Name: Virpi Turunen, University Teacher, University of Eastern Finland, Savonlinna Campus Parallel session: 1 Title: Domestic machine knitting with flax yarn as sustainable craft Presentation is based on my doctoral dissertation in field of craft science. Surprisingly, the process of knitting flax yarn has been studied very little even machine knitting with flax yarn is experienced difficult. The research used mainly quantitative methods by complementing it with a qualitative approach. Firstly, 13 experts on linen knits were interviewed and based on their comments further study were continued in more quantitative textile technological direction. Material of this presentation is based on the results of expert interviews and comparison on these results to some textile technological findings of flax yarn knitting in point of view sustainable craft. Experts on linen knits were quite well aware of problems of machine knitting with flax yarn. Some divergences were found, for example some experts prefer linen yarn (made from long flax fibre) to tow yarn (made from short fibres). On the basis of the expert interviews there are quite many factors that make machine knitting with flax yarn sustainable craft, for example flax as a rawmaterial were experienced environmental friendly and knitting itself were thought to be sustainable way to make fabrics. Main results of the study were certain yarn properties that has to take into account when fluent knitting process and high quality linen knits are produced, i.e. certain physical properties of flax yarn, properties of knitting environment, properties of knitting machine and knitter s attainments. The findings show that it is possible to knit high quality linen knits with domestic knitting machine when certain properties of flax yarn are taken into account. flax yarn, domestic machine knitting, sustainable craft
Name: Stina Westerlund, PhD, University of Umeå Parallel session: 1 Title: Sloyd as Emotional Practice Hidden Aspects of Learning and Sustainability Emotional experiences of sloyd and making constitutes an important aspect of the school subject Sloyd. Emotionality influences and interacts in students learning processes. Students emotional expressions in social action in the working process of textile Sloyd was investigated in my dissertation study. Eight grade students were observed, filmed and interviewed. The aim was to explore connections between emotion and learning. Four overarching emotional practices with decesive importance for students opportunities for learning were found. The results also indicated strong connections between students emotional expressions and control in work, characteristics of different craft techniques and awareness of time. Time passing while working in Sloyd seemed to challenge the student s and their construction of meaning in relation to the emerging sloyd object as well as the working process. Today social changes in relation to objects are prominent. When relating to Attfields concepts authenticity and ephemerality as a continuum of contemporary approaches to artefacts, an interesting and essential dimension of sustainability was found in the result. Conditions for learning differed between students whose attitudes had features of proximity and origin and those who focused on the sloyd object s value for the moment. Education for sustainable development is central in curricula. Sloyd comprises themes indispensable for emotional durability. Has the second phase in design field that notes emotional aspects and construction of meaning in relation to artefacts reached Sloyd? How can the results from this study support the visibility of emotional durability in Sloyd and prevent that learning for sustainability in Sloyd stay hidden? Instead Sloyd can contribute to broadening understanding of sustainability. textile sloyd, emotional practice, learning, emotional durability
Name: Jani Kaasinen, Senior Lecturer of Technology Education, University of Eastern Finland Parallel session: 2 Title: Heritage Building as a Part of Technology Education - Conceptions of, structuredness of conceptions of, and conceptual change in students in teacher training during a study module on heritage building The purpose of the study was to investigate the conceptions of students (with crafts as their future instructed subject in basic education) in teacher training about heritage building before and after a study module on heritage building. The study uses two different approaches for achieving its purpose. First the students common conceptions about heritage building were examined. Secondly, it was considered how structured these conceptions were. Therefore, the research process included a conceptual review of heritage building to provide a baseline for comparing the student s conceptions and their structuredness. Two groups of students completed the pedagogical study module on heritage building as a part of their studies in technology education. The students wrote an instructed essay on their conceptions about heritage building before and after the study module. For the purposes of analysing the structuredness of the conceptions, the contents of the definition of heritage building were scored. The review of structuredness was given more depth by assessing the results against the student background information collected prior to the study module. The research results indicate that students conceptions about heritage building are superficial on average. The students were able to describe general values associated with heritage building, but understanding of the underlying material technology and structural physical systems often had fundamental limitations. The review of structuredness of conceptions supported the results achieved in the analysis of conceptions. It was observed that completing the study module had an impact on the structuredness of conceptions. Furthermore, the students personal background was found to have some implications on how structured their conceptions on heritage building were, which was evidenced by notable differences in structuredness of conceptions on the individual level. heritage building, conceptions, conceptual change, structuredness, technology education
Name: Ene Lind, Associate Professor, Tallinn University Parallel session: 2 Title: The Handicraft Teachers need for Continuing Education Becoming a professional teacher is an everlasting process. Its aim is to achieve a mastery of teaching and the ability to see the links of educational work that a beginner teacher doesn t notice. Teachers development is supported by continuous training. According to the Estonian Teacher Education Strategy, a competent and effective teacher is able to create a democratic and safe classroom environment. Current study was carried out to find out what are the handicraft teachers needs for training courses. The current study used questionnaires and interviews with teachers. The results of our research show that handicraft teachers engage in further training, but it is mostly connected with developing their professional skills. The reason for that can be seen from two aspects. Firstly, handicraft for handicraft teachers is both a work and a hobby. They want to combine possible training courses with their personal interests. Secondly, older generation of teachers is used to attending courses. Handicraft teachers, professionality, continuing education.
Name: Niina Väänänen, Doctoral Student; Minna Kaipainen, Lecturer; Sinikka Pöllänen, Professor, University of Eastern Finland Parallel session: 3 Title: Sustainable craft system of practice, product, and immaterial craft One of the greatest concerns in the 21st century, is the requirement for sustainment. When it comes to craft, the discussion around sustainability has also been vivid. There are implications that commercial craft needs to be on sustainable basis. The processes should be environmentally friendly or ecological, and the product itself aesthetic and of high quality. Yet so far, sustainable craft has not been inspected thoroughly. Because of the changes from an everyday phenomenon to postmodern times activity, meanings and methods of craft have been challenged. Technology as a tool for design but also information distribution might have given craft another sense, other than the need to configure the surrounding world. Technology can be the opposite of craft in the traditional sense, yet craft industry seems to benefit from online shopping and marketing. The modern craft can be a meaningful source of wellbeing and profitable source of income. The purpose of this study is to describe and analyse craft practitioners sustainable craft practice. The aim is to form a holistic model of sustainable craft. In this qualitative study 16 craft practitioners were interviewed and the data was analysed with Grounded Theory method. The results of this study indicate that sustainable craft forms a system of practice, product and immaterial craft as effects and motivation for craft practice. There are also different types of craft practitioners who are producing sustainable craft in different levels. This study is introducing a holistic model of sustainable craft, which reveals the considerations craft practitioners are making while designing and producing unique artefacts on sustainable basis. The model is hoped to be used as a tool for instance for designers, craft practitioners, entrepreneurs, and educators. Sustainable craft, craft practice, entrepreneur, expertise
Name: Ilona Kauppi, PhD Student University of Eastern Finland Parallel session: 3 Title: Varied Career Paths of Fashion Designers The aim of this research is to increase the understanding of Finnish fashion designers careers, and the factors related to the construction of career. The focus is on the career competence. Careers in apparel industry have been previously studied quite rarely. However, international research (e.g. Hearn & Bridgstock 2010; Mills 2012; Bridgstock 2013) has come across a strong change in the qualifications and professional capabilities which are now required in the creative field. The strongest trends in the apparel industry are smart clothing and sustainable design methods. These approaches can also serve as a part of traditional fashion industry or handicraft. Companies are expected to act more responsibly and show it to the stakeholders through documentation and communication. Also the means of trading will change the whole clothing sector: the closed-loop fashion, as well as the hiring of clothes, set their own requirements in design. The topic will be investigated by analyzing the interviews of Finnish fashion designers (n=35). In the first sub-study content analysis is used to clarify precisely the different areas of career competence. The second part of the data is collected through five in-depth interviews. This material will be analyzed by the narrative analysis methods. This study provides new insights for design industry and handicraft. The results can be utilized in the development of higher education as well as to get new information for education policy decisions. The aim is to bring out the core of designers career competence. For example the sustainable solutions to apparel design and production may become more common by small designer-driven companies, but also through wider change in consumers awareness. Zero waste fashion ideology, the versatility of garment or its parts, and 3d-printing will change both the design and the construction of garment, when the goal is economical, ecological, and ethical production. career competence, fashion design, sustainable design methods
Name: Miia Collanus, University Teacher, University of Tampere Parallel session: 3 Title: Craft as Commons We live in an era in which the political-economic project of neoliberalism has turned almost every domain of human life open to the forces of the marketplace. During the past thirty years, profit making has became an essence of democracy, the concept of property has transformed from commonwealth into resources for economic growth and the position of individual in our society has become that of a homo economicus. As a result of our profit-making actions, we are facing an environmental crisis so fundamental that scientists suggest that face a new geological epoch, Anthropocene. This epoch affect the lives of every single living organism in our planet, both from ecology point of view, but only from the cultural/social point of view. We need to rethink the dichotomy of nature-cultural, and critically examine the effects of our actions for our fellow humans and the ones that are understood as nonhuman. (Martusewicz et al. 2014; Zylinska 2005; 2014, Lloro-Bidart 2015) Drawing from the post-structuralism and cultural studies, I have tried to make the sense of the socalled new wave of craft, namely a DIY Craft Movement that began in the early 20 th century in US. Combining the discourse theory (Laclau & Mouffe 1985) and the theory of articulation (Grossberg 2010, Hall 1997), I have constructed a discursive space in which the movement is constructed. One of the most powerful discourses within the movement is related to the idea of commons. For example, craft as a shared, democratic cultural practice that everyone should have an access. In this presentation, I present how commons as an ideology is articulated within the discursive space of DIY Craft movement. Based on my findings, I discuss the position of craft as a cultural practice within the era of the Anthropocene, and my position as a scholar and craft teacher within the realm of craft education. Commons, DIY Craft, Anthropocene