Several recent international conferences and on-line fora focus on linkage of new technologies to the future of craft. It seems the question is no longer if or when new technologies will have an effect on craft, but rather what kind of change they might bring. In his keynote address at Craft in the Digital Age [3] at New Hampshire Institute of Art, April 2004, Jay Coogan predicted that: '...in a short time, I can well imagine most artists, craftsmen and designers using digital processes with the same comfort level as they use with any of their current equipment and tools to express their creativity'. Stanley Lechtzin, Chair of the Crafts Department at Tyler School of Art in Philadelphia, and a member of the panel of this conference said: ' It doesn't matter whether you agree with me or not, the technology is here, and it's here to stay', and that technology provided the freedom, full vision, and full utilization of the artistic intent. Under the title, The Dirty 'C' Word , Karl Chitham writes on the web-site of New Zealand's Artists Alliance: 'It appears that the current climate is ripe for those wishing to explore work in disciplines previously frowned upon by the establishment, or for those with a vast history and knowledge to expand out from the craft stereotype.' [4] This positive positioning of craft towards new technologies is supported by research into various aspects of the integration between them.

Many research projects address a need for expanding and investigating new ways of integrating the new with the traditional . As the TACTICS research team proposed: 'where an "object" has been created with the sole purpose of physically realising a visual, tactile and/or ornamental or functional quality, without external constraints being placed upon its conception, this object is likely to possess "qualities" which are readily recognised and shared with "craft" products. This definition of craft not only supports ancient and traditional "craft" processes but includes the use of hand tools, manual machines, powered machines and digitally controlled machines.' [5] This proposition indicates a direction for craft where work based on new technologies can sit harmoniously within the established context of traditional craft values.

1.2 Research into integration of new technologies with craft

Any research to integrate new technologies within craft can only benefit through the direct involvement of craft practitioners. Their 'hands-on' approach will shape the practical outcomes required to make new technologies a tool for their practice. The following project demonstrated that by giving makers first hand access to these technologies can extend the traditional boundaries of manual making skills and can redefine a craft-based design philosophy.

Phillipa Aitken discussed the TACTICS project, in 1999 at the Computers in Arts and Design Education conference. The TACTICS (Towards Applying Computer Technology In Crafts, Scotland) project, based at the Centre for Research in Art and Design at Gray's School of Art, Aberdeen was conceived to examine the perceptions held by designer-makers of the potential benefits of exploring new technologies in their craft-based design practice. It was intended that new strategies will be developed and piloted to facilitate the opportunity for makers to engage with these new technologies, in turn perhaps redefining craft-based design practice in the next millennium. [5] This kind of broad 'philosophical' research paves the way for more specific investigation. The following TACITUS project (different from the TACTICS project above) is an example of looking at how a craft practitioner could better interact with a CAD system. The lack of dexterity while designing on a CAD system, typically using only a mouse and keyboard, was at the heart of the TACITUS project.