- DRAFT - Notes

Yuval lederman PART 0NE

Project title

TABLE MATTERS

Innovation path Crafting Heritage

Scaffolding processes

Master in Design through New Materials

1/2

Scaffolding processes

01

index of multiplicity agenda / methodologies; future education, circularity, diverse- cross cultural future skills // motivation and challenges status quo present future the modern world

// A fluid approach to things experimental // Playability

02 Learning better // education // open sstudio // experimentation abstractions generational spiral analysis, conclusions

03 taking stock Future vision

CHAPTER I

Index of multiplicity agenda

/ methodologies; education, circularity, diverse- cross cultural future skills

// motivation and challenges status quo present future the modern world

[ U ] the action or process of breaking something into small parts or of being broken up in this way: [ 1 ] 1

1 fragmentation. (2024, May 8). https://dictionary.cambridge.org/dictionary/ english/fragmentation

Crafting Heritage

Choosing the Crafting Heritage pathway presented a conflict for me, as I have always been drawn and inspired by crafts’ intimate nature, backstories and hand-made methods. The fact that I grew up in multiple places and have a family history of continuous movement has challenged me to find a direction that feels appropriate. My goal is to create a mesh that feels organic from my own perspective .

Considering my own heritage and the concept of a singular skill craft, I realize I am unable to relate to the idea since coming from generations of immigrants, the value of a multidisciplinary skill set has become more logical and valuable.

A logic that extends its relevance beyond geographical boundaries due to modern technology, multicultural communities can now form based on shared interests rather than proximity. Providing a fertile ground for the combination of cultures and knowledge to create creative endeavours and a wide range of skills

Layering materials and objects. Discovering new possibilities and possible interactions between them. Making use of my hands and mind for spontaneous experimentations. Seeking layers and retrospective thoughts. Avoiding my instinct for creating something useful and surrendering to amorphous groupings of materials.

Future

AGNOTOLOGY

A missing term to describe the cultural production of ignorance (and its study). [ 1 ]

1 Porter, T. (2009, June). Robert N. Proctor;, Londa Schiebinger (Editors). Agnotology: The Making and Unmaking of Ignorance. viii + 298 pp., tables, figs., index. Stanford, Calif.: Stanford University Press, 2008. $65 (cloth). Isis, 100(2), 445–446. https://doi.org/10.1086/605278

A society in a perpetual state of shopping binge, constantly seeking the next spark of joy, when actual reality veers towards dystopia. There may be a problem.

Despite being an avid supporter of convenient distractions and selective memory loss, I do not believe these are the reasons we seek comfort in things. I do wonder whether this belief in the ability of things to carry good karma and spread overall happiness is something we should continue doing.

CHAPTER ІI

Learning better

In Claire Bishop’s article “Antagonism and Relationship Aesthetics’’, she refers extensively to the approach and attributes related to Nicola Borrio.

( Bourriauld, from the managers of the Palais de Tokyo The Parisian - Museum of Contemporary Art, published the book “ Relational Aesthetics “ in 1998. Bishop points out [ 1 ] that the Palais de Tokyo, which was originally a pavilion built in 1937 for an exhibition in Paris, was renovated for five million euros. The result was the preservation of the authentic, bare and unfinished appearance of the building itself, in contrast to the common museum structure, “the white box”.

The argument of Burio, who was the director of the museum, was that in order to present the “art of relationships”, a space must be created that is different from the usual space, that is more like a laboratory or a studio.

Bishop quotes (ibid.), Burio claims that the art of the 1990s is characterized by a theoretical horizon arising from “human interaction and its social context.”

He summarizes the new approach in one sentence: “It

is more urgent to invent possible relationships with our neighbours in the present than to bet on tomorrow Better”.

In his opinion, the main characteristics of the “art of relationships” are the social context, the creation of dialogue and action with the viewers, and dealing with issues of interest to the community (neighbours) here and now instead of philosophizing about the future.

1 Bishop, C. (n.d.). Antagonism and Relational Aesthetics. CUNY Academic Works. https://academicworks.cuny.edu/gc_pubs/96/

| Future education |

The deeper I dig, the more I feel that the circulating concept of future education has become another victim of modern education systems and general modernity.

From Where I see it, it can potentially become as stagnant as the one we are forced to apply now.

It apeers to have become another structural system providing different (not really) frameworks and toolkits for the future designer and educators, That until now all that was missing for them to submerge in quality education practices was the lack of a vector set of cards.

Seemingly, it has turned into another capitalistic tool for systems to gain flowers, clicks and money.

The human need for a certain frame in which he can feel safe is nothing new. However, it seems as though we continually miss the point.

This, in my opinion, is the creation of safe spaces that all the superlatives foster by facilitating a space that accepts everyone. A place that isn’t quantified by the amount of of particators that agreed to follow you on Instagram or fill the feedback paper they were handed with.

Those activities are, yet again, targeted at the same participants of the current system, which, for the most part, they have no problem with.

The following pictures were taken during my time teaching art at elementary schools. (A first attempt at implementing an open studio methodology).

Multi-layered

Stackable

Buildable

Mixed

Not necessarily practical

Mostly paradoxical

Textures

Colours

Transparencies

Humorous

Deeply serious

Disgarded

Desired

Focusing on the now

And better futures

Unhinged

Deeply embedded

Sureal

Personal

Fragile

Indestructible

Synthetic

Organic

CHAPTER ІIІ experimentation

material exploration | mapping | clustering | reading | writing

Extensive research across a variety of media including cultural mapping, archive clustering, artificial intelligence, written information, CMF board, trend analysis, and material exploration.

Scrapped ideas

TABLE MATTERS

The first phase of this research explored heritage within a multicultural society through the perspective of semi-nomadic upbringing in England, South Africa, and Israel, and diverse family ancestry Morocco, Egypt, Yemen, Poland, Ukraine, Romania, Italy

Taking ancestry records

Traditions

The Lineage Pride

Genealogy

The power of food

Investments

Bloodlines

Collections

The ceremonial act of sitting at a table within a group is a glue that binds communities together.

Clusters of family photos collected through a specially developed platform

Ancestry tableware mapping

Exploration of future scenarios constructed from collected family photos using mid-journey

Studio tools

Paper

Clay

Foil

Parchment

Candles

Rocks

Dried Lemon Peels

Dried Leaves

Apron

Coffee

Blue Foam

2 Measuring Tapes

Ruler

String Textiles

Cement

Projector

Latex Gloves

Two Ipads

Bowls

Plates

Gypsum

Push Pins

Pack Of Thick Markers •

Pack Of Thin Markers

Pack Of Colored Lourdes

Black Lourdes Size 100

Gouache Colors

Watercolours

Acrylic Colours

Vaseline

Cardboard

Plastic Bottles

Old Fabrics

Old Magazines

Pencils

Plasters

Hot Plate

Blender

Dehydrator

Canes For Painting

Brushes

Clips

Adhesives: Stick

Uhu Large

Liquid Transparent Uhu, Slutape, Masking Tape, Glue Gun

CHAPTER I

The open studio

The open studio

Studio depends on habits of practice -

/ Method of work

Studio Organisation

// Collecting materials

Material display offering / presentaion tableware

workshops- - order- examples Playability

Independently acquiring knowledge leads to critical thinking skills and that facilitate and promote self-directed Practical Application of Knowledge

1 Finkel, D., & Or, M. B. (2020, October 20). The Open Studio Approach to Art Therapy: A Systematic Scoping Review. Frontiers in Psychology. https://doi.org/10.3389/fpsyg.2020.568042 knowledge generally and behaviours self-directed learning Knowledge

The main features of the open studio approach emphasize artistic creation and provide the venue and conditions for this process. The artmaking process is not directed or moderated by the facilitators, and the sessions, deliberately longer than usual, enable profound engagement and sufficient time for the creative process to evolve. The nature of the space and its organization are vitally important to the establishment of a welcoming and enabling atmosphere. [ 1 ]

Studio Organisation

As if inviting exploration, the materials are arranged in such a way that they are readily visible.

//Material offering / presentaion

Accurate presentation of materials directly affects the body and senses, and makes the creator approach the work without delay. It almost completely eliminates the need for the teacher to speak.

Categorizing the materials in the studio

Wet

Gouache wide brushes, rags, sponges, rollers, jars for water

Watercolors Soft brushes, sponges, water.

Acrylic paint brushes, cardboard, wood panels, palettes, water jars, rags.

Dry

Oil pastels

Charcoal

Wax crayons

Pencils Hb - .8b

Pens (Different kinds)

Textiles sewing materias, knitting, Fabrics, scissors, threads, needles, wools

Threads and needles.

Connectors, separators and measuring tools

stapler, clips, hooks. push pins

Adhesives: glue stick/gun, tape / Scissors in diffrent sizes

Cutting Knife wires, wire rulers, Glue gun wires and players.

Special corners

Library a small amchair, lamp, papers and pencils, Poems or small drawings near by. material samples

The everything box - the uncategorised

Three dimensional Clay wooden tools for engraving, rollers, wooden surfaces, sponge.

Paper of various types, weights, textures, and colors. cardord suraces for work, presentation shelf.

Paper: of any type, 180 g, 240 g, cardboard surtaces from boxes collected for plasticine and Its applicatior or to panda or gouache. Storage in drawers or Polygal bags

Plastic office cabinet for printer napers drafts transparencies. copies etc...

Storage of works: a folder or a shelf for each class. Shelves for 3D, height all around Under the sink: cleaning materials, large glue, another box of clay, plastic bags. Recycle bin. Above the sink: kettle, music player

// Studio Organisation

Collecting / reusing materials

By collecting materials for experimentation rather than specific purposes, even the most banal waste can become an exciting prospect.

• White bristles • Colored bristles • Pages for adult drawing • Cartoon pages • Caps

• Paper crepe in all colors • Colored papers • Pack of computer pages • Notebooks

Pages• Different sizes of crayons • Charcoal colors • Oil chalk colors • Fondant colors • Pack of watercolor crayons • Pack of colored crayons Colors for painting on canvas • Tulip colors for decoration • Colors

• Plasticine • Plaster bandages • • Tufted glue• Palettes for colors • Small scissors in large quantity • Japanese knife X 3 • Wipes • Wiping paper • Brushes

Auxiliary equipment

• Lacquer • • Rulers • Small rollers • Cloth rags • • Small boxes for water • • Jars and boxes for storage •

Collections ; Industrial; nature; recycling

textiles, thecnological

waste, metals

papers

plastics

1 fragmentation. (2024, May 8). https://dictionary.cambridge.org/dictionary/english/fragmentation