The puppet arts in Bali can be found in the wayang Kamasan painting at Kamasan Village, Klungkung Regency. This painting inspired the creation and development of new handicraft in Bali. The objectives this research: 1. To find the wayang Kamasan painting in Klungkung Regency; 2. To find the development of handicraft types in Bali inspired by wayang Kamasan painting. This research used a qualitative descriptive approach, and data collection by observation, interview, and documentation. The results that wayang Kamasan painting is (...) estimated to have existed since the reign of the ancient Bali kingdom, which was during the reign of King Dalem Waturenggong in Semarapura Klungkung. The wayang Kamasan painting character painted on a canvas with a light brown base color, stiff, two-dimensional, and the description follows the applied standards. The figures depicted taken from Ramayana and Mahabharata story. The Balinese handicrafts inspired by wayang Kamasan painting include ceramics, wovens such as sokasi/keben, keris sheath, dulang, bokor, guitars, beruk, and others. The authors expect in the future the wayang Kamasan painting can survive, and emerges the world's concern for its preservation. (shrink)

This essay charts the outlines of the historical transition from the artisanal workshop to the artist’s studio and the transition from the artisan to the artist, not through the transition from patronage to the art market but through an analysis of the transformation of labour’s social division of labour. The essay reassesses the discourses on the artist as genius and the artist as worker through a reinterpretation of the elevation of the Fine Arts above handicraft. This sheds new light, also, (...) on the discourse of deskilling in art. This essay argues that the transition from the artisan to the artist is an effect of the social division of labour in which the knowledge, skills and privileges of the master artisan are distributed among a set of specialists. (shrink)

This research aims to fill a major gap in the relevant literature on small businesses in developing countries, specifically concerning the development of models to better explain economic and environmental performance as a result of environmental compliance, thus moving toward an explanation of the sustainable behavior of these businesses. Data from 186 pottery craft businesses located in three Mexican states (Oaxaca, Puebla and Tlaxcala) reveal that environmental compliance significantly influences economic and environmental performance, with the mediating role of environmental innovation, (...) confirming the Porter hypothesis in the context of small businesses in an emerging economy. Environmental compliance is an important factor in improving the economic and environmental performance of small businesses in emerging economies. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely (...) the feminist movement that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

"Our starting point is a phenomenological analysis of the concepts of hand and possibility in relation to human realization and expression, whereby the problem of hand and its movements can be followed in this framework in its peculiarity and uniqueness. With regard to possibility, we follow a certain shift in Husserl’s concept of possibility towards practical possibility, as well as some selected passages in his texts concerning corporeality and constitution. This phenomenological starting point is connected to the question of stimulation (...) (potentiating) of the hand in the creative process; we draw upon insights in texts of a Finnish thinker and architect Juhani Pallasmaa and on examples from fields of art, technology and handicrafts. The goal of the text is the return to the hand and the revival of the sphere of original realization of the man, as opposed to uniformity, excess of impulses, tendency to manipulate or, on the other hand, desensitization, whereby we want to open up a space for stimulation of creativity and deepening of the experience on this basis, whose starting poin Keywords: body, touch, possibility, creation, craft, Edmund Husserl, Juhani Pallasmaa ". (shrink)

This paper introduces the concept of performance circuits as a means for understanding economic transactions. The concept of the performance circuits emphasizes the script-like sequences and the existing cultural narratives that enable the believable performances of those scripts. The concept of performance circuits allows for Zelizer’s concept of relational work to be applied in ethnographic studies of economic life, decomposing the constituent parts that enable the accomplishment of value in the marketplace. The paper opens with a dramaturgical performance at the (...) United States Federal Reserve and then turns to microstudies of handicraft production, modern art markets, and neighborhood branding to demonstrate how one can study market dramas unfolding, sometimes unremarkably, emotions being generated, and background representations making loosely scripted actions understandable. (shrink)

The article reveals the results of the survey of interdependence between manufacturing process and scientific ideas. Two types of interdependence are put forward: parallelism and integration. The first regulation observed in the paper is parallelism, presented in its traditional form. It presupposes the idea of manufacturing and handicraft independence form meditative science. Thus, prescribed interaction is conventional and no reciprocal influence is noticeable between them. This state of things is typical for the Ancient World and the Middle Age periods. As (...) a result of experimental science development, the epoch of New Age was marked by establishing a new type of parallelism, falling out of tradition. Truth was believed to be the outcome of science in this epoch. The second regulation is described as integration of science and machinery. At the first phase (preliminary integration) utility serves as the ultimate aim of the science-manufacturing correlation. At the second phase (integration itself) science performs the part of economical force and its ultimate aim changes to economical profit. (shrink)

We analyse the development of Fair Trade in Italy by examining its principles, structure, performance, dilemmas and potential solutions and identifying its main distinctive features. These lead us to develop a specifically Italian model. Fair Trade in Italy is younger than its more established North European counterparts and more focussed on broad social justice issues in addition to its concern to include marginalized producers. This normative difference has given rise to a social-economy-dominated value chain, although it has generated much lower (...) per capita consumption of Fair Trade products. At the same time, we also observe a relatively higher specialization in handicraft products and educational activities as well as a strong capacity to attract voluntary labour and create social capital. We identify clear trade-offs between social goals and the economic performance of the Italian model: reduced economies of scale, a closer focus on non-economic-value-creating social activities and greater consideration of values such as consumption sobriety and environmental concerns which may conflict with economic performance. We propose solutions which may resolve these dilemmas without abandoning the initial ambition not only to achieve the promotion of market access for marginalized producers in the South, but also to pursue a broader concept of well-being in the North and the South. (shrink)

Technical change and evolving product complexity lead to a separation of practical and theoretical processes in design and to an increased use of drawings, in particular, scale drawings.1 In contrast to handicraft evolution, the use of drawings in "design-by-drawing,"2 in particular, scaled and dimensioned drawings, separates experiences from production. Design and manufacturing follow different paths. This separation in the case of manual drawing needs to be examined. I am well aware that informal drawings differ from scale or construction drawings. If (...) they contain unambiguous symbols, manual drawings can be regarded as a form of notation. Design-by-drawing can mean planning a notation, for... (shrink)

Author: Kowalski Andrzej P. Title: CULTURAL ARCHAEOLOGY AND PREHISTORY OF THE CONTINENT OF ART (Kulturoznawcza archeologia i prehistoria Kontynentu sztuki) Source: Filo-Sofija year: 2011, vol:.12, number: 2011/1, pages: 291-310 Keywords: JERZY KMITA, CULTURAL ARCHAEOLOGY, THE CONTINENT OF ART, SHAMANISTIC ORIGINS OF ART Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The paper presents an attempt at application of Jerzy Kmita’s achievements in philosophy of art, aesthetics, axiology, and history of culture to the research (...) on genesis of art. The problem of cultural genealogy of art shall be addressed in following contexts: 1. The context of the so-called ‘end of art in postmodern culture’ which manifests itself in the thesis concerning elimination of “grand narrations”, myths, and ideologies. According to J. Kmita, the art takes recourse to idea-meanings which are not ascribed to a handicraft. The meanings of superior axiological level express themselves in the art only. 2. The context of Bild-Anthropologie developed by H. Belting. Works of art are regarded here as images, especially—images of a cultural type. The accent lies here on genealogy of iconoclasm and theological discourse which uses Greek philosophical terminology. Ontology of “image as a presence” is analyzed with regard to magical realism and symbolism. Primordial and prehistoric images do not operate with signs of objects but instead they constitute objects themselves. 3. The context of structural anthropology where the art is interpreted within the horizon of mytho-logics and metaphoric-metonymical transformations. Kmita’s adjustment shows that metaphorical and metonymical meanings are indistinguishable. The art—which was ascribed a classificatory meaning—provided also socio-morphic categories. Totemic signs were more appreciated than totems themselves. It shows that the art transcends the reality which itself becomes a subject of the image. 4. The context of shamanistic origins of art. This conception universalizes results of neuropsychological research. Trance-practices are considered here as the origin of cave painting which presents a scheme of shamanistic visions. However, in folk cultures not all imaginary objects originate from trance-experience and the acceptance of their reality does not presuppose sensory deprivations (which is one of ethnological arguments showing limits of such interpretation). (shrink)

During the colonial contact and especially after the 2nd World War in the Solomon Islands local communities various traditions of woodcarving and other handicrafts have transformed from religious and ritual objects to commercial 'tourist arts' that have become economically important for local communities. In the course of culture change Western concepts such as art and culture have been adopted to local languages and they have replaced local terminologies and classifications in various ways. These processes may be described as 'conceptual (...) colonialism'. The meaning shifts and emerging new conceptual categories produce homogenising effects that transform the local ways of cultural thinking towards the direction of hegemonic Western interpretations of socio-cultural phenomena. The concept of art should be treated as one major element in this linguistic power play between the local and the global. (shrink)

This article examines the strategic politics of an Indigenous network called las Mujeres Amazónicas (the Amazonian Women) that is resisting the expansion of extractive projects in Ecuador’s Amazon rainforest. It asks, what are the Mujeres Amazónicas’ political strategies to resist extractive occupation and how do they develop and deploy these strategies in their territorial struggle? To answer this question, I analyze how their organizing is characterized by a political design that merges public expressions of resistance – such as mobilizations, protest (...) marches, and other public actions – with communitarian practices that reproduce human and more-than-human life in the Amazon. To illustrate this strategic fusion, the article turns to an image that the Kichwa leader Elvia Dagua wove into an artesanía (handicraft) called la Araña Tejedora (the Weaving Spider). By analyzing Dagua’s artesanía and other self-descriptions of the Mujeres Amazónicas, the article shows how practices of communitarian reproduction are used and transformed by the Amazonian Women, thus enabling their political work and sustaining their lives at the same time. The strategic deployment of reproductive practices reveals how Indigenous women’s cultural and social identities are neither static nor unchangeable. It also illustrates that the Mujeres Amazónicas’ organizing should not be interpreted as a simple example of local politics responding to extractive occupation. By contrast, the article shows how the Mujeres Amazónicas are historical and political subjects with the power to shape the lines of political confrontation vis-à-vis the state and extractive capital, and to build global connections between Indigenous and non-Indigenous ways of living. (shrink)

U radu iznosimo shvaćanje da je novoplatonizam u Michelangelovom kiparstvu prisutan na dublji način nego li to shvaćaju oni koji u Michelangelovoj umjetnosti iznalaze tek simboličku ilustraciju određenog novoplatoničkog učenja. Novoplatonizam u Michelangelovoj skulpturi ne vidimo kao simboliku koja upućuje na određenu novoplatoničku teoriju. U tom bismo slučaju o novoplatonizmu u umjetnosti govorili kao o onome izvanjskom s obzirom na bit umjetničkog djela, budući da se samo nastajanje i jestvo umjetničkog djela ne temelji u postupku teorijskog razmatranja, već u rukotvorenju. (...) Polazimo od shvaćanja da je novoplatonizam s Michelangelom ostvaren izravno iz umjetničkog tvorenja u samom unutarnjem obliku umjetničkog djela.In the paper we propose attitude that Neoplatonism in Michelangelo’s sculpture is present in a deeper way than it is understood by those who in Michelangelo’s art find merely simbolic illustration of specific Neoplatonic learning. In Michelangelo’s sculpture we do not see Neoplatonism as a symbolism that is indicating a specific Neoplatonic theory. In that case we would be talking about Neoplatonism in the art as the external considering the proper essence of the work of art, since the proper emergence and beingness of the work of art is not founded in the act of theoretical consideration, but in handicrafting. Our starting point is the understanding that Neoplatonism with Michelangelo realizes itself directly out of artistic formation in the proper internal form of the work of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 50-58 [Access article in PDF] Evolution in Qualitative Factors Used to Evaluate Japanese Students [Tables] Introduction Two basic viewpoints are typically taken in the evaluation of achievement in Japanese schools: either the focus is primarily on "field-content-basedevaluation" or on "ability-concept-based evaluation." I have compared the qualitative factors encompassed by these two viewpoints as reflected in the permanent school records of Japanese students. (...) These recordsinclude classes taken, grades earned, and school-related information. Kanten (in Japanese) has become a key word in the evaluation of academic achievement in Japan. It represents the qualitative factors that should be considered when evaluating a student's learning achievements. In this essay, I review how these qualitative factors have evolved, both for general subjects and for fine arts.From the beginning of the educational system (1872) to 1938, the "assessment" [Hyoutei] of a student depended on the comprehensiveness of the student's achievement in each subject. (Overall assessments are now usually made using a three-point scale; 1-3, a five-point scale; 1-5, or an ABC scale.) However, it was not clearly specified how scholastic ability and learning accomplishment should be assessed or which qualitative factors should be considered.Starting in 1941, teachers were required to evaluate, comprehensively assess, and record the student's learning, consideration, dealing, application, skill, appreciation, practice, and learning attitude through his or her daily learning and activity. 1 The factors seem to be basically equivalent to those recently used as "interest/aspiration/attitude," "thinking," "judgment," [End Page 50] and "expressive power." After 1941, the point of view in the area of fine arts gradually changed from focusing on the "field-content-based factor" to the "ability-concept-based factor" in both the educational content and in evaluation.This report focuses on the evolution in the qualitative factors used in evaluations in the postwar era. From 1949 to 1991 "Understanding," "attitude," and "skill" were specified as factors that shouldbe considered when evaluating a student's learning achievements in 1949. For a few years, these factors were considered independently in the non-referenced evaluation of five-point ratings. The two basic viewpoints, "field-content-based factor" and "ability-concept-based factor," coexisted in the course of study in the early 1950s, according to a tentative plan published in 1951. "Attitude" and "habits" carried the same weight as "understanding" and "skill." These factors received minimal attention at the elementary school level. Evaluations thus evolved from simply an overall assessment of the student's achievement in a subject to an assessment of these specific factors. For instance, at the elementary school level, drawing and handicrafts both had factors related to "field content difference" (for example, drawing, color, and pattern) and to "ability concept difference" (for example, attitude and habit). At the junior high level, the factors were represented by a double-layer structure (Table 1). The elements underlined in Table 1 reflect on the "ability concept difference" (for example, expression activities and understanding activities) instead on the "field content difference." Following the revision of the permanent cumulative records in 1955, students were evaluated based only on an overall assessment of their individual [End Page 51] performance in each subject (Japanese language, mathematics, social studies, music, and drawing and handicrafts). There were three main reasons for this change.The effort it takes to evaluate each factor analytically. The difficulty of evaluating "attitude." The demand by schools at the next level for a comprehensive and uniform evaluation for each student for each subject. 3Furthermore, although "interest" was added as one of factors to be considered in the evaluation, it was not to be dealt with analytically in the evaluation of what the student learned. Consequently, evaluations became clearer and more comprehensive, although the weights of the factors, referred to as the "affective domain," took a step backward. In 1961, the factor "interest/attitude toward fine arts" was added. At the same time, "interest" was given more weight. However, the higher weighting of the factor was short-lived because intangible factors such as... (shrink)

Le livre de Borkenau, „Der Übergang vom feudalen zum bürgerlichen Weltbild“ développe une nouvelle théorie de la naissance de la pensée moderne. Il s’attache à rechercher l’origine, moins de telles ou telles idées particulières que des concepts fondamentaux et des méthodes de penser de l'époque moderne. Borkenau considère avant tout la représentation mécaniste du monde telle qu'elle a été fondée dans la philosophie de Descartes et de ses successeurs comme décisive pour la pensée moderne et il élucide ses conditions sociologiques.L'étude (...) de Grossmann part du livre de Borkenau qu'il soumet à la critique et il essaye d'indiquer de manière indépendante une meilleure voie qui mène à la compréhension de la formation de la pensée bourgeoise. Ses arguments se rapportent avant tout à deux groupes de problèmes. D'après Borkenau, c'est au début du xvne siècle que la conception mécaniste du monde l'a emporté sur la philosophie qualitative qui régnait auparavant. Cette interprétation est jugée par Grossmann comme une méconnaissance de l'histoire réelle des idées et des faits. L'origine des questions fondamentales de la mécanique doit être cherchée à la Renaissance et Léonard de Vinci est un de ses créateurs. Ces théories nouvelles, dégagées en grande partie de l'étude des machines de son temps, se sont développées par différentes voies jusqu'à Galilée et Descartes, dont les doctrines ne marquent donc pas le début de la pensée mécaniste.L'autre critique fondamentale est étroitement liée à celle-ci. Elle concerne l'explication que donne Borkenau de la représentation mécaniste. Si celle- ci a pris naissance au xvne siècle, la condition essentielle de cette réalisation doit donc s’être produite à peu près à cette époque. D'après Borkenau cette condition serait la diffusion des manufactures. Avec la division de l'activité artisane en activités uniformes non qualifiées à l'intérieur de la manufacture, serait né le concept d'un travail social abstrait. La décomposition du processus de travail en mouvements simples dans la manufacture aurait rendu comparables les heures de travail. Le calcul avec du travail abstrait constituerait la base de la représentation mécaniste du monde. Grossmann montre en s'appuyant sur Marx que le plus souvent il ne saurait être question de division de travail dans les manufactures, mais que, en règle générale, des artisans qualifiés travaillaient réunis dans un même local. Ce n’est pas le calcul avec les heures de travail, mais l'évolution du machinisme qui aurait été la cause immédiate de la mécanique scientifique. Cette genèse remonte sans doute à la Renaissance et a très peu à faire avec les manufactures qui ont été finalement refoulées par l'industrie des machines.Alors que Borkenau, lorsqu'il vient à parler du conditionnement social des philosophes et des savants, remonte surtout aux batailles des partis politiques, Grossmann ne voit dans les partis qu’un facteur de l'ensemble de la situation complexe, à partir de laquelle s'explique le mouvement des idées modernes. Une théorie suffisante de l'évolution de la pensée moderne implique qu'on tienne compte de la totalité des forces sociales.Franz Borkenau's book „The Transition from Feudal to Modern Thought“ („Der Übergang vom feudalen zum bürgerlichen Weltbild“), serves as background for Grossmann's study. The objective of this book was to trace the sociological origins of the mechanistic categories of modern thought as developed in the philosophy of Descartes and his successors. In the beginning of the 17th century, according to Borkenau, mechanistic thinking triumphed over mediaeval philosophy which emphasized qualitative, not quantitative considerations. This transition from mediaeval and feudal methods of thought to modern principles is the general theme of Borkenau's book, and is traced to the social changes of this time. According to this work, the essential economic change that marked the transition from mediaeval to modern times was the destruction of the handicraft system and the organization of labor under one roof and under one management. The roots of the change in thought are to be sought here. With the dismemberment of the handicraft system and the division of labor into relatively unskilled, uniform, and therefore comparable activities, the conception of abstract homogeneous social labor arises. The division of the labor process into simple, repeated movements permits a comparison of hours of labor. Calculation with such abstract social unities, according to Borkenau, was the source from which modern mechanistic thinking in general derived its origin.Grossmann, although he considers Borkenau’s work a valuable and important contribution, does not believe that the author has achieved his purpose. First of all, he contends that the period that Borkenau describes as the period of the triumph of modern thought over mediaeval should not be placed at the beginning of the 17th century, but in the Renaissance, and that not Descartes and Hobbes but Leonardo da Vinci was the initiator of modern thought. Leonardo's theories, evolved from a study of machines, were the source of the mechanistic categories that culminated in modern thought.If Borkenau’s conception as to the historical origin of these categories is incorrect in regard to time, Grossman claims it follows that it is incorrect also in regard to the social sources to which it is ascribed. In the beginning, the factory system did not involve a division of labor into comparable homogeneous processes, but in general only united skilled handicraftsmen under one roof. The development of machinery, not the calculation with abstract hours of labor, is the immediate source of modern scientific mechanics. This goes back to the Renaissance and has relatively little to do with the original factory system that was finally superseded by the Industrial Revolution.While Borkenau, in tracing the social background of the thought of the period, relies chiefly on the conflicts and strife of political parties, Grossmann regards this as one element only in the formation of the general social situation, which in its entirety and in the interaction of its elements explains the development of modern thought. (shrink)

In this anthropological investigation of the nature of an underdeveloped peasant economy, Joel S. Kahn attempts to develop the insights generated by Marxist theorists, by means of a concrete case study of a peasant village in the Indonesian province of West Sumatra. He accounts for the specific features of this regional economy, and, at the same time, examines the implications for it of the centuries-old European domination of Indonesia. The most striking feature of the Minangkabau economy is the predominance of (...) petty commodity relations in agriculture, handicrafts and the local network of distribution. Dr Kahn illustrates this with material on local economic organization, which he collected in the field in the highland village of Sungai Puar, the site of a blacksmithing industry, and with published and unpublished data from other parts of Indonesia. Dr Kahn's book is unusual for its combination of a theoretical analysis of underdevelopment with a detailed regional study. It will appeal to those interested in South-east Asian studies, in development, and in neo-Marxist approaches in anthropology. (shrink)

This paper examines the unique structures of identity formation within the craftsperson/maker mindset and their relation to Western views of work and labor. The contemporary Maker Movement has its origins not only in the internet revolution, but also in the revival of handicraft during the last several economic recessions. Economic uncertainty drives people toward the ideals and practices of craft as a way to regain a sense of agency and control. One learns how to become an active participant in our (...) material lives by making and maintaining the objects that surround us. This orientation toward craft has the potential to alter the practitioner's sense of self going forward. I will argue that the work-based nature of craft leads to a unique and positive sense of self that the assumed freedom of ‘art’ and intellectualized labor unwittingly discourages. Tacit mechanisms shape the craft mindset through emphasis on skill, mastery of materials, polymathic problem solving, and quality. Hannah Arendt’s notion of the vita activa and Martin Heidegger’s arguments on modern technology reveal the dynamics between physical and intellectual labor and how many have greatly misunderstood the ‘essence’ of the craftsperson’s work. Peter Dormer and Glenn Adamson’s analysis of the nature of craft demonstrate how these two lines of thought can be unified into one system of selfhood granting the greater sense of agency many seek without relying on an individualized sense of self. The Richard Sennett shows how this sense of self challenges the desire to liberate ourselves from labor via technology and poetic autonomy as seen in Franco Berardi’s Manifesto of Post-Futurism. Malcolm Gladwell's work on intuition examines the impact of this tacit craft mindset and the psychological mechanisms that drive it. This will allow Peter Korn’s first-hand account of his own craft practice to demonstrate this structure and its inherent points of resistance against today’s hyper-individualized and resultingly selfish ways of life. Throughout this paper, a clear emphasis on materiality as a profound source of embodied knowledge will be maintained to reveal craftspersonhood as a source of deep existential fulfillment and practical philosophy. Acknowledging and embracing our intrinsic materiality and all that it has to teach us is imperative in the face of a consumption-centric culture of excess and exploitation that looms over much of the West. (shrink)

The ArgumentFranz Borkenau's book,The Transition from Feudal to Modern Thought(Der Übergang vom feudalen zum bürgerlichen Weltbild[literally:The Transition from the Feudal to the Bourgeois World-Picture]), serves as background for Grossmann's study. The objective of this book was to trace the sociological origins of the mechanistic categories of modern thought as developed in the philosophy of Descartes and his successors. In the beginning of the seventeenth century, according to Borkenau, mechanistic thinking triumphed over medieval philosophy which emphasized qualitative, not quantitative considerations. This (...) transition from medieval and feudal methods of thought to modern principles is the general theme of Borkenau's book, and is traced to the social changes of this time. According to this work, the essential economic change that marked the transition from medieval to modern times was the destruction of the handicraft system and the organization of labor under one roof and under one management. The roots of the change in thought are to be sought here. With the dismemberment of the handicraft system and the division of labor into relatively unskilled, uniform, and therefore comparable activities, the conception of abstract homogeneous social labor arises. The division of the labor process into simple repeated movements permits a comparison of hours of labor. Calculation with such abstract social unities, according to Borkenau, was the source from which modern mechanistic thinking in general derived its origin.Grossmann, although he considers Borkenau's work a valuable and important contribution, does not believe that the author has achieved his purpose. First of all, he contends that the period that Borkenau describes as the period of the triumph of modern thought over medieval should not be placed at the beginning of the seventeenth century, but in the Renaissance, and that not Descartes and Hobbes but Leonardo da Vinci was the initiator of modern thought. Leonardo's theories, evolved from a study of machines, were the source of the mechanistic categories that culminated in modern thought.If Borkenau's conception as to the historical origin of these categories is incorrect in regard to time, Grossmann claims it follows that it is incorrect also in regard to the social sources to which it is ascribed. In the beginning, the factory system did not involve a division of labor into comparable homogeneous processes, but in general only united skilled handicraftsmen under one roof. The development of machinery, not the calculation with abstract hours of labor, is the immediate source of modern scientific mechanics. This goes back to the Renaissance and has relatively little to do with the original factory system that was finally superseded by the Industrial Revolution.While Borkenau, in tracing the social background of the thought of the period, relies chiefly on the conflicts and strife of political parties, Grossmann regards this as one element only in the formation of the general social situation, which in its entirety and in the interaction of its elements explains the development of modern thought. (shrink)

This paper aims to reconstruct the history of the first transatlantic wireless telegraphy on the basis of J. A. Fleming's unpublished notebooks and other manuscript sources. It will be shown that the progress of the experiment, in which power engineering was first combined with wireless telegraphy, was neither smooth nor automatic, and various kinds of difficulties or ‘resistances’ that Fleming and Marconi encountered during the course of the experiments in the laboratory and in the field at Poldhu will be emphasized. (...) This paper also aims to compare two different ‘styles’ of engineering. Fleming, whose educational background included Cambridge experimental physics, based his approach upon scientific engineering—that is, laboratory experiments, precise measurement, and mathematical considerations, whereas Marconi's work derived from an older style of doing technology—that is, field experiments, handicraft work, and an intuitive understanding of technological effects. These two different styles clashed in the experiment, and it will be shown that this tension became apparent when credit for a project's success was being assigned. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Heavy TrafficDenis DuttonIt was the Reverend Sidney Smith who said, “I never read a book before reviewing it; it prejudices a man so.” Thirty years ago that remark was still a joke. These days, it’s a downright plausible idea, one with a distinctly postmodern ring. If the objects of experience are nothing but constructions, inventions of our cultures and mind-sets, that must go as well for all the books (...) we read—including those books which urge this fact on us. To read them is to construct them, to write them for yourself. But wait—that can’t be a fact, because facts are just prejudices too. Takes your breath away to realize how far scholarship has come.These thoughts drifted through my mind reading The Traffic in Culture: Refiguring Art and Anthropology, edited by George E. Marcus and Fred R. Myers (University of California Press, $48.00 cloth, $17.95 paper). It comprises a long introduction plus eleven chapters which “explore the boundaries and affinities between art, anthropology, representation, and culture, casting a critical, ethnographic light on the art worlds of the contemporary West and the ways they give value to cultural form—in short, a “‘traffic’ in culture.” It is not easy to make out a consistent thread in the essays themselves. Carol Vance offers a fine discussion in the form of four small essays on censorship, the NEA, Jesse Helms, and so forth. There is no discernible connection with anthropology, and I cannot see why these pieces are included. Nancy Sullivan, described as a Ph.D. candidate in Fred R. Myers’s NYU anthropology department, struggles with her cumbersome account of the artworld in the last generation. Again, I can detect no hint of how anthropology has helped her understand the artworld. Hal Foster makes a cameo appearance of only a few pages, a kind of postmodern arabesque with lots of big words. Christopher B. Steiner revisits material [End Page 283] presented in his book, African Art in Transit, which is squarely in the field, and Steven Feld agonizes about appropriation of world music into commercial music business while telling some interesting tales about a radio program he produced of music from Papua New Guinea. The feminist Judith L. Goldstein does a late-capitalist, “late-postmodernist” job on women’s makeup, with much reliance on Fredric Jameson but no anthropology I can discern, despite the fact that she gave a version of it at an American Anthropological Association conference. If we really have reached “late-postmodernism” we can only be thankful. Molly H. Mullin’s account of the nineteenth- and early twentieth-century enthusiasm for American Indian artifacts, on the other hand, may begin with clichés about “élite responses to the rise of consumer capitalism,” but it soon settles down to a solid account of the people and problems of trying to achieve recognition of Indian handicrafts as art. This was made possible, we learn, by much devoted work from people who were multiculturalists before the word existed, white Americans whose actions were based on a love of Indian cultures and arts, rather than postcolonial theory and the school of resentment. All the issues of art vs. craft, the relation of tourism to artistic development, authenticity, and so on, were raised in the 1920s and 30s, with sophistication not often seen today.But to figure out how it all is supposed to tie together, we have to turn to the book’s explanatory introduction. This is so turgidly vague that when I was done I felt like invoicing the authors for my time. These pages are peppered with half-assertions I’d half want to dispute if their meaning were plainer, and a few that are plain enough to be flat-out wrong. Among many examples: “Ironically, the very category of ‘art’—as opposed to ‘the arts’—goes unexamined in its own hierarchies of sense, so that various forms of popular performance, in which disinterested contemplation does not necessarily reign supreme, are excluded.” Excluded? Notice that irritating passive voice: who, I’d like to know, has left popular performance unexamined and excluded? What are “hierarchies of sense”? The sentence carries no reference. In... (shrink)

Few works of social criticism about contemporary America have elicited so much response as The Culture of Narcissism. There Christopher Lasch argued that the traditional American emphasis on individualism has degenerated into a narcissistic preoccupation with the self. He explained this transformation by pointing to the psychological consequences resulting from changes in the nature of production, consumption, and socialization. Of particular importance was the shift from handicraft to factory modes of production and the subsequent takeover of workers' knowledge by a (...) managerial elite. Rarely encouraged to be self-sufficient, today's individual is asked to rely too often on professional experts, who provide certified answers for every aspect of life — a process which unwittingly duplicates the conditions of infancy in which we are all dependent on the adult world. (shrink)

By technology, Martin Heidegger is referring to modern industrial technology, as opposed to older handicraft technology, or craft. Technology gives a way of viewing the world and everything in it as resources, the purpose of which is to serve further applications of technology. This is how the Borg views the universe, as raw material that they can assimilate into the Collective to feed their quest to continually assimilate more. The Borg also views the assimilation of species as an improvement, not (...) only of the Collective, but also of the species being assimilated. The Borg's assimilation of Picard shows how a shift in the perspective can help to change the relationship to technology, and might offer some hope that technology may not be able to sustain the challenging of all of nature. Society is being ordered on a global level so as to enable faster technological developments. (shrink)

The article examines the issues of modern trends in the development of small business in the Republic of Kalmykia. One of these trends is entrepreneurship, which actively uses ethnic, national components in its line of business. The purpose of the article is to study the ethno-economic aspects of modern entrepreneurship in Kalmykia. The main research method is an expert survey. A total of 12 experts were interviewed. The study was conducted in May-June 2020 in Elista. As experts, restaurateurs or owners (...) of national cuisine cafes, ateliers, clothing manufacturers, representatives of the tourism business, manufacturers of souvenir products, owners of souvenir shops, manufacturers of ethnic furniture, etc. Experts note the popularity and demand for ethnic goods, handicrafts in the segment of ethnic fashion, ethnic design. And also services of ethno-tourism, ethno-restaurants, which testifies to the prospects of ethno-business and ethno-entrepreneurship in the republic. Active revival of Buddhism, restoration, development of national culture, natural resources make Kalmykia especially attractive for tourists. However, one of the problems in the development of ethnic entrepreneurship is the fact that there are very few masters of national instruments, masters of making complex souvenirs. An expert survey has shown that the development of ethnic entrepreneurship is an important resource for economic development in Kalmykia. (shrink)

A notion of "good work," derived from William Morris and the Arts and Crafts Movement but also part of a wider tradition in philosophy (associated with pragmatism and Everyday Aesthetics) understanding the global significance of, and opportunities for, aesthetic experience, grounds both art making and appreciation in the organization of labor generally. Only good work, which can be characterized as "authentic" or as unalienated conditions of production and reception, allows the arts to thrive. While Arts and Crafts sometimes promotes a (...) limited aesthetic (both theoretically and stylistically) around handicraft, a good-work aesthetic theory encompasses a broader range of working methods and materials without compromising the core Arts and Crafts "authenticity" principles of control over production and creative autonomy. Moreover, it gives weight to the equally important role of spectators by linking their aesthetic education to good work in their working lives and, in turn, to the success of artworks. The theory delivers insights into the nature of works as collaborative projects and the developmental courses, participatory and esoteric, open to the arts generally; and it is a robust counter to anti-aestheticism and intellectualism in the theory and practice of the arts. William Morris and the artist-craftsmen and -women of the Arts and Crafts Movement have a theory of art and the aesthetic that has an importance beyond their own artistic work and its achievements. Morris delivered lectures on the arts in many British towns and cities in the 1870s, 1880s, and 1890s; these were published as Hopes and Fears for Art and later as a volume of his collected works.1 The movement codified and publicized its practices through various societies and organizations like the Arts and Crafts Exhibition Society and Charles Ashbee's Guild and School of Handicraft, each producing its own literature, which ranged from practical handbooks to political exhortations. Later, William Lethaby's lectures, often to organizations that were part of the movement, were published as Form in Civilisation.2 To that extent, then, a Morrisian or Arts and Crafts aesthetic theory has to be constructed from sources that were necessarily rhetorical, as well as being practical and theoretic. Morris and Lethaby were explicitly aiming to influence current artistic practice through their lectures to audiences usually composed of artists, architects, civic leaders, and so on (and this no doubt at least partly accounts for their neglect in philosophical aesthetics). Still, I will argue that this reconstructed theory is sufficiently coherent and sophisticated to be worth investigating for its relevance to contemporary debates in analytic aesthetics, particularly against those arguing for art as a nonaesthetic activity (of which the seminal text remains Arthur Danto's "The Artworld"), and for its arguments for art's connections (as an activity of both making and experiencing artworks) with other life experiences.3 In these respects, then, in the history of aesthetics it is a forerunner of, or at least has intellectual associations with, pragmatist aesthetics (yet it is often unacknowledged within that paradigm, so neither Dewey's Art as Experience nor the more recent pragmatist works by Richard Shusterman cite Morris) and shares ground associated with the Everyday Aesthetics movement.4In arguing for the theoretic and historic significance of a Morrisian aesthetic, I take encouragement and a lead from Paul Guyer's recent acknowledgement of the neglect of Morris in accounts of the history of philosophical aesthetics. Guyer names Morris, along with Schiller, Ruskin, and Dewey, as properly understanding the full significance of the distinctive character of aesthetic experience. As Guyer writes, they understood that aesthetic experience is distinctive in its freedom from our most immediate obsessions with purpose and utility, but that the freedom it thereby allows us is not a freedom for the simple contemplation of beauty with no further concerns or implications, but rather a freedom to develop our imaginative and cognitive capacities, to gain knowledge of ourselves and others, and to imagine new ways of life, a freedom that is valued not simply for its own sake but also because of the benefits the developments of these capacities can bring to the rest of our lives. (shrink)

The natural philosophy of Diderot is built from the experience of the fundamental Description des Arts in the Encyclopedia, or from the «great and beautiful collection of machines» which the work provides a very rich representation. Models and metaphors that Diderot constructs to describe the world of organic beings, from the Pensées sur l'Interpretation de la nature , are inspired by the world of the mechanical arts and crafts. The manouvriers d’expériences, the experimental philosophers, are the great inventors and discoverers (...) of the secrets of nature and living being: to them Diderot inspire itself and his work as a philosopher of nature and arts. From the loom to weave socks, to the fire pump, the description of the machine proceeds through a complex network of metaphors that combine the operation of the instrument to that of organic life. The machine energises itself and the organism, in turn, is mechanized in a maze of functional architectures, according to new models and artistic metaphors of living beings, other than cartesian one. Diderot does not cease to be mechanistic still in his last vitalistic works, from Le Rêve de D’Alembert, to the Éléments de Physiologie. The new world of handicraft and artisans remains the key reference point in the philosophical work of the encyclopaedist-naturalist: weaving loom socks and sensible harpsichord are the two tools / metaphors that describe the man and his rational and specific nature. (shrink)

La naissance du CRI à Grenoble doit être replacée dans le contexte intellectuel de la nouvelle critique des années 1960. Les trois courants dominants du matérialisme historique, de la psychanalyse freudienne et du structuralisme ont alors été dépassés par le CRI au profit d’un « nouvel esprit anthropologique » qui privilégiait la réalité sensible des images au détriment des idéologies réductrices. Les intellectuels des villes ont perdu le lien charnel avec une civilisation rurale et un mode de vie ayant façonné (...) notre langue, nos croyances et nos fêtes, ainsi que des artisanats séculaires. Le médiéviste peut encore retrouver le lien avec cette mémoire du temps. Mais s’il n’a pas conservé une âme païenne et un esprit paysan, il est condamné à la posture post-moderne. Penser la culture occidentale en contournant ou ignorant le Moyen Âge n’est qu’une imposture. Un exemple de longue vie des images montre l’importance des relais culturels qui relativise toute théorie préconçue des archétypes. The birth of the CRI in Grenoble is replaced in the intellectual context of new criticism of the 1960s. The three mainstream have been overtaken by the CRI in favour of a “new anthropological spirit” that emphasizes the sensible reality of images at the expense of reducing ideologies. The modern scholars of the cities have lost the carnal connection with a rural civilization and a way of life that have shaped our language, our ancient beliefs and feasts and also centuries-old handicrafts. The medievalist can find the link with this memory of time. But if he has lost a pagan soul and a spirit of peasant, he is sentenced to a post-modern posture. Thinking Western culture in bypassing or ignoring the middle ages appears like a mere sham. An example of long-life images stresses the importance of cultural relays against all preconceived theory of the archetypes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 50-58 [Access article in PDF] Evolution in Qualitative Factors Used to Evaluate Japanese Students [Tables] Introduction Two basic viewpoints are typically taken in the evaluation of achievement in Japanese schools: either the focus is primarily on "field-content-basedevaluation" or on "ability-concept-based evaluation." I have compared the qualitative factors encompassed by these two viewpoints as reflected in the permanent school records of Japanese students. (...) These recordsinclude classes taken, grades earned, and school-related information. Kanten (in Japanese) has become a key word in the evaluation of academic achievement in Japan. It represents the qualitative factors that should be considered when evaluating a student's learning achievements. In this essay, I review how these qualitative factors have evolved, both for general subjects and for fine arts.From the beginning of the educational system (1872) to 1938, the "assessment" [Hyoutei] of a student depended on the comprehensiveness of the student's achievement in each subject. (Overall assessments are now usually made using a three-point scale; 1-3, a five-point scale; 1-5, or an ABC scale.) However, it was not clearly specified how scholastic ability and learning accomplishment should be assessed or which qualitative factors should be considered.Starting in 1941, teachers were required to evaluate, comprehensively assess, and record the student's learning, consideration, dealing, application, skill, appreciation, practice, and learning attitude through his or her daily learning and activity. 1 The factors seem to be basically equivalent to those recently used as "interest/aspiration/attitude," "thinking," "judgment," [End Page 50] and "expressive power." After 1941, the point of view in the area of fine arts gradually changed from focusing on the "field-content-based factor" to the "ability-concept-based factor" in both the educational content and in evaluation.This report focuses on the evolution in the qualitative factors used in evaluations in the postwar era. From 1949 to 1991 "Understanding," "attitude," and "skill" were specified as factors that shouldbe considered when evaluating a student's learning achievements in 1949. For a few years, these factors were considered independently in the non-referenced evaluation of five-point ratings. The two basic viewpoints, "field-content-based factor" and "ability-concept-based factor," coexisted in the course of study in the early 1950s, according to a tentative plan published in 1951. "Attitude" and "habits" carried the same weight as "understanding" and "skill." These factors received minimal attention at the elementary school level. Evaluations thus evolved from simply an overall assessment of the student's achievement in a subject to an assessment of these specific factors. For instance, at the elementary school level, drawing and handicrafts both had factors related to "field content difference" (for example, drawing, color, and pattern) and to "ability concept difference" (for example, attitude and habit). At the junior high level, the factors were represented by a double-layer structure (Table 1). The elements underlined in Table 1 reflect on the "ability concept difference" (for example, expression activities and understanding activities) instead on the "field content difference." Following the revision of the permanent cumulative records in 1955, students were evaluated based only on an overall assessment of their individual [End Page 51] performance in each subject (Japanese language, mathematics, social studies, music, and drawing and handicrafts). There were three main reasons for this change.The effort it takes to evaluate each factor analytically. The difficulty of evaluating "attitude." The demand by schools at the next level for a comprehensive and uniform evaluation for each student for each subject. 3Furthermore, although "interest" was added as one of factors to be considered in the evaluation, it was not to be dealt with analytically in the evaluation of what the student learned. Consequently, evaluations became clearer and more comprehensive, although the weights of the factors, referred to as the "affective domain," took a step backward. In 1961, the factor "interest/attitude toward fine arts" was added. At the same time, "interest" was given more weight. However, the higher weighting of the factor was short-lived because intangible factors such as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 107-114 [Access article in PDF] A Comparative Study of Artistic Play and Zoukei-Asobi[Tables] "Artistic Play" and "Zoukei-Asobi" Recently, I found an article in Art Education which led me to believe that "artistic play" is not as popular among North America art educators as it is in Japan. 1 For Japanese art educators, especially at the elementary level, this word is well-known as (...) a key term. In Japanese we say "zoukei-asobi." "Zoukei" means "plastic arts activities" and "Asobi" means "playing." I recognized that the basic concept of "artistic play" has something in common with that of "zoukei-asobi." In this article I will identify this as "J-artistic play." The aim of this essay is to compare the meaning of "J-artistic play" by studying its use in Japan and the United States. The Curriculum Guidelines for Art Education in Japan Before considering J-artistic play, I should explain the national guideline for art education in Japan, since the objectives and contents of J-artistic play are prescribed by this guideline. We have had a national guideline since 1872 though this has changed drastically to resemble the American model after World War II. The subject corresponding to "Visual Art" in the elementary school is "Art and Handicraft (Zuga-Kousaku)." "Zuga" means drawing and painting, "Kousaku" means design and craft. The current guideline is divided into three parts (I-III) as shown in Table 1.The first shows a general goal of art education in the elementary school. The second describes the objectives and contents of each grade. The third indicates some key points of teaching for teachers. In the elementary school the curriculum sequence falls into three steps. The content is divided into the two areas ("Hyougen" and appreciation), and Hyougen is divided further into "artistic play" and "art-making." [End Page 107] [Begin Page 110]I should make some comments on Hyougen. In this guideline, Hyougen is used both as expression and representation. In traditional Japanese aesthetic consciousness, "expression, representation, and decoration" constitute a kind of trinity. The concept of J-artistic play was introduced into the national guidelines for art education in1977. 2 At first, this was available only for grades 1 and 2 in the elementary school, but since 1998 the concept has been extended to grades 1 and 6, as shown in Table 1. About the Property of J-artistic Play The activities in J-artistic play do not refer to any traditional art forms, such as painting, sculpture, or handicraft, nor are they derived from any specific art forms. In fact, the purpose for the introduction of this concept into the national guideline is to protect children from falling into conventional ways of representation as found in the traditional art forms. The promoters of J-artistic play thought that the preconceived ideas found in such existing art forms, such as painting might depress children's spontaneous and free expression. Some concepts from contemporary art, such as performance art, have also influenced J-artistic play.As Eliza Pitri said, "Play is spontaneous and voluntary. It is not obligatory but is freely chosen by the player." Though schooling is compulsory and a student cannot choose it independently, advocates of J-artistic insist that the character of "play" in the school curriculum should be an original and undifferentiated form of learning. One of the advocates of J-artistic play explains the significance of artistic play as an operation of integrated intelligence. 3 Artistic play is different in function from ordinary expressing activities. Ordinary expressing activity works with a blank drawing paper as sterile space, conditioned, virtual...laboratory. Contrarily artistic play works with raw materials, living places, and real environments, and is composed of organized and integrated formative activity by working on the subjects that make conditions for human, objective, and phenomenal interaction. Reorganization of intelligence and the opportunity for acquiring new intelligence are embedded in the activities that work interactively. Here we note that children will learn a reality from the interaction between the person and his... (shrink)

The work is devoted to the philosophy of mastery presented in the tales of the Ural writer Pavel Petrovich Bazhov. The basis of the phenomenon of mastery is the classical philosophy of Plato in its Socratic version. The authors of the article see it as their goal to prove the close relationship between the practical handicraft Ural art, represented in the mythology and literature of P.P. Bazhov, and the classical metaphysical attitudes of European philosophy. The personality of the master becomes (...) a cementing link between the natural world and the world of culture. Mastery in its philosophical and practical form acts as a support for the natural attitude towards nature, art, and towards man in general. The authors decipher the phenomenon of mastery in the tales of P.P. Bazhov, analyze his modes and the specifics of manifestation. Ural tales of P.P. Bazhov in describing the phenomena of mastery and genuine creative attitude to nature repeat the structure of the classical attitude to the world and logically correspond to the structure of the creative attitude of the master poet to the object he creates. The specificity of the Ural artcraftsmanship lies in the fact that the personality of the master is embodied not in an ideologist, not in a religious preacher, not in an intellectual, but in a master who interacts with the elements of nature as concretely and closely as possible. The work immerses P.P. Bazhov’s legends, written during the Soviet period of Russian history, in the global context of research into the nature of genuine living creativity, and also emphasizes the regional and very special specific aspect in the Ural mastery. (shrink)

The early twentieth century saw the rise of various movements and communities in response to a perceived crisis in a western modernity that many contemporaries viewed as decadent and in urgent need of social, cultural, and spiritual renewal. In Britain in particular, several groups of traditional artisans expressed their rejection of modernity by leaving the city to form small artistic communities. Such community experiments often had their roots in the nineteeth-century Arts and Crafts movement, a background shared by the founding (...) members of the community at Ditchling in Sussex — Eric Gill, Douglas (Hilary) Pepler, and Edward Johnston — but augmented by an increasing commitment to Roman Catholicism on the part of Gill and Pepler. The Ditchling group’s commitments to traditional handicrafts and the Church made their relationship to modernism tentative and difficult, but some members at least were familiar with artistic developments in the wider world. In particular, Eric Gill would reject modernism at Ditchling, while David Jones would embrace it to assert his artistic and spiritual independence. (shrink)

In this article, I explore the music-in-becoming as a dialogue. The thesis of my inquiry is that during musical composition, the composer’s listening is marked by both activeness and receptiveness; actively structuring the sounding work, and receptively letting the work express itself as it takes its form. Composer and work merge in sudden moments of attunement, the sensation of coherence between the so-fare completed and the anticipation of the as-of-yet unformed work. Composition is all about balancing writing as a handicraft (...) with those rare, unexpected moments of attunement. I discuss the emerging work’s invitational character and the fact that during composition, the piece seems to request the composer’s attention. The audibility of the work’s voice depends on the composer’s ability to listen. Finally, the methodological considerations concerning sonic-artistic research show that researching sonic experiences requires competencies of being attentive, responsive, and reflective. Attentiveness is related to thorough listening experiences of the emerging music, responsiveness appears as a vital skill in a composer’s dialoguing with the music-in-becoming, and reflectiveness is associated with empirically documenting the processes. At the heart of this sonic research project, I place my lived experience of composing and the intimate relation between sound and listening. (shrink)

Umayyad Islamic art has a very rich understanding of art. It will not be possible to create architectural, handicrafts and other custom decorations of these dates, including animal decorations and animal decorations. Therefore, it has become a very important owner in figure art. The figures of the early Islamic period have a common style and style while under the influence of different cultures. In this high Islamic art, it is preserved and maintained before it is transformed into a form (...) that can be applied from sculpture and painting. It is one of the figures that can be said to what extent the people who have survived until today. Because human and animal figures will not be a part of the most important elements of Islamic art. With the absence of Islam and the negative view of the statue, the life necessary for an early period aimed to be completed. In the design of the plan, private 'civil decorations' can be included in Islamic art with a political planning. Do not avoid this art because they are not cautious about verses and events. In this work, it is aimed to place the subject in question, to bring it to the exhibition and to imagine a wider window expression. Therefore, it will be a pleasure to reach and present the goals achieved. (shrink)

When art meets craft -- Glass -- Metal -- Stone -- Textiles -- Other materials -- Interviews.

Child Labour in Kashmiri Society: A Socio-human Rights Study The Constitution of India guarantees fundamental rights and the full freedom to enjoy childhood. In spite of that millions of children are being put to arduous work for short and narrow gains. By 1989, the standards concerning children were brought together in a single legal instrument agreed to by the international community. It unambiguously spelt out the rights to which every child is entitled, regardless of place of birth, descent, sex, religion, (...) or social origin. A number of aspects, such as gender, family background, cultural acceptance, issues of health and recreation, the legal aspect and so on, have been covered. The life worlds of working children, legal protection to children from exploitation and the human rights perspective of child labour is the main focus of this article. (shrink)

La conceptualización del saber artesanal es compleja y requiere del reconocimiento epistemológico dentro del contexto sociocultural y económico en el que opera lo artesanal, donde es necesario resaltar el valor ancestral, pues, dentro del aprendizaje hay una transferencia de conocimiento tradicional cuando no hay una ruptura en la producción de sentido que se constituye.Por ello, esta investigación busca, por medio de un documental, visibilizar la labor que cumplen los artesanos y cesteros del municipio de Tocaima, Cundinamarca, logrando construir un espacio (...) de integración y capacitación donde sean los cesteros quienes se beneficien y logren transmitir los saberes de la cestería. (shrink)

We analyse the development of Fair Trade in Italy by examining its principles, structure, performance, dilemmas and potential solutions and identifying its main distinctive features. These lead us to develop a specifically Italian model. Fair Trade in Italy is younger than its more established North European counterparts and more focussed on broad social justice issues in addition to its concern to include marginalized producers. This normative difference has given rise to a social-economy-dominated value chain (with a partial corporate involvement uniquely (...) in the retail sphere), although it has generated much lower per capita consumption of Fair Trade products. At the same time, we also observe a relatively higher specialization in handicraft products and educational activities as well as a strong capacity to attract voluntary labour and create social capital. We identify clear trade-offs between social goals and the economic performance of the Italian model: reduced economies of scale, a closer focus on non-economic-value-creating social activities and greater consideration of values such as consumption sobriety and environmental concerns which may conflict with economic performance. We propose solutions which may resolve these dilemmas without abandoning the initial ambition not only to achieve the promotion of market access for marginalized producers in the South, but also to pursue a broader concept of well-being in the North and the South. (shrink)

Rousseau's Hand explores Rousseau's involvement in and promotion of craft in the context of the technological developments of the Enlightenment and his own European celebrity as a writer.

Surat zari industry is one of the oldest industries in Surat (Gujarat state in the western part of India) dating back to the sixteenth century. It enjoys the status of cottage industry since 1955. Zari is an intermediate product broadly catering to two end-user industries—textiles industry including handicrafts and the fashion industry. It is largely a family-owned, community-based, skilled-oriented, fragmented industry, with a very low level of automation, experiencing intensive rivalry. Zari making involves a series of inter-related closely guarded (...) processes, which are passed on from generation to generation. Some of the issues and challenges that the industry is facing today are related to the traditional mindset of the entrepreneurs, quality, lack of standardization of processes and marketing. The paper discusses the possible strategic interventions as also the cluster approach to enhance competitiveness of the industry. (shrink)

Examines the relationship between making objects and knowing nature in Europe from the mid-15th to mid-19th centuries.

Several simulation projects in the area of production and logistics indicated that, although we have sophisticated input and output devices for computer supported modelling, physical models still play an important role for cognition and communication. We therefore introduce the concept of a Graspable User Interface that aims at combining two model worlds, the one inside the computer and a corresponding physical one in the outside world. Sensored user hands will couple physical objects of the real world with virtual objects, thus (...) allowing fairly unrestricted manipulation and expression. In this way modelling with real physical objects can create an abstract virtual model. Some applications of this concept are presented. A further perspective for a new action oriented communication and learning with artifacts is envisioned. (shrink)