in other words

one of the colleges at SU is the Newhouse School of Journalism. William Safire and Bob Costas are alums, along with a bunch of other folk. One of the grad students in the Arts Journalism program saw my artist talk and contacted me a couple of months ago asking if she could use me to fulfill a project. The students in the class were told to find a working artist and to do a three minute multi-media piece about them and their work. She did a great job of editing, I think, and managed to sift through all of my words to get at the heart of what I am trying to do and say. Here is what she ended up with:

Couldn't have said it better myself.

questions

the proprietress of Waypoints wrote about artists operating at a remove, and it got me to thinking again about my relationship to the material I use and how I work. She was writing about the conductor’s remove from the music, in the sense that the conductor uses musicians who use instruments to make the music, and that there is a remove there that is not present for, say, a writer, who crafts words directly to give shape to thought.

What we are talking about, of course, is what filters we use to touch the divine, What lenses we employ to refract capital-T Truth, to portray capital-B beauty in a meaningful and honest way.

This conversation bubbles up frequently in the woodworking world as the conversation about dovetails. It is a conversation about the relevance of what is referred to as “hand work” in a machine age. One camp says that it is more honest and pure to use traditional hand tools and to lay out and cut the dovetails one by one, the implication being that because the tools are not plugged in they are more honest, more direct, and that they speak more about craftsmanship. The other camp says that the tools used are irrelevant , that as long as the end product fits tightly the methodologies used to produce it shouldn’t be questioned.

Both camps are right, of course.

The underlying question that is relevant to what Cheyenna was writing about is the question of operating at a remove from our work. How many tools have to be involved before the integrity of the work is compromised? If I use a table saw (which was invented in the 1850’s by a Shaker woman) am I at more of a remove from my work than if I write with a ball point pen (first patented in 1888)? How about if I use a computer to write, which is a device that is not only so complicated that I have no idea at all how it works, it stores the words I write in a way that without another computer they can not be accessed at all? If I cut my dovetails with using a marking gauge, a bevel gauge, a handsaw and a chisel, am I closer to the work than if I use a routing jig and an electric router? The electric methodology actually requires fewer tools, but is typically seen as being less “pure” somehow (especially by me).

This question of being at a remove, of operating from a distance, is central in my own studio work. The more we are aware of the origins of the things we make and their place in the “enormous long river” of history, the more thoughtful we can be about our own place in the same river. But it is interesting to me how selective I tend to be when choosing in which arenas I can be distant and in which I must be directly involved in all steps.

When I use a guitar to play notes and sing words that some one else wrote I do not feel at all that I am operating at a remove from the beauty of the song. Nor do I feel that I am not somehow making the song. In fact the sense of ownership over singing that song as beautifully as possible in that moment is incredibly raw, and comrades joining in the moment are bound very closely to me as the singer and musician, with them as fellow makers in a very real and relevant way. The fact that none of the craft involved is necessarily mine, that I neither wrote the music or the words, nor made the guitar, does not diminish at all the profundity of the moment nor my sense of ownership of and participation in it.

What, then, makes using non-electric (“olde-timey”) tools allow me to feel closer to my work? What is more “honest” about having to think about every saw stroke than about having to be thoughtful about how I set up a routing jig to make routed dovetails?

Part of it is that it is easier for me to connect to craftspeople that have come before me if I use the tools that they used. This is a limited view, though, as it is thinking about making in a physical sense only. Consider instead the modern cabinet maker whose livelihood is cranking out cabinets: This is a craftsman that has a clear and present need to produce as many cabinets as possible in as short a time possible, which connects him philosophically and practically to his forbears in a pretty direct way, which not only necessitates using power tools, it encourages it. My romantic attitudes about craft and its place in society is actually divergent from the day to day thought processes of the very craftspeople in the 19^th century that I wax so lyrical about.

Yet again, we are at an impasse. What it comes down to is value systems, and about continuums of honesty and where we make a stand relative to where others make a stand. And the landscape on which we make that stand is constantly shifting, making it hard to plant a flag anywhere with absolute conviction.

What is important as an outcome of this rather circular thought process is that as makers we have an obligation to continue to be thoughtful about what we make and how we make it. Though these are questions without answers, they are important as questions, and the act of constant questioning is what, in the end, makes possible the most relevant making.

bridges

here at Syracuse University there is a college called the iSchool. It is officially called the College of Information Technology, but iSchool sounds cooler, so that is how it brands itself. Yesterday they had a get-together for people from their school and from ours ("art and design people"). It was organised by a Ph. D. student with a background in art who is looking at communication in ways that doing doctoral work in information technology makes sense.

She said to us that the iSchool deals with the place that “people, information, and technology intersect.” The assumption is that the technology is digital, which of course I find off-putting. As many of you know, my relationship with digital technology tends to be contentious at best, and there are many things about digital technology that I find downright offensive.

But then she said that phrase about “people, information, and technology.” Which got me to thinking about technology. After all, a hand saw is technology, in the common understanding of what technology is. The root of “technology” is the Greek word “techne,” which means “art” or “skill.”

Well, I am interested in art and in skill, that goes without saying. “Techne” is also the root of “technique.” And of “technical,” which describes a lot of things that also interest me.

So now I am intrigued. Because when seen in that light, technology becomes something altogether different. If it is about using art and skill to manipulate objects or materials or data, well, that is what I do too, isn’t it? As a maker I apply art (I hope) and skills (which I am still learning, of course) to materials to make objects that resonate in some way with the end user. That is an intersection of people and information and technology in some way, of course. As an educator, I apply art and skill to leading my students towards a larger understanding of the world around them and of the field into which they are going to go when they graduate. Which is absolutely the intersection of information and people and techne-ology.

I still find the interface difficult. The screen is off-putting. I worry that we as a culture are spending too much time living life at a remove, that we have lost sight of where things come from, how they get to us, and what happens when they leave our immediate sphere. I worry about relationships that exist only digitally, in which two people may seldom or never meet face-to-face, and what that means with regards to interpersonal interaction. But then one of my best friends lives in New York City, and I only see her regularly through the computer, and many of the conversations we have in the digital sphere greatly influence the way I make and teach. So even as I fret about the implications of an increasingly digital existence, it does enhance my immediate life as a maker and a teacher in (what I think to be) positive ways.

One of my jobs now seems to be to figure out how to reconcile my Great-Grandfather’s handsaw with my Macbook Pro. And how do I help my students navigate a world in which the effects of the first are just as relevant as the effects of the second in a way that is not tinged with Luddite rhetoric?

Matthew Crawford wrote somewhat glibly that if you are in the U.S., and need a wall built, you are going to have to hire a local tradesperson, because “you can’t hammer a nail from India.” In his defense of the manual arts, it was impossible for him to separate craft from making, but the implication in that book is that there is somehow less craft in the digital side of making than there is in, say, plumbing. I share that view in the broader sense, but conversations that I have been having here over the past few months have started me thinking more and more about the craft of manipulating data, and the close corollaries that can have to manipulating anything else, whether it is wood or steel or stone or plumbing pipes or a car engine. In the end, it is using tools to manipulate a raw material and provide a finished product. No difference.

This may seem self-evident. It is not, I fully understand, a ground-breaking realization. But it represents a huge step for me, somewhere in the realm of the Catholic Church finally grudgingly admitting that, okay, maybe the sun does not, in fact, orbit the Earth. There is a great deal of thinking that I will need to do now about making and about craft, about the relationship of all craftspeople to their tools and to each other, and how we can all work together to effect positive change.

New bridges all the time, here, and new boats landing on well worn shores, bringing emissaries from a larger world. How lucky to be here now.

shelter

it rains a lot in Syracuse. Which we all know, and knew going in. But then, I have never had a big pile of hickory slabbed up and sitting in the rain before, so I have been worrying about that. There has been a constant hum in the back of my brain about what the water is doing to all of that beautiful wood, and how irresponsible I have been letting it sit under a tarp and stay wet for three weeks. This morning I decided to do something about it.

Getting up at 6 as usual was a special treat, because of course it was five, so I got a free hour of work. A lovely gift. I went down to say "good morning" to the lumber, which has indeed already started to show the effects of too much water hitting it. Not good.

I spent the next few hours erecting a drying shed. The place that I am storing the lumber had given me a rusty old steel frame to use as a structure, and this is what the tarp had been thrown over. But water pooling in between the steel had caused the tarp to sag to the point that it was sitting on the wood, and the water had condensed through the tarp, and part of the tarp had blown away, so all in all it was pretty ineffective. So I got some two-by-fours and some corrugated steel and set to work.

One of the things I love about building things is that at the end of a few hours (or days or weeks, depending on what you are building), it is possible to step back and see the fruits of one's labor. At around 11.30 I stepped back and saw this:

Feels pretty good.

Now all of that lumber has a place to slowly dry, to become stable enough to become usable for furniture and to move on to a new life. When the sophomores that I am teaching are graduating, that hickory will be ready to graduate, too. And it will.

hoosier cabinets

we had some good friends over a couple of nights ago. One of them pointed at the Hoosier cabinet in our kitchen and said "that's a nice piece. Did you just buy it?" With a pride that surprised me I said "No, it was a wedding gift to my great grandmother."

I love Hoosier cabinets. They are one of the few distinctly American pieces of furniture. They were not made or used anywhere else in the world, but in the early part of the 20th century were seen in many (especially Midwestern) kitchens. Named after the Hoosier Manufacturing Company, they were already in major production by 1903, though some historians make convincing arguments for them being popular in the late nineteenth century. Other companies made their own versions of the cabinet, which is what we have. Ours is not a Hoosier Brand, but we love it nonetheless.

In a time before kitchen cabinets as we think of them, storage and work space in kitchens was scarce, which is weird for us to think about. Imagine a kitchen without the now-ubiquitous cabinets and sink, maybe just a table and a sink with a hand pump for water. Now imagine making dinner for a farm family of eight or so. No wonder these cabinets were so popular.

Like many cabinets of this style, Bama's cabinet has slide-out cutting boards just below the countertop, scored with years of slicing and chopping in the pursuit of dinner:

The counter top, incidentally, is a 1950's replacement. Originally this cabinet (like most Hoosier Cabinets) probably had an enameled steel counter top. When these got chipped the steel started to rust, which is probably why it was replaced with the Formica one.

There are also a bunch of

different drawers, with a bunch of different implied functions. We use the potato and onion drawer for its intended purpose, which it still fulfills all these decades later.

This is not a million-dollar antique. Even in pristine condition these are not furniture objects that fetch huge price tags. But this is where "value" and "worth" take on different meanings. Of course I would never sell the cabinet. It IS a million dollar cabinet to us, because it is shiny with thousands of openings by Bama, and by my Grandmother, and my father as a little boy, and now us. As Thomas grows, he will be able to use his Great-Great Grandmother's cabinet, and add the polish of his hands and the weight of his use. Eventually, I will repair the sagging middle drawer support, taking on, as I have, the responsibility of maintaing this particular object in the museum. And so the work of my hands, the love of my family, and my reverence for the past and the future also get woven into this humble cabinet.

Now, THAT is worth a million dollars. And I feel lucky to be the curator of this branch of the museum.

saturday

i got this email from a colleague a couple of weeks ago:

Hello Zeke-

I had a large hickory taken down in my side yard today. My friend with the mobile mill could saw it up for you if you want to buy it. Don’t know how many board feet yet. It was a bit dark by the time I got home so I’ll pace it off in the morning.


Best-
Don

Well, of course I wanted to buy it. Last Friday night I went over to his house and helped him roll four huge chunks of tree down the hill around a couple of trees to an access road on his property. It was a solid couple of hours of work, freshly cut trees are filled with water and VERY HEAVY. We figure it was a couple of tons of wood at least. This hickory had been growing for a hundred years in a stand of forest, and had been reaching reaching reaching to get at the sun, so the trunk was long and straight as an arrow, perfect for making into lumber. When we got the four pieces of trunk to their final resting place they looked like this:

The place they came from is about halfway up the hill, which does not seem that far away in the photo, but trust me it was a feat to move these logs around. Yesterday I met George Chrysler. George is a tool maker for a local tool and die company, and "for fun" owns a portable saw mill called a Wood Mizer. Here is George having fun:

A Wood Mizer is a saw mill made by a company in Indianapolis. Their motto is "Making Dreams Come True," and they sure are doing that for me. A Wood Mizer saw mill is made to be towed behind a pickup truck, and George's can handle logs that are 30" in diameter and fourteen or sixteen feet long. Big logs. My hundred-year-old- hickory tree was not quite so big, but it was a pretty good size, about twenty inches in diameter at the base.

So on a beautiful, sun dappled, cool autumn Saturday morning, I meet George out in the woods, and we get started. We had a six hour conversation as we turned a tree into dimensional lumber, about the saw mill itself, about trees, about how I was going to use the lumber, about whether it was more important to get as much lumber as possible or to get more interesting boards. A good time was had by both, I think. And I got to be a part of choosing how the log was made into boards, specifying that some of it be cut for table tops, and other parts to be cut thinner, or thicker. We would turn the logs this way and that to get the best cut, or we would just start at the top of the log and work our way down, slabbing the entire tree into planks.

It was, I have to say, way better than a party. Here is a short video of one way to make lumber:

Here is a video from the other side:

By three o'clock in the afternoon, we had made quite a pile of hickory boards, with its white sapwood and fleshy pink heartwood seeing the air for the first time ever. Hickory has a slightly sour but sweet smell when you cut it, and that smell hung over the whole area as the sawdust swirled in the sun and the breeze and the stack of wood got higher and higher.

Next weekend I will move the pile somewhere that it can sit and season, which will likely take two years or more, unless I dry it in a kiln. Then it will be ready to make into tables and cabinets and benches and shelves, objects "of use" or of beauty that we hope will last another hundred years or more.

Throughout this process I could not help but be put in mind of the way boards were made not long before this tree was planted. The image of a man standing on top of the log and another standing underneath it and sawing by hand board after board was in the front of my mind all day, the realisation that what were doing with the Wood Mizer in forty five seconds at one time would have taken two men the better part of an hour. That looked like this:

I felt lucky to be where I was, to be surrounded by people that understand the importance of what Eric Sloan calls "The Reverence for Wood," to be given the gift of involvement in the process in this way. So few woodworkers or furniture people see the material they use as trees, or live with them through the becoming process, all the way down to the finished object. It is a special responsibility I feel, and a heavy one, to do this tree proud, now that I have been part of making it into lumber. The thing that I try to impart to my students is this, though: All the wood around us came from trees. Even the particleboard. Even the two-by-fours that you can not see behind the sheetrock in the wall of the room you are sitting in. All of the steel was ripped from underground. All of the copper in this computer had a genesis and a venerable life.

Losing sight of those beginnings, disassociating ourselves from where things come from, weakens our bonds to and our understanding of the importance and the impact of the things around us. Strengthening our connection to raw materials and their genesis helps us to understand how tenuous our grip on the world is, and helps me, at least, remember what my place is, and what my duty is.

class

it has been a long time since I have written here. A lot has happened, and I have mostly been trying to keep my head above water. This has been (barely) possible. Now it is a cool early Saturday morning, and I am up, because this is when I wake up these days, and I have been trying to process everything and sort it all into the bins it goes in.

I thought I would write a little bit about the teaching, as that has consumed a lot of my waking hours. It has been grand.

One of my classes is a “Sustainable Furniture and Lighting” class. I am starting to hate the word “sustainable” almost as much as I hate the word “green.” Green, that is, as applies to design or to living. I have no problem with green as a color, or as a party, or as a way to be, if you’re a frog. But these labels get co-opted and twisted until even Wal-Mart is using them and they have no meaning whatsoever and are just words printed on plastic packaging that is shrink-wrapped and shipped from China.

So we had to start out by talking about what “sustainable” is, what it means as it applies to furniture, as it applies to life. We are still talking about it. I hope we will continue to talk about it. Lots to talk about, there. Then we go on to our first project, which is a lighting object. This is where it starts to get good.

Habitat for Humanity has a store here in Syracuse called the Habitat ReStore. If you are doing demolition at your house and have something that is still usable that you are getting rid of, you take it to them and they re-sell it and make a little dough and the object stays in use, rather than going in the landfill. Pretty cool. And people donate all kinds of things. Contractors will donate almost a full pallet of sheetrock, sometimes at the end of a job, or a pile of two-by-fours. Then anyone can walk in and buy the stuff for pennies on the dollar. Everything you can imagine gets donated: sinks, lighting fixtures, hardware, doors, windows, cabinets, anything you can think of. Pretty cool place.

The theme of this particular class, the way we are attacking “sustainability,” is through a process called “upcycling.” Most objects are downcycled, that is, the raw material is ripped out of the ground and refined, then made into an object, used, and thrown away. This is a vertical process that I think of as starting at the top and proceeding down into a landfill. Some objects are recycled, which means that some or all of the material is turned back into its raw state and then used again. I think of this as a more or less horizontal process, though usually the end result is that the material is eventually downcycled.

“Upcycling” is the process of taking an object that has been discarded and moving vertically back up to restore it to a useful state. This is what I have been trying to do in my studio practice, and now I have a captive audience of 20 Industrial Design students to do it with me.

It is, as we used to say, rad.

The project brief is to buy an item at ReStore (giving money to an organization that needs it and supporting the local economy) and make it into a lighting object (getting us used to the idea of upcycling to make an object instead of buying a lot of stuff). Pretty fun stuff, and the students have wholeheartedly embraced it, which is encouraging to see.

Yesterday we met in the shop and I gave a lecture and demonstration about how to wire a lamp. I have wired a lot of lamps in my time, and I feel pretty comfortable leading them through this process. Then I walk into the shop, and there are four IBEW electricians working on the wiring in the shop. And here I am about to tell a bunch of students how to do wiring. Hrm.

I go over to the electricians and say sotto voce “Okay, look. I am about to give a wiring demo to a bunch of students. Do me a favor and don’t laugh at me ‘till they leave.” And we all grin at the absurdity of it, and make a couple of jokes, and now I am just as nervous as I was before, but now they are going to surreptitiously listen as I talk.

Super.

It all goes pretty well. I show the class how electricity runs in a circle, and how if you interrupt that circle the light does not come on. I show them a bunch of different types of plugs and switches, and demo how to carefully strip the plastic jacket off of the wire and crimp a terminal on the end and screw it to the prong in the plug. We look at the insides of different plugs and different switches. We talk about “hot” and “neutral” and “ground.” I introduce them to my friend Teri’s two basic rules of lighting: (1) “Is the damn thing plugged in?” and (2) “Is the damn thing turned on?” They ask some good questions, and then class ends and they all go their ways, off to do whatever it is they do on weekends, which I do not ask about, because I (vaguely) remember my college days, and I figure I don’t need to know.

So I go over to Chad, who is the lead electrician on site, and say, “Well, what do you think? Should I get fired, or was that okay?” And he grins at me and looks at me sort of out of the corner of his eyes and says, “Sounded pretty good to me. I wouldn’t have told them anything different.” I felt ten feet tall.

What excites me about this is that the students seem jazzed, and they are the ones who are going out to design objects for the next generation. If I can get them thinking about responsible design here in school, If I can get it really under their skin and in their blood, what wonderful stuff can they bring to pass when they are out in the world? Super exciting.