<abstract xmlns="http://www.w3.org/1999/xhtml">
<p>This article investigates the collaborative craft-based art project Data Mirror, launched by the Trapholt Museum of Art and Design in Denmark in March 2022 with artist and weaver Astrid Skibsted. Through the lens of affect theory (Massumi, 2002, 2009), the article explores how the textile making practice and the materials in <italic>Data Mirror</italic> affected the participatory experience. Building on Christopher Kelty’s understanding of participation as strung between individuality and collectivity, the article argues that the experience of participation in <italic>Data Mirror</italic> is in fact “more than individual,” but not only in the sense defined by Kelty of being “both individual and collective at the same time” (2019, p. 18). Over and above this, the participatory experience is also about connecting with and being moved affectively by materials, tools, and – in the <italic>Data Mirror</italic> case – artistic dogmas. The aim of the article is both analytical and theoretical. Based on a close analysis of (1) material intensities and embodied experiences of stitching and (2) felt potential and creative capacity, it calls for a more embodied, material, and affective understanding of the horizontal and vertical (Eriksson, 2019; Kelty, 2016) dimensions of participation.</p>
</abstract>

This article investigates the collaborative craft-based art project Data Mirror, launched by the Trapholt Museum of Art and Design in Denmark in March 2022 with artist and weaver Astrid Skibsted. Through the lens of affect theory (Massumi, 2002, 2009), the article explores how the textile making practice and the materials in Data Mirror affected the participatory experience. Building on Christopher Kelty’s understanding of participation as strung between individuality and collectivity, the article argues that the experience of participation in Data Mirror is in fact “more than individual,” but not only in the sense defined by Kelty of being “both individual and collective at the same time” (2019, p. 18). Over and above this, the participatory experience is also about connecting with and being moved affectively by materials, tools, and – in the Data Mirror case – artistic dogmas. The aim of the article is both analytical and theoretical. Based on a close analysis of (1) material intensities and embodied experiences of stitching and (2) felt potential and creative capacity, it calls for a more embodied, material, and affective understanding of the horizontal and vertical (Eriksson, 2019; Kelty, 2016) dimensions of participation.

Participation and affect intertwined: Linking participatory experiences and affective intensities in a collaborative craft-based art project

Aesthetics & Culture and Museology, School of Communication and Culture  Aarhus University

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This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Public License.

This article investigates the collaborative craft-based art project Data Mirror, launched by the Trapholt Museum of Art and Design in Denmark in March 2022...

Participation and affect intertwined: Linking participatory experiences and affective intensities in a collaborative craft-based art project

Published Online: Apr 04, 2024

Page range: 1 - 15

DOI: https://doi.org/10.2478/tjcp-2024-0006

Keywords
participation, affect, craft, museum participation

© 2024 Tina Louise Hove Sørensen, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Public License.

Participation and affect intertwined: Linking participatory experiences and affective intensities in a collaborative craft-based art project

Published Online: Apr 04, 2024

Page range: 1 - 15

DOI: https://doi.org/10.2478/tjcp-2024-0006

Keywordsparticipation, affect, craft, museum participation

© 2024 Tina Louise Hove Sørensen, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Public License.

Keywords
participation, affect, craft, museum participation