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== Preliminary reading list ==
== Preliminary reading list ==


* Sennett, Richard. The craftsman. Yale University Press, 2008.  
* Sennett, Richard. The Craftsman. Yale University Press, 2008.  
* Ruskin, John. The Political Economy of Art, Addendum 8: "Silk and Purple", in: Ruskin. "Unto this Last": Four Essays on the First Principles of Political Economy. Smith, Elder and Company, 1862. http://www.gutenberg.org/files/36541/36541-h/36541-h.htm#Page_107
* Ruskin, John. The Political Economy of Art, Addendum 8: "Silk and Purple", in: Ruskin. "Unto this Last": Four Essays on the First Principles of Political Economy. Smith, Elder and Company, 1862. http://www.gutenberg.org/files/36541/36541-h/36541-h.htm#Page_107
* Morris, William. News from nowhere. Broadview Press, 2002 (1890). http://www.gutenberg.org/ebooks/3261 ; Chapter XV: On the Lack of Incentive to Labour in a Communist Society"
* Morris, William. News from nowhere. Broadview Press, 2002 (1890). http://www.gutenberg.org/ebooks/3261 ; Chapter XV: On the Lack of Incentive to Labour in a Communist Society"
Line 61: Line 61:
* Gauntlett, David. Making is connecting. John Wiley & Sons, 2013. http://www.makingisconnecting.org/
* Gauntlett, David. Making is connecting. John Wiley & Sons, 2013. http://www.makingisconnecting.org/


= Ideas for show at V2_ =
= Show at V2_ =


== Official blurb ==
== Official blurb ==
Line 75: Line 75:
[https://www.facebook.com/events/236012109929761/ 5 ½ Proposals to Work and Live in the Current Millennium], Rotterdam, May 23rd & 24th
[https://www.facebook.com/events/236012109929761/ 5 ½ Proposals to Work and Live in the Current Millennium], Rotterdam, May 23rd & 24th


== Individual ideas ==
== Idea development ==
* no exhibition, just invite speakers who speak about what is the craft in their particular profession/occupation
[[politics_of_craft/ideas First ideas for the project presention]]
* parody of Swan Market/subversion of arts and crafts street market in V2_
* artisan factory: creating a 6-day art-/design-making factory assembly line in V2_
* divide V2_ into two spaces: one art space, one crafts space; create clashes/collapses of the two, simultaneously involve crafts people/designers and fine artists to let them work with the same materials
* deskilling exercise: a deskilling show/process over the course of the week
* advertising of a show that doesn't exist
* reflect on DIY crafts as an ideology in times of economic crisis: capitalist/government-advocated resourcefulness, DIY as self-management in times of system failure (examples of Portugal and Nigeria)
* one-week permaculture self-sustainability (alternatively: microeconomic) experiment in V2_, with documentation of failures; make use of Nikos in Greece and Caetano in Brazil
* running a microbrewery or other crafts practice (their culture, technology and economy) as a contemporary example of arts & crafts
* walk to pop-up DIY entrepreneurs in Rotterdam, retelling the story of William Morris about London entrepreneurs
* happiness/pleasure as currency
* exchanging craft for craft; maintaining a constant amount of it at all time
--------------------------------------------------------------------------------------


piratepad - http://piratepad.net/craftcraftcraft
== Info on individual project (title, blurb, sentence from the text) ==
 
* DESIGN LIST
* Please confirm your names on the previous emails to avoid stress after the printing
* we need to define floor plan
* Please confirm dates, times, address and what else is needed in the poster
* would be wise to have a final word about what should be printed and designed for the zine floorplan
* images for background are finished
* Design for screen print layer is almost ready next meeting we finish, thursday we print
* webdesign for digital flyer will be online on next meeting
* Digital image for facebook as well
* ...


== Combined ideas ==
* internal crafts/microeconomic experiment + external speakers
* luxury paradox: how can arts/crafts efforts become self-sustainable without producing luxury goods?
* consumer market of arts and crafts: authenticity in arts and crafts sold as a commodity
* artists' survival camp: how artists who get put into the jungle of Rotterdam can survive with their skills/trade
* showcase and documentation of existing micro economies: ask audience how to create micro economies in certain areas of the world (that have certain issues such as environmental pollution); conclude show with a public discussions of submitted ideas
* show/fair "organic media design" ("organic media art") / "green media design" - media design take on arts and crafts


=== Artyom Kocharyan ===


--> conclusion: practical experiment (addressing issues studied in this thematic project) that engage both us - as the artists - and the audience, possibly with elements of meta reflection (such as lectures/discussions).
title: '''Earth's little ones'''


* fallback option: reiterate one of the historical examples of our thematic project and try to think of their contemporary updates: What is Arts and Crafts of the 21st century? / What is the Bauhaus of the 21st century? / What is the Flux Shop of the 21st century? / What is punk DIY of the 21st century?)
blurb: Mixed-media installation with wallpaper and artificial head-wreath
* conversely: what is the arts and crafts of contemporary media? (Sennett: Linux/Open source communities as 21st century craftsmanship)
(Doesn't need this more explanation such as: William Morris' aesthetics translated into 2014 - a mixed-media installation consisting of wallpaper and an artificial head-wreath.  ? Florian)


== Preliminary ideas for V2 ==
sentence from the text: (i'm using a visual reference to Morris instead of a text)
artyom idea for V2-taking as a starting point of w. morris' illustrations of nature (in particular flowers). the way he idealize  the nature, seeing it as a refuge for people but at the same time his portrayal of nature is very limited, symmetrical and decorative.


Lídia -> How to extrapolate the intricate relations between entrepeneurship, luxury and precariousness, that is, how is immaterial labor/entrepeneurship founded on exploitation, that of the entrepeneur/immaterial laborer him/herself and how it relates to that of developing countries sustaining western economy. Possible outcome: a booth for people to sign up to the immaterial laborer's union, with informational flyers, the manifesto, etc.
http://2.bp.blogspot.com/-ATai_MB0JWk/UU74BuQxRvI/AAAAAAAABUA/aJT5YDOdHq8/s1600/MAKWandle.JPG


Chen :research the comparison between Japanese and western craftsmanship ( on society class, politic aspect and cultural background). Is it the same pleasure as Morris mentioned in <news from nowhere>
=== Ana Luísa Moura ===
present the result as a physical object.


Mihail :an installation that would construct a video social platform for the event | Focusing on the idea of free labor | People contribute to the platform by recording footages of the event.
title: '''Craft and The Ideology of Self-Empowerment'''


MAX  -  The pleasure of labor, sentiment analysis, zero hour contracts, the wellbeing index, speculative economy and profit return higher on capital than production. current rogue ideas - job centre, employing visitors to exhibition.
blurb: Arts & Crafts in its relation to cycles of financial and political crisis - a documentary installation
confirmed ideas - ZINE!




Ana Luisa - arts and crafts and the ideology of self-empowerment
[[User:Luisa_Moura/thematic/trimester III/Work_V2|(read more)]]


Nikos- workshop/reading group bringing in dialogue News from nowhere and key texts/theories of cultural commons, creative commons, Bauwens, Hyde, Lessig.+ suggestion Florian= Paul Keller. Possibly near the end of show, possibly  guest speaker. creative commons licenses _ the idea of enjoyable work and honor fame not money
quote: "Therefore, though they knew that the only reasonable aim for those who would better the world was a condition of equality; in their impatience and despair they managed to convince themselves that if they could by hook or by crook get the machinery of production and the management of property so altered that the ‘lower classes’ (so the horrible word ran) might have their slavery somewhat ameliorated, they would be ready to fit into this machinery, and would use it for bettering their condition still more and still more, until at last the result would be a practical equality (they were very fond of using the word ‘practical’), because ‘the rich’ would be forced to pay so much for keeping ‘the poor’ in a tolerable condition that the condition of riches would become no longer valuable and would gradually die out. Do you follow me?” (...)
“Well, since you follow me, you will see that as a theory this was not altogether unreasonable; but ‘practically,’ it turned out a failure.” (News from Nowhere, in CHAPTER XVII: HOW THE CHANGE CAME)


Lucia


.going to read the text again and pick topics of interest


.thinking of using text, not sure about the format yet
=== Junyu Chen ===


.willing to work within constraints - (time?) I had initially thought of using constraints in production, but maybe I could use constraitns for the 'consumption' instead. For example, write text that is readable in 5 minutes (probably even less time, thirty seconds).
'''Title: Circling'''
Blurb: A reflection of Eastern craftsmanship in a short documentary installation on how to draw a perfect circle. It recalls a spirit of working hard practicing one's skill, and training one's mind.  
Quote: " All work is now pleasurable."


.(other) points to reflect on:
[[User:Chen Junyu/Thematic Project/The Politics of Craft|Read me]]
* questions as critique
(Thanks for the correction!)
* audience engagement
* question the media design
* the exhibition as a local/social/exclusive media event


June 4 update -> Morris' text snippets printed on edible paper + edible ink. Through a very simple (computer) interface, visitor can choose the paper and the ink flavors. By clicking on a third button, a text snippet is (randomly) chosen among a pre-defined selection of Morris' text and the edible text is printed (and given to visitor).


Next steps: define the text snippets which are going to be used and check/think of technical details.


== Info on individual project (title, blurb, sentence from the text) ==
=== Mihail Bakalov ===
 
TITLE: ''' YouLoop '''
 
BLURB: The project is a social video platform and a social experiment. Visitors are invited to document an event in their own video recordings. They get a choice between free and paid labor. Two screens document how these choices do - or do not - affect the resulting videos.
 
QUOTE: How you get people to work when there is no reward of labour, and especially how you get them to
work strenuously?”
“No reward of labour?” said Hammond, gravely. “The reward of labour is life. Is that
not enough?”
“But no reward for especially good work,” quoth I.
“Plenty of reward,” said he—“the reward of creation. The wages which God gets, as
people might have said time agone.
 
=== Lucia Dossin ===
 
TITLE: '''Print Cake'''
 
BLURB: On-demand print cakes: you choose a color and a word and get a customized cake with a snippet of William Morris' text printed on it.
 
 
 
QUOTE: "Why, then, since they had forced themselves to stagger along under this horrible burden of unnecessary production, it became impossible for them to look upon labour and its results from any other point of view than one--to wit, the ceaseless endeavour to expend the least possible amount of labour on any article made, and yet at the same time to make as many articles as possible. To this 'cheapening of production', as it was called, everything was sacrificed: the happiness of the workman at his work, nay, his most elementary comfort and bare health, his food, his clothes, his dwelling, his leisure, his amusement, his education--his life, in short--did not weigh a grain of sand in the balance against this dire necessity of 'cheap production' of things, a great part of which were not worth producing at all."
 
=== Max Dovey ===
 
TITLE : '''The Bank Of Broken Dreams (TBC)''' -- ??? -- where did the "C" come from? :]
 
BLURB : No ideas go to waste and now every creative project that fails to meet its funding target becomes printed currency in The Bank Of Broken Dreams.  Unsuccessful projects are taken from crowd-funding websites and traded between people on the value of the original idea.
please  note - all refreshments in the exhibition will be payed for with ideas.
 
[spelling error: payed -> paid. Maybe simplify the text. Suggestion: No ideas to waste! If your creative project failed to meets its funding target, it can still become printed currency in The Bank of Broken Dreams. The Bank of Broken Dreams collects failed projects from crowd-funding websites. People can trade the value of their original idea.
 
Please note: all drinks in the exhibition need to be paid for with ideas.


Artyom Kocharyan


title: Earth's little ones
QUOTE: "All Work is now pleasurable; either because of the hope of gain in honour and wealth with which the work is done, which causes pleasurable excitement, even when the actual work is not pleasant; or else because it has grown into a pleasurable habit, as in the case with what you may call mechanical work; and lastly (and most of our work is of this kind) because there is conscious sensuous pleasure in the work itself; it is done, that is , by artists"


blurb: Mixed-media installation with wallpaper and artificial head-wreath
=== Antoon Theodorus Hageman ===
Title: '''The reward of creation'''
Quote: 'the material surroundings of life should be pleasant, generous, and beautiful; that is a large claim, but if it cannot be satisfied, if every civilized community cannot provide such surroundings for all its members, I do not want the world to go on'
Blurb:  Machines which are wonders of invention, skill, and patience.


sentence from the text: (i'm using a visual reference to Morris instead of a text)
(correction: Machines that are wonders of invention, skill and patience. -Florian)


http://2.bp.blogspot.com/-ATai_MB0JWk/UU74BuQxRvI/AAAAAAAABUA/aJT5YDOdHq8/s1600/MAKWandle.JPG
=== Lídia Pereira ===


Ana Luísa Moura
Title: '''Immaterial Labor Union'''


title: Crafts and the Ideology of Self-Empowerment
Blurb: The Immaterial Labor Union is an attempt to unite the scattered multitude of cultural agents within participatory culture.
(Highly idiomatic/jargon language! Proposal: The Immaterial Labor Union will unite the scattered cultural workers of today's creative class." -Florian)


blurb: Research sketches on various labor structures and the role of the Individual within it; from medieval craftsmanship to a post-welfare state system (participatory society?)
Quote: "Now, surely you can see that under these circumstances all the work that we do is an exercise of the mind and body more or less pleasant to be done: so that instead of avoiding work everybody seeks it: and, since people have got defter in doing the work generation after generation, it has become so easy to do, that it seems as if there were less done, though probably more is produced."
[[User:Luisa_Moura/thematic/trimester III/Work_V2|(read more)]]


quote: "Therefore, though they knew that the only reasonable aim for those who would better the world was a condition of equality; in their impatience and despair they managed to convince themselves that if they could by hook or by crook get the machinery of production and the management of property so altered that the ‘lower classes’ (so the horrible word ran) might have their slavery somewhat ameliorated, they would be ready to fit into this machinery, and would use it for bettering their condition still more and still more, until at last the result would be a practical equality (they were very fond of using the word ‘practical’), because ‘the rich’ would be forced to pay so much for keeping ‘the poor’ in a tolerable condition that the condition of riches would become no longer valuable and would gradually die out. Do you follow me?” (...)
[[Category:Thematic project]]
“Well, since you follow me, you will see that as a theory this was not altogether unreasonable; but ‘practically,’ it turned out a failure.” (News from Nowhere, in CHAPTER XVII: HOW THE CHANGE CAME)

Latest revision as of 09:45, 11 January 2016

Thematic Project, trimester 3, 2013/14

tutor: Florian Cramer

Summary

The concept of 'crafts' has lately experienced a renaissance. We encounter it, most obviously, in DIY handmade film labs, hacker spaces, Fab Labs, printmaker workspaces, but also in socio-cultural initiatives and upper middle class-oriented lifestyle retail. (In Rotterdam and nearby, we find examples of all of the above: filmwerkplaats, RevSpace and PUSCII, PrintRoom and Mesh Print Club, Rotterdam Vakmanstad, Swan Market, to name only a few.)

Sociologist Richard Sennett wrote in 2008 that "craftsmanship cuts a far wider swath than skilled manual labor; it serves the computer programmer, the doctor, and the artist; parenting improves when it is practiced as a skilled craft, as does citizenship" (The Craftsman, 9). In this definition, "craftsmanship" does not simply mean practical making, but leaves behind the classical Western dualisms of theory and practice, thinking and doing, the conceptual and the applied.

In our Thematic Project, we will research the history and the politics of this notion of crafts from the 19th century to today: in the socialist Arts and Crafts movement and in Martin Heidegger's fundamental ontology, in the radical politics of Russian constructivism and Bauhaus, as a political undercurrent in Fluxus and the Situationist International, its reinvention as 'Do-it-yourself' movements in post-1960s countercultures including punk, riot grrrl, hacker culture and media experimentalist subcultures.

This Thematic Project is not at all about the nostalgia for craftsmanship that currently abounds in the Netherlands and elsewhere, but a re-reading of post-industrial and ultimately post-digital craftsmanship as (left- as well as right-wing) avant-garde politics that does away with the oppositions that still define contemporary art and design (including the very differentiation between art and design).

The Project will leave room to focus on specific subject matters depending on students' preference. We could, for example, give particular attention to artist-run film cooperative movement and, on conversely, to Marianne van Boomen's fresh research on metaphors in contemporary media and how to hack them. Most likely, we will also make good use of the two consecutive events "Off the Press" and "zine camp" in Rotterdam on May 22nd-25th.

The Thematic Project will conclude with some still-to-be-determined form of public presentation at V2_ Institute for the Unstable Media in the last three weeks of June.

  1. Introduction and planning: Thurs. April 3rd: 2 hours 11:00 - 13:00
  2. Thurs. April 10: Discussion Richard Sennett, The Craftsman, Part one, chapter 1, The Troubled Craftsman, 19-53; please collect and bring along examples of art/design/media/other work to discuss in this context.
  3. Thurs. April 17th: Discussion John Ruskin, The Political Economy of Art (Addendum 8) & William Morris, News from Nowhere (chapter XV); please collect and bring along examples of art/design/media/other work to discuss in this context.
  4. (April 30th: May break)
  5. Wed. May 7th: Discussion Asger Jorn, George Maciunas, Henry Flynt + optionally Piet Zwart, Bauhaus and Russian constructivism.
  6. Mon. May 12th: Discussion of ideas for the V2_ show
  7. Thurs. May 15th: Further discussion V2_ show + collective research on punk DIY culture: Jamie Reid, Linder, Vivienne Westwood, Malcolm McLaren, Riot Grrrl culture in the 1990s + Henry Flynt
  8. Wed. May 21st : Presentation of the Serving Library by Angie Keefer, wrap-up of V2_ show concept & authoring of an announcement text
  9. Wed. May 28th : Discussion Oulipo: Raymond Queneau, Potential Literature + Various texts
  10. Wed. June 4th
  11. Wed. June 11th
  12. Wed. June 18th, individual tutoring on projects
  13. (build-up V2 show)
  14. Tue. June 24th, show opening at V2_
  15. (Wed. June 25th, assessments)
  16. Sunday June 29th, last day of V2_ show

Preliminary reading list

Met betrekking tot de 'schilderkunst' zal het onderwijs zeer ingrijpend gewijzigd moeten worden. Feitelijk zal de schilderkunstafdeling geheel moeten vervallen, indien men daardoor wenst te verstaan de primitieve methode waarbij met een bosje varkensharen, die aan een stokje gebonden zijn, kleurige materien op linnen worden uitgeborsteld. Daarvoor in de plaats zou veel aandacht besteed moeten worden aan synthetisch en beeldend tekenen, reclame, moderne reproductiemethoden, typografie, fotografie en haar beeldingsmogelijkheden; film, kleurgeving in de architectuur en in het stadsbeeld.
De rubrieken decoratieve kunst, kunstnijverheid en beeldhouwen kunnen op de wijze waarop ze plegen behandeld te worden, van geen belang voor de nieuwe levensidee geacht worden.
Er voor in de plaats moet een afdeling komen, waarin de industriële vormgevin­gen worden gedoceerd. Bestudering van moderne materialen in verband met industrië­le voortbrenging en de daaruit voorkomende vormconsequenties. Vooral aan de toepasbaarheid van deze materialen op meubels zal grote aandacht moeten worden geschonken. Laboratorium en modern geoutilleerde werkplaats zijn in verband daarmee noodzakelijk.
Parallel aan dit practische programma zal het theoretisch onderwijs moeten gegeven worden met uitsluiting van die rubrieken, welke als overblijfselen van een oud formalistisch leerprogram zich hardnekkig trachten te rechtvaardigen.
Bijzondere aandacht zal geschonken moeten worden aan de opvoeding der oude leerkrachten, voorzover die niet vervangen kunnen worden. Doel van deze opvoeding zou moeten zijn hen er van te doordringen, dat een 'kunst'akademie een instituut dient te zijn ter opbouw van de elementaire vormgevingen in deze en komende tijd; geen doorgangshuis voor aftandse kennis en onbelangrijke vaardigheid.
Het jonge geslacht heeft er recht op dat het opgevoed wordt voor de toekomst; wij hebben te voorkomen dat het behangen wordt met de maskers van het verleden.

With some grains of salt

Show at V2_

Official blurb

Politics of Craft

William Morris' "News from Nowhere", a key text of the Arts and Crafts movement, contains a surprisingly up-to-date critique of capitalist globalization and the precarious state of artists' labour. It is, paradoxically enough, an avant-garde text of an otherwise nostalgic movement.

Eleven first-year student of the Master Media Design will show their interpretations of "News from Nowhere" in the form of eleven media projects. The show will be accompanied with lectures and discussions.


Related projects

5 ½ Proposals to Work and Live in the Current Millennium, Rotterdam, May 23rd & 24th

Idea development

politics_of_craft/ideas First ideas for the project presention

Info on individual project (title, blurb, sentence from the text)

  • DESIGN LIST
  • Please confirm your names on the previous emails to avoid stress after the printing
  • we need to define floor plan
  • Please confirm dates, times, address and what else is needed in the poster
  • would be wise to have a final word about what should be printed and designed for the zine floorplan
  • images for background are finished
  • Design for screen print layer is almost ready next meeting we finish, thursday we print
  • webdesign for digital flyer will be online on next meeting
  • Digital image for facebook as well
  • ...


Artyom Kocharyan

title: Earth's little ones

blurb: Mixed-media installation with wallpaper and artificial head-wreath (Doesn't need this more explanation such as: William Morris' aesthetics translated into 2014 - a mixed-media installation consisting of wallpaper and an artificial head-wreath.  ? Florian)

sentence from the text: (i'm using a visual reference to Morris instead of a text)

MAKWandle.JPG

Ana Luísa Moura

title: Craft and The Ideology of Self-Empowerment

blurb: Arts & Crafts in its relation to cycles of financial and political crisis - a documentary installation


(read more)

quote: "Therefore, though they knew that the only reasonable aim for those who would better the world was a condition of equality; in their impatience and despair they managed to convince themselves that if they could by hook or by crook get the machinery of production and the management of property so altered that the ‘lower classes’ (so the horrible word ran) might have their slavery somewhat ameliorated, they would be ready to fit into this machinery, and would use it for bettering their condition still more and still more, until at last the result would be a practical equality (they were very fond of using the word ‘practical’), because ‘the rich’ would be forced to pay so much for keeping ‘the poor’ in a tolerable condition that the condition of riches would become no longer valuable and would gradually die out. Do you follow me?” (...) “Well, since you follow me, you will see that as a theory this was not altogether unreasonable; but ‘practically,’ it turned out a failure.” (News from Nowhere, in CHAPTER XVII: HOW THE CHANGE CAME)


Junyu Chen

Title: Circling Blurb: A reflection of Eastern craftsmanship in a short documentary installation on how to draw a perfect circle. It recalls a spirit of working hard practicing one's skill, and training one's mind. Quote: " All work is now pleasurable."

Read me (Thanks for the correction!)


Mihail Bakalov

TITLE: YouLoop

BLURB: The project is a social video platform and a social experiment. Visitors are invited to document an event in their own video recordings. They get a choice between free and paid labor. Two screens document how these choices do - or do not - affect the resulting videos.

QUOTE: How you get people to work when there is no reward of labour, and especially how you get them to work strenuously?” “No reward of labour?” said Hammond, gravely. “The reward of labour is life. Is that not enough?” “But no reward for especially good work,” quoth I. “Plenty of reward,” said he—“the reward of creation. The wages which God gets, as people might have said time agone.

Lucia Dossin

TITLE: Print Cake

BLURB: On-demand print cakes: you choose a color and a word and get a customized cake with a snippet of William Morris' text printed on it.


QUOTE: "Why, then, since they had forced themselves to stagger along under this horrible burden of unnecessary production, it became impossible for them to look upon labour and its results from any other point of view than one--to wit, the ceaseless endeavour to expend the least possible amount of labour on any article made, and yet at the same time to make as many articles as possible. To this 'cheapening of production', as it was called, everything was sacrificed: the happiness of the workman at his work, nay, his most elementary comfort and bare health, his food, his clothes, his dwelling, his leisure, his amusement, his education--his life, in short--did not weigh a grain of sand in the balance against this dire necessity of 'cheap production' of things, a great part of which were not worth producing at all."

Max Dovey

TITLE : The Bank Of Broken Dreams (TBC) -- ??? -- where did the "C" come from? :]

BLURB : No ideas go to waste and now every creative project that fails to meet its funding target becomes printed currency in The Bank Of Broken Dreams. Unsuccessful projects are taken from crowd-funding websites and traded between people on the value of the original idea. please note - all refreshments in the exhibition will be payed for with ideas.

[spelling error: payed -> paid. Maybe simplify the text. Suggestion: No ideas to waste! If your creative project failed to meets its funding target, it can still become printed currency in The Bank of Broken Dreams. The Bank of Broken Dreams collects failed projects from crowd-funding websites. People can trade the value of their original idea.

Please note: all drinks in the exhibition need to be paid for with ideas.


QUOTE: "All Work is now pleasurable; either because of the hope of gain in honour and wealth with which the work is done, which causes pleasurable excitement, even when the actual work is not pleasant; or else because it has grown into a pleasurable habit, as in the case with what you may call mechanical work; and lastly (and most of our work is of this kind) because there is conscious sensuous pleasure in the work itself; it is done, that is , by artists"

Antoon Theodorus Hageman

Title: The reward of creation

Quote: 'the material surroundings of life should be pleasant, generous, and beautiful; that is a large claim, but if it cannot be satisfied, if every civilized community cannot provide such surroundings for all its members, I do not want the world to go on'

Blurb: Machines which are wonders of invention, skill, and patience.

(correction: Machines that are wonders of invention, skill and patience. -Florian)

Lídia Pereira

Title: Immaterial Labor Union

Blurb: The Immaterial Labor Union is an attempt to unite the scattered multitude of cultural agents within participatory culture. (Highly idiomatic/jargon language! Proposal: The Immaterial Labor Union will unite the scattered cultural workers of today's creative class." -Florian)

Quote: "Now, surely you can see that under these circumstances all the work that we do is an exercise of the mind and body more or less pleasant to be done: so that instead of avoiding work everybody seeks it: and, since people have got defter in doing the work generation after generation, it has become so easy to do, that it seems as if there were less done, though probably more is produced."

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