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| A family with their TV dinners Photo Courtesy of (http://www.mortaljourney.com/2010/11/1950-trends/tv-dinners) |
In the introduction of The Nature and Art of Workmanship,
David Pye discusses our relationship with crafts and mass-produced goods. In a
world where seemingly every product is mass produced in a factory, Pye asserts
that "people will continue to demand individuality in their possessions
and will not be content with standardization everywhere" (3). He introduces
the opposing concepts of the workmanship
of risk (Risk)and the workmanship of
certainty (Certainty). Risk is basically the type of craft-work that
involves an individual worker, creating unique products using highly trained
skills. Certainty is the craft-work that can be done by man, but is often done
by machines. It is certain that the product will be uniform with every other
product made in this way. An example that Pye gives to compare Risk and
Certainty is writing with a pen, vs. typing with a typewriter. The end product
will be similar - the same words are put onto paper - but handwriting is a Risk
craft, and will change with time. Pye also notes the differences between preparatory
workmanship and productive workmanship. Preparatory workmanship makes jigs,
tools, and apparatus which make Certainty possible. An example of a
"jig" would be a typewriter or a ruler; a jig basically aids the
craftsman in perfecting a product. Productive workmanship, on the other hand, turns
out products for sale. So we use tools created by preparatory workmanship to
create productive workmanship. This all sounds a little confusing, but Pye was
mainly getting at the point that there are different ways to go about making
products, and people will always have a special feeling towards Risk
workmanship; even when Certainty workmanship creates the majority of the
products on the market today. Pye insists that the individuality of Risk
products have a special quality which is different than mere monetary value - hence
the public's draw to antiques and handcrafted items. This almost reminds me of the
word "Aura" from a few classes ago.
You have to admit that Pye has a point. I myself am drawn to
craft fairs and handmade products at boutiques and swap meets. I feel a certain
joy when I think about all of the time and care put into the re-purposed,
handmade mittens I wear, or the natural
ingredients used in the soap I use. Pye slightly introduced the idea of wanting
to "return to nature" so to speak. This idea of reconnecting with the
environment which we have also destroyed was brought up in the New Yorker
article "Making It: Pick up a spot welder and join the
revolution" by Evgeny Morozov. Morozov looks at the
transformation of the Arts & Crafts movement from the early 1900s to today.
Morozov related the Arts & Crafts movement to the counterculture through
time. Crafts were popular before the turn of the century, but then the
popularity died down as the industries of the 1920s and 1930s took off. Crafts
were again popular during the 1960s in a "back-to-the-land" type of
way. Men and women who were part of the commune-building community were
actively participating in creating their own jewelry, clothing, food, tools,
and other products. These people were directly pushing back against the highly
regulated and mass produced culture of the 1950s. This just brings to mind the
classic picture of a family eating the newly invented TV-dinners in front of
their new TV. Morozov then explains how the newest counter-culture fits into
the technology realm. Young people are now finding ways to destabilize the
system through online hacking and radical web start-ups which require no large-company
backing. This is a new way to use technology in place of the workmanship we are
used to.
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| "A New Way of Living" Photo Courtesy of (https://prezi.com/zpkk_969emj6/impact-of-the-1960s-counter-culture/) |
I related to these
works on crafts because I like to crochet and paint and generally work with my
hands. I've never really thought about why I like to create these things, but
maybe it's because I enjoy feeling connected with my things. I feel
pride in my uneven crocheted winter hat. However I have started using my own
"jig" - a loom which makes for a perfectly even hat. I wonder if Pye would
insist I am moving too far from individuality? These ideas about workmanship and crafts fits into the larger conversation about my object study for class as well. My object is the taxidermy raven which served as the inspiration for Edgar Allan Poe's "The Raven". My object can definitely be interpreted through the lens of craft-work and handmade objects. Taxidermy is an intimate craft, requiring deep knowledge of the species being preserved. This exhibits the style of Risk workmanship. It is also interesting to note that the raven, "Grip", is housed in a decorative box made to act as a habitat. The bird is standing near rocks, moss, and other foliage. There is a glass front piece, surrounded by coated wooden sticks. All of these natural factors relate to Pye and
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