Following on from my thoughts about the mutual benefit of art and science working together as a way of maintaining funding for the Arts, I listened to the debate between Ben Bradshaw, Secretary of State for Culture, Media and Sport and Jeremy Hunt MP, his Conservative shadow, broadcast live on the RSA* site on Tuesday.
It was encouraging to hear both politicians agreeing that Art, and Culture in general are well worth Government support. Apparently, for every pound the government invests in the Arts there is five-fold return.
They both agreed that there isn’t much point in reducing Arts spending to help save money, as the amount is miniscule in relation to overall government spending. Not only does it give such a healthy financial return, it also helps to maintain the Arts as a vibrant symbol of the Culture of the Nation.
It should be interesting to see whether all these positive words are adhered to after the election.
I am conscious that I am discussing the situation in the UK (excluding Scotland), so it would be very interesting to hear how Arts funding and the relationship between Art and Science operates in other parts of the world.
* Royal Society for the encouragement of Arts, Manufacture and Commerce The broadcast is available online here.
Friday, 26 March 2010
Monday, 15 March 2010
The Midwife and the Gravedigger
Having spent a few more days thinking about the Craft Matters campaign the more strongly I feel that the Crafts Council should encourage a more inclusive definition of craft and its place in society.
As I said before, Craft is not just concerned with exquisite, hand made, bespoke objects. Though there is a need and place for work of that type in society, if craft is to matter when it comes to its recognition, promotion and support by governments, the public needs to know how craft affects them in almost every area of life.
As Glenn Adamson says, "Craft only exists in motion. It is a way of doing things, not a classification of objects, institutions or people"*
As such, both the midwife and the person that buries you are craft experts, they have developed the tacit knowledge and skills necessary to safely bring you into this world and to leave it with dignity. At every stage in between craft shapes our lives, it is what differentiates us from the other species on this planet. Craft has even helped to shape our bodies, both in an evolutionary sense and in the way our bodies are affected by physical activity.
In getting this message across a recent Radio 4, Point of View programme could be very helpful. It was the last of a series by Professor Lisa Jardine who used the example of crystallographer, Dorothy Hodgkin to demonstrate how science and the arts can both benefit through collaboration. Lisa jardine referred to a letter to the Observer signed by many eminent thinkers who are concerned that future government spending cuts will sacrifice the arts in favour of the sciences, a policy that appears extremely short-sighted.
Adamson, G. Thinking through Craft. Berg 2007, p4.
As I said before, Craft is not just concerned with exquisite, hand made, bespoke objects. Though there is a need and place for work of that type in society, if craft is to matter when it comes to its recognition, promotion and support by governments, the public needs to know how craft affects them in almost every area of life.
As Glenn Adamson says, "Craft only exists in motion. It is a way of doing things, not a classification of objects, institutions or people"*
As such, both the midwife and the person that buries you are craft experts, they have developed the tacit knowledge and skills necessary to safely bring you into this world and to leave it with dignity. At every stage in between craft shapes our lives, it is what differentiates us from the other species on this planet. Craft has even helped to shape our bodies, both in an evolutionary sense and in the way our bodies are affected by physical activity.
In getting this message across a recent Radio 4, Point of View programme could be very helpful. It was the last of a series by Professor Lisa Jardine who used the example of crystallographer, Dorothy Hodgkin to demonstrate how science and the arts can both benefit through collaboration. Lisa jardine referred to a letter to the Observer signed by many eminent thinkers who are concerned that future government spending cuts will sacrifice the arts in favour of the sciences, a policy that appears extremely short-sighted.
Adamson, G. Thinking through Craft. Berg 2007, p4.
Friday, 12 March 2010
Does Craft Matter?
I went along to the Crafts Council launch of 'Craft Matters' at the House of Lords on Tuesday and an interesting tea party it was.
The campaign aims to raise the profile of craft in the mind of the public, in education and in business. The speeches focused on the making and acquisition of exquisite hand crafted objects and each of the speakers described why craft matters to them. You can say why craft matters to you here.
My contribution applies a much wider definition to the notion of craft, the short version being that 'Craft matters because it is the fundamental building block of the creative industries'. I used that term because of its association with DNA and the fact that craft skills are needed in many areas of science as much as they are in the arts and crafts.
The longer version is:
'Craft matters because it is not only the fundamental building block of the creative industries, but is a process that brings together the hand, the head and the heart in order to engage with, explore and interpret the world around us.'
The longer I am involved in creating work using advanced technology the more strongly I feel that successful pieces rely on a combination of my pottery craft skills, the development of new skills plus a developed sensibility to the 3 dimensional form. Together, a new world of creative possibilities has opened for me, neither superior nor inferior to my previous practice.
As an inveterate maker, concerned with the the use of materials and processes for expressive purposes, I am now more fully engaged with the notion of craft than I have been for some time and it matters.
So, does craft matter to you?
The campaign aims to raise the profile of craft in the mind of the public, in education and in business. The speeches focused on the making and acquisition of exquisite hand crafted objects and each of the speakers described why craft matters to them. You can say why craft matters to you here.
My contribution applies a much wider definition to the notion of craft, the short version being that 'Craft matters because it is the fundamental building block of the creative industries'. I used that term because of its association with DNA and the fact that craft skills are needed in many areas of science as much as they are in the arts and crafts.
The longer version is:
'Craft matters because it is not only the fundamental building block of the creative industries, but is a process that brings together the hand, the head and the heart in order to engage with, explore and interpret the world around us.'
The longer I am involved in creating work using advanced technology the more strongly I feel that successful pieces rely on a combination of my pottery craft skills, the development of new skills plus a developed sensibility to the 3 dimensional form. Together, a new world of creative possibilities has opened for me, neither superior nor inferior to my previous practice.
As an inveterate maker, concerned with the the use of materials and processes for expressive purposes, I am now more fully engaged with the notion of craft than I have been for some time and it matters.
So, does craft matter to you?
Wednesday, 10 June 2009
Jonathan Ive on Rapid Prototyping - the root of all evil?
In a recent Design Week magazine (30 April) Jonathan Ive of Apple asserts that RP is distancing designers from the physical process of design and creating 'a lot of lousy design'.
And in the following edition of the magazine numerous commentators are asked for their reaction. Most just echo Ive's sentiments
I agree with Matthew Lewis (Metropolitan Works) that knowledge of materials and processes is fundamental to successful design (and to any creative process), but it is wrong of Jonathan Ive to blame the tools. RP and now RM (additive layer manufacturing (ALM) or whatever you want to call it) open up enormous creative possibilities, and should be seen as a way of connecting the designer with the consumer in the same way as in pre-Industrial Revolution craft based societies.
As ALM frees the designer from tooling and mould making, there is the potential and the reality of every product being tailored for a specific requirement in the same way that a potter would have served the needs of the farmer or cook. In theory this should fully engage the designer with the complete creative process and the need to understand the capabilities of materials are capable of.
As applied artists/designers/creatives we have new tools in our toolbox. ALM/RP doesn't replace the other tools, it complements them and should be used appropriately.
Jonathan Ive should really be addressing the Colleges and Universities who are closing their 3D workshops and sitting students in front of computers as the cheaper option. It is central to the success of design innovation that knowledge of materials and processes is a fundamental part in the education of the next generation of creatives.
And in the following edition of the magazine numerous commentators are asked for their reaction. Most just echo Ive's sentiments
I agree with Matthew Lewis (Metropolitan Works) that knowledge of materials and processes is fundamental to successful design (and to any creative process), but it is wrong of Jonathan Ive to blame the tools. RP and now RM (additive layer manufacturing (ALM) or whatever you want to call it) open up enormous creative possibilities, and should be seen as a way of connecting the designer with the consumer in the same way as in pre-Industrial Revolution craft based societies.
As ALM frees the designer from tooling and mould making, there is the potential and the reality of every product being tailored for a specific requirement in the same way that a potter would have served the needs of the farmer or cook. In theory this should fully engage the designer with the complete creative process and the need to understand the capabilities of materials are capable of.
As applied artists/designers/creatives we have new tools in our toolbox. ALM/RP doesn't replace the other tools, it complements them and should be used appropriately.
Jonathan Ive should really be addressing the Colleges and Universities who are closing their 3D workshops and sitting students in front of computers as the cheaper option. It is central to the success of design innovation that knowledge of materials and processes is a fundamental part in the education of the next generation of creatives.
Saturday, 9 May 2009
The iPotter
We have the technology...
I have evolved from making ceramics with almost pre-Industrial Revolution materials and technology to manufacturing them using technology from the next Industrial Revolution. In doing so my practice has virtually leapt 250 years.
...and the materials
The majority of my friends from the Studio Pottery world are baffled. My work no longer shares one of the prime motivations of handmade ceramics- the expression of material qualities and processes.
The process I now use prevents me from capturing a moment in time in the same way as I could with liquid coloured slips, but my approach to the design and digital manufacture of pieces like The Wedgwoodn't Tureen doesn't divorce me from the need to engage with material qualities.
So if I loose something that was an important ingredient, what do I gain? Freedom.
I am liberated from some of the restrictions of material properties; I don't have to think about the centrifugal forces that impose their effects on the form of a thrown pot; gravity has no influence.
Most importantly I am freed from the 'baggage' associated with Studio Pottery, whose genesis was the Arts and Craft Movement and its rejection of the dehumanising effects of industrial production and the division of labour.
In fact, the process I employ now has the potential to turn the circle back to the pre-Industrial Revolution days of direct contact between the maker and the customer. 3D printing or Additive Manufacturing (AM) or whatever you wish to call it, is not restricted by the need for moulds or tooling. A design can be customised for customer before it is manufactured.
A blacksmith gains the skills required to choose the right metal for the job through direct experience (tacit knowledge). Materials need to be appropriate to the task asked of them and as AM is primarily a material based technology, with new materials and variations coming onto the market on a regular basis, then those engaged with them surely require the same skills as the blacksmith.
As part of my RCA project I used The Wedgwoodn't Tureen to test the capabilities of the software, hardware and materials of AM and particularly the materials and processes developed by Axiatec. Now that I have acquired a basic understanding, I can go on to exploit the freedom that they give me. Through the design and production of new work I continue my testing and expand my tacit knowledge in the process.
Having divorced myself from the Studio Pottery movement, the approach to my work is bound to be framed by 25 years of making pots, but my new work has been able to take on a more conceptual direction, engaging with ideas that I hope the viewer will find thought-provoking.
(to be continued.....)
I have evolved from making ceramics with almost pre-Industrial Revolution materials and technology to manufacturing them using technology from the next Industrial Revolution. In doing so my practice has virtually leapt 250 years.
...and the materials
The majority of my friends from the Studio Pottery world are baffled. My work no longer shares one of the prime motivations of handmade ceramics- the expression of material qualities and processes.
The process I now use prevents me from capturing a moment in time in the same way as I could with liquid coloured slips, but my approach to the design and digital manufacture of pieces like The Wedgwoodn't Tureen doesn't divorce me from the need to engage with material qualities.
So if I loose something that was an important ingredient, what do I gain? Freedom.
I am liberated from some of the restrictions of material properties; I don't have to think about the centrifugal forces that impose their effects on the form of a thrown pot; gravity has no influence.
Most importantly I am freed from the 'baggage' associated with Studio Pottery, whose genesis was the Arts and Craft Movement and its rejection of the dehumanising effects of industrial production and the division of labour.
In fact, the process I employ now has the potential to turn the circle back to the pre-Industrial Revolution days of direct contact between the maker and the customer. 3D printing or Additive Manufacturing (AM) or whatever you wish to call it, is not restricted by the need for moulds or tooling. A design can be customised for customer before it is manufactured.
A blacksmith gains the skills required to choose the right metal for the job through direct experience (tacit knowledge). Materials need to be appropriate to the task asked of them and as AM is primarily a material based technology, with new materials and variations coming onto the market on a regular basis, then those engaged with them surely require the same skills as the blacksmith.
As part of my RCA project I used The Wedgwoodn't Tureen to test the capabilities of the software, hardware and materials of AM and particularly the materials and processes developed by Axiatec. Now that I have acquired a basic understanding, I can go on to exploit the freedom that they give me. Through the design and production of new work I continue my testing and expand my tacit knowledge in the process.
Having divorced myself from the Studio Pottery movement, the approach to my work is bound to be framed by 25 years of making pots, but my new work has been able to take on a more conceptual direction, engaging with ideas that I hope the viewer will find thought-provoking.
(to be continued.....)
Tuesday, 7 April 2009
05.05.09 - What's new?
Well, it's been some time since I recorded my news and thoughts. In some ways a lot has happened since I finished at the RCA, and in some ways not enough.
My work has been shown by Adrian Sassoon at various Art and Design Fairs in the UK, USA and Belgium. They were shown recently at SOFA in New York and will be at COLLECT in London in 2 weeks time. I'll have some new work on show.
It's also just about to go on display in 'Object Factory' at the Museum of Arts and Design in New York
I have divided my time between designing new work, trying to complete an AHRC Knowledge Catalyst application to undertake another 12 months applied research at the RCA and collaborating with Axiatec and the University of Washington on material tests.
Here is an image of my test cube designed, printed on the ZCorp 450 in France. It has been treated to make it heat resistant, then I have dipped it in vitreous slip, fired it to 1000C, then glazed and fired it to 1085C with one of our lovely lead glazes.
This test piece is based on my 'Event Horizon' torus piece. Again, it was printed on a ZCorp machine, but in clay, not in the usual 131 powder. It was then biscuit fired to 1000C and treated in the same way as the test cube above.
This morning I sent 2 of the torus test pieces to the Esther Klein Gallery at the Science Center in Philadelphia, USA for an exhibition called 'The FAB Show'. The exhibition will explore Creative and DIY methods of accessing and utilising 3D printing technology. We are working with Evan Malone of Fab@Home on the exhibition, along with folks from MakerBot, RepRap, and Candyfab.
Meanwhile, if anyone out there is interested in my work and research please don't hesitate to get in touch. I am looking for a position, either temporary, permanent, part-time or full time where I can contribute my experience, enthusiasm and knowledge.
My work has been shown by Adrian Sassoon at various Art and Design Fairs in the UK, USA and Belgium. They were shown recently at SOFA in New York and will be at COLLECT in London in 2 weeks time. I'll have some new work on show.
It's also just about to go on display in 'Object Factory' at the Museum of Arts and Design in New York
I have divided my time between designing new work, trying to complete an AHRC Knowledge Catalyst application to undertake another 12 months applied research at the RCA and collaborating with Axiatec and the University of Washington on material tests.
Here is an image of my test cube designed, printed on the ZCorp 450 in France. It has been treated to make it heat resistant, then I have dipped it in vitreous slip, fired it to 1000C, then glazed and fired it to 1085C with one of our lovely lead glazes.
This test piece is based on my 'Event Horizon' torus piece. Again, it was printed on a ZCorp machine, but in clay, not in the usual 131 powder. It was then biscuit fired to 1000C and treated in the same way as the test cube above.
This morning I sent 2 of the torus test pieces to the Esther Klein Gallery at the Science Center in Philadelphia, USA for an exhibition called 'The FAB Show'. The exhibition will explore Creative and DIY methods of accessing and utilising 3D printing technology. We are working with Evan Malone of Fab@Home on the exhibition, along with folks from MakerBot, RepRap, and Candyfab.
Meanwhile, if anyone out there is interested in my work and research please don't hesitate to get in touch. I am looking for a position, either temporary, permanent, part-time or full time where I can contribute my experience, enthusiasm and knowledge.
Wednesday, 16 July 2008
11.07.08 – My last week at College…
…for the time being.
I spent the week:
• Finishing off the slumped glass insert for a cylinder piece.
• Sorting out my desk, going through all my amassed written stuff, rationalising all the catalogues, essays etc. that I had collected over the 2 years.
• Meeting up with Nadia and Jeremy from InnovationRCA to discuss other sources of funding as I had narrowly missed the Materials Innovation Fellowship. There’s an AHRC Knowledge Catalyst scheme that seems to be perfect for our project. It is going to take some organising as The College and the ‘Enterprise Partner’, i.e. the French company have to complete the application form. I will be the ‘Employee’ so don’t play an official part in the process.
• Packing all my work, tools, materials etc. and finding a van hire company who charge less than £200 for a one-way journey to Kendal!
• And saying good-bye to fellow students. I’m sure I’ll see many of them again and really hope our paths will cross, as they have been a great bunch of talented people.
• Giving a bit of help to Ray and Jeannette by moving pots & furniture around the house in preparation for the replacement of some floorboards and all the carpets.
• Driving the van north for over 6 hours. It felt a bit strange to have to find places for all my London bits and pieces, especially as I don’t know if I’ll be needing to take it back down there in October.
The weekend was spent sorting it all out, then mowing the lawn, picking raspberries up in the woods and generally easing myself into Parkside life again.
I spent the week:
• Finishing off the slumped glass insert for a cylinder piece.
• Sorting out my desk, going through all my amassed written stuff, rationalising all the catalogues, essays etc. that I had collected over the 2 years.
• Meeting up with Nadia and Jeremy from InnovationRCA to discuss other sources of funding as I had narrowly missed the Materials Innovation Fellowship. There’s an AHRC Knowledge Catalyst scheme that seems to be perfect for our project. It is going to take some organising as The College and the ‘Enterprise Partner’, i.e. the French company have to complete the application form. I will be the ‘Employee’ so don’t play an official part in the process.
• Packing all my work, tools, materials etc. and finding a van hire company who charge less than £200 for a one-way journey to Kendal!
• And saying good-bye to fellow students. I’m sure I’ll see many of them again and really hope our paths will cross, as they have been a great bunch of talented people.
• Giving a bit of help to Ray and Jeannette by moving pots & furniture around the house in preparation for the replacement of some floorboards and all the carpets.
• Driving the van north for over 6 hours. It felt a bit strange to have to find places for all my London bits and pieces, especially as I don’t know if I’ll be needing to take it back down there in October.
The weekend was spent sorting it all out, then mowing the lawn, picking raspberries up in the woods and generally easing myself into Parkside life again.
27.06.08 – Research funding
My first weekend at home for many weeks was blessed by terrible weather, cold, strong winds, grey skies and rain. My brother, sister-in-law and new nephew were over from Austria and though they had had a couple of pleasant days, the weather didn’t help in finding things to do with them on Saturday.
Back at College on Tuesday I met Martin to discuss the Innovation Fellowship application. It originally had to be in by Wednesday, but the deadline was extended during the day to Thursday. In one respect I was disappointed as I thought it might reduce my chances, but it meant that I had a bit longer to complete it.
Wednesday was a hectic day, attending the 3D technologies discussion day at the University of the West of England. I gave a short presentation at the end of the day, which attracted some attention, particularly from David Huson, a researcher from Bristol who is specialising in the 3D printing of ceramic materials. At some point in the near future we plan to discuss our projects.
The remainder of the week was focused on the application, Thursday passed in a blur and when Friday came I ran through my application, got some pieces ready for the interview and waited to be called. Eventually the phone rang and down I went to InnovationRCA. Geoff Hollington who I’d met at MaDE was the first of the panel to greet me. From my perspective the interview went well, I think I enthusiastically communicated the important points. Sat writing this on the train north I’m waiting to hear their decision. I’m really not sure of what chance I have, there could be some bright spark who has discovered some whizzy new material, all I can do is wait. It would put my mind at rest to get the Fellowship as I have been promised funds from the French company in order to develop a UK branch of the business. Together I should have a financially secure year ahead, with a very good chance of developing some interesting projects. If I don’t get the fellowship, then it’s back to looking for sponsorship.
Back at College on Tuesday I met Martin to discuss the Innovation Fellowship application. It originally had to be in by Wednesday, but the deadline was extended during the day to Thursday. In one respect I was disappointed as I thought it might reduce my chances, but it meant that I had a bit longer to complete it.
Wednesday was a hectic day, attending the 3D technologies discussion day at the University of the West of England. I gave a short presentation at the end of the day, which attracted some attention, particularly from David Huson, a researcher from Bristol who is specialising in the 3D printing of ceramic materials. At some point in the near future we plan to discuss our projects.
The remainder of the week was focused on the application, Thursday passed in a blur and when Friday came I ran through my application, got some pieces ready for the interview and waited to be called. Eventually the phone rang and down I went to InnovationRCA. Geoff Hollington who I’d met at MaDE was the first of the panel to greet me. From my perspective the interview went well, I think I enthusiastically communicated the important points. Sat writing this on the train north I’m waiting to hear their decision. I’m really not sure of what chance I have, there could be some bright spark who has discovered some whizzy new material, all I can do is wait. It would put my mind at rest to get the Fellowship as I have been promised funds from the French company in order to develop a UK branch of the business. Together I should have a financially secure year ahead, with a very good chance of developing some interesting projects. If I don’t get the fellowship, then it’s back to looking for sponsorship.
Friday, 27 June 2008
20.06.08 – Still crazy…
I thought that things might have eased off a little after the show and my exam, but the absence of updates to my blog testifies to how busy things have been.
The aftermath of the show has involved responding to a flow of enquiries from magazines from various parts of the world, arranging for collection of work sold and continuing to put together a research project for next year. I have had to delay the Wedgwood work, as my trip to France meant that I couldn’t meet one of the people that I need to see in order to finalise things.
My examiners had asked for a small revision to the Introduction of the written report, so that went backwards and forwards between Martin, Alison and myself during the early part of the week. It was a pleasant feeling to hand in a final printed copy to the research office on Tuesday.
In the evening I had been invited to the Design London networking evening at Imperial College. Jeremy Myerson from InnovationRCA was there and told me about the Materials Innovation Fellowship sponsored by the London Design Festival. The deadline for applications is Wednesday next week, with interviews on the Friday. So short notice!
I also met the Waribashi group from Imperial who have developed a way of converting previously un-recyclable waste into a very useful material. I was interested to have a conversation with them about using the non-fired ceramic coating with their product. They are interested and willing for tests to take place.
On Wednesday morning it was up and off to Standsted for my flight to Limoges where I was visiting the company who produce the materials used in my Wedgwoodn’t project. At the College (ENSCI) I met Youssef, their new director of research who has been undertaking some very interesting experiments, but more of that at some later stage.
On Thursday we took a trip to Moulins-Yzeurre in the Auvergne to visit a Lycee with an amazing glass department. They become the official French National School of Glass in September and wish to form links with the RCA. They run technically based courses with strong links to industry but need to develop their design and innovation side of the teaching.
I managed to get a WiFi connection whilst in Limoges and download the Innovation Fellowship form, so spent some time thinking about that.
On Friday I actually got home for the first time in 4 or 5 weeks, it was a beautiful evening, the low light bringing out the folds in the land below our house. The garden had grown, (surprise, surprise) and was looking great.
My brother, sister-in-law and nephew were across from Austria for a few days and on Saturday I cooked lunch for them. Vicky unfortunately had to work, but we went round to my parents in the evening for a glass of wine with them. The weather over the weekend was terrible, cold, wet and very windy which didn’t help especially as I realised that I was absolutely knackered from all the activity of the past few weeks.
The aftermath of the show has involved responding to a flow of enquiries from magazines from various parts of the world, arranging for collection of work sold and continuing to put together a research project for next year. I have had to delay the Wedgwood work, as my trip to France meant that I couldn’t meet one of the people that I need to see in order to finalise things.
My examiners had asked for a small revision to the Introduction of the written report, so that went backwards and forwards between Martin, Alison and myself during the early part of the week. It was a pleasant feeling to hand in a final printed copy to the research office on Tuesday.
In the evening I had been invited to the Design London networking evening at Imperial College. Jeremy Myerson from InnovationRCA was there and told me about the Materials Innovation Fellowship sponsored by the London Design Festival. The deadline for applications is Wednesday next week, with interviews on the Friday. So short notice!
I also met the Waribashi group from Imperial who have developed a way of converting previously un-recyclable waste into a very useful material. I was interested to have a conversation with them about using the non-fired ceramic coating with their product. They are interested and willing for tests to take place.
On Wednesday morning it was up and off to Standsted for my flight to Limoges where I was visiting the company who produce the materials used in my Wedgwoodn’t project. At the College (ENSCI) I met Youssef, their new director of research who has been undertaking some very interesting experiments, but more of that at some later stage.
On Thursday we took a trip to Moulins-Yzeurre in the Auvergne to visit a Lycee with an amazing glass department. They become the official French National School of Glass in September and wish to form links with the RCA. They run technically based courses with strong links to industry but need to develop their design and innovation side of the teaching.
I managed to get a WiFi connection whilst in Limoges and download the Innovation Fellowship form, so spent some time thinking about that.
On Friday I actually got home for the first time in 4 or 5 weeks, it was a beautiful evening, the low light bringing out the folds in the land below our house. The garden had grown, (surprise, surprise) and was looking great.
My brother, sister-in-law and nephew were across from Austria for a few days and on Saturday I cooked lunch for them. Vicky unfortunately had to work, but we went round to my parents in the evening for a glass of wine with them. The weather over the weekend was terrible, cold, wet and very windy which didn’t help especially as I realised that I was absolutely knackered from all the activity of the past few weeks.
Friday, 13 June 2008
13.06.08 – The Exam
RCA SHOW ONE finished on Sunday evening and everything was packed away, so when Monday came I was free to concentrate on preparing for my exam on Thursday.
I had been advised to re-write my presentation, concentrating on the outcome of the project and future plans, with less emphasis on the background to it.
I discussed the mock exam with Alison on Monday, Liz on Tuesday and Martin on Wednesday, so had pretty consistent opinions of what I needed to say.
When Thursday came I was actually feeling relatively relaxed, certainly far more prepared than for last Thursdays mock exam. I had arranged both test and finished pieces in the Seminar Room and when the panel came in asked them if they would like to inspect the work. The panel was made up of Jeremy Ainsley, the Head of Vehicle Design, who chaired the meeting, Mike Hose, my External Examiner and Alison Britton. My supervisor, Martin Smith sat in as an observer, but couldn’t comment or ask questions. After my presentation, the questioning was good-natured, though I struggled a bit with some of the wording of Mike Hose’s questions. At least I remembered to ask him to elaborate.
After about 45 minutes of questions they seemed happy enough to retire to consider their verdict, leaving Martin and I to discuss the proceedings. They returned ten minutes later and Jeremy Ainsley announced that I had passed. Mike Hose asked if I would re-write the Introduction to my written report as he thought it needed to describe the project in a more engaging way for future readers.
After that I was invited up to the Senior Common Room for a lovely lunch, then almost straight back to it. I had a meeting at Imperial College with Nick Leon and Carolyn Runcie of Design London to discuss my plans for a research project at the RCA next year.
Back at the RCA the research cluster greeted me with a bottle of champagne!
Then Ray and Jeannette cracked one open when I got back to the house!
I had been advised to re-write my presentation, concentrating on the outcome of the project and future plans, with less emphasis on the background to it.
I discussed the mock exam with Alison on Monday, Liz on Tuesday and Martin on Wednesday, so had pretty consistent opinions of what I needed to say.
When Thursday came I was actually feeling relatively relaxed, certainly far more prepared than for last Thursdays mock exam. I had arranged both test and finished pieces in the Seminar Room and when the panel came in asked them if they would like to inspect the work. The panel was made up of Jeremy Ainsley, the Head of Vehicle Design, who chaired the meeting, Mike Hose, my External Examiner and Alison Britton. My supervisor, Martin Smith sat in as an observer, but couldn’t comment or ask questions. After my presentation, the questioning was good-natured, though I struggled a bit with some of the wording of Mike Hose’s questions. At least I remembered to ask him to elaborate.
After about 45 minutes of questions they seemed happy enough to retire to consider their verdict, leaving Martin and I to discuss the proceedings. They returned ten minutes later and Jeremy Ainsley announced that I had passed. Mike Hose asked if I would re-write the Introduction to my written report as he thought it needed to describe the project in a more engaging way for future readers.
After that I was invited up to the Senior Common Room for a lovely lunch, then almost straight back to it. I had a meeting at Imperial College with Nick Leon and Carolyn Runcie of Design London to discuss my plans for a research project at the RCA next year.
Back at the RCA the research cluster greeted me with a bottle of champagne!
Then Ray and Jeannette cracked one open when I got back to the house!
08.06.08 – the end of the Show
The last few weeks preparation for the show and my final exam have meant that I haven’t been home at the weekends, hence the absence of blog entries written on the Friday evening train.
It has been a really hectic time, glazing, firing, re-firing, wiring the lighting into some of the pieces etc. After all the effort the show was set up in time and looked surprisingly good. The press visit went well with interest from a number of magazines and independent journalists. The private view was incredibly busy, the Wedgwoodn’t Tureen sold within 45 minutes of the door opening and there has been almost as much interest in the Event Horizon torus piece. In fact, the reaction of people could be included in the evaluation part of the thesis as it creates exactly the ambiguity that I hoped it would. Viewers are unsure of the material used as well as the form. Even Prince Philip was intrigued by my work!
Having my mock exam part way through the show meant that when it happened I didn’t feel totally prepared. I was ‘examined’ by Martin Smith, Alison Britton and Liz Aylieff and it was pretty rigorous. I was at a loss to answer one or two of the questions, so need to prepare answers in case they come up at the real thing on Thursday.
I’ve been chosen to show the Wedgwoodn’t and the Event Horizon piece at New Designers at the beginning of next month. I have never been to the show but am told that it is very useful for making contacts. We’ll see...
On Thursday, after the exam, I had a meeting with Frances and Matt from Wedgwood. It looks like the project to design pieces for the 250th Anniversary is going ahead. There are still some technical issues, but hopefully they will be overcome. First of all, I need to choose the archive pieces that I plan to re-design. My first thoughts are to create a design themed on Charles Darwin’s ‘The Origin of Species’ and current debate about genetics.
It has been a really hectic time, glazing, firing, re-firing, wiring the lighting into some of the pieces etc. After all the effort the show was set up in time and looked surprisingly good. The press visit went well with interest from a number of magazines and independent journalists. The private view was incredibly busy, the Wedgwoodn’t Tureen sold within 45 minutes of the door opening and there has been almost as much interest in the Event Horizon torus piece. In fact, the reaction of people could be included in the evaluation part of the thesis as it creates exactly the ambiguity that I hoped it would. Viewers are unsure of the material used as well as the form. Even Prince Philip was intrigued by my work!
Having my mock exam part way through the show meant that when it happened I didn’t feel totally prepared. I was ‘examined’ by Martin Smith, Alison Britton and Liz Aylieff and it was pretty rigorous. I was at a loss to answer one or two of the questions, so need to prepare answers in case they come up at the real thing on Thursday.
I’ve been chosen to show the Wedgwoodn’t and the Event Horizon piece at New Designers at the beginning of next month. I have never been to the show but am told that it is very useful for making contacts. We’ll see...
On Thursday, after the exam, I had a meeting with Frances and Matt from Wedgwood. It looks like the project to design pieces for the 250th Anniversary is going ahead. There are still some technical issues, but hopefully they will be overcome. First of all, I need to choose the archive pieces that I plan to re-design. My first thoughts are to create a design themed on Charles Darwin’s ‘The Origin of Species’ and current debate about genetics.
Thursday, 29 May 2008
SHOW RCA
There's been a great deal of last minute firing and preparation for SHOW ONE which opens on Friday the 30th and runs through until the 8th of June. Alongside Ceramics and Glass there's Painting, Photography , Printmaking, and Gold, Silver, Metal and Jewellery.
There's a break then the Fashion Show, followed by SHOW TWO for the rest of the departments which starts on the 24th June.
Best check the dates and times on the RCA website
Saturday, 17 May 2008
16.05.08 – Digital interference
This week I returned to London on Monday, leaving behind the stunning Lake District Spring sunshine. Our eldest daughter, Rowan had come up for the weekend so we went up to Coniston where I had expected to find congestion and parking problems. It was surprisingly quiet and e enjoyed a wonderful walk around Holme Fell, followed by tea and cakes at Yew Tree Farm, the one with the spinning gallery that was used as Hill Top in last years ‘Miss Potter’ film.
In London, I went straight to College and picked up the Wedgwoodn’t Tureen and took it round to show Robin Levien at Studio Levien. He has shown interest in the project and is rigorous in his questioning of what the eco-ceramic actually is. Can it be called ‘ceramic’ if an irreversible heating process hasn’t chemically transformed it? I suggested that it’s time to redefine the word if the eco-ceramic shares all the properties of conventional ceramic. Thorough product testing is required before we get to that stage, but it looks as though it could be necessary.
Tuesday was spent catching up with writing to people and having a look at the latest (June) issue of World of Interiors magazine which has the article about the Wedgwoodn’t Tureen. It has come out well, the facts are all there, and the photography is very good.
I had a meeting with my mentor, Martin Hunt in the afternoon, which was useful for discussing my proposals for next year’s research fellowship. I also had a chance to get some advice about the kind of contract I want to enter into with Wedgwood, if the project goes ahead.
On Wednesday it was up and away in time for the 6.55 Eurostar to Paris where I went to collect the Royal Overseas League Music Award Trophy that I have designed. As usual, it was a last minute affair, Gilles rushing in at the last moment, me with my box poised ready to pack the piece and dash off to the Metro. It was only the following day, discussing the piece with Steve Brown that I had a chance to really look at it. I must admit that my first impressions of the piece were that it looked OK, but Steve was very interested in the fact that it looks like wood, and it has small areas of ‘digital interference’ where it appears that the Zcorp machine has had to improvise. Steve and I discussed how the RM process could be disrupted by letting ‘digital woodworm’ loose in the process. Maybe a ‘virus’ could be written into the design programme, something that creates its own spontaneous growth? Almost like a predatory process found in Nature. It reminds me of the walk on Sunday, pristine Spring growth, and perfect for such a short time before the caterpillars arrive.
Friday brought another early start as I went up to Stoke-on-Trent for a meeting at Wedgwood to discuss the project and access the archive. It was a fruitful visit, they are keen to go ahead, but will get feedback next week after their International Marketing meeting. If there is enthusiasm then I’m in business, if not, then I’m looking for a job at least for the summer.
In London, I went straight to College and picked up the Wedgwoodn’t Tureen and took it round to show Robin Levien at Studio Levien. He has shown interest in the project and is rigorous in his questioning of what the eco-ceramic actually is. Can it be called ‘ceramic’ if an irreversible heating process hasn’t chemically transformed it? I suggested that it’s time to redefine the word if the eco-ceramic shares all the properties of conventional ceramic. Thorough product testing is required before we get to that stage, but it looks as though it could be necessary.
Tuesday was spent catching up with writing to people and having a look at the latest (June) issue of World of Interiors magazine which has the article about the Wedgwoodn’t Tureen. It has come out well, the facts are all there, and the photography is very good.
I had a meeting with my mentor, Martin Hunt in the afternoon, which was useful for discussing my proposals for next year’s research fellowship. I also had a chance to get some advice about the kind of contract I want to enter into with Wedgwood, if the project goes ahead.
On Wednesday it was up and away in time for the 6.55 Eurostar to Paris where I went to collect the Royal Overseas League Music Award Trophy that I have designed. As usual, it was a last minute affair, Gilles rushing in at the last moment, me with my box poised ready to pack the piece and dash off to the Metro. It was only the following day, discussing the piece with Steve Brown that I had a chance to really look at it. I must admit that my first impressions of the piece were that it looked OK, but Steve was very interested in the fact that it looks like wood, and it has small areas of ‘digital interference’ where it appears that the Zcorp machine has had to improvise. Steve and I discussed how the RM process could be disrupted by letting ‘digital woodworm’ loose in the process. Maybe a ‘virus’ could be written into the design programme, something that creates its own spontaneous growth? Almost like a predatory process found in Nature. It reminds me of the walk on Sunday, pristine Spring growth, and perfect for such a short time before the caterpillars arrive.Friday brought another early start as I went up to Stoke-on-Trent for a meeting at Wedgwood to discuss the project and access the archive. It was a fruitful visit, they are keen to go ahead, but will get feedback next week after their International Marketing meeting. If there is enthusiasm then I’m in business, if not, then I’m looking for a job at least for the summer.
Sunday, 11 May 2008
09.05.08 - getting ready for Show RCA
Now that the thesis has been handed in, it’s down to finishing the practical work in time for the exam and the Final Show. Preparations are going ahead at quite a pace, joiners busy cutting and nailing, trucks delivering materials. The Hockney Gallery is even having a temporary extension! The dates for the first part of the show are 30th May through to the 8th of June. After our show there’s the Fashion show on the 11th, then the second half starts on the 24th. Check the RCA website for full details.I’ve been trying to sort out the glaze problems, trying different levels of Manganese. The results were not very encouraging- all the tests had some pinholing, maybe I should try a lower temperature, as the oxides will flux the glaze. Phillip Wood, one of the visiting glaze experts came in, so I discussed the results with him. He suggested that the recipe is checked on glaze calculation software to see if it’s correctly formulated. He gave me a base recipe for a 1080° glaze that I made up with a 2/2/2/2 addition of copper, manganese, cobalt and iron oxides. He also gave me a matt black glaze recipe. I made up them both and they are in tonight’s firing.
On my way to Euston this afternoon I made time to visit the Wellcome Collection on Euston Road. What an excellent gallery. There was a very moving exhibition of photography called ‘Life before Death’. Large photographs, in pairs of the same person. The first taken a few days before their death, the second taken immediately afterwards. They included people of all ages from infants to the aged. It is a powerful and emotional exhibition.
I went along to see the ‘From Atoms to Patterns’, textile designs for the 1951 Festival of Britain that were based on crystallography images of molecular structures.
Sunday, 4 May 2008
02.05.08 – Handing in the thesis!
Friday was the day I handed in my thesis (or written report); three cone bound copies placed on Martin’s desk ready to go down to the Research office.
So far there’s no great overwhelming sense of relief as I’ve still a lot of practical work to complete in time for the examination. The writing is just part of the project, a fundamental part that has stretched me in many ways, but which could not have been completed without the practical work.
In addition, I need to plan ahead for my post-MPhil life. Will it be at the RCA? I certainly hope so, whatever happens I need to be involved with the French company and their revolutionary ceramic materials.
Other activities this week included booking the Eurostar to Paris so that I can collect the ROSL Trophy. I managed to get a little throwing done and make up some glaze tests, which are firing as I write this.
On Thursday evening I went to a bio-nanotechnology evening organised by Design London, held at Imperial College. There was nothing of direct use, probably more of value for the Design Interaction students, but an interesting insight into the future. One of the short talks was by a chap who works for the National Physical Laboratory, a government agency that measures stuff. Sounds boring, doesn’t it. Well this chap spends his time in Second Life, encouraging bright people to get together to discuss ideas around technology. I had no idea that Second Life was being used in this way, but as he explained, it’s all created by the members, so why not?
It was a productive, but tiring week, waking very early on a couple of mornings with my head churning through the various parts of the project.
Back at home this weekend, the spring had finally arrived and I could get out and enjoy it. I mowed the grass, did some gardening and got out for a bike ride. Vicky and I walked Blue through the fields and up through the woods with the purple haze of bluebells and leaves unfurling almost by the minute. A wonderful time of the year and I'm very lucky to live in a place where it can truly be appreciated.
So far there’s no great overwhelming sense of relief as I’ve still a lot of practical work to complete in time for the examination. The writing is just part of the project, a fundamental part that has stretched me in many ways, but which could not have been completed without the practical work.In addition, I need to plan ahead for my post-MPhil life. Will it be at the RCA? I certainly hope so, whatever happens I need to be involved with the French company and their revolutionary ceramic materials.
Other activities this week included booking the Eurostar to Paris so that I can collect the ROSL Trophy. I managed to get a little throwing done and make up some glaze tests, which are firing as I write this.
On Thursday evening I went to a bio-nanotechnology evening organised by Design London, held at Imperial College. There was nothing of direct use, probably more of value for the Design Interaction students, but an interesting insight into the future. One of the short talks was by a chap who works for the National Physical Laboratory, a government agency that measures stuff. Sounds boring, doesn’t it. Well this chap spends his time in Second Life, encouraging bright people to get together to discuss ideas around technology. I had no idea that Second Life was being used in this way, but as he explained, it’s all created by the members, so why not?
It was a productive, but tiring week, waking very early on a couple of mornings with my head churning through the various parts of the project.
Back at home this weekend, the spring had finally arrived and I could get out and enjoy it. I mowed the grass, did some gardening and got out for a bike ride. Vicky and I walked Blue through the fields and up through the woods with the purple haze of bluebells and leaves unfurling almost by the minute. A wonderful time of the year and I'm very lucky to live in a place where it can truly be appreciated.
Saturday, 26 April 2008
25.04.08 - Editing the thesis
(or written report, as it should be called)
Again, the week started with a focus on the report. After making further amendments I printed off the whole thing and passed it to Martin to read. That actually gave me a whole day to carry on with the practical work, so I did some throwing and made up a glaze test. It’s a variation of the black reflective glaze with less manganese dioxide. I managed to get a test in Richard’s firing and the results looked much the same s the original. There was a texture in the surface; more of a mottling that I realise is due to not having ball-milled the glaze. So I gave it 4 or 5 hours in the ball mill and dipped another test piece which was put into another glaze firing of Richards, this time to 1140°. Not a straight comparison, I realise, but I’ll get a test into a 1080° firing next week.
I think I’ll try another glaze variant with even less manganese as I hope to get a perfect finish on my pieces.
I threw a number of porcelain mugs, each of a different proportion, some my normal mug shape, but others wider & shallower. I have chosen a lovely satin white glaze, one of Emmanuel Boos tests that will provide a neutral effect, as I’m interested in how the contents will be perceived in use. Applying handles was an interesting exercise. I pulled some handles, but when they were applied they were far to heavy, fine for my earthenware, but totally out of balance for the porcelain. It’s interesting how the material made such a difference, or is it a result of our material associations?
On Thursday morning I greeted Martin with coffee and croissants as I thought we would need sustenance for going through the report that he had spend over 5 hours reading. It was festooned with post-it notes, quite a terrifying sight but Martin reassured me that it wasn’t as bad as it looked. The majority were punctuation or formatting, very few required any serious re-writing, thank goodness. I’m not sure I could face that.
I hope to finish the suggested amendments to the thesis this weekend and perhaps get out to see a film, or go for a decent walk. Spring is finally warming up, Kensington Gardens was looking beautiful this week and I would very much like to get a taste of the Cumbrian spring.
Again, the week started with a focus on the report. After making further amendments I printed off the whole thing and passed it to Martin to read. That actually gave me a whole day to carry on with the practical work, so I did some throwing and made up a glaze test. It’s a variation of the black reflective glaze with less manganese dioxide. I managed to get a test in Richard’s firing and the results looked much the same s the original. There was a texture in the surface; more of a mottling that I realise is due to not having ball-milled the glaze. So I gave it 4 or 5 hours in the ball mill and dipped another test piece which was put into another glaze firing of Richards, this time to 1140°. Not a straight comparison, I realise, but I’ll get a test into a 1080° firing next week.
I think I’ll try another glaze variant with even less manganese as I hope to get a perfect finish on my pieces.
I threw a number of porcelain mugs, each of a different proportion, some my normal mug shape, but others wider & shallower. I have chosen a lovely satin white glaze, one of Emmanuel Boos tests that will provide a neutral effect, as I’m interested in how the contents will be perceived in use. Applying handles was an interesting exercise. I pulled some handles, but when they were applied they were far to heavy, fine for my earthenware, but totally out of balance for the porcelain. It’s interesting how the material made such a difference, or is it a result of our material associations?
On Thursday morning I greeted Martin with coffee and croissants as I thought we would need sustenance for going through the report that he had spend over 5 hours reading. It was festooned with post-it notes, quite a terrifying sight but Martin reassured me that it wasn’t as bad as it looked. The majority were punctuation or formatting, very few required any serious re-writing, thank goodness. I’m not sure I could face that.
I hope to finish the suggested amendments to the thesis this weekend and perhaps get out to see a film, or go for a decent walk. Spring is finally warming up, Kensington Gardens was looking beautiful this week and I would very much like to get a taste of the Cumbrian spring.
Saturday, 19 April 2008
18.04.08 – Shuffling the thesis
This week’s focus has been the thesis. I had a tutorial with Martin on Tuesday afternoon where we started to look at the Evaluation section. I returned to my desk with a list of jobs to do in time for Thursday’s session at Martin’s studio.
When Thursday came around I cycled in to College, picked up my thesis and carried on to the far reaches of Clapham. I was greeted at the studio by Martin, with Tallis’s Spem in Allium playing. We laid out the thesis on the office working surface and made our way through each section, looking to see how the parts related to each other. The difference between organising the thesis on screen and shuffling the sheets is similar to handling actual and virtual objects.
The morning ended with the layout of the thesis quite dramatically changed. I had thought that the order was logical but we managed to improve it. Again I came away with a long list of jobs to do!
The other news was that I was selected to make the trophy for the Royal Overseas League music award. It’s to be presented to the winner, Sarah-Jane Brandon a Royal College of Music soprano from New Zealand, at a concert in London's Queen Elizabeth Hall in May. The organisers liked the look of the Wedgwoodn’t Tureen, so I used some of the design data as a starting point. Instead of the piece looking like bone, I made an image of random musical notes. The data was given to Alastair in RapidformRCA, who will put it together over the weekend. I’m relying on Gilles in France to be able to make the piece in time. Having completed the Wedgwoodn’t by the skin of his teeth I’m a little worried that this job will keep me on tenterhooks. It’s bad timing to have this job to do at the same as the thesis but it’s all part of re-positioning myself. It will be useful on the CV and I may make a few contacts.
When Thursday came around I cycled in to College, picked up my thesis and carried on to the far reaches of Clapham. I was greeted at the studio by Martin, with Tallis’s Spem in Allium playing. We laid out the thesis on the office working surface and made our way through each section, looking to see how the parts related to each other. The difference between organising the thesis on screen and shuffling the sheets is similar to handling actual and virtual objects.
The morning ended with the layout of the thesis quite dramatically changed. I had thought that the order was logical but we managed to improve it. Again I came away with a long list of jobs to do!
The other news was that I was selected to make the trophy for the Royal Overseas League music award. It’s to be presented to the winner, Sarah-Jane Brandon a Royal College of Music soprano from New Zealand, at a concert in London's Queen Elizabeth Hall in May. The organisers liked the look of the Wedgwoodn’t Tureen, so I used some of the design data as a starting point. Instead of the piece looking like bone, I made an image of random musical notes. The data was given to Alastair in RapidformRCA, who will put it together over the weekend. I’m relying on Gilles in France to be able to make the piece in time. Having completed the Wedgwoodn’t by the skin of his teeth I’m a little worried that this job will keep me on tenterhooks. It’s bad timing to have this job to do at the same as the thesis but it’s all part of re-positioning myself. It will be useful on the CV and I may make a few contacts.
Wednesday, 16 April 2008
11.04.08 - Evaluation, continued
Sitting here on the Friday evening train the week feels like it caught up with me. It’s been a busy one, as I expected it would be, balancing the thesis with events following the Wedgwoodn’t Tureen project.
Arriving at College on Tuesday I quickly got ready for the World of Interiors journalist and photographer who spent most of the afternoon with me. I learned a lot from the photographer, the use of natural light and the way that I was positioned to create an image that would fill a double spread or a single page. He used film, as Rupert the editor prefers the quality to digital. I’m looking forward to seeing the article, which will be in the June issue.
Wednesday afternoon was scheduled for a tutorial with Martin to discuss the Evaluation section of the thesis. Interestingly, he looked up the word ‘thesis’ and found that the definition includes the practical work as it is also used to advance the argument. So what I’ve been calling the thesis is actually the written report. I have a number of points to amend and some additions to make. There isn’t much time left to fit everything in place so I don’t fancy the idea of starting a whole new lot of reading.
In the evening I went over to Brick Lane to see the fashion show that Grace had arranged for the Middlesex first year students. Understandably she was very nervous, but everything ran smoothly. I enjoyed meeting her friend Coco, she’s a lovely girl and they are obviously good friends.
On Thursday morning I took the Wedgwoodn’t piece over to MaDE, the `Material and Design Exchange to talk to the mentors about applying for a SPARK award. It was a very worthwhile meeting, with lots of enthusiasm for the project and plenty of good advice. I need to keep that project moving along, but must give the MPhil priority at the moment.
The rest of Thursday and Friday were spent making alterations to the Evaluation section and writing the Conclusion section of the written report.
The weekend is likely to be filled with writing, but hopefully there’ll be time to get out into the fields and woods with Vicky and Blue.
Arriving at College on Tuesday I quickly got ready for the World of Interiors journalist and photographer who spent most of the afternoon with me. I learned a lot from the photographer, the use of natural light and the way that I was positioned to create an image that would fill a double spread or a single page. He used film, as Rupert the editor prefers the quality to digital. I’m looking forward to seeing the article, which will be in the June issue.
Wednesday afternoon was scheduled for a tutorial with Martin to discuss the Evaluation section of the thesis. Interestingly, he looked up the word ‘thesis’ and found that the definition includes the practical work as it is also used to advance the argument. So what I’ve been calling the thesis is actually the written report. I have a number of points to amend and some additions to make. There isn’t much time left to fit everything in place so I don’t fancy the idea of starting a whole new lot of reading.
In the evening I went over to Brick Lane to see the fashion show that Grace had arranged for the Middlesex first year students. Understandably she was very nervous, but everything ran smoothly. I enjoyed meeting her friend Coco, she’s a lovely girl and they are obviously good friends.
On Thursday morning I took the Wedgwoodn’t piece over to MaDE, the `Material and Design Exchange to talk to the mentors about applying for a SPARK award. It was a very worthwhile meeting, with lots of enthusiasm for the project and plenty of good advice. I need to keep that project moving along, but must give the MPhil priority at the moment.
The rest of Thursday and Friday were spent making alterations to the Evaluation section and writing the Conclusion section of the written report.
The weekend is likely to be filled with writing, but hopefully there’ll be time to get out into the fields and woods with Vicky and Blue.
29.02.08
Sorry,this one's out of sync as I forgot to publish it!
Arrived at College, dropped off my things and went straight down to the Lecture theatre for the research presentations. I arrived partway through the session, but still managed to see three of them before it was my turn. It seemed to go OK, but sitting there waiting I was a little alarmed that Emmanuel was discussing the relationship of poetry to his project. As usual, he has strong views and can appear uncompromising. I used the first verse of the Elizabeth Cook poem ‘Bowl’ in my presentation, and explained to Emmanuel that it had been chosen, not because of poetic merit but because it demonstrated someone verbalising the act of looking at a ceramic container and going beyond its material associations.
Quite a chunk of emotional energy was burned up during the week trying to pin down the date when I could collect my tureen from the company in France. Having been told I could go on Wednesday I was about to book the tickets when I received a call to say that it would not be ready. As I was working for Ceramic Art London from Thursday through until Sunday, I was disappointed as one of the designers from Denby Pottery planned to see me on Friday and Martin Watmough had the Vice President of Z Corp visiting. It would have been really useful to have a Wedgwoodn’t Tureen to show them. But I’m in other people’s hands so to a certain extent I have to go with it.
The meeting on Friday with Gary Hawley and his colleague Thomas was very interesting as they have a Z Corp machine that is use every day. I am very keen to take the conversation further and hope to be able to visit them before too long.
Ceramic Art London went very well, setting up was smooth and exhibitors seemed happy with the help on hand. I looked after the ‘Discovery Programme’, the series of lectures and demonstrations that included the film of my wife Vicky’s ceramic installation to commemorate the Morecambe Bay Chinese Cocklers tragedy. I saw the final version for the first time that includes the final section of the ‘stones’ being covered by the tide. It adds a very poignant ending to the film that is appropriately slow paced.
Arrived at College, dropped off my things and went straight down to the Lecture theatre for the research presentations. I arrived partway through the session, but still managed to see three of them before it was my turn. It seemed to go OK, but sitting there waiting I was a little alarmed that Emmanuel was discussing the relationship of poetry to his project. As usual, he has strong views and can appear uncompromising. I used the first verse of the Elizabeth Cook poem ‘Bowl’ in my presentation, and explained to Emmanuel that it had been chosen, not because of poetic merit but because it demonstrated someone verbalising the act of looking at a ceramic container and going beyond its material associations.
Quite a chunk of emotional energy was burned up during the week trying to pin down the date when I could collect my tureen from the company in France. Having been told I could go on Wednesday I was about to book the tickets when I received a call to say that it would not be ready. As I was working for Ceramic Art London from Thursday through until Sunday, I was disappointed as one of the designers from Denby Pottery planned to see me on Friday and Martin Watmough had the Vice President of Z Corp visiting. It would have been really useful to have a Wedgwoodn’t Tureen to show them. But I’m in other people’s hands so to a certain extent I have to go with it.
The meeting on Friday with Gary Hawley and his colleague Thomas was very interesting as they have a Z Corp machine that is use every day. I am very keen to take the conversation further and hope to be able to visit them before too long.
Ceramic Art London went very well, setting up was smooth and exhibitors seemed happy with the help on hand. I looked after the ‘Discovery Programme’, the series of lectures and demonstrations that included the film of my wife Vicky’s ceramic installation to commemorate the Morecambe Bay Chinese Cocklers tragedy. I saw the final version for the first time that includes the final section of the ‘stones’ being covered by the tide. It adds a very poignant ending to the film that is appropriately slow paced.
Wednesday, 9 April 2008
04.04.08 – Evaluation
The first part of the Easter break was spent at my brother’s in Austria. Vicky and I went out for a few days to meet our new nephew Luke, who is my brother & sister-in-law’s first child. Chris is like a dog with two tails!
After what we thought was going to be a brief trip back to winter, our landing at Stanstead was delayed by snow. The rest of Easter was cold, but I did manage to get out for some good walks with Vicky and Blue.
Apart from settling back in Cumbrian life, I spent many long days writing up the Evaluation section of the thesis. It’s a demanding section, pulling together themes explored during the project and relating them to other peoples work. A lot of time was spent thinking and writing about how I allow for subjectivity in the evaluation of this project. I had originally planned to have an evaluation and a conclusion but they seem to have morphed into one. I emailed my efforts to Martin and Alison, so I’ll see what they say.
In addition to all this, I'm looking for generative software to use on the Wedgwood project (if it goes ahead). Sometimes called algorithmic geometry software it can be used to generate 'natural' forms such as bone structure or plant growth. If anyone out there can point me in the direction of Rhino compatible software I'd be very grateful.
Next week is going to be a busy one, with World of Interiors interview as soon as I get in on Tuesday, tutorial on Wednesday afternoon, Grace’s fashion show at Brick Lane in the evening. Thursday morning I have a meeting to discuss applying for a SMART award towards next year’s research fellowship.
After what we thought was going to be a brief trip back to winter, our landing at Stanstead was delayed by snow. The rest of Easter was cold, but I did manage to get out for some good walks with Vicky and Blue.
Apart from settling back in Cumbrian life, I spent many long days writing up the Evaluation section of the thesis. It’s a demanding section, pulling together themes explored during the project and relating them to other peoples work. A lot of time was spent thinking and writing about how I allow for subjectivity in the evaluation of this project. I had originally planned to have an evaluation and a conclusion but they seem to have morphed into one. I emailed my efforts to Martin and Alison, so I’ll see what they say.
In addition to all this, I'm looking for generative software to use on the Wedgwood project (if it goes ahead). Sometimes called algorithmic geometry software it can be used to generate 'natural' forms such as bone structure or plant growth. If anyone out there can point me in the direction of Rhino compatible software I'd be very grateful.
Next week is going to be a busy one, with World of Interiors interview as soon as I get in on Tuesday, tutorial on Wednesday afternoon, Grace’s fashion show at Brick Lane in the evening. Thursday morning I have a meeting to discuss applying for a SMART award towards next year’s research fellowship.
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