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Title of Abstract:

The Migration of Memories (Ref #176)

Date:
16-10-2006 08:50:53
Status:
Accepted with revisions
Rating:
5
Details:

Migration of Memories

Keywords: Craft & Dialogue, Story-making, Mindfulness, Memory

It has been said, ?we know who we are by the stories we tell.? As furniture passes from one generation to the next, so can memories and stories. Our connection to times passed by can be a physical one through artefacts or an emotional connection through memories. Jonathan Chapman, speaking of objects, states ?by allowing the healthy accumulation of narrative, profound sensations of attachment, empathy and even love may incubate.?1

In contemporary culture, we define ourselves in many ways. This defining can manifest itself through clothes, our automobile or our home. A chair by Thonet, Eames or Starck may function as a chair, yet beyond comfort, the object provides an iconic quality that we can use to define ourselves. A production-made object or a one-off can fulfil the need for self-definition. I believe we can incorporate these static objects into the dynamics of an ever- changing life and design into them an evolutionary quality.

To better understand our relationship with objects is a way to design furniture that will not only remain with us but evolve with us as we change along the journey. Donald Norman has said, ?It is one thing to design products that elicit certain emotions; it is another matter to maintain those emotions that have been generated.? 2 The great challenge of this generation is not how to make products physically last but how to create an emotional longevity. I suggest this connection can be developed beyond the primary owner to individuals yet unknown. We can hardly envision the needs of future generations, but like great artists of old they have provided intelligential food for generations to come.

Through an interactive image/database and a collection of furniture pieces, I will provide a context for individuals to explore contributing elements that endear objects to us. These elements will include materials, craftsmanship, culture, memory, story-making, artist/owner participation and emotions. Emotions, whether faint recollections or vivid impressions, can motivate us to connect with both objects from the past as well as the present. Prof. Gerald C. Copchik said that designers ?need to address the object not only as something useful ? but also as a meaningful image that encompasses sensory qualities and personal meanings?3 thus allowing for deeper more significant connections.

The migration of memories is what connects us with the past, defines us in the present and transports us to the future. Memories are a powerful motivator and catalyst in defining ourselves. Furniture can incorporate elements that stimulate us to remember, ponder and ultimately connect not only to the piece itself but to others.

1. CHAPMAN, J. (2005) Emotionally durable design: objects, experiences, and empathy, London; Sterling, VA,
Earthscan. P117
2. NORMAN, D. A. (2004) Emotional design: why we love (or hate) everyday things, New York, Basic Books. P7
3. CUPCHIK, G. C. (1999) Emotion and industrial design: Reconciling meaning and feelings. IN OVERBEEKE, H. (Ed.)
First International Conference on Design and Emotion. Delft University of Technology, Delft, the Netherlands.




Reviewer Comments:

Review #1 : Left on 24-10-2006 18:58:55 #
The argument is 'fuzzy' in places but shows potential. It needs to concentrate on explaining a couple of the key themes identified in the abstract, in relation to the discipline and culture of craft. For example, narrative, emotion, longevity, interactive media, migration and memories are identified but none given sufficient attention.

Also, if the abstract is to sit within craft and dialogue, greater reference to the type, form and significance of dialogue is needed.

6
Review #2 : Left on 25-10-2006 09:52:48 #
The area is fascinating. To watch a piece of work evolve through ownership is part of what I believe craftspeople hope for when their work passs into ownership. I don't know of any work that evidences this and timelines would suggest that this is extremely hard to document even over three or four generations. So the evidence may not be there to give focus to the paper. Greater clarity needs to be given to that which can be or has been evidenced. The paper needs to focus on a single aspect, emotion? Love? This would be very hard to construct in a concise paper but it would be interesting to see it evolve.

5