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Malcolm McCullough - Abstracting craft: the practiced digital hand

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The love of making things need not be confined to the physical world electronic form giving can also be a rewarding hands-on experience. In this investigation of the possibility of craft in the digital realm, Malcolm McCullough observes that the emergence of computation as a medium, rather than just a set of tools, suggests a growing correspondence between digital work and traditional craft. Personal and conversational in tone, with examples and illustrations drawn from a variety of disciplines, Abstracting Craft shows that anyone who gives form with software, whether in architecture, painting, animating, modeling, simulating, or manufacturing, is practicing personal knowledge and producing visual artifacts that, although not material, are nevertheless products of the hands, eyes, and mind. Chapter by chapter, McCullough builds a case for upholding humane traits and values during the formative stages of new practices in digital media. He covers the nature of hand-eye coordination; the working context of the image culture; aspects of tool usage and medium appreciation; uses and limitations of symbolic methods; issues in human-computer interaction; geometric constructions and abstract methods in design; the necessity of improvisation; and the personal worth of work. For those new to computing, McCullough offers an inside view of what the technology is like, what the important technical issues are, and how creative computing fits within a larger intellectual history. Specialists in human-computer interaction will find an interesting case study of the anthropological and psychological issues that matter to designers. Artificial intelligence researchers will be reminded that much activity fails to fit articulable formalisms. Aesthetic theorists will find a curiously developed case of neostructuralism, and cultural critics will be asked to imagine a praxis in which technology no longer represents an authoritarian opposition. Finally, the unheralded legions of digital craftspersons will find a full-blown acknowledgment of their artistry and humanity.

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Abstracting Craft The Practiced Digital Hand Malcolm McCullough The - photo 1
Abstracting Craft
The Practiced Digital Hand
Malcolm McCullough
The MIT Press
Cambridge, Massachusetts
London, England

title:Abstracting Craft : The Practiced Digital Hand
author:McCullough, Malcolm.
publisher:MIT Press
isbn10 | asin:0262133261
print isbn13:9780262133265
ebook isbn13:9780585020280
language:English
subjectDigital computer simulation, Virtual reality.
publication date:1996
lcc:QA76.9.C65M393 1996eb
ddc:004/.01/9
subject:Digital computer simulation, Virtual reality.
Page iv
1996 Massachusetts Institute of Technology
All Rights Reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.
This book was set in Garamond 3 and Meta by Graphic Composition, Inc.
Printed and bound in the United States of America.
Library of Congress Cataloging-in-Publication Data
McCullough, Malcolm.
Abstracting craft: the practiced digital hand / Malcolm
McCullough.
p.Picture 2cm.
Includes bibliographical references and index.
ISBN 0-262-13326-1 (alk. paper)
1. Digital computer simulation. 2. Virtual reality. I. Title.
QA76.9.C65M393 1996
004'.01'9dc20
96-28356
CIP
AutoCAD is a trademark of Autodesk, Inc.
Director and Freehand are trademarks of Macromedia, Inc.
MacDraw is a trademark of Apple Computer, Inc.
Myst is a trademark of Broderbund, Inc.
Painter is a trademark of Fractal Design, Inc.
Photoshop is a trademark of Adobe Systems, Inc.
Pro-Engineer is a trademark of Parametric Technologies, Inc.
"On Craft, Creativity, and Surprise" reprinted by permission of Jerome Bruner.
Page v
In memory of Dorothy Humason, my grandmother, a painter
Page vi
Contents
Preface
ix
Acknowledgments
xiii
Introduction
xv
I
Human Context
xix
1
Hands
1
2
Eyes
31
3
Tools
59
II
Technological Context
83
4
Symbols
85
5
Interfaces
113
6
Constructions
155
III
Persona Context
191
7
Medium
193
8
Play
221
9
Practice
243
Notes
273
References
289
Illustration Credits
299
Index
301

Picture 3
The true workman must put his individual intelligence and enthusiasm into the goods which he fashions. He must have a natural attitude for his work so strong that no education can force him away from his special bent. He must be allowed to think of what he is doing, and to vary his work as the circumstances of it vary, and his own moods. He must forever be stirring to make the piece at which he is at work better than the last. He must refuse at anybody's bidding to turn outI won't say a badbut even an indifferent piece of work, whatever the public wants, or thinks it wants.
William Morris
Page ix
Preface
Unless the distinction vanishes in some cyborg future, people will always be more interesting than technology. People have talents and intentions that technology may serve. People also have much more immediate requirements, such as for food, clothing, and transportation, which modern technology has provided quite effectively. But when these material needs are mostly met, continued industrial production increasingly depends on invented needs and induced demands, which are neither satisfying nor sustainable. People cannot endure as "consumers," but must actively practice at something, however humble. This means that the ultimate significance of postindustrial technology has to be in serving the need to work well and not in automation. Here at the close of this very technological century, even the most hard-nosed technologists have begun to admit this. For example, the computer industry now advertises not computers, but human-computer partnerships: it matters less what the technology can do alone than what you want to do with it.
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