Art world talk of “blurred boundaries” and “hybrids” between art and craft, suggests that the philosophy of art needs to rethink the concept of craft. This can best be done by adopting four strategies: first, distinguish between craft as a set of disciplines, and craft as a process and practice; second, keep in mind the differences among craft practices such as studio, trade, ethnic, amateur, and DIY; third, recognize that craft’s relationship with design is as important as its relationship to (...) art; fourth, attend to the role digital design and fabrication are playing in craft and art today. At the core of the craft process are three contested characteristics found in most craft practices: hand, material, and skill, although these are better understood as body, medium, and mastery. After discussing a fourth contested characteristic of many craft and design practices, function, I show that none of the four characteristics is a requisite condition for artistic practice today, yet none are excluded from contemporary art, despite its current “post‐studio” or “post‐disciplinary” tendencies. I conclude that the boundary between art and craft conceived as a set of disciplines defined by materials and techniques has not become blurred, it has all but disappeared. On the other hand, I show through an analysis of some references to “mere craft” by Stephen Davies and Arthur Danto, that craft conceived as a process and practice can be understood as distinct from art, but in a non‐invidious sense. (shrink)

This essay is about the ensuing problem that in general it is nothelpful to talk about non-standard knowledge practices as modeled after our Western ideas of what knowledge is. It negotiates this problem by arguing that artisanal knowledge is an independent and self-contained mode of knowledge and is arranged in three parts. In the first part an outline is given of the key assumptions of the interactionist conception of knowledge that needs to be put in place as an alternative to (...) the basically Kantian mixture of empiricist and rationalist assumptions of the folk model of Western academic thinking about knowledge. In this interactionist conception of knowledgeartisanal knowledge gets center stage. In the second part, the notion of craftknowledge is opened up as much as possible. The third and final part takes upthe question whether craft knowledge is a cultural universal. (shrink)

This article discusses multisensorial aesthetic experience of environmental materiality via a craft process. The locally situated study investigates the interrelations of humans and environment through soil. In focus is how craft practitioners use their material sensitivity to reflect the idea of interdependency in the context of the contemporary environmental discourse. This is done through presenting an artistic research project in which craft is used to explore the human imprint in a particular geological environment, the Venice Lagoon. The case study Traces (...) from the Anthropocene: Working with Soil combines environmental research methods of contaminated soil and artistic research in the field of ceramic art. Craft making provides an embodied way to engage with the local environment. The cultural value and environmental disruption of the lagoon area forms a context for reflecting the aesthetic experience to better understand how we are active participants, in continuous flux with our material environment. (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)