In my artistic work, I focus on processes with aesthetic quality. During my doctoral research, that focuses on aesthetic experiences and aesthetic engagement during artistic practice, I have started using sounds and videos to capture the aesthetics in making. The issue, that keeps me interested in these processes, is the enjoyment of time spent with them. I enjoy being part of the process. The works of art, the videos, and sound recordings, gives me the possibility to revisit those moments and understand new aspects about them. Address: Finland
Conducting research through creative and artistic practices is becoming an established approach u... more Conducting research through creative and artistic practices is becoming an established approach used to advance knowledge in various domains of the Arts. Although this approach tends to highlight the voice of the author through the first-person singular, practitioner-researchers working in the fields of art, design, and craft often involve other stakeholders in their practices, such as lay people, workshop participants, workshop co-organizers, other practitioners, and other informants. In some cases, these stakeholders can be said to attain the status of co-authors since their contribution not only informs the development of the practice but also influences the direction of the research. In this paper, we examine what other voices contribute to the production of knowledge through not always accounted forms of authorship. By discussing the inclusion of various stakeholders as co-authors at different stages of the investigative process, we explore the spectrum of shared authorship in research through art, design, and craft. The discussion draws on five research cases conducted by the authors of this paper. We conclude that examining shared authorship champions the emergence of more inclusive research practices, which not only propel the diversification of distinct ways of knowing but also value their operational role in the generation of new knowledge.
This paper investigates the active role of materials in shaping ideation processes during interdi... more This paper investigates the active role of materials in shaping ideation processes during interdisciplinary studio-based collaborations. Using ethnographic data collected from a graduate-level course conducted across multiple studio settings, we analysed how materiality facilitates interactions between students and studio instructors meeting for the first time when creative ideas are not yet fully formed and knowledge of unfamiliar materials is not yet embodied. The findings elucidate how certain materials are central to (1) demonstrating, (2) understanding, (3) sharing, (4) explaining, (5) generating and (6) challenging aspects related to ideation processes within such interactions. We conclude this work by emphasising the need for further research that focuses on material mediation in the context of student–instructor relationships.
This exposition focuses on the exploration and development of Subtle Ground, a method that direct... more This exposition focuses on the exploration and development of Subtle Ground, a method that directs attention during and through making with clay, in the context of creative practices in ceramics. The method takes a non-conventional approach to making; it focuses on being with the material instead of pursuing a conclusion in the creative process. The method directs the practitioner to follow aesthetic qualities in making understood from a pragmatist view on having an experience. In this exposition, the focus is on the author's collaborative work that has shaped the Subtle Ground method, particularly the workshop ‘Sensorial Ground’. In Subtle Ground, the idea of dwelling is emphasized offering the specific approach to making. The method consists of a series of exercises that direct attention towards subtle sense perception within the body. Through working with the Subtle Ground method, we suggest that it is possible to begin to understand the embodied dimension and how it influences creative practice. The Subtle Ground method has been built on the clay’s supportive qualities, bringing together sense perception and physicality, thus understanding the practice’s aesthetic qualities and connections to meditation.
Conducting research through creative and artistic practices is becoming an established approach u... more Conducting research through creative and artistic practices is becoming an established approach used to advance knowledge in various domains of the Arts. Although this approach tends to highlight the voice of the author through the first-person singular, practitioner-researchers working in the fields of art, design, and craft often involve other stakeholders in their practices, such as lay people, workshop participants, workshop co-organizers, other practitioners, and other informants. In some cases, these stakeholders can be said to attain the status of co-authors since their contribution not only informs the development of the practice but also influences the direction of the research. In this paper, we examine what other voices contribute to the production of knowledge through not always accounted forms of authorship. By discussing the inclusion of various stakeholders as co-authors at different stages of the investigative process, we explore the spectrum of shared authorship in research through art, design, and craft. The discussion draws on five research cases conducted by the authors of this paper. We conclude that examining shared authorship champions the emergence of more inclusive research practices, which not only propel the diversification of distinct ways of knowing but also value their operational role in the generation of new knowledge.
Aesthetics like sound of ceramics is common in the context of making but not usually presence whe... more Aesthetics like sound of ceramics is common in the context of making but not usually presence when perceiving an object. Most of the material aesthetics are knowledge of the maker and happens during the process of making. These aesthetics are potential material for artistic use. Focusing on the aesthetics of the ceramic materials I try to develop new solutions in the context of art. These experimentations are the beginning of a research where the goal is to bring out new artistic potentials from ceramic materials. The used raw materials are fluxes, feldspar, quartz, colemanite, cobalt oxide and copper oxide. To give an idea of material aesthetics more widely, I exhibit with the test pieces also the sound of crackling flux.
In this paper, we examine the tactile experience from two different perspectives: through ceramic... more In this paper, we examine the tactile experience from two different perspectives: through ceramic practice and as ceramic sensory tools in the context of psychotherapy. In order to gain insights into the tactile experiences, we use subjective experience of making and the professional experience of using the ceramic objects to frame the experiences. We focus on the shared qualities of tactile experiences within these approaches and propose the idea of muteness as a lens to view pre-verbal or non-verbal embodied dimensions within the context of our practices. The dialogue in this paper is between two different practitioners: an artist-researcher and a psychotherapist. We discuss the possibilities of a mute process in ceramic practice for embodied awareness and the use of this particular quality for engaging bodily in self-reflection within psychotherapy. The psychotherapeutic frameworks in this discussion are limited to cognitive behavioural psychotherapy, particularly schema therapy ...
Artistic practice and education build on a long tradition of aesthetic critique and problem solvi... more Artistic practice and education build on a long tradition of aesthetic critique and problem solving. This tradition has later on influenced also practice-led and practice-based research approaches centering on the artistic process. Although these research approaches depend on the processes and objects that essentially have not only cognitive but aesthetic qualities, the role of the aesthetics in these research processes still lacks an analytical discussion in this context. In this article we explore the process aesthetics in the context of artistic, practice-led research. Namely, we examine the potential of the concept of aesthetic engagement as a framework for understanding and analyzing the involvement with the artistic process. The results of this investigation are the two complimenting degrees of involvement with the artistic process through making and perceiving, and the relations that activate these different ways of engagement. To illustrate and concretize the subject, we emp...
FormAkademisk - forskningstidsskrift for design og designdidaktikk
In the context of artistic research, making has been traditionally understood as a process betwee... more In the context of artistic research, making has been traditionally understood as a process between the maker and the material. However, the digitalization that influences all practices brings us new kinds of making processes in which the ‘digital tools’ have a profound impact on the practitioner’s experience – also in the context of art, craft and design. This study explores the maker’s experience from a practice-led approach to understanding the subjective experience with clay 3D printing. To open up the 3D printing process with clay using our embodied understanding, the full process is viewed metaphorically – borrowing from music. The preliminary findings show that metaphorical viewing and the use of a score enables a successful review of the nature of computer-based practices in a way that all aspects and potentials fall naturally into place.
Conducting research through creative and artistic practices is becoming an established approach u... more Conducting research through creative and artistic practices is becoming an established approach used to advance knowledge in various domains of the Arts. Although this approach tends to highlight the voice of the author through the first-person singular, practitioner-researchers working in the fields of art, design, and craft often involve other stakeholders in their practices, such as lay people, workshop participants, workshop co-organizers, other practitioners, and other informants. In some cases, these stakeholders can be said to attain the status of co-authors since their contribution not only informs the development of the practice but also influences the direction of the research. In this paper, we examine what other voices contribute to the production of knowledge through not always accounted forms of authorship. By discussing the inclusion of various stakeholders as co-authors at different stages of the investigative process, we explore the spectrum of shared authorship in research through art, design, and craft. The discussion draws on five research cases conducted by the authors of this paper. We conclude that examining shared authorship champions the emergence of more inclusive research practices, which not only propel the diversification of distinct ways of knowing but also value their operational role in the generation of new knowledge.
This paper investigates the active role of materials in shaping ideation processes during interdi... more This paper investigates the active role of materials in shaping ideation processes during interdisciplinary studio-based collaborations. Using ethnographic data collected from a graduate-level course conducted across multiple studio settings, we analysed how materiality facilitates interactions between students and studio instructors meeting for the first time when creative ideas are not yet fully formed and knowledge of unfamiliar materials is not yet embodied. The findings elucidate how certain materials are central to (1) demonstrating, (2) understanding, (3) sharing, (4) explaining, (5) generating and (6) challenging aspects related to ideation processes within such interactions. We conclude this work by emphasising the need for further research that focuses on material mediation in the context of student–instructor relationships.
This exposition focuses on the exploration and development of Subtle Ground, a method that direct... more This exposition focuses on the exploration and development of Subtle Ground, a method that directs attention during and through making with clay, in the context of creative practices in ceramics. The method takes a non-conventional approach to making; it focuses on being with the material instead of pursuing a conclusion in the creative process. The method directs the practitioner to follow aesthetic qualities in making understood from a pragmatist view on having an experience. In this exposition, the focus is on the author's collaborative work that has shaped the Subtle Ground method, particularly the workshop ‘Sensorial Ground’. In Subtle Ground, the idea of dwelling is emphasized offering the specific approach to making. The method consists of a series of exercises that direct attention towards subtle sense perception within the body. Through working with the Subtle Ground method, we suggest that it is possible to begin to understand the embodied dimension and how it influences creative practice. The Subtle Ground method has been built on the clay’s supportive qualities, bringing together sense perception and physicality, thus understanding the practice’s aesthetic qualities and connections to meditation.
Conducting research through creative and artistic practices is becoming an established approach u... more Conducting research through creative and artistic practices is becoming an established approach used to advance knowledge in various domains of the Arts. Although this approach tends to highlight the voice of the author through the first-person singular, practitioner-researchers working in the fields of art, design, and craft often involve other stakeholders in their practices, such as lay people, workshop participants, workshop co-organizers, other practitioners, and other informants. In some cases, these stakeholders can be said to attain the status of co-authors since their contribution not only informs the development of the practice but also influences the direction of the research. In this paper, we examine what other voices contribute to the production of knowledge through not always accounted forms of authorship. By discussing the inclusion of various stakeholders as co-authors at different stages of the investigative process, we explore the spectrum of shared authorship in research through art, design, and craft. The discussion draws on five research cases conducted by the authors of this paper. We conclude that examining shared authorship champions the emergence of more inclusive research practices, which not only propel the diversification of distinct ways of knowing but also value their operational role in the generation of new knowledge.
Aesthetics like sound of ceramics is common in the context of making but not usually presence whe... more Aesthetics like sound of ceramics is common in the context of making but not usually presence when perceiving an object. Most of the material aesthetics are knowledge of the maker and happens during the process of making. These aesthetics are potential material for artistic use. Focusing on the aesthetics of the ceramic materials I try to develop new solutions in the context of art. These experimentations are the beginning of a research where the goal is to bring out new artistic potentials from ceramic materials. The used raw materials are fluxes, feldspar, quartz, colemanite, cobalt oxide and copper oxide. To give an idea of material aesthetics more widely, I exhibit with the test pieces also the sound of crackling flux.
In this paper, we examine the tactile experience from two different perspectives: through ceramic... more In this paper, we examine the tactile experience from two different perspectives: through ceramic practice and as ceramic sensory tools in the context of psychotherapy. In order to gain insights into the tactile experiences, we use subjective experience of making and the professional experience of using the ceramic objects to frame the experiences. We focus on the shared qualities of tactile experiences within these approaches and propose the idea of muteness as a lens to view pre-verbal or non-verbal embodied dimensions within the context of our practices. The dialogue in this paper is between two different practitioners: an artist-researcher and a psychotherapist. We discuss the possibilities of a mute process in ceramic practice for embodied awareness and the use of this particular quality for engaging bodily in self-reflection within psychotherapy. The psychotherapeutic frameworks in this discussion are limited to cognitive behavioural psychotherapy, particularly schema therapy ...
Artistic practice and education build on a long tradition of aesthetic critique and problem solvi... more Artistic practice and education build on a long tradition of aesthetic critique and problem solving. This tradition has later on influenced also practice-led and practice-based research approaches centering on the artistic process. Although these research approaches depend on the processes and objects that essentially have not only cognitive but aesthetic qualities, the role of the aesthetics in these research processes still lacks an analytical discussion in this context. In this article we explore the process aesthetics in the context of artistic, practice-led research. Namely, we examine the potential of the concept of aesthetic engagement as a framework for understanding and analyzing the involvement with the artistic process. The results of this investigation are the two complimenting degrees of involvement with the artistic process through making and perceiving, and the relations that activate these different ways of engagement. To illustrate and concretize the subject, we emp...
FormAkademisk - forskningstidsskrift for design og designdidaktikk
In the context of artistic research, making has been traditionally understood as a process betwee... more In the context of artistic research, making has been traditionally understood as a process between the maker and the material. However, the digitalization that influences all practices brings us new kinds of making processes in which the ‘digital tools’ have a profound impact on the practitioner’s experience – also in the context of art, craft and design. This study explores the maker’s experience from a practice-led approach to understanding the subjective experience with clay 3D printing. To open up the 3D printing process with clay using our embodied understanding, the full process is viewed metaphorically – borrowing from music. The preliminary findings show that metaphorical viewing and the use of a score enables a successful review of the nature of computer-based practices in a way that all aspects and potentials fall naturally into place.
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