talking ceramics     Summary peer-reviewed chapter in Bloomsbury academic publication 2016     keramische fenix_ekwc     PDF summary of publications on material based making in 2015     3D weaving interview     The skin on milk 2013     Ode to earrings 2013     The economy of the line 2013     Image and language 2013     computational methods 2013     transnatural 2013     collecting and morphology in Art and Sciences 2012     The WOW! factor of Paper Biennial Rijswijk 2012     Postmodern taxidermia 2012     Computer design, six yards Dutch wax print and narrative African traditions 2012      cowhides and gold 2012      A world of glass 2012     webeditor for BOUNDLESS program     Travelling exhibition 'Golden Clogs Dutch mountains' 2012     Dirty Applied Art and Crafts at Sandberg Institute 2011     3D printing - the craft of the 21st century 2011     Interactive connections of humans and technology 2011     Jewellery maker Ineke Heerkens 2011     Textile Lab AUDAX 2011     Lace - fragile threedimensionality 2010     Laser cutting in the making of a book 2010     Heat in modern textiles 2010     Mapping Dutch Conceptual Crafts 2009     studio talk with Andrea Wagner 'Tales of migration' 2010     The colour green of jewellerymaker Ineke Heerkens 2008     Kaunas Art Biennial 2007     Beyond Material 2006     East meets West 2005     Bauhaus revisited 2005     American Pies 2004     
lecture about collecting in Art and Sciences at the opening of Applied Arts Triennial, Tallinn, Estonia
The morphology of Art
    Collecting can be a way of human enquiry, a way of asking questions and a method of doing research. In early human history collecting food was a way of survival based on the knowledge of edible and poisonous plants.
Focussing on the subject of collecting as a way of enquiry during this lecture we look through the eyes of two different tribes - scientists and artists. Both are collectors: of data, of facts, of objects or even of situations. Do scientists and artists build their collections in different ways and are there similarities in their specific ways of collecting and arriving at answers?
    In science data are collected, categorized, analyzed and interpreted in a strict system, i.e. statistics, to clarify questions, form a hypothesis and add to a specific body of knowledge, for example quantum physics or medicine.
How do artists collect material for their visual work in order to set up their research? Do they collect on intuition only or by setting a specific framework or even to get into a special state of mind?  
How do both professions make choices about what to keep and what to throw away?
However - in order to build a meaningful collection and to pose valid questions there has to be a background of knowledge or even a system.  
In natural sciences morphology, i.e. the study of forms, can be used as a system to organize a collection. Charles Darwin who found the answer to the origin of species was the ultimate collector of forms. He used morphology to organize, categorize and analyze his huge collection of data about the form and structure of organisms in order to arrive at his famous conclusion about the evolution of life on earth. Without a consistently built morphology he would have drowned in data.
How do artists work and build grids or systems for their collections?
Does this comparative view on collecting by artists and scientists, employing the idea of morphology shed new light and insights on the artistic works that were sent for the Tallinn Triennial exhibition about collecting?

august 2012, Monika Auch