Symposium Decompression

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In reverse of the usual order, Ene and I kicked off the symposium with an open-ended panel discussion around my concept of ‘deep craft’. We staged the conversation as an old-fashioned town hall meeting and opened the floor to an audience of over 60 participants, encouraging the free exchange of ideas as the Deep Craft concept took shape. Knowing the people of this community around Penobscott Bay would have a lot on their minds, I thought it best to clear the air of any and all preconceptions around the meaning and role of ‘craft’ before introducing the nascent Deep Craft ethos at the core of our work as Wowhaus.

The evening took some lively turns, with many salient points made. veridex ivermectina 6 mg para que sirve At one crucial juncture, we were all treated to a lengthy discourse on the history of Craft by Peter Korn, director of the Center for Furniture Craftsmanship, who is writing a book on the subject. Occasionally, the conversation devolved into the (pointless) distinction between art and craft. It was all very instructional to me and provided a unique opportunity to learn how best to position ‘deep craft’ as a new idea, in response to the ongoing controversy surrounding notions of ‘craft’. Towards the end of the panel discussion, John Bielenberg asked if I could wrap things up by saying a few words about the origins of ‘deep craft’ in my thinking. It seemed premature to get too specific because I wanted people to have the opportunity to draw their own conclusions from the dialogue and the remaining symposium, so I ventured only vaguely into how Deep Craft is more of an ethos than a practice.

After the symposium, which is summed up in a brief article by Ethan Andrews here, I had a chance to decompress on the flight back to California and jotted some notes related to John’s question:

– Drawing on the summation of craft as a communication model as well as a production strategy, Deep Craft seeks to release ‘craft’ from its formal constraints in favor of its underlying value system.

– Deep Craft is an open source system of values that may be applied to making anything.

– Deep Craft is not confined to the studio practice of an individual, but is scaleable to a community.

– Deep Craft is not the product of individual self-expression or actualization. Rather it is the process of acting as an agent in improving one’s surroundings. kilox ivermectina 0.6 gotas While Deep Craft serves self-interest, it is motivated more by an innate desire to do good. para q sirve ivexterm 6 mg The depth of the craft is related to the depth of the improvement. I use the term ‘craft’ to align it with the potential for the hand to act as an agent of change in this process, without the aid of elaborate tools or technologies. Craft can be seen as the summation of human-powered production models throughout history, each with their own political and social histories and implications. Deep Craft draws on these where appropriate as templates to overlay on present conditions, as an ethical standard, but only as such.

– Deep Craft is a system of arranging things and relationships in such a way as to improve their value as well as the conditions that sustain the value.
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Deep Craft at Waterfall Arts

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We have been busy preparing for our first Deep Craft Symposium this weekend at Waterfall Arts in Belfast, Maine. I finished the pencil post bed and it awaits my parents’ arrival tomorrow for a trial run. ???????? ???????? Meanwhile, Ene had been on call to support her sister as she gave birth to a healthy girl, born yesterday. We have a new niece!

The symposium promises to be a lively and timely complement to our activities on the home front. ??? ????? ?? ???????? ????? We will host a panel discussion this Friday,  and follow up with a presentation of our work followed by a hands-on workshop on Saturday.

The panel will be a kind of summit meeting of ideas underlying craft practice, and related potential regarding sustainability, community and commerce. ????? ????? ??????? Most often, public forums on craft focus on exposition/exhibition, featuring technical or market related strategies. Our Deep Craft Symposium will focus on ‘why to’ as opposed to ‘how to’; on what makers think about- on what are the intended outcomes of craft practice and related obstacles, challenges and rewards. Because we work in relative isolation, this will be a great opportunity to share insights and experience in a public conversation with like-minded folks on the other coast.

Please come by if you are in the neighborhood!

Election Day Bed

I spent Election Day in the shop making a pencil post bed as a distraction from the culmination of my combined worry and excitement for the returns of the day.The bed will occupy the ‘Outlaw’, our guest home/vacation rental where my parents will be living when they arrive next week from Philadelphia for an extended Thanksgiving stay. I’m using materials at hand and improvising the design around two complimentary motivators:

The first of these has to do with only using the tools that enable me to stay sharp but detatched at the same time, using my entire body in a simple gesture. Cutting long tapers on the bandsaw is a little like practicing Tai Chi combined with driving across Wyoming, and my thoughts can meander as my body tends to the work. Next I’ll hand plane the tapered surfaces and move on to cutting a ‘bead’ detail by hand on the rails. I will leave the wood raw with all toolmarks visible to avoid the toxic stress of sanding and finishing.

The second motivator is the feeling I want the bed to communicate, especially in light of the forward momentum of this most historic election and the waning legacy of ineptitude and cynicism in its wake. I want the bed to feel light and high, but also noble and solid in a minimalist way, using materials with an intentional frugality, whose mass and volume are suggested by the emptiness of the air around the bed. ???? ?????? I want the lines to reflect a focused, loose hand in balance with the story of the grain of the wood, occasionally revealing the wane or live edge of a board to articulate a detail. ?????? ?????? I’d like the bed to conjure an early American rusticity informed by a more global awareness, primitive colonial with hints of African sculpture and French baroque.hotsquashsoup.jpghot squash soup on the walnut headboard

As I make the moves in my shop, I’m soothed by the smell of my hot squash soup simmering on the stove, and the blend of acorn squash, hot peppers, garlic and curry combines wonderfully with the rich overtones of white oak as it yields to the blade.

Hot Squash Soup

Bake one large or two small acorn squashes, sliced in half with pads of butter in the cavities, in the oven at 375 until tender. Scoop out the flesh and let cool. Chop one clove of garlic, one hot chile pepper and one banana pepper and saute over medium heat in olive oil and butter. After about 4-5 minutes add curry powder to the vegetables and stir the mixture thoroughly. Add the squash, blending it with the pepper and garlic, and bring the mixture to a low boil. ;ha d, Add 2 tablespoons of chicken broth and about a half teaspoon of salt, stir, cover the mixture and reduce the heat to let it simmer for 15-20 minutes.

Blend the ingredients in a blender and serve with a dollup of Greek yogurt and several sprigs of fresh cilantro. // <![CDATA[
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First Rains

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The first rains have arrived and Ene planted a cover crop of fava beans as a soil amendment and delicious late winter staple. Our garden was devastated by deer over the summer while we were travelling, but we were able to harvest a few pumpkins, acorn squash and late season chiles that survived the onslaught. ?? ????? 365

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I like to make stews and soups in my shop kitchen during the rainy season as a backdrop to making furniture, and have an idea for a hot squash soup cooled with fresh parsley and yogurt. ?????? ??? ?????

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Clam Skiff Vernacular

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Brigantine beach cottages, alleyway view

As a teenager in the seventies I spent summers on the South Jersey shore cooking at a seafood restaurant in Brigantine, a tiny island just to the north of Atlantic City. My great grandfather had built one of the first houses on the island in the 1920’s, my dad worked the beaches as a lifeguard in the 1950’s, and the island remains a touchstone for my siblings and me, my daughter and her generation of cousins. Being geographically remote and vulnerable to hurricanes, the island did not develop as rapidly or luxuriously as its neighboring communities to the south, and remained a working class destination well into the introduction of legalized gambling in the late seventies. For more than the past decade, houses like the ones above have been largely demolished and replaced with tacky ‘McMansions’ in response to an insatiable demand for seaside vacation homes in the urban Northeast corridor.

On my way to work in the late afternoon I would walk along sandy alleyways past the backsides of these houses, which then almost invariably had a ‘clam skiff’ stored for easy access on a trailer. These were the homes of island clammers and fishermen, whose catch was delivered daily to the restaurant- top necks, little necks, cherrystones and chowder clams, all bundled up in muddy burlap bags by sun-soaked and slightly innebriated skiffmen who spent their days on the marshes. Along with seasonal catches of flounder and blue claw crab, this bounty formed the staple of our menu at the restaurant.

I was always struck how the clammers’ skiffs resembled their houses, often coated with the same paint. The skiffs were flat-bottomed, hard-chined ‘sharpies’ designed to navigate the shallow tidal flats and sloughs of the Brigantine Bay and to take a heavy load. Because the skiffs were often in better repair than the houses, I thought of them as the maritime equivalent to a barn or tractor for the land-based, agricultural enterprises further inland.  The skiffs and beach cottages were more the domain of the last of the hunter-gatherers, but the relationship between the implements of livelihood and domestic comfort was simailarly structured. ivermectin white flies Resources were prioritized according to the requirements of rudimentary provision, and the design of houses followed the pattern of utilitarian necessity.

Up until the post-WWII ubiquity of sheet materials like plywood, clam skiffs and beach cottages were constructed of local pine and cedar from New Jersey’s deceptively expansive native forests. When material scarcity outpaced the demand for the material people naturally found substitutes, regardless of the trade-offs. This is especially the case in places like Brigantine, where working communities were historically under constant threat of poverty and natural disaster. ivermectin cream for scabies Though plywood does not rival local materials in terms of environmental impact, it has proven to be of use in addressing established formal requirements  in response to regional conditions, both social and environmental. During the housing boom on the island  beginning in the late 1940’s and extending into the early 1970’s, plywood became the material of choice for the construction of both house and skiff. ivermectin tight throat Suffice it to say that while clammers no longer occupy the island, the crop of new boats certainly continues to match the contemporary architecture.

I’m interested to see historic preservation extend into the contemporary vernacular of a region, protecting local resources as much as local character.

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underside of a modified sharpie skiff Ene and I built in the late 1980’s

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Saving Seeds with Alex Quinto

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Ene harvested the last of our tomatoes and tomatillos, which she had let over-ripen on the vine to to make it easier to squeeze out the seeds. Our friend Alex Quinto was visiting for the day and helped Ene with the seed saving.

Alex is the co-founder of Work Worth Doing and has lived for years between Toronto and Mexico City, engaging in design research related to sustainable development and the future of U.S.-Mexico relations. He recently collaborated with Fernando Romero on the book Hyperborder, a detailed portrait of the U.S.-Mexican border and study of its potential future scenarios. how do u take ivermectin

It seemed appropriate to discuss the future of our relationship with Mexico with Alex while handling seeds whose ancient origins are in the Americas. Next we will soak the seeds in water until the remaing fruit rots away, then dry the seeds in the sun for planting next spring. stromectol walmart canada Perhaps Alex will return to help us plant the crop.

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Alex and Ene saving seeds

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Hum of Home

We’ve had a rare stretch of balmy clear nights and I find myself seduced into staying up late to watch the stars and be lulled by the polyrhythm of crickets and the smell of the watered garden tinged with redwood trees still breathing the morning fog. We’ve heard peeper frogs during the rainy season since we settled here over two years ago, but this is the first season we hear the steady hum of crickets and cicadas at nightfall, before the cooler air settles in from the coast and the new silence gives way to the predatory warnings of owls and coyotes. By cultivating the land and making a homeplace we’ve influenced the ecosystem around us in ways that are beginning to feel like a reward for our efforts. The hum of home has begun to extend beyond our reach and beyond our waking lives, night and sleep informing the patterns of the day.

With the property becoming more domesticated and my shopwork finding a healthy cadence during this season of shortening days, I’m lucky to have these warm autumn nights to reflect on the craftwork that fills my days. It’s almost as though the daily rituals of working with wood are a way of limbering up my mind, preparing me for clear thinking.

Prepare the work while it prepares you.