Making

Many children graduate from high school and ultimately into adulthood without a basic understanding of money and money management, business, the economy, or investing. This book is an interactive resource for parents, teachers and my child designed to help my child learn the skills, knowledge and confidence for acquiring, managing and using money responsibly to maximise her income and assets, minimize her expenses and liabilities, and become a financially free adult.

"How can design contribute to a new civilisation? This thesis proposes answers to this challenge. It starts with a manifesto, written in 2006 in Bertinoro, Italy, where Caroline Hummels, Kees Overbeeke and Ambra Trotto were giving a workshop on Aesthetics of Interaction for the University of Bologna. In this manifesto, they declared their belief and proposed a vision, concerning how design can change Western thinking towards pervasive ethics. By pervasive ethics they mean a social praxis aimed at justice and freedom, which pervades society in a capillary way, becoming a universal attitude that makes people aware of their own rights, able and willing to contribute to seeing their own rights and those of all people fulfilled.

The manifesto integrated the points of view of the writers, united by a common drive, in a world riddled with all sorts of social uncertainties. In the manifesto, the authors declared their intention of preparing and doing workshops with students of different nationalities. Several workshops took place since 2006. Eight of them are described in this thesis. In these workshops, students were required to embody the values expressed by the Universal Declaration of Human Rights in (intelligent) products or systems. By starting from Making, from their skills and by integrating skillful points of view, designers can contribute to the creation of the new praxis, able to disseminate empathy and autonomy and to contribute to pervasive ethics. The writer calls this approach Rights though Making and explains the design actions taken to fulfill the aim of pervasive ethics, within this framework. This thesis describes the development of the approach, it illustrates the underlying theory and the related reflections, based on the evaluation of the design outcomes."

This project aims to gain an understanding of the relationships people have with everyday, domestic objects inside their urban living spaces using Do-it-Yourself (DIY) furniture making projects. Throughout the project, new knowledge is generated using hands-on making activities
as a form of Research through Design (RtD). The primary objectives of this research are to open up and encourage these kinds of Do-it-Yourself, experiential learning activities as resources for people to draw on in their
everyday lives. By innovating design interventions related to personal well-being and satisfaction with our objects, this project has led to the development of concrete design research exemplars demonstrating how DIY projects can operate as creative resources for everyday design. Through the design, implementation, and study of the artifacts created for DIY home customization, this research aims to support people in experiencing increased levels of self-satisfaction, well-being, and sense of value with their belongings. This investigation focuses on aspects
of a domestic object’s importance, becoming an ‘Everyday Designer,’ customization, personalization and their respective relationships to consumption and material culture. As a result of this research, multiple DIY furniture projects and instructional booklets have been created to provide opportunities for everyone from non-designers to experienced makers to conduct a personal material exploration. Together with this creative act of hands-on making, everyday design practices allow people to reflect on the objects they own and why, while also achieving an
increased sense of well-being and agency towards their domestic objects.

This report documents the ‘Making for Change: Waltham Forest’ project led by Dr Francesco Mazzarella in partnership with London College of Fashion (LCF) and London Borough of Waltham Forest (LBWF) for London Borough of Culture 2019 (LBOC) and the Great Place scheme. Adopting a design activist approach, the project aimed at engaging, through fashion and making, local schools, businesses, residents and hard-to-reach communities in order to develop and retain creative talent in the borough and address issues affecting the community, such as deprived youth, skills shortage, fashion manufacturing decline and unemployment. The project also aimed at bringing together LCF and LBWF as long-term partners with aligned strategic objectives and shared plans beyond LBOC 2019, contributing to the LCF Knowledge Exchange framework and East Bank Strategic Objectives. The report starts with an overview of Waltham Forest and its fashion-related activities to set the context and background of the project. It also outlines the research aim and objectives as well as the methodology that guided the development of the project in relation to its main areas of work: education, manufacturing, community engagement and legacy. In the concluding chapter, the overall outputs and outcomes of the project are discussed in relation to the key themes emerging from the research: sustainability awareness, empowerment and skills development, career pathways, community engagement, and partnership building. The final section of the report outlines the limitations of the project and recommendations for next steps.

This panel investigates the relation between production processes and value attribution in ancient crafts. In the process of making things, it is the craftsperson who shapes functionality and value of artefacts. She/he is, however, never a lone force but depends on networks of suppliers, fellow craftspeople, consumers, wider audiences, the material conditions for the application of craft, and more ephemeral considerations like aesthetics or religious value. Ancient economic history, especially from an archaeological perspective, tends to focus, with good reason, on the objects produced by craftspeople, on form and style, and on distribution. Typological approaches, necessary for sorting and analyzing large bodies of material evidence, have also prioritized the form of finished artefacts and, when they have been applied to part-worked objects, have tended to concentrate on identifying discrete stages in production processes. The maker, as an individual, responding to their own needs as well as those of their customers, is often absent from this picture. In recent sociological and anthropological studies, the role of makers as individuals trained in a particular way, responding to their materials, and operating in a wider network of production, has been more obviously stressed. Key recent works include Tim Ingold's Making: Anthropology, Archaeology, Art and Architecture (2013), Richard Sennett's The Craftsman (2008), David Miller's edited volume Materiality (2005) and even more specialized studies written by practicing craftspeople, like Peter Korn's Why We Make Things & Why It Matters (2013). This panel will bring together scholars interested in making and the role of the maker to discuss what new anthropological and sociological approaches might add to our understanding of ancient craft production and valuation. Among the topics explored in the panel are: - Interaction between craftspeople and the users of their products - Economic value in relation to other types of value attribution - The role of different participants in the chaine opératoire, and indeed the validity of this term - Training of craftspeople and its impact on production - The concept of materiality and its meaning to how craft products are used and valued The aim is to cover multiple periods and media, with papers on Aegean, Greek and Roman material, sculpture, mosaics and other forms of craft production.

Since its inception, digital and interactive art has been forced to negotiate the tension between the inherently spectacular nature of the technologies it uses and the desire of creators to embed relevant critical stances within the work. With the recent rise of 'maker' or DIY culture, this negotiation has become even more pronounced as the production of technologies becomes more accessible and (allegedly) more democratized. Additionally, our relationship with technology is becoming increasingly intimate. Whereas machines once could have been read as tools, through which we would enact our individualized wills, they now implicate themselves into our mental processes, our bodies, and (one could argue) our very being. Within this cyborgian construction we risk mindless acceptance and integration of the particular logical models technology and its producers bring to the merger. A tension arises between our need to understand/recognize the logic which drives our lives and the technology, which often seeks to obfuscate that logic. This paper, through the application of philosophy of technology to a specific maker subculture – as it has been adopted by a movement in Fine Art (Art and Technology) – situates making as a form of artistic practice at the intersection of these ideas. As a mode by which technologically-inclined artists can navigate the spectacular and the critical in their work, making allows these artists to enact criticality through revealing underlying technical (and social) logic in the systems (and objects) with which they engage. Thus, this paper will trace the philosophical foundations of this critical approach and finally analyse a series of works that reveal strategies through which 'making' as a mode of 'revealing' has been refined by artists as a critical approach to embedded technological systems.

As craft practitioners, we interact closely and intimately with materials and tools. As we learn to listen to the voice of a material, to the possibilities and limitations it presents, we adjust our intentions to what is feasible in this human-material interaction. In this way, we learn to work with the material rather than forcing our will upon it. Through the years, a solid and deep experiential knowledge grows forth that becomes embodied in our souls, becomes part of who we are. When working with a natural material, such as clay, the source of the material may be present in the work presented, but also as an idea about connecting with the environment on a larger scale through the interactions with the material. Through craft practice, we have a direct channel for interacting with our environment, as what we make changes the material world concretely, even if in small ways.

Encounters on the Shop Floor explores the significance of the knowledge of the maker in learning and cognition and champions its importance in all areas of practice, from art, design and science, medicine and manufacture, challenging the divide between 'mind' and 'hand' and between 'intellectual' and 'manual' knowledge and their compartmentalisation. We are concerned that the lack of recognition of the potential of the knowledge intrinsic in making and of learning by doing are a major area of 'wastefulness' and a significant factor-nationally and globally-in rising levels of educational underperformance, social and economic inequality and of a lack of socially and environmentally progressive industrial practices. With this symposium we aim to develop strategies for recognising, showcasing and championing the value and usability of this knowledge within learning, the workplace and society and to propose a productive way forward. The symposium will offer a point of entry into the knowledge of the maker from multiple disciplinary perspectives and different contexts of practice and set the foundations for a manifesto proposal.

This introduction to the hands-on design/experience workshop overviews main theoretical lines under the umbrella of embodied and situated cognition and bridges some of this work to various design interpretations of it. Going from the modest 'metaphorical' mappings of digital information to physical interactive objects (where embodiment is used to achieve better usability), via the co-existence approach of digital computation and situated practices in physical space (where embodiment is acknowled but not changed) we turn to the most radical forms of design where new technological artefacts transform the perception-action cycle of people directly such as to allow for new forms of sense-making.

While the use of making in participatory co-design is common, I argue for the benefits that making-led participatory co-design can bring to two fields where its use is rare: early-stage innovation and mental health. I draw evidence from my situated cooperation with service users and providers of a regional UK mental health trust. The motivation for this action-research was twofold: to envision a better youth mental health service, and to explore how primary and secondary schools can practice mental health prevention. I observed that where there was an absence of co-making in a researcher's stakeholder engagements, communicative exchanges became heavily verbal, and this increased the relational intensity between actors. As a result, the discussion of service user experiences— coping with mental health conditions and the struggle to access mental health services—became more challenging for contributors. By contrast, stakeholder engagements driven by co-making transcended the verbal. Making brought a level of informality that enabled participants to lighten relational intensity, soften professional/cultural boundaries, and open up to each other. A low-fidelity visualization is described that I propose can help maintain stakeholder agency and sustain relations between co-actors for the longer term.

Digital Making as an Educational Project is an innovative educational experience that has been carried out with students of the Primary Education and Social Education degrees for three consecutive years. The experience introduces digital making as an activity in which students create an object using digital technology. In the process, they not only gain an insight into how the technology works, but also learn the content and competences of the curriculum. This innovative teaching practice was carried out as action research in order to improve traditional higher education practices. In this sense, the proposal puts the student at the centre of the process as the author and protagonist of their own learning process. The experience is based on their own interests: they decide what to make based on a given context. The students work in groups and look for what they need to learn to overcome a particular challenge, while the teacher supports the process as a facilitator, offering guidanc...

Digital Making as an Educational Project is an innovative educational experience that has been carried out with students of the Primary Education and Social Education degrees for three consecutive years. The experience introduces digital making as an activity in which students create an object using digital technology. In the process, they not only gain an insight into how the technology works, but also learn the content and competences of the curriculum. This innovative teaching practice was carried out as action research in order to improve traditional higher education practices. In this sense, the proposal puts the student at the centre of the process as the author and protagonist of their own learning process. The experience is based on their own interests: they decide what to make based on a given context. The students work in groups and look for what they need to learn to overcome a particular challenge, while the teacher supports the process as a facilitator, offering guidance and resources when necessary. The evaluation of the whole process is regulated via a group diary (a shared online document) and an individual diary (a blog) that the students produce. The final evaluation is not only of the printed product; the students also produce a video in the form of storytelling, in which they explain how the process evolved from the initial idea to the final impression of the object. They also reflect on what they have learned, how teamwork has worked and what possibilities they believe digital making offers in the primary and non-formal educational contexts in which they will work. All of the processes are compiled in the students’ blogs, as well as in the teachers’ field notebooks. The experience was executed in collaboration with the Digital Fabrication Centres of Barcelona. The results were organised to highlight the strengths and weaknesses of using technologies to improve higher education offering an approach in which students are at the centre of the whole process. Strengths: strong student motivation, promotion of self-directed and collaborative learning and learning by doing, and familiarisation with a transforming integration of technology as protagonists. Weaknesses: hesitance and resistance to facing the challenge, management of scarce time, large time investment by the teachers, and the difficulty of achieving in-depth reflection on how digital fabrication could be introduced in educational contexts such as primary school and non-formal contexts.

This report documents the ‘Making for Change: Waltham Forest’ project led by Dr Francesco Mazzarella in partnership with London College of Fashion (LCF) and London Borough of Waltham Forest (LBWF) for London Borough of Culture 2019 (LBOC) and the Great Place scheme. Adopting a design activist approach, the project aimed at engaging, through fashion and making, local schools, businesses, residents and hard-to-reach communities in order to develop and retain creative talent in the borough and address issues affecting the community, such as deprived youth, skills shortage, fashion manufacturing decline and unemployment. The project also aimed at bringing together LCF and LBWF as long-term partners with aligned strategic objectives and shared plans beyond LBOC 2019, contributing to the LCF Knowledge Exchange framework and East Bank Strategic Objectives. The report starts with an overview of Waltham Forest and its fashion-related activities to set the context and background of the projec...

Since its inception, digital and interactive art has been forced to negotiate the tension between the inherently spectacular nature of the technologies it uses and the desire of creators to embed relevant critical stances within the work. With the recent rise of “maker” or DIY culture, this negotiation has become even more pronounced as the production of technologies becomes more accessible and (allegedly) more democratized. In addition, our relationship with technology is becoming increasingly intimate. Whereas machines once could have been read as tools, through which we would enact our individualized wills, they now implicate themselves into our mental processes, our bodies and (one could argue) our very being. Within this cyborgian construction we risk mindless acceptance and integration of the particular logical models technology and its producers bring to the merger. A tension arises between our need to understand or recognize the logic which drives our lives and the technolog...

This paper describes and reflects on the founding phase of the Center for Applied Research and Development in Education (CARD) a.. George Mason University in Fairfax, Virginia. The relation between schools and a university is focf%ed upon with a special emphasis on the relation between individuals in each institution viewed as education professionals. Three central features of CARD are first described, followed by a discussion of five major challenges it presently confronts, as it begins to wrestle with practical professionalism. CARD's five major challenges are (1) the agenda; (2) ownership; (3) professional career conflict; (4) innovation; and (5) leadership. Appended are 17 references. (SI) * Reproductions supplied by EDRS are the best that can be made * * from the origined document. *

Digital Making as an Educational Project is an innovative educational experience that has been carried out with students of the Primary Education and Social Education degrees for three consecutive years. The experience introduces digital making as an activity in which students create an object using digital technology. In the process, they not only gain an insight into how the technology works, but also learn the content and competences of the curriculum. This innovative teaching practice was carried out as action research in order to improve traditional higher education practices. In this sense, the proposal puts the student at the centre of the process as the author and protagonist of their own learning process. The experience is based on their own interests: they decide what to make based on a given context. The students work in groups and look for what they need to learn to overcome a particular challenge, while the teacher supports the process as a facilitator, offering guidanc...

Marital silence is one of the things that can be related to divorce. Marital silence is to refrain from expressing opinions and expectations about marital problems and passively accepting conflicts and suppressing emotions in themselves. Measuring marital silence is important due to the use of reliable and reliable instruments and in view of the increasing rate of divorce in Iran. This study was conducted with the aim of building the validity of marital silence questionnaire. The present study is a correlation study. Data were collected using a researcher-made questionnaire. The statistical population of the present study included couples referring to the courts and counseling centers of Kermanshah city. Among the target population, 280 were selected by random sampling method. The research instrument was a 36-question questionnaire. The data were analyzed by exploratory factor analysis and using the WEYMAX statistical software. The first component (communication skills) has the highest correlation with other components, and the highest correlation between the first components (communication skills) with the second component (fear of exposure) with the correlation coefficient is 0.711. Other components (doubts and distrust, interest in the spouse, cultural and educational obstacles and children) have high and significant correlations.
The result of marital silence questionnaire showed that it has good reliability and validity. The questionnaire can also be used in consultation with clients and in clinical trials to measure the concentration of people.

The problems of this research are; 1) The process of making wall decorations in the village of Tonga Kesu District 'North Toraja District? 2) Inhibiting and supporting factors in making wall decoration in Tonga Village Kesu District '. The type of this research is survey research that aims descriptive qualitative to describe the process of making carving wall hangings and supporting factors and inhibitors experienced by crafters. In this research, there are 2 groups of artisans in Tonga Village in the North and the South. The result shows that the technique of making wall decoration is done manually from the material processing process until the final step of manufacture by using the tools that have been provided. The first stage in making these wall decorations are: Measurement and jurnal desain komunikasi visual fakultas seni dan desain-unm.

Light Pricks : Whispers and Kicks was written for a publication/catalogue to accompany Clare Thornton’s exhibition, Materials of Resistance, Plymouth Arts Centre, 01 December 2017 – 20 January 2018. Designed by City Edition Studio, with writing by Phil Owen, Emma Cocker, Heike Roms, and Natalie Raven.

The text was constructed from a set of notes made over a day in and around Clare’s studio at Karst, Plymouth. We talked about her research for Materials of Resistance, her various collaborators and works in progress, mostly those visible in the studio. I took photographs of these works – a snapshot of an artist’s process – and they became building blocks, along with the words.

A goodly number of the words and phrases used are Clare’s own – her vitality comes across in a vivid and often humorous use of language – and we batted ideas (and a few objects) back and forward throughout the writing process. I also used writing on, and the writings of, Nancy Cunard and Elsa von Freytag Loringhoven – two key influences on Clare’s practice in the lead up to the exhibition.

As a low tack adherent to Kenneth Goldsmith’s ‘uncreative writing’ and Mikhail Bakhtin’s dialogism, I’m happy to borrow, appropriate, steal, in the service of discovery and the generation of a polyvocal document. The voices that appear are listed at the end of the text.

This is a reading, or performance, version of the text. The catalogue version is more concrete, with imagery, and was designed in collaboration with Clare Thornton and Jono Lewarne of City Edition Studio.

... | Ayuda. Kunle Afolayan, en el giro de Nollywood. Autores: Federico Olivieri ( entrev. ), Marion Berger ( entrev. ), Kunle Afolayan ( entrevistado ); Localización: Making of: cuadernos de cine y educación, ISSN 1137-4926, Nº. 73, 2010 (Ejemplar dedicado a: Especial África) , pags ...