Claire England: Developing Innovation through Craft Practice by Claire England

____________________________________ University of Huddersfield School of Art, Design and Architecture

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claire england An Essay submitted in part fulfilment of the requirements for

ba (hons) textile crafts

abstract

This study critically examines how the debate of empiricism motivates the authors design practice. Through the examination of theoretical debate alongside contemporary case studies also responding to the subject- FoAm, Ernesto Neto and Robert Morris, she investigates implications for the future direction of her own practice based on the subsequent understanding of her own processes and working methods. This monograph draws on the primary research of studio based observation, with close reading of philosophical texts to argue that the sense if touch is a valid and important tool when creating innovative design in the context of contemporary practice.

acknowledgments

This monograph would not have been possible without the support and guidance from the Textile Craft staff at Huddersfield University. Special thanks go to my tutors Dr Rowan Bailey and Nicola Perren for their insight and input in this period of study.

contents

Introduction

Contexts

Theoretical Framework: Empiricism Collecting Data through Touch, Case Study: Robert Morris Creating Experience through Touch, Case Study: FoAm Ernesto Neto

Practice

Process: Chance Process: Intuition

Critical Evaluation Strengths

Areas for Improvement Reflecting on Progress

References

Bibliography

list of illustrations

Figure Figure Figure Figure Figure Figure Figure Figure

1: 2: 3: 4: 5: 6: 7: 8:

Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19:

ENGLAND, Claire (2011) Untitled [Blind sketch], Private Collection. ENGLAND, Claire (2011) Untitled [Blind sketch], Private Collection. MORRIS, Robert, (1976) Blind Time ll [Graphite and plate oil], New York. MORRIS, Robert, (1961) Box with the Sound of its Own Making [Wood]. ENGLAND, Claire, (2011) Untitled, [Fabric and Rubber] Huddersfield. FoAM, (2005) Trg, [Elastic fabric], Slovenia. WORKSHOP, Nema, (2011) Dâ&#x20AC;&#x2122;espresso, New York. NETO, Ernesto, (2006) The Malmo Experience, [Sheer fabric and styrofoam] Sweden. ENGLAND, Claire, (2011) [Photograph], Private Collection. ENGLAND, Claire, (2011) Stages of Process Table. ENGLAND, Claire (2011) Theme Board, [Photograph]. ENGLAND, Claire (2011) Visual Diary, [Photograph]. ENGLAND, Claire (2011) Collection of Samples, [Photograph]. ENGLAND, Claire (2011) Untitled, [Photograph],Private Collection. ENGLAND, Claire (2011) Drawing Method, [Photograph], Huddersfield. ENGLAND, Claire (2011), [Photograph]. ENGLAND, Claire, (2011) Untitled [Fabric, Rubber, Plastic and Parcel Tape]. ENGLAND, Claire (2011) Untitled [Pen and Paper] Private Collection. ENGLAND, Claire (2011) Visualisation for Sample [Photograph].

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introduction ______________________________________________________________________ ___________________ ____

introduction

â&#x20AC;&#x153;We come to know the world theoretically only after we have come to understand it through handling.â&#x20AC;? (Bolt, 2007, p.30)

This monograph is spilt into four parts. The core theme, which runs through the whole discussion relates to the issue of learning through touch; the debate surrounding empirical knowledge. From this, case studies for the laboratory group FoAm, alongside artists Ernesto Neto and Robert Morris are analysed on the basis of the key factor they all share: experiencing art through the senses. From this, I intend to make observations and assessments about my own approach to the theme of touch. The third part of this study focusses on my practice, drawing on from this earlier study of context and theory, in order to gain a better understanding as to how my own theme regarding touch is embedded within my process. Moreover a judgment will be made as to how relevant my practice is in contemporary culture. This will accumulate in a critical conclusion, where I will acknowledge how the earlier investigation into contemporaries, combined with an in-depth focus on my process has informed my practice and furthermore, what insight it has given me for pushing my creative process even more next term.

Part 1

Part 2

Part 3

Conclusion

Context and Influences:

Process and Practice

Critical Evaluation

Theoretical discussion

Case studies 1, 2 & 3

Chance

Strengths and weaknesses

Implications for practice

Intuition

Reflection on progress

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context ______________________________________________________________________ ___________________ ____

CONTEXT _______________________________________________________________

t h e o r e t i c a l

f r a m e w o r k :

“The abilities that we have in the way of memory and imagination are all conditioned by the sense of sight...we cannot separate the special importance of the visual apparatus of man from his unique ability to imagine....we are utterly dependent on it.”(Bronowski, 1978, p.18) The above quote by scholar Jacob Bronowski (1908-1974) arguing the predominant importance of sight in relation to the acquiring of knowledge is a bias that I do not agree with. If knowledge can only be triggered by what we can see then I believe we would be limiting our human development through creating and discovering information that already exists. This debate within the context of philosophy is known as ‘Empirical Knowledge’ and it is this theoretical framework which supplies the background and focus for my practice this term. Empiricism is a concept that goes beyond contemporary culture, dating as far back as human existence. The idea is that knowledge can be derived, firstly from the experience of the senses, (a posteriori knowledge) through materiality, and secondly through rationalism (a priori knowledge). The problem I have however, and as evidenced above through the quote by Bronowski, is that

knowledge learned through experience of

material is considered less important than conceptual knowledge in all areas of learning, and especially within the visual arts where it is not given much attention to at all. Though I don’t doubt the importance of reason and logic, within the specific context of Textile and Craft, I can see that this idea about knowledge through experience, ‘a posteriori knowledge’, has the potential for a reevaluation of technique to encourage more innovation within the subject, not only through end design results, but through the design process itself. With regards to my own practice, I have chosen to explore how this theory about learning knowledge from the body is demonstrated through my process. Martin Jay describes the western tendency towards a hierarchy of the senses as ‘ocularcentrism’ (1994) “recognising the primacy of the visual image and the privileging of ocular observation as a path to certainty and knowledge, whereby touch is routinely debased and ignored” (Paterson, 2007, p.16). It is through exploring the latter in my theme- the lesser known tool of aesthetic: touch- that I have discovered a rich context

of critical theories regarding the senses and haptic perception which can help to direct my explorations in my embroidery, but furthermore, will help to signpost and create a framework in which I might gain further insights into the future direction of my theme next term: the exploration of philosophical and psychological theories based around the haptic sense. Indeed, the original Greek meaning of aesthetic is ‘perception by the senses, especially by feeling but also by seeing’ (Liddell,1976, p.21). With this in mind, when designing I feel aesthetic judgment should not just incorporate the visual sense, due partly to the limitations caused by observation and also because of our proactive memory of visual language, whereby we think we know what we ‘see’ but we are in fact just seeing what we have come to ‘think’ we see. An example of this occurred in my practice when I attempted to draw blind. Rather than drawing from a new place, I found that despite my lack of sight I was still drawing visual imagery from only what I

Fig.1 ENGLAND, Claire (2011) Untitled [Blind sketch], Private Collection.

thought I ‘saw’ that I felt. The result was less innovation and more limitation as I drew basic remembered shapes (see figures 1 and 2).

The suggestion to me, regarding my

practice is that through the over use of my sense of sight when designing, I have become heavily programmed towards only visual experience. “One sees and immediately ‘believes’ that the pattern within one’s mind corresponds to the existential fact of the object” (Morris,1966, p.42). What I want to eventually unravel in my process is a method in which I can design for the phenomenon of experience itself.

Fig.2 ENGLAND, Claire (2011) Untitled [Blind sketch], Private Collection.

The impact this theoretical framework has for my practice is most evident in the challenge it poses for my process, rather than through the result of my work so far. I feel I still have a long route of discovery next term with regards to the application of these theories within my practice. I hope though, that by the end of the year, I will be able to conclude, whether there IS scope for the integration of learning through touch for

creating innovation within craft and design, through the results of my final degree collection.

CONTEXT

Case Study

1.)collecting data through touch: implications for my practice. “Touch delivers invasive, “unbounded” data, whereas the eye supplies images that are contained in a frame.” Sennett, 2008. p.152 Richard Sennetts’ idea about the proactive and unconscious ability of the mind to respond to a stimuli, through the use of a non-visual sense in order to supply data, or in other words: knowledge, was the starting point to my project this year. I have explored this notion through the tool of embroidery. My process has incorporated chance and intuition; both products of the idea of tacit knowledge which I will explore in more detail later, and as a process which responds to the theory of Sennett, (2008). An artist who

Fig. 3 MORRIS, Robert, (1976) Blind Time ll [Graphite and plate oil], New York

similarly uses their medium as a tool to explore this critical theory is that of Robert Morris. Morris has spent a large proportion of his artistic life creating blind drawings (see figure 3.). He writes: I believe there are ‘forms’ to be found within the activity of making as much as within the end products. These are forms of behaviours aimed at testing the limits and possibilities involved in that particular interaction between ones actions and the materials of the environment. This amounts to the submerged side of the art iceberg. (Criqui, 2005, p.15) Morris’ approach to creating pieces without the sense of sight, is similarly based on the ‘hunch’ that there is discovery to be found in pushing the expectations and rules regarding his specialism, through the application of his working methods. I have also attempted to do this through my embroidery samples, whereby the dominant sense of sight is not the best use of the human body for gaining enjoyment out of my pieces. This is an idea that is not generally popular or expected in an embroidery piece. Embroidery is still very much a traditional craft technique, in the sense that even when ‘contemporary’ its has always remained decorative and therefore visual. With regards to

Morris’ iceberg metaphor, the use of the sense of touch in textiles is definitely the part submerged underwater. It is not a predominant factor the viewer has in mind when experiencing the piece.

Fig.4 MORRIS, Robert, (1961) Box with the Sound of its Own Making [Wood],

Fig.5 ENGLAND, Claire, (2011) Untitled, [Fabric and Rubber] Huddersfield

The similarity between Morris’ piece: ‘Box with the Sounds of it’s own Making’ (1961) (see figure 4)

and a sample from my own collection (figure 5) based on the concept of the

aesthetic of blindness, shows a ‘marked tendency towards “not much too see.”’ (Criqui, 2005, p.12.) The one problem which differentiates my own work from that of Morris’ is that of context. Despite our similar concepts I wonder if the fact that I am a designer rather than an artist hinders the ‘theory’ that I’m trying to sell in my work, because my audience is not looking for a challenge and my setting is not a gallery. Ultimately, I feel that with regard to my craft practice the fact that I can experience and challenge these critical theories for myself is enough, though I would hope that my concept of visual blindness is carried through into my working methods. I can create an original collection that has the potential to cause an audience to experience the ‘feeling’ of originality based on my collection, as opposed to the heavy concept that drove me to it. I feel that as an artist, Morris’ concept is the final object, whereas as a designer I am different in that my concept drives my practice through my decisions into process, drawing and composition and material. My purpose is different because it is my design work which needs to be innovative.

CONTEXT

Case Study

2.)creating experience through touch: implications for my practice. When considering the idea of touch and its role within the creative process, there are two distinct categories it could fall into. Firstly, the idea of sensation directly linked to the skin surface but secondly, and I think just as importantly, is the ‘feeling’ of touching that can arise. This feeling is different and personal to everyone, “whereby something more abstract and barely articulable arises within touching experiences” (Paterson, 2007, p.13). It is the idea of ‘unbounded data perceived in the mind’ that Sennett was hinting at in his work, and as well as drawing upon in my working methods, which incorporate blindness and the sense of touch in my practice, I feel that it is important that I address this other side of ‘touching’ in my work. I can present my collection in a space to demonstrate the idea of experience, and cause a viewer to be ‘touched’ by the pieces I have created regardless, and separate from my own response to my theme of touch as the designer. To touch is to use the body and to use the body in an environment whereby the sense of sight is removed is a concept in action created by the Laboratory group FoAm. Through a responsive environment FoAm created a walk in room that throws the viewer off balance, through the use of elastic and foam to provide tactile sensations to the visitor when touched. This work can only be experienced blindly as the ‘viewer’ is asked to wear a fabric head (see figure 6). Again, as a designer the way I present ‘experience’ is

Fig. 6 FoAM, (2005) Trg, [Elastic fabric], Slovenia

different. I am supplying a client with innovative design, so my purpose is less of a statement despite the similar concept. However, I feel that as my collection leans towards the context of public and retail interior spaces (see figure 7), my designs can still be Fig.7 WORKSHOP, Nema, (2011) D’espresso, New York

utilised to provide an audience with an experience. The implication for this is that I can create pieces that require movement and action and touching because my samples will ultimately inhabit a space which is all about sensation. Similarly the artist Ernesto Neto creates giant fabric structures within a space (see figure 8). “The unfamiliarity of walking on spanned fabric engages the sense of touch and challenges the ability to balance.” (Beetschen, 2006, p.104) I feel that the success of his work is because he has created “unbounded” artwork. The viewers have a changed perception and experience having viewed his work because it is uncontrollable and ‘can’t be contained in a frame.’ In terms of bodily experience they have had a visceral reaction. What I find encouraging is that Neto himself describes art as ‘a vision of Fig. 8 NETO, Ernesto, (2006) The Malmo Experience, [Sheer fabric and styrofoam] Sweden

blindness’ and for his creative process to work he feels that:

“The more knowledge and preconceived notions we have, the more important it is to let go of them.” (Beetschen, 2006 p.106) Perhaps ‘preconceived’ is the key word I have been looking for throughout the many avenues I have explored within my theme. Ultimately, it ties in with the sense of touch in relation to the arts. The sense of sight is so predominant in art practices, I feel it could limit my working methods as a consequence of a narrow minded, ‘tunnel-vision’ approach to drawing, and other processes involved in an artistic craft practice. Moreover, when viewing our work, generally we expect to see it presented in a manner that is controllable and clear (see figure 9). The sense of sight is quite removed in that we can see

Fig.9 ENGLAND, Claire, (2011) [Photograph], Private Collection.

and understand from a distance what we are viewing whereas through touch we have to ‘feel’ what we are seeing, and that is more personal as we respond with more of our body. The idea of a visceral reaction when presenting my collection is the ultimate method of applying the theme of touch and visual blindness because it allows for a reaction that is unpredictable, larger than life but also very personal, connecting the viewer to the material and to the space. “Our message has left something behind that we could not tell, and it’s reception must rely on it that the person addresses will discover that which we have not been able to communicate.” (Polyani, 1966. p.6)

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practice ______________________________________________________________________ ___________________ ____

PRACTICE If my practice is the sum of the journey that takes me from concept to collection, then the key to understanding it would be through the breakdown of the process. Process is the series of steps taken to get to an end result and analysing my process and the hidden themes within each of these steps, should lead me to a better understanding of the identity of my practice, based on the deductions I can make about myself through my choice of process. To break down the process of my craft practice to its absolute fundamental basics I would be left with just two stages (see figure 10). The first is that of intuition, or insight created through research, and the second, led through the act of making would be that of enquiry and ultimately discovery. My practice is my form of research and leads me from one stage to the next, through engagement.

Fig.10 ENGLAND, Claire, (2011) Stages of Process Table

For my final major project, my theme, which is the stimulus for the engagement I uncover throughout the two stages of my practice, is based on the idea that “touch delivers invasive, “unbounded” data, whereas the eye supplies images that are contained in a frame.” (Sennett 2009, p.152) For me, the decision to base my theme around the exploration of this quote comes from the reasoning behind my approach. Most facts are falsifiable, or else not absolute truths. This view in mind allows for the opening of re-interpretation, invention or even discovery. And although my resulting collection may not end up as a new field of innovation within textile craft, it is the process of discovering and pushing, of not accepting fact as truth that is important to my craft practice. For me, craft is about: “Transforming personal knowledge into communal knowledge”(Brown 2007, p.163)

As is evident through the set up of practical based degrees, we; as humans are interested in innovation. It is included within the assessment criteria of this course, but is also the key to our country’s economic and social development. The definition of innovation is the introduction of something new, and there is “significant cultural benefit to be gained through the integration of research and practice.” (Brown 2007, p.163) I believe that as a practitioner- and not a hobbyist- I have a responsibility to enquire and discover, or in other words, be original within my work. My practice has a context and that is the world we are living in today. Though my practice is personal because it is based on my decisions and my experience, the resulting work could have application for wider uses. To break down the two basic stages of my practice into its individual processes or compartments, I would be left with the instructions of how I ‘journey’ through the practice of my theme. (see figure 11 for theme board) Stage one, that of intuition or glimpses of insight, is created through the research of books, other contemporaries and exhibitions in my visual diary (see figure 12). Artist Brower Hatcher calls this a “mental wandering” where by filling himself up ideas instinctively come to him.

Fig.12 ENGLAND, Claire (2011) Visual Diary, [Photograph]

Fig.11 ENGLAND, Claire (2011) Theme Board, [Photograph]

Fig.13 ENGLAND, Claire (2011) Collection of Samples, [Photograph]

In his own words: “I become a sponge” (Aspelund 2006, p.61). It is from reading the book ‘The Craftsman’ and reflecting about it that I was able to find the quote that has eventually become the key theme for my project this year. The second stage; through enquiry and discovery, I embrace ‘The Act of Making.’ Through the steps of drawing, translating and stitching, which are all research and materials led, it eventually leads me towards my final collection. Hatcher describes this stage as “working in an opening up expanding way, before I have to close down.” (Aspelund 2006, p.61) and I likewise develop towards this stage through sketching and sampling (see figure 13) in order to explore before I make my final judgements and choices. I think the individual actions that mark out my process, also point out the meaning of my process. Ultimately I want it to be relevant. “Craft can easily become a vehicle of nostalgia.” (Miller 2011, p.16) and craft is not relevant or helpful to others when it is embedded with feelings of loss or bitterness, instead of embracing future possibilities and making new connections through manual labour skills. This is a much more exciting prospect for the future of craft. As Helen Maurer states: “I hesitate to define craft in case this limits its possibilities” and I think this ties in with my own approach to craft. Through the process my work becomes contemporary, because reinterpretation leads to innovation. Stage two of my practice; discovering through making, inevitably leads to a certain amount of chaos due to the driving force of intuition behind my work. Because my approach is based on hypothesis and falsifiable truth, I am inviting a certain amount of chance into my work. I can’t foresee what the end collection will look like, I just have a feeling about it.

Fig.14 ENGLAND, Claire (2011) Untitled, [Photograph],Private Collection.

Fig.15 ENGLAND, Claire (2011) Untitled, [Photograph], Private Collection.

To enquire and to discover is to “negotiate complexity.” It is a “messy process.” (Sullivan 2006, p.219)

This is evident in the sampling stage of my own practice (see figures 14 and 15).

Experimenting cannot be neat and controlled because I’m not leading; the material is. Moreover, to control is to own, which is to ultimately understand, which is NOT the basis for discovery. Indeed, the definition of chance is ‘the absence of any cause of events that can be predicted, understood or controlled.’ Paper artist Mia Pearlman similarly uses this process within her own practice: “I’m always looking for a way to invite chance into my process....you never know quite how paper will behave” (Pearlman 2011, p.154) and Pearlmans’ whole approach to interpreting themes through her practice involves chance, intuition, spontaneity and trial and error. I think these are all important components to any art process that involves a pliant medium. When looking at my own practice, without intuition or tacit knowledge to guide my decisions when making, I feel my outcome would be a lot more sterile and underdeveloped, ultimately less successful. “I create on site by trial and error, a 2-3 day dance with chance and control” (Pearlman: 2011). Pearlmans’ approach to her practice fascinates me, especially when considered next to the actual physical meaning of her work: “My work is about invisible forces much bigger than us that we can’t control”(Pearlman: 2011). Her meaning is also deeply embedded within her practice, but it is also part of a bigger theme in most artists’ practice, myself included. Material and space combined (i.e. creating) is a hard process to control. In creating something new it causes a visceral reaction because it wasn’t there before and ‘newness’ is overwhelming. We can’t control everything but as humans we do try. I feel that this is something I am trying to challenge in my own work, through the use of less used senses, such as touch within the context of art and design. The blindness of accepting we know everything and the presumption that there is nothing left to discover with regard to our assumed methods of working is wrong because there are invisible forces at work in the act of making. The fact that I believe this underpins every decision and risk I take in my work and impacts and IS my practice. “The ability to access non linear intuitive insights requires that we pay attention to what is frequently below the threshold of awareness.... Intuition is a gift native in each of us. It is at once ancient and futuristic, ordinary and magical.” (Kaiser 1999, p.50)

Throughout this term in my practice, I have actively tried to push my work to be a larger scale than to what I have previously worked in, and this has been a natural process based on the development of my theme regarding the unbalancing of the senses. Ultimately, my collection is about experience, but the process of enlarging my Fig. 16 ENGLAND, Claire (2011), [Photograph].

drawing through the use of the projector or by â&#x20AC;&#x2DC;drawingâ&#x20AC;&#x2122; with fabric in a space, has caused my practice to be more of a bodily experience based on the movement required to create work on this bigger scale (see figure 16).

I am no longer confining myself to the width of an

embroidery hoop. By engaging more with the environment of space, through sculpting, I am experiencing the fulfillment of alternative, non-visual senses. My process has fulfilled my theme even though that was not my goal, it was just the bi-product.

Fig. 17 ENGLAND, Claire, (2011) Untitled [Fabric, Rubber, Plastic and Parcel Tape].

The reason for creating my work on a bigger scale relates to the secondary goal of my collection, which is to challenge the viewer’s perception, and experience of embroidery work. Due to the size of the pieces, the viewer has to move around in order to get the full picture (see figure 17).

In essence, I am trying to

overwhelm them. “Non linear intelligence enables one to expand perception....It is equally a new way of interacting with the world...of “seeing”

Fig.18 ENGLAND, Claire (2011) Untitled [Pen and Paper] Private Collection.

and “hearing” what might otherwise escape (our) attention” (Kaiser 1999, p. 53). It is this sense of perception, occurring through intuition, which is firstly at work in my process,(see figure 18) but then furthermore, has an impact on the viewer based on the relationship between my presentation of the samples within a space, and their perception and expectation around what an embroidery collection should look like.(see figure 19 for a visualisation).

For example, in figure 18 I am

hoping to uncover new insights for innovation in my work, through challenging my process, by approaching the action of drawing blindfolded, this then allows for the ‘process’ of intuition to guide my design work more so than if I had relied solely on my predominant sense of sight.

Fig. 19 ENGLAND, Claire (2011) Visualisation for Sample [Photograph].

To conclude, I have discovered that the processes within my practice are guided by the invisible forces of intuition and chance. I can see that my personal practice is indeed my form of research, because it is through the practice of making that I am able to solve problems and learn about the world we live in. These processes are off great importance to my approach because it is my intuition and the opportunity of chance which guide my outcome towards being a collection that is not preconceived but is instead something unpredictable and hopefully more original for it. And as originality is the hallmark for relevance in contemporary design in the UK today then aiming the processes of my practice towards this outcome can only be a good thing.

c r i t i c a l

e v a l u a t i o n

Through combining what I have learned, both in the context section of this study, alongside the focus on process within my practice, I can clearly see that the identity of my practice is created through the choices that I make, and of which all are hugely influenced by my current theme of Touch. What has surprised me the most has been how my theme has influenced my process rather than just my end result. It is now obvious to me though, that no matter how much I enhance my use of touch, when designing a collection, I will always be forseeing the end result to BE something. However, through the challenging of my senses when drawing, it has clearly led to a more abstract working method, where I don’t envision what my collection will look like, I only ‘do’, by investigating and responding. With regards to the theme of touch, my work this term, only scrapes the surface, on what is a large topic for discussion. Through the particular case studies of Ernesto Neto and FoAm I can see that something which makes both of their projects very successful is the sheer size of their pieces. Although size is something I am getting better at, I still feel that I need to be considering ways that, as a designer I can create experience within a space, through the tool of my embroidery work. From looking at the theory of empirical knowledge and ideas regarding learning through touch, I have come to see that the background surrounding my practice is not contemporary as such, but is influenced by human development in general, through the ideas of philosophy. I do feel that because my process allows for invention and reinterpretation it is relevant, especially given the context of our society at the moment whereby innovation is a huge focus, and a definite expectation in art and design practices and the creative industry. Through the study of preconceived perception I am aware that I need to continually push my process harder, to escape the routine of seeing and knowing only through my reasoning, for the future of my craft practice, in an attempt to stay fresh, original and innovative.

r e f e r e n c e s

BRONOWSKI, J (1978) The Origins of Knowledge and Imagination, New York: MacMillan Publishing. LIDDELL, S (1976) Greek-English Lexicon, Oxford. HARRISON, C (2005) Art in Theory 1900-2000-An Anthology of Changing Ideas: Robert Morris Notes on Sculpture 1-3, Oxford: Blackwell Publishing p.828-835. SENNETT, R (2008) The Craftsman, London: Penguin Books. CRIQUI, J-P (2005) Robert Morris, Prato. PATERSON, M (2007) Sense of Touch: Haptics, Affects and Technologies, Oxford: Berg Publishers. SCHWARTZMAN, M (2011) See Yourself Sensing, Redefining Human Perceptions, London: Blackdog Publishing. INGRAM, T (2011) Frame. Issue 78, pp.79. BEETSCHEN, M (2006) Frame. Issue.52, pp.104-113. POLYANI, M (1966) The Tacit Dimension, USA: Doubleday & Company, Inc. TAYLOR, L (2003) What is Craft? Lincolnshire: Cantate Battleys ASPELUND, K (2006) The Design Process, New York: Fairchild Publications, Inc. MILLER, D (2011) The Power of Making, London: V&A. SMITH, H and DEAN, R (2010) Practice-Led Research, Research-Led Practice in the Creative Arts: Acquiring Know-how, Edinburgh: Edinburgh University Press Ltd, p219. McCAFFERTY, K (2011) Push Paper, Sussex, Lark Crafts. KAISER, K (1999) Health Forum Journal, Vol. 42, issue 5, pp.50-53

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