Digital jewellery essay

Jewellery presentation

Consideration of wearable computing and body-centric digital objects reveals a shift in our relationships with, and experiences of, digital technologies during the last sixty years. Notable differences relate to interpretations of the aesthetics of jewellery, the relationship jewellery may have with the body and the role jewellery may play within human relationships. In the s jewellers such as Joachim Baur and Manfred Nisslmller began to extend conceptual jewellery beyond both the notion of an object worn on the body, and the necessity for an object itself. I sought to investigate the relevancies and appropriateness of such integration as extensions of contemporary jewellery through personally and emotionally significant experience. Astfalck et al described the role of creative practice as a way to: open up access to a poetic discourseleading us to new understanding, explanations and discoveries focused on an exploration of identity, drawing upon narratives of memory, experience and sense of self Astfalck et al, Moreover there is a paucity of approaches that consider emotional and intimate attachments people form with and around objects. During the 4th and 5th century middle-eastern and Persian traders visited to trade gems from Sri Lanka. We used the opportunity to discuss digital jewellery as experience, taking aspects 3 of Wright and McCarthys work on experience to digital and non-digital jewellery. Bare no image available explored the use of digital technologies within jewellery forms as sensors of bodily biometrics, translating the data gathered from a body into pulses of light, Echo figs. Practice may also operate as a vehicle through which a maker can pursue an 31 internal dialogue in exploring their sense of self, personal experiences and biographies Rana and Braga, section 2. However, these developments are emerging from outside the field of contemporary jewellery. In press for TOCHI; the leading journal in HCI to focus on the aesthetics of experience centred design, using one of the doctoral pieces blossom as a case study. In jewellers Knzli, Schobinger and Degen chose to refer to themselves as Jewellery Artists and became advocates of the avant-garde jewellery movement where jewellery was 26 made not as adornment, but as message mediators Riklin-Schelbert Using separate methods of designing and making activities in quantity-production of jewelleries as a case, this paper will show how Computer Aided Designs CAD can be applied for designing jewelleries with complex shapes. Hiroko Ozeki and Lin Cheung figs.

My aim was to access personally meaningful elements of my participants lives and to interpret these fragments through the design of digital jewellery. Table of contents Acknowledgements Although not an official member of my supervisory team I would like to say a tremendous thank you to Patrick Olivier at Newcastle University for finding digital jewellery an interesting and intriguing idea and for his amazing support in the fine grained editing of the thesis over the past year; he has made a world of difference to the completion of this work.

I sought to investigate the relevancies and appropriateness of such integration as extensions of contemporary jewellery through personally and emotionally significant experience. With personal emotional significance in the development of digital jewellery as the central elements to this work this chapter begins by presenting a spectrum of conceptions of emotion from biological correlates, to felt experience and personal biography.

Digital jewellery project

Turner, 88 Contemporary jewellery practice is now accepted as a critical and reflective process. The role played by jewellery within this enquiry is essentially threefold as lens, tool and vehicle. My process focuses on the involvement of individual participants with the aim of weaving aspects of their personal histories that are emotionally meaningful to them into pieces of digital jewellery. Metcalf argues that jewellery not only functions in this way, but because of its emotional significance can touch people Metcalf, Although not an official member of my supervisory team I would like to say a tremendous thank you to Patrick Olivier at Newcastle University for finding digital jewellery an interesting and intriguing idea and for his amazing support in the fine grained editing of the thesis over the past year; he has made a world of difference to the completion of this work. Finally I created a series of physical jewellery objects that represented digital jewellery propositions resulting from my engagement with a small number of participants. Stratasys, one of pioneers of this technology, just signed on as Urbee's sponsor for digital printing. He posits that jewellers no longer have to produce pretty, decorative designs: they can make stronger, more relevant work which might address the dilemmas in society and by so doing, oppose them. The Gier took up an entire room and now I can carry more computer power on my finger. Viewers were led to consider whether they believe there is a gold ball within the piece and if so, whether they perceived the piece to be of greater value even though the gold was hidden. Each piece of jewellery will contain a fraction of the components found in a conventional mobile phone.

As in much jewellery made by Iris Eichenberg fig. To illuminate the differences further the gadget served as an extreme case of object that exemplified the highly prescriptive and limited nature of our collective assumptions as to the aesthetics and functionality of digital objects.

who invented digital jewellery

In the s jewellers such as Joachim Baur and Manfred Nisslmller began to extend conceptual jewellery beyond both the notion of an object worn on the body, and the necessity for an object itself.

Consideration of wearable computing and body-centric digital objects reveals a shift in our relationships with, and experiences of, digital technologies during the last sixty years.

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Final digital jewelry report