Dear Amy,
For me, what you want to do is very similar to the open design process, my
object of study. A key book to better understand what has been going
through this universe is Open Design Now: Why Design Cannot Remain
Exclusive. Do you know? This is a not academic book but it's important to
know projects and people that are working with open design.
http://opendesignnow.org/
There is a profesor from Shefield University studying the boundaries
between profesional and amateur through co-creation.
http://www.paul-atkinson-design.com/
If you think this could be a way for your reserach and you need more
information, let me know.
Best,
Heloisa
2012/5/3 Amy Twigger Holroyd <[log in to unmask]>
> Hi all
>
> I'm a PhD student at Birmingham Institute of Art & Design. I've read the
> list with interest for some time, and would like to ask for your help.
>
> I am a practising knitwear designer, creating both finished garments and
> hand-knitting patterns. As part of my research, I am developing
> 'treatments' which could be carried out by amateur hand knitters, to
> 'intervene in' their own knitted garments. In practical terms, that might
> mean embellishing, unravelling and re-knitting, inserting pockets etc.
>
> Because each person will be working with a different garment (size, gauge,
> shape, yarn, aesthetic) - and because I want to encourage individual
> variation - the treatments need to be 'open' and embrace contingency.
> However, they need to provide sufficient guidance to be of use. Because
> this is not a usual way for a knitwear designer to design, I'm hoping to
> create some new knowledge about the design process, as well as producing a
> menu of prototype intervention treatments.
>
> I am looking for any existing literature that would shed some light on
> this design process - research that deals with the general subject of how
> you design treatments/activities to be interpreted by (amateur) others, and
> (more specifically) the process of designing the unfinished/open.
>
> I'm aware that examples might be outside design - for example, in 'The
> Poetics of the Open Work', Umberto Eco compares traditional music (where
> the performer interprets the composer's instructions according to their own
> discretion) with some pieces of contemporary music (where the performer
> 'must impose his judgement on the form of the piece, as when he decides how
> long to hold a note or in what order to group the sounds').
>
> I see a nice parallel with knitting here - with the traditional music
> being like a conventional knitting pattern, and the 'open work' being like
> my re-knitting treatments. Eco's writing provides insights to how the
> performer/audience might relate to an open work, but less so about the
> process of composition (or design).
>
> Any ideas?
>
> Thanks
>
> Amy
>
>
> Amy Twigger Holroyd
> PhD candidate, Birmingham Institute of Art & Design
> Designer, Keep & Share
--
*Heloisa Neves*
PhD student - Open Design | Universidade de São Paulo
heloisaneves.com
Fab Academy Student | Fab Lab Barcelona
http://academy.cba.mit.edu/2012/students/neves.heloisa
mobile:
Spain +34 603568217
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