Occupational therapy often uses craft activities as therapeutic tools, but their therapeutic effectiveness has not yet been adequately demonstrated. The aim of this study was to examine changes in frontal midline theta rhythm (Fmθ) and autonomic nervous responses during craft activities, and to explore the physiological mechanisms underlying the therapeutic effectiveness of occupational therapy. To achieve this, we employed a simple craft activity as a task to induce Fmθ and performed simultaneous EEG and ECG recordings. For participants in which Fmθ (...) activities were provoked, parasympathetic and sympathetic activities were evaluated during the appearance of Fmθ and rest periods using the Lorenz plot analysis. Both parasympathetic and sympathetic indices increased with the appearance of Fmθ compared to during resting periods. This suggests that a relaxed-concentration state is achieved by concentrating on craft activities. Furthermore, the appearance of Fmθ positively correlated with parasympathetic activity, and theta band activity in the frontal area were associated with sympathetic activity. This suggests that there is a close relationship between cardiac autonomic function and Fmθ activity. (shrink)

This book is a beautifully assembled labour of love and all the better for being written by someone who has experienced for himself the sweat and toil involved in manual work. This sets it apart fr...

The craftworker is considered to be an exemplar of attention to quality, service to the public, personal satisfaction and the embodiment of tradition. The teacher as craftworker can safely be seen as one of the three archetypes of the teacher described briefly in Chapter 4. Furthermore, it is perhaps the default conception of the teacher in recent philosophical treatments of the nature of teacher's work. This conception is examined and criticised.

This article aims to challenge the thesis of the craft origins of scientific empiricism by demonstrating how the empirical practices of early experimentalism differed in significant ways from the activities of artisans. Through a phenomenological analysis of instrumental observation and experimental demonstrations, I aim to show how experimentalism privileged modes of experience that were foreign to craft traditions and which facilitated a newfound estrangement of human subjects from the objects of their knowledge. Firstly, we will review concerns surrounding the promotion (...) of optical instruments by early experimentalists to reveal how these technologies were understood not only to amplify the senses but also to obscure contextual and relative qualities available to unaided visual perception. Secondly, we will examine the experimental practices of the early Royal Society, to see how experimental demonstrations were deliberately structured to facilitate experiences of the natural world that were divorced from practical and personal contexts. It is here that the divergence from artisanal epistemology is rendered most apparent. For in contrast to craft practices, which favored forms of experience which were personal and engaged, I will argue that the new scientific practices of the 17th century played a central role in effecting the researcher's transformation into a new kind of epistemological subject – the spectator. (shrink)

Heidegger argues that modern technology is quantifiably different from all earlier periods because of a shift in ethos from in situ craftwork to globalised production and storage at the behest of consumerism. He argues that this shift in technology has fundamentally shaped our epistemology, and it is almost impossible to comprehend anything outside the technological enframing of knowledge. The exception is when something breaks down, and the fault ‘shows up’ in fresh ways. Stiegler has several important addendums to Heidegger’s (...) thesis. Firstly, that Heidegger fails to fully appreciate the early Greek myth of Prometheus, and the technological depth that fire offers all human societies. Secondly, the fall, or failure, which is doubled in the myth of Prometheus, and shows up in epistemology accordingly. Thirdly the acceleration of technology since the onset of Information Technology, and the way this is disorientating our Being. I argue the fall in both Heidegger and early Stiegler has encaptured their imagination. In later work, Stiegler argues that acceleration is fused with algorithmic pretensions, that are distorting and undermining the creative political imaginary, and making it difficult to revalue the values that underpin the nihilist Anthropocene. The overcoming of the Anthropocene engages politics, economics, power, physics, and ecology. (shrink)

The notion that human activity can be characterised in terms of dynamic systems is a well-established alternative to motor schema approaches. Key to a dynamic systems approach is the idea that a system seeks to achieve stable states in the face of perturbation. While such an approach can apply to physical activity, it can be challenging to accept that dynamic systems also describe cognitive activity. In this paper, we argue that creativity, which could be construed as a ‘cognitive’ activity par (...) excellence, arises from the dynamic systems involved in jewellery making. Knowing whether an action has been completed to a ‘good’ standard is a significant issue in considering acts in creative disciplines. When making a piece of jewellery, there a several criteria which can define ‘good’. These are not only the aesthetics of the finished piece but also the impact of earlier actions on subsequent ones. This suggests that the manner in which an action is coordinated is influenced by the criteria by which the product is judged. We see these criteria as indicating states for the system, e.g. in terms of a space of ‘good’ outcomes and a complementary space of ‘bad’ outcomes. The skill of the craftworker is to navigate this space of available states in such a way as to minimise risk, effort and other costs and maximise benefit and quality of the outcome. In terms of postphenomonology, this paper explores Ihde’s human-technology relations and relates these to the concepts developed here. (shrink)

In this paper, I question the notion that tool-use must be driven by an internal representation which specifies the “motor program” enacted in the behaviour of the tool-user. Rather, it makes more sense to define tool-use in terms of characteristics of the dynamics of this behaviour. As the behaviour needs to be adjusted to suit changes in context, so there is unlikely to be a one-to-one, linear mapping between an action and its effect. Thus, tool-use can best be described using (...) concepts from Nonlinear Dynamics. Such an approach can be used to create a sort of cybernetic model of tool-use. However, there is a danger that such a model can either lead us back to internal representations or could fail to capture cognitive aspects of behaviour. In particular, the question of how the craftworker’s intent can be enacted in the use of tools to produce a specific object seems to be lost in the cybernetic account. My solution is two-fold. First, the “model” is created on-the-fly and adapted through moment-by-moment interactions in the system of tool-user–tool–material–environment. This means that, rather than assuming a pre-defined internal representation that drives behaviour, I propose that cognition involves the selection of salient parameters that characterize the behaviour and the continued monitoring and management of behaviour in terms of these parameters. Second, intent is only loosely defined a priori but crystallizes through the continued interactions between craftworker and object through a process in which the affordances of the object become apparent to, and responded to by, the craftworker. (shrink)

Based on an empirical illustration of Onta pottery and more broadly a discussion of the Japanese Mingei movement, we study the intimacy between craft work, ethics and time. We conceptualize craft work through the temporal structure of tradition, to which we find three aspects: generational rhythms of making; cycles of use and re-use amongst consumers and a commitment to historically and naturally attuned communities. We argue these temporal structures of tradition in craftwork are animated by two contrasting but co-existing (...) ideas of the good: the moral and the ethical. By developing the work of Elizabeth Grosz, we conceptualize this distinction between moral and ethical as a temporal phenomenon, specifically in differing relations to ideas of the future. Moral aspects of craft work understand the future as a progression from past, whether in preserving practices and norms, or improving upon them in relation to ideals. Ethical aspects understand the future as inherently open to chance and divergence, valuing difference, accident and the possibilities for creativity these entail. Empirically, we show evidence of both aspects in the case of Mingei—a organized movement dedicated to preserving and promoting traditional Japanese craft work. We contribute to studies of craft work by revealing and classifying its temporal aspects. We contribute to studies in business ethics by conceptualising a generative distinction between morals and ethics configured through differing understandings of time. (shrink)

This article explores the critical limitations of the now decades-long shift toward digital culture in the material and cultural constitution of biotechnology. It does this by telling the story of three contemporary efforts to reimagine the logic of life on the logic of the digital and the struggles attendant to building the infrastructures needed to actualize that re-imagination and make it profitable. In tracing these stories, it lifts out how biotechnologists, once caught in the spell of the digital sublime, are (...) having to confront the ways in which dreams of a data-driven and automated biology, far from eliciting an exalted future of health, wealth, and security, are simply reinforcing at the level of the organism a world already boxed in by algorithmic modes of reason and governed by imperatives of optimization. In the midst of these binds, this article points to a pathos which is beginning to stir at the bench as blue-collar technologists seek to activate an older feel for craftwork, and how this pathos signals a familiar but vital reciprocity between the maker and the made. It concludes that, in the end, breakdowns in the digital sublime make space for a more interesting biotechnical proposition, one in which the living thing being crafted has to be accommodated rather than rendered algorithmic: the cellular targets of biotechnical intervention must be coerced, cajoled, and enticed into playing along with our biotechnical imaginations. To act differently proves to be the real source of our trouble. The stories in this article draw on fieldwork conducted by the author through multiple experiments in collaborative anthropology. These experiments began in connection to a then-emerging brand of biotechnology called synthetic biology, were carried forward in view of a “post-engineering” approach to systems biology, and are currently (as of the writing of this essay) being conducted among biologists and technologists working to build “digital infrastructures” for the life sciences (i.e., digital tools for assembling, mediating, and synthesizing post-genomic biology). (shrink)

Drawing from Michel Foucault’s reading of Immanuel Kant’s essay “What is Enlightenment?,” and specifically his definition ofascesis, we associate maturity with a capacity for, and interest in, forming the self. On the basis of an empirical study of making vinyl records following the successful commercialization of digital media, we identify micro-disciplinary techniques of self-forming that emerge as enthusiasts steadily learn the craft of vinyl record manufacturing. It is, we argue, through technology, rather than against it, that organizational immaturity can be (...) resisted. Craftwork involves testing and transforming, rather than just acquiring, traditional skills. Maturity involves an ongoing struggle of selectively and reflectively engaging with technologies via attempts to be the subject of one’s own subjection. The former contributes to the latter. (shrink)

ABSTRACT This article will examine the career of weaver and occupational therapist Mary E. Black by using her life as a lens through which to explore the intersection of arts and crafts revivalism with occupational therapy in early twentiethcentury northeastern North America. Born in Massachusetts, Black grew up in and was educated in Wolfville, Nova Scotia. She trained as ward's aide in Montreal in 1919 and worked in a string of hospitals and sanitariums throughout the United States and Nova Scotia. (...) Indeed, Black understood her work as an occupational therapist and what she described as “the therapeutics of weaving” to be intertwined. Like many arts and crafts revivalists of her period, Black saw the teaching of skilled craftmaking as a means to generate self-sufficiency, since it provided a way for displaced and injured people to make salable goods in the face of industrialization, war, and inadequate medical care. In Black's case, the utopian social mission of the new professional field of occupational therapy provided just the institutional means to disseminate the remunerative qualities of craftwork on a broad scale. (shrink)

Towards the end of Aline Medeiros Ramos’s study of John Buridan on craft as an intellectual virtue, she mentions William Ockham in passing and points towards his conception of craft. In this paper, I take up her implicit invitation to explore that conception. I begin by reconstructing Ockham’s notion of craft, and then proceed to discuss three consequences of that conception: the moral neutrality of craft, the role of deliberation in craftwork, and the epistemic status of craft and the (...) craftworker. I conclude by summarizing a number of issues that Buridan, according to Medeiros Ramos, finds it important to discuss, and which are noticeably absent from Ockham’s considerations. (shrink)

Manetti's account of dignitas and excellentia is covered in four books. The first three books praise the body, the soul and the body/soul composite. Manetti's last book turns from informing an audience to defeating opponents--from persuasion to polemic. He denounces a picture of human life so bleak that death seems better, and he retraces ground explored by the three previous books. The heart of his optimist Christian anthropology is a transcendent ideal, immortality: this is what makes imperfect, embodied humans authentically (...) like a perfect, bodiless God. Other facts about humans show that goodness--also a divine ideal--belongs naturally to them and their earthly world, governed by God with providential care. The natural state of humans is original justice, not original sin, which defiles nature but does not liquidate it. Human life on earth is happy, even joyous, made so by pleasures--including sexual pleasure--that are good and part of God's plan. A sublime piece of God's craftwork is the human body--including the naked body, outside and inside, guts and all--whose image in art is mankind's visible divinity, whether painted on a church wall or carved in antique marble. The art itself--like technology and other vehicles of material culture--manifests human thought in action. Energy, effort, ingenuity and invention are forces of cultural, intellectual and material progress.'Progressive' seems the right word--adjusted for time and place--to use about these attitudes of Manetti's. To call them enlightened is also fair to his ideas about dignitas, which are ideas rooted in antiquity and renewed in the Renaissance, not ideas about the dignity invented in the Enlightenment. (shrink)

In Chapter 3, the different dimensions of know‐how relevant to teaching were examined. It is now time to see how these different dimensions are incorporated into different conceptions of occupations. The procedure will be to develop ‘ideal types’ of each, without a commitment to the existence of any in their pure form, to begin a brief description of their characteristics and their relationships with each other and, finally, to relate them to different conceptions of what it might be to be (...) a teacher. (shrink)