OUGD601 / Synthesis

The practical element of this research project reinforces the critical theory raised throughout the essay. This was accomplished by practicing the findings written about, such as the Slow Movement. The process of weaving the large tapestry was lengthy and tedious but allowed for a first hand experience of the benefits of taking the time to focus on one single technique. By creating a practical outcome that involves entirely handwork to make it, it demonstrates a deeper understanding on the haptic, as well as Walter Benjamin’s theory on the aura as the value could be perceived and interpreted when finished. 

Helvetica has been used as this is seen as the standard digital font and the colour IK blue (often paired with light pink) has been experimented with due to its association currently with digital graphic design. (There is a category for pieces of design using this colour on Trend List).
Looking in to Esteves rugs by GUR was helpful, the limitations between digital design and hand-made design were made aware of and Esteves explained that these limitations aren’t necessarily a draw back but more its own adaptation, which makes the piece unique and its own.

“I find very important to keep these techniques alive. A GUR is never a copy of the original design. It is the translation of that into this technique with all its mistakes and limitations, allowing us to discover new ways to work. In the end, it is always a surprise—usually a good one.” Esteves, C. (2015)

The whole process involved a lot of trial and error and many times parts of the weaving had to be unravelled. This was frustrating and most of all incredibly time consuming however the satisfaction and sense of achievement that was felt after finishing it verified the project to be a success. This relates back to Nick’s answer when asked whether he found this slower process rewarding, “It teaches us about ourselves. It's methodical. Meditative. INFURIATING…” (see Appendix 1). When parts of the weaving had to be started over it was infuriating, although also satisfactory to be frustrated at something that had a clear, physical way of resolving unlike when things go wrong on the computer.

The practical side of the project was started a long time in advance of the deadline to ensure the slow process wasn’t rushed, this allowed time for mistakes. Having set aside this time dedicated solely to weaving, the psychological effects of slowly creating something with my hands became more apparent. Referring back to chapter 2 Dissanayake’s writings explain the satisfactory feeling well.

“…the sheer enjoyment of making something exist that didn’t exist before, of using one’s own agency, dexterity, feelings and judgement to mould, form, touch, hold and craft physical materials, apart from anticipating the fact of its eventual beauty, uniqueness or usefulness.” Dissanayake (1995)

The practical outcome reinforces the value as it’s a one off hand-made piece, this relates to the discussion in chapter 2 on Benjamin’s aura theory; it’s uniqueness cannot be reproduced therefore it holds authenticity. Knowing the time and word that has gone in to the piece brings it sentimental value also. This factor alone distinguishes hand-made from digital and manufactured; the time and care with which it has been made and the fact they have been made by one of our own. Flaying (2011)