This study aims to define the concept of craftsmanship from the perspective of craft chocolate makers and explore how their understanding of craftsmanship is reflected in their organizational practices and the scaling of their businesses. The research is motivated by the desire of craft chocolate makers to expand the niche market for craft chocolate, thereby increasing the share of sustainable and fair-trade cocoa in the industry.However, consumers remain confused by various claims such as ‘bean-to-bar’, ‘single-origin’, ‘single-estate’, and ‘direct-trade’, making it challenging for the niche to clearly present itself.
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We report research into the evolvement of a hybrid learning environment where education, companies and government successfully cooperate. This hybrid learning environment—one of the latest inventions in curriculum design—is special because it was neither intended nor planned by the parties involved. With some self-astonishment, the participants in this research experienced a growing acknowledgement of their emerging educational creation, aside from the experience of and appreciation for their cooperation and the increasing turnover. With a bricolage research approach within the scope of a rhizomatic perspective on becoming, a multivocal perspective on the evolvement of the learning environment was pursued. In emphasizing the historical evolvement of the learning environment, our findings challenge the tradition of drawing board design, accompanied by an appeal for re-appreciating professional craftsmanship. In addition, some reflections regarding the research are discussed.
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The role and ethics of professionals in business and economics have been questioned, especially after the financial crisis of 2008. Some suggest a reorientation using concepts such as craftsmanship. In this article, I will explore professional practices within the context of behavioural theory and business ethics. I suggest that scholars of behavioural theory need a strategy to deal with normative questions to meet their ambition of practical relevance. Evidence-based management (EBMgt), a recent behavioural approach, may assist business ethics scholars in understanding how professionals infer ‘evidence’ to make decisions. For a professional, ethical issues are an integral part of decision-making at critical moments. As reflective practitioners, they develop insights related to ethical concerns when collecting and assessing evidence within decision-making processes.
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Building on Richard Sennett's recent work this books tries to clarify the ethical significance of craftsmanship. According to Sennett, 'learning to work well' is a deep source of personal meaning and of fruitful cooperation. Moreover provides the foundation of citizenship. Learning to master a craft is learning to be curious and patient, to focus on relationships and learn the skills of anticipation and revision, in a continual dialogue with material that resists 'quick fixes' and turns the craftsman 'outward'. In the contemporary search for practically relevant perspectives that point beyond the moral poverty of a market driven society, 'the ethics of craftsmanship' thus offers an intriguing and fruitful perspective, worth of in depth exploration.
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Wat is de beroepsidentiteit van sociaal werk, wat behoort zij te zijn? Sociaal werk wordt wel omschreven als een professie maar ook als een ambacht, vaak zonder duidelijk onderscheid tussen en wellicht zelfs door impliciete gelijkstelling van deze kwalificaties. Met behulp van de ideaaltypische benadering kan echter worden aangetoond dat deze twee typen beroepen niet alleen veel overeenkomsten delen maar ook op enkele punten fundamenteel van elkaar verschillen. Op basis van het werk van Freidson (2001) en Sennett (2008) kan worden aangetoond dat het ideaaltypische doel van professies het realiseren van een abstracte waarde (zoals rechtvaardigheid) is, terwijl ambachten gericht zijn op het manipuleren van concrete materialen (bijvoorbeeld steen). Bijgevolg zijn (enkel) professies beroepen met een morele identiteit. In alle zelfdefinities van sociaal werk is deze morele identiteit, deze humanitaire kern aanwezig (zie bv. IFSW, NVMW). Daarom moet sociaal werk worden beschouwd als een professie en niet als een ambacht. Dit is niet louter een academische discussie maar beïnvloedt bijvoorbeeld de positie van dit beroep in de samenleving, zoals aan de hand van de ministeriële richtlijnen betreffende Welzijn Nieuwe Stijl kan worden geïllustreerd.
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The EAS conference theme “Craftsmanship & Artistry” confers the image that general music education in 21st western century society moves from a work-based (cf. Small 1998: 2) towards a performance-based definition of music. An example is the work of the MayDay-Group, which formulates many of its seven ideals for general music education in terms of music making (Regelski e.a. 2009: xxxii).This centrality of musicianship is not straightforward. Music is not one but a set of activities (Clarke 2005: 204), and for many music is meaningful in daily life without performance being central. Based on my own research of a varied selection of individuals narrating the importance of music in their lives, this article argues that craftsmanship and artistry are only two of many more ways of describing what music essentially “is”.We must take Cavicchi’s (2009) thesis on the bifurcation of everyday and institutionalized musicality and the resulting “irrelevance of music education” seriously. Musicianship can’t be positioned a-priori at the core of music education; its core must be located on the basis of research into what music means in the actual lives of actual people. This leads towards a more learner-centered approach to general music education in which each learner’s idio-syncratic “musicker-ship” is the starting point.
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Online working adds a new dimension to our jobs. When I see myself working and interacting, I’m involved very differently than when I only act from my own perspective. From my first-person and newly acquired second-person perspective, I have slowly but surely come to form an opinion about this. From the first-person it was about contents, or fellow stakeholders. Second-person questions are: Why are we doing this? Is this really a job? It is argued that a good thing about the online "revolution" could be that it could lead to a reappraisal for honest craftsmanship!
MULTIFILE
By making fashion with data as a material, we believe that we can critically create for everyone; no matter what shape,size or color. Data is the key to personalized fashion as it empowers and enables individuality yet retains the social potential of fashion. Fashion has believed for centuries that clothes used to be personally tailored, we intend to make that true for all.This is an important moment for fashion. Much of the industry is bankrupt,creating opportunities to rebuild with new ideas surrounding technology and sustainability. Data is key to thedigital transformation of fashion,meaning new craftsmanship is also required. Furthermore,the unique qualities of fashion allow for our research to inform technology and data science.
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The world is changing in many ways. Digital developments follow each other in quick succession and have an impact on many existing structures. The future may be uncertain, but we can still learn from what has happened in the past. We usually know what we don’t want, but few of us know yet what we do want. Still, this is something we can only discover for ourselves, I think. Who are we? To what extent are we individuals and to what extent are we part of a collective? Remarkably, in these questions we can also find parallels with the Middle Ages.
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