Berry and Fasenfest

Berry

Wendell Berry truly values agriculture, but thinks that it's talked about as a business when in reality it isn't. He describes how people explain the agriculture business as a free market. However, Berry sees agriculture as far from business as do other farmers apparently. Wendell was a farmer himself along with being an author, and a cultural and economic critic. He grew up in a family of farmers. Also, he seemed to be quite the activist. He seemed to be interested in pollution, the land, and anti-war activism as well. I think he wants the reader to see the text and himself as lovers of the land and advocates for farming. He's trying to get the reader to see that there is something wrong with how this country is running. A lot of the sources of agriculture are being ruined and economics are making farming impossible for some people. I think he wants the readers of this text to think about this essay and then think towards the future. Like he says, everything is okay now while we still have the sources of agriculture but eventually they'll run out because we are a nation that like to consume and not take care of the earth and resources that we ruin on the way. He's trying to show the true grim reality of this situation for farmers themselves and the people that live in this country. He's mostly interested in environmental and economic issues.

Fasenfest

Harriet Fasenfest lives in Portland, Oregon and is attempting to make home economics more modern. She teaches classes on food preservation, she is an urban gardener, and a writer too. The businesses on Main Street that she refers to in her Intro are two cafes that she used to own. I think Fasenfest wants the readers of her book to understand that she started out probably in the place where they are; trusting the economic system, using big business, etc. Also, she wants to show how she grew into an urban gardener and why she gardens. It's obviously an important part of her life. Instead of owning cafes, she now uses her backyard for produce. She uses something natural and is connected to natural things. She also makes it clear that this thinking didn't happen overnight; I think that part is important too. It's a process. The people she probably has in mind as readers are people who may be feeling the same way she did in the beginning or possibly people just looking to produce their own food as opposed to buying from big businesses like Wal-Mart. Fasenfest is most interested in the Globalization of America I think. She describes that conference that was part of her change.

Like craft activism, gardening or farming is going against consumer America in a way. By producing food for yourself and your family (or maybe for the region you live in if you have a farm) you no longer have to rely on other sources. Creating food is still creating something in some sense, so it could loosely be seen as a craft. Also, we talked about how craft is used in every day life and certainly food is used in every day life and if you had a farm or garden producing that food it would be a sort of craft. Depending on the intentions of the gardener or farmer, I definitely think that there could be an activist side to farming/gardening.

In-Class Writing Reflection 2/28

Crafting

I don't really see the craft that I do as a kind of activism. I think I do my work for fun as opposed to a political or social stance. I like to knit and cook as something for fun; it's something different for me to do. I buy a lot of things from regular clothing stores and regular supermarkets. I'm sure if I tried harder I could make more and stop buying so much from regular clothing stores, but I haven't so I don't view what I craft as a kind of craftivism.

Buying

They only kind of activism that I think I portray when I buy is when I buy produce from produce stands during the summer. My family and I like to get our produce from the stands on the side of the road in our town during the summer. Generally the food tastes much better and it is nice to support a local farm instead of Pick n Save or Wal Mart. I feel like the people on the farm work really hard to make great food so paying them for it feels better than paying a big store that doesn't need the money as much as a local farm does. They deserve my money more.

Greer and Black/Burisch

Greer

Betsy Greer was the author of this text. You can tell by simply reading the article that she is very passionate about both craft and being "a voice" in the world. She has opinions on things, like the war, and enjoys making a point through craft instead of protesting. It's a new way of protesting. By doing a quick search I found out that she has an M.A. in sociology, but it seems like she spends most of her time freelance writing. Not sure if she's writing about sociology based things. Right now, she's working on labor rights issues. I think the purpose of writing this essay is to give a background of "craftivism". The essay is short but she gives a background on how she came up with the idea, the struggles that she had with others using the word, and then her coming to peace with others using the word. I think she saw something wrong with the world she was living in and wanted a way to express that. She said in the essay that she had tried protesting, but it didn't feel right. This was a way that worked for her, and apparently, a way that worked for many other people as well. Others are using this way to protest and "speak out". Another motive for writing this essay may have been to show others a new way to get their opinions out. The writer assumes that the readers of this essay have something to say about the world. They're political and they're not satisfied with the way that they have been speaking out. I see the writer trying to change the way people view the world. You can see this when she's talking about watching the Halloween parade in New York. She's describing how the people just look forward and don't interact. That's why she starts the knitting circles and how she starts with craftivism. I think she wants people to start being more social and intimate. The war on terror seems to be the most important social issue to her. She brings it up multiple times and does anti-war craft. The war is what drives her to create "craftivism" in the first place.

Black/Burisch

Both the writers of this text are very interested in using art to make a political stance or a political statement. Going off of that, I think they're also interested in the places that display this craft and how it is displayed- they talked a lot about how different museums displayed things in an unproductive way. After doing a google search on both of these writers I found out that Anthea Black writes a lot on craft in regards to sexuality and on other political topics as well which was expected. Nicole Burisch does much of the same stuff. She focuses on contemporary craft and craft theory. I think the writers want the readers of this text to see craft as a way to express yourself in a really effective way, but to be weary about the places in which the craft is displayed. They obviously both participate and enjoy craftivism, but it's also obvious that the works can be taken in the wrong way when displayed ignorantly or without information or a workshop along with the exhibit. I think that similar to the other essay they have in mind future crafters or crafters that have something to say politically as their readers. Also, people who work in museums or other places that display art, like galleries, may be interested in reading this text in order to be knowledgeable about craftivism. The writers give many examples of projects that the readers could participate in, like the Pink Tank project or the Peace Knits banner. These are examples of people working together democraticly toward a common goal. They also give examples of work being done individually like the knitted land mines. Various historical and social issues seem important to the writers, but like the above text, it seems like the War on Terror is at the front. Anti-war craft seemed to be the center of this text; all of the projects mentioned had an anti-war message.

In my opinion, craft does seem to be a good medium for activism. It is effective for people who want to keep something going. For example, in "Craft Hard Die Free" they talk about archiving the work of Pink Tank with a video. That is forever remembered then and does make a huge public display without the yelling. Although protests can be called peaceful, I think a lot of yelling and screaming is not entirely peaceful. Creating a craft, especially doing it with many people, does show a political message and a powerful one at that. Stitch 'n Bitch and DIY Trunk Show are both organizations that are all over and have a message. These organizations have tons of people participating in them and that makes their messages strong and loud.

Part Two

When I worked on the lolcat I feel some similarities as I do knitting because both are basically new to me. Trying to learn to knit again was kind of frustrating; looking up things online is much different than having my grandmother there instructing me and helping me along when I mess things up. Similarly, working with Photoshop was completely new to me. It was difficult for me to use even though we had instructions there. Also, although the lolcat was something fun to make in comparison to writing a paper or doing school work, it almost felt like school work because we were working in classroom. Also, I think since I do so much school work on my laptop, it felt like that too. So based on medium, it felt like work to me. On the other hand, working with the yarn and knitting, doesn't feel as work-like to me. Although it's challenging for me, I feel a connection to my grandmother while I'm knitting and enjoy telling her about the project. She gets excited knowing that I'm trying to knit. It's something we have in common. I had a more cozy feel with knitting than working on the lolcat. I think that digital craft can definitely exist. Someone can easily make something online that has a use and that they enjoy making as well. Just because I don't find working on a computer "cozy and crafty" others might. And if you look at digital craft as a sort of craftivism, I'm sure you could find tons of examples. Online cartoons, blogs, online edited photos are just a few examples that I can think of right now.

My First Lolcat

Thanks to Flickr user cobalt123 for sharing this cute cat via Creative Commons!

Stitch 'n Bitch and DIY Trunk Show notes

Stitch 'n Bitch

Stella Minahan: Works at a college in Australia (Deakin), Graduate certificate of retail management. She's interested in sociology of consumption, social responsibilities in retail, and institutional theory.

Julie Wolfram Cox: Also works at Deakin University. Chair in Managment in the School of Management and Marketing. Works on things outside of organization theory and change ; ex: worked to make her community safer with the police.

Journal of Material Culture: Concerned with relationship between artifacts and social relations. Also, explores the links between the construction of social identities and the production and use of culture. Uses cultural studies, anthropology, and archaeology, and material culture studies.

I think that these researchers would be interested in Stitch 'n Bitch because Stella Minahan is intersted in consumerism and retail. They talk about how knitting used to be something that had to be done and is not being taken up as a leisure. Crafting can also be seen as defying consumerism and they talk about "rebelling" or crafting politically. This rebel against consumerism could possibly interest her. In regards to Cox, she seems to be interested in organizations. Therefore, Stitch 'n Bitch would be interesting to her. It's an organization of women, crafting in a new way. The motives of the people in the group could be of interest to her. This journal writes on cultural studies, anthropology, and material culture studies. All of these subjects can be related to Stitch 'n Bitch. Cultural studies and anthropology can be used to describe the people in the group, why they are in the group, why this group has formed (historically or not), etc. Although I'm not entirely sure what material culture studies are it sounds like it has something to do with the medium that the knitters are using. The specific materials and what their making could relate to that. Stuff like that evolves over time depending on the functions and needs of the item.

I think in regards to my craft project, I would say it has a nostalgic feel for me. I took up this project specifically because I had once learned to knit. My grandmother taught me so it brings up memories with her as well as with my sister who learned with me. We were much younger then so it was obviously a simpler time for us; no real responsibilities. I do agree that craft is used in the home and very functional like the text said. However I'm not nostalgic for a certain type of art. I don't have a favorite type of art to be nostalgic of at all. I'm not trying to go back to the time of my grandmother, like they state in the text. When I knit it simply brings back memories, of my own time, with the person who taught me.

DIY Trunk Show Craftifesto

I think that the craftifesto really sums up with craft is and what it is all about. For me, it actually made some of the readings more clear. Carlton and Cooper are promoting living a life with people and in connection with people. They want people to get away from buying mass produced goods and start buying hand-made crafts. They talk about the connection you feel as a buyer and as a seller of these crafts I suppose, to the objects. They are promoting a more intimate relationship between people and people and between the things people use and people. I think the political side they definitely get right. I believe that the intimate connection to the craft they describe is one of the main points of DIY culture. I think they overlook some of the other reasons that people craft though. Feminism has been a big factor in why women craft (or don't-ex: knitting, crocheting, etc). I also think it's great that they don't only promote the professional crafters but also the amateur and pro-am crafters. I'm not opposed to buying things that crafters make; my grandma does it all the time actually. However, it does take much more of an effort and sometimes more money to get these items. It's hard to say how much effort I would really put in to stop buying mass produced items. I wouldn't completely stop buying them. Most of the items I use everyday are mass produced. I am open to supporting crafters and their work; I know they put a lot of time and effort into the things they make and they do deserve recognition for that.

Buzek and Stevens notes

BUZEK

I think that Buzek sees art using craft media in many cases. I feel like she sees craft as a use of certain mediums like beads or ceramics. I think the difference between the two is small and hard to describe. She says the lines blur between the differences between art and craft a few times in the article. She does seem to describe art as more elitist, has a special audience, is more structured, and privileged. Craft was described a having an everyday feel, handmade, sensual, and it "aims to integrate the Utopian intellectual ideals of art within practical objects of everyday life. Craft has a "specific role to play beyond materiality." Therefore, material does have something to do with the difference between art and craft but the differences do go beyond that. It was difficult for me to really see a difference. I did feel like art was described as more structured throughout the article whereas craft had it's own free feel to it. On page 13 it says "craft theory cannot be assimilated neatly into that of contemporary art, but instead merits its own language and measures."

I think Buzek's main concern regarding art and craft is showing the reader of her book that there is a clear difference between the two. I don't think she necessarily likes that the two are being blurred together as one. Also, I think she wants people to see that the differences go beyond the materials used in craft like I stated above. That's the main issue she's trying to get at. Also, I think she may be trying to get to the differences between art and fine art as well. Fine art is mentioned a few times in the article.

avant garde-refers to people or work that are experimental or innovative, particularly in respect to art, culture, and politics

• Important because I knew it was an art movement and therefore would be important when discussing the difference between art and craft. I have to know what the subject is before comparing it to something else.

STEVENS

I believe that Stevens thinks that the way people view craft differs, especially in relation to age. He talks about Generation X and the baby boomer generations a lot. He compares the type of craft that once was and how it has evolved. "Gradually, it is becoming apparent that the domain of craft is at a generational crossroads and is presently expanding to embrace aspects of cultural hybridization that have not previously been recognized or articulated within the status-quo craft community" (43). Then Steven's goes on talking about how today, people who craft are not sticking to tradition. They are using the Internet to discuss craft, sell craft, and create new craft. Also, DIY is new for this generation. I think he does a good job explaining this new type of craft as well as looking at the baby boomer generation and describing that craft as well. He tries to validate both types, but I think he leaves it open to the reader to decide if the Gen-Y and Gen-X craft is "real" craft.

Like stated before, the different generational groups are the baby boomer generation and the Gen-X generation. "Just as the baby boomers' countercultural in the 1960s was a response to the conformity of the 1950s, DIY craft is not at all interested in American craft's hierarchies, power structures, or institutional methods for confirming status" (53). The new generation has more choice and isn't interested in as much structure as the baby boomer generation. I see that difference too and also, see the internet as a clear difference. Now craft is being made, sold, and ideas are being bounced around thanks to this new medium.

third wave feminism- a term identified with several diverse strains of feminist activity and study whose exact boundaries in the historiography of feminism are a subject of debate, but often marked as beginning in the 1980s and continuing to the present.

• This is important because it was mentioned more than once in the text. I knew what feminism was, but was curious about this because of the fact that it was mentioned a few times.

Jackson and Terkel

Part One:

Jackson believes that craft has a place outside of work, but at the same time, that it's almost an extension of the regular, paid, work that people do. When flow is described, the article tells us that flow is found in work three times more than in leisure time. Productive leisure also describes the connection between work and leisure too. Jackson seems to be most interested in what drives people to craft. These people don't get much profit from their work, especially when compared with the hours they put in. He gives an example of Glynn, the man who makes kayaks in his spare time. Jackson wants to pinpoint what intrinsic and extrinsic rewards, if any, drive the maker. I believe that his intended audience is probably other people that craft. Glynn's story, which is at the beginning of the article, is meant to bring in the type of audience that would be interested in a story like his.

Terkel is a radio host who also writes books. He talked to people in various jobs, from airplane stewardesses to salesmen to doctors. Terkel seemed to be interested in the rewards or more specifically, lack of reward, in the workplace. Right off the bat he describes work as negative. "This book, being about work, is, by its very nature, about violence- to the spirit as well as to the body" (xi). He definitely believes that craft is in work. It's the reasons that keep someone going at work beyond the paycheck. Terkel's audience can be just about anyone. He covers such a wide range of social class (in reference to jobs) that just about anyone can find something to relate to in his article.

Part Two

In these readings the industrial revolution and machines were talked about. This obviously corresponds with the Marx and Morris articles. In Terkel's article he talked to line workers and said something about all line jobs being kind of the same. Also, he talks about the automobile being "evil". The automobile and the construction of one goes back to machines, factory jobs, and mass production. Marx and Morris describe these things as evil and ugly. Both Hauser and Atwill were kind of introductory texts. They describe craft, rhetoric, and where they came from. The information in Hauser and Atwill are pieces that will be found in all the readings that I think we will read in this course. Without their pieces I wouldn't have a more broad view of craft that I have now. Sennett writes about people's experiences at work which directly related to both Terkel and Jackson. Like stated above, I believe that they think craft and work relate. Salomon and slojd also connects work and craft. Because slojd is used as a sort of education, that can be translated as work for a lot of students.

Part Three

I am interested in how work and leisure/craft relate to each other. I think it relates to almost all people, including me. If I can find a connection between work and leisure/craft, my future work life will be much more enjoyable. I want to be a teacher one day and although right now, I fully enjoy going to schools and helping out teachers, I think some days all people are burnt out. I'm interested in finding a way or a craft that will help me get through the days that I feel burnt out. Also, the value of craft is interesting. When everything's mass produced like it is today, crafting is something special. Learning more about that would be awesome. In the future I'd like to read and talk about how craft relates to technology. Especially the internet and entertainment in general.

Salomon and Sennett Notes

SALOMON:

Salomon created slojd. Slojd: no precise English equivalent; implies skill in work rather than craft as a productive activity

• Didn't want to train manual laborers/artisans. Goal was to give every student well-regulated habits of mind and body

Slojd became an international phenomenon; influence felt in shop classes, architecture, design, crafts

A slojd and artisan work differ from each other (slojd doesn't contain any economics)

Educational/ practical slojd differ from each other, but at the same time go hand in hand. You need one to have the other.

Aim of educational slojd: to utilize the educative force which lies in rightly directed bodily labor, as a means of dvlping the pupils' physical and mental powers which will be sure/evident gain to them for life

• Skills that will matter in the future for them; related to future career
• Seeks to work on lines which insure the dvlpment of the pupil in certain definite directions

Wood-slojd is the most popular type of slojd; special kind: slojd-carpentry

• Best fulfills the conditions required when instruction in slojd is given w/ edu ends in view
• Adapted to mental/phys powers of children
• Making useful articles--sustains genuine interest in the kids

Slojd carpentry and regular carpentry differ; things made in slojd-carp are smaller, different form, etc.

• Similarities in material (wood) and SOME tools

Slojder works under more primitive conditions than the regular carpenter

No division of labor in slojd-carp

Work of edu slojd must be done independently and accurately in order to be effective

• Teacher must be careful not to intrude too much (pedagogy that is popular today too; let the kids be independent and equals)

Children sit in numbered benches, use numbered tools; lots of order

Teacher must circle around the room offering advice and assistance (normal for classrooms today), talking must be avoided (also normal)

Their work is given a "value" (aka a grade)

SENNETT:

Pragmatism addresses the quality of experience as well as sheer facts on the ground

Focused on a socialism that is based on improving the quality of people's experience at work instead of advocating a politics that transcends labor itself

Work which remains permeated with the play attitude is art

To work well ppl need freedom

Two types of experience

1. Erlebnis: event or relationship that makes an emotional inner impress
2. Erfahrung: an event, action, or relationship that turns one outward and requires skill rather than sensitivity

These two types of experience are related and should not be divided

Craftwork emphasizes erfahrung

Parenting as a craft has become the modern common sense of parenting

Craft of making physical things provides insight into the techniques of experience that can shape our dealings with others

• Applies to making human relationships

Suppose a continuum b/w the organic and the social (part of pragmatism)

In Pandora's story: the physical tools do the damage; material goods compose the "beautiful evil" that she talks about

• Contains a contrary: a virtuous god who makes everyday things yet whose person is ugly and inglorious

Pride in work cause large ethical problems (ex: atomic bomb)

• To avoid this ask ethical questions during the work process

Marx and Morris Notes

MARX:

Machinery cheapens commodities; means for producing surplus-value

Machines vs tools vs simple machines; Marx sees differences b/w them

• Tools: man is the motive power
• Machine: motive power is something other than a man (ex: water, wind, animal etc)

Fully developed machines consist of 3 diff parts: the motor mechanism, transmitting mech, and the tool or working machine

• Tool/working machine is the part of the machinery with which the industrial rev of the 18th cent was started

Machine proper=mechanism that performs w/ its tools similar things that workmen did w/ tools too

Once tools had been converted from manual implements of man into mechanical apparatus of a machine, the motive mech also acquired and independent form entirely freed from the restrictions/restraints of human strength

• Drive many machines at once

Series of operations now can be made by one machine (ex: envelopes)

Many machines working side by side (ex: sewing factories) but there is still a sense of one-ness with that

• Working together for the same goal; "a number of machines of one kind constitute the organs of the motive mechanism"

Co-operation by division of labor=characteristic of Manufacture

• Now, combo of detailed machines

Subjective principle of the division of labor no longer exists in production by machinery

• Now, it is objective

"...how machinery, by annexing the labour of women and children, augments the number of human beings who form the material for capitalistic exploitation, how it confiscates the whole of the workman's disposable time, by immoderate extension of the hours of labour, and how finally its progress, which allows of enormous increase of production in shorter and shorter periods, serves as a means of systematically getting more work done in a shorter time, or of exploiting labour-power more intensely."

• Negative view on machines, factory, etc.

Modern factory system (characteristic of its use by capital): the automaton itself is the subject, the workmen are merely conscious organs....(p. 74)

Marx sees all of man's responsibilities and work being passed to a machine

Classes among factory workers:

1. those who are actually employed on the machine
2. attendants (almost always children)
3. those who look after the machines (engineers, mechanics, etc.) --> superior class

Humans aren't vital to the production of anything anymore "Since the motion of the whole system does not proceed from the workman, but from the machinery, a change of persons can take place at any time without an interruption of the work..." (pg. 75)

Old system of division of labor is gone (bc of machinery), it still hangs on in the factory as a traditional habit handed down from Manufacture---> reformed and estb in a more "hideous form by capital, as a means of exploiting labor-power"

"In handicrafts and manufacture, the workman makes use of a tool, in the factory, the machine makes use of him" (75).

• This is why this matters to Marx. Besides the fact that machines and factories are putting people into various classes, which Socialists don't like, the machines are making use out of a human. The machines are "beating" people in the cases that Marx highlights. Consequences of these problems are huge. First , factories could become so advanced that factory workers aren't needed, which is a loss of job and obviously would still effect people today, especially with the recession. Also, Marx is getting at the fact that humans are simply an "appendage" of a machine. No interest, creativity, or thinking goes into production now like it used to.

Refers to machines as "master" ---implies that humans are slaves to machines

Didn't see any solutions to the problem that Marx highlighted

MORRIS:

Art what it should be: "a help and solace to the daily life of all men"

• Closely bound w/ the general condition of society, esp. w/ the working class

Problem Morris wishes to highlight: people don't see art as what he thinks it should be (defintion above)

Non-obvious ex's of art: shapes/colors of household goods, arrangement of the fields for pasture, management of towns/highways

• Beautiful or ugly, elevating or degrading, pleasure or solace to the maker, etc -->Morris wants us to view art that way

Two types of art: intellectual and decorative

• Int: addresses itself to our mental needs; the only purpose of it is to feed the mind, there may be no materials involved
• Dec: also appeals to the mind, part of it is intended primarily for the service of the body

When arts are in a healthy condition there should be a connection b/w the two types of art

• Overlapped almost
• "the best artist was a workman still, the humblest workman was an artist."

Now, dec and int art are very seperated; by both the producers and the work produced

Those who follow int art are put into two sections

1. composed of men who have held a high place in their craft
2. hold their position of gentleman-artist either by accident of their birth or by possessing industry, business habits, or such-like qualities, out of all proportion to their artistic gifts

The work that these ppl produce is of little value to the world even if there is a thriving market for it; don't have a high position either (second type)--Morris sees them negatively

Very few type one's; they produce things of value-incredible amt of toil, pains, and anxiety to master their craft---Morris sees them very positively

Morris also sees a problem with society (ignorant of real art)

When art was healthy all men were basically artists

• inborn instinct for beauty which they put into their work habitually and made beautiful things

"But in these days, I have said and repeat, the whole people is careless and ignorant of art; the inborn instinct for beauty is checked and thwarted at every turn; and the result on the less int or dec art is that as a spontaneous and popular expression of the instinct for beauty it does not exist at all"

• ^thats the main problem Morris has. He's concerned about this bc he wants a healthy state of art instead of the way art is right now.

Morris thinks that dec. art is extinct--only exists int he conscious efforts of men of genius and talent

Civilization=the loss of romanticism (nature, etc.)

• This beauty of nature in our world (compensation for the loss of the instinct for beauty) is lost
• Ugly cities and ugly suburbs--no art

Morris doesn't believe that this loss of beauty in nature is necessary for civilization

"As long as the system of competition in the production and exchange of the means of life goes on, the degradation of the arts will go on"

• Similar to Marx

Talks about class as well (feudal systems)--he's a socialist like Marx

Art is influenced by the conditions of labor of the mass of mankind

• Art is man's expression of his joy in labor.

Three elements handicraft: variety, hope of creation, self-respect which comes of a sense of usefulness

If the lack of pleasure in handiwork is gone, the workmen becomes a slave/machine conscious of their own unhappiness

During this time period (gild) there was no great time pressure put on handiwork--could go at it leisurely/thoughtfully

• it did not submit the hand/soul of the workman to the necessities of the competitive market, but allowed them freedom for due human dvlpment

Markets/commerce/capitalism add to the loss of healthy art

• Ingenuity produced machines
• Basically the exact opposite of popular art that led to the Renaissance, etc

Machines were not replacing just painful work

Essential aim of manufacture is making a profit

Morris insists that no one is content with the loss of beauty from cities, etc.

Solution:

• large class of industrious people not too much refined (with a kind of comfort and education); basis of society
• from this class comes the captains of labor, directors of ppl's consciences religious and literary, and the directors of art

Basically Morris wants to change the class system in order to get healthy art back

Both of these articles had points that made it still relevant today, but I think that both of them want the classes in this country/other civilized countries to change in order to get back the way art and handicraft used to be. However, I don't know if that will ever actually happen. I think it's somewhat of a reach to try to change a country that has been based on capitalism since it's first days. Obviously this country is trying to make changes, but I don't know if many of the people that live in this particular country are willing to change in order to get art back.

English 240: looking at html

We're looking under the hood today. Wow, that's exciting. Really.

I can't believe how thrilling it is. Here's what's so great about it:

1. tags look like carrots,


2. internet nerd jokes make so much more sense now,


3. and staring at html code is how I'd like to spend my Friday nights.

Click here