Craft and Design Practice from an Embodied Perspective

Nithikul Nimkulrat is Associate Professor at OCAD University, Canada.Camilla Groth is Associate Professor at University of South-Eastern Norway, Norway.

• Preface Introduction SECTION I: CRAFT AS EMBODIED MAKING AND LEARNING 1. Dynamic affordances in human-material “dialogues” 2. Craft Thinking: A relational approach to making and design 3. Becoming with glass: Medium and materiality in embodied knowledge 4. Feeling how: MET and embodied cognition in the learning of pottery skills 5. Embodied craft practices: Mindful flow, creativity, and collaboration as drivers for wellbeing SECTION II: MATERIALITY OF MATERIALS AND NON-MATERIALS IN CRAFT 6. Embodied knowledge integrated into robotic wire cutting of clay 7. Making, playing, crafting – Connecting embodied practices in play, game design, and hybrid making 8. Hand thought: Hybrid practices and a digital craft ethos 9. Grasping materiality – Digitalization in light of educational arts and crafts practice SECTION III: ARTEFACTS AS MATERIAL EXTENSIONS OF CRAFT EXPERIENCE 10. Traces of craft experience in artefacts 11. Scaffolding visualization and mental rotation in designing and crafting 12. Making bumps and jumping hurdles: Understanding resistance in the processes of raising aluminium from a novice’s perspective 13. Making sense with things in participatory design 14. Interactive connected smart (ICS) materials experience: Collaborative embodied knowledge through material tinkering Afterword

“This splendid collection advances our understanding of embodied cognition and experiential knowledge in craftwork and sets the pace for future theory. Its multidisciplinary cast of authors deliver unique insights into human–material interactions, skilled situated practice and the dynamics of thinking through making – both in traditional crafts and the emerging digital and virtual realms.”Trevor H. J. Marchand, SOAS, University of London“This book shines a light on the nature and value of embodied experiences within the spheres of making and materiality. The various chapters bring ideas around becoming, feeling, well-being, interconnection and relationality to the fore, which are all critical aspects of craft and design practices that seek to counter dominate modes of production and affect positive change. I would recommend this book to those who wish to establish, understand, and champion such practice.”Faith Kane, Toi Rauwhārangi College of Creative Arts, Massey University