There is a book ‘Future Shock’ written by the futurist Alvin Toffler in 1970. The term “future shock” means ‘a personal perception of “too much change in too short a period of time”.’ (‘Future Shock’, 2013) Toffler (1970) said we have been through a big change from an industrial society to a super-industrial society in his book. He believed this techonological and social change caused a high-level of stress and disorientation to people. (Toffler, 1970) ‘The overall production of goods and services doubles each 50 years in developed countries. Society experiences an increasing number of changes with an increasing rapidity, while people are losing the familiarity that old institutions (religion, family, national identity, profession) once provided.’ (‘Future Shock’, 2013)
We are living in an age of instant communication that is fueled by the growth of Internet around the globe. And computers have become an essential part of our daily lives, they help us to work and study at the higher pace with best quality. Since we are living in the Information Age, we have more facts and figures about almost everything includes even our emotions and opinions. Therefore, sometimes people may agree with that
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Our generation’s interest in the resurgence of craft started as a grassroots phenomenon, though now it’s leaked into mainstream culture. (Tapper and Zucker, 2011) When it comes to contemporary craft, we don’t need handcrafted objects to survive anymore. While folk crafts still survive, ‘particularly in poor countries where mass-production has not fully penetrated the marketplace.’ (Johnson, 2002, p. 14) ‘“Craft” is a cultural construction, not some independent fact.’ (Metcalf, 1999, unpaginated) ‘The meaning of the word “craft” changes as societies change, and people tailor the word to their specific needs and desires.’ (Metcalf, 1999, unpaginated) But craft is still a form of
“Our Future Selves” by Eric Schmidt and Jared Cohen construct views on countries’ technologies that changes the world on a daily basis. Conversely, technologies reconstruct countries in various simpler ways to live throughout economic trends. Furthermore, the quality of life is massively changing with new technologies. Consequently, wealthy countries are viewed differently from poor countries towards technological advantages. Ordinarily, technologies have made the difficult obstacles so much easier than just by hand. Industries have utilized the advanced technologies to provide huge manufacturing productivity. Moreover, Eric Schmidt and Jared Cohen have some very compelling reservations within their article, “Our Future Selves”, on the trends
Technology has steadily evolved to develop more innovative and productive techniques in the making of various crafts. In addition to enhancing the quality of products, the ability to create them at a higher rate has been discovered. However, quality and quantity are usually inversely proportional to each other. In more recent times consumers have begun to desire Japanese artifacts. Most producers attempt to sate this desire through mass production. While this alternative may be inexpensive, it lacks the high quality that true artisans can deliver. In these cases, consumers are also at fault as they let their desire for instant gratification outweigh their desire for superior creations. Largely, in the production of crafts, producers sacrifice optimal quality for a high output in order to fill the demand for inexpensive products by the consumer.
Society barely changed, and when it did, slow technological change meant that society would return to what it had been before the shift. The Modern regime sees a society where families are small, people live longer, women work, and wealth is usually increasing. Finally, the Post-Malthusian regime sees society slowly escape the trap that had held it for thousands of years, but is still not modern. Society sees people live into their forties, technology allows for increased real wages without half the population dying, and families at first explode due to lower mortality rates, but then decrease to the modern standard where small families are the norm. Modern economists are still finding new factors for the transition from the Malthusian society to Modern society, are unlikely to find them
As in the 1970s, government-backed infrastructure continues to be instrumental in maintaining and reaffirming the identity of craft. Today, the craft sector is supported by a number of government and voluntary bodies (Jennings 2012: 8). The Crafts Council (the CAC in the 1970s), now funded by the Arts Council England, persists, as does Crafts magazine. Its emphasis continues to be on contempo rary, fine art studio craft, rather than traditional heritage craft.
Is craft art? This question, a hot topic of debate amongst artists, art critics and craftspeople of the twentieth century, seems to have been born of the many complex societal changes that took place over the course of the Modern Era. logically, it would only be possible to effectively deliberate over this discussion by first defining art itself. This, however, proves to be just as difficult a task as settling the art-craft controversy in the first place and together, these quarrels revolve in a seemingly endless dance of passionate indignation. Fortunately, it does seem possible to comprehensively define craft. Brazilian art and design historian, Rafael Cardoso,
Crafts were made by individual families in addition to their chores. They mostly made pottery, utensils, and textiles for enjoyment as well as trade. The poorer families only made what was necessary for their family. Nobility and royalty had custom crafts specially made for them. Nobles and royals would sponsor artists to work in their own workshops and make luxury goods that were monuments for political leaders, and religious items for major ceremonies.
It was said that once-in-a-century advances in technology are transforming our economy. The computer chip is doing for today's knowledge economy what electricity did for our industrial economy a century ago. Synergies in technology are driving acceleration in productivity growth that enables us to grow faster with less inflation. Economic progress is speeding up; the speed limit is rising. “Real GDP growth has averaged 4 percent for the past four years, with declining inflation. This almost doubles the 2 percent to 2.5 percent not long ago considered the maximum noninflationary potential. But we've been growing faster than potential and sustaining the unsustainable for four years and counting. Sounds odd, doesn't it? Our faster output growth is based primarily on faster productivity growth and secondarily on faster labor force growth”. Productivity growth now appears to be at least 2.5 percent and rising. An increase from 1 percent to 2.5 percent is an increase of 150 percent, a huge jump with profound implications if sustained. Last year was encouraging. Productivity raised over 3 percent for the year and over 5 percent in the second half. It was said that the United States entered the 21st century with its economy on a roll. GDP growth averaged more than 3 percent a year in the 1990s. The country created 17 million jobs, driving unemployment down to a 30-year low of 4.1 percent. In the 1999-2000 the economy wasn’t doing so bad the unemployment rate was down, there were more jobs available, and production was doing well. When 2001 stated and even before then the economy was going down, many people were being laid off and so on. Then it happened the September 11th attack on the US, this attack has left the
“Within the social sciences many have argued that artefacts exist in inner environment where meaning and symbolic significance constantly change, the dynamics of which are of immediate relevance for processes of acquisition, consumption and use” (The design of everyday life (cultures of consumption Hand, M., Shove, E., Ingram, J. and Watons, p 118).
Quilts viewed from an artistic point began in the early 20th century. The-back-to-the-land movement focused on handcrafted traditions as a part of the return of pre-industrial lifestyle. During the
The aim and intentions of this essay is to compare and contrast how the three artists (Michelle Lougee, Andy Goldsworthy, and Hermannsburg Potters) use their materials to communicate ideas about the natural environment. Michelle Lougee is a well-known sculptor, ceramist, and environmental artist. Her artwork has been showcased in a number of New England museum exhibits and she also teaches drawing, sculpture, pottery, and ceramics to children and adults. Lougee has completed an M.F.A and a B.F.A. from Boston University and currently lives in Cambridge, Massachusetts. Michelle Lougee strives to reproduce the unique individuality that all living things hold.
Creating with Reverence The book “Creating with Reverence” has became one of my favorite book so far. The author Claire Campbell have traveled many part of world and met people with various cultural aspect who thinks the arts and craftsmanship as part of their lives and their cultural way of dedicating their honor to their gods, cultural or values. Even though the people around the world takes art and craftsmanship differently, it is still important part of their lives. The book shows the reader how people around the world takes arts seriously and what it really means to them.
The Arts and Crafts movement, led by William Morris, was established in the 1860s as a response against the manufacturing of low quality goods due to industrialization. He also felt that the society was degrading as a result of this. The philosophy behind the Art and Crafts movement was that the Industrial Revolution had taken artistry and design away from of the quality of goods produced. The goal was to advocate a return to craftsmanship and enable individual craftsmen to assert their own creative independence. More importantly, the movement wanted to promote mor...
Woodworking, a form of carpentry, has been around for centuries and overtime developed into a more modern art. Today people will mostly see woodwork in homes in the form of furniture and decorations, or even smaller things such as family heirlooms passed down by generations and simple crafts made by younger generations. The skill of woodworking, however, is not inherited but takes practice and years of experience to fully master. Even experienced woodworkers run into challenges sometimes. The key is to overcome that obstacle and find different ways to create something new from a piece of wood. It is interesting to see and go through the process in which a woodworker goes through
I agree with the statement because if a person doesn't try something beyond what they have already mastered then they won't further their career /education, develop critical characteristics, and new relationships. Children grow up on their journey through school, so if they stop their education at a level they have already mastered then they won't intellectually grow. Some people may say that they are comfortable at the level they are at, or they excel at it. That may be true, however, their is no more room for growth once they stop at the level they've mastered. Therefore if people don't push themselves past the subjects they've already mastered, then they won't further their education or career.
The idea of mastery can be traced as far back as Aristotle who “felt that artistic training included mastery of a medium and gaining knowledge of one’s environment” (DeHoyas, M., Lopez, A., Garnett, R., Gower, S., Sayle, A., Sreenan, N., Stewart, E., Sweny, S., & Wilcox, K. (2005). This concept of mastery has held true for many centuries in varying forms, with the “Medieval apprenticeship being one of the first examples of art instruction in the Western world” (DeHoyas et al., 2005). Beginning around the 11th century craft guilds played a major role in training apprentices, journeymen, and masters, with the earliest recorded guild dating from 1099 (Madaus & Dwyer, 1999). The craft guilds played an important role in the European economy, and by the 14th century became a powerful hierarchal organization (Madau et al., 1999), which we can still see today in the form of trades and unions. Throughout the history of art, the relationship between apprentice and master held a prominent position in the education of young artisans. The apprentice usually began training at the age of 13, although Leon...