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Which clippings match 'Bricolage' keyword pg.1 of 2
03 JULY 2011

Perpetual Art Machine: the video art portal

"Perpetual Art Machine is a community for video artists, curators, writers, therorist, educators, collectors, and enthusiasts. Perpetual Art Machine is an on line gallery and database of video art. Perpetual Art Machine is a traveling video installation. The website feeds our installation machines. Both the database and video content work together at exhibition venues displaying works simultaneously and individually. The works play off each other, informing each other by association or differenciation, highlighting through the display system their individual qualities."

(Perpetual Art Machine)

Fig.1&2 The Perpetual Art Machine at Coachella 2007

3). [PAM] Prospectus 01/07 2.55 Mb

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CONTRIBUTOR

Simon Perkins
31 MAY 2011

Majority of contemporary practice-based design PhDs use methodological bricolage

"A recent analysis of doctorates in design has identified four common characteristics of research approaches found in the exploration of practice–based design research questions [1]. They are: 1) a 'bricolage' approach to research design, 2) reflective practices, 3) the use of visual approaches and 4) thesis–structural innovation. These characteristics have been derived from an examination of a range of design theses and using a number of design research frameworks [2–4] to identify the epistemological and methodological models applied. This paper has chosen to focus on one of the four characteristics, the bricolage approach to method construction, as it is seen to be a common feature evident in all six studies. The bricolage method consists of combining methods from the social sciences, humanities, and hard sciences to derive a suitable model of inquiry.

While we acknowledge that design research investigates different issues that require studies into a range of subject areas such as the material, historical, scientific, social and psychological, the focus of this paper is the exploration of research questions derived from practice–based questions. In other words, it focuses on design activities that are used to generate new knowledge and understanding in and of itself.

We posit that the adoption of methodological bricolage is a necessity in design research due to the indeterminate nature of design. ...

Although Levi–Strauss introduced the concept of bricolage as a mode of acquiring knowledge, it was Denzin and Lincoln's [23] articulation of it within a methodological context that offered insight into new forms of rigour and complexity in social research. Nelson, Treichler and Grossberg describe bricolage (in the context of cultural studies methodology) as reflecting a choice of practice that is pragmatic, strategic and self–reflexive [24]. While Kincheloe [25] uses the term to describe multi–perspectival research methods, not just as the usage of mixed methods but to acknowledge that using methods from different disciplines enables the researcher to compare and contrast multiple points of view. Just as designed objects have prescribed affordances, methods automatically imply ontological and epistemological affordances. This relationship between inquiry and method affords design a useful indeterminacy, where not–knowing becomes a constructive loop that the bricoleur appears to be exploiting. As questions arise so methods to answer them are sought, abstracting platforms for design knowledge rather than concrete answers. Bricolage is a useful and necessary concept for design researchers as it allows them to deploy available and established strategies and methods, but also grants them the license to create new tools and techniques in order to address questions that are beyond the realm of the established discipline. Methodological bricolage permits the researcher to look at the problem we have with problems, as well as their solution. The bricoleur views research methods actively, rather than passively, meaning that the researcher actively constructs methods with tools at hand rather than accepting and using pre–existing methodologies [26]."

(Joyce S R Yee and Craig Bremner, 2011)

Fig.1 Danae Colomer, Gazpacho video portion of Food as Opera project.

2). Yee, J. S. R. and C. Bremner (2011). Methodological Bricolage – What does it tell us about Design? Doctoral Education in Design Conference. Hong Kong, Hong Kong Polytechnic University.

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TAGS

abstract knowledge • abstracting platforms for design knowledge • academic norm • academic studies • anthropological sense • bricolage • bricolage approach • bricolage method • bricoleur • Cary Nelson • case studiesClaude Levi-Strauss • complexity in social research • concrete answers • concrete knowledge • constructive loop • creative fiddler • creative tinkerer • cultural studies methodologydesign discipline • design PhDs • design researchdesign research approachesdesign researcherdesignerdisciplinary knowledge • doctoral studies • engineer • epistemological affordances • established research methodologies • established research methodsestablished research strategies • Joe Kincheloe • Lawrence Grossberg • making-do • methodological bricolage • methodological contextmethodologiesmixed methodsmodel of enquiry • modes of acquiring knowledge • multi-perspectival research methods • multiperspectival • multiple points of view • new forms of rigour • new objects • new tools and techniques • Norman Denzin • not-knowing • ontological affordances • Paula Treichler • PhDPhD supervision • pick and mix • practice-based • practice-based design PhDs • practice-based researchresearch designresearch methodsresearch modelresearcher • Savage Mind • select and apply • social research • spontaneous creative act • the scientific mind • tools at hand • useful indeterminacy • whatever is available • Yvonna Lincoln

CONTRIBUTOR

Simon Perkins
10 OCTOBER 2009

Mainstreaming sustainable fashion

"4,5 Katharine Hamnett in a video interview explained how in the late 1980s she had been prompted to check, to make sure the company were not doing any harm. That meant looking at the entire supply chain to make sure that every phase was as good as possible. They had to apply very stringent standards from the very beginning. It started with the farmers given the millions involved in cotton agriculture who are exposed to pesticides, on a daily basis. It lead to focus on organic cotton but regrettably not using silk and considering all the packaging, dyes and printing inks. She has used certification, traceability and accountability, right the way through the supply chain but found taking complete control of this complex supply chain was the only way to enable this. She believed that the most effective to target were the CEO's, of clothing companies and fashion retailers. Mainstreaming sustainable fashion was happening because large retailers were realising that it was increasingly what consumers wanted: products that don't do damage to the environment, or that use child or sweated labour. Retailers ignored this at their peril. Sustainable clothing had to be sophisticated, glamorous and the bottom line was always economic. Sustainable clothing did not have to be more expensive. It could and should be affordable. She though that the ETI labour code should be compulsory and governments should act to have country of origin labelling for fibres."

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TAGS

art for housewives • art of recyclingbelongingblogbricolagechangecommoditycommunityconsumptioncraft • crochet • Cynthia Korzekwa • design intelligencedesign responsibility • domestic arts • dyeecologyembroideryemotive manipulationengagementenvironmentenvironmentalethicsfashion • fiber arts • folk arthomemadejewelleryjunk art • Katharine Hamnett • knittingmaking art with recycled materialsobsolescenceorganicpaperpesticideproductionprotest • reconstructed fashion • recyclerecyclingremakereusesocial changesocietysustainabilitytextile artstransformation • trashion • urban crafts • waste

CONTRIBUTOR

Simon Perkins
09 FEBRUARY 2009

The engineer is a myth produced by the bricoleur

"If one calls bricolage the necessity of borrowing one's concept from the text of a heritage which is more or less coherent or ruined, it must be said that every discourse is bricoleur. The engi~eer, whom Levi–Strauss opposes to the bricoleur, should be one to construct the totality of his language, syntax, and lexicon. In this sense the engineer is a myth. A subject who would supposedly be the absolute origin of his own discourse and would supposedly construct it 'out of nothing,' 'out of whole cloth,' would be the creator of the verbe, the verbe itself. The notion of the engineer who had supposedly broken with all forms of bricolage is therefore a theological idea; and since Levi–Strauss tells us elsewhere that bricolage is mythopoetic, the odds are that thee engineer is a myth produced by the bricoleur. From the moment that we cease to believe in such an engineer and in a discourse breaking with the received historical discourse, as soon as it is admitted that every finite discourse is bound by a cenain bricolage, and that the engineer and the scientist are also species of bricoleurs then the very idea of bricolage is menaced and the difference in which it took on its meaning decomposes."
(Jacques Derrida)

Jacques Derrida, Writing and Difference, trans. Alan Bass. London: Routledge, pp 278–294

CONTRIBUTOR

Simon Perkins
04 JUNE 2006

Ebdon: Pioneering Broadcaster And Bricoleur Extraordinaire

Nick Barker (tanscript from BBC Radio 4 show called Thanks For Listening – Archive Hour: Saturday 3 June 2006 20:00–21:00)
What do I do? Well basically I delve into the [BBC] archive and look for little bits and pieces and then I stick them together into a script..." – John Ebdon

His raw material was already there, in the archive, waiting for him to choose it to write around it to brilliant effect. ... What he did was wander. Imagine the BBC radio archive not as a dead library but a world waiting to be brought to life, populated with thousands and thousands of hours of thousands and thousands of people talking about endlessly diverse stuff. What Ebdon did was meander through that world hunting, gathering, observing, dramatising, parodying, and somehow creating a narrative from that almost limitless raw material.

John Ebdon was a BBC Radio 4 announcer famed for his re–purposing of BBC archive material. Ebdon died at age 81 on March the 19th, 2005.

TAGS

announcer • archiveBBCbricolagebricoleur • John Ebdon • mash-up • meanderer • Radio 4re-purpose
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