Through the act of knotting, meaning was embedded in the physical material gradually transformed into an artifact, which in turn articulated this meaning through its physicality back to the maker (Nimkulrat, 2007b, pp. 17-24; Nimkulrat, 2009a, pp. 105-128). The maker’s experience and action to resolve creative pressures in the medium manifest the material object’s expressiveness (Dewey, 1934, pp. 60-69). The materialization of an object, i.e., craft making, can be considered the “subject-matter and sustainer of conscious activity” (Dewey, 1925, p. 393). Similarly, Merleau-Ponty (1962, pp. 365-378) points out that human perception and consciousness tends to seek association between the current tactile phenomenon and the prior one the touching person has experienced.





I am able to touch effectively only if the phenomenon finds an echo within me, if it accords with a certain nature of my consciousness, and if the organ which goes out to meet it is synchronized with it. The unity and identity of the tactile phenomenon do not come about through any synthesis of recognition in the concept, they are founded upon the unity and identity of the body as synergic totality. (Merleau-Ponty, 1962, p. 369)





According to the above statement, a tactile phenomenon concerns touching as physical contact. When one touches an object, the touch searches for a connection between the object touched and the consciousness of the person who touches it. In the Seeing Paper case, when handling a type of paper string, the author sought a connection between the material in her hands and her consciousness. Combined with the author’s prior life experience, the influence of each material’s physical qualities shaped the interpretation of the work. As a result, each work was given a title that reflected the author’s thought during the action-oriented experience of craft making. For example, the first type of paper string was employed to create

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