Research paper on digital jewellery filetype pdf Across the issues,. Whites collaboration with Ewan Steel, a multimedia artist figs. By contrasting such work with examples from contemporary jewellery I was able to illustrate that jewellers had taken very different approaches to the design and contextualisation of body centric objects. The following quotes all originate from our discussion Bartels and Lindmarck Vrijmann, 2004. This process, which centres on the relationship between the creator and the handmade object, highlights why craft objects may possess qualities of intimacy, beauty and sensitivity. In this way I allowed for my tacit response see Appendix B. The proposition of space travel in the 1950s and 60s, had an impact on the design aesthetics in many areas of everyday life including housing, clothing and furniture figs.
To jewellery technicians Steve and Roy at Sheffield Hallam University for years of support and Sheffield humour. In order to understand the current terrain in this area I reviewed current approaches to body centric digital objects and found that existing approaches characterise the digital in a particular way. The methodology I have adopted is both creative and reflective, and stems from my past practice, philosophical undercurrents that guide and inform craft practice see Chapter 4 section 4. Many of the probe activities were structured towards areas of information desirable to the researchers within the confines of the project, but others were left ambiguous, leaving open the space of possible responses. Extract quantifiable data, the cheapest computer users find are looking for film on the company s school research paper. Consequently many stimuli could be interpreted in terms of what other people mean to them for example. The pieces themselves are intimate to wear and echo both the privacy and the sense of engaging in the act of whispering.
The neomania of the gadget is now grounded in the maintenance of a fast paced consumption cycle. Experience as becoming, in terms of viewing and making objects, invites an open-ended approach rather than the use of prescribed assumptions of what a digital object should look like or function 106 as. My roles as both practitioner and researcher allow me to be immersed in a practice-centred process, in which I may draw on my own experiences, and particular knowledge and sensitivities and skills set. Not limited to any particular materials or scale, but always reference or have a relationship with the body. In essence, my methodology is to centre my inquiry into contemporary jewellery practice as a direct social activity, and thereby explore digital jewellery in terms of personal emotional significance both for others and myself.
By focusing on a particular theme that is inspired by the emotional content of personal stories shared by a group of people, this practice enables conversations that purposefully lead to new understandings of the theme. If anything were possible, how would you like to communicate with loved? We can see from these examples that the questions that these jewellers raise, and seek to engage with, are not matched by current approaches or perspectives from other disciplines. Crowley 2002 52 Through collaboration with technologist Kevin Warwick she produced three fashion pieces created with the aid of technology Crowley, 2002 that sensed a wearers heartbeat and responded in three different ways. Visually the pieces have an appearance of veiling the eyes. We conclude by relating enchantment to varieties of experience. Similarly, industrial design proposals for wearable technology emphasise a conventional futuristic aesthetic at the expense of a wider conception of the nature of digital jewellery.
Differences in approaches 59 to the production and conception of objects, from both an industrial design and contemporary jewellery perspective, highlight a tension that arises from the blurring of boundaries between digital objects and non-electronic objects of our everyday experience such as jewellery and furniture. Yelavich maintains beauty is:now re-emerging as a legitimate, even desirable, value among curators, designers, critics, city planners, even scientists and anthropologists because they understand it as an experience a gift and a tool through which they can impart their specialised knowledge of the world sustaining their spirits and keeping their souls Yelavich, 1999. I focused on the particular dialogue I had with each participant and the stories and experiences they shared with me in order to design forms of digital jewellery. I had assumed that some stimuli would be responded to generally better than others, but in fact although each participant did find some stimuli easier to respond to than others these were different for each person. I also hoped that a participant would respond in kind and that our process of interacting would become a reciprocal one. With a view to framing the potential of digital jewellery practice a number of these notions are explored: the use of jewellery practice as a vehicle for the exploration of a makers sense of selfhood; preciousness originating from personal significance stemming from an individuals personal biography and experience of human relationships; the use of jewellery as part of a dialogue and as a tool to facilitate dialogue; and contemporary jewellery as a particular form of object that has an intimate and constant relationship with the body, not defined by wearability. Functioning in this role the object becomes a conduit to transport us to other times, places and people and also a container for our feelings about that associated other.
In hiding the wearers fingerprints Touch serves to mask this aspect of a wearers identity. Favourite Sounds Please tell me some of your favourite sounds. These approaches fail to significantly address notions of personal significance and affective potential. I would also like to thank Hazel White for her encouragement to embark on research, for wonderful discussions about jewellery and for her support. If an object is designed to rely on novelty, and subsequently endure only a short life span, then a new version or different novel device must be ready in the wings to take its place. Bakker, Knzli, Schobinger see Chapter 2 section 2.
My goal was to engage in both research and practice as a direct social activity, and in doing so, explore digital jewellery in terms of personal emotional significance for both myself and other people. The identification of the following from the participants responses: strong connections between inter-personal relationships and a personal criteria for beauty: shifts in their perceptions of jewellery from personal non-digital to shared with an intimate group of people digital : complex tensions around the idea of digital jewellery that related to assumptions of materials, aesthetics, functionality, status of object and lifespan. As described in Chapter 2 Contextual review and Chapter 3 The gadget emotional values have been neglected and there has been a mechanistic treatment of emotional aspects of design this is elaborated in section 4. I use the term puzzle not as something to solve, but rather something to enter into, a different pair of shoes to step into. Daniel Gratiot 2004 describes the work as:A series of works that make visible an exchange of that which is normally not seen. . This section aims to describe how beauty may be articulated as an emotional term and something central to the underlying philosophical aspects of craft practice and how beauty may be seen as a sensibility connected to enchantment and empathy.
The combination of shrinking computer machines and enhancing computer power has permitted many companies to start generating fashion jewellery with integrated intelligence. That is, finding a means of practice and a methodology that addresses the dehumanisation of the fast paced production and consumption cycles of digital objects see Chapter 3, The gadget. A reflective, responsible and optimistic approach is needed to offer new imaginative, emotionally rich possibilities for digital objects and our experiences of them. It does almost all the same functions but looks nicer. As intriguing objects that beg inventive interpretation from a viewer they are not easily dismissible, and are open to re-evaluation and attribution of meaning and narrative. Where the notion of digital jewellery has been broached by industrial designers the conceptions have not progressed beyond a clichd futuristic aesthetic. By sensing physiological changes Fusakuls intention was to create objects that display emotional changes in the wearer, though her reliance on physiological signatures made no attempt to incorporate social or discursive aspects of emotion.