The Nature of Gothic articulated the onset of industrialization and its implications on the traditional arts and crafts. The penchant for machine-finished products marginalized the nave yet sincere forms of traditional craftsmanship. Ruskin introduced the role that the public should responsibly assume in the tolerance and appreciation of traditional, Gothic forms in decorative arts. For in this attitude, the public can realize the extent of effort, sincerity and self-discovery of the craftsman and worker. Ruskin furthered his suggestion by citing the dilemma between machine-like precision in mans work and the necessary inefficiency in the achievement of self-realization through work. The division of labor, as exemplified by the compartmentalized and repetitive processes and steps involve in finishing a product such as pins and nails, had subjected mans life to become so fragmented that one must derive pleasure and fulfillment outside of his livelihood.
I have to agree with Ruskin. His insights still resonates the nature of mans labor in the 21st century. This nature can be cited in which processes in production of both tangible and intangible goods (e.g. luxury items and knowledge processes, respectively) are distributed across the global labor markets. Furthermore, Ruskin was keen to acknowledge that productsarticles should not fall short of their noble and innovative purposes. Had we known better, surplus and overconsumption should never have dominated our material cultures for the last century.
William Morris The Lesser Arts exposed the pretense in the exclusivity of objects. The manufacture of objects and the attachment of derivative value on its worth made victim of the public because of ignorance and dismissal of the effort in an objects creation. The core principles of his claims is evident in the following passage.So that we may adorn life with the pleasure of cheerfully buying goods at their due price with the pleasure of selling goods that we could be proud of both for fair price and fair workmanship with the pleasure of working soundly and without haste at making goods that we could be proud of ---much the greatest pleasure of the three is that last, such a pleasure as, I think, the world has none like it. (Gorman, 2003, p. 36).
Morris could never be more accurate on how he articulated the market forces and demand for goods. Perhaps, the concept of lesser arts has a role to play in how objects or craft goods have been subjected to appraisal and speculative markets because of its ambiguity whether lesser arts and its objects should be regarded for their functional value or their artistic value. I have to agree with Morris. The buying and selling of products regarded with artistic value fall on pretense means if we are to remain separated from the meaningful work that made the products possible to exist, insisting upon the social sincerity of making goods, not for luxury or show. Interestingly, Morris had introduced insights about arts and its black box culture.
Frank Lloyd Wrights The Art and Craft of the Machine articulated new directions in craftsmanship and design. As he believed it to be, the Machine could be the tool or medium for the expression of current times. He had defended the machine and technology as the tools which can surface new methods and techniques for creating products. He insisted upon the method of creating products for their functionality. It could easily be well understood that design and its methods suggested that form follows function. He undermined efforts for manufacture of outright reproductions or revivals of traditional methods and its ornamentations. For in the simplified form meant for function, the organic beauty and artistic value can be realized. In his words
Simplicity in art, rightly understood, is a synthetic, positive quality, in which we may see evidence of mind, breadth of scheme, wealth of detail, and withal sense of completeness found in a tree or a flower. (Gorman, 2003, p. 60).
I have to agree with Wright. Contextual meanings in objects could distract one from its sensorial and functional values. He had articulated and formulated a study of what could design and abstraction could do for the value of material objects. As he had suggested, the Machine had proven itself to be the metamorphosis of traditional and ancient objects. The Machine was the culmination of these objects abstractions and purposeful forms.
Christine Fredericks The Labor-Saving Kitchen provided solutions for problems in the domestic realm. Frederick stressed the necessity of streamlining equipment and arrangements accordingly with the processes involved in the work. As she had articulated-- This principle of arranging and grouping equipment to meet the actual order of work is the basis of kitchen efficiency. (Gorman, 2003, p. 94). She had identified the modular steps that could be found in the kitchens work. With the aim of emancipating the women from the drudgery of domestic work, the culture of domicile as field worthy of innovation.
I have to disagree with Frederick due to misappropriated context. Although Fredericks endeavors had proven revolutionary in the kitchen work, I could not be more unsure whether this application resonates the production of objects with artistic value. Is it possible to subject ones processes in the creation of artistic objects in scrutiny with aims of streamlining for efficiency Frederick introduced the role of synergy of objects and processes in an unlikely field. The purpose of her appropriation was to liberate the kitchen worker from domestic toil. What should be given highlight is the appropriation milestone of Frederick instead of her kitchen solutions. The arrangement and appropriation of processes and methods, like what Frederick did with Taylors Principles of Scientific Management, parallels the artistic value of derivative works and their relevance in contemporary, hypermedia society.
Frederic Winslow Taylors The Principles of Scientific Management provided framework for the harnessing of mans labor and capabilities. Taylor went further in the application of the concepts of incentive and initiative. He set maps for the organization of mans inherent faculties and appropriate roles for the production work. He stressed that the key solutions were to be found in the culmination of past generations experiences and practices. He suggested that these extractions were to be regarded as the most effective methods.
Division of labor in its concept was to be considered as the best method for productivity. By formulating the science for the each element of mans work, the traditional method of crafting an object from scratch and seeing to its completion and polishing was considered as counterproductive. Taylor also established that selection and specialization should rule over who creates what. With equal fervor, the workers involved should be in close supervision to ensure the achievement of goals. And rightfully so, the distribution of work should be appropriated fairly between the workers and the management.
I have found myself strongly disagreeing with Taylor in terms of duly appropriating roles in the production of artistic works and creation of artistic value. The dichotomy of creativeart producer and gatekeeper runs parallel with Taylors delineation of worker and management roles. As long as key players in the cultural fields are not locked into limiting roles, artistic and functional values in objects continue to evolve.
I have to agree with Ruskin. His insights still resonates the nature of mans labor in the 21st century. This nature can be cited in which processes in production of both tangible and intangible goods (e.g. luxury items and knowledge processes, respectively) are distributed across the global labor markets. Furthermore, Ruskin was keen to acknowledge that productsarticles should not fall short of their noble and innovative purposes. Had we known better, surplus and overconsumption should never have dominated our material cultures for the last century.
William Morris The Lesser Arts exposed the pretense in the exclusivity of objects. The manufacture of objects and the attachment of derivative value on its worth made victim of the public because of ignorance and dismissal of the effort in an objects creation. The core principles of his claims is evident in the following passage.So that we may adorn life with the pleasure of cheerfully buying goods at their due price with the pleasure of selling goods that we could be proud of both for fair price and fair workmanship with the pleasure of working soundly and without haste at making goods that we could be proud of ---much the greatest pleasure of the three is that last, such a pleasure as, I think, the world has none like it. (Gorman, 2003, p. 36).
Morris could never be more accurate on how he articulated the market forces and demand for goods. Perhaps, the concept of lesser arts has a role to play in how objects or craft goods have been subjected to appraisal and speculative markets because of its ambiguity whether lesser arts and its objects should be regarded for their functional value or their artistic value. I have to agree with Morris. The buying and selling of products regarded with artistic value fall on pretense means if we are to remain separated from the meaningful work that made the products possible to exist, insisting upon the social sincerity of making goods, not for luxury or show. Interestingly, Morris had introduced insights about arts and its black box culture.
Frank Lloyd Wrights The Art and Craft of the Machine articulated new directions in craftsmanship and design. As he believed it to be, the Machine could be the tool or medium for the expression of current times. He had defended the machine and technology as the tools which can surface new methods and techniques for creating products. He insisted upon the method of creating products for their functionality. It could easily be well understood that design and its methods suggested that form follows function. He undermined efforts for manufacture of outright reproductions or revivals of traditional methods and its ornamentations. For in the simplified form meant for function, the organic beauty and artistic value can be realized. In his words
Simplicity in art, rightly understood, is a synthetic, positive quality, in which we may see evidence of mind, breadth of scheme, wealth of detail, and withal sense of completeness found in a tree or a flower. (Gorman, 2003, p. 60).
I have to agree with Wright. Contextual meanings in objects could distract one from its sensorial and functional values. He had articulated and formulated a study of what could design and abstraction could do for the value of material objects. As he had suggested, the Machine had proven itself to be the metamorphosis of traditional and ancient objects. The Machine was the culmination of these objects abstractions and purposeful forms.
Christine Fredericks The Labor-Saving Kitchen provided solutions for problems in the domestic realm. Frederick stressed the necessity of streamlining equipment and arrangements accordingly with the processes involved in the work. As she had articulated-- This principle of arranging and grouping equipment to meet the actual order of work is the basis of kitchen efficiency. (Gorman, 2003, p. 94). She had identified the modular steps that could be found in the kitchens work. With the aim of emancipating the women from the drudgery of domestic work, the culture of domicile as field worthy of innovation.
I have to disagree with Frederick due to misappropriated context. Although Fredericks endeavors had proven revolutionary in the kitchen work, I could not be more unsure whether this application resonates the production of objects with artistic value. Is it possible to subject ones processes in the creation of artistic objects in scrutiny with aims of streamlining for efficiency Frederick introduced the role of synergy of objects and processes in an unlikely field. The purpose of her appropriation was to liberate the kitchen worker from domestic toil. What should be given highlight is the appropriation milestone of Frederick instead of her kitchen solutions. The arrangement and appropriation of processes and methods, like what Frederick did with Taylors Principles of Scientific Management, parallels the artistic value of derivative works and their relevance in contemporary, hypermedia society.
Frederic Winslow Taylors The Principles of Scientific Management provided framework for the harnessing of mans labor and capabilities. Taylor went further in the application of the concepts of incentive and initiative. He set maps for the organization of mans inherent faculties and appropriate roles for the production work. He stressed that the key solutions were to be found in the culmination of past generations experiences and practices. He suggested that these extractions were to be regarded as the most effective methods.
Division of labor in its concept was to be considered as the best method for productivity. By formulating the science for the each element of mans work, the traditional method of crafting an object from scratch and seeing to its completion and polishing was considered as counterproductive. Taylor also established that selection and specialization should rule over who creates what. With equal fervor, the workers involved should be in close supervision to ensure the achievement of goals. And rightfully so, the distribution of work should be appropriated fairly between the workers and the management.
I have found myself strongly disagreeing with Taylor in terms of duly appropriating roles in the production of artistic works and creation of artistic value. The dichotomy of creativeart producer and gatekeeper runs parallel with Taylors delineation of worker and management roles. As long as key players in the cultural fields are not locked into limiting roles, artistic and functional values in objects continue to evolve.
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