Craft Knowledge

Rethinking Our Assumptions: Economic Specialization at the Household Scale in Ancient Ejutla, Oaxaca, Mexico (1999)

by Gary Feinman

(Gary M. Feinman, 1999)

Make, Do, and Mend: solving placelessness through embodied environmental engagement

by Isis Brook

Key Words: Environmental virtues, placelessness, transition towns, sense of place
Published in E.Brady and P. Phemister (eds) Human-Environment Relations: Transformative Values and Practice, Springer, 2012

How should we live in the world such that we have culturally enriching and worthwhile lives when the material and... more How should we live in the world such that we have culturally enriching and worthwhile lives when the material and social fabric of our situation does nothing to nurture or sustain the kinds of relationships with each other and with nature that would seem to be a prerequisite for a healthy life?  This chapter examines the claim that there are compensatory benefits - such as cosmopolitanism and increasing self reflection - that mitigate the psychological and social problems of living un-embedded lives in placeless environments.  It then proposes the solution that simply by making things, actively engaging in things and, particularly, by mending things, we can rediscover the necessary environmental virtues to reintegrate ourselves into the material fabric of the world.  Why this should work has to do with the transformatory power of active, purposive engagement with the material realm.  Moreover, we can do this even in the midst of contemporary 'thinned out' spaces to make them into enriching places.

Poetry and Knowledge: A Conversation

by Jen Webb

Published 2011 in the first issue of Axon: Creative Explorations. This is the edited transcript of a conversation about poetry, between Philip Gross and Jen Webb

The five questions that guided us were framed as addressing the broad issues of presentation, location, composition,... more The five questions that guided us were framed as addressing the broad issues of presentation, location, composition, disposition and end product. While the conversation shifted and drifted in sometimes unexpected directions, the overall focus was about what it means to be a poet who works in a university: in what ways might the making of poetry involve, or constitute, a research act; what are the ethical issues associated with such work; what elements are involved in the making of poetry; what investment might a poet have in the outcomes of his or her work; and what is the relationship between poetry and knowledge.

Hands-on reflection: translating craft for better design

by Edward Johansson

Literature review for MRes in Design at Goldsmith where my topic of choice is Craft based skill in Contemporary design Literature review for MRes in Design at Goldsmith where my topic of choice is Craft based skill in Contemporary design

Higher Education in Crisis: Teaching Historic Preservation Trades on Diminishing Budgets

by Stephen Hartley

Nation in a sheep's coat: The Icelandic sweater

by Gudrun Helgadottir

Published in FORMakademisk 4(2), 2011

The Icelandic sweater is presented and received as being traditional—even ancient—authentically Icelandic and hand... more The Icelandic sweater is presented and received as being traditional—even ancient—authentically Icelandic and hand made by Icelandic women from the wool of Icelandic sheep. Even so, the sweater type, the so-called ‘Icelandic sweater’ in English, only dates back to the mid-20th century and is not necessarily made in Iceland nor from indigenous wool. Nevertheless, the sweater is a successful invention of a tradition (Hobsbawm & Ranger, 1983), popular among Icelanders and tourists alike since its introduction in the mid-20th century. It has gained ground as a national symbol, particularly in times of crisis for example in the reconstruction of values in the aftermath of the Icelandic bank collapse of 2008. I traced the development of the discourse about wool and the origins of the Icelandic sweater by looking at publications of the Icelandic National Craft Association, current design discourse in Iceland and its effect on the development of the wool industry. I then tied these factors to notions of tradition, authenticity, national culture, image and souvenirs.

Keywords: Lopapeysa / The Icelandic sweater, textiles, souvenir, heritage, image

Especialización Artesanal en Ejutla Prehispánico (1996)

by Gary Feinman

(Gary M. Feinman and Linda M. Nicholas, 1996)

Gas Stations, Trees, and Rockets Wrapped in Weavings and Ideals: The International Fiber Collaborative and Provocations for Social Change

by Courtney Weida

With Jennifer Marsh, published in Creative Arts in Research for Community and Cultural Change, 2011, Editor Cheryl L. McLean, Associate Editor Robert Kelly Ph.D., University of Calgary, publisher Detselig Temeron Press
http://creativecommunitychange.blogspot.com/2011/01/about-creative-arts-in-research-for.html

This chapter examines the merging of art and activism within the International Fiber Collaborative (IFC), founded by... more This chapter examines the merging of art and activism within the International Fiber Collaborative (IFC), founded by Jennifer Marsh. As a fellow artist and educator, I have participated in and researched multiple collaborative projects with Marsh and the IFC over the past few years.  The large-scale, cozy-like creations of the IFC might be compared to the ephemeral wrapped works of Jeanne-Claude and Christo, yet they also seem to have a craft affinity with products of knitting circles.  Marsh and other IFC volunteers connect the individual fiber panels into vast coverings to wrap a gas station, a gigantic tree, and a NASA rocket. IFC’s community casts a similarly wide net: extending to artists, craftspeople, school children, college groups, and other makers working collaboratively or individually. Even while drawing upon the very tactile and hand-made traditions of fiber, knitting, weaving, and knotting; the IFC haptically utilizes blogging, email, and other digital networking to connect its global communities.  Online dialogues, exchanges, and collaborations offer alternative spaces of education and cultural production, even while providing participants with opportunities to (re)define artistic identities and conceptions of past and present craft communities. Parallel to this repurposing process is the utilization of a range of recycled materials within IFC fiber work.  This chapter will explore contemporary themes and approaches to globalization and activism in community art as they interweave with traditional craft processes with yarn, thread, and fabric.  As an arts researcher, I will draw upon portraiture methodology to describe the IFC’s unique artistic and social relevance for pedagogy.

The individual and communal themes explored in each participant’s contribution to the Gas Station Project, the Tree Project, and the most recent Rocket Project are myriad, yet share an interest in social change. While the Fiber Collaborative projects are intentionally open-ended and include many diverse political and ideological responses; the shared message of community and activism proves a common thread.  Further, the digital interplay of weblogging, linking, and online commentary allows a range of overlapping and divergent voices to coalesce in ways that transcend traditional, individual art-making and critical discourse. Though the original function of craft objects have utilitarian meanings, (such as a potholder or quilt), the purpose of an individual artist’s panel is often a uniquely personal and/or political expression.  In this way, contemporary craft projects like the IFC engender social change while building layers of multifaceted community space and artistic dialogue.

THE SPATIAL AND TEMPORAL DIFFUSION OF STYLISTIC INNOVATIONS IN MATERIAL CULTURE

by Jonathan Scholnick

published in 'Advances in Complex Systems,' 2012, Vol. 15, No. 2

Many explanations for the sigmoid or S-shaped curves that characterize the diffusion of innovations through time have... more Many explanations for the sigmoid or S-shaped curves that characterize the diffusion of innovations through time have been proposed. Recent studies demonstrate that social learning mechanisms, including conformist strategies, and heterogeneous adoption thresholds related to economic inequality and the decreasing cost of goods can generate these S-shaped cumulative frequency curves. The present study of a regional material culture sequence expands our inquiry concerning the underlying social forces that structure diffusion through both space and time. Using historic New England gravestones and their associated documents, this study considers both cultural transmission between stone carvers and consumer choices. Social learning among consumers can generate both wave-like diffusion patterns through space and lead to the persistence of cultural variants in certain locales.

2008 The Durrington Maltsters

by Merryn Dineley

Published in British Archaeology, Issue 98, 2008, pages 30,31

This short article was not included in the on-line version of this issue of British Archaeology.

A recent excavation at an early neolithic site has revealed thousands of fragments of badly preserved carbonised grain within the remains of a building with a beaten earth floor, Because of this discovery, I thought it relevant to review the information that I had written about this article. I have been told not to talk about the specific site as it is not my intellectual property - I am neither the excavator nor am I the official archaeobotanist.

I want to introduce the ancient craft of the Maltster into discussions and interpretations of the Neolithic. Malt, malting floors and Maltsters have been neglected in the archaeological interpretation of buildings that had deliberately made smooth, plaster or beaten earth floors. Were some of these floors used for malting? I think it is possible.

Some buildings in the Neolithic were used for the processing and/or storage of grain, for example, Balbridie, Fife, Scotland where thousands of carbonised grains were found. Some had missing embryos; I think this might be an indicator for malt.

Buildings within Durrington Walls have been interpreted as 'houses' or 'cult buildings'. Some are described as having smooth plaster floors. Were these malting floors?

Was the grain malted on site? Or was it brought to the venue to be mashed and fermented into ale by the participants in the Feasts - just as they brought along their beast to be killed, cooked and eaten.

Tons of Grooved Ware sherds representing large vessels were found at Durrington Walls. What were these huge pots used for?

Professor Mike Parker Pearson suggests that they were making and drinking cider, not ale, on the basis of the discovery of a few crab-apple pips during excavations. Crab-apples are too sour; they do not have enough sugars for fermentation into alcohol.

Ale, fermented from the sweet wort obtained by mashing the crushed malt is a more likely possibility. Ale leaves minimal archaeological traces and the draff or spent grain, the only potential 'waste' product, would have been eaten by the livestock. Dental decay on the pig teeth from this site suggest that they were fed spent grain or draff.

Remixed and Unstitched: Subversively Discursive Digital Communities of Contemporary Craft

by Courtney Weida

published in digital media project: Hacking the Academy, originally presented at MIT Media In Transition Conference, 2009.

In what ways can online networking sites for crafts define themselves, and how might these digital spaces compare with... more In what ways can online networking sites for crafts define themselves, and how might these digital spaces compare with physical communities of contemporary crafts? This remixed paper serves as an ongoing analysis of constructions of subversive speech and counter-discourses within digital forums for ceramics, fiber art, and other studio crafts. Communities of people working with studio craft media might seem unlikely netizens however, Internet forums for craftspeople are expanding. (A few examples include etsy.com, craftzine.com, and craftster.com. )In many ways, web forums such as message boards and tutorials offer alternative social and teaching spaces. Web dialogues, exchanges, and collaborations also provide participants with opportunities to reclaim and/ or revise artistic identities and conceptions of past and present craft communities.

The Hand that Makes the Pot. Craft Traditions in South Sweden in the Third Millennium BC.

by Åsa M Larsson

Published in "Berg, Ina (Ed). 2008. Breaking the Mould: challenging the past through pottery. Conference Proceedings Prehistoric Ceramics Research Group. BAR International Series 1861, Archaeopress, Oxford: 81-91"

The archaeological evidence of the Middle Neolithic (3rd mill. BC) in south Sweden presents an interesting dichotomy... more The archaeological evidence of the Middle Neolithic (3rd mill. BC) in south Sweden presents an interesting dichotomy between coastal and inland material culture. The coastal Pitted Ware hunting-gathering sites with large quantities of pottery can be contrasted with the inland long-houses of the Battle Axe culture, with small-scale farming and animal husbandry. The potential ethnic meaning of this patterning has been intensely debated in Scandinavian archaeology: are the differences due to ritual and social stratification within one society, or were there two distinct societies co-existing for centuries? By studying pottery in relation to style, function, and context, but most especially craft traditions and technology, I suggest there was a profound difference between the two groups that can only be understood in the context of separate cultural identities. The appearance of hybrid forms only towards the very end of the period highlights that choices in technology and decoration were highly conscious.

Keywords: Corded Ware culture, Battle Axe culture, Pitted Ware culture, Sweden, Neolithic, Chalcolithic, pottery, craft, practice, community of practice, change

Pots, Pits, and People. Hunter-Gatherer Pottery Traditions in Neolithic Sweden.

by Åsa M Larsson

2009. In: Gheorghiu, D. (Ed.) Early Farmers, Late Foragers, and Ceramic Traditions: On the Beginning of Pottery in the Near East and Europe: 239-270. Cambridge: Cambridge Scholars Publishing.

In c. 4000 BC agriculture is introduced in south Sweden together with the Funnel Beaker culture. However, 600 years... more In c. 4000 BC agriculture is introduced in south Sweden together with the Funnel Beaker culture. However, 600 years later eastern Sweden undergoes a “de-Neolithisation” and subsistence is now focused on sealhunting. The coastal settlements are remarkable for their large quantities of pottery with large pit impressions being the most common trait, from which the name Pitted Ware Culture derives. However, in some regions agricultural groups continue to exist: the Funnel Beaker Culture and later the Battle Axe Culture. All groups are most commonly identified by their distinct pottery styles, not just shapes and decoration, but also techniques and context of use. I suggest that potters were important social agents in these societies, since they both created and perpetuated a notion of identity within and between groups. This identity can be sensed not just in the different approaches to the making of pots, and the teaching framework that was part of the socializing structure, but also in the ways in which the pots were used and deposited by members of the Pitted Ware and Battle Axe cultures respectively. The appearance of hybrid forms not until the very end of the period highlights the fact that choices in technology and decoration were highly conscious. The disappearance of this cultural dichotomy in the Late Neolithic is interestingly mirrored in the pottery which loses both its visual and ritual manifestation in the material.

Crafting Connections in Stained Glass

by Rishav Jain

This article recently got published in HOME REVIEW Magazine in its July 2011 issue. it gives a brief insite on the craft of Stained glass , its arrival in India, the usage and touches upon the manifestation of craft form in contemporary times.

Conversations with Organisations and Other Objects. Featuring a Mujician, Two Bears, and Two Ceramic Pots.

by Peter Bond

Paper presented in 2002 at Art of Management and Organisation Conference (King's College, London).

The intention in writing this paper is to inform the reader about managing from a radical constructivist and... more The intention in writing this paper is to inform the reader about managing from a radical constructivist and phenomenological perspective. I would also like to inform the reader about new analogies we should be comparing managing to, within a new paradigm of management thinking that is more appropriate to an
economy based on creative solutionmaking.

Assistive Devices - Stroke Patients' Design

by Ana Correia de Barros

Co-authored with Carlos Duarte; published in 'ACM 7th Creativity and Cognition Conference Proceedings'. Berkeley, 2009

The following paper describes a number of solutions for activities of daily living created by stroke patients in order... more The following paper describes a number of solutions for activities of daily living created by stroke patients in order to achieve independence in certain tasks. We interviewed 48 stroke patients in clinics and their private homes and found that many of them come up with their own personal assistive devices made at home or adapt existing objects to serve yet another function. We believe that by researching into these persons’ habits designers not only gain new insights about what it is to actually live with disabilities but also new ideas for new products and approaches to designing better assistive devices.

Naff? An Exploration of Value.

by Kathryn Lichti-Harriman

Lichti-Harriman, K. (2007) ‘Naff? An Exploration of Value’, 15 October 2007 – 24 January 2008, temporary installation, Marischal Museum, University of Aberdeen, Aberdeen, Scotland

PowerPoint upload pending.

Understanding the Individual Craftsperson: Creativity in North-East Scotland

by Kathryn Lichti-Harriman

Harriman, K. (2007) ‘Understanding the Individual Craftsperson: Creativity in North-East Scotland’ in New Craft Future Voices, eds. Follett & Valentine, Dundee, Scotland: Duncan of Jordanstone College of Art and Design

This paper draws on my own situation as a visual anthropologist doing doctoral research on craft as material culture.... more This paper draws on my own situation as a visual anthropologist doing doctoral research on craft as material culture. My work in the North East of Scotland, based on fieldwork undertaken in 2005-2006, combines art and documentary photography with traditional participant observation. The resulting research approaches craft from theoretical and methodological perspectives situated slightly outside those of trained crafts practitioners. The interesting questions for me do not involve debating categories, but understanding how they work; they’re not about judging the value of Art or Craft, but understanding the social mechanisms that drive their makers.

I ask questions about the role of creativity in vernacular craft, by looking how people synthesize different modes of creative agency, balancing the paradoxes that arise. Then I examine discourses of Art and Craft, femininity, and individualism as cultural categories that pervade Euro-American understandings of the individual craftsperson. The main findings of these questions that there are two modes of creativity operating within Craft, which are embraced differently in the realms of fine and hobby craft. This impacts widely held views of the individual, non-professional craftsperson by informing discourses of femininity and individualism.

In order to explore this topic, I rely on visual based, ethnographic research on skilled people who live with and make craft as part of their daily lives. And, in order to explore my results further, I am planning an exhibition for June - August 2007 in order to share these findings with the communities in which I undertook my research. The goal is to encourage community participation and critique of academic research. Additionally, I have produced a set of art/documentary photographs that I use in my fieldwork as the basis for photo elicitation interviews. A selection of them appears in the paper below.

Crafts and Craft Specialization (2001)

by Gary Feinman

(Gary M. Feinman, 2001)

The Effects of Behaviour on Ceramic Composition: Implications for the Definition of Production Locations (1999)

by Gary Feinman

(Andrea J. Carpenter and Gary M. Feinman, 1999)