyday lives informed through extensive research on the ways in which silver has traditionally been used and displayed. This has led me to question its most basic concepts and forms. With the ‘Table Top to the Wall’ series, Architect #1 & #2, I challenge the places where silver objects conventionally ‘live’ – in or on furniture – and demonstrate how the expected may evolve naturally into the unexpected. I describe this new work as ‘abstract jewellery for buildings’. By designing these objects to adorn walls, I simply extend the boundaries of possible places to display silver in the home or in public spaces.

This paper details and discusses Material Journey (2018), an art project by the author that was exhibited at the National Glass Centre in Sunderland (UK) from 9 June to 2 September 2018. This research project sought to interrogate the material impact of one art project made of glass by carefully considering the different stages of making&mdash, from design to production to the exhibition phase. The carbon footprint of an energy intensive material such as glass is often considered anathema to sustainable making practices in the field of applied arts. Whilst this paper makes the case that the material impact of individual art practices is negligible in the global context of carbon footprints, it nevertheless argues that the craft of &lsquo, making&rsquo, has a critical role to play in the Anthropocene. Critically, this project is one of the first art projects in glass that critically examines the carbon footprint of a material practice. It is argued that this conversation is long overdue but makes the case that the tools for understanding and calculating the carbon footprint of a material practice are currently lacking and need more development.

Clare Belfrage has built an extraordinary career as a glass artist. Clare Belfrage: Rhythms of necessity is the first major publication that explores the significance of her contribution to contemporary international glass art. Exhibited across the world, Belfrage's glass vessels explore the pulse and flow of forces that shape the natural world as well as the lived patterns of the everyday. A similar sense of rhythm underpins the structure of this book: an interleaving of short texts and stunning photographs of Belfrage's vessels that reveal her story to date. Belfrage's art practice is grounded in her experience of family life. She grew up in a large family in a house suffused with music and from early childhood enjoyed camping, which instilled in her a love of nature and the more-than-human world. As she says about looking closely at nature, 'the big feeling that "small" gives me is intimate and powerful'. Some of Belfrage's most celebrated series reveal her engagement with the rhythmic movements of glass-making, reflecting the dynamism and energy of the natural world. As well as showcasing her award-winning glass vessels, Clare Belfrage: Rhythms of necessity explores the bodily processes of glass blowing, particularly the specific skills of fine cane drawing for which she is renowned. Belfrage demonstrates her finely honed techniques in workshops and public forums across the international glass art community. Her practice stands out for pushing the limits of glass in new and sensitive directions.

Making is a generative and creative process that can be engaging and empowering. Craft groups and making communities have grown in popularity for the ageing population, both to pursue traditional making activities like knitting as well as to explore making through emerging interactive technologies. However, there is yet to be an overview of how older people engage in making. This paper seeks to map the landscape of making for older adults, in order to understand the characteristics and benefits of making for this demographic. We explore the literature on making and then use the lens of "positive ageing" to examine the benefits and challenges of making for health, security and participation of older people. We conclude by discussing opportunities for design and highlight avenues for future HCI research into supporting making for older adults.

Promoting the Making Self in the Creative Micro-economy (‘Crafting Self’) was funded through the Australian Government’s Australian Research Council’s Discovery Project funding scheme (project number DP150100485). The primary aim of the project was to determine how online distribution is changing the environment for operating a creative micro-enterprise, and with it, the larger relationship between public and private spheres. A key research question was: what are the ‘self-making’ skills required to succeed in this competitive environment? This report offers a public-facing summary of some of the key findings, with an emphasis on sharing information that can help makers as they seek to establish, maintain or expand their own creative business.

This study aims to demonstrate the potential for understanding first millennium glass beads not as individual representatives of types, but as collections of objects brought together and curated by owners. It uses the author’s experience as a skilled bead maker to investigate processes of bead production and mechanics of bead collection current in Scandinavia and Anglo-Saxon England in the period of 6th to 9th century AD. In the study the bead collections of seven graves are examined from the perspective of their production techniques, materials, and damage from wear and cremation. The results point to beads being acquired in different numbers and often worn for long periods of time before being buried.

Designing and making crafts is a complex, multifaceted process that requires sophisticated, professional thinking and competence, described as reflection in action and as an embodied process in which the hand, eye and mind collaborate. This article discusses these cognitive and embodied aspects central to designing and making crafts in light of cognitive neuroscience. Understanding the specific cognitive processes and forms of knowledge used in creative practices is essential. In this article, we propose that cognitive neuroscience provides valuable tools for analysing thinking and acting processes relevant to designing and making. We discuss the challenges and opportunities that the use of brain imaging methods, in particular, provides for understanding design activities, skills and cognition. Additionally, we present two neuroscientific experimental settings from our empirical studies in which the methods of cognitive neuroscience are applied to study and detect the interrelations between drawing, forming, skill learning and the functional activities of the brain and its subareas. We argue that cognitive neuroscience provides valuable instruments and methods which complement traditional design research.

Craft education has held a permanent place in Estonian and Finnish schools, although its value and appreciation have changed over time. The aim of the article is to discuss the necessity of craft education in today’s world and its possible impact on the development of children and adolescents. The discussion seeks an interdisciplinary explanation using three perspectives that complement each other. The first describes the challenges of modern society with respect to individual development and schooling. The second deals with Aaron Antonovsky's theory of generalized resistance resources and an individual's possibility to manage in a stressful society. The third addresses the individual as a developing neurological being, along with the effect of learning and practicing motor skills on the human brain. We conclude that crafts is a multidisciplinary phenomenon, and that learning and practicing crafts promotes the comprehension of diversity and challenges in life. Additionally, educational crafts enriches the learning environment, offering opportunities to develop transferable skills that human beings constantly need in society. In addition, crafts provides a balanced way to come to understand the world and one’s role in it, by simultaneously promoting motor and cognitive development and making unique demands on one’s being.Keywords: crafts, craft education, making, sense of coherence, education, embodiment

This instructable will illustrate how (scrap)material can be used as a very inspiring source for designing products from websites over software applications to services and tangible ‘hardware’ products. Basically this instructable will explain a method that I tend to use and like to participate in at the very start of a variety of projects related to human computer interaction. The main idea originates from the creation of low fidelity prototypes by using cheap materials to simulate some kind of interactivity, which is covered very well in Bill Buxton’s book ‘sketching user experiences’[1]. ispartof: pages:140-142 ispartof: DIY : HCI — A Showcase of Methods, Communities and Values for Reuse and Customization pages:140-142 ispartof: CHI 2009 location:Boston date:4 Apr - 9 Apr 2009 status: published