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| ON CRAFTSMAN'S READING
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| educational system netherlands: workshops + classical education
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| origin Bauhaus? (see diagram) XIX century arts and crafts system?
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| 'academy' and Plato - school of athens: idealized greek culture (check painting)
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| analysis: 'no wood workshop' in this ideal, like we find in the bauhaus scheme
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| again bauhaus and the division among disciplines. the issue of (no)identity or signature
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| 'poetry' comes from 'making'?
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| neo-platonism? 3 centuries after plato. identification with plato (...) allegory of the cave
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| allegory and media. Baudrillard (check) simulacrum
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| the power of concept and metaphor. traps of perception, the shadow is the only real thing.
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| material reality always deceptve, potentially deceptive. need for transcendency, need for the Idea, in the pursuit of truth.
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| the painters in the cave? plato didn't allow painters in his cave, they produce lies. they extend materiality by means of representing it.
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| back into neo-platonims. religion?
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| plato's structure (...) demons, humans, plants, stones, (...) creatures hierarchy. hierarchy reused by cristianity.
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| Islam. they saved Plato's manuscripts. Islam is more based in Platonism then Christianity.
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| Marsilio Ficino. founded a new academy?
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| central perspective, pithagoras and plato, all together. and then? harmony and cosmos. the octaf.
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| back into perspective. central perspective. alberti. brunelleschi.
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| taking from plato the ideal. getting the ideal into the rules of representation. actually contradiction.
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| beauty is always truthful - taken by neo-platonism.
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| conceptual art? concept = idea
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| SOL LEWITT?
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| drawing. instructional, mathematical, exact? pre-determined outcome. instructional scores for painters. 'detachment of the artist from execution'
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| hard division between thinking and making (again Plato. read)
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| art, latim. capacity? kevin mitnick. ART OF DECEPTION: CONTROLLLING THE HUMAN ELEMENT OF SECURITY
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| middle-ages. division between liberal arts and mechanical arts. www.philoreal.de (...) disziplinentheorie (picture)
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| description of several cathegories (Florian C.), lost information. very different perception of knowledge and work than what we have today.
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| Liberal arts were the only ones that could be studied in the university. we still have that, a lot in the US and a bit also in the Netherlands. Distinction practice, theory. Painter was as important, academically, as a shoemaker would be. The musician not. the musician had what ws considered to be a higher education. Today inverted. piet zwart institute, pretty much on the mechanical arts cathegory regarding the dutch academic system (hbo)
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| conceptual art. delegation. crafts and idea.
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| art academy? france, uk, dutch after the french model. but still, very different model. how?
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| wdka, origin? XIX century. union of technical drawers from the rotterdam harbor. 'van hier naar hoger' they wanted more recognition. They founded the school. all ducth schools started a crafts school, while for example the rijksacademie came after an institutionalized, international model, of academy. Certain concept. Is this crafts nature of dutch learning an handicapt or an asset?
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| plato, neo-platonism, descartes, where is History?
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| (brake)
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| ----------------------------------------------------------------------------------
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| ** DIAGRAM - HISTORICAL (DIALECTIC) MATERIALISM
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| thesis and antithesis and synthesis, and then synthesis with a new antithesis and so on. until an 'absolute idea'
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| Marx, Hegel. from plato.
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| christianity, life on earth meaningless. the realm of idea as the main room for life.
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| plato: state, republic. blueprint for fascism? (read)
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| CALVINISM. THE WISE MEN RUNNING THE STATE
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| Utopia. Thomas More - a sort of update of plato's republic.
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| also, the rule of the wise people.
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| utopia literally means 'no place'
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| media and place. a no place too.
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| (...)
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| back into the diagram and Hegel** Historical thinking. fight of ideas and the achievement of the pure ideological result, political order.
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| based in an european context only. example of the french revolution. we can achieve a perfect answer. the concept of 'progress'
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| for Hegel this would also represent the end of History.
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| It would be the end of art too. Art shall only exist, or be useful, in a state of conflict between material and non-material society.
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| But, example, the use of art by socialism. "we have the revolution already and we achieved a new order, why would we need art?" propaganda and image. the image of the people. the necessity of a model. ideological permanence.
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| machiavelli: "its easy to convince people of something, but very hard to keep them in conviction"
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| Fukuyama, american neo-conservatism
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| 'The End of History and The last (Best?) Man'
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| DIAGRAM - KARL MARX AND COMMUNISM
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| feudalism + rise of merchants/traders = capitalism
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| capitalism + workers/proletariat = leads to socialism/communism
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| "karl marx, the father of communism replaced the concept of opposing ideas with the concept of opposing economic forces.
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| Marx felt that communism was the inevitable, natural result of these opposing forces"
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| The text of Sennet begins in the alienation place between capitalism and human labor (workers/proletariat)
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| feudalism (...)
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| THE CRAFTSMAN - linux community.
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| pride in their work: luxury.
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| commercial targets and inner satisfaction? quality standard?
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| creative industries, actually driven by capitalism and alienation.
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| longing for craft or craft symbolic value.
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| developing countries: for the own sake of productivity. importance of the worker's happiness and welfare for corporate structures.
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| (...)
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| Contextualizing engagement: sartre
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| engaged art, writing? critical, responsible art?
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| Jeanne van Heeswijk ("het freehouse project") "de markt van morgen" (and then? check)
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| revolutionary romanticism?
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| Situationism?
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| Collectivity and guilds?
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| -----
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| BREAK
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| -----
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| (...)
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| speaking about autocad and design method. By hand or not? is the medium the content?
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| simulation? representation? enemy or collaborator? tool against quality or next to quality?
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| (...)
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| practical examples.
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| femke snelting. OSP, Constant.
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| manufactura independente libre graphics!!! (...) critical engagement with design tools.
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| (...)
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| Everyone is an artist. social sculpture. joseph beuys.
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| anthroposophy (check)
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| contradiction DIY versus craftmanship. excelency or not as essencial part of craftmanship? Sennett ends up saying it literally.
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| social involvement, DIY and descaling quality. In how far is engagement in the same bag of high skill.
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| READING
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| (check WIKI: Ruskin, Morris, Arts & Crafts - think of examples, contemporary or not)
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