Craftsmen Quotes

If America could be, once again, a nation of self-reliant farmers, craftsmen, hunters, ranchers, and artists, then the rich would have little power to dominate others. Neither to serve nor to rule: That was the American dream.

Where are the leaders?' Sapphique asked. 'In the fortresses,' the swan replied. 'And the poets?' 'Lost in dreams of other worlds.' 'And the craftsmen?' 'Forging machines to challenge the darkness.' 'And the Wise, who made the world?' The swan lowered its black neck sadly. 'Dwindled to crones and sorcerers in towers.

Not craftsmen, my lord" he said. "I have no use for people who have learned the limits of the possible

'Paint only what you see,' his hero Millet had admonished. 'Imagination is a burden to a painter,' Auguste Renoir had told him. 'Painters are craftsmen, not storytellers. Paint what you see.' Ah, but what they hadn't said, hadn't warned him about, was how much you could see.

Q: Do you feel concerned that after all this work, people won't treat [Starship Titanic] with the gravity of, say, a movie or a book? That they won't treat it as an art form? D.A.: I hope that's the case, yes. I get very worried about this idea of art. Having been an English literary graduate, I've been trying to avoid the idea of doing art ever since. I think the idea of art kills creativity. ... [I]f somebody wants to come along and say, "Oh, it's art," that's as may be. I don't really mind that much. But I think that's for other people to decide after the fact. It isn't what you should be aiming to do. There's nothing worse than sitting down to write a novel and saying, "Well, okay, I'm going to do something of high artistic worth." ... I think you get most of the most interesting work done in fields where people don't think they're doing art, but merely practicing a craft, and working as good craftsmen. ... I tend to get very suspicious of anything that thinks it's art while it's being created.

Of course, in fairness, I must remind you of this: that we writers are the most lily-livered of all craftsmen. We expect more, for the most peewee efforts, than any other people.

Cooking is a craft, I like to think, and a good cook is a craftsman — not an artist. There's nothing wrong with that: the great cathedrals of Europe were built by craftsmen — though not designed by them. Practicing your craft in expert fashion is noble, honorable and satisfying.

And the strangest thing about the nightmare street was that none of the millions of things for sale were made there. They were only sold there. Where were the workshops, the factories, where were the farmers, the craftsmen, the miners, the weavers, the chemists, the carvers, the dyers, the designers, the machinists, where were the hands, the people who made? Out of sight, somewhere else. Behind walls. All the people in all the shops were either buyers or sellers. They had no relation to the things but that of possession.

The God Wars had not been a pleasant time for Craftsmen and Craftswomen around the world. One day, you’re a simple thaumaturge, idly meddling in matters man was not meant to comprehend. The next, a collection of beings as old as humanity, with legions of followers, declare war on your “kind”, and neighbours who once thought you a harmless eccentric with a fondness for mystic sigils and foul unguents see you as an affront to Creation.

Yangi, a philosopher, art historian and poet, had evolved a theory of why some objects - pots, baskets, cloth made by unknown craftsmen - were so beautiful. In his view, they expressed unconscious beauty because they had been made in such numbers that the craftsman had been liberated from his ego.

I can think of no people more fragmented... Craftsmen you see, but no humans, thinkers, but no humans, priests, but no humans, lords and servants, boys and established peoples but no humans--is this not like a battlefield, where hands and arms and all limbs lie chaotically in pieces, while the spilled blood of life runs into the sand?

there is often not so much perfection in works composed of many pieces and made by the hands of various master craftsmen as there is in those works on which but a single individual has worked.

...This is a place of learning where very few learn anything of value. That you, who have courage and intelligence, are held in contempt by most of your kind here because you have no sorcery... I have seen you protect others, though they consider you to be weaker than they. I have seen a very few decent people, like the boy we took from the tower. I have seen women trade pleasure for coin to feed their children, and others do the same so that they could ignore their children while making themselves foolish with wines and powders. I have seen men who labor as long as the sun is up go home to wives who hold them in contempt for never being there. I have seen men beat and use those whom they should protect, even their own children. I have seen your kind place others of their own in slavery. I have seen them fighting to be free of the same. I have seen men of the law betray it, men who hate the law be kind. I have seen gentle defenders, sadistic healers, creators of beauty scorned while craftsmen of destruction are worshiped. Your Kind, Aleran, are the most vicious and gentle, most savage and noble, most treacherous and loyal, most terrifying and fascinating creatures I have ever seen.

When I write, I fall into the zone many writers, painters, musicians, athletes, and craftsmen of all sorts seem to share: In doing something I enjoy and am expert at, deliberate thought falls aside and it is all just THERE. I think of the next word no more than the composer thinks of the next note.

We are more likely to fail as craftsmen due to our inability to organize obsession than because of our lack of ability.

The streets are full of admirable craftsmen, but so few practical dreamers.” Man Ray

Whittling is the process of removing the unnecessary and leaving the essential, a rural art form that teaches craftsmen to envision and then seek the beauty or utility deep within.

In our current culture, we place a lot of emphasis on job description. Our obsession with the advice to “follow your passion” (the subject of my last book), for example, is motivated by the (flawed) idea that what matters most for your career satisfaction is the specifics of the job you choose. In this way of thinking, there are some rarified jobs that can be a source of satisfaction—perhaps working in a nonprofit or starting a software company—while all others are soulless and bland. The philosophy of Dreyfus and Kelly frees us from such traps. The craftsmen they cite don’t have rarified jobs. Throughout most of human history, to be a blacksmith or a wheelwright wasn’t glamorous. But this doesn’t matter, as the specifics of the work are irrelevant. The meaning uncovered by such efforts is due to the skill and appreciation inherent in craftsmanship—not the outcomes of their work.

The white marble surface was inlaid with semiprecious stones in seamless floral designs and in chaste calligraphy, shaped stones, jeweled stones, delicate and free-figured. The surface ran cool and smooth. Traceries of black Koranic figures covered the longer sides of the tomb with a smaller group on top. My hand moved slowly over the words, feeling for breaks between the inlay and marble, not to fault the craftsmen, of course, but only to find the human labor, the individual, in the wholeness and beauty of the tomb.

Now, I know I am not a craftsmen... but greatness is in the act of creation and not necessarily in the finished product. Creating is the yin to the yang of our consumption and the doorway to beauty that we all want to walk through. Creating is how I tell the world I love it." ~ Atticus

The course of action for which you argue in your papers, not to mention your private life, would make Craftsmen and Craftswomen no better than the tyrant deities we overthrew in that damn war.” “Language, Elayne.” “My apologies,” she said after another sip of vodka. “One gets carried away when one feels one’s dinner companion has made an inexcusable moral error.” *

The world ain't ready for true black genius. In every nigger is a cup of African blood from kings and queens of divine nature, mathematicians, craftsmen, men and women of the land. I have known some sisters and brothers would scare Einstein back into East European caves with the magnificence of their minds. We are a people with a practical nature and great vision. We have built nations, discovered treasures for everyday use. Our people are a great race of people, and though the Europeans raped and plundered, we have kept inner riches. You got a cup of African blood and that mean something, means you got a responsibility to be proud of it and use your talents or suffer self-destruction.

there’s no damsel with a tragic history in there? With a name like the Three Craftsmen, they each should build something awesome for a beautiful princess to try to win her favor and then two of them would die.> You must be thinking of stories from other cultures. Irish women tend to kick ass and do whatever they want. For exhibits A, B, and C, I give you the Morrigan, Brighid, and Flidais.

The quest of the Inner Ring will break your hearts unless you break it. But if you break it, a surprising result will follow. If in your working hours you make the work your end, you will presently find yourself all unawares inside the only circle in your profession that really matters. You will be one of the sound craftsmen, and other sound craftsmen will know it. This group of craftsmen will by no means coincide with the Inner Ring or the Important People or the People in the Know. It will not shape that professional policy or work up that professional influence which fights for the profession as a whole against the public: nor will it lead to those periodic scandals and crises which the Inner Ring produces. But it will do those things which that profession exists to do and will in the long run be responsible for all the respect which that profession in fact enjoys and which the speeches and advertisements cannot maintain. And if in your spare time you consort simply with the people you like, you will again find that you have come unawares to a real inside: that you are indeed snug and safe at the center of something which, seen from without, would look exactly like an Inner Ring. But the difference is that its secrecy is accidental, and its exclusiveness a by-product, and no one was led thither by the lure of the esoteric: for it is only four or five people who like one another meeting to do things that they like. This is friendship. Aristotle placed it among the virtues. It causes perhaps half of all the happiness in the world, and no Inner Ring can ever have it.

The bounty hunter looked at him long and hard. Until Tawny Owl's smirk finally vanished. 'Indeed,' he said. 'Everyone has to make a living. Some earn money doing what they've learned. Others do what they have to. But not many craftsmen have been as lucky in life as I am: they pay me for a trade I truly and honestly enjoy. Not even whores can say that.

The Romans learn Art from their Greek slaves, but they learn reluctantly. They are almost Modern in their reluctance; they are almost ready to say that a killing machine is beautiful if it works. They are not quite that modern, and they let Greek craftsmen conceal the brutal militarism with Architecture, Sculpture and Painting. They learn Aesthetics, that strange ability to see in blood gushing from a wound only the beauty of the shape and color.

The food surplus enabled larger populations and societies with specialists—builders, priests, craftsmen, but also specialist soldiers.

The carpenter, lab technician, and conductor are all craftsmen because they are dedicated to good work for its own sake.

Merchants and craftsmen make prosperity; chiefs, priests and thieves fritter it away.

The things that are indispensable require no elaborate pains for their acquisition; it is only the luxuries that call for labour. Follow nature, and you will need no skilled craftsmen.

In olden times there were warriors, farmers, craftsmen, and merchants. Agriculture was said to be closer to the source of things than trade or manufacturing, and the farmer was said to be "the cupbearer of the gods." He was always able to get by somehow or other and have enough to eat.

When the maker's (or fixer's) activity is immediately situated within a community of use, it can be enlivened by this kind of direct perception. Then the social character of his work isn't separate from its internal or "engineering" standards; the work is improved through relationships with others. It may even be the case that what those standards are, what perfection consists of, is something that comes to light only through these iterated exchanges with others who use the product, as well as other craftsmen in the same trade. Through work that had this social character, some shared conception of the good is lit up, and becomes concrete.

The reality is that old houses that were built a hundred years ago were built by actual craftsmen, people who were the best in the world at what they did. The little nuances in the woodwork, the framing of the doors, the built-in nooks, the windows—all had been done by smart, talented people, and I quickly found that uncovering those details and all of that character made the house more inviting and more attractive and more alive.

And what about talent? Nietzsche implored us to consider exemplars to be, above all else, craftsmen: “Do not talk about giftedness, inborn talents! One can name great men of all kinds who were very little gifted. They acquired greatness, became ‘geniuses’ (as we put it). . . . They all possessed that seriousness of the efficient workman which first learns to construct the parts properly before it ventures to fashion a great whole; they allowed themselves time for it, because they took more pleasure in making the little, secondary things well than in the effect of a dazzling whole.

But the fact that the middle classes are working themselves to the bone, using their sweat and taxes to finance such pointless and pretentious research leaves me speechless. Every gray morning, day after gloomy day, secretaries, craftsmen, employees, petty civil servants, taxi drivers and concierges shoulder their burdens so that the flower of French youth, duly housed and subsidized, can squander the fruit of all that dreariness upon the altar of ridiculous endeavors.

When we gaze at the magnificence of an ancient monument and ascribe its achievement to one man, we are guilty of spiritual embezzlement. We forget the army of craftsmen, unknown and unsung, who preceded him in the darkness of the ages, who toiled humbly - all heroism is humble - each contributing his small share to the common treasure of his time. A great building is not the private invention of some genius or other. It is merely a condensation of the spirit of a people.

Golden Aphrodite who stirs with love all creation, Cannot bend nor ensnare three hearts: the pure maiden Vesta, Gray-eyed Athena who cares but for war and the arts of craftsmen, Artemis, lover of woods and the wild chase over the mountain.

If, then, the ruler catches anybody beside himself lying in the State, 'Any of the craftsmen, whether he be priest or physician or carpenter,' he will punish him for introducing a practice which is equally subversive and destructive of ship or State. Most

Are these the people, created in greatness by the work of Jefferson and Franklin, he thought, are these the bitter farmers and hunters and craftsmen who came out of the wilderness, furious for liberty and justice, is this the new world of giants sung by Whitman?

Our hankering for a state of leisure or leisure state is the proof of the fact that most of us are working at a task to which we could never have been called by anyone but a salesman, certainly not by God or by our own natures. Traditional craftsmen whom I have known in the East cannot be dragged away from their work, and will work overtime to their own pecuniary loss. "Why Exhibit Works of Art?

Art has no immediate future because all art is collective and there is no more collective life(there are only dead collections of people), and also because of this breaking of the true pact between the body and the soul. Greek art coincided with the beginning of geometry and with athleticism, the art of the Middle Ages with the craftsmen's guilds, the art of the Renaissance with the beginning of mechanics, etc....Since 1914 there has been a complete cut. Even comedy is almost impossible. There is only room for satire (when was it easier to understand Juvenal?). Art will never be reborn except from amidst a general anarchy - it will be epic no doubt, because affliction will have simplified a great many things...It is therefore quite useless for you to envy Leonardo or Bach. Greatness in our times must take a different course. Moreover it can only be solitary, obscure and without an echo...(but without an echo, no art).

For a capitalist system to work, the state had to protect, not regulate or interfere with, free markets. Both for political and religious reasons, this the sultan could not do: The Ottomans had then no idea of the balance of trade. . . . Originated from an age-old tradition in the Middle East, the Ottoman trade policy was that the state had to be concerned above all that the people and craftsmen in the cities in particular would not suffer a shortage of necessities and raw material. Consequently, the imports were always welcomed and encouraged, and exports discouraged.

Those were wise men, or at any rate like the wise, who found the care of the body a problem easy to solve. The things that are indispensable require no elaborate pains for their acquisition; it is only the luxuries that call for labour. Follow nature, and you will need no skilled craftsmen.

[Soetsu Yanagi's] main criticism of individual craftsmen and modern artists is that they are overproud of their individualism. I think I am right in saying Yanagi's belief was that the good artist of craftsman has no personal pride because in his soul he knows that any prowess he shows is evidence of that Other Power. Therefore what Yanagi says is 'Take heed of the humble; be what you are by birthright; there is no room for arrogance'.

The Statute of Artificers of 1563 laid down that all artificers (craftsmen) and laborers “must be and continue at their work, at or before five of the clock in the morning, and continue at work, and not depart, until between seven and eight of the clock at night”—giving an eighty-four-hour workweek.

The notion of carefully wrought bullshit involves, then, a certain inner strain. Thoughtful attention to detail requires discipline and objectivity. It entails accepting standards and limitations that forbid the indulgence of impulse or whim. It is this selflessness that, in connection with bullshit, strikes us as inapposite. But in fact it is not out of the question at all. The realms of advertising and of public relations, and the nowadays closely related realm of politics, are replete with instances of bullshit so unmitigated that they can serve among the most indisputable and classic paradigms of the concept. And in these realms there are exquisitely sophisticated craftsmen who - with the help of advanced and demanding techniques of market research, of public opinion polling, of psychological testing, and so forth - dedicate themselves tirelessly to getting every word and image they produce exactly right.

They were a most unusual group of colonists. Instead of noblemen, craftsmen, and servants - the types of people who had founded Jamestown in Virginia - these were, for the most part, families - men, women, and children who were willing to endure almost anything if it meant they could worship as they pleased.

We are people of the land, we are artists and craftsmen, storytellers, but we are also a world of laws. Most are not unlike the laws you know. To take a life, to take what is not yours or not given freely, to force another to lie with you, to neglect a child or animal. All of these acts cause harm, and our first law is to cause no harm.

When death slowed production, goods became scarce and prices soared. In France the price of wheat increased fourfold by 1350. At the same time the shortage of labor brought the plague’s greatest social disruption—a concerted demand for higher wages. Peasants as well as artisans, craftsmen, clerks, and priests discovered the lever of their own scarcity.

I am in too great doubt to rule. To prepare or to let be? To prepare for war, which is yet only guessed: train craftsmen and tillers in the midst of peace for bloodspilling and battle: put iron in the hands of greedy captains who will love only conquest, and count the slain as their glory? Will they say to Eru: "At least your enemies were amongst them?" Or to fold hands, while friends die unjustly: let men live in blind peace, until the ravisher is at the gate? What then will they do: match naked hands against iron and die in vain, or flee leaving the cries of women behind them? Will they say to Eru: "At least I spilled no blood?" -- Tar-Meneldur in Armenelos, Aldarion and Erendis: The Mariner's Wife

The druins were brilliant craftsmen and powerful sorcerers, who ruled with the liberty of gods over the then-primitive tribes of men and monsters. But as with anything that grows too big for its own good—ambitious spiderwebs, for instance, or those giant, late-harvest pumpkins—it became something altogether monstrous, and eventually collapsed on itself. The

In his heart, every lover knows that his beloved is well beyond his own worth,

Like most artist-craftsmen of his era, he did not sign his work.

Among skilled craftsmen—a category that included John Shakespeare—some 60 percent could read, a clearly respectable proportion.

Craftsmen and artisans created items that were brittle rumors compared with his father’s iron facts.

We should be better craftsmen of our own lives.

Architects are a screwball bunch, half artists, half craftsmen, caught between the imaginary and the real.

Factory workers and craftsmen who once drank porter in the mornings now stopped on their way to work to buy a penny roll and a cup of hot caffeine.

However, one intriguing shift that suggests there are limits to automation was the recent decision by Toyota to systematically put working humans back into the manufacturing process. In quality and manufacturing on a mass scale, Toyota has been a global leader in automation technologies based on the corporate philosophy of kaizen (Japanese for “good change”) or continuous improvement. After pushing its automation processes toward lights-out manufacturing, the company realized that automated factories do not improve themselves. Once Toyota had extraordinary craftsmen that were known as Kami-sama, or “gods” who had the ability to make anything, according to Toyota president Akio Toyoda.49 The craftsmen also had the human ability to act creatively and thus improve the manufacturing process. Now, to add flexibility and creativity back into their factories, Toyota chose to restore a hundred “manual-intensive” workspaces.

For Medieval craftsmen, work was an act of piety and was sanctified in their own eyes as in the eyes of their God. For such labourers, end and means are one and he spiritual wholeness of faith is translated into the visual wholeness and purify of their craft. hence their craft was also art, a permanent testimony to the reality on earth of humanity's spiritual redemption.

Bellona has become a city of strange—” he burlesqued the word with a drawl—“craftsmen. Ah, the notions that are engineered here! Orchids, light-shields, that chain you’re wearing—our local folk art.

Granted, I should love my neighbor as myself, the questions which, under modern conditions of large-scale organization, remain for solution are, ''Who precisely is my neighbor?'' and ''How exactly am I to make my love for them effective in practice?''... It had insisted that all men were brethren. But it did not occur to it to point out that, as a result of the new economic imperialism, which was begging to develop in the 17th century, the brethren of the English merchant were the Africans whom he kidnapped for slavery in America, or the American Indians from whom he stripped of their lands, or the Indian craftsmen whom he bought muslin's and silks at starvation prices. Religion had not yet learned to console itself for the practical difficulty of applying its moral principles by clasping the comfortable formula that for the transaction of economic life no moral principles exist.

Like a thief, the image of her taut, well-formed body crept into his mind next. His hair swept backwards, shot up like long needles in the rush of the air and his thoughts grew bolder. He marveled how beautifully her body arched as she stood and gave commands. Vishwakarma, the god of all craftsmen, in an exalting moment had threaded a wire through it to give it that elegant curve. From that instant, the memories of a wife, of dear daughters waiting back in the village seemed hazy as in a dream. Inhibitions became soft barriers. He remembered the gestures of Chanda Bai’s two hands as she talked; her palms like delicate seashells; her elegant fingers. Flashes of her jewel studded ears, another pair of shells; and her long hair lovingly braided by her servants with thick strands of white and yellow jasmine flowers interlaced in them. He wanted to caress those flowers with his finger.

There was also more practical inquiry. How should I make a living? How do I get my relatives out of my house? Could you help me postpone payment of this loan? The dervishes had jobs in the workday world: mason, weaver, bookbinder, grocer, hatmaker, tailor, carpenter. They were craftsmen and -women, not renunciates of everyday life, but affirmative makers and ecstatics. Some people call them sufis, or mystics. I say they're on the way of the heart.

Skill teachers are made scarce by the belief in the value of licenses. Certification constitutes a form of market manipulation and is plausible only to a schooled mind. Most teachers of arts and trades are less skillful, less inventive, and less communicative than the best craftsmen and tradesmen. Most high-school teachers of Spanish or French do not speak the language as correctly as their pupils might after half a year of competent drills. Experimentsconducted by Angel Quintero in Puerto Rico suggest that many young teen-agers, if given the proper incentives, programs, and access to tools, are better than most schoolteachers at introducing their peers to the scientific exploration of plants, stars, and matter, and to the discovery of how and why a motor or a radio functions.

The charm of a city, now we come to it, is not unlike the charm of flowers. It partly depends on seeing time creep across it. Charm needs to be fleeting. Nothing could be less palatable than a museum-city propped up by prosthetic devices of concrete. Paris is not in danger of becoming a museum-city, thanks to the restlessness and greed of promoters. Yet their frenzy to demolish everything is less objectionable than their clumsy determination to raise housing projects that cannot function without the constant presence of an armed police force… All these banks, all these glass buildings, all these mirrored facades are the mark of a reflected image. You can no longer see what’s happening inside, you become afraid of the shadows. The city becomes abstract, reflecting only itself. People almost seem out of place in this landscape. Before the war, there were nooks and crannies everywhere. Now people are trying to eliminate shadows, straighten streets. You can’t even put up a shed without the personal authorization of the minister of culture. When I was growing up, my grandpa built a small house. Next door the youth club had some sheds, down the street the local painter stored his equipment under some stretched-out tarpaulin. Everybody added on. It was telescopic. A game. Life wasn’t so expensive — ordinary people would live and work in Paris. You’d see masons in blue overalls, painters in white ones, carpenters in corduroys. Nowadays, just look at Faubourg Sainte-Antoine — traditional craftsmen are being pushed out by advertising agencies and design galleries. Land is so expensive that only huge companies can build, and they have to build ‘huge’ in order to make it profitable. Cubes, squares, rectangles. Everything straight, everything even. Clutter has been outlawed. But a little disorder is a good thing. That’s where poetry lurks. We never needed promoters to provide us, in their generosity, with ‘leisure spaces.’ We invented our own. Today there’s no question of putting your own space together, the planning commission will shut it down. Spontaneity has been outlawed. People are afraid of life.

The people of Israel were not great craftsmen, or painters, or architects. But writing was their national habit, almost their obsession. They probably produced, in sheer quantity, the greatest literature of antiquity, of which the Old Testament is only a small fragment.

Two Rivers, craftsmen were revered. And their marksmen were the best the world knew. An elite group of Two Rivers men, armed with the new firing sticks men were calling rifles, served with the Aiel in their peacekeeping campaigns in Shara. It was the only place war was known in

And that great mixture was brought to America in the holds of slave ships. To the north, the south. Their sons and daughters picked tobacco, cultivated cotton, worked on the largest estates and smallest farms. We are craftsmen and midwives and preachers and peddlers. Black hands built the White House, the seat of our nation’s government. The word we. We are not one people but many different people. How can one person speak for this great, beautiful race—which is not one race but many, with a million desires and hopes and wishes for ourselves and our children?

Writing software is not a variable cost, but it's not really a fixed cost either. Writing software is an ongoing, revenue-generating operation of the company, and it is not the same as constructing a factory. The expensive craftsmen who build the factory leave and go to work on some other job after the building is erected.

What could be the meaning of this—that he who knew nothing, and knew that he knew nothing, should be declared by the oracle to be the wisest of men? Reflecting upon the answer, he determined to refute it by finding 'a wiser;' and first he went to the politicians, and then to the poets, and then to the craftsmen, but always with the same result—he found that they knew nothing, or hardly anything more than himself; and that the little advantage which in some cases they possessed was more than counter-balanced by their conceit of knowledge. He knew nothing, and knew that he knew nothing: they knew little or nothing, and imagined that they knew all things.

A member of a guild was bound to support his fellow members and not steal their trade, nor must he cheat his own customers with poor goods. He was expected to treat his apprentices and journeymen well and do his best to uphold the good name of his trade and his town. He was, so to speak, one of God’s craftsmen, just as a knight was a warrior fighting for God.

The ivory images of the gods that followed were applauded by their particular devotees: Neptune by sailors, Mars by soldiers, Apollo and Artemis by soothsayers and hunters, Minerva by craftsmen, Bacchus and Ceres by drunks and countryfolk in town for the day. Venus and Cupid were cheered by all - who could be so dull as to deny ever being touched by any aspect, physical or otherwise, of love?

Stoddert named Joshua Humphreys Chief Naval Constructor of the United States, and authorized him to oversee naval shipbuilding operations throughout the country. But Humphreys’s efforts to impose his authority on shipwrights in other cities met with strong resistance. Different techniques, styles, and designs prevailed in the various seaports, and much of the terminology had evolved into regional dialects that outsiders found unintelligible. To ask a master builder to take direction from another master builder, in another region, was contrary to every tradition of the profession. Humphreys now proposed to bring openness and transparency to an enterprise that had always been shrouded in the medieval secrecy of the craftsmen’s guild. Shipbuilding is a “noble art,” he told a colleague. “I consider it my duty to convey to my brother builders every information in my power.

Truth loves nothing better than simplicity of truth: that is the lesson Columbe Josse ought to have learned from her medieval readings. But all she seems to have gleaned from her studies is how to make a conceptual fuss in the service of nothing. It is a sort of endless loop, and also a shameless waste of resources, including the courier and my own self. . . . Granted, the young woman has a fairly efficient way with words, despite her youth. But the fact that the middle classes are working themselves to the bone, using their sweat and taxes to finance such pointless and pretentious research leaves me speechless. Every gray morning, day after gloomy day, secretaries, craftsmen, employees, petty civil servants, taxi drivers and concierges shoulder their burdens so that the flower of French youth, duly housed and subsidized, can squander the fruit of all that dreariness upon the altar of ridiculous endeavors . . . Should you devote your time to teaching, to producing a body of work, to research, to culture? It makes no difference. The only thing that matters is your intention: are you elevating thought and contributing to the common good, or rather joining the ranks in the field of study whose only purpose is its own perpetuation, and only function the self-reproduction of the elite - for this turns the University into a sect.

Truth loves nothing better than simplicity of truth: that is the lesson Columbe Josse ought to have learned from her medieval readings. But all she seems to have gleaned from her studies is how to make a conceptual fuss in the service of nothing. It is a sort of endless loop, and also a shameless waste of resources, including the courier and my own self. . . . Granted, the young woman has a fairly efficient way with words, despite her youth. But the fact that the middle classes are working themselves to the bone, using their sweat and taxes to finance such pointless and pretentious research leaves me speechless. Every gray morning, day after gloomy day, secretaries, craftsmen, employees, petty civil servants, taxi drivers and concierges shoulder their burdens so that the flower of French youth, duly housed and subsidized, can squander the fruit of all that dreariness upon the altar of ridiculous endeavors . . . Should you devote your time to teaching, to producing a body of work, to research, to culture? It makes no difference. The only thing that matters is your intention: are you elevating thought and contributing to the common good, or rather joining the ranks in the field of study whose only purpose is its own perpetuation, and only function the self-reproduction of the elite - for this turns the University into a sect.

Just as the Mediterranean separated France from the country Algiers, so did the Mississippi separate New Orleans proper from Algiers Point. The neighborhood had a strange mix. It looked seedier and more laid-back all at the same time. Many artists lived on the peninsula, with greenery everywhere and the most beautiful and exotic plants. The French influence was heavy in Algiers, as if the air above the water had carried as much ambience as it could across to the little neighborhood. There were more dilapidated buildings in the community, but Jackson and Buddy passed homes with completely manicured properties, too, and wild ferns growing out of baskets on the porches, as if they were a part of the architecture. Many of the buildings had rich, ornamental detail, wood trim hand-carved by craftsmen and artisans years ago. The community almost had the look of an ailing beach town on some forgotten coast.

Although per capita income doubled during the half-century, not all sectors of society shared equally in this abundance. While both rich and poor enjoyed rising incomes, their inequality of wealth widened significantly. As the population began to move from farm to city, farmers increasingly specialized in the production of crops for the market rather than for home consumption. The manufacture of cloth, clothing, leather goods, tools, and other products shifted from home to shop and from shop to factory. In the process many women experienced a change in roles from producers to consumers with a consequent transition in status. Some craftsmen suffered debasement of their skills as the division of labor and power-driven machinery eroded the traditional handicraft methods of production and transformed them from self-employed artisans to wage laborers. The resulting potential for class conflict threatened the social fabric of this brave new republic.

Developments in high technology reflect an ancient model for craftsmanship, but the reality on the ground is that people who aspire to be good craftsmen are depressed, ignored, or misunderstood by social institutions. These ills are complicated because few institutions set out to produce unhappy workers. People seek refuge in inwardness when material engagement proves empty; mental anticipation is privileged above concrete encounter; standards of quality in work separate design from execution.

Men in Númenor are half-Elves (said Erendis), especially the high men; they are neither the one nor the other. The long life that they were granted deceives them, and they dally in the world, children in mind, until age finds them – and then many only forsake play out of doors for play in their houses. They turn their play into great matters and great matters into play. They would be craftsmen and loremasters and heroes all at once; and women to them are but fires on the hearth – for others to tend, until they are tired of play in the evening. All things were made for their service: hills are for quarries, river to furnish water or to turn wheels, trees for boards, women for their body’s need, or if fair to adorn their table and hearth; and children to be teased when nothing else is to do – but they would as soon play with their hounds’ whelps. To all they are gracious and kind, merry as larks in the morning (if the sun shines); for they are never wrathful if they can avoid it. Men should be gay, they hold, generous as the rich, giving away what they do not need. Anger they show only when they become aware, suddenly, that there are other wills in the world beside their own. Then they will be as ruthless as the seawind if anything dare to withstand them. Thus it is, Ancalimë, and we cannot alter it. For men fashioned Númenor: men, those heroes of old that they sing of – of their women we hear less, save that they wept when their men were slain. Númenor was to be a rest after war. But if they weary of rest and the plays of peace, soon they will go back to their great play, manslaying and war. Thus it is; and we are set here among them. But we need not assent. If we love Númenor also, let us enjoy it before they ruin it. We also are daughters of the great, and we have wills and courage of our own. Therefore do not bend, Ancalimë. Once bend a little, and they will bend you further until you are bowed down. Sink your roots into the rock, and face the wind, though it blow away all your leaves.

Young has a personal relationship with electricity. In Europe, where the electrical current is sixty cycles, not fifty, he can pinpoint the fluctuation --- by degrees. It dumbfounded Cragg. "He'll say, 'Larry, there's a hundred volts coming out of the wall, isn't there?' I'll go measure it, and yeah, sure --- he can hear the difference." Shakey's innovations are everywhere. Intent on controlling amp volume from his guitar instead of the amp, Young had a remote device designed called the Whizzer. Guitarists marvel at the stomp box that lies onstage at Young's feet: a byzantine gang of effects that can be utilized without any degradation to the original signal. Just constructing the box's angular red wooden housing to Young's extreme specifications had craftsmen pulling their hair out. Cradled in a stand in front of the amps is the fuse for the dynamite, Young's trademark ax--Old Black, a '53 Gold Top Les Paul some knot-head daubed with black paint eons ago. Old Black's features include a Bigsby wang bar, which pulls strings and bends notes, and Firebird picking so sensitive you can talk through it. It's a demonic instrument. "Old black doesn't sound like any other guitar," said Cragg, shaking his head. For Cragg, Old Black is a nightmare. Young won't permit the ancient frets to be changed, likes his strings old and used, and the Bigsby causes the guitar to go out of tune constantly. "At Sound check, everything will work great. Neil picks up the guitar, and for some reason that's when things go wrong.

The misuse of language contributes also to the belief that labor unions are a product of modern industrial development. They are nothing of the kind. On the contrary, they are a throwback to a preindustrial period, to the guilds that were the characteristic form of organization of both merchants and craftsmen in the cities and city-states that grew out of the feudal period. Indeed, the modern labor union can be traced back even further, nearly 2,500 years to an agreement reached among medical men in Greece.

There were, however, major differences between the respective upsurges of cooperativism in the 1880s and the 1960s, centered around the fact that the earlier one was part of a broad-based labor movement, unlike the later. Thus, the skilled and semi-skilled cooperators during the 1870s and 1880s explicitly used cooperatives as a way to guarantee employment, and arguably they were more ambitious, with their revolutionary hopes for a cooperative commonwealth. Their ideology, of course, was not the educated middle-class countercultural and anti-authoritarian one of the 1960s’ youth movements but “laborist,” “producerist,” devoted to the Jeffersonian ideal of a republic of free laborers, mostly artisans and craftsmen. Some scholars have argued that this fact proves the Knights of Labor were “backward-looking” rather than truly revolutionary—that the future lay in mass production, not skilled labor or artisanry168—but this criticism seems partly off the mark. It is true that the Knights were hostile to mechanization, just as workers have been in the era of the AFL-CIO, because in both cases it threatened to put them out of a job or to result in the lowering of wages and the deskilling of work. If this aversion to the degradation and mechanization of work is reactionary, so be it. But it is also a source of such revolutionary demands as democratization of production relations, cooperative organization of the economy, public ownership of industry, destruction of the capitalist class and its frequent tool the state, and other hopes cherished by millions of workers in the late nineteenth century.

The realms of advertising and of public relations, and the nowadays closely related realm of politics, are replete with instances of bullshit so unmitigated that they can serve among the most indisputable and classic paradigms of the concept. And in these realms there are exquisitely sophisticated craftsmen who — with the help of advanced and demanding techniques of market research, of public opinion polling, of psychological testing, and so forth - dedicate themselves tirelessly to getting every word and image they produce exactly right.

And yet, despite the horror it caused, the plague turned out to be the catalyst for social and economic change that was so profound that far from marking the death of Europe, it served as its making. The transformation provided an important pillar in the rise—and the triumph—of the west. It did so in several phases. First was the top-to-bottom reconfiguration of how social structures functioned. Chronic depopulation in the wake of the Black Death had the effect of sharply increasing wages because of the accentuated value of labour. So many died before the plague finally began to peter out in the early 1350s that one source noted a “shortage of servants, craftsmen, and workmen, and agricultural workers and labourers.” This gave considerable negotiating powers to those who had previously been at the lower end of the social and economic spectrum. Some simply “turned their noses up at employment, and could scarcely be persuaded to serve the eminent unless for triple wages.”66 This was hardly an exaggeration: empirical data shows that urban wages rose dramatically in the decades after the Black Death.

In some ways, the only thing we have in common is the color of our skin. Our ancestors came from all over the African continent. It's quite large... They had different ways of subsistence, different customs, spoke a hundred different languages. And that great mixture was brought to America in the holds of slave ships. To the north, the south. Their sons and daughters picked tobacco, cultivated cotton, worked on the largest estates and smallest farms. We are craftsmen and midwives and preachers and peddlers. Black hands built the White House, the seat of our nation's government. The word we. We are not one people, but many different people. How can one person speak for this great, beautiful race - which is not one race but many, with a million desires and hopes and wishes for ourselves and our children? For we are Africans in America. Something new in the history of the world, without models for what we will become. Color must suffice. It has brought us to this night, this discussion, and it will take us into the future. All I truly know is that we rise and fall as one, one colored family living next door to one white family. We may not know the way through the forest, but we can pick each other up when we fall, and we will arrive together.

The point was made many times that scientific management benefitted workers not at all, perhaps most clearly by a short statement by John P. Frey, editor of the International Molders Journal and participant in a bipartisan survey of the claims of scientific management, 'If generally applied the craftsmen would pass out of existence, and the workers would become dependent for their existence upon the scanty and insignificant industrial knowledge and experience afforded them by their limited opportunities, regulated by those who in addition to their ownership of machinery, had also acquired possession of craft knowledge and the skilled workers’ methods.

Well, here we are. Let’s change. Let’s change the world. Together.” “You sound like my father.” “Your father wants the gods back on their pedestals. I want us working as one: humans with Craft, gods with divine power, priests with Applied Theology. But we need space to build that society. We need the time and the power to change, and we’ll never have that time or power with Craftsmen crushing us. We need freedom, and I can win that freedom. Not in a decade or three. Today. In one stroke.” “You want a moderate revolution. You just need to kill a few people first.” “A few people. Yes. To free a city. To save a planet. Dresediel Lex will be a model for the world.” “I kind of like it the way it is.

Adelia began to get cross. Why was it women who were to blame for everything—everything, from the Fall of Man to these blasted hedges? “We are not in a labyrinth, my lord,” she said clearly. “Where are we, then?” “It’s a maze.” “Same difference.” Puffing at the horse: “Get back, you great cow.” “No, it isn’t. A labyrinth has only one path and you merely have to follow it. It’s a symbol of life or, rather, of life and death. Labyrinths twist and turn, but they have a beginning and an end, through darkness into light.” Softening, and hoping that he would, too, she added, “Like Ariadne’s. Rather beautiful, really.” “I don’t want mythology, mistress, beautiful or not, I want to get to that sodding tower. What’s a maze when it’s at home?” “It’s a trick. A trick to confuse. To amaze.” “And I suppose Mistress Clever-boots knows how to get us out?” “I do, actually.” God’s rib, he was sneering at her, sneering. She’d a mind to stay where she was and let him sweat. “Then in the name of Christ, do it.” “Stop bellowing at me,” she yelled at him. “You’re bellowing.” She saw his teeth grit in the pretense of a placatory smile; he always had good teeth. Still did. Between them, he said, “The Bishop of Saint Albans presents his compliments to Mistress Adelia and please to escort him out of this hag’s hole, for the love of God. How will you do it?” “My business.” Be damned if she’d tell him. Women were defenseless enough without revealing their secrets. “I’ll have to take the lead.” She stumped along in front, holding Walt’s mount’s reins in her right hand. In the other was her riding crop, which she trailed with apparent casualness so that it brushed against the hedge on her left. As she went, she chuntered to herself. Lord, how disregarded I am in this damned country. How disregarded all women are. ... Ironically, the lower down the social scale women were, the greater freedom they had; the wives of laborers and craftsmen could work alongside their men—even, sometimes, when they were widowed, take over their husband’s trade. Adelia trudged on. Hag’s hole. Grendel’s mother’s entrails. Why was this dreadful place feminine to the men lost in it? Because it was tunneled? Womb-like? Is this woman’s magic? The great womb? Is that why the Church hates me, hates all women? Because we are the source of all true power? Of life? She supposed that by leading them out of it, she was only confirming that a woman knew its secrets and they did not. Great God, she thought, it isn't a question of hatred. It’s fear. They are frightened of us. And Adelia laughed quietly, sending a suggestion of sound reverberating backward along the tunnel, as if a small pebble was skipping on water, making each man start when it passed him. “What in hell was that?” Walt called back stolidly, “Reckon someone’s laughing at us, master.” “Dear God.

While it is indeed true that the switch from artisans and craftsmen to factories and machines entailed a great deal of suffering, I should nevertheless have mentioned that without the new techniques of mass production it would have been quite impossible to feed, clothe and house the steadily increasing population. The very fact that more and more children were being born, and fewer and fewer of them were dying soon after, was largely due to the scientific advance of medicine which insisted on such things as piped running water and proper sewerage. True, the growing industrialisation of Europe, America and of Japan has meant the loss of much that is beautiful, but we must not forget how many blessings – and I mean blessings – it has brought us.

Read! Read cookbooks, trade magazines — I recommend Food Arts, Saveur, Restaurant Business magazines. They are useful for staying abreast of industry trends, and for pinching recipes and concepts. Some awareness of the history of your business is useful, too. It allows you to put your own miserable circumstances in perspective when you've examined and appreciated the full sweep of culinary history. Orwell's Down and Out in Paris and London is invaluable. As is Nicolas Freleng's The Kitchen, David Blum's Flash in the Pan, the Batterberrys' fine account of American restaurant history, On the Town in New York, and Joseph Mitchell's Up in the Old Hotel. Read the old masters: Escoffier, Bocuse et al as well as the Young Turks: Keller, Marco-Pierre White, and more recent generations of innovators and craftsmen.

Have you ever thought, not only about the airplane but whatever man builds, that all of man’s industrial efforts, all his computations and calculations, all the nights spent working over draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity? It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship’s keel, or the fuselage of an airplane, until gradually it partakes of the elementary purity of the curve of the human breast or shoulder, there must b experimentation of several generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.

Have you ever thought, not only about the airplane but whatever man builds, that all of man’s industrial efforts, all his computations and calculations, all the nights spent working over draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity? It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship’s keel, or the fuselage of an airplane, until gradually it partakes of the elementary purity of the curve of the human breast or shoulder, there must be experimentation of several generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.

35 And when the townclerk had aappeased the people, he said, Ye men of Ephesus, what man is there that knoweth not how that the city of the Ephesians is a bworshipper of the great goddess Diana, and of the image which fell down from cJupiter? 36 Seeing then that these things cannot be spoken against, ye ought to be quiet, and to do nothing arashly. 37 For ye have brought hither these men, which are neither robbers of churches, nor yet blasphemers of your goddess. 38 Wherefore if Demetrius, and the craftsmen which are with him, have a matter against any man, athe law is open, and there are deputies: let them implead one another. 39 But if ye inquire any thing concerning other matters, it shall be determined in a lawful assembly. 40 For we are in danger to be called in question for this day’s auproar, there being no cause whereby we may give an account of this concourse. 41 And when he had thus spoken, he dismissed the assembly. ◀ 1a OR parts, region.

I want to see Milo,” I replied. “He’s going to come with me while I look around Delphi.” “Milo?” the other soldier echoed as we left the sanctuary grounds. “You know, the little Calydonian,” his comrade said. “How stupid are you? It’s not like he blends in with the rest of us. A good lad, but fretful. He was up half the night worrying about how he’d ever know whether Lady Helen would need him to run errands for her while we’re at Delphi.” “Is that right?” I asked. The soldier nodded. “Yes, Lady Helen. It was a great kindness you did, freeing him from slavery, but now gratitude’s made him enslave himself to you. You’ve got a fine servant in that boy.” “Not forever,” I said. “Right now there’s no choice about it--he’s got no family, no way to feed himself--but once we get home I’ll apprentice him to one of the palace craftsmen. Then he can live his own life.” “A jug of wine says he’ll only be happy if he can live it close to her,” the first soldier muttered to the other, but when I demanded he repeat his words to my face, he claimed he’d said nothing at all.

Statues of Saints CHALLENGE “The Catholic use of statues of saints is idolatry.” DEFENSE Idolatry involves worshipping a statue as a god. That's not what Catholics do with statues. Statues of saints do not represent gods. They represent human beings or angels united with God in heaven. Even the least learned practicing Catholics are aware that statues of saints are not gods, and neither are the saints they represent. If you point to a statue of the Virgin Mary and ask, “Is this a goddess?” or “Is the Virgin Mary a goddess?” you should receive the answer “no” in both cases. If this is the case for the Virgin Mary, the same will be true of any saint. As long as one is not confusing a statue with a god, it is not an idol, and the commandment against idolatry is not violated. This was true in the Bible. At various points, God commanded the Israelites to make statues and images for religious use. For example, in the book of Numbers the Israelites were suffering from a plague of poisonous snakes, and God commanded Moses to make a bronze serpent and set it on a pole so that those bitten by the snakes could gaze upon the bronze serpent and live (Num. 21:6–9). The act of looking at a statue has no natural power to heal, so this was a religious use. It was only when, centuries later, people began to regard the statue as a god that it was being used as an idol and so was destroyed (2 Kings 18:4). God also commanded that his temple, which represented heaven, be filled with images of the inhabitants of heaven. Thus he originally ordered that craftsmen work images of cherubim (a kind of angel) into curtains of the Tent of Meeting (Exod. 26:1). Later, carvings of cherubim were made on the walls and doors of the temple (1 Kings 6:29–35). Statues were also made. The lid of the Ark of the Covenant included two statues of cherubim that spread their wings toward each other (Exod. 25:18–20), and the temple included giant, fifteen-foot tall statues of cherubim in the holy of holies (1 Kings 6:23–28). Since the Ascension of Christ, the saints have joined the angels in heaven (CCC 1023), making images of them in church appropriate as well.

The Funeral of Sarpedon Zeus is heavy with grief. Sarpedon is dead at Patroclus’ hands and, right now, the son of Menoetius and his Achaeans are setting out to steal the corpse and desecrate it. But Zeus will not allow it. He had left his beloved child alone and now he’s lost – for such the Law demanded. But at least he will honour him in death. Behold: he sends Phoebus down to the field with orders to care for the body. Phoebus lifts the hero’s corpse with reverence and pity, and bears him to the river. He washes away the blood and dust and closes the wounds, careful not to leave a scar; he pours balm of ambrosia over the body and clothes him in resplendent Olympian robes. He blanches the skin and with a comb of pearl straightens the raven-black hair. He lays him out, arranging the lovely limbs. The youth seems a king, a charioteer, twenty-five or twenty-six years old – relishing his moment of victory, with the swiftest stallions, upon a golden chariot in a grand competition. Phoebus, completing his assignment, calls on his two siblings, Sleep and Death, commanding them to carry the body to Lycia, land of riches. So the two brothers, Sleep and Death, set out on foot to transport the body to Lycia, land of riches. And at the door of the king’s palace they hand over the glorious body and return to their affairs. As they receive him into the palace they begin laments and tributes, processions and libations flowing from sacred vessels and everything that befits such a sad funeral; then skilled craftsmen from the city and artists well known for their work in marble arrive to fashion the tomb and the stele.

1. First, we admire people who work hard. We dislike passengers who don’t pull their weight in the boat. 2. We admire people with first-class brains, because you cannot run a great advertising agency without brainy people. 3. We admire people who avoid politics – office politics, I mean. 4. We despise toadies who suck up to their bosses; they are generally the same people who bully their subordinates. 5. We admire the great professionals, the craftsmen who do their jobs with superlative excellence. We notice that these people always respect the professional expertise of their colleagues in other departments. 6. We admire people who hire subordinates who are good enough to succeed them. We pity people who are so insecure that they feel compelled to hire inferior specimens as their subordinates. 7. We admire people who build up and develop their subordinates, because this is the only way we can promote from within the ranks. We detest having to go outside to fill important jobs, and I look forward to the day when that will never be necessary. 8. We admire people who practice delegation. The more you delegate, the more responsibility will be loaded upon you. 9. We admire kindly people with gentle manners who treat other people as human beings – particularly the people who sell things to us. We abhor quarrelsome people. We abhor people who wage paper warfare. We abhor buck passers, and people who don’t tell the truth. 10. We admire well-organized people who keep their offices shipshape, and deliver their work on time. 11. We admire people who are good citizens in their communities – people who work for their local hospitals, their church, the PTA, the Community Chest and so on.

How is he, Amelia?” she finally brought herself to whisper. There was no need for Amelia to ask who “he” was. “Merripen has changed,” she said cautiously, “nearly as much as you and Leo. Cam says what Merripen has accomplished with the estate is no less than astounding. It requires a broad array of skills to direct builders, craftsmen, and groundsmen, and also to repair the tenant farms. And Merripen has done it all. When necessary, he’ll strip off his coat and lend his own back to a task. He’s earned the respect of the workers—they never dare to question his authority.” “I’m not surprised, of course,” Win said, while a bittersweet feeling came over her. “He has always been a very capable man. But when you say he has changed, what do you mean?” “He has become rather … hard.” “Hard-hearted? Stubborn?” “Yes, and remote. He seems to take no satisfaction in his success, nor does he exhibit any real pleasure in life. Oh, he has learned a great deal, and he wields authority effectively, and he dresses better to befit his new position. But oddly, he seems less civilized than ever. I think …” An uncomfortable pause. “Perhaps it may help him to see you again. You were always a good influence.” Win eased her hands away and glowered down at her own lap. “I doubt that. I doubt I have any influence on Merripen whatsoever. He has made his lack of interest very clear.” “Lack of interest?” Amelia repeated, and gave a strange little laugh. “No, Win, I wouldn’t say that at all. Any mention of you earns his closest attention.” “One may judge a man’s feelings by his actions.” Win sighed and rubbed her weary eyes. “At first I was hurt by the way he ignored my letters. Then I was angry. Now I merely feel foolish.

If one looks at modern society, it is obvious that in order to live, the great majority of people are forced to sell their labour power. All the physical and intellectual capacities existing in human beings, in their personalities, which must be set in motion to produce useful things, can only be used if they are sold in exchange for wages. Labour power is usually perceived as a commodity bought and sold nearly like all others. The existence of exchange and wage-labour seems normal, inevitable. Yet the introduction of wage-labour involved conflict, resistance, and bloodshed. The separation of the worker from the means of production, now an accepted fact of life, took a long time and was accomplished by force. In England, in the Netherlands, in France, from the sixteenth century on, economic and political violence expropriated craftsmen and peasants, repressed indigence and vagrancy, imposed wage-labour on the poor. Between 1930 and 1950, Russia decreed a labour code which included capital punishment in order to organise the transition of millions of peasants to industrial wage-labour in less than a few decades. Seemingly normal facts: that an individual has nothing but his labour power, that he must sell it to a business unit to be able to live, that everything is a commodity, that social relations revolve around market exchange… such facts now taken for granted result from a long, brutal process. By means of its school system and its ideological and political life, contemporary society hides the past and present violence on which this situation rests. It conceals both its origin and the mechanism which enables it to function. Everything appears as a free contract in which the individual, as a seller of labour power, encounters the factory, the shop or the office. The existence of the commodity seems to be an obvious and natural phenomenon, and the periodic major and minor disasters it causes are often regarded as quasi-natural calamities. Goods are destroyed to maintain their prices, existing capacities are left to rot, while elementary needs remain unfulfilled. Yet the main thing that the system hides is not the existence of exploitation or class (that is not too hard to see), nor its horrors (modern society is quite good at turning them into media show). It is not even that the wage labour/capital relationship causes unrest and rebellion (that also is fairly plain to see). The main thing it conceals is that insubordination and revolt could be large and deep enough to do away with this relationship and make another world possible.