"Slojd" and "The Craft of Experience"

Introductory Remarks “Slojd”

Slojd is a word with no english equivalent, implies skill in work rather than craft as productive activity. Slojd carpentry uses instruments that require skill to produce a work as well as non conventional tools to produce various works. For example in Slojd Carpentary, the Slojder would use a knife rather than a chisel, as a chisel is what is used in conventional carpentary. Also the manual labor of slojd carpentry is far less than that of a real carpenter. Slojd is creativity using primative and unconventional forms of tools and manual labor....it is designed so the “slojder” does not have manual labor out weigh skill and creativity. The Slojd teacher does not “instruct” but guide to ensure that primitive methods are ensured throughout the project, all designed to guarantee the slojder learns more from the skill than the actual craft.

Conclusion: The Philosophical Workshop

Pragmatism: The Craft of Experience

The first part of these readings centers around the history of Pragmatism. Pragmatism can be defined as a philosophical tradition centered on the linking of practice and theory. It describes a process where theory is extracted from practice (Slojd). 

Pragmatism further states that " The human working animal can be enriched by the skills and dignified by the spirtit of craftsmanship. One of the first Pragmatists was John Dewey, a non conventional thinker and educater who believed that many things were interrelated (ie:problem-solving and problem-finding, technique and expression, play and work (287)). Dewey states that economics is the element that divides many things. Work without play is just work, a meaningless activity, however, when you add emotion to the skill of work, then work becomes art. Philosophically, pragmatism implies freedom in order for work of any sort to be done well. Underlying this is Experience, which is divided into two German terms, Erlebnis and Erfahrung. “The first is an event or relationship that makes an emotional inner impress, the second an event, action, or relationship that turns one outward and requires skill rather than sensitivity. Pragmatist thought has insisted that these two meanings should not be divided (288)". Erlebnis is the feeling before your emotion is conveyed in Erfahrung (craftsmanship). 

This reading further continues to imply that this ideology can be applied to human relationships as well. 

The author states, “Material cahllenges like working with resistance or managing ambiguity are instructive in understanding the resistances people harbor to one another or the uncertain boundaries between people "(289). 

Pragmatism encourages self rule, or that citizens work to constructively solve problems together, which can also be applied to how a crafter thinks in order to produce a work.

The earliest forms of pragmatism do not include the influence of mass media, and offer serious distortions to true pragmatism. In other words, blabbing on facebook about your crappy day will not make you a constructive writer. Pride also taints the creative process. The author implies that many people get lost in pride which results in a  lost from the true meaning of their own work in its developmental process(295). A partial to solution to this ethical dilemma is for one to take moments away from their craft/work in order to better connect the true meaning of the work to the final outcome (296).

Cool New Terms

Kalos Kagathos (meaning beautiful in mind and body)

Aischros (meaning ugly and shameful)

William Morris: Art Under Plutocracy

“Remember we have but one weapon against that terrible organization of selfishness which we attack, and that weapon is Union.”

Art has been created since the beginning of time. Art and artists are not always “great” or of particular skill, and people of manual labor may not always understand art. Morris fears for the future of art because he is not sure how art will be defined in the furture. Morris believes in two types of Art, Intellectual and Decorative. Intellectual art feeds the mind without the over-bearance of material where decorative art has always been there, and is of service to the body. Morris explains there is an intimate connection between both and states that when art flourished most (mere opinion), the higher and lower kinds were not steadily divided.

Morris states: “Intellectual art is separated from Decorative by the sharpest lines of demarcation, not only as to the kind of work produced under those names, but even in the social position of the producers; those who follow the intellectual arts being all professional men or gentlemen by virtue of their calling, while those who follow the Decorative are workmen earning weekly wages, non-gentlemen in short.”

Morris discusses what types of artists there are in various contexts. Real artists have struggled with their work and have learned the individuality of their craft by themself, despite art being taught through out the ages. Morris states that in the time when art was healthy, true artists operated with these qualities. Real artists in today’s world have to go against the grain, so to speak. They have to compete with the never ending definitions of what art is, combined with the perceptions of what people percieve as art, how artists that have exploited there art for the wrong cause and the burderns of capitalism. Today art suffers by so many factors that nature itself must be considered soley an art just to escape from all negative and contradicting qualities of what art is and what artists are, yet even the disrespect of nature is considered a hindrance to art.

“So long as the system of competition in the production and exchange of the means of life goes on, the degradation of the arts will go on; and if that system is to last for ever, then art is doomed, and will surely die; that is to say, civilization will die.”

 The true meaning of art will die as man is constantly forced and willing to participate in a system of work and capitalism as primary focus because there will be no more room for the pleasure of art. The motion of materialism and production causes man to believe in dreams of capitalism which inhibits the production of art in society. Overall, It is up to the human to preserve art and its true meaning because frankyly, the world will not be changing anytime soon. Morris encourages opposition of “the machine” and suggests a socialist artistic perspective in order to preserve art. He encourages the masses to still be influenced by emotion and turn oppression into “artistic activism” and overall unite to preserve the future of art.

Karl Marx: Machinery and Modern Industry

“Has machinery lightened the modern mans’ burden ? What is the difference between the machine and the handicraft ?”

According to Marx, a tool is a simple machine while an actual machine is considered a complex tool yet both make up a variety of simple processes. Man is the motive behind a tool, yet a machine can become a tool if run by man. The machine is a mechanism comprised of various parts in order to make it work. Machines are mechanisms derived from modified tools. Machines are continued to be modified/repaired by tools. The motive of man is the power behind by both tool and machine. Capitalisticaly the point of machinery is to save money, and shorten the work day for the laborer. (70,71)

Operations of Machines

Numerous amounts of  product are made by single machine where man is the power behind it (weaver and the loom). Machines experience “technical oneness” as they all run together to complete a process. The process of manufacture is the natural basis for division and organization of the process of production. Man must carry out “manufacture” and direct it, guide it’s process. (72,73)

The Factory

The factory uses the human being as a source of exploitation, and for the betterment of one’s individual wealth. Capitalistic exploitation is driven by the fact that man, with machine, can complete more work within more hours, resulting in more money for the factory owners. 

“The workmen are merely conscious organs, co-ordinate with the unconscious organs of the automaton, and together with them, subordinated to thecentral moving-power.” 

With machine in place, the actuall “skill” of the worker is overlooked. A division of the workers occurs as a result and hierachies are formed. Man becomes the tool in a negative manner. An individual becomes apart of the machine, not an individual seen with unique skill. In a factory people are replaceable because machines run continuously without constant supervision.  (74,75) “Increased production affects social process by benefiting the capitalist agenda”. In a factory a worker is left to feel disposable, without freedom, and a slave to the machine, figuratively and physically. (76)

Techne: Intervention and Invention in a Nutshell

Ancient techne requires us to put aside much of our common wisdom about science and technology. The Greeks most likely did not have a conception of technology. While more recognizable forms of science and engineering developed in Egypt and the East, intellectual speculation in Greece was qualitatively different. What was understood to be pure science, or episteme, in Greece was highly deductive and, by definition, not the kind of knowledge to be applied to everyday life. Techne defines itself, against physis (nature), Automaton(spontaneity), Tyche(chance), all of which can encourage or constrain invention.

Overall, this is what the chapter explores on various philosophical and scientific levels.To try and define this whole chapter would be an argument within an argument. “What is Techne: An art or Science?”

BOTH in my opinion, what fuels Techne at the time in which it is being produced, plays a role in its outcome of perception. Factors that play into this concept include: time, place, oppurtunity, and perception. Thus resulting in Art and technology overlapping each other in various catergories.

Ex: Ancient Medicine back then was considered an art, whereas today it is seen more as a form of technology.

In this day in age I feel like the lines are disappearing between what is art and what is science. For example the creation of an iPod, is it an art or piece of technology. 

Short, simple, sweet, and to the point.

My Craft: Eco-friendly, All Natural Beauty Products

So, originally we were asked to do 60 minutes of crafting on Tuesday,  but playing catch-up with the Atwill/Hauser notes is pretty intense (as well as the many other things occupying my life) so I didn't exactly have time to "craft" per se. However, I try to craft on a regular basis none the less. Normally I would probably choose cooking as my craft, but I cook so much with such variety that I felt I needed to stray from my normal path. I  have always had a love for the "natural" and have always been inspired to use things around me that are already present..."Why waste when you can reuse ?" "Why buy when there's so much resource to create ?" which is why I choose crafting natural beauty products as my focus for the upcoming "craft showcase". My main inspirations come from a woman by the name of Janice Cox who wrote a book called Natural Beauty Home, as well as EcoBeauty. Her books include a variety of recipes for hair, skin, body, and mind, as well as practical cleaning products for the house. Her recipes will the be the basis for my craft, but since I have my own  individual varieties of scents, colors, herbs, and etc I will be putting my own spin on some of my favorite recipes. Aside from basic beauty potions, I will also continue crafting my own soap, and possibly candles if I get the time. All the soap I make will be hypo-allergenic, and natural so everyone can use it. AND YES, that means samples for everyone. I would like to have the time to create unique packaging and labels for my potions, as well as experiment with Cold Press and Hot Press soaps (one involves just a basic melt and pour technique, and the other mixing animal fat, and lye with other things).....Overall, Im excited to see where this will go !...Updates and pics coming soon !

Rhetoric Reclaimed: Techne: Art and its definition

Techne and Formation

Art intervenes when a boundary or limitation is recognized, and it creates a path that both transgresses and redefines that boundary: Fate and necessity may set temporary limits for invention, but the boundaries are perpetually redrawn by techne.

A techne is never one tangible “thing”. It can be described as a power, an ideology that guides, a strategy, a cunningly conceived plan, a coincidence, a painting, an installation (the list literally can go on). This knowledge is stable enough to be taught and transferred but flexible enough to be adapted to particular situations and purposes. (47)

Techne resists the ideology of what normal is and often can be seen as in a stage to transformation. It can be perceived as good or evil, dull or bright, brilliant  of genius, or even mediocre.(48)

Techne marks intervention and invention, and may spark a conflict or end a transgression.(48)

Techne: Cunning Intelligence, Time, and Power

In the earliest works of Homer and Hesiod Techne is often associated with deception (53) Techne may refer to a "set of rules, system or method of making or doing," but it may also denote artistic products and concrete examples that might be used to illustrate those methods (books, which are also forms of rhetoric).(53)

Techne also refers to a craft or trade that can generate money. it is generally identified with something artificial as opposed to something natural. The material of techne may be taken from nature, however the artist produces something that nature on its own could not create. A great a example of this is through Technology, and in particular the computer ( which is derived from natural elements but perfected by unnatural means). Depending on usage, economic value, and culture technology can be defined I various degrees of craft forms and  

One of the most important dimensions of techne is its complex relationship to subjectivity. "Techne" is related to the ancient verb teuchein, which in Homer means to fabricate', 'to produce', 'to construct'”. At the same time, in its a noun form teuchos which can mean  tool  or instrument (53). 

An artisans identity is often defined, by technities or craftsmanship, and sets them apart from society which there elevates the artisans social status. Artisans also formed guilds that also played in the ride of social status. (54)

There is a battle between what is Techne in terms of technology versus art. Engineers products

are more accurately characterized a agalmata, luxury items that serve less as "material objects" than as symbols of "personal value and social superiority". Artisan's products are classified as thaumata-objects designed to evoke wonder and awe. As hierichies developed amongst competing guilds of artists the definition of techne became more ambiguous. (Ie: Is a manual labor who is a craftsman also an artist?) Overall, technes value and class status are largely dependent on one's perspective.(56)

Techne and Kairos

1. If Metis is the intelligence identified with techne, then kairos is the time "associated with techne. Kairos defines the correct time in relation to Techne. Aristotle distinguishes the rationality of techne from philosophical reasoning in its relationship to time, Both Plato and Aristotle said, the highest and most true knowledge transcends time; it is knowledge about things that "could not be otherwise" because the subjects of philosophical knowledge are immune to the contingencies of time and context. The sophists were keenly aware of the importance of "knowing when" to gesture, exhort, and intervene. (57)

According to Isocrates, Deploying an art at the "right moment" in a particular situation is a sign of the true rhetor, yet it is something that cannot be taught rules. Acquiring a "sense” of the right way and right moment requires careful speculation.

Art of Resistance and Transformation

Both bia and kraatos can refer to bodily strength, kraatos is more explicitly identified with the sense of "power over" either subjects or another force. Kraatos often refers to a kind of master/slave relationship and to "mastery" itself, as well as to victory. Bia may denote force and even a specific act of violence. bia and Kraatos generally refer to an external agency, force, or source of motion (60) As for Transformation the discovery of art shifts the balance of power between humankind and nature, and in a way that nature always win (61).

Challenging the Boundaries of Necessity and Fate

Although techne can mitigate lines of force and power, its most challenging boundaries may be anankii and moira. Generally translated as necessity, ananke can also refer to "force, constraint”. Aristotle also uses ananke in a technical sense in logic, philosophy, and the natural sciences to describe operations or processes that "cannot be otherwise”. Moira is a complex and ambiguous term with regard to techne. Though moira is generally associated with fate," its meanings vary and, at times, appear almost contradictory. On the one hand, moira refers to "one's portion of life" in the sense of destiny or fate. The Greek term for the contradiction that generally signals the end of a round of dialectic is aporia. Formed from the word poros, aporia means literally "no path," The distinctions between aporia as "no exit" and poros as a "way out" may mark the difference between philosophical and rhetorical traditions of inquiry and invention. (63)(64)

Greek Characters that Promote the Ideology of Techne 

In the Ancient World mythical Gods and Goddesses are manifestations of Techne. These mystical beings defined by techne often demonstrate power, craft, and disruption of power, with identities that are caught between dual realities, often from humankind to transformative (49)

1. Prometheus and Techne

 Promethesus, a fictional character in greek literature is often used, threw prom. Gift of art and technology he is able to help transform society. (50)

2. Hephaestus and Techne

Hephaestus  is the God of fire and craft. As the son of zeus and hana he is described as having been “skilled din all the crafts of heaven”. He is the god of the smith, frequently referred to as the "famous

god of the twO strong arms" He appears as the artisan who crafts the first woman, Pandora.  In Homer's Odyssey, he is husband to Aphrodite. (50) In Homer’s the Odyssyey hephaestus is known to devise to have crafted a weapon for punish aphrodite and her lover ares, with whom she was having an affair with.(51) The anger which inspired him to turn an act of love into bondage is a personification of techne(52)

3. Hermes

Hermes appears in Protagoras's version of the Prometheus narrative to deliver to humankind dike (justice and aidos (respect). Hermes i known as the messenger god, hence identified with good speaking or oratory )form of rhetoric. He is also associated with invention. (50)

4. The Goddess Metis

Meti 's unique character lies in her power of metamorphosis. Metis is Zeus's first wife, the "wisest among gods and mortal men" and mother of Athena. (50)What passes for art in this realm of appearances is the product of a different kind of reasoning, known as metis.(55) A number of terms might be used to describe meti : "flair, wisdom, forethought, subtlety of mind, deception, resourcefulness, vigilance, opportunism, various skills, and experience acquired over the year"(55)

5. The Goddess Athena

Athena" is the armed goddess who oversees cities and the crafts and arts. Athena is one

who "loves deeds of war" but who "saves the people as they go out to war and come back." Athena sexual identity as seen as adrognynous due to he attire of amour she adorns, must like Joan of Arc (51). Athena is often tied into physical and figuratively make references to the arts through her thoughts and actions, which illustrate the action of techne of skill they can be  transferred or learned (art, knowledge, craftsmanship, a lesson, war tactic). (51)

Fun Words with New Meaning

anake (necessity)

moiria (fate),

heuriskein (discover),

bia (compulsion), 

poros (way out), 

apate (deception), 

dolos (contrivance), Kratos (force)

technites (craftsmen),

Metis ( cunning intelligence),

chromos (time), 

Kairos (right time), 

aporia (no path), 

hodos (way, road), 

physis (nature), 

automaton (spontaneity), 

tychne (chance), 

episteme (pure science), 

mechane (trick or experiment), 

Theoria (spectacle), 

theorein (to look at, behold), 

mimesis (imitation)

 emperiria (experience, practice, craft), 

emperirias (experience)

English 240: HTML Revisited

We're looking under the hood today. Wow, thats exciting. Really.I can't believe how thrilling it is.
Here's what's so great about it:

• Tags look like carrots, interent nerd jokes make so much more sense now, and staring at lines of html code is how I'd like to spend my Friday nights.