April 2017 – Anna K. Miers

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Throughout this studio, we have studied specialised crafts and their techniques; from old photographic processing, to typography and modern glitch art. We wanted to pursue this theme of specialisation in our documentary; taking a look at a craft that required a carefully honed skill, and a craftsperson who was dedicated enough to learn it. Hence, we decided to interview Karl; a neon glass bender. Karl’s craft is creating neon signs and artwork. As we found out, not only is this a highly specialised skill, but it is also part of an industry which has no remaining apprenticeships or direct avenues into it. As a niche skill, we were interested to learn about the process, as well as what it was that drew Karl to the industry, and how it has transformed over the years with the advent of new technologies. In addition, we were eager to make a documentary that was aesthetically beautiful, and the prospect of being able to feature neon signs and glass bending in the film was a definite drawing card.

In regards to making the documentary itself, our shooting schedule did not go to plan, being pushed forward a day from the 25^th to the 24^th. On the morning of the 24^th, we were told we were not going to be able to film the following day as planned, and hence hastily arranged to shoot that afternoon. As a result, we were unfortunately forced to leave extra equipment behind as we had no time to leave the city to collect them. While the preparation for the shoot was a little lacking, it ultimately went smoothly and we filmed for three hours. Karl was very amenable and allowed us to shoot his artwork and film as he worked, providing us with some great glass bending footage.

The interruptions to filming meant that we had an extra day to edit the footage, and this would make up for the day of planning lost. Although we would have benefitted from being able to better plan the shoot, we were able to make better use of the footage we did have in the end. Further improvements could have been made if we had visited the workshop prior to the day of shooting in order to scout out the location and plan potential shots, as well as assess any possible issues with sound and lighting. Additionally, we could perhaps have recorded and edited the interview, and then filmed the visuals; a process that would have made shooting more time efficient, and produced cleaner, more planned shots. Although planning for a documentary is difficult, such things could have enhanced our film, and would have been easily achieved with better time management, foresight and planning. In addition to this, it would have been wise to pay more attention to recording room tone and field audio. In most of the b-roll footage you could hear us talking to Karl while we filmed – thereby making much of the audio unusable for backing the interview. In this instance, the extra time we were afforded allowed us to refine the audio we did have, and find suitable sound bites by which to enhance the film. Despite our setbacks however, we managed to create a piece that accomplished our goals – of creating a visually engaging, beautiful film, and garnering insight into the glass bending industry.

We began by asking Karl what drew him to neon glass bending, as we hoped to reap an understanding of what it is that attracts people to careers in niche crafts. In his response, Karl remarked, ‘I’m one of those people that likes things that are always challenging, and this was really challenging… you get that sense of mastery from doing it. You kind of go into a different zone. When you have to really concentrate on something like that, you lift yourself to a higher level.’ It is this combination of focus, precision, and engrossment that lends Karl’s craft to the process of ‘deep work,’ as termed by academic Cal Newport (Newport, C 2016). A defining principle of work such as Karl’s, it is precisely this which Karl remarked as being one of the most enjoyable aspects of glass bending. This enjoyment of engrossment is not particular to the crafting of neon signs however; and can been seen clearly in the work of many craftspeople. As referenced in Newport’s book Deep Work, this sentiment can also be seen in the work of blacksmiths, who work studiously for hours upon a single piece of metal. Karl’s remarks are clearly reflected in a blacksmith interviewee from Deep Work, who states, ‘it’s that challenge that drives me… the satisfactions of manifesting oneself concretely in the world through manual competence’ (Newport, C 2016). The nature of many crafts inherently demands deep work. Craftspeople must be studious in their attention, and ultimately, the deep work permitted by engrossment in tactile production is foundational for a craftsperson’s dedication to their trade. As demonstrated by the interviewees’ responses, the aspect of deep work produced by their craft is inextricably linked to their enjoyment of it.

The tactile nature of glass bending was another key principle which attracted Karl to the craft. Throughout the interview he often commented upon the particular ways of manoeuvring the body when glass bending, or detailed the coordination of movement, speed, and patience, necessary to create signs using just ‘your hands and a little bit of breath.’ Evidently, it is this physical interaction with his subject that engages Karl in his craft, and as such, we were interested to know how recent progressions in technology have affected his practice. In response to this, Karl remarked that although the advent of digital technology and mechanisation did lead to an evident decrease in traditional skills and craftsmanship, it is ultimately the creative ability of the individual that determines the quality of the sign they create; as he stated, ‘it still has to be something three-dimensional at the end, that looks visually fantastic, the digital side is just a tool… people are still prepared to pay for handmade signs, people appreciate the craftsmanship that goes into making it; that’s what they pay for.’ Indeed, amidst concerns for craftspeople regarding the current rise in automation, there is still a demand for the handmade, and this is a trend that can be seen throughout history. In the late 19^th Century, there was a great revival of traditional crafts, which came as a direct response to the increased mechanisation of production generated by the Industrial Revolution, and the subsequent alienation of the labour force, as well as the mass-manufactured products to which it gave rise (Luckman, S 2013). It appears that, following the similar trends of the 1990s and 2000s, we are currently in the midst of a similar revolt, as evidenced by the continued demand for handmade crafts, such as Karl’s neon signs. There is a value placed on the handcrafted which persists throughout history, perhaps related to their existence as a medium upon which cultural heritage and meaning is inscribed (Kokko; Dillon, 2011). The maker directly represents their individual, cultural and social surrounds in the work that is created – unlike the mass-manufactured objects of large corporations, the individual craftsperson’s work is unique in its production.

Karl’s steadfast belief in the value placed upon the skilled work of craftspeople led him to be incredibly cavalier towards the prospect of neon signs becoming automated products. Although this may be a concern shared by many of his fellow craftspeople in today’s digital climate, Karl’s attitudes are reflected in studies which suggest that ‘creativity is inversely related to computerisability’ (Bakhshi; Frey; Osborne, 2015). While many old industries die as a consequence of advancing technology (Verloop, 2004), the concerns this generates, as Karl elucidates, are often not applicable to craftspeople. This is reflected in the findings of the social welfare organization Nesta, who, while researching the effects that advancing technology has on certain working groups, found that creative professions are likely to not only be the least impacted, but furthermore, be enhanced and advanced by evolving technology (Bakhshi; Frey; Osborne, 2015). In such industries, new technologies are utilised as way of enhancing the creative process, enabling artists to pursue their craft in new ways and push their abilities to create differently. As such jobs require original thought, they cannot be effectively executed through automation (Bakhshi; Frey; Osborne, 2015). Consequently, businesses of specialised creative work will most likely be great beneficiaries of the digital age; as is already evidenced by the enhanced capabilities of design via computers, that which Karl currently uses to trial signage typography, quickly and efficiently.

Throughout this documentary project, I have gained valuable insight into the nature of creative industries, and the careers of craftspeople. Through speaking with Karl I have learnt about neon glass bending, its creative principles and trade affordances, and further, through the research this sparked, I have been allowed a greater understanding of the broader cultural framework in which creative fields reside. The ideas presented here, particularly those surrounding the societal shifts that occur when new technologies arise and threaten to supersede the old, may form the lens through which I approach the rest of this course and the final project. The technical lessons I have learned throughout the creation of this documentary will allow me to better convey the stories of my upcoming subjects, as I hope to create documentaries as a career, and engage more directly with contemporary social issues in them moving forward.

References:

Bakhshi, H; Frey, C; Osborne, M 2015, Creativity Vs. Robots: The Creative Economy And The Future Of Employment, accessed 29 April 2017, Nesta, UK.

http://socialwelfare.bl.uk/subject-areas/services-activity/employment/nesta/173936creativity_vs._robots_wv.pdf

Hayles, K 2007, Hyper and Deep Attention: The Generational Divide in Cognitive Modes, Profession, p. 187-199, Modern Language Association.

http://www.jstor.org/stable/25595866?seq=1#fndtn-page_scan_tab_contents

Jenkins, H 2006, Convergence Culture: Where Old and New Media Collide, New York University Press, USA.

Kokko, S; Dillon, P 2011, Crafts and craft education as expressions of cultural heritage: individual experiences and collective values among an international group of women university students, International Journal of Technology and Design Education, vol. 21, no. 4, p. 487-503, Springer Verlag, Germany.

Luckman, S 2013, The Aura Of The Analogue In A Digital Age: Women’s Crafts, Creative Markets And Home-Based Labour After Etsy, Cultural Studies Review, vol. 19, no. 1, p. 249-270, Melbourne University Publishing.

Newport, C 2016, Deep Work, Grand Central Publishing, USA.

Seidensticker, B 2006, Future Hype: The Myths of Technology Change, Berrett-Koehler Publishers Inc, USA.

Thorburn, D, & Jenkins, H 2004, Rethinking Media Change: The Aesthetics of Transition, MIT Press, USA.

Verloop, J 2004, Insight in Innovation: Managing Innovation by Understanding the Laws of Innovation, Elsevier B.V., USA.

Winston, B 1998, Media, Technology and Society – A History: From the Telegraph to the Internet, Routledge, UK.

By Anna K. Miers April 30, 2017. No Comments on 🔥 Uncategorized