table matters [a thesis in progress]

yuval lederman

An intuitive study

Master in Design through New Materials

Project title

TABLE MATTERS

Innovation path Crafting Heritage

Author | Yuval lederman

Intuitive | speculative | Multidisiplinary | Circular | Critical

Abstract

The project aims to promote alternative study methods by integrating intuitive exploration into modern material studies. It seeks to blend therapeutic techniques with academic research and personal insights, offering a comprehensive perspective that encompasses the individual, the educator, and the researcher.

By combining familiar materials with unfamiliar practices, the project aims to create an open space for exploration, cultivating new skills and bridging the gap between the past, present, and future. It proposes organizational structures, layouts, and material presentation techniques inspired by an open studio approach rooted in art therapy. It highlights circularity and waste reduction by incorporating eco-friendly materials, repurposing existing products, and reinventing old ones.

Ultimately, the project seeks to create conditions that foster curiosity, experiences, and collaboration. The project encourages decision-making based on reflection and creative journeys, setting our own guidelines rather than conforming to existing ones, and reconstructing ideas that may shape the future.

1.3 Objectives

Abstract I

Contents II - III

Part 1

Index of multiplicity

1.1 Craft heritage

1.2 Who, what why where

Part 2 Methods

2.1 Methodologies

2.2 State of the art

2.3 Trends/ references

2.4 Project planning

Part 3

Scaffolding processes

3.1 Creativity

3.2 Learning

3.3 Organising/ Open studio

3.4 Experiments

Part 4

4.1 A purpose/ goal

Part 5 A material

5.1 The design objective

5.2 Circularity/ Life-cycle analysis

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Recipes

FRAGMENTATION

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

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Index of multiplicity

1.1 Crafting heritage 1.2 Who, what why where 1.3 Objectives

What Why

An intuitive cross-disciplinary research

Aiming at creating the ultimate environment for the practice, it suggests organisation, layout, and material presentation practices, drawing from an open studio approach derived from art therapy.

An interactive table with a variety of materials, inviting hands-on exploration and play, facilitates the development of creative perspectives.

Value Proposition

- Introducing materials in a new way through multisensory experiences and unique modes of engagement.

- Facilitating waste reduction and promoting circularity.

- Promoting a culture that fosters curiosity and genuine self-expression.

- Developing a flexible practice tailored to meet the specific needs of its users.

- Establishing an inclusive environment that embraces individualswith diverse neurotypes, languages, and physical abilities.

- Encouraging organic exploration, discovery, and collaboration.

- Nurturing inquisitive individuals capable of independent thinking, questioning, active listening, and meaningful dialogue is essential for societal progress.

How What for

A holistic, qualitative research approach that combines bottom-up, constructivist explorations with A/r/tography.

A/r/tography blends the qualities of an artist, researcher, and educator. Unlike traditional research, which focuses on specific questions, a/r/ tographic inquiry emphasizes the process.

ApproachUnbridled, Cross-disciplinary, intuitive, Experimental, Process-driven

PerspectivesPhilosophical, Educational, Autobiographical

Multidisciplinary thinking can facilitate the process of redefining the world we live in and fostering long-lasting, sustainable values from a circular perspective by breaking down existing narratives and generating fresh interpretations.

Objectives:

- Embracing diverse perspectives and employing multidisciplinary approaches

- Leveraging a wide range of skills

- Harnessing material hybridization

- Conducting open-ended research

- Encouraging intuitive discovery

- Nurturing flexibility of ideas

- Rethinking waste management

- Advocating for circularity

Key skill development

- Identifying and solving problems

- Teamwork and Collaboration

- Developing social awareness and sensitivity

- Adaptability and flexibility of ideas

- Practical Application of Knowledge

- Expanding the familiar scope of knowledge

- Critical and independent Thinking

[ A three-dimensional view ]

Pedagogical

[ 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.

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.

Maintaining the status quo is a notion fed to us solely by its beneficiaries in a hierarchical society that categorizes people according to level of education and wealth. The development of a culture of specialties and experts was unsurprising.

However, if the value of a person is solely based upon him mastering his craft, then that craft becomes currency, and that can only be shared with close family.

[ Three timeframes ]

Past

Future

// 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)2

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 risk, 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

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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)3

A/R/TOGRAPHY

Since its conception, a/r/tography has been described as an interdisciplinary, dynamic, and emergent practice, blending visual, narrative, performative, poetic, and other modes of inquiry with qualitative methodologies such as ethnography, auto-ethnography, autobiography, and participatory or educational action research. [ 1 ] 4

1 LeBlanc, N., & Irwin, R. A/r/tography. Oxford Research Encyclopedia of Education. Retrieved 17 Jan. 2022, from https://oxfordre.com/education/view/10.1093/acrefore/9780190264093.001.0001/acrefore-9780190264093-e-393.

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2.1 Methodologies

2.2 State of the art

2.3 Trends/ references

2.4 Project planning

A holistic, qualitative research approach that combines bottomup, constructivist explorations with A/r/tography. A/r/tography blends the qualities of an artist, researcher, and educator. Unlike traditional research, which focuses on specific questions, a/r/tographic inquiry emphasizes the process.

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

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A/r/tography is about each of us living a life of deep meaning through perceptual practices that reveal what was once hidden, create what has never been known, and imagine what we hope to achieve. [ 1 ]5

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

[ 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.

Considering the potential consequences of destructive outcomes and unfulfilled individuals in today’s society, the issue of facilitating curiosity and flexibility of mind may be the most important one. Through the course of this project, I became overwhelmed by the number of current suggestions for dealing with the subject. Future education is a new approach that consists of a variety of frameworks designed to assist facilitators in developing workshops that are primarily based on scenario building and are adapted to the scenario. As a result of participant collaboration and problem-solving techniques while the environment is in the future, they managed to break down and facilitate imaginative thinking and problem-solving.

Nona Orbach is a multidisciplinary artist, therapist, blogger, lecturer, and facilitator of workshops for art therapists in Israel and around the world.9

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. 13

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.10

The collection “GOOD LACK” searches for new uses for items with missing parts and seeks to present new possibilities for a variety of furniture.11

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.14

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.12

Introducing Experiential and Participatory Futures at the BBC15

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-largerreality

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/socialsec-

[ Research topics, frameworks and references ]

[ 1 ] 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

The Open Studio Approach to Art Therapy: A Systematic Scoping Review [ 1 ]17

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 heretofore-ignored phenomena, the knowledge of which is capable of changing the way the Trace is considered. [ 1 ] 16

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, 218009)

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 and1944 are described. The influence of the Bauhaus philosophy and teach- ers such as Itten, Klee, and Kandinsky can betraced 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

* (19Wix, 2009)

[ 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

[ 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

[ 1 ] Valente, M. (2017, February 17). Knowledge as Explanations. ResearchGate. https://www.researchgate.net/publication/313799121_ Knowledge_as_Explanations

[ 1 ] 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

[ 1 ] 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

[ 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

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Societal

Analysis

Guilty conscience

Assuming responsibility for our planet and ensuring sustainability by working in harmony with nature through educational programs, incorporating eco-friendly materials, repurposing existing products, and reinventing old ones.

Radical fluidity

In an age of constant information flow, as the world becomes more globalized and mass media becomes more prevalent, attention spans are dropping, and change is happening faster. The dying arts of this era are reincarnated through crossbreeding, and crafts are hybridized through physical and abstract explorations.

Technology

Technology has become an essential tool for facilitating the exchange of information and providing quick communication as global needs and interests become increasingly interconnected.

Crossbreeding

As a result of modern technology, social communication has spread beyond geographical boundaries, resulting in multicultural communities forming based on common interests. The synthesis of cultures and knowledge provides fertile ground for new thinking and approaches to the preservation of craft heritage.

Territorial vagabond

Pluralism shifts localism ideas, while nomadic concepts become more relevant. Physical existence loses significance as we become citizens of the world.

Comfort and multi-purpose functionality are key. Environmentally conscious, everything can be repurposed. Nonchalant, carthy colours and rough edges.

Sentimental minimalism

Reconnecting with our past, looking for a balance between modem consumerism and self-expression We curate significant objects, discarding the rest. focus on simple, flowing and calming objects, family heirlooms and timeless colours

Mourncore

With an unsettling present and a dooming future

Darkness and helplessness are heightened using ambiguous, disruptive, or Extreme colours and objects; This facilitates the entry of fantasy into reality

Experimentation phase // project planning.

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// Project positioning

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

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Scaffolding processes

3.1 Creativity

3.2 Learning

3.3 Organising/ Open studio

3.4 Experiments

Numerous definitions of creativity are offered in research studies, likely due to the complexity of the phenomenon and its wide range of manifestations. Creative expression is derived from the Latin language and means beget, give birth, make, create, in other words, a dynamic process that continues to grow and evolve. Creative processes are based on the ability to discover, through attempts that were previously unrelated, new connections that lead to new thinking schemes, new ideas, and new conclusions (Sasser 2008).20

Creativity can also be defined as the ability to alter the perspective and examine a situation / problem / information from more than one perspective. Specifically, the ability to break free of our patterns of thinking and examine reality from a different vantage point. For adults, it is the capability to break free from “logical” patterns that have developed over the course of their lives on the one hand and to allow competing patterns that are in a superior position to be similarly accessible on the other (Ashley, & Oliver, 2010)21.

This is reinforced by Baack and colleagues (2008), who assert that creative thinking relies on childlike perception, which is born out of innocence and is free from inhibitions, making it possible to look at situations in an innovative and refreshing way. Inventing and proposing a new and unique approach to a problem is an advantage for children because they are unfamiliar with the old and well-known solutions to a particular problem. Additionally, various studies report that man starts his life as a highly creative individual, but at the age of eight or nine, he undermines this ability and sabotages it through bad habits.

As described by Jayanti (2010), creativity means creatively solving problems and creating products that are original, special and of high quality. A product can come from any field of human activity. Creativity increases the quality of solutions to life’s challenges.

Jayanti’s (2010) model distinguishes between two types of thinking: convergent and divergent thinking. Creative thinking involves divergent (branching) thinking as the primary activity. As this type of thinking is not directly determined by the information provided, it may work with different contents and at a variety of levels. In other words, it refers to the ability to express oneself fluently verbally and conceptually, as well as move between different categories of thought with flexibility, innovation, and reorganization. In Jayanti (2010), three elements are identified as defining creative thinking: Fluency - the ability to create many associations based upon a given stimulus. Having the ability to derive a variety of uses from a single object, including words, expressions, associations, and ideas. Originalitythe ability to see things in a way that differs from the norm. This ability is evidenced in individual answers. Flexibility in thinking is the ability to change one’s perception of a problem in order to approach it in a different manner. The above-mentioned three components bring together both the quantitative side, which includes conceptual fluency and bringing up many associations to one stimulus, and the qualitative side, which includes originality and flexibility of thought. Additionally, Baack and colleagues (2008) maintain that generating original ideas requires fluency in ideas as a prerequisite. According to his hypothesis, the number of general ideas (ideal

fluency) increases, as does the number of original ideas. More indicates greater creativity, which results in more original responses.

Various theories that identify and explain creative thinking in a variety of cognitive and psychological contexts also illustrate its complexity. According to psychoanalytic theory, creativity is primarily the result of unconscious impulses (sexual and aggressive) within the individual. Using this approach, creativity is regarded as a primary thought process resulting from the original impulses (sexual and aggressive) that seek satisfaction. Essentially, this process involves diverting satisfaction from the original goals to distant goals relating to exploration of the world, knowledge acquisition, and artistic creation. According to the Neo-Freudian theory, which was developed from psychoanalysis, creativity is a function of flexible thought processes in which latent ideas are easily transformed into conscious ones (and the repressed primary process and conscious cognitive processes only limit creativity). In this approach, there are two stages involved in the creative process: During the first stage, inspiration occurs, followed by systematic organization and communication of conceptual ideas. It is argued by the perceptual-environmental theory that the key to enhancing creativity lies in a personality structure that is open to impressions from the surroundings..

According to Baack and colleagues (2008)22, the perceptual reference to the environment has two characteristics: The auto-centric approach emphasizes the individual. In allocentric perception, references to the environment are used to facilitate the acceptance of impressions as they are, allowing for an openness to the reception of impressions. Despite the wide variety of theories regarding creativity, there are some elements that are shared by all theories, namely that creativity is viewed as a process of development. Children (ages 3-6) discover this process through their curiosity, which leads to investigation and knowledge (from the thesis on creativity and academic achievement).

Learning better

In a system that disregards the value of assumptions and guesses and views them instead as uneducated and irresponsible, many great ideas can be lost, and generations of unimaginative individuals may be created.

Once in a while, it might be nice to remember that all those irrefutable facts were once just confident guesses.

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 ParisianMuseum 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 (neigh-

bours) here and now instead of philosophizing about the future. [ 2 ]

2 2 Bishop, C. (n.d.). Antagonism and Relational Aesthetics. CUNY Academic Works. https://academicworks.cuny.edu/gc_pubs/96/2

The deeper I dig, the more I feel that the current circulating model referred to as ‘future education’ has turned into 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 a safe space that is accepting of all individuals.

Places that are not measured by the number of people who follow you on Instagram or fill out the feedback form.

Once again, these activities are aimed at the same members of the current system, which are, for the most part, indifferent to its current configuration.

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

- The child as “not-knower”: This contends that children are essentially “not-knowing” beings whom the education system can improve by raising their level of knowledge and instilling values in them so they become “knowing”— i.e., acquire intellectual and behavioral knowledge. Viewing the child as a “candidate for,” “not yet fit,” it denies that he or she is autonomous and able to direct his or her life in a relatively independent fashion )Lipman, 1991(.* [ 1 ]

1 * Lipman, M. )1991(. Thinking in education. Cambridge: Cambridge University Press.

Shay Frogel (Frogel, 2017)23 in an article called “The Ethical Value of Aesthetic Education” (translated from Hebrew) writes about the aesthetic experience as creating a space between the given reality and the possible choices while looking at it from different perspectives and thus encouraging critical thinking: “The aesthetic experience helps free the individual to a personal but reflective experience, which encourages critical thinking in relation to oneself and to his surroundings. The aesthetic experience extracts the individual from the conditions of reality in which he is placed and places him in the position of observing different perspectives in relation to them. Attention, which is usually directed to the theoretical (cognition) or practical (doing) plane, is suspended, and the individual gains the experience of being between actual reality and reality. It is possible otherwise. This is the space required for both critical thinking and a sense of existential satisfaction unique to man - known as pleasure.”

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3.4

Midterm presentation; A description of what can be expected from the project.

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

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

All these worlds shared a common element in the form of tea sets.

Perhaps the fear of losing connection to our past, blindly connecting ourselves to our presumed ancestors, indicates that survival is the ultimate goal.

Or, perhaps these concepts have become so deeply ingrained in our DNA that they are permanently incorporated into our being?

Hopefully neither is true,

It appears that the better preserved these connections are, and the further they get from their original source, the more fundamentally divided our society becomes.

A problem, since this preservation has been insstilled for generations as the most crucial for survival . A toxic relationship at its finest

Ariella Azoulay makes a simple and profound claim. Every photograph bears the traces of the encounter between the photographer and the photographed, and neither party can ultimately control that inscription nor determine what happens to those traces. The photograph, she tells us, fixes nothing and belongs to no one. This untethering of photography from responsibility, at least in its traditional sense, allows her to approach the ethics and politics specific to photography in a completely new way. Even or especially when it is a photograph of a crime or an injustice, a photograph is more than evidence. It imposes another sort of obligation on us, to address and readdress it in a way that challenges what it shows of our life together. [ 1 ]24

1 Ubiquity. (n.d.). Leuven University Press. Retrieved May 14, 2024, from https://files.cargocollective.com/90778/Ubiquity_COnversation-with-Jacob-Lewis-Kyle-Perry.pdf

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

62 | Table matters

Examining food waste

The open studio

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

The open studio

A focus on materials and spatial organization is emphasized in open studio practices as the environment encourages and guides practice, and the arrangement and collection of materials determine the next steps.

The open studio process emphasizes artistic creation, and it provides the necessary space and conditions for it. Facilitators do not supervise or moderate the artmaking process, which allows for profound engagement and sufficient time for the creative process to take place. Sessions are deliberately longer than typical sessions to ensure adequate engagement. The organization and nature of the space are crucial to establishing a welcoming and enabling atmosphere. [ 1 ]

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

Correct presentation of materials directly impacts the body and senses, allowing participants to engage without delay and minimizing the need for the facilitator to speak.

Studio depends on habits of practicestudio conditions -

[ Material offering / presentaion ]

[ Studio Organisation ]

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

[ 1 ]

1 1 N. (2023, February 12). Nona Orbach. Nona Orbach. Retrieved May 18, 2024, from https://nonaorbach.com/about-me/

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Paper of various types, weights, textures, and colors.

Cardboard surfaces for work, presentation shelf.

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

Plastic office cabinet for printer papers drafts transparencies. Copies etc...

Storage of works: Maintain a tidy workspace by assigning a folder or a shelf for each class. Use shelves for 3D, ensuring a consistent height all around.

Under the sink: cleaning materials, large glue, another box of clay, and plastic bags. Recycle bin. Above the sink: kettle, music player

[ Categorizing the materials in the studio ]

Wet

Gouache wide brushes, rags, sponges, rollers, jars for water Watercolour Soft brushes, sponges, water. Acrylic paint brushes, cardboard, wood panels, palettes, water jars, and rags.

Special corners

Library, a small armchair, a lamp, Papers and pencils, poems or small drawings are nearby. material samples

The everything box - the uncategorised materials

Three dimensional Clay wooden tools for engraving, rollers, wooden surfaces, and sponges.

Dry

Oil pastels Charcoal Wax crayons Pencils Hb - .8b Pens (Different kinds) Textiles sewing materials, knitting, Fabrics, scissors, threads, needles, wools Threads and needles.

measuring

Connectors, separators and

tools stapler, clips, hooks. push pins Adhesives: glue stick/ gun, tape / Scissors in different sizes Cutting Knife wires, wire rulers, Glue gun wires and players.

MACGYVER verb

Mac· Gy· ver

MacGyvered; MacGyvering; MacGyvers

: to make, form, or repair (something) with what is conveniently on hand. [ 1 ]

v. To inexplicably overcome a perilous situation through the skillful use of random or otherwise unrelated objects. [ 2 ]

1 Urban Dictionary: Macgyver. (n.d.). Urban Dictionary. https://www.urbandictionary.com/define.php?term=Macgyver

2 What Does 'MacGyver' Mean? | Slang Definition of MacGyver. (2023, May 9). https://www.merriam-webster.com/wordplay/what-does-macgyver-meanslang-definition

| Table matters

MAKER CULTURE

Maker culture emphasizes informal, networked, peer-led, and shared learning motivated by fun and self-fulfillment (Sharples et al, 2013) 25 .Maker culture encourages novel applications of technologies, and the exploration of intersections between traditionally separate domains and ways of working including metal-working, calligraphy, film making, and computer programming. (Maker Culture, 2024) 26

Imaginative, Experiential Tableware, Multi-Sensory, Forward Thinking, Future Skills, Participatory, Play, Speculative

events -specific Values

16+

Specially curated

Examining waste from different perspectives.

No specific outcome or implementation is intended. Anything can be anything.

Each participant is autonomous and decides how their journey will unfold.

In this learning environment, every participant is an equal. The teacher is a student, and the students are teachers.

Human potential is immeasurable and limitless.

Diverse perspectives and Multidisciplinary approaches

Wide-ranging skills

Material hybridization

Unscripted research

Intuitive discovery

Flexibility of ideas

Reevaluating waste

Promoting circularity

Values / Principles

No specific outcome or implementation is intended.

Anything can be anything.

Human potential is immeasurable and limitless.

Key skill development

- Identifying and solving problems

- Teamwork and Collaboration

- Developing social awareness and sensitivity

- Adaptability and flexibility of ideas

- Practical Application of Knowledge

- Expanding the familiar scope of knowledge

- Critical and independent Thinking

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 ]27 t

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

In this deal with tions pedagogical of of the teaching gogical assumption pretive actions others ment

Dusseldorf (due order of professional death in and educational

The setup features a compelling and versatile table that has been carefully designed to showcase a variety of diverse materials. It provides a space for engaging, hands-on exploration and play, with the goal of inspiring the development of new perspectives by empowering individuals to organize and rethink the materials in countless ways. Through interactive and enjoyable activities, the table fosters limitless creativity, enabling the formation of original interpretations and unique experiences.

The workshop is not intended to replace the educational system or to provide participants with school subjects, but rather to serve as a first step in introducing a radical, different form of freedom.

[ Structure ]

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

OBJECTIVE

SUGGESTED DURATION

STRUCTURE

Step 0 In advance Step 1

Welcome + introduction made up name Tags

Step 2 Step 3

Suggestedthemes/ 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) 28

usefull materials

Digital archives and libraries

-Endless archival collections-

mostly written esseys and stories

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

A library of all the data in existence. [ Planning ]

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.

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

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

Audio tools

Bring the streets to life with immersive history trails on GPStriggered maps.

Story Telling

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

The Roaring Twenties-an interactive exploration of the historical soundscape of New York City29

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

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

30

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/10.1080/20551940.20 20.1794650

Story Telling

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

| Table matters

PART 5

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.

[ Design objectives ]

The development of experiential tableware as part of the studio’s tools for material workshops holds importance on several fronts; it sets the stage for the immersive aspect for providing an aesthetic appeal as well as a multisensory experience, which varies in color, texture, scent, and structure.

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 water repellent.

- Ability to repurpose the object into different forms and combine it with new material waste from workshops (endlessly recyclable).

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.

[ Sensorial qualities ]

Since the ingredients are dependent upon what is available at the studio, every item differs in sensory quality.

Various shapes and sizes are available, from lightweight to heavy, flexible to rigid and smooth to rough surfaces.

Spices such as cinnamon, lavender, and thyme may be added to enhance the sense of homeliness.

I attempt to maintain a unified appearance by maintaining a certain colour scheme.

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.

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

[ Colours and materials ]

Circular Resilient Reusable Functional Diy

Reliable, versatile and affordable functionality are key. Environmentally conscious, everything can be repurposed. Nonchalant, earthy colours and rough edges.

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

Fig 1.5 Cmf colour board

Finishes

Waterproof

Tough/ Durable

Raw/ Natural

Dry

Opaque

Unrefined

Functional\Practical

Materials

Natural beesewax Natural oils

Gelatin Clay

Recycled materials

Paper pulp

Flour

Gypsum

[ Recipe testing ]

100 | Table matters

Environmental factors

Taking a circular approach // cycle analysis

| Table matters

[ Establishing a circular studio ]

It includes materials such as paper, plastics, textiles, technological waste, and metals

Collections ; Industrial; nature; recycling

Reusing materials

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

[ Life cycle analysis ]

1. Goal and scope

Environmental impact categories

- Global warming

-Fossil resource scarcity

-Stratospheric ozone depletion

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

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

variables

2. Life Cycle Inventory =

Material Purpose

Non- Recycled paper pulp 400g Strong base, recyclable

Non- Wax 200g Water Repellent + Fast Production

Non- 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

Total 1 kg

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 variables -

changing variables - 1 oils and changing variables - 2 structure

* The assumptions are made by 1 kg for each material

Fig 1.6 Carbon Footprint Comparison (Maglaya, n.d.) [ 1 ] 31

• 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 .

Production stage

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

CHAPTER ІѴ Communication and values maiorem

eatur, illorion nimagnatior simporeiciam acerit ligendae volor simaximperum et verume num rerferisquo officipsant facius eari qui dusam utas minima susdamet lignias doluptis vero omnientem

// Communication and values

// value proposition

// Define the business model

.

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

Business Model

Key Activities

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

Value Propositions Customer Relationships Customer Segments

- Unique experience with materials

- An experience that engages multiple senses

- Future-relevant skills

- Especially curated.

- Expanding the familiar scope of knowledge

Characteristics: making the unfamiliar familiar, new perspective, interpretative pedagogy, interactive, play, stimulating, adaptation,

Key Resources

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

Music player

-Creating a space that facilitates everyone is our highest priority, We aim to develop a system that adapts to the needs of the participants rather than the other way around. (everyone> meaning people from alll the colors of the neurodivergent community, language (or non), alternative mobility etc..

- 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

- Add future topics and possibilities for additional workshops..

- Contact people to thank them for participating.

- Ask for feedback or suggestions

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

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.

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.

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.

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.

Participants who have the potential to spread the word.

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

Structure

- 12.10 euro midjourney+ adobe - Materials - Online advertising - Travel

- Studio space - Refreshments - Insurance

Key Resources

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

Music player

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

Characteristics: making the unfamiliar familiar, new perspective, future education, interactive, play, stimulating, adaptation, Institutions will receive proposal tion and Private through to communities lovers, etc.), social media. - Contact people participating. - Ask for feedback - Share documentation that people

Channels

All work provided will be on a freelance basis

For educational institutions, payment will be made Prices may vary depending on the particular materials 15. An approximate cost of 250 euros will be charged A short course of four sessions, two hours long,

Private workshops will be calculated per participant my private studio, which comfortably accommodates

CHAPTER

ІѴ

Success measures

// Communication and values

// value proposition

// Define the business model

.

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

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.

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

regarding my practice as radical multidisipiliray, havimg a diverse educational ackground and Having had opportunities to study, work, and travel across the globe, coupled with a multicultural upbringing and diverse educational and profesional background, as well as obtaining a Post- graduate Certificate in Education (PGCE) with a major in Arts, a Bachelor's Degree in Humanities, and a Visual Communication Graduate Certificate and Practical Engineer qualification, I have cultivated a solid foundation in various creative disciplines. Moreover, my professional experiences in the realms of fashion, graphic design, and teaching have allowed me to engage with diverse audiences and collaborate with professionals from different backgrounds. teaching me how to effectively communicate and bring the ultimate results to life.

Growing up in Israel, London, and Cape Town, I developed a profound fascination with the interplay between environment, behavior, and culture. This curiosity forms the foundation of my artistic practice, where I explore themes in community, nomadism, womanhood, and family dynamic using various mediums such as photography, painting, drawing, writing, and video. By integrating these works into digital installations i am able to view it as a unit, observing pro- gress and changes unraveling parallel narratives. This programn offers the change and development i am looking for, offering a specialized skillset alongside an ideal platform for creative explorations, combinig a hands on method with re- serch, its emphasis on innovative approaches and interdisciplinary collaboration, aligns perfectly with my own vision and ambitions.

Yuval Lederman

Fig 1.7 midjourny mode

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

2 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

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

4 LeBlanc, N., & Irwin, R. A/r/tography. Oxford Research Encyclopedia of Education. Retrieved 17 Jan. 2022, from https://oxfordre.com/education/view/10.1093/acrefore/9780190264093.001.0001/acrefore-9780190264093-e-393.

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

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

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

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

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

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

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

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

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

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

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

16 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/

17 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

18 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

19 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/10.10 80/07421656.2009.10129612

20 Smith, R., Chen, J., & Yang, X.. (2008). the impact of advertising creativity on the hierarchy of effects. Journal of Advertising, 37(4), 47-61. )

22 Baack, D. Wilson, R & Till. B (2008) creativity and memory effects Journal of Advertising, 37(4), 85-94.

23 Frogel. (2017). Art education : aesthetics and ethics (By Lorand). Tel Aviv-Yafo (Israel)-place of publication. https://www.nli.org.il/he/books/NNL_ALEPH990043770160205171/NLI

GARDNER, H. (1995). Creativity: new views from psychology and education. RSA Journal, 143(5459), 33–42. http://www.jstor.org/stable/41376733

24 Ubiquity. (n.d.). Leuven University Press. Retrieved May 14, 2024, from https:// files.cargocollective.com/90778/Ubiquity_COnversation-with-Jacob-Lewis-Kyle-Perry.pdf

25 Sharples, M., Mcandrew, P., Weller, M., & Gaved, M. (2013, September 1). Innovating Pedagogy 2013: Exploring new forms of teaching, learning and assessment, to guide educators. https://www.researchgate.net/publication/256475436_Innovating_Pedagogy_2013_Exploring_new_forms_of_teaching_learning_and_assessment_to_guide_educators_and_policy_makers

26 Maker culture. (2024, April 18). Wikipedia. https://en.wikipedia.org/wiki/ Maker_culture#cite_note-4

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

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

30 30 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/10.1080/2055194 0.2020.1794650

31 31 Maglaya, I. (n.d.). Life Cycle Analysis of Nonpetroleum Based Wax. https://doi.org/10.14264/562bf42

32 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/

Making room for intuitive exploration in modern material studies

A voice for alternative learning methods through An intuitive cross-disciplinary research

implementation is intended.

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.

Collections reconnect with familiar objects in our surroundings, reviewing archival past memories to reshape and birth new sentiments formed through raw instincts and personal tendencies.

The more I learn and experiments I can conduct various materials. This transformation, and development unlimited resources. 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 work around improving attitudes and views toward materials, envisioning a future where they are more accessible and their potential is fully realized.

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

can give us the creative confidence to reinvent the world around us and foster sustainable, long-lasting values in a circular world.

understand, the more playful conduct mixing and matching This allows me to explore dialogue, development using an abundance of

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 ]32

1 Wheeler, L. (2021, August 11). Creative Director and Teacher Forest Young on Designing a More Inclusive FutureKeekee360 Design. Keekee360 Design. https://keekee360design.com/blog/creative-director-and-teacher-forest-youngon-designing-a-more-inclusive-future/

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