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It provides critical analysis of how emerging technologies, methods and theoretical frameworks reshape domestic craft creativity by shifting focus toward processes, relationships, and innovation beyond 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are domestic craft-based textile activities often viewed as having limited creative potential?","Question",{"text":63,"@type":64},"They are criticized for copying, reproducing, and recreating existing pattern forms and for using pre-existing templates and instructions, which leads to a belief that they lack originality and innovation.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What does the paper investigate about crochet lace making?",{"text":68,"@type":64},"It reports on an experimental research project that uses digital media technologies and practices to explore the creative potential of crochet lace making.",{"name":70,"@type":61,"acceptedAnswer":71},"How do new technologies and theoretical frameworks change how creativity in domestic crafts is understood?",{"text":72,"@type":64},"They shift attention from the unique finished object to processes, practices, and relationships, enabling a re-evaluation of copying and reproduction and opening new innovative possibilities.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},173341,1788302556,{"code":4,"msg":82,"data":83},"success",[84,89,94,99,104,109,114,119,124],{"id":85,"doc_module":22,"doc_module_name":25,"category_name":86,"show_sort_weight":87,"slug":88},11,"Presentations",90,"presentations",{"id":90,"doc_module":22,"doc_module_name":25,"category_name":91,"show_sort_weight":92,"slug":93},12,"Resumes",80,"resumes",{"id":95,"doc_module":22,"doc_module_name":25,"category_name":96,"show_sort_weight":97,"slug":98},14,"Invoices",70,"invoices",{"id":100,"doc_module":22,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},15,"Posters",60,"posters",{"id":105,"doc_module":22,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},16,"Social 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Wales\nAuthor's generic title (e.g. educator, artist), address: Artist, researcher, educator. University News South Wales Australia\nAuthor address (postal and e-mail): \u0013 HYPERLINK \"mailto:gail@gailkenning.com\" \u0014gail@gailkenning.com\u0015. \u0013 HYPERLINK \"mailto:g.kenning@unsw.edu.au\" \u0014g.kenning@unsw.edu.au\u0015. PO Box 454 Randwick, NSW 2031. Australia\nAbstract\nDomestic craft-based textile activities, such as knitting, crochet, hand weaving and lace making are often viewed as being of limited creative potential. The perceived lack of creativity arises, in part, because of the extent to which these activities copy, reproduce and recreate existing pattern forms and use pre-existing templates This paper reports on the findings of an experimental research project that explored the creative potential of crochet lace making using digital media technologies and practices and provides critical analysis of how new technologies, practices and theoretical frameworks have implications for ongoing domestic craft-based textile activities.\n\u000f\nArticle Text\nWithin the ongoing hierarchical relationship between art and craft and within craft, domestic craft-based textile activities such as knitting, crochet, hand weaving and lace making, while valued for their social and cultural contributions, are considered derivative and lacking the originality of fine arts such as painting and sculpture. These activities are subject to such criticism because of a seeming lack of innovation and uniqueness and because they have been perceived as conservative, constrained by tradition and resistant to change [1]. As a result of creativity having been equated with originality and innovation and authenticated through uniqueness, these activities are dismissed as being of limited creative merit and having little creative potential [2]. The view of domestic textiles activities as craft, unintellectual and seemingly the antithesis of the ‘Avant Garde’, is predicated in part on the extent to which these activities copy, reproduce and recreate existing pattern forms and use pre-existing templates, models, diagrams and written instructions [3]. The gendering of domestic textiles activities and the marginalisation of women’s activities are also pertinent to how domestic craft-based textile activities are perceived and valued [4]. However, issues relating to gender are being addressed elsewhere and this paper will primarily focus on the relationship between copying and innovation in domestic craft-based textile activities.\nWhile being subject to criticism such as those summarised above, domestic craft-based textile activities have a long and varied history. Evidence of the manipulation of threads to construct textiles and create patterns can be found across all cultures and throughout recorded history [5]. Significant numbers of women, primarily in developed countries continue to invest substantial amounts of their time and sustained labour on these activities which attests to their ongoing importance. Cultural commentators suggest that these activities are fundamental acts of ‘everyday creativity’ and contribute to discourse relating to the importance of creativity at all levels [6]. In addition to acknowledging the social and cultural importance of these activities, many lace makers, fibre artists, and textile practitioners working with craft-based textile techniques and processes argue that the outcomes and outputs of these activities, and the intellectual input and the creative decisions undertaken, warrant greater aesthetic consideration [7]. The recent popularity of do-it-yourself (DIY) culture, maker culture and ‘fabriculture’ has extended traditional practices. This has resulted in domestic craft-based textile activities being undertaken in public envi","cbCaiiknzUU8T9Xi","https://ap.wps.com/l/cbCaiiknzUU8T9Xi","docx",506595,"English","# Introduction\n## Background: art vs craft and creativity debates\n# Experimental study and findings\n## Digital media and crochet lace making\n## Implications for domestic craft-based textile activities","[{\"question\":\"Why are domestic craft-based textile activities often viewed as having limited creative potential?\",\"answer\":\"They are criticized for copying, reproducing, and recreating existing pattern forms and for using pre-existing templates and instructions, which leads to a belief that they lack originality and innovation.\"},{\"question\":\"What does the paper investigate about crochet lace making?\",\"answer\":\"It reports on an experimental research project that uses digital media technologies and practices to explore the creative potential of crochet lace making.\"},{\"question\":\"How do new technologies and theoretical frameworks change how creativity in domestic crafts is understood?\",\"answer\":\"They shift attention from the unique finished object to processes, practices, and relationships, enabling a re-evaluation of copying and reproduction and opening new innovative possibilities.\"}]","Creative craft-based textile activity in the age of digital systems and practices | DOCX"]