"Artist Guy Tarrant's display cabinets show artefacts gleaned from 150 different London primary and secondary schools over three decades. These objects include homemade games, keepsakes, cult toys, peculiar adornments, weapons and other forbidden objects which characterise the flotsam and jetsam of contemporary school children.
Since qualifying as a teacher, Guy Tarrant has investigated pupil interaction, play and resistant behaviour. The objects in the cabinets highlight mischievous and distracted behaviour played out in the controlled school setting where children spend much of their time. These confiscated items are evidence of the pupils' playful and impulsive activities and how they may reject or evade rules."
Fig. 1 Donald Norman (1994). "Defending Human Attributes in the Age of the Machine" – CD–ROM from 1994.
"In contrast to recent sociological emphases on the social shaping of technology, this article proposes and illustrates a way of analysing the technological shaping of sociality. Drawing on the concept of affordances (Gibson 1979), the article argues for a recognition of the constraining, as well as enabling, materiality of artefacts. The argument is set in the theoretical context of one of the most recent and comprehensive statements of anti–essentialism (Grint and Woolgar 1997). The position is illustrated through a reinterpretation of some case studies used by proponents of the radical constructivist position."
(Ian Hutchby, 2001)
Ian Hutchby (2001). "Technologies, Texts and Affordances" Sociology May 2001 vol. 35 no. 2 441–456.
"Twenty years of patriotism on the part of Fisher & Paykel has been revealed thanks to a viral social media video that shows its washing machines can play the national anthem. A video posted on YouTube by a woman on Tuesday has received more than 165,000 hits. The woman explains how to make the washing machine play the New Zealand national anthem.
Fisher & Paykel marketing manager Sonya Aitken said the machines, which can also play the United States and Australian anthems, were programmed to play tunes by the company's engineers for demonstration purposes. ... While the singing machines were used to draw customers' attention in stores 20 years ago, it was no longer part of sales techniques, so the feature had essentially been forgotten and then rediscovered, she said."
(Laura Walters, 21/06/2013, Fairfax NZ News)
"We have long been familiar with the power of the Chinese to balance colours, but we were not so well acquainted with their power of treating purely ornamental or conventional forms ; and in the chapter in the Grammar of Ornament on Chinese Ornament I was led, from my then knowledge, to express the opinion that the Chinese had not the power of dealing with conventional ornamental form : but it now appears that there has been a period in which a School of Art existed in China of a very important kind. We are led to think that this art must in some way have had a foreign origin; it so nearly resembles in all its principles the art of the Mohammedan races, that we may presume it was derived from them. It would be no difficult task to take a work of ornament of this class, and, by simply varying the colouring and correcting the drawing, convert it into an Indian or Persian composition. There is of course, in all these works, something essentially Chinese in the mode of rendering the idea, but the original idea is evidently Mohammedan. The Moors of the present day decorate their pottery under the same instinct, and follow the same laws as the Chinese obeyed in their beautiful enamelled vases. The Moorish artist takes a rudely–fashioned pot or other object, and by a marvellous instinct divides the surface of the object, 'by spots of colour, into triangles of proportionate area, according to the form and size of the object; these triangles are then crossed by others."
(Owen Jones, 1867)
Owen Jones (1867). "Examples of Chinese Ornament Selected from Objects in the South Kensington Museum and Other Collections: By Owen Jones. One Hundred Plates", S. & T. Gilbert, 4 Copthall Buildings, E.C. Back of the Bank of England.