Technology and Craft

Among the thirty-six presenters at the conference, Transformation: Effect and Affect of Craft in Society, seven presenters have chosen the theme, Technology and Craft.  These two terms are sometimes comprehended as opposites; however, technology and craft are closely linked. Technology has through mankind contributed to expanded opportunities for creative processes and efficiency. On the other hand, challenges follow with new technology, such as mass production and digital waste. Sandra Wilson describes how she combines traditional craft techniques with technology, to extract precious metals recovered from electronic waste. ‘Hydrometallurgy involves using acids or alcohols to recover precious metals from electronic waste. Technology in this conjunction can therefore, as Heidegger suggests, be considered as an art and a relationship and ultimately an ethical way of relating to society’ (Wilson). In the presentation, ‘Technological Innovation and Art Glass’ by Dorothea Peters she gives examples of collaboration between Glasmalerei Peters Studios and other experts- within the making disciplines, such as artists, designers, and architects. The close collaborations have led to the development of Glasmalerei Peters Studios over time. The different projects that are used as examples in the presentation demonstrate how traditional techniques combine new, innovative techniques with a ’high degree of sensitivity to the most diverse artistic concepts and to meet the highest requirements through the experience and permanent training of our specialists in the practical implementation of ideas’ (Peters). Margareth Troli outlines the possibilities and benefits of using digital tools in research and the creative process to create glass. In her presentation, she gives examples of techniques for using waterjet technology in studio glass. She has experience using both small studio waterjet and industrial waterjet machines.

Some of the presenters highlight methodology, and how specific methods and tools strengthen the crafter’s consciousness of technological potential and challenges. Louise Ravnløkke and Karen Marie Hasling, show how ‘to uncover principles, constructions, and properties of crafts in textiles’, by playing the board game Memory of Textile Crafts. They have developed the board game to ‘generate discussions in teaching students about designing textile materials’ (Ravnløkke & Hasling). Piotr Nowak describes his immersive experiences with VR and how ‘virtual reality combined with intuitive tools has become a universal language. It is no longer happening on a computer screen’. The VR gives him, ‘a feeling of scale and space’ and the software is affordable and intuitive, which ‘makes use of VR a must in educating students within visual arts’ (Nowac). The artist Bilal Yilmaz and the curator Lydia Chatziiakovou use CCP ‘to map craft ecosystems of different cities with the participation of local creative people. The mapping process reveals the crafts’ potential and encourages collaborations. They aim to develop ‘participatory networks to reimagine crafts as a medium for creative productions and reintroduce them as a sustainable production and collaboration model in the post-industrial era’ (Yilmaz & Chatziiakovou). Together give the seven presenters a rich variation of topics related to Technology and craft.