Reborn Laboratory [a thesis in progress]

Yuval lederman

AN APPETITE-BUILDING EXPERIENCE

Join us with an open mind and a full stomach

Master in Design through New Materials

Project title

MATERIAL KITCHEN

Innovation path Crafting Heritage

Author | Yuval lederman

A/r/tography is an arts and education practice-based research methodology (Sullivan, 2004) dedicated to acts of inquiry through the arts and writing

(see Irwin & de Cosson, 2004; Irwin & Springgay, accepted; Springgay, Irwin & Wilson Kind, 2005; Springgay, Irwin & Kind, in press). The name itself exemplifies these features by setting art and graphy, and the identities of artist, researcher, and teacher (a/r/t), in contiguous relations.’ None of these features is privileged over another as they occur simultaneously in and through time and space. Moreover, the acts of inquiry and the three identities resist modernist categorizatons and instead exist as post-structural conceptualizations of practice (for example Bickel, 2004; de Cosson, 2002, 2003).1

Past; Future; Discoveries; Intuitive; Playful; Freedom

Rooted in the past but aimed at the future. By breaking down narratives and generating fresh interpretations, this paradigm can give us the creative confidence to reinvent the world around us and foster sustainable, long-lasting values in a circular world.

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

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

An assemblage of the intuitive unfolding of knowledge can describe both the methodology for birthing this work and the framework it ultimately offers. 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, endless articles, and personal experiences. Producing material parties where participators are presented with a well-set table with a variety of materials that, through setting and reframing, they become open to new interpretations fostered by hands on experimentation acts of play and unlimited freedom.

through an experimental approach to material study, it creates in a form of exploratory workshops and hand bon experimentation, free of

Fig 1.1

Fig 1.2

Fig 1.3

Trends

1

Agenda

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

Scaffolding processes

3 Frameworks

Open studio; Method Organisation Workshops

4

6

5

Engage students in learning opportunities by connecting familiar artifacts with unfamiliar practices, establishing a bridge between the past and the future, and cultivating new skills that are relevant going forward

Through collaborative and exploratory approaches to imaginable, feasible, possible, and preferable futures;

Past Present

Perspectives - philosophical, educational, psychological, personal

Approach - Unbridled, Cross-disciplinary, intuitive, Experimental, Process-driven

Future

key skills

Identifying and solving problems

Teamwork and Collaboration

Developing social awareness and sensitivity

Adaptability and flexibility

Fig 1.4

AI-generated parallel realities based on family photographs

01 Introduction

// Brief introduction of yourself: passion,abilities and future vision of yourself.

// Define the state of the art of your final project.

// Answer the “why, what, how, what for” of your final project.

// It must propose the main project question: How can we ...?

Fig 1.1 : Lunch (1985), Family album , Personal collection. Fig 1.2 : Vacation (1994), Family album , Personal collection.

Fig 1.3 : Lunch (1985), Family album , Personal collection. Fig 1.4 : Lunch (1985), Family album , Personal collection.

About

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

Fig 1.5

AI-generated parallel realities based on family photographs

Crafting Heritage

Choosing the Crafting Heritage pathway presents 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 .

Digging deeper into my own history searching for some form of discovery related to crafts or a pass time that wasnt television. I begin to come to terms that the sole inheritance left to me by my ancestors was an array of generational traumas.

multidisiplinary i,portance!

State of the art

value proposition

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

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

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

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

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

State of the art

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

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

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

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

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

Scenario thinking is a tool for motivating people to challenge the status quo, or get better at doing so, by asking “What if?” Asking “What if?” in a disciplined way allows you to rehearse the possibilities of tomorrow, and then to take action today empowered by those provocations and insights. What if we are about to experience a revolutionary change that will bring new challenges for nonprofits?

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

A joint venture between ActKnowledge and the Aspen Institute Roundtable on Comprehensive Community Initiatives, defines a THEORY OF CHANGE AS: “an innovative tool to design and evaluate social change initiatives. By creating a blueprint of the building blocks required to achieve a social change initiative’s long-term goal, such as improving a neighborhood’s literacy levels or academic achievement, a theory of change offers a clear roadmap to achieve your results, identifying the preconditions, pathways, and interventions necessary for an initiative’s success.*” [ 1 ]

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

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/alarger-reality

Fig 1.6 Nona Orbach is a multidisciplinary artist, therapist, blogger, lecturer, and facilitator of workshops for art therapists in Israel and around the world.2

Fig 1.8 It is not a place for testing ideas intended to be implemented, nor a public consultation forum, but rather a place where, in response to the complex fusion of politics and technology shaping today’s social realities, speculative forms of material culture can be used to provoke new ideas and collective imagining about the kinds of worlds people wish to live in.4

Fig 1.10 The collection “GOOD LACK” searches for new uses for items with missing parts and seeks to present new possibilities for a variety of furniture.6

Fig 1.12Introducing Experiential and Participatory Futures at the BBC8

Fig 1.7 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.3

Fig 1.9 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. 5

Fig 1.11 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.7

why, what, how, what for REBORN LABORATORY is a journey of material exploration placing artifacts associated with social development and conditions at the center of the research.

In an effort to recalculate the path forward without preconceived notions.

Organizing, questioning, collecting and criticising, Applying methodologies from Arno Stern Expression Semiology, Nona Orbach’s research and meticulously documented open studio practices derived from art therapy, endless articles, and gut instincts.

Material-focused workshops, combining multiple techniques, integrating academic research and personal experience.

Playability is emphasized as a means of destruction and construction.

A premeditated loss of instructions aimed at triggering spontaneous dispositions. Seeking freedom and fresh approaches.

- 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.

Fig 1.13

AI-generated parallel realities based on family photographs

02 Methodology

// objectives and challenges

// methodologies

// project planning.

02 Methodology // objectives and challenges

// methodologies

// value proposition

// project planning.

Fig 1.1 : Lunch (1985), Family album , Personal collection. Fig 1.2 : Vacation (1994), Family album , Personal collection.

Fig 1.3 : Lunch (1985), Family album , Personal collection. Fig 1.4 : Lunch (1985), Family album , Personal collection.

Fig 1.1 : Lunch (1985), Family album , Personal collection. Fig 1.2 : Vacation (1994), Family album , Personal collection.

Fig 1.3 : Lunch (1985), Family album , Personal collection. Fig 1.4 : Lunch (1985), Family album , Personal collection.

// objectives and challenges

“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 developtheir 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.

Understanding materials in a broader sense has led me to recognize their transformative potential-almost everything can be anything, and humanity generally adapts to circumstances. For this reason (and a few others) I decided to focus this thesis around improving attitudes and views toward materials, envisioning a future where they are more accessible and their potential is fully realized.

Rooted in the past but aimed at the future. By breaking down narratives and generating fresh interpretations, this paradigm can give us the creative confidence to reinvent the world around us and foster sustainable, long-lasting values in a circular world.

methodologies

A/r/tography

Experiential and Participatory Futures

qualitative research

multi sesnory design method

Liz Sanders and Pieter-Jan Stappers’s description of ‘generative design research’ as “giv[ing] people a language with which they can imagine and express their ideas and dreams for future experience. [ 1 ]9

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

Put another way, ethnographic futures is more descriptive; looking for what’s present but often hidden in people’s heads. Experiential futures is more creative; rendering these notional possibilities visible, tangible, immersive and interactive, externalising and concretising representations of them for closer inspection and deeper discussion. [ 1 ]10

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

It is a multiplicity which is made up of many heterogeneous terms and which establishes liaisons, relations between them across ages, sexes and reigns – different natures. Thus, the assemblage’s only unity is that of co-functioning: it is a symbiosis, a ‘sympathy’. It is never filiations which are important but alliances, alloys; these are not successions, lines of descent, but contagions, epidemics, the wind. [ 1 ]11

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

// trends and references that influence your final project.

cirularity the modern world Playability

The Open Studio Approach to Art Therapy: A Systematic Scoping Review [ 1 ]13

1 Finkel, D., & Or, M. B. (2020, October 20). The Open Studio Approach to Art Therapy: A Systematic Scoping Review. Frontiers in Psychology. https:// doi.org/10.3389/fpsyg.2020.568042

Expression Semiology is a new science. Its study is based on heretoforeignored phenomena, the knowledge of which is capable of changing the way the Trace is considered. [ 1 ] 12

Fig 1.11 Formulation ;

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, 214009)

Aesthetic Empathy in Teaching Art to Children: The Work of Friedl Dicker-Brandeis in Terezin

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

* (15Wix, 2009)

Arno Stern & Academie du Jeudi Official Website. (n.d.). Arno Stern & Academie Du Jeudi Official Website.

Fig 1.15 17 [ 1 ]

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

Fig 1.14 16 [ 1 ]

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

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

Fig

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

Fig 1.19 [ 1 ]21

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

Fig 1.18 [ 1 ] 20

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

Crossbreeding

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.

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.

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.

Futuristic sovereignty

Transitioning between the present and the future, Exploring new ideas and reinterpreting old ones Using colour without constraints from past conventions and hybridization of materials.

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

Project Planning

Experimentation phase

project planning.

Project positioning

Fig 1.20

AI-generated parallel realities based on family photographs

03 Research phase

// Research topics and framework

// trends and references that influence your final project.

// Gather information thorugh: interviews (cualitative, cuantitative and mixed methods), fieldwork, workshops...insights detected- .

// Research topics framework

// and references that influence

mixed methods

Fig 1.1 : Lunch (1985), Family album , Personal collection. Fig 1.2 : Vacation (1994), Family album , Personal collection.

Fig 1.3 : Lunch (1985), Family album , Personal collection. Fig 1.4 : Lunch (1985), Family album , Personal collection.

your final project. // information gathered thorugh

material exploration | mapping | clustering | reading | writing

[ The world as my open studio ]

Extensive research across a variety of media including cultural mapping, archive clustering, artificial intelligence, written information, CMF board, trend analysis, and material exploration.

Logo development process

Taking ancestry records

Ancestry tableware mappingt

Clusters of family photos collected through a specially developed platform

future

Exploration of

scenarios constructed from collected family photos using mid-journey

Banquet clusters

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

Fig 1.23

AI-generated parallel realities based on family photographs

04

04 Experimentation phase

// Introduction of the different experimentation phase stages and graphical overview.

// Plan small experiments/ interventions: objectives, methodology,

// environment implications (social, natural and economical) and life cycle analysis.

/ A fluid approach to things | experimental // material strategies of your final project.

.

// objectives, methodology- open studio/ collections/ unbound explorations

// open studio practice- // Method

// organisation of space

- Expression Semiology - Formulation

- Playability

The open studio

The main features of the open studio approach emphasize artistic creation and provide the venue and conditions for this process. The artmaking process is not directed or moderated by the facilitators, and the sessions, deliberately longer than usual, enable profound engagement and sufficient time for the creative process to evolve. The nature of the space and its organization are vitally important to the establishment of 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

The open studio is a space, place, and time for genuine investigation.

Studio Organisation

// Collecting materials

Material display offering / presentaion tableware

workshops- - order- examples Playability

Studio Organisation

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

or to panda or gouache. Storage in drawers or Polygal bags

Plastic office cabinet for printer napers drafts transparencies. copies etc...

Storage of works: a folder or a shelf for each class. Shelves for 3D, height all around

Under the sink: cleaning materials, large glue, another box of clay, plastic bags. Recycle bin.

Above the sink: kettle, music player

Collecting / reusing materials

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

The workshops

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 ]22

Fig

values

work methodology

ideal hosting environment

Playability circularity

subject areas

1.11 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-ondesigning-a-more-inclusive-future/

Values

- Creating a space dedicated to this type of practice

- The space must provide sufficiant materials

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

- Diverse explorations of waste materials

- Everything can be anything

- open minded

- there is no teaching but discoveries

- we respect all materials

A place sheltering the person from pressure and outside inflfluences.

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

-

Participatory

resiliance circularity problem solver explorer dynamic

reverse, divert, repair, augment, renew, reacquire,redistribute, readjust, and reassign

work methodology

my role is to facilitate the authentic unfolding of ideas

the environment facilitates and directs practice

subject areas

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 genrally curiose ..

Playability

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 ]23 t

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.

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

studio material chart

Material

paper \ pulp

clay

foil parchment

candles

rocks

dried lemon peels

dried leeves

coffee

poly foam

string

textiles

cement

gypsum

• Pack of thick markers

• Pack of thin markers •

Pack of colored Lourdes

• Black Lourdes size

100 • Gouache colors •

Water colors • Acrylic colors • Vaseline

Cartons

Plastic bottles

Old fabrics • Old magazines •

Tools

hot plate blender

dehydratoe

Canes for painting

Brushes

clips

Adhesives; stick UHU

large

liquid transparent UHU, SluTape, Masking tape, glue gun

Combinations Reason

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

Material combinations for potential workshop

• White bristles • Colored bristles • Pages for adult drawing • Cartoon pages • Caps • Paper crepe in all colors • Colored papers • Pack of computer pages • Notebooks Pages

• Different sizes of crayons • Charcoal colors • Oil chalk colors • Fondant colors • Pack of watercolor crayons • Pack of colored crayons Colors for painting on canvas • Tulip colors for decoration • Colors

• Plasticine • Plaster bandages • • Tufted glue

• Palettes for colors • Small scissors in large quantity • Japanese knife X 3

• Wipes • Wiping paper • Brushes Auxiliary equipment

• Lacquer • • Rulers • Small rollers • Cloth rags • • Small boxes for water • • Jars and boxes for storage •

//Material offering / presentaion

Accurate presentation of materials directly affects the body and senses, and makes the creator approach the work without delay. It almost completely eliminates the need for the teacher to speak.

Colours and materials

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

Finishes Materials

Clay

Natural beesewax

Recycled materials

Natural oils Paper/ cardboard

Gypsum Gelatin

‘Artefact’ covers the physical design

‘Context’ covers the physical space or environment in which interdisciplinary activities take place. It also includes people - the participants of different professions.

disciplinary collabo e designpractice

‘Mode of Activitv’ covers the social as well as practical awareness of participants about the aim of a session as well as the practical methods by which to achieve it.

container requirments

there is Meaning to the material in relation to the vessel at which Serves it. ,a metaphor For Relations, all tools that contain materials Are conductors of context and concept.

The vessels

A collection of containers and vessels 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.

The collection is intended to be used as part of the studio’s tools for material workshops, so they must meet specified requirements;

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

Recipe explorations

Fig 1.24 AI-generated parallel realities based on family photographs

05 Material characterization

// Define the usability and dimensions of your final project.

// Technical information of your final project.

// environment implications (social, natural and economical) and life cycle analysis.

/ A fluid approach to things | experimental // material strategies of your final project.

// Cualitative and sensorial information of your final project.

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

// Material card / datasheet.

Circularity

Collections ; Industrial; nature; recycling textiles, thecnological waste, metals

papers

plastics

Implications of your final project in the environment (social, natural and economical)

06 Communication and scalability// Communication and values of your final project.

// Define the business model/material strategies of your final project.

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

The Business Model Canvas

Key

Partnerships Key Activities Value Propositions

Participants who have the potential to spread the word.

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

what am i offeing why my solution is

- A unique experience with materials

- Future-relevant skills

- Especially Curated

- Expanding the familiar scope of knowledge

Characteristics: making the unfamiliar familiar, new perspective, future education, interactive, play, stimulating, adaptation,

Key Resources

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

Music player

Cost Revenue Streams

Fig 1.25the most

Customer Relationships

relationship to establish loyalty-\

Customer Segments

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

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

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.

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.

Fig 1.26 AI-generated parallel realities based on family photographs

Motivation letter

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. themes in community, nomadism, womanhood, and family have become central to my work. Drawing from a variety of practices such as teaching, art, design, philosophical, and theoretical, I see my work as an ongoing exploration of open-ended trial and error aimed at breaking down preconceptions and developing alternate perspectives.

by collecting the work into digital installations i am able to view the procces as a journy , observing progress and changes throgh time and place.

By emphasizing the process rather than the outcome, a sense of freedom is introduced and is considered part of its aesthetic value. Moreover, it is extremely important for me to make use of materials that are readily available, whether they are street-found treasures or commonly discarded waste, as the idea of creating more stuff in this world gives me anxiety and seems contrary to my work.

Having had opportunities to study, work, and travel across the globe, coupled with a multicultu- ral 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 Humani- ties, 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 diffe- rent 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 1.27 AI-generated parallel realities based on family photographs

08 Conclusions

// Summary of findings, answers to the research questions

// Limitations

// Future research

08 Conclusions

// Summary of findings, answers to the research questions

// Limitations

// Future research

Fig 1.28 AI-generated parallel realities based on family photographs

09 Bibliography

// bibliography {referenced in APA format}

Endnotes

1 The Rhizomatic Relations of A/r/tography on JSTOR. (n.d.). www.jstor.org. https://www.jstor.org/stable/25475806

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

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

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

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

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

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

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

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

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

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

12 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/

13 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

14 Howells, V., & Zelnik, T. (2009). Making art: A qualitative study of personal and group transformation in a community arts studio. Psychiatric Rehabilitation Journal,

04 Experimentation phase

32(3), 215–222. https://doi.org/10.2975/32.3.2009.215.222

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

16 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

17 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

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

19 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

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

21 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

22 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-teacherforest-young-on-designing-a-more-inclusive-future/ 23 https://theculturetrip.com/europe/germany/articles/take-your-pleasure-seriously-the-playful-side-ofcharles-and-ray-eames

terms and Definitions

Agnotology

A Missing Term to Describe the Cultural Production of Ignorance (and Its Study) 6 fragmentation

noun [ U ]

the action or process of breaking something into small parts or of being broken up in this way: 5

A spolia (Latin: “spoils”; sing.: spolium) is a stone taken from an old structure and repurposed for new construction or decorative purposes.

extended

: drawn out in length especially of time : fully stretched out Research phase landless

used to refer to people who do not have any land for farming or who are prevented from owning the land that they farm by the economic system or by rich people who own a lot of land: inheritance

: the act of inheriting property

: the reception of genetic qualities by transmission from parent to offspring : the acquisition of a possession, condition, or trait from past generations heritage - property that descends to an heir legacy

of, relating to, or being a previous or outdated computer system a candidate for membership in an organization (such as a school or fraternal order) who is given special status because of a familial relationship to a member\

cultural anthropology

This approach can be applied in cultural anthropology where we can chart out the perceptions of the world in other cultures.

maker culture

Maker culture emphasizes informal, networked, peer-led, and shared learning motivated by fun and self-fulfillment.- 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.

cultural appropriation

The act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture: cultural appropriation. (2023, November 1). https:// dictionary.cambridge. org/dictionary/english/cultural-appropriation

Birthright something possessed as a result of one’s natural situation or birth