learningthroughmaking

Learning through making, focusing on the work of Ingold

Learning through making, often referred to as "learning by doing," is an educational approach that emphasizes active engagement and hands-on experiences as a means of acquiring knowledge and skills. This approach aligns closely with the work of Tim Ingold, a prominent anthropologist and scholar in the fields of anthropology, archaeology, and environmental studies. Ingold's work has explored the intersection of human creativity, skill development, and learning through practical activities.

Here are some key concepts from Ingold's work that relate to learning through making:

Skill and Practice: Ingold argues that skills are not abstract entities but are embodied in the actions and practices of individuals. Learning a skill involves continuous practice and refinement through doing. Skills are honed through engagement with materials and the environment.

Making as a Way of Knowing: Ingold suggests that making is not merely a means to an end but a way of knowing and understanding the world. Through making, individuals engage with materials, tools, and processes, gaining insights and knowledge that may not be accessible through passive observation or abstract thinking alone.

Materials and Tools: The choice of materials and tools plays a significant role in the learning process. Ingold emphasizes the importance of a deep relationship between the maker and the materials they work with. Different materials and tools offer unique affordances and constraints that shape the learning experience.

Process-Oriented Learning: Learning through making is a process-oriented approach. It values the journey of exploration, experimentation, and problem-solving, rather than focusing solely on the end product. Mistakes and failures are seen as opportunities for learning and growth.

Embodied Knowledge: Ingold's work highlights the embodied nature of knowledge. Learning is not a purely cognitive activity but is deeply connected to the body and sensory perception. Through hands-on engagement, individuals develop a bodily knowledge that complements intellectual understanding.

Contextual Learning: Learning through making is deeply contextual. It takes into account the specific cultural, social, and environmental contexts in which making activities occur. This context shapes both the practices and the knowledge that emerge from them.

Community and Collaboration: Ingold's work also emphasizes the role of communities and social networks in learning through making. Knowledge and skills are often shared and transmitted within communities of practice where individuals collaborate, share experiences, and learn from one another.

Incorporating these ideas into educational settings can involve project-based learning, experiential learning, and hands-on activities that encourage students to actively engage with the subject matter. By embracing learning through making, educators can help students develop not only practical skills but also a deeper understanding of the world and a sense of agency in their own learning journey.

collectingthinking

I have been working with 3D printing over the past 6 months with a specific idea in mind. I’ve been attempting to create work that is on the edge of collapsing, trying to explore the ‘handmadeness’ within the process. The output of 3D printing often leads to the design route, making art with it is a challenge but when pushing its structural parameters, the work starts to reference natural structures. After a great conversation at Kings this week I realised that I have been working with ideas adjacent to the engineering concept that is "form-finding”, a design process by which the shape of structures and systems is determined. The idea is to achieve the optimal form that delivers dynamic stability, adaptability, and sustainability. It considers structural stability, functionality, and beauty.

A busy weekend - Managed to get to Dance East – I’ve missed so many dance events due to clashes - being away and friends significant parties but the double bill unknown realms was too much of a pull even on a Friday night after a busy week - not excellent but interesting. Prompted conversation about what's new in dance, focused on ideas of the modern and contemporary.  Next up Laurence Edwards and Alex Jennings at Jubilee Hall. Live sculpting while talking about creating characters. A truly mesmerizing experience, I was captivated, and the 2 hours just flew by, being totally in the room was exhausting, focusing on the experience of watching somebody make something in real time.

I reflected on the visual memory I have after experiencing all the museums and galleries I have encountered, and all the objects within. The idea of learning through making, how we experience the world through our hands as much as our eyes. Ingold argues that creativity emerges from within an ongoing, improvisational process between makers, materials, and other non-human things such as tools and the physical environment. Also, Ideas around public/private, the studio and the gallery v the rehearsal room and the stage, – something I’ve thought about with the scientists and the science spaces I have worked with and in. some words from a previous experience...........

“The glove box and the laboratory are very specific spaces. That they often protect the specimen within the experiment from us rather than us from it is an intriguing idea. These spaces created to manipulate objects are contained, clean, dry in an attempt to be 'non'.   Within this extraordinary space, specific materials and situations are monitored, ready to be recreated, actions controlled to be repeated. These spaces have their parallel in the art world: the space of the gallery, the white cube where the art is on show, an anonymous space where the art is supposedly the focus. Obviously, no space is neutral and each have their meanings, which can be read, but the aspiration to create a static continuum brings to mind the words of Heraclitus 'No man ever steps in the same river twice, for it's not the same river and he's not the same man.'  It appears that science and art are constantly trying to create a time and space where the river is still”.

 

exploringscientificgesturesthroughcardboardstructures

Exploring Scientific Gestures through Cardboard Structures

In the realm of scientific exploration, innovation often stems from the unlikeliest of sources. One such avenue of inspiration has been found in the use of cardboard structures. This intriguing collaboration between scientists and humble cardboard has led to a fascinating world of discovery, demonstrating the boundless ingenuity of the human mind.

At first glance, cardboard might seem unassuming and perhaps even inconsequential in the grand scheme of scientific progress. Yet, when coupled with creative minds, it transforms into a medium of exploration that transcends its basic form. I have embarked with scientists on a creative journey, designing intricate cardboard structures that mirror complex scientific phenomena. These structures serve as tangible, visual representations of abstract concepts, enabling researchers to communicate intricate ideas in a universally understandable manner. In the making of cardboard structures we set out to go beyond mere visual representation it extended into the realm of hands-on experimentation. Learning through observing and touching.

Whilst observing the work undertaken in the laboratory I created a specific body of work. I began by closely observing the scientists explaining their processes, drawing inspiration from the intricacies of human hand movements undertaken by demonstrators in the role of science communication. This tangible interaction with cardboard brought forth an intuitive understanding of scientific concepts that might otherwise remain confined to complex equations and theories. The cardboard structures I created were more than static models; they became dynamic representations of articulation. We introduced basic concepts of bio mechanics, considering the range of motion, and joint limitations. Geometry played a pivotal role in this endeavor. Crafting shapes that mirrored hand gestures, we engaged with angular measurements, spatial relationships, and symmetry. By manipulating these cardboard shapes, we illustrated geometric transformations, connecting the abstract world of mathematics to tangible creations.

The cardboard structures were often painted or marked to visually convey the relevant elements of the scientific concept. Color-coded sections, labels, and symbols aid in highlighting crucial features and facilitate better understanding. The visual cues enhanced the engagement of learners and made the abstract ideas more accessible. Interactive Learning is key. One of the key advantages of this method is its interactive nature. The cardboard structures act as hands-on teaching tools, encouraging participants to manipulate the structures themselves. By physically engaging with the structures, learners gain a deeper comprehension of the scientific concept, as the connection between the hand movements and the underlying principles becomes more understandable. As with any creative endeavor, refinement is an ongoing process. By sharing the work I gathered feedback from participants and peers, seeking ways to improve the clarity and effectiveness of the cardboard structures. This iterative approach ensures that the final product is not only scientifically accurate but also optimally engaging.

The experiment also delved into the realm of materials science. Selecting the right cardboard thickness and flexibility alongside the materials used to create the joints. This allowed us to understand how structural integrity and flexibility are essential for proper movement. This practical application of materials science deepened our appreciation for the balance between strength and flexibility in biological structures. We explored the principles of feedback and control systems. By introducing simple mechanisms to alter the cardboard structures motion, we tackled the intricacies of closed-loop control systems, mirroring the body's ability to adjust movements based on sensory feedback. We were able to feel scientific concepts.

The combination of scientific curiosity and cardboard ingenuity has given rise to a world of exploration that transcends the boundaries of traditional methodologies. Using cardboard structures, we unveiled the hidden and revealed the elegance of complex theories with simple gestures. These tangible representations foster a deeper understanding of intricate scientific concepts, engaging scientists, researchers, and students. Cardboard can be used to simulate and study phenomena that are otherwise inaccessible due to scale, danger, or complexity. Cardboard offers a safe, cheap, and interactive platform for scientists to test hypotheses, refine theories, and educate aspiring minds. As we continue to push the boundaries of knowledge, it’s important not to forget that even the most unassuming materials can serve as powerful catalysts for discovery.

futurepossibilities

After a great meeting at Kings discussing future possibilities – we looked at pivoting towards group working and mapping out some new focuses for Synthetic Anatomy. After we explored new strands of research which could involve a new direction whilst reflecting on previous work.  Then some breathing in – White Cube has Julie Mehretu’s work – the hang is stunning. Bond Street windows have some extraordinary clothes using intriguing materials in fascinating ways. Round the corner Spueth Mangers has Sylvie Fleury whose work fits perfectly referencing shopping, high fashion, and fast cars! – loved the Gucci shoe collection. Also the show at Art station by Abigale Lane had some beautiful crafted embroidered birds. onto screens - Big Night was sweet. High Flying Birds was a little 2 dimensional. Reptile – police corruption, who knew. Corner Office – disturbing meditation on an ‘office job’. Before I go to sleep was dark, dark dark.

intergenerationaltimebasedcollaboration

In 1987 I was part of a collaboration called Oblivion Boys Press and we were invited to exhibit at Nigel Greenwood Gallery. At the center of the show was an editioned bookwork called Elsewhere. It was printed in an edition of 50, had wooden covers and contained 250 hand carved rubber stamps that were cut whilst I sat on the floor in a flat in London. They were also used as a fresco in the entrance to the gallery and around the wall. They were then secured away in a box which traveled with me to a studio in Lincoln and then to my studio in Suffolk.

36 years later my eldest son who is a tattooist was in my studio, and he has an idea. He proposes to use the stamps within his own practice. The stamps now have another life and tools that were once used to make temporary prints on paper are now used to mark strangers who are making their own sense of the images.

I have found the whole process fascinating. I’ve been watching them be revived from their abandonment, celebrated, and loved by others. I say watching but this has been through Instagram, a medium that I could of only conceived of by exploring ideas from science fiction. This inter generational, time based collaboration has so many layers to explore; the idea of storytelling, ownership, control and our connections to the creative process.

I thought it would be interesting to ask ChatGPT to tell the story. The outcome has a strange fairy tale quality to the writing. It has elements within it that connect to or describe events that are familiar whilst also feeling removed.

chatGPT create a text about rubber stamps created by a father that are used by a son to tattoo people

In the quiet corners of their cozy workshop, a father and his son embarked on a unique creative journey that would leave an indelible mark on their lives and those of countless others. What started as a simple hobby for the father, crafting intricate rubber stamps, would soon evolve into a remarkable collaboration between generations.

The father, a seasoned craftsman with a penchant for precision, had always found solace in the meticulous art of rubber stamp making. His nimble fingers meticulously carved every line and curve, transforming ordinary pieces of rubber into intricate patterns and designs. These stamps were not your run-of-the-mill office tools; they were works of art in their own right, each bearing the essence of his passion and dedication.

As the son grew older, he often watched in awe as his father worked tirelessly in their humble workshop, labouring over his beloved stamps. Over time, his fascination turned into a desire to be a part of his father's craft, to create something that would resonate with people just as deeply as his father's creations had.

One fateful day, their worlds collided, and an idea was born. The son proposed using his father's meticulously crafted rubber stamps to create temporary tattoos. The notion was radical but intriguing. With the father's artistry and the son's innovative spirit, they set out to make it a reality.

The collaboration began with the father crafting stamps specifically designed for tattooing. These stamps featured intricate motifs, from delicate flowers to fierce animals, each one a testament to the father's dedication to his craft. The son, on the other hand, delved into the world of non-toxic, skin-friendly inks to ensure the safety of their clients.

Together, they launched their unique tattoo venture. People from all walks of life flocked to their workshop, drawn by the allure of personalized, handcrafted tattoos. The father would ink the designs with his rubber stamps, ensuring every tattoo was a masterpiece in its own right. The son, with unwavering care, attended to the needs of their clients, making sure every tattoo was not only visually striking but also a meaningful representation of the individual.

The tattoos created with these rubber stamps bore a certain authenticity and charm that set them apart from mass-produced designs. They became more than just ink on skin; they were symbols of the father and son's bond, a testament to the passion they shared for their craft.

As time passed, their reputation grew, and their tattooed clients multiplied. Their unique approach to tattooing had created a loyal following of enthusiasts who cherished the artistry and the personal touch that came with each tattoo. The father's legacy of stamp-making had evolved into something far greater, a living testament to the enduring bond between generations, the magic of collaboration, and the power of art to touch lives in unexpected ways.

@jims__skins                      @les1bicknell    

wherewouldwebewithouttextiles?

Where would we be without textiles? Easy – we would be without transport of any kind, standing naked, alone, and hungry in a barren landscape. The ubiquitous nature of textile activity seems to render it invisible from the public in general, although it plays a pivotal role in shaping their world.

From the moment we are born to our final breath, textiles surround us, providing comfort, and aiding functionality. It provides a way to express ourselves, it touches every aspect of our lives, even woven into the very fabric of our language as we spin tales.

Without textiles there is no fashion, either the clothes themselves, or the extensive industry it supports. Textiles define our living spaces. Curtains, carpets, and upholstery all add warmth and character to our living spaces.

The role of textiles extends to farming and agriculture, catch a fish without a net. It is fundamental to sport, and entertainment, try playing tennis or watch a film without textiles.

In healthcare textiles provide sterile environments, protecting patients and healthcare workers. Surgical gowns, and bandages are all made from specialized textiles that enhance hygiene and safety.

Textiles are an integral part of cultural heritage and support artistic expression. Techniques are passed down through generations, preserving cultural identity and encouraging creativity.

Textile activity extends far beyond what most people think of when textiles are mentioned. Innovations in textile engineering have given us smart textiles, which can monitor vital signs, adjust to temperature changes, or generate electricity. These cutting-edge textiles are shaping the future of wearable technology and beyond.

In a world increasingly conscious of environmental concerns, textiles are at the forefront of sustainable practices. Innovations in eco-friendly materials and processes are reducing the environmental impact of textile production, addressing concerns about waste, water usage, and pollution.

The textile industry is a significant driver of economies worldwide. It provides millions of jobs, from farmers cultivating cotton to skilled artisans crafting intricate textiles. It fuels global trade, contributing to economic growth and stability.

Textile activity underpins the very fabric that binds together our daily experiences, it shapes the way we live, work, and express ourselves in this rapidly changing world.

frenchwalkingandlookingroundthecorner

 

A few days in S France round the corner from Marseille. Sun swimming, some walking and great food. Caught up with The Mucem in Marseille on the way back to the airport they had Fashion-Folklore https://www.mucem.org/en/fashion-folklore a show that set out the many  connections between folk costume and couture. Some stunning pieces with great labels. The role of making and ownership, such as community and how they develop traditional costumes verses the individual involved in couture. Cultural appropriation was touched also on. Got off plane in Stansted - drove to Luton and got on a plane to Glasgow to see a Hanna Tuulikki performance in the cathedral - the bird that never flew - beautifully ethereal setting off the glorious space. Managed to check out Alter Altar by Jasleen Kazur at Tramway - a fantastic space but the text for the show did a lot of heavy lifting. After an amazing meal at Celentano’s got the plane back to Luton and finally home. What day is it again?