Structure of the chapter
Through the epistemic artifacts and the interventions artistic, scientific and practice knowledge and insight has been generated.
In accordance with my model of the three different aspects of artistic practice-based research, and for the sake of clarifying the value of the different aspects of the contributions, I have structured the conclusions with regard to contributions to practice, scientific knowledge and artistic knowledge and insight.
I have attempted to report the procedures and outcomes as soberly and accurately as possible, as the project has been completed as a scientific research, while acknowledging that it may be regarded as a contradiction to report a subject matter of artistic content within a scientific framework.
The conclusions are summed up in table 6.1.
at the end of the chapter.
General contributions
The activities have produced epistemic artifacts and works of glass craft and design, some of which has contributed to aesthetic innovation while others have not. The full understanding and insight contributed through the works can only be experienced through real life encounters, while the photographical representation provided in this document is the best possible option for
disseminating the contents within this format.
The physical objects can be recycled into the regular waste stream when they are discarded, if they are made into the same product again it would be called a closed loop cycle; but given that they would probably be recycled into container glass it would be identified as an open loop cycle.
An added benefit of this is that it prevents the recycling stream from accidentally being contaminated with modern crystals being tossed in the recycling containers by well-meaning recyclers who are not aware that it is not compatible with the soda-lime container glass.
Contributions to practice
Contribution to aesthetic innovation
The contribution to aesthetic innovation has aspects of tacit knowledge and insight and aspects of explicit aesthetic knowledge and insight. The tacit aesthetic knowledge has built up in the minds and bodies of the makers the explicit aesthetic knowledge is manifest in the objects created from the recycled waste glass.
Contribution to sustainable development The contribution to sustainable development of the practice is in the form of knowledge and insight about the recycled waste glass.
The development of high temperature castable molds as well as the principle of using recycled metal waste for molds, enable quick and cheap experimentation of pressed and cast glass. These methods are technical
Recycle. About Sustainability in Glass Craft & Design ● Maria Sparre-Petersen ● KADK 2016
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experimental processes.
Contributions to scientific knowledge Contribution to aesthetic innovation
The scientific contributions to aesthetic innovation in this project has been through a generation of theoretical and methodological frames of reference for understanding aesthetic issues. Analytical tools for understanding the realm of aesthetics has been suggested in section 3.4 and for the understanding of artistic practice-based research in section 4.1 particularly with regards to the understanding of the values of the artistic aspects.
Contribution to sustainable development The project has contributed to sustainable development on a theoretical level in the form of generating knowledge around the subject in relation to glass craft and design and reporting it in this thesis as well as in the scientific article (see appendix A).
On a methodological level, the research has contributed to the development of sustainable research practices as accounted for in sub-sections 5.6.1 - 5.6.4.
Contributions to artistic knowledge and artistic insight
Contribution to aesthetic innovation
The epistemic artifacts resulting from my personal experiments have been subjected to evaluation by artistic criteria of assessment in three different contexts: a juried exhibition, a peer review and a meeting with
a design executive from an established glass design brand. Hence, I find it safe to propose these artifacts as contributions to artistic insight and knowledge. The Epistemic Artifact CK4_2015_11 and Epistemic Artifact CK2_2015_11 that have been included in a juried exhibition I propose as contributions to expansion of aesthetic spaces of opportunity.
Additionally, the philosophical aspects around aesthetics and practice-based methodology presented in this text particularly in section 3.4 and 4.1 are proposed as contributions to artistic knowledge.
The contribution to sustainable development The artistic aspects of the contributions to sustainable development has been generated by acting out artistic autonomy. In some cases, this behavior has led to new sustainable futures or practices as requested by the theoreticians; Fry, Walker, Harper etc., e.g. in the transfer of knowledge between related fields as described in section 5.3.3. At the same time, it has produced non-sense e.g. in the failed experiments. The thesis in this interpretation could suggest the contours of a philosophy of sustainable glass craft and design that embraces sense and non-sense.
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Contributions General Glass craft and design practice
Scientific research Artistic research
Aesthetic innovation
Epistemic artifacts (see section 5.1) and glass craft and design (see sub-sections 5.1.6, 5.3.2, 5.3.5, 5.4.1 and 5.4.2).
Tacit and explicit knowledge and insight about aesthetic opportunities of recycled soda lime glass (see sections 5.1 – 5.4).
Knowledge about aesthetic theory (see section 3.4) and creative recycled soda lime glass (see sections 5.1 – 5.4).
Philosophical aspects of aesthetics and methodologies (see section 3.4. and 4.1). and less errors in existing the recycling system
Tacit and explicit knowledge and insight about materials, techniques and technology (see sections 5.1 – 5.4)
Knowledge about glass craft and design and
Insight about sense and non-sense of sustainability in glass craft and design (see section 5.6.1 – 5.6.4).
Table 6.1. Contributions.
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