Journal of Modern Craft最新文献_第2页

Commentary 评论

IF 0.3 3区艺术学

Journal of Modern Craft Pub Date : 2015-05-04 DOI: 10.1080/17496772.2015.1057406

Elissa Auther

引用次数: 0

The Gijs + Emmy Spectacle: Fashion and Jewelry Design by Gijs Bakker and Emmy van Leersum, 1967–72 Gijs + Emmy奇观:Gijs Bakker和Emmy van Leersum的时尚和珠宝设计，1967-72

IF 0.3 3区艺术学

Journal of Modern Craft Pub Date : 2014-11-01 DOI: 10.2752/174967714X14111311183009

Joana Ozorio de Almeida Meroz

引用次数: 0

Collaborative Craft Capabilities: The Bodyhood of Shared Skills 协作工艺能力:共享技能的本体

IF 0.3 3区艺术学

Journal of Modern Craft Pub Date : 2013-07-01 DOI: 10.2752/174967813X13703633980731

Otto von Busch

{"title":"Collaborative Craft Capabilities: The Bodyhood of Shared Skills","authors":"Otto von Busch","doi":"10.2752/174967813X13703633980731","DOIUrl":"https://doi.org/10.2752/174967813X13703633980731","url":null,"abstract":"Abstract With the rise of the Internet, skills, patterns, and ideas are being shared more widely among people engaged in the crafts, which seems to break with some of the underlying assumptions about the lone genius craftsman. Much discourse about craft has been focused on the hands of the artisan, or the “tacit” knowledge used by the maker, but as crafters collaborate in a larger extent some other perspectives could be of use, especially since the surrounding environment seems to take a more active involvement in the production than the mere maker. Increasing Internet prevalence has made this even more obvious, as do-it-yourself instruction and the sharing of skills are abundant in craft forums online, blurring the borders between influences, makers, and situated modes of production. This article examines some concepts and metaphors by which some of the potentials of craft collaborations could be understood. Combining theories of cognition from super-organisms like ant colonies and their “bodyhood” with the “capabilities approach” of Amartya Sen and the concept of educational sloyd, the text builds an associative framework for a perspective on how collaborations actualize new craft capabilities. In conclusion, the article proposes a wider understanding of do-it-yourself activities as a shared endeavor toward expanded collaborative capabilities; do-it-together rather than yourself.","PeriodicalId":41904,"journal":{"name":"Journal of Modern Craft","volume":"6 1","pages":"135 - 146"},"PeriodicalIF":0.3,"publicationDate":"2013-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2752/174967813X13703633980731","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69322601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 21

Making Is Thinking 制作即思考

IF 0.3 3区艺术学

Journal of Modern Craft Pub Date : 2011-11-01 DOI: 10.2752/174967811X13179748904490

Joana Ozorio de Almeida Meroz

引用次数: 0

So-called Craft: The Formative Years of Droog Design, 1992–1998 所谓的工艺:德鲁克设计的形成年代，1992-1998

IF 0.3 3区艺术学

Journal of Modern Craft Pub Date : 2010-07-01 DOI: 10.2752/174967810X12774789403528

Timo de Rijk

{"title":"So-called Craft: The Formative Years of Droog Design, 1992–1998","authors":"Timo de Rijk","doi":"10.2752/174967810X12774789403528","DOIUrl":"https://doi.org/10.2752/174967810X12774789403528","url":null,"abstract":"Abstract Within just a few years of its inception, the Dutch design group Droog Design rose to worldwide renown. The group's key constants were not its members, but rather the creators behind the Droog Design label: art historian Renny Ramakers and designer Gijs Bakker. Together they were responsible for not only the planning and organization of projects and the thematic content of presentations, but also for defining the significance of Droog. From the very outset, that significance was propounded in books, articles, lectures, and media presentations. This promotional material has generally been accepted at face value by the trade and popular presses and design industry. In many cases it was not until later that the designers' true aims were revealed in the individual work of participants. And yet the intentions driving Droog Design during its formative initial years have remained obscure. This article sheds light on the real significance of these first years, and compares this to the official reading given by Droog Design itself. The conclusion interprets the place of craft in Droog Design's work, within this new perspective on their ambitions.","PeriodicalId":41904,"journal":{"name":"Journal of Modern Craft","volume":"3 1","pages":"161 - 178"},"PeriodicalIF":0.3,"publicationDate":"2010-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2752/174967810X12774789403528","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69322516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 8

Des Wahnsinns fette Beute—Schmuck an der Akademie der Bildende Künste München: Die Klasse Künzli 来自慕尼黑艺术学院的巨大的战利品:艺术等级

IF 0.3 3区艺术学

Journal of Modern Craft Pub Date : 2009-03-01 DOI: 10.2752/174967809X416314

Liesbeth den Besten

引用次数: 0