Harriet Fasenfest teaches people how to preserve food. From the reading she can also be seen as a environmentalist, especially when she refered to Wendel Barry. Fasenfest is writing this text in a form of document, a document of her past experience involving her revelation. She wants teh reader to understand that what she has accomplished did not come over night and that it took time and deep personal thought into making the decision she made.
Her purpose in this novel is to express her DIY believes and understanding, to in a way persuade us into returning to that traditional style of household activities. She uses this DIY culture to reclaim our skills of farming and to reclaim the art of production by farming and maintaining ones own food. as fasenfest states "it is an effurt to regain our.. labor, skills, trades, dignity, time, resources, home, community, culture, and reverence for the natural world".
Fasenfest is positioning the readers as modernized individuals who are now overtakened by the system of society, which is mass production. She don't expect much of the reader, but instead ask the reader to rethink their life and the natural cycle. The natural cycle in the text is interpreted as the cycle between humans and nature, farming and perserving like the old days. her informal text don't leave any room for questions, it is simply her opinion and her recommendation to the reader and her audience is assumed to be those who has no experience or understanding of this naatural cycle.
Wendell Berry is a well known writer and a farmer who won several awards for his work. Berry is comparing the industrail production of food to that of private farmers. He is trying to present the benfits and the good that comes out of self reliance. He gives several comparison all promoting the good of personal farming and presents the bad of industrial farming.
Some of the many benefits of self farming are the preservation of the land. With proper maintnence the top sil will never denourish, unlike the devastating effects caused by the industrial process. As an environmentalist, Berry opposes the industrail process, descibing its negative, its pollution and destruction of nature. He also discusses the benefits of free market within the private farms, unlike those of the industrials, their isn't any prise raise or uncontrolable pricing and alongside this, the quality are on different levels as well. The main goals for industrail production is profit, whether the quality or or the consequences, the corporals dont care much.
He also presents some facts that people may not understand or mis interpret. The concept of too much farmers. Berry emphasize that industrial corporations cannot be consider farmers, and that the real farmers are losing their farms to these big corporations. He urges us to look into the future and not our present and to change our life to a more natural one and to preserve will we can or else we'll end up in a "dump".
From what we read last time about craftivism, I do see a connection between farming and activism. One can use farming as a form of activsm depending on what he or she is trying to go against. Using farming to go against the industrial production is a great way to see farming as activism. It involves the idea of do it yourself and it is protesting against a particular opposition.
Wednesday, February 29, 2012
inclass writing
Craftivism is the act of usiing art/craft as a p
olitical tool or a tool to enhance the strength of
a event or action.
The strength comes from the cooperation and unification of
each individual, each contributing their own craft as their voice.
My craft physically symbolize the concept of love and peace. If it was to be
into a love or peace movement it would sort of in its little way increase
awareness. For me induvidually and others who look beyond the concept of physicallity
and simplicity, my piece can ve viewed as an actist way of thinkging. The union of
each piece symbolizes each individual and each contribution within the whole
project.
Buying a craft from an individual, after you know their purpoe for
making the craft, is a form of actism because it supports their causee.
olitical tool or a tool to enhance the strength of
a event or action.
The strength comes from the cooperation and unification of
each individual, each contributing their own craft as their voice.
My craft physically symbolize the concept of love and peace. If it was to be
into a love or peace movement it would sort of in its little way increase
awareness. For me induvidually and others who look beyond the concept of physicallity
and simplicity, my piece can ve viewed as an actist way of thinkging. The union of
each piece symbolizes each individual and each contribution within the whole
project.
Buying a craft from an individual, after you know their purpoe for
making the craft, is a form of actism because it supports their causee.
Sunday, February 26, 2012
lol cats reflection
It was interesting to use a new program to search up images besides google images. This was my first time using flickr, and i find it quite useful. After the class was over, I decided to download the flickr app for my psvita and it comes in handy when I want to search up a quick photo or when I just want to waste time. As for photoshop, I have been using the text feature for a long time so it was nothign new to me. Photoshop and flickr are a great combination and is very easily to use.
greer/ black
Anthea black is a canadian artist, cultural worker, and writer. Most of her work revolves around the collaborative work with queers. Nicole Burisch is a canadian cultural worker, artist and critic. These two artist have collaboratied with each other and are both craftivist, meaning they both believe that in using craft as a social and political tool can strengthen ones actions.
They present their viewpoints to the reader through the presentation of other craftivisms. Craftivist like Peter Hawkins, who made a quilt call "naming names" to introduce the AIDS epidemic in society. They also presented the revolutionary knitting circle, who knit, march and rallies for peace. The next person they presented was the Danish artist Marianne Jorgensen, who lead a project call the pink tank project. This project uses the internet to publicize the knitting of Jorgenssn and many other knitters. They knitted four thousand square feet of quilt to protest against the war in iraq. The next craftivst introduce was Barb Hunts. She knitted replic land mines to publicize the "paradox of linking leisure activities and political actions". they also mention that Hunts work is display in a museum, which will increase it possiblity of political engagement. The next artist preent was Wednesday Lupypciw. She focuses on the idea of lack of functionality, polished, and complete works in order to bring out the competiveness of the DIY culutre.
All of these artist represents the concept of participatory craft, but the media begins to use thes events to promote a certain life style which does not portray the aims of the activty and the goals of the craftivist. Anthea and Burisch stated that museums are one of these expanding businesses. They imply that framing a piece of craft is a marketing technique that the museums uses. But, by framing the craft, it devalues its craftiness and is merely a piece of craft without its full influental aspect. They suggests that in order to demolished these threats to craft, the work must be stored within an organization that gives each piece their space, organization like the artist-run center.This organization is design to emphasis and publicize the crafts and willnot let it be put on exhibits, which will cost it to lose its influence on other people. The organization will also keep records of each of the pieces to keep their influence alive and well for future generation sto reflect on, both(tecniccally and mentally).
Tehy want the reader to consider the idea of artist space and how providing a piece space it can increase its meaning and influence. the list off how important craft can be int eh political world and how craft's meaning can be demoralized by being inserted into museum exhibits. They suggests that the craft should be given its space and should be kept in an environment that is better suited for the craft, meaning where it will be valued more. I feel as if the authors are ignoring the idea of individuality and is focusing on the majority. Yes, the majority of people, when seeing a peice on a museum display will admire its visually and briefly admire it for the little basic information it is presented with, but there are those who look deeper intot he piece than what is presented in fron tof them, but I do not disagree with their agreement that each craft should be provided its own space(a space where it is admire by the majority that sees it). By iusing technology to help them publicize each piece and allowing it to be viewed electronically by itself can be consider to be good space.
Betsy Greer is dedicated craftivist who write and knitted for peace. She is one of many craftivist who uses knitting and writing to promote peace not only within the world, but to the individual level of a persons home. She can also be known as the one who began craftivism. The text present eh history of her experience leading to the creation of craftivism.
The idea of craftivism came to her by her curiosity and her desire to create and deep connections to others by helping them and thus helping to preserve the techniques and tradition that comes with knitting. She focus a lot on her journey to master the art of knitting, progressing little by little from the simpliest craft to harder ones. Soon after she return to North carolina, she saw on the new that war was happening and her emotions arosed, causing her to protest against it. From there on she got the idea of how craft can be combined with activism. The word craftivist was introduce to her through one of her friends in her knitting circle, and she was further introduce to the word while searching up the church of craft. Soon after she posted up a page about craftivism, people began to spread it around.
Greer wants the reader to understand where she began to develop the concept of craftivism. She presented to the audience the events proceeding its creation. She then considers the idea that craftivism is not hers and hers alone to define and to criticize and to impliment. In the breif ending of the text, she clearly stated that craftivism is not hers alone and that other people should use it, think about it, and adapted it in their own ways. Her idea incorporated the idea of individuality, therefore she is considering many view points of the world, therefore she did not excluded the individuality of people.
I could really see the connection between the last reading and this weeks reading. The concept that that these to author mentions are not working alone, leisure time is a time to influence and to gain. I strongy believe that craft do and will play a big role in activism. Noow that the internet can publicize the events occurring in the world, it is beneficial to present rebellion in a creative way. And through these creative ways it can attract many viewers, supporters and followers,
They present their viewpoints to the reader through the presentation of other craftivisms. Craftivist like Peter Hawkins, who made a quilt call "naming names" to introduce the AIDS epidemic in society. They also presented the revolutionary knitting circle, who knit, march and rallies for peace. The next person they presented was the Danish artist Marianne Jorgensen, who lead a project call the pink tank project. This project uses the internet to publicize the knitting of Jorgenssn and many other knitters. They knitted four thousand square feet of quilt to protest against the war in iraq. The next craftivst introduce was Barb Hunts. She knitted replic land mines to publicize the "paradox of linking leisure activities and political actions". they also mention that Hunts work is display in a museum, which will increase it possiblity of political engagement. The next artist preent was Wednesday Lupypciw. She focuses on the idea of lack of functionality, polished, and complete works in order to bring out the competiveness of the DIY culutre.
All of these artist represents the concept of participatory craft, but the media begins to use thes events to promote a certain life style which does not portray the aims of the activty and the goals of the craftivist. Anthea and Burisch stated that museums are one of these expanding businesses. They imply that framing a piece of craft is a marketing technique that the museums uses. But, by framing the craft, it devalues its craftiness and is merely a piece of craft without its full influental aspect. They suggests that in order to demolished these threats to craft, the work must be stored within an organization that gives each piece their space, organization like the artist-run center.This organization is design to emphasis and publicize the crafts and willnot let it be put on exhibits, which will cost it to lose its influence on other people. The organization will also keep records of each of the pieces to keep their influence alive and well for future generation sto reflect on, both(tecniccally and mentally).
Tehy want the reader to consider the idea of artist space and how providing a piece space it can increase its meaning and influence. the list off how important craft can be int eh political world and how craft's meaning can be demoralized by being inserted into museum exhibits. They suggests that the craft should be given its space and should be kept in an environment that is better suited for the craft, meaning where it will be valued more. I feel as if the authors are ignoring the idea of individuality and is focusing on the majority. Yes, the majority of people, when seeing a peice on a museum display will admire its visually and briefly admire it for the little basic information it is presented with, but there are those who look deeper intot he piece than what is presented in fron tof them, but I do not disagree with their agreement that each craft should be provided its own space(a space where it is admire by the majority that sees it). By iusing technology to help them publicize each piece and allowing it to be viewed electronically by itself can be consider to be good space.
Betsy Greer is dedicated craftivist who write and knitted for peace. She is one of many craftivist who uses knitting and writing to promote peace not only within the world, but to the individual level of a persons home. She can also be known as the one who began craftivism. The text present eh history of her experience leading to the creation of craftivism.
The idea of craftivism came to her by her curiosity and her desire to create and deep connections to others by helping them and thus helping to preserve the techniques and tradition that comes with knitting. She focus a lot on her journey to master the art of knitting, progressing little by little from the simpliest craft to harder ones. Soon after she return to North carolina, she saw on the new that war was happening and her emotions arosed, causing her to protest against it. From there on she got the idea of how craft can be combined with activism. The word craftivist was introduce to her through one of her friends in her knitting circle, and she was further introduce to the word while searching up the church of craft. Soon after she posted up a page about craftivism, people began to spread it around.
Greer wants the reader to understand where she began to develop the concept of craftivism. She presented to the audience the events proceeding its creation. She then considers the idea that craftivism is not hers and hers alone to define and to criticize and to impliment. In the breif ending of the text, she clearly stated that craftivism is not hers alone and that other people should use it, think about it, and adapted it in their own ways. Her idea incorporated the idea of individuality, therefore she is considering many view points of the world, therefore she did not excluded the individuality of people.
I could really see the connection between the last reading and this weeks reading. The concept that that these to author mentions are not working alone, leisure time is a time to influence and to gain. I strongy believe that craft do and will play a big role in activism. Noow that the internet can publicize the events occurring in the world, it is beneficial to present rebellion in a creative way. And through these creative ways it can attract many viewers, supporters and followers,
Wednesday, February 22, 2012
project post 1
Stitch'n bitch is a group of woman who combines traditional and modern materials in their knitting. They were created in response to the modernization of political, social and technology of this era. They also believe that the groupings will help spark new ideas for crafts. The social group mights in cyber space in in physical form as a form of leisure to expand and share knowledges of craft. She stated that craft used to be on leisure time, but now it is more open and socialable around teh world and thus transforming quite leisure into social leisure time, through meeting and the internet. One thing the author state was that Craft is often seen as solely physical labour, messy and dirty, without an intellectual or aesthetic component.
She also state that craft, unlike art, is mean to be in homes and not in display in a museum. The text seems to be talking mainly abobut women of all ages. The idea is that knitting is not just for grandmothers, its for every age group and the movement is encouraging these participations of these age groups. The text talks about this group because the text focuses on knitting and knitting is a femine thing. The whole "new movement" is to socieally connect women of all ages.
From the table on page 12, I would say that my project resembles nostalgic. The reason I choose this theme is because of the concept of returning to the past. In origami today, people took it to the next level with complex mathematics and complex folding. Not saying that these new designs aren't beautiful in their own way, but I'm saying people now view the simpler origami as simply simple and plain. The beauty of the original crane is view as nothing compared to the new versions, the 3d features and the complex curves and pointiness of the figure is in a way superior in all ways. I want to return to the simple origamis, and make something new of them, something people will say it's simple but yet complex but yet also beautiful.
Everyone is entitled to think what they feel about DIY. Cooper believe that craft is a way to stand up again corporate mass production and that is better for a person to purcahse handmade goods rather than mass produce goods. I on the other hand value both, handmade and mass produce materials. I like many other don't want a defective handmade good or mass produced goods, but it is more prone for handmade materials to be more defective. I agree with cooper to some point that craft is personal and that it means alot to someone. But up to me, if somethign was that valuable and precious to me it would be difficult to sell or give away. So the idea of making craft to give and making craft for the heart and soul is to separate things. But yet again, if u makes yourself a vast, at the end it will end up as a display piece somewhere in your home. So we come to the idea of arts and craft and display arts and display craft, but thats for a different topic. Continuing what cooper said about being satisfay with hand made goods, some people just dont feel comfortable wearing a jacket that have been touch by another person's hand, they rahter have a machine make it for them with no or little human contact, but that depends on the person.
She also state that craft, unlike art, is mean to be in homes and not in display in a museum. The text seems to be talking mainly abobut women of all ages. The idea is that knitting is not just for grandmothers, its for every age group and the movement is encouraging these participations of these age groups. The text talks about this group because the text focuses on knitting and knitting is a femine thing. The whole "new movement" is to socieally connect women of all ages.
From the table on page 12, I would say that my project resembles nostalgic. The reason I choose this theme is because of the concept of returning to the past. In origami today, people took it to the next level with complex mathematics and complex folding. Not saying that these new designs aren't beautiful in their own way, but I'm saying people now view the simpler origami as simply simple and plain. The beauty of the original crane is view as nothing compared to the new versions, the 3d features and the complex curves and pointiness of the figure is in a way superior in all ways. I want to return to the simple origamis, and make something new of them, something people will say it's simple but yet complex but yet also beautiful.
Everyone is entitled to think what they feel about DIY. Cooper believe that craft is a way to stand up again corporate mass production and that is better for a person to purcahse handmade goods rather than mass produce goods. I on the other hand value both, handmade and mass produce materials. I like many other don't want a defective handmade good or mass produced goods, but it is more prone for handmade materials to be more defective. I agree with cooper to some point that craft is personal and that it means alot to someone. But up to me, if somethign was that valuable and precious to me it would be difficult to sell or give away. So the idea of making craft to give and making craft for the heart and soul is to separate things. But yet again, if u makes yourself a vast, at the end it will end up as a display piece somewhere in your home. So we come to the idea of arts and craft and display arts and display craft, but thats for a different topic. Continuing what cooper said about being satisfay with hand made goods, some people just dont feel comfortable wearing a jacket that have been touch by another person's hand, they rahter have a machine make it for them with no or little human contact, but that depends on the person.
Tuesday, February 21, 2012
Stevens and Buszek
Buzek believes that craft is fading in this time of technology and modernization. It feels as if she is very much opposing the idea of modernizing in these begginning paragraphs. She goes on implying that by defying the high-tech world, it led artist to construct craft out of certain meaterial such as glass, fiber, etc, which she believes is good, but then she also believe that by being defiant, it gives new artists little opportunities. And her reason for this, she states "the craft world that embraces and promotes these media is nearly as exclusive in its insistence upon maintaining the romance of these media as the so-called art world is in its romance with the conceptual". She further this point by following up with the idea of art ientity and art styles(primarily conceptual), and how it is stuck in the middle of the system. Her solution to this is to not give up and to revisit the history of craft and applied the knowledge of this history to differentiate the difference betwween fine art and applied art.
Buzek states that craft is more of technical knowledge and art as conceptual knowledge, which is from the perspecdtive of the feminist scholar Rasziki Parks.She also stated that during teh end of wwii and because of expanding art programs develop by the government, these programs started to combine arts and craft into one aspect. from this merge came the idea of fine craft and the increase of medai incorporated art. Though through these works, the artiest are bound to socialhistorical materials and not approach newer unique materials. In such ways, she kepts going to the idea that art is conceptual, like photography and ceramics. She later says that craft media can incorporate craft and life, but art cannot. Craft became known as improvement and makeovers.
In this era artiest have more freedom to incorporate various different things, styles, materials, etc into theri work, but as Buzekd states, these artiest do not get any attention from the media. As time goes by, craft began to slowly incorporate into art and became less known to the public as craft. This begin to blur the borders between art and craft and many artist tends to cross these boundaries as they invent.
Steven stated that the validaty of an artist work is dependent on the person viewing the piece. He also stated that in order to become a professional, one must first be validated in their community and field. He also side with Buzek that art and craft are blurringin the boundary between them, and one reason he state is that it is much harder to find hand crafted material compare to those found in walmart and other depot stores. As time proceeds he belief that technology is takingover hand made crafts and being replaced by cheap imitations. He strongly believe that hand made craft are the "real" and these new cheap imitations are not, in the concept of there artistic value.
Steven also believe that craft in society have a big influence on lifestyles, and he portrays this in the exaple of the german socialist and actions to force people to buy what when and where. The concept of lifestlye is conditioned by the mass producition and mass comsumption of todays world, and thus forces the creation of cheap imitations. he begin to give reason why there are many different catagories of craft organizations one page 4. The aspects and concepts of these organization is presented in exhibitions, parties, and meetings. The popularity of these organizatons begins to be dependent on the internet to promote and sell their crafts.
He also refer to DIY, and the idea of do-it-yourself similar to the readings we did before hand. The DIY style he stated posseses irony, style and a little touch of kitsch. He also believes that DIY does not require or want to be validated, if it even can be. DIY allows people to stand up for their view points in the economy and social beliefs, namely sweat shops manufacturers. He also stated that DIY is a way to reconnect with the past traditions. He urges artest to come together and cooperate inorder to learn more about the craft in itself and to work together to keep the craft from extinction or assimilaton with the mass production and mass consumption of todays society. He ended with the statement that craft is entirely dependent upon the manner in which the map is conceptualize and manifested.
net root movement
arts and craft movement
Studio crafr movement
DIY movement
arts and craft and studio movement-
Buzek states that craft is more of technical knowledge and art as conceptual knowledge, which is from the perspecdtive of the feminist scholar Rasziki Parks.She also stated that during teh end of wwii and because of expanding art programs develop by the government, these programs started to combine arts and craft into one aspect. from this merge came the idea of fine craft and the increase of medai incorporated art. Though through these works, the artiest are bound to socialhistorical materials and not approach newer unique materials. In such ways, she kepts going to the idea that art is conceptual, like photography and ceramics. She later says that craft media can incorporate craft and life, but art cannot. Craft became known as improvement and makeovers.
In this era artiest have more freedom to incorporate various different things, styles, materials, etc into theri work, but as Buzekd states, these artiest do not get any attention from the media. As time goes by, craft began to slowly incorporate into art and became less known to the public as craft. This begin to blur the borders between art and craft and many artist tends to cross these boundaries as they invent.
Steven stated that the validaty of an artist work is dependent on the person viewing the piece. He also stated that in order to become a professional, one must first be validated in their community and field. He also side with Buzek that art and craft are blurringin the boundary between them, and one reason he state is that it is much harder to find hand crafted material compare to those found in walmart and other depot stores. As time proceeds he belief that technology is takingover hand made crafts and being replaced by cheap imitations. He strongly believe that hand made craft are the "real" and these new cheap imitations are not, in the concept of there artistic value.
Steven also believe that craft in society have a big influence on lifestyles, and he portrays this in the exaple of the german socialist and actions to force people to buy what when and where. The concept of lifestlye is conditioned by the mass producition and mass comsumption of todays world, and thus forces the creation of cheap imitations. he begin to give reason why there are many different catagories of craft organizations one page 4. The aspects and concepts of these organization is presented in exhibitions, parties, and meetings. The popularity of these organizatons begins to be dependent on the internet to promote and sell their crafts.
He also refer to DIY, and the idea of do-it-yourself similar to the readings we did before hand. The DIY style he stated posseses irony, style and a little touch of kitsch. He also believes that DIY does not require or want to be validated, if it even can be. DIY allows people to stand up for their view points in the economy and social beliefs, namely sweat shops manufacturers. He also stated that DIY is a way to reconnect with the past traditions. He urges artest to come together and cooperate inorder to learn more about the craft in itself and to work together to keep the craft from extinction or assimilaton with the mass production and mass consumption of todays society. He ended with the statement that craft is entirely dependent upon the manner in which the map is conceptualize and manifested.
net root movement
arts and craft movement
Studio crafr movement
DIY movement
arts and craft and studio movement-
Stevens and Buszek
Buzek believes that craft is fading in this time of technology and modernization. It feels as if she is very much opposing the idea of modernizing in these begginning paragraphs. She goes on implying that by defying the high-tech world, it led artist to construct craft out of certain meaterial such as glass, fiber, etc, which she believes is good, but then she also believe that by being defiant, it gives new artists little opportunities. And her reason for this, she states "the craft world that embraces and promotes these media is nearly as exclusive in its insistence upon maintaining the romance of these media as the so-called art world is in its romance with the conceptual". She further this point by following up with the idea of art ientity and art styles(primarily conceptual), and how it is stuck in the middle of the system. Her solution to this is to not give up and to revisit the history of craft and applied the knowledge of this history to differentiate the difference betwween fine art and applied art.
Buzek states that craft is more of technical knowledge and art as conceptual knowledge, which is from the perspecdtive of the feminist scholar Rasziki Parks.She also stated that during teh end of wwii and because of expanding art programs develop by the government, these programs started to combine arts and craft into one aspect. from this merge came the idea of fine craft and the increase of medai incorporated art. Though through these works, the artiest are bound to socialhistorical materials and not approach newer unique materials. In such ways, she kepts going to the idea that art is conceptual, like photography and ceramics. She later says that craft media can incorporate craft and life, but art cannot. Craft became known as improvement and makeovers.
In this era artiest have more freedom to incorporate various different things, styles, materials, etc into theri work, but as Buzekd states, these artiest do not get any attention from the media. As time goes by, craft began to slowly incorporate into art and became less known to the public as craft. This begin to blur the borders between art and craft and many artist tends to cross these boundaries as they invent.
Steven stated that the validaty of an artist work is dependent on the person viewing the piece. He also stated that in order to become a professional, one must first be validated in their community and field. He also side with Buzek that art and craft are blurringin the boundary between them, and one reason he state is that it is much harder to find hand crafted material compare to those found in walmart and other depot stores. As time proceeds he belief that technology is takingover hand made crafts and being replaced by cheap imitations. He strongly believe that hand made craft are the "real" and these new cheap imitations are not, in the concept of there artistic value.
Steven also believe that craft in society have a big influence on lifestyles, and he portrays this in the exaple of the german socialist and actions to force people to buy what when and where. The concept of lifestlye is conditioned by the mass producition and mass comsumption of todays world, and thus forces the creation of cheap imitations. he begin to give reason why there are many different catagories of craft organizations one page 4. The aspects and concepts of these organization is presented in exhibitions, parties, and meetings. The popularity of these organizatons begins to be dependent on the internet to promote and sell their crafts.
He also refer to DIY, and the idea of do-it-yourself similar to the readings we did before hand. The DIY style he stated posseses irony, style and a little touch of kitsch. He also believes that DIY does not require or want to be validated, if it even can be. DIY allows people to stand up for their view points in the economy and social beliefs, namely sweat shops manufacturers. He also stated that DIY is a way to reconnect with the past traditions. He urges artest to come together and cooperate inorder to learn more about the craft in itself and to work together to keep the craft from extinction or assimilaton with the mass production and mass consumption of todays society. He ended with the statement that craft is entirely dependent upon the manner in which the map is conceptualize and manifested.
net root movement
arts and craft movement
Studio crafr movement
DIY movement
arts and craft and studio movement-
Buzek states that craft is more of technical knowledge and art as conceptual knowledge, which is from the perspecdtive of the feminist scholar Rasziki Parks.She also stated that during teh end of wwii and because of expanding art programs develop by the government, these programs started to combine arts and craft into one aspect. from this merge came the idea of fine craft and the increase of medai incorporated art. Though through these works, the artiest are bound to socialhistorical materials and not approach newer unique materials. In such ways, she kepts going to the idea that art is conceptual, like photography and ceramics. She later says that craft media can incorporate craft and life, but art cannot. Craft became known as improvement and makeovers.
In this era artiest have more freedom to incorporate various different things, styles, materials, etc into theri work, but as Buzekd states, these artiest do not get any attention from the media. As time goes by, craft began to slowly incorporate into art and became less known to the public as craft. This begin to blur the borders between art and craft and many artist tends to cross these boundaries as they invent.
Steven stated that the validaty of an artist work is dependent on the person viewing the piece. He also stated that in order to become a professional, one must first be validated in their community and field. He also side with Buzek that art and craft are blurringin the boundary between them, and one reason he state is that it is much harder to find hand crafted material compare to those found in walmart and other depot stores. As time proceeds he belief that technology is takingover hand made crafts and being replaced by cheap imitations. He strongly believe that hand made craft are the "real" and these new cheap imitations are not, in the concept of there artistic value.
Steven also believe that craft in society have a big influence on lifestyles, and he portrays this in the exaple of the german socialist and actions to force people to buy what when and where. The concept of lifestlye is conditioned by the mass producition and mass comsumption of todays world, and thus forces the creation of cheap imitations. he begin to give reason why there are many different catagories of craft organizations one page 4. The aspects and concepts of these organization is presented in exhibitions, parties, and meetings. The popularity of these organizatons begins to be dependent on the internet to promote and sell their crafts.
He also refer to DIY, and the idea of do-it-yourself similar to the readings we did before hand. The DIY style he stated posseses irony, style and a little touch of kitsch. He also believes that DIY does not require or want to be validated, if it even can be. DIY allows people to stand up for their view points in the economy and social beliefs, namely sweat shops manufacturers. He also stated that DIY is a way to reconnect with the past traditions. He urges artest to come together and cooperate inorder to learn more about the craft in itself and to work together to keep the craft from extinction or assimilaton with the mass production and mass consumption of todays society. He ended with the statement that craft is entirely dependent upon the manner in which the map is conceptualize and manifested.
net root movement
arts and craft movement
Studio crafr movement
DIY movement
arts and craft and studio movement-
Monday, February 13, 2012
Jackson and Terkel
Both Jackson and Terkel put work as life, but depending on the situation,
work could be work and true enjoyment could be within a certain kind of work.
Though work can be enjoyed in its own way, Jackson discusses the idea of
leisure time and how true enjoy is obtained during leisure times. Both of the
author implemented the concept of work is bad and more leisure time is good
through stories and people's experiences with work and leisure time. In Terkels
text, he presents many working individuals, both who despise work, mainly
factory jobs, and those who have incorporated their jobs with something they enjoyed,
like the waitress.
Jackson text discusses the concept of flow, a form of pleasure resulting from a merging of action and experience. This idea of flow, as Jackson describes, occur during times of challenge, but not quite to the point that one collapse under its pressure. Jackson also writes about the idea of craft and art, and how flow can be interrupted because of the stress caused by labor and demand to achieve social status within the home. Jackson also touches on the history of leisure time and art in the household in the early 20 century. During this time leisure time begins to extend and the men of the houses, as Jackson implies, begin to craft and expand the DIY concept of do it yourself. As for terkel, he presents various characters in his text in attempts to explain the bad of work. His text is presented in a way that would confuse readers, in a way that they don't know whether to take the text as an informative source or a persuasive story about work.
Jackson presented in various paragraph where he discusses the aspects of craft. On the first page of the book, he talks about Glynn, and how Glynn could create canoes on his leisure time and not his work time. The idea that work is separated from art is present in multiple parts of the test. On page 265, Jackson talks about a working man who lacks time, trying to find financial stability, and thus forcing him to lose the "little power" he has in life. The craft that Jackson discusses (DIY) are developing within the home and that this human/object is meaningful in understanding DIY and how the concept revolves around the object of creations. In another paragraph on page 272, he also implies that the experience, not the symbolic, meaning that brings true rewards, and these rewards provide the amateurs the hope and emotions to continue their creating.
What interest me about this reading and the other readings is that, they both talk about the concept of manufacturing and assembly workers. This idea of becoming robots and losing the artistic side of humans is quite evident in these readings. The idea of do it yourself and the idea of using power tools cross in the aspect that Jackson somewhere considers even power tools artistic and crafty, just as the other readings did. They all belief that an increase in work time lessen ones opportunity to express their enjoyment, due to lack of leisure time. And in all these reading they give you a sense that the work developed by these DIY artists are not purely made for profit and not even their symbolic meaning, but more towards their accomplishment of the project and the experiences gained.
The things that interest me about the readings are the idea that the art is not mainly symbolic, but mainly objective, meaning that art is just an object of passion? Also, there were statements that the object is not merely to obtain money, but where do we put the professionals who do do their work intended for sell? In terkel text he briefly discuss the idea of class and how art varies within class, thus do society view art through the eyes of the bigger class and disregard the opinion of those within the smaller class?
Jackson text discusses the concept of flow, a form of pleasure resulting from a merging of action and experience. This idea of flow, as Jackson describes, occur during times of challenge, but not quite to the point that one collapse under its pressure. Jackson also writes about the idea of craft and art, and how flow can be interrupted because of the stress caused by labor and demand to achieve social status within the home. Jackson also touches on the history of leisure time and art in the household in the early 20 century. During this time leisure time begins to extend and the men of the houses, as Jackson implies, begin to craft and expand the DIY concept of do it yourself. As for terkel, he presents various characters in his text in attempts to explain the bad of work. His text is presented in a way that would confuse readers, in a way that they don't know whether to take the text as an informative source or a persuasive story about work.
Jackson presented in various paragraph where he discusses the aspects of craft. On the first page of the book, he talks about Glynn, and how Glynn could create canoes on his leisure time and not his work time. The idea that work is separated from art is present in multiple parts of the test. On page 265, Jackson talks about a working man who lacks time, trying to find financial stability, and thus forcing him to lose the "little power" he has in life. The craft that Jackson discusses (DIY) are developing within the home and that this human/object is meaningful in understanding DIY and how the concept revolves around the object of creations. In another paragraph on page 272, he also implies that the experience, not the symbolic, meaning that brings true rewards, and these rewards provide the amateurs the hope and emotions to continue their creating.
What interest me about this reading and the other readings is that, they both talk about the concept of manufacturing and assembly workers. This idea of becoming robots and losing the artistic side of humans is quite evident in these readings. The idea of do it yourself and the idea of using power tools cross in the aspect that Jackson somewhere considers even power tools artistic and crafty, just as the other readings did. They all belief that an increase in work time lessen ones opportunity to express their enjoyment, due to lack of leisure time. And in all these reading they give you a sense that the work developed by these DIY artists are not purely made for profit and not even their symbolic meaning, but more towards their accomplishment of the project and the experiences gained.
The things that interest me about the readings are the idea that the art is not mainly symbolic, but mainly objective, meaning that art is just an object of passion? Also, there were statements that the object is not merely to obtain money, but where do we put the professionals who do do their work intended for sell? In terkel text he briefly discuss the idea of class and how art varies within class, thus do society view art through the eyes of the bigger class and disregard the opinion of those within the smaller class?
Wednesday, February 8, 2012
week 3
-an educater of the sloits
-practice art not as a trade but to change it
-wat's educationally right must be practical
-educational right, increas physical and mental powers
bring pleasure in bodily labour
beneficial to health and body, and expand the mind
carpentry, different in sizes
carpenter, rectanglur and cylindercal/ never use ace or draw knife(maybe it was to foreful)/ chisel vs. knife
-work stay at school with teachers til it's ready to be exhibited
2. craftman finds home in philosophy
-pragmatism grew in late 19th cent becuz of ill ideal of euroope
--pierce 1st pag/ seek to find cognition in everyday small acts
-psg spread in two waves
-ist, ww2/ directed to animal labour john dewey/ wanted to improve quality at work/ work and play are equally free in his book/ it becomes constrained labor when the consequences are outside of the activity, good craftsmanship implies socialism
-pragmatism argues that to work well people need freedom from means end.
2 experiences, he believe should be one in order to feel free
-craftwork depends on emotion or else not valued
-crafts of experiences impliesfocus on form and procedure
-craft experience cannot be worship
-history made craftmans images as slaves etc.
-repetition bring out skills
-pride in work removes sin
-slowness of work satisfying
-practice art not as a trade but to change it
-wat's educationally right must be practical
-educational right, increas physical and mental powers
bring pleasure in bodily labour
beneficial to health and body, and expand the mind
carpentry, different in sizes
carpenter, rectanglur and cylindercal/ never use ace or draw knife(maybe it was to foreful)/ chisel vs. knife
-work stay at school with teachers til it's ready to be exhibited
2. craftman finds home in philosophy
-pragmatism grew in late 19th cent becuz of ill ideal of euroope
--pierce 1st pag/ seek to find cognition in everyday small acts
-psg spread in two waves
-ist, ww2/ directed to animal labour john dewey/ wanted to improve quality at work/ work and play are equally free in his book/ it becomes constrained labor when the consequences are outside of the activity, good craftsmanship implies socialism
-pragmatism argues that to work well people need freedom from means end.
2 experiences, he believe should be one in order to feel free
-craftwork depends on emotion or else not valued
-crafts of experiences impliesfocus on form and procedure
-craft experience cannot be worship
-history made craftmans images as slaves etc.
-repetition bring out skills
-pride in work removes sin
-slowness of work satisfying
Tuesday, February 7, 2012
tpoic
-hinderance of art
-look beond art as specific things
-he's from oxford
-denies that art is just of the moment
-2 kind of art
-intellectual
deal with mental need/ professional men
-decorative
deal with the physical needs/ worksmen for wages/ limited becuz they work for businesses
-art flourish mostwhen the 2 are together
-art is limited becuz lack of co-op
-no real understanding of art today
-must be for self not half for self and othrers ideas
-lack of co-op damaged art
-lost of instinct for bueaty lost of art
-environmental issues
-degradion of art will go on
-newart crushed competition of life
-unhappy labour life lack art
-renaisace time of true art
-machines replaced
-overtake by machines
-
Thursday, February 2, 2012
The time I spent on this class is far more unique than my other classes. Since I'm not an art major, crafting for a class is something new. As of now, all my classes are typically base upon the simple read and discuss or learn and do the assignment. These courses never forces me to be physically crafty or never offered me a apportunity to impliment my mental and physical time on a project or assignment. This course does have similarity to other class as well, like its base, but each collegic course require that similar base to function as a college course.
My project was time consuming from the physical prespective, making each and every individual peice had a meaning. Though this is not the first of its kind that I've made, it still posses the same unique feel to it. The piece, thought to others may not be so metaphorical, represent an emotional aspect of my life. In the first installations of papers swords, each and every individual piece was constructed from a piece of paper that I had focus on at one point or another. For example, I have pieces that consist of old homework assignment, poems, drawings and other personal documents. In this new new craft, I try to construct each piece with new and stronger paper, to symbolize the beginning of soemthing new, but for some reason i could not completely craft allthe peices with a new sheet. In my mind, it felt as if a sign of not letting go of a specific event or emotion.
In this craft project, I learn that inorder for something to posses a true meaning, if it has one, the craft itself must be created with a purpose and a motive, whether to relieve stress, to waste time, or to basially to just do it. I was assured through this project that, even though this piece have metaphorical and deep thought from my perspecitve, other may see this piece as a ordinary origami. I have not seen anybody that attempted this specific art, but I've seen people attempt to use this type of technique, The idea of combining multiples of one item to form a bigger object. But even with their dragon, who was compose of tiny triangles, as I remember, there was no emotion or meaning for one individual piece. I'm trying to say that, in their art, each piece alone cannot function as anything meaning or even visually understand to the viewer. In my project, like the dragon origami, each piece look alike, but in my paper weapons each piece can stand alone, both visually and mental.
My project was time consuming from the physical prespective, making each and every individual peice had a meaning. Though this is not the first of its kind that I've made, it still posses the same unique feel to it. The piece, thought to others may not be so metaphorical, represent an emotional aspect of my life. In the first installations of papers swords, each and every individual piece was constructed from a piece of paper that I had focus on at one point or another. For example, I have pieces that consist of old homework assignment, poems, drawings and other personal documents. In this new new craft, I try to construct each piece with new and stronger paper, to symbolize the beginning of soemthing new, but for some reason i could not completely craft allthe peices with a new sheet. In my mind, it felt as if a sign of not letting go of a specific event or emotion.
In this craft project, I learn that inorder for something to posses a true meaning, if it has one, the craft itself must be created with a purpose and a motive, whether to relieve stress, to waste time, or to basially to just do it. I was assured through this project that, even though this piece have metaphorical and deep thought from my perspecitve, other may see this piece as a ordinary origami. I have not seen anybody that attempted this specific art, but I've seen people attempt to use this type of technique, The idea of combining multiples of one item to form a bigger object. But even with their dragon, who was compose of tiny triangles, as I remember, there was no emotion or meaning for one individual piece. I'm trying to say that, in their art, each piece alone cannot function as anything meaning or even visually understand to the viewer. In my project, like the dragon origami, each piece look alike, but in my paper weapons each piece can stand alone, both visually and mental.
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