conversation between pottery and me please give the answer correctly and fast it's very very urgent
Answers
Explanation:
sorry can't understand your question properly.
Answer:
hope it helps find your answer by your own
Explanation:
Taking a psychological and philosophical outlook, we approach making as an embodied and embedded skill via the skilled artisan’s experience of having a corporeal, nonlinguistic dialogue with the material while working with it. We investigate the dynamic relation between maker and material through the lens of pottery as illustrated by wheel throwing, claiming that the experience of dialogue signals an emotional involvement with clay. The examination of Merleau-Ponty’s phenomenology of habit, the skilled intentionality framework, and material engagement theory shows that while these theories explain complementary aspects of skillful engagement with the material world, they do not consider the dialogic dimension. By way of explanation, we submit that the artisan’s emotional engagement with the material world is based in openness and recognition and involves dialogue with the material. Drawing on the intimate relationship between movement and emotion, it promotes an open-ended manner of working and permits experiencing with the material, acting into its inherent possibilities. In conclusion, we suggest that dialogue, whether verbal or nonverbal, constitutes a primary means for making sense of the world at large, animate and inanimate.
The art of making
Making refers to the multi-scalar and dynamic process of producing something skillfully by hand relying on custom and long-established methods. Typically, mastering a craft requires manual dexterity, i.e., the ability to use your hands in a coordinated way to grasp and manipulate objects with small and precise movements, and prolonged training and experience. It involves proprioceptive and kinaesthetic knowledge relative to oneself and the material, that is, knowledge of the kind that one understands with one’s body as opposed to by or through it (Sheets-Johnstone 2012).
Relating to body posture, postural control, position and orientation, motion, timing, and rhythm, bodily skill emerges from sensorimotor dependencies and may involve conscious experiences and feelings (Brinck 1999). Thus, Gordon (2003) clarifies the advantage of hands-on experiment for textile research in giving access to the sensations and first-person experiences of working with certain materials and techniques. She describes how reproducing Shaker fabrics using original equipment improved her understanding not only of how experience and feeling continuously inform the process of making, but also of the various efforts and skills that textile production demands.
Additionally to bodily skill, making brings into play a variety of general abilities including affect regulation, imagery, meta-attention, epistemic action, planning, problem-solving, and imagination. The art of making is a many-sided, multimodal undertaking that challenges understanding in several ways. Cognitive process and material procedure in one, it profits equally from technical proficiency and creative pursuit and being firmly grounded in tradition, shows the signs of a situated practice (Brinck 2007; Lave 1988). Sense-making and knowledge are relational, conditioned by the social, cultural, material, and physical environment, and distributed, built into the design of artefacts, infrastructure, techniques, and roles. Accordingly, the embedding socio-culture and its associated technologies shape the craftsperson’s experience of connectedness with the physical world and locate him or her within a historical tradition.