The significant other: the value of jewellery within the conception, design and experience of body focussed digital devices

In this paper, we demonstrate how craft practice in contemporary jewellery opens up conceptions of ‘digital jewellery’ to possibilities beyond merely embedding pre-existing behaviours of digital systems in objects, which follow shallow interpretations of jewellery. We argue that a design approach that understands jewellery only in terms of location on the body is likely to lead to a world of ‘gadgets’, rather than anything that deserves the moniker ‘jewellery’. In contrast, by adopting a craft approach, we demonstrate that the space of digital jewellery can include objects where the digital functionality is integrated as one facet of an object that can be personally meaningful for the holder or wearer.</p

Scentsor[ring]

Abstract Digital technologies have already impacted on the world of jewellery at a surprising and rapidly increasing rate. Since the first, tentative experiments with computer-aided design in the 1970s, through developments in computer numerically controlled manufacture in the 1980s and, critically, since the mid 1990s in rapid prototyping processes, the take up of all these technologies by the jewellery design and manufacturing community has accelerated to a degree that in view of the traditional values of the discipline is perhaps unexpected. It is fair to say that digital technologies now play some part, often the major part, in virtually every sector of jewellery design, manufacture and promotion, from that of the experimental artist-craftsman to that of the finest jewellery houses. The so-called ‘contemporary jewellery’ movement as a whole, however, has stood back from this development. Contextualised by the field of contemporary jewellery but recognising a world of shifting values and changing resources, the seminars aims were broad and cross-disciplinary: to stimulate debate and to open up channels of communication on a range of methods, issues and opportunities - consequent in the main on developments in digital technology - that now confront the creators of contemporary jewellery, jewellery users and others in fields allied to that of jewellery. This seminar brought together an invited group of speakers and delegates including practitioners and theorists from jewellery and the applied arts, fashion and textile designers, historians, critics, policy-makers and environmentalists, to consider new research directives for the integration of digital technologies within the field of jewellery, and for the development of new research methodologies and innovative products. The seminar’s objectives included: a review of the impact of digital technologies on jewellery design and production to date; the identifications of key issues for the future development of jewellery in relation to digital technologies, and the exploration of new working processes and methodologies. This paper explores the roles of Scentsor[ring]: digital jewellery embedded with wireless sensor networks and microfluidic devices for therapeutic, diagnostic and wellbeing applications. The development of this collection is inspired by the chemical language and interaction of organisms to dispense fragrance, triggered by sensors that react to an individual's body state (e.g. heart rate, temperature) and the environment (e.g. sound). Further sensors such as the ‘electronic nose’ will be introduced and unorthodox and innovative designs in jewellery will be examined. There is increasing interest in the effect of the environment on wellbeing and symptoms of mental illness, but until now the focus of recent intervention in this area has been in the more distant or the interpersonal environment. This paper investigates intervention in the immediate personal air-space around the individual. Combined with other forms of support for improved mental health, many patients could welcome the prospect of jewellery that offers enhanced control of their emotional state, whether by conscious control or biofeedback. Several psychiatric disorders and symptoms will be investigated for an application of such Scentsor[ring] technologies i.e. the use of scents to enhance mood and improve psychological wellbeing. This scooping will be undertaken in collaboration with experts in the area of mental health and wellbeing. The paper will conclude by proposing jewellery that mimics the sense of smell via electronic nose sensors in order to detect spoiled food, monitor pollutant chemicals in the air, or set the basis for revolutionary work in the diagnostic area such as pinpointing ovulation and diseases. By emulating a dog’s sense of smell the jewellery could sniff out explosives and narcotics, or detect the early stages of cancer. Further examples include jewellery that is pre-programmed to detect a potential partner’s pheromone profile and then send a sample of the users pheromones, or a mosquito repelling device, or an olfactive watch, or jewellery that offers wider-waves of feeling in (re)active environments

Developing vocational practice in the jewellery sector through the incubation of a new “project-object”

This paper analyses a work placement scheme established to create the conditions to: (i) incubate new designs in the jewellery sector in Birmingham; (ii) support a jewellery company compete more effectively in the global market; (iii) assist a newly qualified graduate jeweller to enter the jewellery sector. It introduces a new theoretical framework based on concepts from: Cultural-Historical Activity Theory-'project-object'; Workplace Learning-'vocational practice'; Philosophy of Mind-'space of reasons'; to analyse individual and organisational contributions to workplace learning in this scheme. It identifies the strategies and tactics used by: (i) the organisations involved with the scheme to facilitate the incubation of the new designs, and (ii) an aspiring jewellery designer to create a new product range. The paper concludes with a discussion of the implications of this conceptual framework for debates in workplace learning about: (i) the 'front-loaded' versus 'practice-based' conceptions of vocational education and (ii) the role of epistemic objects and practices in the development of vocational practice. © 2008 Elsevier Ltd. All rights reserved

Sting of passion

A new exhibition of contemporary jewellery by 12 up-and-coming international jewellery artists opens at Manchester Art Gallery this July. Curated by Manchester-based jewellery artist Jo Bloxham, the exhibition features new conceptual works of jewellery by artists from as far afield as the USA and Mexico. All the works on display have been inspired by Pre-Raphaelite paintings from Manchester Art Gallery’s prestigious collections. The paintings have all been selected by the exhibition curator, Jo Bloxham and include Pre-Raphaelite favourites such as Arthur Hughes’ Ophelia and Rossetti’s The Bower Meadow and Astarte Syriaca. The works portray women as a femme fatale, a seductress, and in some cases, purely as an object of beauty. Bloxham comments that each of the jewellers has responded individually, the works have provoked some strong reactions, and astonishing results: “The jewellers have created an exciting body of work using a diverse selection of materials, from gold and garnets to concrete and broken glass. The Sting of Passion is an opportunity to explore an area of jewellery design rarely seen in the UK.” Polish jeweller, Arek Wolski has added modern irony to his work for Eve Tempted by John Stanhope. Playing on words, Wolski has created a t-shirt brooch, changing the phrase ‘Last Forever’ to a more cynical ‘Lust Forever’. French jeweller, Benjamin Lignel found The Bower Meadow by Dante Gabriel Rossetti deeply unsettling. Lignel says “Here are the real desperate housewives: typecast for maximum excitement. Rossetti’s dancing beauties live the test-tube lives of neutered she-monsters in a tree-lined water-tank.” Nanna Melland from Germany has created a fine, gold chain, to sit around the waist of Rossetti’s Astarte Syriaca in the form of a new girdle

Isomorphs – new mutations: jewellery by Norman Cherry [catalogue]

Isomorphs – New Mutations, Jewellery by Norman Cherry (catalogue

From art to engineering

This paper describes work which emerged through a need to understand more about the potential of laser surface engineering for use in the creative industries. The method of creation of contemporary jewellery pieces and the resultant ‘Ocular’ jewellery series are described from the points of view of an artist and an engineer. The work demonstrates how laser controlled oxide growth on commercially pure titanium under ambient conditions can be used as an artistic tool by producing even, defined colours or by reproducing a simulation of freehand drawings on a titanium surface. It also asks the question: how different are artists from scientists and engineers

COMMERCIAL JEWELLERY TECHNIQUES: INNOVATING SELECTED CONTEMPORARY MANUFACTURING TECHNIQUES

Published ThesisThis study is an investigation into specialised techniques which can aid the establishment of a unique South African jewellery design style in order to enhance commercial and contemporary jewellery. The initial impetus for this investigation was informed by conclusions drawn and recommendations proffered by various previous studies which indicated that the lack of uniqueness of South African jewellery concepts as well as the replication of Western or Eurocentric trends in local jewellery have resulted in South African jewellery being an unmarketable brand abroad. The study showcases the development of diverse techniques which has increasingly become obsolete in the modern South African epoch of commercial jewellery. This study argues that the primary inclination of jewellery designers and especially from European immigrant origin to simply employ traditional African crafts, patterns and artefacts as inspiration for formulating a South African style of jewellery, has in the past traversed the portrayal of African culture as primitive. As a remedial approach this study delineates on the possibilities of designers employing and developing an auto-ethnographic design style whilst also incorporating specialist techniques in the pursuit of self-expression in jewellery design. This study argues that such an approach will lead to a more unique and representative jewellery design style and which will be a more appropriate or authentic representation of South Africa’s diversity. Considering that South Africa is a major producer of precious metals and precious stones whilst only producing roughly 2% of the world’s jewellery, the South African government has in recent years invested heavily in the jewellery industry with a view on its advancement and growth. Subsequently, this investigation additionally delineates on views of jewellery specialists on the state of jewellery design and manufacture in South Africa in order to formulate recommendations for the South African jewellery industry to propagate a progressively more mature industry

The New Aesthetics and Traditions of the Russian Stone and Jewellery Art in the Collections of Yekaterinburg Jewellery Houses

This article presents a review of the leading jewellery companies in Yekaterinburg. We present a comparative analysis of the range of products, focussing on the new stylistic design techniques and technological features of the jewellery collections and stone-cutting works produced by the leading jewellery houses. Examples of the most significant works in the premium class segment are discussed. We demonstrate how modern Russian jewellery art creatively combines and develops Russian and European historical jewellery tradition while striving to absorb and utilize cutting-edge techniques, materials and technologies. The wide range of resulting artworks and approaches to modern jewellery-making highlights the successful combination of historical and modern approaches. More sophisticated technology allows the jewellery artists to implement new ideas while creating increasingly technically complex works. We analyse the works by the leading Yekaterinburg jewellery houses: MOISEIKIN, CHAMOVSKIKH, Natasha Libelle, Ringo, Maxim Demidov, Jewellers of Ural. Keywords: jewellery collection, design, translation method, quatation method, transformatio

The art of Saudi traditional jewellery: Rejuvenation for a contemporary world

This practice-led study investigates a new approach to the design and making of traditional ‎jewellery in Saudi Arabia. Jewellery is very much part of Saudi culture. This research has been ‎prompted by my personal observations that as Saudi culture modernizes traditional jewellery is ‎disappearing and being replaced by jewellery of Western fashion, especially by the younger ‎generations. It is evident that the jewellery worn by Saudi women nowadays falls into one of ‎two categories; traditional or modern. My work demonstrates that Saudi women can have the ‎opportunity to wear jewellery related to their culture while still addressing the desire to move ‎into a modern world. My approach was based on a study of traditional Saudi jewellery styles and ‎techniques. I then experimented with creating new designs that better reflected modern jewellery ‎aesthetics/forms but retained their cultural connections. As part of my study, I investigated two ‎forms that are not found in traditional jewellery in Saudi Arabia, the brooch and convertible or ‎multipurpose jewellery that can be converted into a range of forms. I believe this is one way to ‎break away from conventional traditional forms of jewellery making and widen the concept of ‎wearable art. It is a way to show Saudi women that contemporary jewellery does not have to be ‎‎‘Western’ but can retain traditional elements and be distinctive, and which can be adapted to ‎both traditional and contemporary forms of dress. Once this new approach finds its place in ‎Saudi Arabia, it is hoped that it will become recognisable world-wide as a contemporary form of ‎jewellery that connects with the present and also retains a resonance with its Saudi origins.

British contemporary jewellery artists in Jewellery Unlimited

British contemporary jewellery artists in Jewellery Unlimite