Ugly as a concept in craft to examine alternative futures

Abstract

Futures studies argue that the future cannot be predicted, but rather alternative futures can be explored and preferred futures can be imagined. Furthermore, our images of the futures can be a resource that informs our decision making. Understanding and imagining futures needs transdisciplinary inquiry; it calls for creativeness and freedom from prejudice. In this study, we present a design experiment accomplished in the textile teacher education at the University of Helsinki. Our aim was to explore and strengthen the skills that students will need in their future work. Expression, design and technology are characterized by openended and complex design problems. When solving them, a student internalizes that there are no right or wrong solutions to problems, that the path of the design process cannot be precisely defined in advance, and that the same starting point can produce different solutions. This experiment familiarized students with the interrelation between materials and the techniques for their manipulation, and guides the students to understanding the opportunities provided by manual experimentation, spontaneous invention and discovery. Carrying out these experiments entails the free, unusual or absurd manipulation of the materials. Ugly was especially selected as the viewpoint to discuss possible new futures. Data were collected from students' portfolios and analysed using qualitative content analysis. The study shows that making something intentionally ugly raises emotional debate. Ugly was understood and defined in numerous ways. Ugly experiments impacted on motivation to invent and discover by empowering or encouraging, for example. A matrix was formed to summarize the findings of the study.

Understanding Aesthetics in Design Education

“…The literature review was conducted prior to the interviews in order to establish background information and an understanding of the context of aesthetics in education. The literature review consisted of Aesthetic Sustainability: Product Design and Sustainable Usage [4], Arts and cultural education in Norway 2010/2011: Report [5] and two articles that focus on aesthetic exploration through crafting within the context of design education [6,7].…”

“…• Linguistic definitions. Feedback from both teachers and students as well as findings from the literature review [6,7] support the assumption that the term aesthetics is used infrequently. In addition to the concerns already raised in this paper, it is worth considering that design students often work collaboratively.…”

“…However, substituting the term aesthetics is not necessarily limited to the institute involved in this study. Two articles that were included in the literature review, 'Values of crafting in design education' [6] and 'Ugly as a concept in craft to examine alternative futures' [7], both explore fascinating approaches to teaching aesthetics in design education. Interestingly, the term aesthetics does not appear in the heading or as a keyword in these articles.…”

Sustainable Jewellery Practice: A Creative Approach To Communicate Sustainability

“…The aim of this research and practice is to illustrate how, by positioning handcrafted jewellery in a sustainable context, IJDs can explore creative methods to communicate their sustainable making practices with a wider audience. As Nuutinen et al (2017) wrote, "the exploration for possible futures includes trying to look at the present trends in new and different ways, deliberately avoiding conventional and traditional thinking and taking unusual and unpopular perspectives" (p. 1). Essentially, working with non-precious materials as an alternative approach to sustainable jewellery manufacture would decrease the negative effect on the environment and educate fellow IJDs and local consumers about the reasons for the practice of sustainable jewellery.…”

Sustainable Jewellery Practice: A Creative Approach To Communicate Sustainability

“…The aim of this research and practice is to illustrate how, by positioning handcrafted jewellery in a sustainable context, IJDs can explore creative methods to communicate their sustainable making practices with a wider audience. As Nuutinen et al (2017) wrote, "the exploration for possible futures includes trying to look at the present trends in new and different ways, deliberately avoiding conventional and traditional thinking and taking unusual and unpopular perspectives" (p. 1). Essentially, working with non-precious materials as an alternative approach to sustainable jewellery manufacture would decrease the negative effect on the environment and educate fellow IJDs and local consumers about the reasons for the practice of sustainable jewellery.…”