
today
8 a.m. Greening Your Business Scotia Inn
read >9 a.m. H1N1 Vaccine Clinic Area 1 Agency on Aging
read >9 a.m. Historic Archaeology Lab Opportunity HSU Behavior and Social Sciences Building
read >11 a.m. Kathleen Bryson Meet and Greet Has Beans
read >noon Paul Hagen Press Conference Eureka Women's Club
read >6 p.m. The Tumbleweeds (cowboy songs) Chapala Cafe
read >6 p.m. Concert and Desserts Portuguese Hall
read >6 p.m. Arts! Arcata Northcoast Environmental Center (NEC)
read >6:30 p.m. Humboldt Helps Haiti Plaza View Room
read >7 p.m. DJ Ray Boiler Room
read >7 p.m. Dale Winget (folk) Oberon
read >7:30 p.m. Audubon Lecture Humboldt County Office of Education
read >7:30 p.m. A Midsummer Night's Dream Arcata High School
read >8 p.m. Antigone College of the Redwoods
read >8 p.m. Capitol Steps Van Duzer Theatre
read >9 p.m. St. John & the Sinners (blues/rock) Cher-Ae-Heights Casino
read >9 p.m. UKEsperience (folk rock) Six Rivers Brewery
read >9 p.m. Swingin' Country Blue Lake Casino
read >9 p.m. Beautiful People Boutique Fashion Show Mazzotti's Arcata
read >9 p.m. Gunshy (classic rock) Bear River Casino
read >9 p.m. Jah Sun and the We A Dem Band Humboldt Brews
read >9 p.m. Ash Reiter, Monster Women, Mister Moonbeam (rock) Lil' Red Lion
read >9 p.m. Jimi Jeff And The Gypsy Band (blues) The Playroom
read >10 p.m. Kraddy (hip-hop) Mazzotti's Arcata
read >10 p.m. Music by DJ Sidelines
read >10 p.m. DJ Ninja Retro Dance Party Aunty Mo's Lounge
read >10 p.m. DJ Jsun Pearl Lounge
read >11 p.m. The Big Lebowski Arcata Theater Lounge
read >previous columns
Aug. 7, 2008
The Shock Doctrine: The Rise of Disaster Capitalism
By Naomi Klein. Metropolitan Books.
read >Photos
The Craftsman
By Richard Sennett. Yale University Press.
By William Kowinski
Carpenter, lab technician, cook, software designer, glassblower, poet, the maker of musical instruments, the conductor of the orchestra that plays them and the composer of the music they play -- sociologist Richard Sennett calls them all craftsmen (be they female or male), and by this description the category includes a decent chunk of the Humboldt County working population.
In fact, as Sennett describes and analyzes the history and qualities of craft, it becomes clear that they apply in one way or another to everything from architecture to working behind the counter at Ramone’s. But that doesn’t make this book meaningless -- quite the opposite. This is a discursive, intellectually stimulating and often fascinating discussion that at times seems like an engaged, elevating conversation.
As the author of The Hidden Injuries of Class, The Uses of Disorder: Personal Identity & City Life and other books, Sennett has written credibly about people who work. This time he writes about the work itself. What seems to distinguish craft in his view is a combination of method skillfully applied, and intuitive improvisation with not just the task but the whole in mind. It is problem-solving creativity: pragmatic artfulness for a purpose.
The problems of craft in the age of machines is a theme of several chapters, but Sennett’s premise is that craftsmanship survives in an industrial age. “Craftsmanship names an enduring, basic human impulse, the desire to do a job well for its own sake.”
One element in common is working with materials, often with tools, and with some relationship of the hand and eye. But Sennett sees these in designing Linux code as well as weaving. Craft may mean working with limitations, resistance and ambiguity. He illuminates issues through real world examples: the problem of obsession in the design and building of two houses, or the role of frustration in digging tunnels under rivers. Even in the age of computer-assisted design (CAD), craftsmen can solve problems the computer can’t anticipate.
Craft requires attention, a fact that doesn’t get much attention in this attention-deficit age. A common touchstone in various endeavors for how long it takes to become an expert is 10,000 hours, he writes. That translates into three hours of practice a day for 10 years. Repetition is therefore important, but isn’t it boring? Sennett writes that even expert craftsmen derive pleasure in it: “The emotional payoff is one’s experience of doing it again. There’s nothing strange about this experience. We all know it: it is rhythm.”
Speaking of rhythm, craft can also involve working with what others do, as in the craft of playing in a jazz ensemble, but also in building a house, “in which the relentless desire to get things right became a dialog with circumstances beyond his control and the labor of others.” Craft can be a calling, which often begins with play.
Sennett involves history, aesthetics, psychology, physiology and philosophy in this book, which is replete with stories that are fascinating in themselves. Plato, Gregory Bateson, Mary Shelley, Anton Chekhov and Julia Child figure in one way or another. Though he doesn’t deal with it much, Sennett acknowledges that writing is a craft. His own writing supports several of his contentions: It is structurally sound, but idiosyncratic and flexible according to its purpose. For some it may be too rigorous, for others too decorative, but it’s a Sennett all the way.


















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