He makes one think about one's relationship to the earth and its life-giving properties. His discussion of how each these skills tie in to creating and maintaining landscapes and how his definition of craeft includes not only skill and knowledge about the production of the object, the bodily components of movement, and but also the knowledge to develop and use the resources in the landscape were both really interesting. It is very stunning and beautiful how Mr. I can't exactly recommend it for any but the most committed dorks. In each chapter of this book I found myself excited about the skills Langlands was describing. Through a vibrant series of mini-histories, told with his trademark energy and charm, Langlands resurrects the ancient craftspeople who fused exquisite skill with back-breaking labour - and passionately defends the renewed importance of craeft today.
In some ways, there's a smack of the workmate who goes on about eating from their all natural parking strip garden, but routinely back fills via Kroger. These include skills like whipping tying things together, like an axe blade to a handle , wattle making, basketry, thatching, weaving, pottery, breaking ground by hand, and so on. It does occasionally ventures into hipster territory I think that it suffers from the a romantic view through rose tinted hand crafted spectacles of what was for a lot of people in the past hard and back breaking work. In the end, Cræft fails as both a vessel of information and as a manifesto, which is a shame—the title was promising. Just ask my poor husband, who had to suffer through many descriptions and passages from it! However, it is not just information presented here in a dry and erudite way, but information that is linked to our heritage countryside and considered in terms of what we may lose, what we have now and what would be of benefit in the future. In this fascinating book, historian and popular broadcaster Alex Langlands goes in search of the mysterious lost meaning of cræft. I liked this a lot; it was very readable and the crafts he discussed were interesting.
I like learning how landscape shapes practice and culture, and how they in turn shape the land. He lives in Wales with his wife, two children, chickens, and bees. I hope in the second edition they commission the illustrator to add some visuals to the descri There were things I loved about this book, and things that bored me to death about it. Overall, a miss, and I'm very sad because I wanted so much to like this book. Often while reading I had to ask myself what job exactly he had that he had so much free time to do all of these things.
As an experienced experimental archaeologist who has appeared on Almost everything that you buy these days has come out of a factory, probably based somewhere in the Far East and whilst the quality is generally serviceable, it often isn't. Sometimes it is because not everyone is in the physical condition to build a stone wall or hoe a field or, yes, grind pepper. Also I know this isn't intended as an academic text and many of his sources may have been oral but I basically always want citations? Some might find the book to throw a pessimistic light over what the world is today, loaded down as it is with plastics, sugar, electronics, freighters, trucks, and fossil fuels. It supposed to be about crafts, as in the various traditional skills that were once vital to our survival. His interest is in showing an astonishing range of traditional crafts, mostly associated around small British farming establishments. These include skills like whipping tying things together, like an axe blade to a handle , wattle making, basketry, thatching, weaving, pottery, breaking ground by hand, and so on.
Among the many meanings of the word craft brought out in this fine book there is one more not to be missed: the book is itself a craft for time travel, taking us back into that now lost world where everybody depended on everybody else to do their jobs, raise and instruct the next generation to keep all the jobs well covered on into the far future, for no one else was going to come along and fill an empty position. And to this could be added the high-end fashion houses fascination with beautiful woollen cloth mainly from Scotland. Harvest was the busiest time for all, and all joined in for the harvest home. But this is really Langlands' chance to grandstand about how the old way is better. David Pye would also take issue with this statement, though on the grounds that an electric hedge trimmer takes a great deal of hand skill to operate, and the source of the power is irrelevant. Langlands pays little attention paid to how craft skills are passed on or inherited.
Literally the only thing it has going over later or earlier hives is that it's what beehives look like in our cultural vision of Merrie Olde England. Langlands writes with a poetic sensitivity detailing the activity of handwork which renders the fact he is not a professional craftsman irrelevant. Something that has fascinated Alexander Langlands for years is looking at the way that we used to make and do things. When it was first written down in Old English, over a thousand years ago, it had an almost indefinable sense of 'knowledge', 'wisdom' and 'power'. Carpenter crew produces carts, drays, sledges and wagons for the hauling, power supplied by the horse crew.
Overall this was a super interesting concept, just needs some fine-tuning. As partial compensation, I habitually buy most new books on the philosophy of craft, which means I must be looking for some new insight or different perspective. . Dr Alexander Langlands is a British archaeologist and historian. Why am I doing this? But a book like Mr.
He talked about dew ponds and how livestock ponds were traditionally constructed, the many ways that pottery and baskets were used in the past, how baskets are made, and his adventures in lime burning. My only issue came early on, before the real book even starts, when the author makes complaint against what he sees as the unnecessary mechanization of things. The mundane sections, which do not aid in the setup of true information, would be best excised and replaced with illustrations, and definitions, in future editions. He lives in Wales with his wife, two children, chickens, and bees. I won this book as a goodreads first-reads win.
Craft was a convincing read on why we should never give up making things with our hands. Other reviewers have pointed out the unintentional ableism; I also found the anti-Christian bias silly. We seem to be moving back to possibilities for flexible customization in some areas with the help of digital technologies and 3D manufacturing, but the account in this book helps me to appreciate the intentions behind arts and crafts movements more than I have previously. And best of all, the next time I visit the South Downs, I will be ready to go on some new hikes. Further, I don't find Langland to be very clear when it comes to describing things.
In this fascinating book, historian and popular broadcaster Alex Langlands goes in search of the mysterious lost meaning of cræft. But once, craft - or more specifically, In the modern world we are becoming bombarded by craft. Craft objects are the result of Craft. Most people I know who are good with their hands are adept at a number of crafts. We've lost nutrition in basic foodstuffs because the soil is depleted in a way that chemicals can't restore. But this is really Langlands' chance to grandstand about how the old way is better.