Sometimes when I read Steve Gillmor I hear it in the same tone as Alan Ginsburg reading Howl many years ago. Can't you imagine this that way?:

"I could go on, about taking the TrailBlazer even though the left low beam was out, because it had a full tank of gas, rather than the Chrysler MiniVan because it would take ten minutes more to gas up. Or how my wife fell asleep as I droned on about business shit and we missed the 92 exit and had to cut across Palo Alto on Sand Hill and couldn't get over to the left lane in time and had to double back at Churchill, and even then still got to Yahoo in time to see Chad Dickerson step up to the microphone and tell everybody how he and his team got the idea to get Beck three weeks ago and now, somehow, by hook and by by crook, he was here.

And you could take all that metadata and gas receipts and empty Protein Bar wrappers and bar codes and SD drives and extra batteries and Amazon upsells and proprietary Newsgator synchronization APIs and long tails and short walks of long piers, and still not come up with the simplicity of the gesture Chad and Yahoo and Beck and Doc and Dave and we all give when we wave our hands in the air and thank whoever we damn please for the life we are breathing. That's the critical mass I'm saying."

I like it. 

Some thought on make and craft 

Back in September I made a late comment in a discussion thread on Shelley Powers' post, Craft/Make. I just want to pull it out and publish it here, and perhaps also on my Spirits Dancing blog, because I don't want to lose the thoughts in it.

'The swap-o-rama-rama and the computer-related stuff were equally exciting at the Maker Faire. It was precisely that they were treated equally as cool exemplars of the DIY ethic that made this juxtaposition so interesting. It wasn’t about gender, it was about the maker impulse, and all its forms.'

--- Tim O'Reilly

‘It wasn’t about gender, it was about the maker impulse, and all its forms.’

I’m a maker for the performing and theatre arts, and I appreciate this reasoning. But using the swap-o-rama-rama as an example of making Maker Faire more gender-inclusive, and describing Craft magazine as having a more ‘female spin’ seems to me to turn that statement around, because there is an underlying assumption there about what females are interested in. In a banner at the Renegade Craft Fair, Craft Magazine has the by-line ‘Hang it, Stitch it, Wear it, Light it’: the assumption is still that women are primarily interested in decoration, sewing and fashion. While that may be stereotypically true, working on that assumption is preserving and encouraging the status quo, (and making money from it), rather than challenging it and acknowledging that there are women out there whose skills and interests within the making and craft world go well beyond those traditional interests expressed in a modern way. I also think there is a danger of diminishing craft by defining it in this way, just when it seemed to have broken lose from being a lesser creature by being included in the broader term, make.

As an aside, I’m also watchful about the new craft movement being somewhat bound up with retro and the 50’s, and I wonder if it means some of the social attitudes about gender from that time are also being revisited. I get worried when I see apron-making contests. Many craft bloggers are women with small children, and it must be great to have the community and connection of blogging if you are a stay-at-home mother. But I wonder if it also means that craft is still largely in the realm of something a woman makes for, or as a reflection of, her domestic world, for love or pin-money, while the kids are small. There is nothing wrong with that seen for what it is, essentially a hobby and social activity, but it might mean the new craft movement is not so new after all.

--- Hil

Yesterday Shelley wrote that O'Reilly's company could do much to ensure that Craft attracts a good audience of men and women, and to encompass and encourage a broader less-gender-specific view of craft. My feeling is that the creation of Craft, in addition to Make, is essentially a marketing decision to diversify and increase their business domain by capitalizing on that 'female spin', and its therefore more likely to rely on preserving the status quo, as I said above. If it makes good business sense to divide Make and Craft in this way, I doubt Craft will go down the road that Shelley optimistically suggests.