Message 05366 [Homepage] [Navigation]
Thread: oxenT05358 Message: 10/18 L6 [In index]
[First in Thread] [Last in Thread] [Date Next] [Date Prev]
[Next in Thread] [Prev in Thread] [Next Thread] [Prev Thread]

[ox-en] new crafts, was: difference between ...

list-en writes:
funny that u mention craftmanship as im doing that those days. right now  
it looks quite promising from an economic point of view, but im doubtful  
that this is a solution for many others. its just not cost efficient to  
produce systematically.

There is very little work available from Germanys new crafts pioneer
Christine Ax, but in the second part of this paper you will find some
hints about a different viewpoint who has inded proven itself practically

All I can tell you: I dont know any second person who has not only done in
theory, but also in practise that much of innovation to crafts in the last

At the very end she writes:   - number refer to footnotes in the original
pdf version

Electronic handicraft: A chance for regional workplaces ?

At the end of the ?mass production?(Piore/Sabel6) today we note the
perspective of a ?afterindustrial? structural change which condenses
itself in the model of the ?virtual production? (Davidow/Mallone7). This
model of production and economics, developed on the base of new
technologies, in the past was mainly examinded from the perspective of the
industry and is discussed in the temporary literature as
?mass-Customization? (B.Joseph Pine8) or ?clients individual
mass-production? (Frank Piller9).

But the new technologies are not only a new challenge for the industry but
also for the handicraft10. At the joiner's, the example in this study, 10
to 15% of all enterprises are connected with the internet and have
CNC-maschines. So for the first time since the beginning of the
industrialisation 150 years ago the handicraft is technological and
economical competitive.

Nevertheless many requirements are still to meet for a renaissance of a
workman's production. Using the particular forces of the new informational
and computer-controlled production- technology an extensive structural
change is necessary who embraces like the shoemakers 11 the whole process
chain? development of a product, clients-communication, production and

The neo-handicraft kind of production which is characterised by some
features like production of single pieces, direct clients contact, use of
universal tools, small working units and decentralized structures,
requires and favoured both in industries and handicraft a ?neohandicraft
style of production? and the ?virtual design?.

For Ruskin and William Morris and also for other representatives of Arts
and Crafts the mechanical production of ?art? and of pretentiously
designed products lied beyond the possible. An estimation that related to
the technological standard of the machines at the end of the 19th century
was quite clear. The contrast of the mechanical products and the results
of genuine arts and crafts for every artificial educated observer of that
time had to be a real catastrophe.

 It was the beginning of the ?industrial design? which at least with the
?Bauhaus? creates the bridge towards a new, ?functional? esthetics.

The vision of an electronic handicraft might perhaps stand at the end of a
process which has the target that the handicraft assumes the new arranging
possibilities which result in the flexible tools and transform them in an
economic successful model of production and consumtion. To this we need
laboratories and workshops in which the artistic use of the new
technological and designing possibilities are in the centre of
professional formation and experimental production. Locations of freedom
and communication in a quickly changing world who is always seeking its
(individual or collective) suitable shape. The gateway Hamburg might not
be a bad place for this.

Contact: projekt

Thread: oxenT05358 Message: 10/18 L6 [In index]
Message 05366 [Homepage] [Navigation]