- DRAFT - table matters

yuval lederman

Table matters

Project title

TABLE MATTERS

Innovation path Crafting Heritage

Master in Design through New Materials

Author | Yuval lederman

Intuitive ; Experimental ; Adaptable ; Reclaiming Pedagogy ; Critical

Abstract

An assemblage of the intuitive unfolding of knowledge can describe both the methodology for birthing this work and the framework it ultimately offers. aligning with the arts based research approach A/r/tography , which acknowledges intertwining roles of artist/researcher/teacher as integral parts of the research process.

a/r/tographic inquiry emphasizes the process as opposed to traditional forms of research formulate specific questions to be answered.

this work Transitioning between the present and the future exploring new ideas and reinterpreting old ones. This project aims at creating a space that facilitates curiosity, experiences, and collaboration. Making decisions based on reflections and imaginative journeys. setting our own guidelines rather than conforming to existing ones.

As will become evident in the interludes and situations below, these questions evolved into new yet related questions. This is an important distinction between a/r/tographic work and many other forms of research. Whereas traditional forms of research formulate specific questions to be answered, a/r/tographic inquiry emphasizes the process.

utilizing therapeutic methods alongside academic research and personal experiences. A framework that is grounded in history, yet focuses on the future as the one that holds importance. Using the process of breaking down narratives and constructing our own interpretations.

Abstract I

Contents II - III

01 intro

quick hello

// “why, what, how, what for”

//state of the art

Methodology

// Research topics and framework- open studio etc

// gathered reserch; trends, references // project planning.

02 workshops

// Research topics, framework, influence, insights

03 materialsation

// characterization

// Introduction of the different experimentation phase stages and results, analysis, conclusions and next steps.

// Display images of the process, tables, experiments, lab notes, etc. echnical information of your final project.

// Cualitative and sensorial information .// Material datasheet.

// Implications of your final project in the environment (social, natural and economical) and life cycle analysis.

04 Success measures

Summary of findings, answers to the research questions

05 Communication and scalability // Communication and values // value proposition

// Define the business model . // Define the next steps to scale /implement your final project.

// Summary of findings, answers to the research questions

06 Conclusions // Limitations

// Future research

// Motivation letter

07 Bibliography

03 taking stock Future vision

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

02

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

Scaffolding processes 1/2

Fig 1.3 An out of date photo found on a 110 film camera, grainy color film, dreamy light leaks. On an English council housing estateAn out of date photo found on a 110 film camera, grainy color film, dreamy light leaks. On an English council housing estate

CHAPTER I

Intro

// “why, what, how, what for” //state of the art

Methodology

// Research topics and framework- open studio etc // gathered reserch; trends, references // project planning.

Table matters

// objectives and challenges

Having spent some time away from my cell phone, I realized my dependence on it was due to a fear of forgetting. With the constant overload of information, it has become nearly impossible to function without some form of electronic device to keep things in order.

“Never forget” is a phrase I have often heard growing up in Israel. The idea of history repeating itself was always viewed as the least desirable outcome, making it imperative to remember the past to ensure future survival.

With a continuously evolving collection of memories, from heirlooms passed down to souvenirs acquired along the way, their ongoing conservation can become quite taxing. Even so, these components contribute to the overall narrative. They provide a framework for creating an identity and an understanding of where we fall on the spectrum between content creators and political megalomaniacs.

As far as I can tell, both individuals and communities develop their stories based on accumulating “smaller” ones. Collections of personal experiences, generational traumas, miscellaneous items from past relationships, previous clothing sizes, and the ashes of our grandmothers. All culminating in assessing our progress and considering how far we have come despite it all.

Development; the steady growth of something so that it becomes more advanced, stronger, etc.

(Oxford Advanced Learners Dictionary)

As a result of these stories, our success, or lack thereof, is often determined.

Generally speaking, the goal of Development is legitimising actions that contribute to the greater good. However, the lack of certainty in the future has primarily disintegrated the historical conditions that gave rise to the development perspective. With the past as a source for society’s reliance, its maintenance of outdated ideas continuously brings us down.

Knowledge serves as a means of directing attention; it highlights one reality, eradicating al others. In a society that considers the Louvre a cultural epicentre, it is no surprise that our stories remain almost as well preserved as the Mona Lisa.

“When humans perform a prescribed burn, the goal is to remove that layer of decay in a controlled manner, allowing the other, healthy parts of the ecosystem to thrive” (National Geographic, The Ecological Benefits of Fire).

Everyday life is structured around repetitive patterns involving a series of actions and behaviours (brushing our teeth, sleeping, eating).. From a circular standpoint, it becomes apparent that everything is connected and that if there is a linear progression that does not reverse, something is wrong.

“Ezio Manzini - refers to ‘cosmopolitan localism’sharing knowledge and adapting it to local contexts. I think that massive change is inevitable. And we have the choice between massive change that we kick off, where we actively decide which things we really care about, and which we can let go. Or we run into change that is imposed upon us, and this would be a disaster”.

(Manzini & M’Rithaa, 2016)1

It often seems that the elements used to construct our surroundings have gradually lost their initial appeal. They are no longer what they used to be, but unlike our own inevitable loss of appeal and promise, they can be reinvented completely.

The current consumption and waste disposal require approximately 1.75 planets, and by 2030, two. It is imperative that terms such as “throwing away”, “new”, and “old” be reconsidered. Taking into account the fact that when an item reaches its proper lifecycle, it usually becomes obsolete, rather than dissipating or disappearing, but is instead taking up space in landfills. It is my primary objective to reconsider the approach to materials as perceptions, relevance, and narratives continue to evolve. Whenever established principles are lacking or distorted, it is essential to liberate the imagination from conventional thinking and to find a balance between continuity and disruption.

Predeterminations might provide certain answers or assurance, but they are also where all possibilities come to die while the past lives on. Through circularity, there is a continual level of confidence and security in the face of constant change, high ris k,

and destruction. Using our collective past to spur our progress rather than obstruct it. Removing the historical dumping ground of our past from the present will allow us to move forward with a blank slate.

As we blindly enter uncharted territory, our future will not be determined by the past or measured by its values but rather by the decisions we make in the present. And In the end our future actions will determine the value of things, and our new stories will establish relevance.

“ They remind us every day that despite our best intentions, we do not live in a world where there is perfect identity between objects and things, but one in which objects as well as the categories, meanings, relations, functions, boundaries, and forms of imagination that we thread through them —are being constantly undermined, displaced, and undone by the aimless but relentless rebellion of things. They remind us that we live in a world in which the identity between objects and things is always fragile and breaks down over time” (Fernando Domínguez Rubio, 2020)2

What

supeing a voice for diffrent learning methods, from my own changing the modern practices learning and thinking practices, which

Why

The importance of unconfined intuitive exploration in the construction and deconstruction of ideas.

How

Fig 1.4Fernando Domínguez Rubio. (2020). Still life: ecologies of the modern imagination

Fig 1.5at the art museum. Chicago, Illinois; London: The University Of Chicago Press. Fig 1.6Manzini, E., & M’Rithaa, M. K. (2016). Distributed Systems And Cosmopolitan Fig 1.7Localism: An Emerging Design Scenario For Resilient Societies. Sustainable Fig 1.8Development, 24(5), 275–280. https://doi.org/10.1002/sd.1628

Open studio; Method Organisation Workshops

Methodologies

Table matters

Qualitative research, consisting of bottom-up, constructivist explorations combined with the use of A/r/tography, which blends the qualities of an artist, researcher, and educator.

Perspectives - Philosophical, Educational, Autobiographical Approach - Unbridled, Cross-disciplinary, intuitive, Experimental, Process-driven

Irwin explains: Theory as a/t/tography as métissage is a way for those of us living in the 9 10- A/r/tography borderlands to creatively engage with self and others as we re-imagine our life histories in and through time. A/r/tography is a form of representation that privileges both text and image as they meet within moments of métissage. But most of all, a/r/tography is about each of us living a life of deep meaning through perceptual practices that reveal whät was once hidden, create what has never been known, and imag ine what we hope to achieve. [ 1 ]3

1 Pinar, W. F. (2019, February 18). Intellectual Advancement Through Disciplinarity. BRILL. http:// books.google.ie/books?id=7XkfEAAAQBAJ&printsec=frontcover&dq=Intellectual+Advancement+Throu gh+Disciplinarity&hl=&cd=1&source=gbs_api

Understanding materials in a broader sense has led me to recognize their transformative potential-almost everything can be anything, and humanity generally adapts to circumstances. For this reason (and a few others) I decided to focus this thesis around improving attitudes and views toward materials, envisioning a future where they are more accessible and their potential is fully realized. Rooted in the past but aimed at the future. By breaking down narratives and generating fresh interpretations, this paradigm can give us the creative confidence to reinvent the world around us and foster sustainable, long-lasting values in a circular world.

The more I learn and understand, the more playful experiments I can conduct mixing and matching various materials. This allows me to explore dialogue, transformation, and development using an abundance of unlimited resources.

State of the art

In a world of continuous change where some things lose significance and others gain, A world becoming scarce of materials we knew and abundant in ones unfamiliar. Where conceptions of waste and purpose are entangled. As indisputable facts become fluid and the remaining truths are mere fragments stored in clouds. Factual memories and single craft specialties are replaced by adaptability and a multidisciplinary skill set.

Awarding creativity, collaboration, and technological know-how.

This is an experimental approach to material study, utilising therapeutic methods with academic research and personal experiences.

Transtisioning between the present and the future, Exploring new ideas and reinterpreting old ones.

Working in harmony with nature through incorporating eco-friendly materials, repurposing existing products, and reinventing old ones.

This project aims at creating a space that facilitates curiosity, experiences, and collaboration. Making decisions based on reflections and imaginative journeys. setting our own guidelines rather than conforming to existing ones. Reconstructing ideas that may shape the future. methodologies

Table matters

State of the art

Whole new worlds are imagined by writers, film-makers, and artists. Could this approach be integrated into design education so design schools could become a source of alternative ideas and counter narratives, materialised through design, that provoke thought and further imagining about the kind of worlds people wish to live in rather than prescribing any one particular future or communicating a vision of how things will, or should be?

A design education like this would probably no longer be organised around disciplines but instead, maybe different ways of seeing the world. Its students and faculty would study, experiment with, and deepen understanding of the mechanics of unreality — utopias, dystopias and heterotopias; what ifs and as ifs; hypotheses, thought experiments and reductio ad absurdum; counterfactuals and uchronia, and so on. Synthesising ideas from political science, anthropology, sociology, history, economics and philosophy into new worldviews made tangible through an expanded form of design practice. *2 [ 1 ]

1 * * A Larger Reality — R / D. (n.d.). R / D. https:// www.readingdesign.org/a-larger-reality

Nona Orbach is a multidisciplinary artist, therapist, blogger, lecturer, and facilitator of workshops for art therapists in Israel and around the world.7

During the workshop attendees were taught to make their own bio-plastic materials from ingredients commonly found in kitchen cupboards. This plastic was then used as the binding resin for other natural ingredients – twigs, sawdust, coffee grounds etc – combining them to produce a bio-composite materia. 9

Fondazione Reggio Children is a research centre that promotes projects in the educational field and at the same time redefines the very concept of research.10

Arabeschi di Latte is a design studio founded by Francesca Sarti in Italy in 2001 and since 2013 is based in London. The studio was born from experimentation with design concepts, reflecting on the cultural value of conviviality and shared memories and traditions.8

It is not a place for testing ideas intended to be implemented, nor a public consultation forum, but rather a place where, in response to the complex fusion of politics and technology shaping today’s social realities, speculative forms of material culture can be used to provoke new ideas and collective imagining about the kinds of worlds people wish to live in.11

Introducing Experiential and Participatory Futures at the BBC13

The collection “GOOD LACK” searches for new uses for items with missing parts and seeks to present new possibilities for a variety of furniture.12

Scenario thinking is a tool for motivating people to challenge the status quo, or get better at doing so, by asking “What if?” Asking

“What if?” in a disciplined way allows you to rehearse the possibilities of tomorrow, and then to take action today empowered by those provocations and insights. What if we are about to experience a revolutionary change that will bring new challenges for nonprofits?

Or enter a risk-averse world of few gains, yet few losses? What if we experience a renaissance of social innovation? And, importantly, what if the future brings new and unforeseen opportunities or challenges for your organization? Will you be ready to act?

A joint venture between ActKnowledge and the Aspen Institute Roundtable on Comprehensive Community Initiatives, defines a THEORY OF CHANGE AS:

“an innovative tool to design and evaluate social change initiatives. By creating a blueprint of the building blocks required to achieve a social change initiative’s long-term goal, such as improving a neighborhood’s literacy levels or academic achievement, a theory of change offers a clear roadmap to achieve your results, identifying the preconditions, pathways, and interventions necessary for an initiative’s success.*” [ 1 ]

1 Kibbe, B. K., & Scearce, D. S. (2020, December 14). Rehearsing the Future: An Introduction to * Developing and Using Scenarios. https://doi.org/10.15868/socialsector.37868

[ Research topics, frameworks and references ]

The Open Studio Approach to Art Therapy: A Systematic Scoping Review [ 1 ]15

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

Expression Semiology is a new science. Its study is based on heretoforeignored phenomena, the knowledge of which is capable of changing the way the Trace is considered. [ 1 ] 14

Fig 1.11 Formulation ; Arno Stern & Academie du Jeudi Official Website. (n.d.). Arno Stern & Academie Du Jeudi Official Website. Retrieved April 16, 2024, from https://arnostern.com/formulation/

Making Art: A Qualitative Study of Personal and Group

Transformation in a Community Arts Studio

A key finding of the study was that art making provided participants the opportunity to build new identities and roles, and that through engagement in mutually meaning- ful activity, in this case making art, a community of artists developed. Art was also seen as a bridge creating access to the larger community.3*

* (Howells & Zelnik, 216009)

Aesthetic Empathy in Teaching Art to Children: The Work of Friedl

Dicker-Brandeis in Terezin

This article examines the teaching approach of art educa- tor Friedl Dicker-Brandeis as a historical antecedent to the art therapy profession. Dicker-Brandeis’s philosophy and her spe- cific methods of teaching art to children in the Terezin concen- tration camp in Czechoslovakia between 1942 and 1944 are described. The influence of the Bauhaus philosophy and teach- ers such as Itten, Klee, and Kandinsky can be traced through Dicker-Brandeis’s pedagogy, with an aesthetic grounded in empathy. Aesthetic empathy was the doctrine that informed Dicker-Brandeis’s art education and later, in the Terezin con- centration camp, her art teaching. This legacy is part of the history of art therapy and may contribute to shaping future theory and practice.* 4

* (17Wix, 2009)

Fig 1.10 18 [ 1 ]

1 Chatteur, F., Carvalho, L., & Dong, A. (2010, January 1). Embedding Pedagogical Principles and Theories into Design Patterns. BRILL eBooks. https://doi.org/10.1163/9789460910623_012

Fig 1.11 19 [ 1 ]

1 O’Regan, S. (2022, February 27). The Experiential Futures Ladder — Simon O’Regan. Simon O’Regan. https:// www. simonoregan.com/short-thoughts/the-experiential-futures-ladder

Fig 1.14 Chu, J. H., & Mazalek, A. (2019, January 2). Embodied Engagement with Narrative: A Design Framework for Presenting Cultural Heritage Artifacts. Multimodal Technologies and Interaction, 3(1), 1. https://doi. org/10.3390/mti3010001

Fig 1.12 20

Fig 1.11 Valente, M. (2017, February 17). Knowledge as Explanations. ResearchGate. https://www.researchgate.net/publication/313799121_Knowledge_as_Explanations

Fig 1.13 [ 1 ]21

1 Kizel, A. (2021, February 28). the facilitator as liberator and enabler: ethical responsibility in

Fig 1.16 [ 1 ]23

Fig 1.11 Boling, E., & Smith, K. M. (n.d.). Artifacts as Tools in the Design Process. ResearchGate. https://www.researchgate.net/ publication/266251198_Artifacts_as_Tools_in_the_Design_Process

Fig 1.15 1 22

1 Oishi, S., & Schimmack, U. (2010). Residential mobility, well-being, and mortality. Journal of Personality and Social Psychology, 98(6), 980–994. https://doi.org/10.1037/a0019389

Introduction

Frameworks and reference Structure Planning Outcome

There is a psychological theorist named Daryl Bem who has a theory called “Exotic Becomes Erotic” that I think is one of the more fascinating psychological theories. He basically posits that there’s a threshold at which if something is exotic to you — unfamiliar, but not too unfamiliar that you are afraid of it — you become incredibly curious and maybe even develop some form of arousal towards it. But if it goes too far beyond the threshold of the familiar, you become terrified of it. [ 1 ]24

1 Wheeler, L. (2021, August 11). Creative Director and Teacher Forest Young on Designing a More Inclusive Future - Keekee360 Design. Keekee360 Design. https://keekee360design.com/blog/creative-director-and-teacher-forest-young-on-designing-a-moreinclusive-future/ Table matters

CHAPTER ІІ

An application

// Research topics, framework, influence, insights

The open studio

//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.

Studio depends on habits of practiceadaptable and changeable;

Gathering, framing, making and enacting

Voros Generic Foresight Model. It includes the following components: Inputs, Analysis, Interpretation, Prospection, Outputs and Strategy/policy). This model can be considered a holistic one since it gathers the most agreed upon models’ phases for the generic process of researching into futures. We selected this model for the following reasons.

[ Frameworks and references ]

Playability

Creating new ideas is facilitated through the act of ‘play’.

Cultivating hands-on experimentation through organizing the space as if it were a feast, or banquet or the tea party from Alice in Wonderland.

Playing with materials without an objective is how ideas can be disassembled and reassembled. The success of a workshop depends on the creation of an environment conducive to this exploration.

Charles and Ray Eames used to say, “Toys are not really as innocent as they look. Toys and games are the prelude to serious ideas.” [ 1 ]25 t

1 https://theculturetrip.com/europe/germany/articles/take-your-pleasure-seriously-the-playful-side-of-charlesand-ray-eames

Imaginative, Experiential Tableware, Multi-Sensory, Forward Thinking, Futures Studies, Participatory, Play, Speculative

.Learning needs to be multidimensionally constructed. If humansare holistic beings, then learning must be able to reach the learners’ multiple dimensions.2.Learning must occur in various planes or dimensions in order to access holistic development. Reaching the learner in one quantum dimension (i.e.,cognitive or social) is not sufficient to promote learning that extends beyond the confines of the classroom.

Hosting experiences where participants are presented with a wellset table with a variety of materials that, through setting and reframing, they become open to new interpretations fostered by hands-on experimentation , acts of play and unlimited freedom.

Unthinkable combinations, Organized, Inviting, Candy like, a feast or banquet or the tea party from Alice in Wonderland

Human potential is ubiquitous and unlimitedby time and space. 5.Instructional design should encourage learners to reach beyond time and space, into holographic realitieswith interaction between and among learners, instructors, the learning environment, and technology.6.Learning environments are dynamic living systems that grow, evolve, and develop through the passage of time and space, supporting the needs of learners, instructors,and institutions.7.Learning can result in transformation for teachers, learners, and the educational environment, through which technology is also transformed.(pp. 64–65 Table matters

Values

- Creating a space dedicated to this type of practice

- The space must provide sufficiant materials

- It is not linked to a larger story, nor does it have a specific outcome or implementation in mind.

- Diverse explorations of waste materials

- Everything can be anything

- open minded

- there is no teaching but discoveries

- we respect all materials

The presence of others, not as spectators but as playmates who agree to the transmission, giving it its character of non-communication and normality.

-

Key skill development

Identifying and solving problems

Teamwork and Collaboration

Developing social awareness and sensitivity

Adaptability and flexibility

Critical Thinking and Self-learning

he Quantum Perspective of Learning (QL)(Janzen, 2013; Janzen,Perry & Edwards, 2011; 2012a; 2012b) provokes learning by taking the most salient parts of existing learning theory and circumscribing them into a theory. Instead of learning being flat, one-dimensionaland with concrete starting and ending points, QL is envisioned as being infinite in nature. Learning, from this perspective, has always existed throughout time, extends from the earliest periods in-utero to the end of life, and is the culmination of both inputs and outputs that are the very essences of life. As described by Katherine Janzen, Beth Perry,and Margaret Edwards (2011), QL is based upon fiveassumptions: 1.Learning is c.2.Learning occurs in various planes simultaneously.3.Learning consists of potentialities that exist infinitely.4.Learning is both holistic and holographic and is patterned within holographic realities.5.Learning environments are living systems.(p. 64)F Janzen, Szabo, JakubecJCACS79Originally developed as a theory to explain online learning, Janzen, Perry,and Edwards (2011)propose that the original seven principles fit equally as well with on-site and blended learning: 1.Learning needs to be multidimensionally constructed. If humansare holistic beings, then learning must be able to reach the learners’ multiple dimensions.2.Learning must occur in various planes or dimensions in order to access holistic development. Reaching the learner in one quantum dimension (i.e.,cognitive or social) is not sufficient to promote learning that extends beyond the confines of the classroom. 3.Humans have infinite potential to learn and develop in all dimensions, accessing this learning for life.4.

TIME 2-3 hour

SPACE PEOPLE

Individuals in transitional stages of their lives or those who are generally curious (high school age or older)

Number of participants private 5 - 8, Institutions 15 max

MATERIAL

SUGGESTED DURATION

OBJECTIVE

STRUCTURE

Step 0 In advance

Step 1 Welcome + introduction made up name Tags

Step 2

Step 3

Suggested themes/ titles

Matters of nothing

Transversing Open books

Artifactions

United Fronts

Vegetative state

Orderly fashions

[ Frameworks and references ]

Affective scientist Mary Helen Immordino-Yang notes that: Quite literally, it is neurobiologically impossible to think deeply about or remember information about which one has had no emotion because the healthy brain does not waste energy processing information that does not matter to the individual (Immordino-Yang, 2015). Emotions help learners set goals during learning. They tell the individual experiencing them when to keep working and when to stop, when she is on the right path to solve a problem and when she needs to change course, and what she should remember and what is not important. (National Academies of Sciences, Engineering and Medicine, 2018)

But inventories mask the original mobility of objects, presenting us with kitchen and tableware at rest. In contrast, “cookery books”, such as Bartolomeo Scappi’s Opera (1570), are full of detail about process and action, but are not always explicit about the objects involved (Krohn Citation2015).

To take just one example, in the instructions for how “to spit-roast or stew a loin of beef”, certain tools are specified (“a bat” to tenderise the meat; “a press” for it to marinate in; “a cord” to bind it with; “a dripping pan” to catch the juices; “the spit” to roast it on), while others must be inferred from the instructions given (“cut away” suggests a knife; “splash it”, a container for liquids and possibly a utensil to splash with; “ground” ingredients require a mortar and pestle; “cook it in a very temperate fire” demands fire tools) (Scappi Citation[1570] 2008, 137). Putting these sources together, however, enables us to start thinking of how practices unite particular clusters of objects, deepening our understanding of the spaces with which they were intimately connected and the sounds they once produced. (Dennis, 2020) 26

Digital archives and libraries

-Endless archival collections-

mostly written esseys and stories

A tool that allows you to search all books published in the first age of print, in England, France, Italy or any other part of the world where printing with moveable type is known.

British Library

the national library of the UK. Our shelves hold over 170 million items - a living collection that gets bigger every day.

“Humanist Virtual Libraries” program of the Center for Higher Studies of the Renaissance in Tours.

A library of all the data in existence.

Bring the streets to life with immersive history trails on GPS-triggered maps.

Naratrival links

Simulation games on itch.io. Games that try to simulate real-world activities (like driving vehicles or living the life of someone else).

[ 1 ] Vectors Journal: Deliberative Democracy and Difference. (n.d.). http://vectors.usc.edu/projects/index. php?project=8

The Roaring Twenties-an interactive exploration of the historical soundscape of New York City27

Audio tools

noise came to signify a badly-managed, and therefore morally dubious, household, while silence testified to decorous and authoritative domestic management. [ 1 ]

A very well made database that holds the largest collection of inventories gathered from artisanal groups in early modern Europe.

1 Dennis, F. (2020). Cooking pots, tableware, and the changing sounds of sociability in Italy, 1300–1700. Sound Studies, 6(2), 174–195. https://doi.org/10.1080/20551940.2020.1794650

[ Planning Scenario building]

The efficacy and innocency of solvents candidly examined : with experiments and cases : Home, Robert : Free Download, Borrow, and Streaming : Internet Archive. (1783). Internet Archive. https://archive.org/details/b21523149/mode/2up

Specification of Ferdinand Smyth Stuart : substitute for Peruvian bark : Smyth Stuart, Ferdinand : Free Download, Borrow, and Streaming : Internet Archive. (1856). Internet Archive. https://archive. org/details/b30744854/page/2/mode/2up

Elements of dental materia medica and therapeutics, with pharmacopoeia [electronic resource] : Stocken, James : Free Download, Borrow, and Streaming : Internet Archive. (1878). Internet Archive. https://archive.org/details/b21452167/page/78/mode/2up

CHAPTER ІІІ

Materialisation

// characterization

// Introduction of the different experimentation phase stages and results, analysis, conclusions and next steps.

// Display images of the process, tables, experiments, lab notes, etc. echnical information of your final project.

// Cualitative and sensorial information .// Material datasheet.

// Implications of your final project in the environment (social, natural and economical) and life cycle analysis.

the formation of Experiential tableware intended to be used as part of the studio’s tools for material workshops hold importance on several fronts, setting the scene for the immersive aspact for facilitatating a , the aesthtihc apeal as well as a multi sensorial experience varying in color, textures, smells and structural properties. creating the workshops and a collection of Experiential tableware intended to be used as part of the studio’s tools for material workshops, so they must meet specified requirements;

the design aims to achieve a balance between aesthetic appeal and approachability. Combining durability and softness for an engaging sensory experience. An efficient and fast production process. Basic repulsion of water. Ability to repurpose the object into different forms and combine it with new material waste from the workshops (endlessly recyclable).

29 Giaccardi and Karana introduced four experiential levels in everyday materials experiences: sensorial (i.e., how materials are sensed), interpretive (i.e., meanings evoked by materials), affective (i.e., emotions elicited by materials), and performative (i.e., actions elicited by materials). Karana et al. developed a method [64] and experiential characterisation toolkit [16] as parts of a systematic approach to study materials experience through a lens of these four experiential levels. With the advent of shape changing [105], smart (e.g. [3]), augmented (e.g. [82]), ageing (e.g. [107]), and living (e.g. [52]) materials, there is an emerging design space in HCI to study the dynamic and temporal natures of experiences with materials.

created from materials that are readily available, including flour, coffee, old lemons, candles, and recycled paper. These materials are combined with other natural ingredients, including beeswax, clay, and gypsum, to form durable yet endlessly recyclable objects.

While not every trial yielded positive results, the thought of endlessly recycling almost anything removed any ‘usual’ thoughts of failure (or success, for that matter). It may be possible to begin breaking down the common perspectives on what is trash and what is still relevant, reshaping modern notions of materials as narratives continue to evolve.

Colours and materials

Reliable, versatile and affordable functionality are key.

Environmentally conscious, everything can be repurposed.

Nonchalant, earthy colours and rough edges.

Circular Resilient Inviting Function Diy

Specified Material Properties;

- Aesthetically Pleasing

- Inviting Dialogue

- Relatively Durable

- Efficient And Fast Production Process

- Water Repellent

- Ability To Repurpose The Object Into Different Forms + Combine It With New Material Waste From The Workshops

Materials

Finishes

Fig 1.19 Cmf colour board

Even the best note taker would have difficulty keeping track of the exact mix of materials on their third and fourth exploration cycles.

1. Goal and scope

Software simapro

Databases Ecoinvent 3

Method ReCiPe 2016 Midpoint I

Applied databases Ecoinvent 3, Global market {GLO}

Unit used is 1 kg of final product

Environmental impact categories

- Global warming

-Fossil resource scarcity

-Stratospheric ozone depletion

The product, or “experiential tableware,” play an essential role in workshops meant to stimulate curiosity about different materials and waste perceptions. They are homemade and produced only as part of the workshops which are small and intimate. All the materials chosen for the production can be endlessly recycled and reproduced.

The product is made from 750 grams of non-changing variables (paper pulp+beeswax+gypsum) (recycled or new) and 250 grams of changing variables divided into - 125gr of binding materials such as oils and gelatine/agar agar And 125gr for the products structural integrity such as soil, flour, woodchips, tea, coffee. the production is carried out by 5 minutes of 200kwh hand mixer and 10 minutes cooking with a 1500kwh hot plate.

Due to this, the purpose of this study is to assess the environmental impact within the 250gr of variables that can be changed during the manufacturing process.

For this LCA study Petroleum slack wax is assumed as a replacement for beeswax which is not available on simapro

Graphic paper, 100% recycled {GLO} + Waste newspaper {GLO} are assumed to be a replacement for recycled paper pulp

Non-changing Recycled paper pulp 400g Strong base, recyclable

Non-changing Wax 200g Water Repellent + Fast Production

Non-changing Gypsum 150g Durablity

Changing gelatin, agar agar, soap, oils (baby oil, coconut oil, olive oil) 125g Binders

Changing sawdust, soil, food waste (tea, coffee, lemon), flour, spices (curcumin, paprika, sumac, cinnamon) 125g Added structural qualities

3. Impact assessment and interpretation of results

• What does generate the highest environmental impacts of your material/product? extraction

While the production stage seems to be quite influential I will address the material extraction stage as it is the only stage changeable.

Unsurprisingly the wax has a significant role as well as the coconut oil in both the Global warming and Stratospheric ozone depletion classifications, while flour seems most influential for Fossil resource scarcity.

• What can you do to reduce the environmental impact of your material/product?

My solution is to have better knowledge on the effect each material has on the environment.

As the most harmful material according to the data shown is a replacement for a more environmentally friendly option I looked for more information regarding the material which is actually used (beeswax).

As well as a comparison analysis which compares between the changeable variableschanging variables - 1 oils and changing variables - 2 structure

* The assumptions are made by 1 kg for each material

Fig 1.20 Carbon Footprint Comparison (Maglaya, n.d.) [ 1 ]

• Compare your material with others already existing or an ecodesigned version of your material and verify if it has a lower environmental impact

An ecodesigned option suggests using gypsum waste, and waste newspaper as replacements for gypsum plasterboard and graphic paper.

As well as soil instead of flour and soap instead of coconut oil.

As the data shows those replacements have made a significant improvement to the overall picture and understanding how small improvements matter .

** Honey is the main product in bee farming whereas beeswax is the coproduct.

In the of beeswax, for every 60 kg of honey extracted, it yields 1 kg of wax capping (Benecke, 2007).

**

2.2 BEESWAX

Bees use wax as a construction material for their honeycombs being secreted from their abdominal wax gland. The composition of the beeswax changes depending on the geographic source, ages of bees, climate season, and independent of status whether it is actively producing wax (Hepburn, 1986). Typically, their natural colour is white but becomes yellow when contaminated with propolis and pollens. It consists mainly of 70 – 90% esters of long-chain alcohols (C30 – C32) of the total weight, hydrocarbons, and fatty acids (Seidel et al., 2004) with a relatively low melting point range of 61 – 650C, and density range of 0.950 – 0.965 g/cc (Bogdanov, 2006)

4- References / bibliography

(1) Maglaya, I. (n.d.). Life Cycle Analysis of Nonpetroleum Based Wax. https://doi. org/10.14264/562bf42

Li, T., Zhang, H., Liu, Z., Ke, Q., & Alting, L. (2013, September 27). A system boundary identification method for life cycle assessment. The International Journal of Life Cycle Assessment, 19(3), 646–660. https://doi.org/10.1007/s11367-013-0654-5

Di Economia, D. (2017). Environmental Assessment of Beekeeping Products and Services – A Life Cycle Assessment Case Study Including Honey and Pollination. https:// hdl.handle.net/11564/673188

04 // Communication and values

// value proposition

// Define the business model

.

// Define the next steps to scale

/implement your final project.

05 Success measures

Summary of findings, answers to the research questions

// Limitations

// Conclusions Future research

// Motivation letter

06 Bibliography

CHAPTER ІѴ Communication and values

// Communication and values

// value proposition

// Define the business model

.

// Define the next steps to scale /implement your final project.

Value Proposition

A mere notion of transplanetary ‘across the planet’ shared agendas does not lead to action.

Exploring uncharted territories serves a device to create a sense of collective ownership and accountability.

Expanding the familiar scope of knowledge will facilitate cross-cultural exchanges of information, ultimately stimulating adaptation, development and new perspectives.

A unique structure that promotes intuitive unfolding and discovery facilitates curiosity, experiences, and collaboration.

Curious individuals who are comfortable with personal choices, who think independently, ask questions, listen and respect others, and can create dialogues will be valued social and contributing human beings in society.

Business Model

Participants who have the potential to spread the word.

the most important activities to make it work 9most important)

Cost

Private workshops will be calculated per participant - approximately 80 euros for a three-hour workshop that will be held in my private studio, which comfortably accommodates 5 to 8 people. Key Partnerships

what am i offeing why my solution is

- A unique experience with materials

- a multi sensory experience

- Future-relevant skills

- Especially Curated

- Expanding the familiar scope of knowledge

- Send a summary of the activity, including cooperation level and pictures to the contact from the institution via email.

- Thank them for hiring you + Any feedback or suggestions would be greatly appreciated

Segments

btb- Educational institutions (from high school onwards) - interested in acquiring unique workshops for their students.

btc- A small scale workshop for [ideally] young adults in transitional stages of their lives or generally curious.

- Ask for feedback or suggestions

Characteristics: making the unfamiliar familiar, new perspective, future

A studio space equipped with all the necessary materials, both basic and non-basic.

Music player

- Contact people to thank them for participating.

- Share documentation via Instagram. (Ensure that people have given permission before posting any photos or videos showing their faces.)

Key Resources Channels

Institutions of higher education will receive an email containing a proposal in the form of a presentation and a link to the website.

Private workshops are advertised through Whatsapp messages sent to communities (i.e., expats, dog lovers, etc.), word-of-mouth, and social media.

- Add future topics and possibilities for additional workshops.. 12.10 euro midjourney

Revenue Streams

All work provided will be on a freelance basis -

For educational institutions, payment will be made per workshop for a maximum of 15 students. Prices may vary depending on the particular materials requirements, travel distance, and if the number of students exceeds 15. An approximate cost of 250 euros will be charged for a two-hour workshop.

A short course of four sessions, two hours long, is available- estimated price- 800 euros.

04 // Communication and values

// value proposition

// Define the business model

.

// Define the next steps to scale

/implement your final project.

05 Success measures

Summary of findings, answers to the research questions

// Limitations

// Conclusions Future research

// Motivation letter

06 Bibliography

CHAPTER ІѴ

Success measures

// Communication and values

// value proposition

// Define the business model

.

// Define the next steps to scale /implement your final project.

With curiosity-driven and practice-led approaches, I regard my work as a multidisciplinary research. Moving between physical, digital, and cultural spaces for much of my life has led to a profound fascination with the interplay between the environment, behaviour, and culture.

Drawing from a variety of practices such as teaching, art, design, philosophical, and theoretical, my work is an ongoing exploration of open-ended trial and error aimed at breaking down preconceptions and developing alternate perspectives.

Emphasizing process rather than results, the research is documented on my website, as I monitor progress and changes over time and space. Making use of readily available, environmentally friendly, and anthropologically relevant materials.

www.yuval-lederman.com

It has become evident through the course of this process that, at the end of the day, everything is connected. There is no sudden emergence of ideas or beliefs, we are a collection of materials glued together, some more prominent than others.

From researching my heritage to mapping teapots and future suggestions from AI

I landed here. Not exactly sure where to next, I do know it will be a place that will apply even for a little what I tried to point out here.

Fig 1.21 midjourny mode

Endnotes

1 Manzini, E., & M’Rithaa, M. K. (2016, September). Distributed Systems And Cosmopolitan Localism: An Emerging Design Scenario For Resilient Societies. Sustainable Development, 24(5), 275–280. https://doi.org/10.1002/sd.1628

2 Fernando Domínguez Rubio. (2020). Still life: ecologies of the modern imagination at the art museum. Chicago, Illinois; London: The University Of Chicago Press.

3 Pinar, W. F. (2019, February 18). Intellectual Advancement Through Disciplinarity. BRILL. http://books.google.ie/books?id=7 XkfEAAAQBAJ&printsec=frontcover&dq=Intellectual+Advancement+Through+Disciplinarity&hl=&cd=1&source=gbs_api

4 Design methodology | sharedspaces.usask.ca. (n.d.). http://sharedspaces.usask.ca/designmethodology

5 Sterling, B. (2017, June 28). Design Fiction: A Field Guide to Ethnographic Experiential Futures. WIRED. https://www.wired. com/beyond-the-beyond/2017/06/design-fiction-field-guide-ethnographic-experiential-futures/

6 Deleuze, G., & Parnet, C. (2007). dialogues II. Columbia University Press.

7 N. (2024, February 23). Homepage- new - Nona Orbach. Nona Orbach. https://nonaorbach.com/

8 Arabeschi di Latte. (n.d.). Arabeschi Di Latte. https://arabeschidilatte.org/#:~:text=Arabeschi%20di%20Latte%20is%20 a,and%20shared%20memories%20and%20traditions.

9 Council, M. (n.d.). Bio-plastic workshop at the Design Museum. https://www.materialscouncil.com/bio-plastic-workshop-atthe-design-museum/

10 Our research. (n.d.). Fondazione Reggio Children. https://www.frchildren.org/en/research

11 Dunne & Raby. (n.d.). https://dunneandraby.co.uk/content/projects/863/0

12 GOOG LACK|DesignSoil. (n.d.). http://www.designsoil.jp/project/goodlack-en.html

13 Candy, S. (n.d.). Introducing Experiential and Participatory Futures at the BBC. https://futuryst.blogspot.com/2020/10/experiential-futures-at-the-bbc.html

14 Formulation ; Arno Stern & Academie du Jeudi Official Website. (n.d.). Arno Stern & Academie Du Jeudi Official Website. Retrieved April 16, 2024, from https://arnostern.com/formulation/

15 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

16 Howells, V., & Zelnik, T. (2009). Making art: A qualitative study of personal and group transformation in a community arts studio. Psychiatric Rehabilitation Journal, 32(3), 215–222. https://doi.org/10.2975/32.3.2009.215.222

17 Wix, L. (2009, January). Aesthetic Empathy in Teaching Art to Children: The Work of Friedl Dicker-Brandeis in Terezin. Art Therapy, 26(4), 152–158. https://doi.org/10.1080/07421656.2009.10129612

18 Chatteur, F., Carvalho, L., & Dong, A. (2010, January 1). Embedding Pedagogical Principles and Theories into Design Patterns. BRILL eBooks. https://doi.org/10.1163/9789460910623_012

19 O’Regan, S. (2022, February 27). The Experiential Futures Ladder — Simon O’Regan. Simon O’Regan. https:// www. simonoregan.com/short-thoughts/the-experiential-futures-ladder

20 Valente, M. (2017, February 17). Knowledge as Explanations. ResearchGate. https://www.researchgate.net/publication/313799121_Knowledge_as_Explanations

21 Kizel, A. (2021, February 28). the facilitator as liberator and enabler: ethical responsibility in commu- nities of philosophical inquiry. Childhood & Philosophy, 17, 01–20. https://doi.org/10.12957/childphilo.2021.53450

22 Oishi, S., & Schimmack, U. (2010). Residential mobility, well-being, and mortality. Journal of Personality and Social Psychology, 98(6), 980–994. https://doi.org/10.1037/a0019389

23 Boling, E., & Smith, K. M. (n.d.). Artifacts as Tools in the Design Process. ResearchGate. https://www.researchgate.net/publication/266251198_Artifacts_as_Tools_in_the_Design_Process

24 Wheeler, L. (2021, August 11). Creative Director and Teacher Forest Young on Designing a More Inclusive Future - Keekee360 Design. Keekee360 Design. https://keekee360design.com/blog/creative-director-and-teacher-forest-young-on-designing-a-more-inclusive-future/

25 https://theculturetrip.com/europe/germany/articles/take-your-pleasure-seriously-the-playful-side-of-charles-and-ray-eames

26 Dennis, F. (2020). Cooking pots, tableware, and the changing sounds of sociability in Italy, 1300–1700. Sound Studies, 6(2), 174–195. https://doi.org/10.1080/20551940.2020.1794650

27 The Roaring ’Twenties (DRAFT VERSION). (n.d.). http://nycitynoise.com/

28 28 Dennis, F. (2020). Cooking pots, tableware, and the changing sounds of sociability in Italy, 1300–1700. Sound Studies, 6(2), 174–195. https://doi.org/10.1080/20551940.2020.1794650

29 Maglaya, I. (n.d.). Life Cycle Analysis of Nonpetroleum Based Wax. https://doi. org/10.14264/562bf42