General feedback from Brian M:
-The wide and open selection of practices/crafts by everyone reminded me that media *can* be defined very broadly (as media academic David Gauntlett does in Making Media Studies: The Creativity Turn (2014) – as he puts it, adapting Brian Eno!, anything that generates an experience). But what is your chosen craft/object communicating in the broadest sense?
-Forms of [media] making that engage the body in ways other to digital existence (i.e. as a screen interaction) seem really important in lots of the examples chosen
-More context about training – ways of passing on the knowledge about the craft – would be illumination … how are ways of learning old school and new school?
I liked the repeated theme of not thinking of old/new media as binary – but rather feeding and/or providing spaces and opportunities for each other
-What is particular about the economic / work organisation situation where the craft develops
niche marketing vs craft – not the opposition? Business first craft second?
cf handcrafts (e.g. pottery, shoemaking) – making material process visible (not hiding it – the object as fetish hiding conditions of production and labour relations)
Actual workspaces where creativity happens are really interesting – e.g. private workshops versus public performance. What sort of difference might this make to understanding of craft/practice?
technical things (for future)
– don’t forget to light your subject as much, if not more, than the surrounds.
– mic your subject (clip-ons to camera or separate zoom) please!
Relationship between enterprise and craft is interesting in some of these cases – what comes first – desire to find a niche market then the passion for the craft or …? Entanglement of romantic and pragmatic understandings of craft, skill and passion.
