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Daniel Buren - Pleasure and enjoyment

But I don't always like to evoke the word 'pleasure' when talking about my work because, while I definitely get pleasure out of making it, that's not to say people looking at it derive the same enjoyment," he laughs.

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colour articles

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Define creative practice for my research include the term of Homo Ludic

My research project is a practice-based studio investigation into the adoption of ‘Kidult’ play culture within creative art glass practice. Within supervisory and peer to peer situations, to date when I mention ‘creative practice’ in my written proposals, seminars or supervisory meetings, I have been asked what the meaning of creative practice is 'for my research’. Hence, I intend to identify and define ‘What creative practice is and how it is defined within my research'.

Creative practice seems to have been most widely used for the research in the field of Art and Design and it is easy to find creative practice-based research when looking for reference in that category. I would say this is because the practitioners in those fields commonly associated with the word 'creative' participate physically in the studio and lead the project, unlike desk-based text research. In general, language-based studies avoid verbal articulation and neglect the knowledge related to personal, practical experience, or tactic knowledge, however, those are available in creative practice and even considered a more significant part (Niedderer, 2007). As Linda Candy (2020), an English writer and researcher, points out, creative practitioners learn to be reflective through individual practice and activities, so they can reveal another avenue, beyond 'explaining' its outcomes by emerging within themselves out into the external world through reflecting their creative practice. As a glass artist and practice-based researcher, I practise most of my time in the studio by experimenting and making. My research records and reflects the actions and tacit knowledge realised in the studio in the practice/making process. Thus, I believe my research can be identified as 'creative practice'.

In turn, I am currently working on how can ‘Playfulness’, the main theme of my reseach be defined as my own artistic expressive tool and how it can be linked and applied to my creative research? In addition, I am looking into how personal, social, cand culture commentary can be put into my creative practice?

Play is a voluntary activity or occupation executed within certain fixed limits of time and place, according to rules freely accepted but absolutely binding, having its aim in itself and accompanied by a feeling of tension, joy and the consciousness that it is "different" from "ordinary life".

My studio practice is also separate from my ordinary life, and it is a voluntary activity to achieve the purpose of my research for a certain period in a limited space, within a studio environment. All the actions carried out in the studio makes me mostly happy while I am making. Of course, not every moment can be happy, sometimes the work is repetitive and can be very painful and stressful if it does not work properly, however, I would say voluntary players can enjoy even the pain while playing, as a perspective of a practitioner and a fanatic of play. Not only that, crafts and arts are deeply positioned in the " primaeval soil of play" (Huizinga, 1949). This supports me to believe that my creative practice, which is related to the research in the art field I mentioned earlier in this article, is bonded with the concept of play.

In summary, my research project can be a be viewed as both a critical and literal form of play as a creative practice to achieve a series of goals (the aim of this research)by ultimately, adopting and adapting playfulness. Anecdotal and personal experiences, social commentary, tacit knowledge, and interactions with other practitioners (can be other players) captured during the research process, which can be used as a research resource equally as a form of storytelling; that is called autoethnography* which is the main methodology for this research project. Therefore, the type of creative 'Play' as stated by Huizinga allows my project to apply ‘playfulness' to my creative practice as an expressive tool which is used to generate new perspectives on contemporary art glass.

Reference

Candy, L. (2020) The Creative Reflective Practitioner : Research Through Making and Practice. Abingdon, Oxon:Routledge.

Huiznga, J. (1949) Homo Ludens. London: Routledge & Kegan Paul Ltd.

K. Niedderer and S. Roworth-Stokes (2007) The role and use of creative practice in research and its contribution to knowledge, Available at: https://www.researchgate.net/publication/253200713_THE_ROLE_AND_USE_OF_CREATIVE_PRACTICE_IN_RESEARCH_AND_ITS_CONTRIBUTION_TO_KNOWLEDGE

(Accessed: 17 November 2021)

Autoethnography (2022) Wikipedia. Available at: https://en.wikipedia.org/wiki/Autoethnography#cite_note-2 (ACCESSED: 11 January 2022)

* Autoethnography –is a form of qualitative research in which an author uses self-reflection and writing to explore anecdotal and personal experience and connect this autobiographical story to wider cultural, political, and social meanings and understandings (Ellis and Maréchal cited in Wikipedia, 2022)

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Unicorn trend - Scrap

The Unicorn Trend is a tendency to design and consume objects, clothing and food with a rainbowed and vibrant color palette, usually composed by pastel or highly saturated colors such as pink, violet, blue and green. This tendency has acquired a strong popularity since 2016, especially among millennials. They rediscovered in the mythological figure of the unicorn a comeback to the childhood and a way to escape from reality. (Wikipedia, 2021)

https://en.wikipedia.org/wiki/Unicorn_Trend

http://www.tolosapress.com/reasons-behind-adults-loving-unicorns/

https://www.22and5.com/big-kid-the-rise-of-kidultification/

All accessed 30 December 2021

My comment:

Kidult toys are also related to millennials. It is worth to think about the colour palettes of Unicorn and Kidult toys for achieving my Kidult glass colour combination.

Every leading dictionary defines "kidults" - also playfully known as "adultescents" - as young or middle-aged adults who adopt childlike interests. But because, unlike most children, adults have money, they're contributing a whopping $9 billion to the toy industry this year, despite inflation.

ECONOMY

Published December 21, 2022 2:47pm EST

"I think, rather than it being a sense of nostalgia and wanting to return to your childhood in a way where you're sort of reliving exactly the same thing over again, it's an adult opening themselves up. That play is something they can continue to do as an adult," Muderick told Fox News Digital Wednesday. 

"It's okay for adults to, you know, embrace those fantasy worlds. And I think that is a form of play and that leads to a reduction in stress and anxiety because it's fun."

"Unlocking play at older and older ages is a great way for our industry to reach more people and connect and bring the kind of creativity, joy and innovation that we work on as an industry to people's lives," Muderick concluded.

The moral of the story? Maybe you don't have to grow up after all.

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Kidult article -scrap

^"While regular toy figurines are normally reserved for kids, these bear-like objects have spoken to a more sophisticated crowd. "

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During this month - reflective my November

[Things about what I have done during November before having a November supervision meeting(221121MON) with Jess and Juliette]

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During this month, I have had a look at publishments of subculture theories and designer toys that can support my Kidult theory.

I have found something interesting in a book titled Fan Cultures written by Cardiff university lecturer. He says auto-ethnographic reflective journal is useful to overcome the limits of both fan and academic self-expression be explored differently.

The taste, values, attachments and investments of the fan and the academic-fan are placed under the microscope of cultural analysis ... Because autoethnography asks the person undertaking it to question their self-account constantly, opening the 'subjective' and the intimately personal up to the cultural contexts in which it is formed and experienced. (...) " the Key statement of any auto-ethnography is that the 'personal is cultural'. "(p72)

As a kidult person and Asian minority female and artist in Scotland, I will explore anecdotal and personal experiences captured about microagression, hidden emotion, and kidult culture during the research process as a form of storytelling, a distinct visual narrative will be developed. So, I think choosing auto-ethnography as my main thesis methodology was a good and suitable choice.

I am quite exciting to deliver my experiences..The academic writing process going to be killing though.

Also, I have looked Bahara Jalalzedah 's thesis (Playful engagements in product design: Developing a theoretical framework for ludo-aesthetic interactions in kitchen appliances) what Juliette recommended me last meeting.

While reading, I got to know some scholars who wrote and mentioned about play and ludic theory, and I am happy to get many resources of play. I would like to finish reading the paragraphs mentioned play and ludic theories to enhacne my knowlege.

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What I personally felt so far while I was reviewing both the play and ludic theories during this month is that: even though both play and ludic theories are in terms of 'Play'' theories, but the resources adopted ludic theory, in particular 'ludo' or 'ludo-aesthetics' are mostly used in related to 'playing digital game.

In my research, the form of play is not related to digital game, so first time I thought I do not think the word 'ludo' or ludo-aesthetics are useful for me. But I've recently realised something while doing online Kidult activities.

Just like buying a physical dolls and changing their dress, game players who are kidults buy in-game costume for their game characters and dress up to make them looking prettier. They call it 'Digital doll playing '. Therefore, now I think referencing game play theories like Ludo will helpful for supporting my Kidult doll playing (in digital world) contextualisation.

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I am still confused and nervous whether I am going right for my research.. But I would like to say myself it should be alright.

Go girl, just like a brave child!

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Hills, M. (2002) Fan Cultures / Matt Hills. London: Routledge.

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Inner Child

While I was reading an article about inner child, some ideas suddenly popped into my mind.

Usually, kids continually ask the simple questions 'Why?' (Milan cited in Fleck, 2020) until they understand and accept. I am not sure the children all over the world have the same behaviour and characteristics like that, but the children I've met during my lifetime so far seem to want finding answers to resolve their curiosity by incessantly asking.

Kids do not afraid to ask bluntly, they do not afraid to learn directly new things. They just simply try something for the innocent joyfulness it will bring them because they think "it feels right", and their emotion is somewhat undefinable to adults (Milan cited in Fleck, 2020). This can be found in my favourite of favourite film/musical, 'Billy Elliot (2000)' as well. The main character Billy describes his feeling about when he is dancing: "Don't know. Sorta feels good. Sorta stiff and that, but once I get going... then I like, forget everything. (...) And I've got this fire in my body. I'm just there.". The kid, Billy expresses his feeling straightforwardly and purely. I was wondering how many adults in modern societies can describe their honest and true emotions like beautiful poems just like what Billy answered immediately without any calculating purpose and implication. I would say the expressive skills of children is not only pure but also very creative even more than us (adults), and they are brave.

I think that children keep asking questions is similar to 'creative thinking' and 'critical thinking. Researchers, academic learners, and creative practitioners must constantly ask 'why?' the world and themselves and need to find the answer to it by exploring. However, if we adults incessantly ask 'why?' to people who we encounter in our everyday life to fill our lack of knowledge or curiosity, we might be considered as a social pariah. People may think the person is a gadfly rather than a 'creative person'. Hence, sometimes I pretend I understand although I do not perfectly know to avoid being treated as a psychopath.

In South Korea where I was born and grew up priorities 'what other people around you think and their point of view'. Hence 'pretend to know things' seems frequently to be happened to myself or people around me in South Korea due to Korean heritage or rut, which is based on social harmony rather than the individual (Chung 2015, pp78-79). However, I believe that is not because I am from South Korean culture, it's a problem (characteristic?) of everyone in modernity. According to Baumeister and Leary (1995, cited in Srivastava et al, 2009), "Humans desire to maintain close and supportive relationships with others, and our psychological and physical well-being depends on how well we are able to do so”. If we show our true feelings and pure personalities or give sound weak/low opinions, it could be wrong-delivered and become our weakness forever. No one probably wants to reveal their fragility and weaknesses. Modern societies tend to refuse allowing people to express their honesty freely (Elias, 1978; Freud, 1961; Tomkins, 1984, cited in Gross and Levenson, 1997).

I am what I am since I was born. But it's sad that why is it difficult to live in modern society as an adult? Why I as an adult cannot express myself more freely than I as a child for social reasons? I would like to express true myself as I am like a pure and brave kid who continually ask towards the world, even when I am not in a position of a creative practitioner or researcher.

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Referece:

Billy Elliot (2000) Directed by Daldry. S. [Feature film]. New York, NYC: Universal Pictures (through United International Pictures)

Chung, E.Y.J. (2015) Korean Confucianism: Tradition and Modernity. Gyeonggi-do: The Academy of Korean Studies Press. Extract pp. 78-79

Fleck, R. (2020) Design With Your Inner Child In Mind, Available at: https://dribbble.com/stories/2020/06/01/design-with-your-inner-child (Accessed: 18 November 2021).

Gross, J.J. and Levenson, R.W. (1997) ‘Hiding feelings: The acute effects of inhibiting negative and positive emotion’, Journal of Abnormal Psychology, 106(1). pp. 95-103. DOI: 10.1037//0021-843x.106.1.95

Srivastava, S.,Tamir, M., McGonigal, K.M., John, O.P., and Gross, J.J. (2009) ‘The Social Costs of Emotional Suppression: A Prospective Study of the Transition to College’, Journal of Personality and Social Psychology, 96(4), pp. 883–897. DOI: 10.1037/a0014755 https://dribbble.com/stories/2020/06/01/design-with-your-inner-child

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Read, Find, and Review

[Oiva Toikka]

"Beloved Finnish designer Oiva Toikka was famous for his limitless imagination, playful designs and vibrant glass art. " (iittala, nd)

+Also collectible

"I´m not looking for perfection, I want it to be fun." (Oiva Toikka)

Toikka's Birds (iittala, nd)

Toikka's playful, collectible glass works, and his artistic ideas will give me a lot of inspiration to build my research foundation.

(I mentioned below in my MFA dissertation.)

According to Gauntlette and Thomsen (2013, p. 6) who is a British sociologist and head of the Lego Foundation Centre, adults and older children generally prefer products that made of different materials from young children's toys, thus there is a challenge to make profitable material products for older people.

Gauntlette and Thomsen argument have encouraged me to challenge to make dolls with glass because it has been hard to see and find as a material for playing object, though we can see glass everywhere as an every day object such as kitchen glassware and spetacles.

In addition, due to safety reasons playing with glass forms are not permitted for children (Sengölge and Vincenten, 2013).

However adults, who are matured, know how to control themselves (I mean, in generally.), know more how to treat glass safely and carefully than children. would be interested in glass toys. Therefore as an unigue material object, adult players would be interested in glass toys, especially who involve in Kidult culture. -They are willing to invest regardless of the expensive price and handling problem.

I don’t think it’s terribly important to play it safe. That has never been my thing – avoiding risks, trying to make it perfect. There are enough perfectionists around. –Oiva Toikka

And today, the quotation of Toikka makes me to become more ambitious artist. I strongly believe there is nothing problem to make dolls with glass. Treat glass with love if you want to be safe. That's all you need when you being with glass!

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Gauntlett, D. and Bo Stjerne Thomsen, B.S. (2013) Cultures of Creativity: Nurturing Creative Mindsets across Cultures. Available at: https://www.legofoundation.com/media/1073/cultures-of-creativity-lego-fonden-2013.pdf. (Accessed: 1 December 2019)

Iittala (nd) Oiva Toikka, Availaable at: https://www.iittala.com/en-gb/about-us/collection-stories/the-curious-mind-of-oiva-toikka (Accessed 17 November 2021)

Sengölge, M. and Vincenten, J. (2013) Child Safety Product Guide: potentially dangerous products. Birmingham: European Child Safety Alliance, EuroSafe

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Yinka Shonibare - Artist who express dark narrative within the bright and colourful body work

"Exploring cultural and racial identity, colonialism and post-colonialism, Shonibare is best known for his figurative sculptures clad in Victorian costumes made from Dutch wax batik, such as Vlisco." (Shonibare, 2020)

I will narrative dark theme (micro-aggressions including hidden true emotions) with playfulness together through my creative practice research. Hence, I believe Yinka Shonibare can be a good example/reference artist for my research.

Fig 1. Mrs Pinckney and the Emancipated Birds of South Carolina (Shobicare, 2017)

Fig 2. Angel (Red) (Shobibare, 2016)

Shobibare is British-Nigerian artist based in the UK and his work deals racism, cultural identity, and colonialism. The words that could represent the narrative of his work are dark, but the artist explores and express them with colourful colours (see Figure 1 & 2). Not only does his work look beautiful, but it also seems to make viewers feel joyful by using vivid and bright captivate colours.

Fig 3. Happiness Diary (Suh, 2021)

Similarly, the glass dolls in my artwork ‘Happiness Dairy’ (see Figure 3) what I made during my MFA also express dark them with playfulness. I visualised my angers that are caused by different situations. To express this, the artwork ‘Happiness Dairy’ was focused on venting my hidden 'anger' as a form of self-expression. The doll sculptures that represent me have various shapes of anger caused by different reasons on each head and body respectively by engraving. In addition, I used specific colours from my colour palettes which are inspired by 'anger' scene from animation films I love.

I will use the same method this time, but I will research deeper for my creative doctoral research.

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Figure 1, 2: Shobibare, Y. (2017) Mrs Pinckney and the Emancipated Birds of South Carolina. Available at: http://yinkashonibare.com/articles/past/ (Accessed: 13 November 2021 )

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Micro-aggressive I've experienced in the creative/craft field

I will narrative dark theme such as micro-aggressive with joyful/playful into my glass. Therefore, I would like to share the micro-aggressive in creative/craft field that I have experienced.

1.

It was before I studying at ECA glass.

In Seoul 2016, I joined an small event for students who want to study in abroad. There was a benefit that students had a chance to get some advice from a programme director (not 100% sure whether he was a director, but he was a person in that kind of position at university) from art/design university in the UK who visited Korea for the event.

I clearly remember the moment. During the interview with him, I said I wanted to study glass, and he said to me "You are too small to make glass.... What if you fall into the firing kiln?".

He may have been joking to break the frozen air, but it wasn't funny at all.

Why did he judge the size of my body?

Why did he try to frustrate me before I even start?

I could not believe how an educator could say that learner

I know which school he was from, but I won't share. If there is a chance, I really would like to show him what I've achieved so far as a glass artist.

2.

A university worker and a technician from some workshops spoke to me in Chinese.

They may have spoken Chinese to be more being friendly to Asian students. Sorry, not sorry at all though! If I were from China you guys' attitudes could be successful, but you should know that NOT ALL ASIANS ARE CHINESE.

Literally, I'm sick of being treated as a Chinese, indeed! Not only the staff but also every time Chinese practitioners who do not know me see me in the workshop, they naturally speak to me in Chinese.

If I were in China, I could understand their behaviour because as Asians our faces look similar. However, I/we are in Scotland and living in British language-based culture. So many and various ethnic groups live here and study at schools. Please just speak in English. Do not try to speak in a different language that makes me feel unpleasant if you are not sure where I am from.

*)Please do get me wrong. I am not talking about I do not like Chinese. I have so many lovely Chinese friends and love their culture and food. Only the problem is the people who treat me as Chinese.

3.

Sometimes, when I use workshops, I feel some technicians treat me as a very easy person because they know I can not assert my opinion strongly due to my personality which has been affected by South Korean heritage (Required to be exceedingly being humble especially to older and someone is in a higher position than me. Not allowed arguing with them.).

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Realised something fun about myself

It is easy to find the authors' thank you message to their people in the acknowledgements section of the thesis or books. I've just realised every very time when I read the lovely acknowledgements it makes me so touched. Knowing how to be grateful the others is truly blessed!!

Today I read someone's thesis and the author's lovely heart to her parents made me cry. I think the words 'Mother', 'Father', and 'Family' have some strange power to make me very sentimental and emotional.

Once I can successfully and safely finish my thesis (so, WHEN?😂) I definitely will write some thank you messages to my parents on my acknowledgements page.

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Article scrap & personal note - Play

The writer mentioned that play was often treated as unvalued, however, I believe mankind has been developing/educating/evolving in history with play and by playing.

According to cultural theorist Huizinga (1929) "[Play] is a significant function that is to say, there is some sense to it". For example, the biggest sports game event Olympic began over 3000 years ago and become a world-famous sports competition up to date. By playing sports games and watching the players' games, not only people can feel various emotions (e.g. victory, cheer, joy, defeat..) and be gathered together to cheer the players and their country, but also many different countries can interact at the same time. Moreover, through the game, players and audiences can learn and reflect, develop themselves.

As English psychoanalyst WInnicott (1971) emphasises the capacity of play for human development, Play that allows people to grow up in diverse aspects, indeed. Therefore, both Huizinga and Winnicott's arguments firmly hold me to believe that play is valued itself and is indispensable for human beings.

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It’s been wonderful to watch visitors dig into the boxes of KAPLA planks and have a go themselves, with a look of total concentration and focus in their eyes. The things created have been remarkably varied, from towers so tall they eventually tumble to intricate patterns that stretch across the floor.

As a part of the project, they observed how visitors/viewers play with the exhibited object (KAPLA). In contrast, my glass art with the theme of playfulness aims to provide joy to the viewer by being collected, displayed (exhibited), and viewed rather than physically playing with it. In Kidult culture, designer/artists toys are meant and made to be collected and displayed for adults and it is different from traditional toy play (Chan, 2014).

Not only because I have adapted and adopted kidult toy culture aspects in my work, but there is also a safety issue not to allow playing with; My dolls are made with glass. The medium is hard but fragile at the same time. Hence, it requires to be handled with care.

Chan, C. (2014) 'Designer Toys: Redesigning Childhood', Prized Writing, pp.50-58, Available at: https://prizedwriting.ucdavis.edu/sites/prizedwriting.ucdavis.edu/files/sitewide/pastissues/13–14%20CHAN.pdf (Accessed: 19 October 2021).

Huiznga, J. (1949) Homo Ludens. London: Routledge & Kegan Paul Ltd.

Jenny (nd) Creative block: Changing attitudes to play, Available at: https://www.vam.ac.uk/dundee/articles/creative-block-changing-attitudes-to-play (Accessed: 25 October 2021).

Winnicott, D. W. (1971) Playing and Reality. London: Tavistock Publications, Print.

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Supervisory meeting 25 Oct 2021

I have been thinking what subject area can be useful to support my creative research. My glass practice research ultimately will approach ‘Exploring my glass art by adopting microaggressions that in my hidden emotion and expressing it by combining kitschy and cuteness of collectible toy that often can be seen through Kidult toy culture’ at the end by making glass art. Because I am a doll collector and a fan of Kidult culture, and a glass artist, I have interested in how playfulness and cuteness can be used as a way of hiding or exploring darker themes.

Unfortunately, there are not many reference resources for Kidult culture theory so far, so instead of finding out precise "Kidult culture", I will have a look for subculture theories including fan culture, designer toys (also known as art toys), popular culture, geek culture, and Japanese and Korea anime (manga) culture. I believe they are closely likened with Kidult culture especially Kidult toy collecting culture which I am very much engaged as my hobby for everyday life and main research resource. Therefore, I will adapt and adopt those subculture theories and contexts to make strong my Kidult culture theory for glass practice.

Kidult toy collecting culture and my artistic theme 'playfulness' are related to adults 'play', I think researching play theory also can be an important part of my thesis. Hence, I have found many articles related to play by Johan Huizinga, Donald Winnicott and a bit of Sigmund Freud. They are famous philosopher and psychoanalysis. Especially, Johan Huizing, I referenced his theory 'Homo Ludens' a lot which demonstrate human’s play for my MFA dissertation and I will adopt his theory again for my PhD research. Because Huizinga’s theory allows me to discuss 'playing' as an essential act for human beings to express themselves and it supports my research by using ‘playfulness’ within my own artistic narrative and Kidult culture. However, Winnicott and Freud’s argument are literally much more focus on psychology aspects and children emotional development by playing. Hence, I do not think their theories would be very useful to develop my project because mine is not that much psychologic research, even though I will express my emotion thorough my practice. Of course at some point I can applied their opinions though.

So, for the feedback what I've received after having a meeting is:

Recommendations made:

- Finding artists who express dark theme or playfulness or both together within their work (To figure out how I could deal dark theme (microaggressions including hidden true emotions and racism) with joyfulness together through my practice research.)

- Received the recommendation resources:

1) ‘2015 Bahra Jalazedah. Playful engagements in product design: Developing a theoretical framework for ludo-aesthetic interactions in kitchen appliance. Theory, Product Design’. -> Would be helpful for my research because the keywords ‘playful’ and ‘design’ are linked with my work.

2) Christopher Day -> A glass artist who has expressed racism.

3) Yinka Shonibare -> Artist has showed racism narrative within the very bright and colourful body of work (An example of dark theme with joyful body work)

4) Dr Jessamy Kelly’s article on Crafts Council website – Mentions equality, microaggressions in terms of racism and gender inequality in craft field.

- Glasgow Women’s Library

- ETHOS website – British library will be useful

- Try using different keywords to find suitable resources (e.g) Playful -> Ludic). Will be able to find more related articles and books what I need.

- Keep recording my think (even small idea) on my blogs and share.

- Make a timeline to manage myself and research

I also completed and forwarded the supervision meeting report to you my supervisors and PhD programme administrator by email with the same contents above.

For the next meeting (29th November 2021), I have been asked to share 3 Year Timeline for my creative research and blog journal to deliver my idea.

Go for it😎 !

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Scrap - collect

Scrap this article because it is related with ‘collecting’. 

One psychoanalytical explanation for collecting is that unloved children learn to seek comfort in accumulating belongings; another is that collecting is motivated by existential anxieties.

I was a happy child, but still I do love collecting something. I do not think there is any psychological problem of me to eager collecting (dolls) and the psychoanalytical reason mentioned on the article does not seem to for everyone. By consuming and collecting toy figures I feel relaxed and happy. I would say sometimes I/people just collect something for self-satisfaction. Especially, kidult toys are sold to be collected and displayed by adults (Chan, 2013-2014, p51) as a method of adult’s play. They are made and aimed to be collected. Then, do all the people who belongs to Kidult and collect toys have psychoanalytical problem?

The Guardian (2014) Why do we collect things? Love, anxiety or desire. Available at: 201https://www.theguardian.com/lifeandstyle/2014/nov/09/why-do-we-collect-things-love-anxiety-or-desire (Accessed: 19 Oct 2020) 

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Scrap - collecting

However, being a true collector requires an emotional connection- which can sometimes border on an obsession. Time and money mean nothing to them when compared with the delight they get from owning these objects.

Kidult people are very enthusiastic to invest to collect their desired object. They do not care how much it costs (can be reference a consume report), because they know the happiness, satisfaction, and achievement after collecting by paying for it. 

(The speechless happiness that comes from the joy of owning things?)

To an outsider, it may look like they have wasted money buying the same object over and over again. To the collector, though, their emotional connection ... makes it all worth it. For some, it justifies their own sense of being a "superfan"- for others, it's a compulsion they can't quite explain.

Yes, definitely. In my experience as a collector belongs to Kidult, every time when I buy dolls for collecting, my family or friends say that ‘what a waste money! If I were you I would buy clothes or shoes to decorate me look better’. But for me or a Kidult who collects dolls like me, this is not a matter of simply wasting money, indeed. By playing with a toy, the toy can become your avatar because "toys are symbols that have a figurative power to embody thoughts and emotions" (Phoenix, 2006, p9). I believe that dolls can be a reflection of myself or they can be loyal friends which have watched the process of human growth and every day life by my side. Therefore, consuming for collecting dolls can not be simply treated as money waste or compared to dress shopping.

And, yes. People are hard to understand ‘being a super-fan’. Sennett (2009, p213) says  “you can’t understand how wine is made simply bydrinking lots of it”. As long as people who have not experienced obsessing something by doing yet, it would difficult to make them sense.  What a fan culture!

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“By gathering and curating objects, they can reverse that feeling somewhat.”

--------->self-satisfied.

It's no coincidence that many men begin collecting things during their forties. At this point in life, most have already settled down and start a family. But somewhere in their minds, there is still that longing for new things to covet and possess. While they may not quite understand this compulsion, collecting nonetheless helps them to scratch that neurological itch.

People in their middle age still yearn to collect something. Likewise, Kidults are also eager to collect new toys

Daniel (2020) The Impulse of Collecting- Why Do People Collect Things?. Available at: https://www.ligo.co.uk/blog/the-impulse-of-collecting-why-do-people-collect-things/ (Assessed 19 Oct 202)

Phoenix, W. (2006) Plastic Culture: How Japanese Toys Conquered the World. New York, NY: Kodansha International.

Sennett, R. (2009) The craftsman, London: Penguin Books

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Playing & Reality: Winnicott, creativity and play

Listened on 25 sep 2021

https://www.yLutube.com/watch?v=y5B-TSXe81Y

Professor Brett Kahr, Tavistock Institute of Medical Psychology

[playfultemperature]

Autoethnography

Autoethnography is an approach to research and writing that seeks to describe and systematically analyze (graphy) personal experience (auto) in order to understand cultural experience (ethno) (ELLIS, 2004; HOLMAN JONES, 2005).

 Asian girl in European culture + Kidult toy collecting + Glass making => They are literally my 'personal and culture experience'. -> My storytelling.

In particular, they wanted to concentrate on ways of producing meaningful, accessible, and evocative research grounded in personal experience, research that would sensitize readers to issues of identity politics, to experiences shrouded in silence, and to forms of representation that deepen our capacity to empathize with people who are different from us (ELLIS & BOCHNER, 2000).

I think hidden true emotion and microaggression can be good parts of the section.

"look at experience analytically. Otherwise [you're] telling [your] story—and that's nice—but people do that on Oprah [a U.S.-based television program] every day. Why is your story more valid than anyone else's? What makes your story more valid is that you are a researcher. .... (personal interview, May 4, 2006)

The interviewee exactly points out the problem of autoethnography.

I heard some scholars do not prefer to read autoethnographic research, because there is a risk that it may just look like a diary. The interviewee. Therefore I must make my stoty more valid than other everyday stories by proving correct evidence and analysis.