User:FLEM/Thesis drafts

1. Introduction: research interest, the objective of research

I am interested in notebooks as a means of creativity, a space for thinking and reasoning, a personal world inside this messy world we live in. I like the idea of getting lost in our own space, how writing and doodling and drawing become part of our living. And, I wonder, can this personal world be the same for everyone, can it be standardised? My theory is that everyone, in different situations, has different needs while using a notebook and that the efficiency - in the sense of: how much we use it, how useful it becomes for us, how we feel free and comfortable with it - can change by using different structures. Following from this, I wondered: "Why are we all using a device with the same structure? And what impact does it have on our learning, thinking and living, as well as on the imaginary of self? And how creating our personal tools would help users to understand better themselves and their needs?".

Therefore, I decided to organise a series of Collaborative Explorative Sessions (C.E.S.): experiences of discovery, moments where to play with this object, all together, and explore, experiment and discover the possibilities of notebooks, also as part of a research about ourselves and our participation in the world. I would like participants to explore their inner self and discover what they need from a notebook, and then, if they are up for it, to find out how accessible it can be for everyone to create or edit their own, based on what they're actually looking for.

I have always been fascinated by book making, since the first time I built a book with my hands. The course taught the students how to make three different bindings throughout the year, and our job was to produce the content to build the structure around. I mainly used photographs, as that was part of my visual practice already. But what excited me the most was when the book holding this material has to be produced. Choosing the paper, printing the images, folding, binding and gluing gave me a feeling I never experienced before.

After that, I kept making books and worked on a project called Trashbooksatelier, and specifically on a series called Sketch(totrash)books, no waste editable sketchbooks, consisting of books made of waste. These sketchbooks were meant for artists to paint on the cover and make every single book unique and personal, helping the planet. I was using different papers, with different weights, different colours, everything kept inside an Amazon box’s cardboard. I realized how interesting was to create books from waste and finding ways to make it work. The creativity levels that making notebooks can touch are infinite, in my opinion, and being the creator makes it even more exciting to hold something so special in your hands.

After the first time, I have always been making notebooks for my self and I never bought one anymore. The start of this research happened in a specific moment in time: I finished the last notebook and started a plan for the next one. The idea came out from the measurements of an Italian publishing house (Iperborea) I really love the design of: 10x20 cm. The issue was that, by starting from an A4 paper, I would have been obliged to cut out a lot of paper and therefore, I decided that I didn't want to create a new notebook out of that idea without finding a solution that would not waste anything. The result has been a 10x20 cm notebook with wings and folds that created narrow columns and additional space on the side of the pages. After the notebook was ready, I started questioning my practice and I realised that this object has already a special feature in itself: it permitted the user (me) to play around with the structure and adapt it to their own needs.

I analysed all the pros and cons of this object I created and started to think about alternative solutions that would make the notebook to work specifically for me, my way of reasoning, writing, thinking. I understood how just by changing something small, I could already improve my use of the notebook. I already felt I could give more to this object and vice versa, this object was supporting me in a way that has never happened before.

Lori Emerson in the book Reading Writing Interfaces describes how in recent years design is getting every day more invisible and users are becoming less and less aware of the processes underneath the devices they use: in the same way as with digital interfaces, humans think less and less about what they use or what they do or why or how. We live in an era where we can decide to continuously fulfill our desires, without even understanding or asking ourselves what we really need or want. I assume that many people buy notebooks because they are attracted by the idea around the object, but then they never start or finish them because, still my assumptions, they do not really know what is their need from this object. In addition, consumerism, capitalism and new technologies "promote efficiency and productivity more than happiness and creativity" (Sanders E. B.-N. and Stappers P. J., 2014), but at the same time the desire of people towards creation and expression of self is emerging again (see social media DIY or etsy.com). Therefore, I feel that using an object that, in a way, is the emblem of productivity and that participate in consumerist practices, and trying to transform it into a self thought and subversive one is the right direction I want to give to my project.

I believe this is a personal matter and that every individual should or could find their own answers to this. How can I, through research and explorative sessions, discover more about the topic and create a generative structure that can help others to discover themselves and their needs, in their own way, in order to promote creativity and self-expression?

This thesis will be then a report of my practice: the C.E.S., informed through theoretical research and references, will produce materials that will help to develop the body of the text and support my research questions.

2. Context and history (general overview)

Chapter Two constitutes a literature review, and accordingly, contains analysis of models and theoretical frameworks that have been previously introduced to the research area. This chapter contains definitions of main terms and explains search strategy for the secondary data. Viewpoints of other authors regarding the research area in general and research problem in particular have been presented in a logical manner in this chapter.

[main question: Why are we all using the same structures?]

In this chapter I will give an overview on notebooks' history and evolution. , how capitalism and consumerism changed our vision of objects's use and more specifically, notebooks' use with the introduction of standardised objects (touching the explosion of already made bullet journals for example). How it changed humans' approach to making the objects we use. This chapter will conclude with what is the impact of the use of standardised objects in humans and the importance of self-expression and creativity.

Questions: How and why has the notebook been created? How did it evolved till the most common structures we use nowadays? How has the value of the process of creation modified after industrialisation / in consumerism? What is standardisation? Why do we create standardised objects? What is their impact on humans' existence and the creation of personal imaginary? What happens when we don’t use our intrinsic creativity? Why is it important to express ourselves?

“In our society people make little of what we use but consume it as presented by the media” (Dissanayake E.,1995)

2.1 Overview on notebooks' history and evolution, how capitalism and consumerism changed our vision of objects's use and more specifically, notebooks' use with the introduction of standardised objects (touching the explosion of already made bullet journals for example). How and why has the notebook been created? How did it evolved till the most common structures we use nowadays?

2.2 How industrialisation changed humans' approach to making the objects we use. How has the value of the process of creation modified after industrialisation / in consumerism?

2.3 the impact of the use of standardised objects in humans and the importance of self-expression and creativity. What is standardisation? Why do we create standardised objects? What is their impact on humans' existence and the creation of personal imaginary? What happens when we don’t use our intrinsic creativity? Why is it important to express ourselves?

2.4 what is the environmental impact of buying new items? How within making our own objects we can participate in the "reduce, reuse, recycle" movement as an opposition to buying new items?

Notetaking history and development

Note Taking as an Art of Transmission by Ann Blair (2004)

The author creates a note taking timeline starting with this sentence: “The transmission served by personal notes most often operates within one individual’s experience (…) after used in articulating a thought”. I feel like this point is particularly important for my research as it talks about note taking as an individual’s experience, notes show the insights of an individual expressing freely.

The history of note taking moves from adversaria to common books (that will help for my glossary) and to “kinds of notes”: by field, intended audience, general purpose. This part is particularly important because I think I need to create some limits or instructions of what I am discussing about. It talks about collective annotating (Kant’s students) or “writing chorus” (A. H. Francke).

The author analyses the short-term use of notes and what would happen to them in the past, as well as how to conserve them for future transmission. “Forgetting is also an important aspect of remembering” (Harald Weinrich, 1996). The texts moves on with the history of notes and the impact of early modern note taking, how many scholars studied different ways of note taking and it gives new or additional definitions to the words that regard note taking like lemmata, adversaria, historic, etc..).

Why craft and making is important for humans

Why We Make Things and Why it Matters by Peter Korn (2015)

The author gives an outline of his connection with the manual activity and profession of wood furniture maker, but this is not why the book is important to my research.

What matters is the way the author discusses craftsmanship as engagement with the actions, objects and relationships of ordinary experience, caring about what you do. In the sense that, if you choose to use a notebook for example, you should take care of making it yourself, to repair it yourself and feed it yourself, as you would do with a bike or your last night’s dinner. He provides definitions of the term craft, born thanks to Morris and Ruskin and the Arts and Crafts Movement. He underlines how “The increase in sophistication has not resulted from any biological evolution of our species; instead, it illustrates the evolution of culture. “.

The authors at some point says that “work has been stripped of its potential to provide meaning and fulfillment” and I feel the same happened to learning: I feel like this could be changed with social and collective learning, with self-learning and a research inside our heads to understand and listen inside a bit more.

Then, the author describes that his “experience has been that the effort to bring something new and meaningful into the world – whether in the arts, the kitchen, or the marketplace – is exactly what generates the sense of meaning and fulfillment for which so many of us yearn so deeply. “ This tells me how much and why the act of making gives the user that sense of meaning that sometimes we lack in contemporary society.

The author argues how the power to provide spiritual sustenance resides in the object itself, not in its ownership, how it becomes a memory device where the process of creation is inscribed and how objects are important for humans as they “confirm the owners’ narratives of personal identity”: “objects ultimately possess meaning to the extent that they affect or confirm the stories through which a respondent constructs his identity and orders his world. The more central those narratives are, the more meaning the object has. “. I am wondering how much meaning objects can have if the owner creates the object by themselves, so that not only the part of the discovery and acquisition of the object becomes important to the owner and has a re connection to their life, but also the evolving ideas and beliefs that come along during the process of creation of the object.

To conclude, the author believes that “making is a lifelong project of self-construction and self-determination“ and that objects “are conduits through which we construct our selves and our world.”

How can we learn through making?

The bookbinding workshop: making as collaborative pedagogic practice by Elizabeth Kealy-Morris (2015)

In this text, Kealy-Morris is considering student engagement through collaborative teaching and learning practices. In this case, the purpose is creating a learning space for art and design students to understand and develop their creative identity and self; the connection to my research arrives when the author discusses how the learning experience becomes part of the process of creation.The text touches the importance of craft and how the act of creating is an important step to learn about ourselves: it reconnects to the idea of developing a consciousness in the needs for a learning space made by participants for themselves.

The author discusses the different type of learning and knowledge, experiential, or deductive or constructive learning. This opens a new window on the topic of personalised learning and how every individual has different approaches and methods to reach some kind of knowledge. The purpose of the “Bookbinding Club” proposed in this article reconnects to the purpose of my CES (Collaborative Explorative Sessions): to offer participants experiences where to think about their learning brain and how the act of creation can participate in the act of discovery. How the act of making their own tool can help them better understand what they need from the tool.

Towards the end, Kealy-Morris describes the term ”communities of practice”: workshops based on active engagement with specific experiences that support learning through social participation (Wenger 1998). Learning is a social experience.

Crafting communities of practice: the relationship between making and learning by Miriam Gibson (2018).

This text analyses the impact of craft on learning and the development of the personhood. As the text above, it analyses the learning types, quoting different educators and philosophers, and the impact of the Art and Craft Movement as well as the Industrial Revolution. The author discusses how craft is a cultural and social expression and how collective and individual development are interconnected.

Gibson researches on the impact of industrialisation and mass production on the development of self and how the current interest in making shouldn’t be seen as anti-modern and nostalgic but instead, focussing on how, even through the use of the Internet, makers are always trying to gather, whatever the medium. Another point that I feel like touches my practice is how making and learning are subversive practices that make us able to control the narrative ourselves, undermining the dominant social operating system we live in: “through experimentation and experience, an individual edits amplifies and amends the socially prescribed world” says Korn (2013). In a way, they describe “how to change the world through craft”.

At the end, the author describes how learning is a “transformative learning process” and how developing communities of practice encourages social and cognitive transformation. A way to reconnect process and product, to make learning a moment of sharing and not only taking something from someone else’s knowledge.

The use of personalized notebook among first semester students of UITM (2016)

Describes how the use of personalised notebooks among students can improve learning process. The authors describe how “The quality of students’ satisfaction and experience depend on the effectiveness of using notebook.”. This paper is basically for educators, but it can be applied also from the point of view of the student itself: students have different learning styles and intelligence strengths that a personalised notebook could accommodate. Notebooks are the place where to insert the information and where to analyse it, helping the “brain making connections between what is experienced (learned) and what that experience (information) means to the learner” (Caine & Klimek, 2005).

The text then analyses student-entered learning approach, already present in Malaysian Education since more than 20 years. Personalised notebooks offer similar characteristics and purposes: to promote self-learning process.  

The authors conclude saying that “Creating a personalised notebook with students could improve students’ note-taking skills as well as help them to organise, review, and reflect on the information in the classroom”. This reconnects to my research as this is what I am discussing about: how personalised notebooks can improve learning. The difference is that they talk from the point of view of the educators and my approach would be even more “self-learning”: students or participants would physically and concretely create their own personalised notebooks.

3. Preparatory sessions and method description

Method

I want to describe the type of environment I want to create, about authority disruption and collective parallel learning

4. Case studies

Session 1

Make your own tool 1.0 is the first practical session of the series.

Findings/outcomes

WHat I came to understand during the session, find valuable things