Not Signed-In
Which clippings match 'Form Realises Content' keyword pg.1 of 1
04 AUGUST 2014

Eduardo Paolozzi: Turkische Musik, 1974

"Eduardo Paolozzi's work often, as in the Türkische Musik series, may be printed in different color schemes or on different papers. All these elements combine to suggest that the image is often discovered in the act of creating it; the artist's role is integrally balanced between active calculation and chance. No longer confined to a single plan, the artist–printmaker and his work signify an exciting new order of print– making, one in which technological expertise becomes a useful vehicle for personal expression."

(Georgette Lee, 1986)

Precision of Image: Technology in Printed Art : 20 April – 7 September, 1986, The Joe and Emily Lowe Art Gallery at Syracuse University in Syracuse.

1

CONTRIBUTOR

Simon Perkins
20 SEPTEMBER 2011

Revisiting Craft 2: Tools of Craftsmanship

"To McCullough, computer animation, geometric modeling, spatial databases–in general, all forms of media production or design–can be said to be 'crafted' when creators 'use limited software capacities resourcefully, imaginatively, and in compensation for the inadequacies of prepackaged, hard–coded operations' (21).... Again, as Sennett suggests, we 'assert our own individuality' against the prepackaged, predetermined processes and limitations of the tools we're using. Craftsmanship, says aesthetic historian David Pye, is 'workmanship using any kind of technique or apparatus, in which the quality of the result is not predetermined, but depends on the judgment [sic], dexterity and care which the maker exercises as he works' (45).

'Workmanship engages us with both functional and aesthetic qualities. It conveys a specific relation between form and content, such that the form realizes the content, in a manner that is enriched by the idiosyncrasies of the medium' (McCullough p.203). '[E]ach medium,' McCullough says, 'is distinguished by particular vocabulary, constructions, and modifiers, and these together establish within it a limited but rich set of possibilities' (McCullough p.230). Similarly, each methodology, or each research resource, has its own particular vocabulary, constructions, modifiers, obligations, and limitations. We need to choose our tools with these potentially enriching, and just as potentially debilitating, idiosyncrasies in mind. Do we need advanced software, or will iMovie suffice? Do we need to record an focus group in video–or will the presence of the camera compromise my rapport with my interviewee? Will an audio recording be more appropriate? Do we need to conduct primary interviews if others have already documented extensive interviews with these same subjects? Do we need to conduct extensive, long–term field–work–or can we accomplish everything in a short, well–planned research trip? How do I match my problem or project to the most appropriate tool?"

(Shannon Mattern, Words in Space)

Malcolm McCullough, Abstracting Craft: The Practiced Digital Hand (Cambridge, MA: MIT Press, 1996).

1

2

TAGS

aesthetic qualitiesaestheticsapparatusartistic practicecomputer animation • constructions • craftedcraftsmanshipcraftworkcreative practicecritical theorycultural technology • David Pye • design methodology • design possibilities • design vocabulary • dexterity • experimentationform and contentform realises content • functional qualities • geometric modelling • hard-coded operations • imaginative • iMovie • insightjudgement • limitations • maker • Malcolm McCullough • media productionmedium • modifiers • pre-packaged • research • resourcefulness • Richard Sennett • software capacities • spatial databases • techniquetheory buildingtool • tools of craftsmanship • truth to materialsvisual vocabularyvocabulary • workmanship

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.