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Which clippings match 'Truth To Materials' keyword pg.1 of 1
04 OCTOBER 2015

Lubna Chowdhary transforms spaces using colour

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TAGS

aesthetic qualitiesBritish artist • ceramic elements • ceramic tile • ceramic works • ceramicist • ceramicscolourcolourwayscraftcraftsmanshipdecorative artsdesign consultancyfemale artistgeometric abstractiongeometryglaze • glaze firing • hand-blended colours • hand-painted • handcrafted ceramic works • handcrafted works • handcrafting • individually crafted works • interior decorationinterior design • Lubna Chowdhary • material practicesmodularity • ready-made elements • traditional craftsmanship • truth to materialsvisual abstraction • visual geometry • visual pattern

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).

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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
25 JUNE 2010

The craftsperson animates the form through years of practice

"Creation, whether in art, research, teaching, or entrepreneurship, requires craft. Sociologist Richard Sennett (2008) suggests that, to be at its best, the craftsperson's deft use of tools and materials, combined with an intuition developed from years of practice, create reciprocity that animates the form. Sennett argues that the craftsperson, engaged in a continual dialogue with materials, does not suffer the divide of understanding and doing. The craftsperson must be patient, avoiding quick fixes. Good work of this sort emphasizes the lessons of experience through a dialogue between tacit knowledge and explicit critique (Sennett, 2008)."

(Liora Bresler, 2009, p.17)

Bresler, L. (2009). "University Faculty as Intellectual Entrepreneurs: Vision, Experiential Learning, and Animation." Visual Arts Research 35(1 Summer 2009).

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TAGS

2009 • animates the form • artcraftcraftspersoncreationcreative practice • deft use of tools • dialogue with materialsentrepreneurshipexperience • explicit critique • Liora Bresler • practiceresearchRichard Sennetttacit knowledgeteachingtruth to materials

CONTRIBUTOR

Simon Perkins
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