Where the touching is touched: The role of haptic attentive unity in the dialogue between maker and material

This paper, drawing on research from the ‘HANDMADE - Understanding Creative Gesture in Pottery Making’ project (sponsored by the ERC), will attempt to show how a focus on the temporality of touch and the tactility of making can help us disambiguate the often discussed, but little understood, dialogue between maker and material. Our main thesis is that with increasing levels of skill, tactile perception plays an active role in transforming a mere kinetic interaction (where potter and clay are causally coupled) into a multi-modal kinaesthetic transaction (where the potter becomes attentive to the expressive affordances of clay and recursively the clay becomes responsive to the creative affordances of the potter’s hand). We call this situational attunement between the potter and clay haptic attentive unity (HAU). The primary objective of this paper is to explore the links between touch and attentive engagement in the context of pottery making and use the notion of HAU to account for the dialogic character of creative material engagement.