New design methods for educating designers are needed to adapt the attributes of haptic interaction to fit the embodied experience of the users. This paper presents educationally framed aesthetic sensitizing labs: 1) a material-lab exploring the tactile and haptic structures of materials, 2) a vibrotactile-lab exploring actuators directly on the body and 3) a combined materials- and vibrotactile-lab embedded in materials. These labs were integrated in a design course that supports a non-linear design process for embodied explorative and experimental activities that feed into an emerging gestalt. A co-design process was developed in collaboration with researchers and users who developed positioning and communications systems for people with deafblindness. Conclusion: the labs helped to discern attributes of haptic interactions which supported designing scenarios and prototypes showing novel ways to understand and shape haptic interaction.

An introduction to this issue of "FORMakademisk," focusing on the International Conference on Materiality and Knowledge, is presented.

This article investigates how expressions of vocational knowing regarding colour and form changed in Swedish upper secondary floristry education between 1990 and 2015. An analytical approach is used which falls within the framework of a sociocultural interpretation of educational activity. During the period studied, subject matter related to colour and form became increasingly formalised. Empirical data was obtained from multiple sources, including two interviews with an experienced senior teacher, which helped to reveal the local history of a leading Swedish floristry school. The findings of the article are as follows: (i) conceptualisation, verbal analysis and reflection have gained prominence in Swedish floristry education since the 1990s, and (ii) these tools have increasingly served to help participants in education make and express aesthetic judgements. Through a discussion of various aspects of contemporary Swedish floristry education, the article illuminates the complexity of long-term changes in vocational knowing.

This article explores how craft practice is theorised through sketching, by comparing narratives about the role of sketching from interviewed Swedish upper secondary textile design and floristry education teachers, and aiming to discern connection to curriculum. The theory and methods used in the article are influenced by Ivor Goodson's work on subject knowledge and curriculum change (1998). Empirical data was obtained from multiple sources, including interviews with four teachers. The findings reveal that, while sketching has been intrinsic to textile design and seamstress vocational knowing for considerable time, sketching is a relatively new phenomenon within floristry vocational knowing and education; essentially dating from the 2011 Swedish educational reform. The discussion claims that sketching provides means to theorise craft practice, through providing an intermediary level between the abstract (theory) and the concrete (objects) within the practice. [ABSTRACT FROM AUTHOR]

Visual material in the form of video, still images or drawings can show parts of embodied learning that text cannot. Research ethics requirements pose a challenge in terms of making younger students' multimodal learning visible, as the informants need to be anonymized, and this raises the challenge of how important information, such as gaze and facial expressions, can be shown. The ethical requirements exist to protect underage students, and to contribute with a scientific basis for teaching, practical and feasible methods are needed in which the students' communication can be illustrated while ensuring their protection. This paper explores how empirical data from studies involving younger students can be presented so that learning can be visualized while respecting ethical guidelines. The reasoning regarding the methods presented in the paper can also be useful overall for the anonymization of visual ethnography studies, in which the interest is to present empirical data from video recordings so that embodied learning can be made visible.