In my research, I focus on a practice-based and material-driven approach to knowledge production within the field of ceramics. Here, the direct interplay between form, material and technology forms the focal point for research.
The approach for the ceramic artist is in this context based on the concept that the potential and complexity of a material can only be experienced through crafting, - and that this approach contributes to a particular way of developing form with a special attention to material and texture in the design product.
My field of research deals with the interplay between the ceramic material and digital technology, and is inspired by McCollough's (1996) idea concerning a close connection between the use of digital tools and craft practice. This is all about how hand and brain activities associated with digital technology can be analogous to practical activities where experiential and tacit knowledge (Polanyi, 1966, 2009) is involved. McCollough suggests that digital technology should be much more developed from the designer's perspective to use this tacit knowledge.
Thus, the research is about the relationship between crafting materiality and digital representation, and how experiential knowledge of crafts rooted in ceramics can be transformed and utilized in the use of digital technologies. In my research, I see digital technology as a material in its own right that can be utilized for designing generative systems that can be explored interactively by the involvement of the body. Hand gestures, body movements or even the voice can form the basis for interaction with a digital responding system. Here, the material properties, rules and forces are not bound to natural laws, but the potential and complexity of the digital “material” is experienced on the same basis of experiential and tacit knowledge as the ceramic artist. Such generative systems can be utilized by the ceramic artist for capturing geometries that subsequently can be 3d printed directly in ceramics.
This approach to digital technology is not limited to the ceramic artist, but is an approach to digital design practices in fields that point to the importance of material properties as the driving force in the design process.
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