Bloodless Coop

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December 2010

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Shop Class as Soulcraft: lessons for agency and endeavour


(This post continues my meander through Matthew Crawford’s Shop Class as Soulcraft.)

Soulcraft’s topic is manual competence, and what it means when we lack it. I come away from the book reaffirmed that this matters for three reasons. The first is that being able to achieve things that matter in the real world makes us free and more secure. The second is that challenges that are tangible in character - flesh, blood, wood, earth, steel - are those that most stretch our capacities, a major reward to us thinking beings. The third is that constantly putting our attentions on the real world is important for the human spirit (a topic for the next post).


The first issue is essentially one of agency. If my plumbing breaks on New Years Day - thanks to the table I’m seated at, I am touching wood as I write this - could I deal with it? Or would I be powerless? (The latter, I’m afraid.) How indispensable am I at work? If I’m threatened with my role being outsourced overseas, can I point out my knack for repairing engine damage caused by frequent local dust storms, or restoring waterlogged lily gardens, knowing the soil composition round these parts - or simpler yet, say ‘I hope they enjoy the commute!’ Or could the outputs of my cubicle be replaced by one in Mumbai, leaving me perennially at the mercy of my last good idea? 

Crawford emphasises that manual jobs are situated and substantial - they have to be done here, and they have to be done. Conversely, knowledge work is ephemeral: it could be done elsewhere, and when priorities change it may not need doing at all, such as snipping R&D to focus on existing products. The progress of technology seems to support this: the low hanging fruit of massed physical labour were picked during the industrial revolution, largely through the factory line, but manual work that is mobile, personalised, or open-ended seems well beyond what robotics can offer, and is certainly cost ineffective for the foreseeable future. Innovations in technology serve the manual worker rather than supplant him, offering up strength and finesse through stronger tools, better lenses and so on. This is the ‘enlightened inequality’ that Richard Sennett describes in The Craftsman, where the machine does one thing well where the person is weaker, but is unable to perform other parts of the role. The handy-man, gardener, and mechanic can all rest easy.

The second issue turns to the ground well explored in The Craftsman: doing as thinking. Let’s look first at Crawfords negative case, against thought in knowledge work. This seems counterintuitive; surely, regardless of whether using your hands is a thoughtful exercise, knowledge work surely must be. We’re employed for our minds, for our ideas, for our prudent decisions and radical innovations. No?

If we examine the case closely, we know this just ain’t so. Just as Time and Motion studies chiseled autonomy away from the factory worker, determining fixed steps of maximum efficiency and hard-coding these into each job, a similar fate is befalling the knowledge worker through ‘time and thought analysis’. The heads of experts are mined to fill the quarries of knowledge management systems, centralising the needed information and making those experts redundant, or at least in a markedly weaker state to negotiate their worth. 

It seems to me that the only sanctioned move we’re able to make, pathetically, is to become an expert in the knowledge systems themselves. No longer valuable for knowing stuff, now (somewhat) valuable for being able to navigate the system that does the knowing for us. If the system changes, or doesn’t need us any more, bad luck. This resonates with me: before I began working for myself, I spent countless days spent coaxing byzantine systems to deliver information like costings of projects, where once I would have been permitted to use my own judgment to do it. I would hazard that a reasonable amount of the average person’s wage is paid for them to patiently wait as screens slowly refresh to reveal a preordained decision that is Ctrl-C Ctrl-V’d into place. Crawford calls it “a rising sea of clerkdom” and I think that’s dead right.


Meanwhile, manual work presents us with problems that are material and unavoidable. Each may have a single solution, or multiple ones of differing elegance. We must carefully try options, using rules of thumb to choose from the common, the laborious, the unusual, and outright inadvisable to get things done. We must use our full expertise at the service of our judgment which is exercised over countless decision points, each one a source of future learning. When it is done, we can see the outcome as correct - though we may need to check our working before signing off on it. This suggests not dull work but something akin to mathematics, whose problems are readily regarded as some of the highest intellectual pursuits within our culture.  


Compare that to say product branding for phones. You commission market research, which suggests calling your phone a Meetbox may go down well with a desired demographic. You argue your case in presentations with peers. The company goes ahead with a fair-sized marketing budget. Sales are… ok. What have you learned? Nothing definite, because the whole field of operation is so ambiguous and intangible. Could sales have been better? Maybe. By different branding? Possibly. Should you re-use the market research company? Maybe not (but maybe). Would a bigger marketing budget have made a difference? You could make a case for it (but maybe running the numbers the other way would say the opposite). We don’t have a firm feedback, we can’t say this was a success or failure - except of course, in the eyes of others. 

The learning you are most likely to take away from a modern work situation is the most direct component: manipulating your colleagues to a desired outcome. For instance, you mentally note that courting Sally before the meeting would have garnered more enthusiasm for the project overall, and plan to do so again. Crawford argues that as the tangible aspects of work wilt away, we are left focusing on managing our personal brand and becoming more involved in maintaining the best face, from all angles, in the hall of mirrors that is the workplace. In Dancing in the Streets, Barbara Ehrenreich recounts how the noble class within Europe  moved from a culture of individual endeavour - warrior-lords leading their men directly through prowess - to one of social surfaces, of courtiers concerned with intrigue and alliance. The engine for this was the centralisation of military power, requiring nobles to define themselves around something other than martial skill. This process continues now with the knowledge class.


I’ve deliberately avoided discussing one component of endeavour, that of creativity. Here, Crawford is equally damning about the condition of the non-manual worker, but I am more optimistic. I’ll come to this in a future post. The next post, meanwhile, is on awareness.

Bibliography and Links

Matthew Crawford (2009). Shop Class as Soulcraft. Penguin Press. Link

Richard Sennett (2008). The Craftsman. Allen Lane. Link

Barbara Ehrenreich (2007). Dancing in the Streets: A History of Collective Joy. Metropolitan Books. Link

Dec 31, 20101 note
#craft #work
Shop Class as Soulcraft: Impressions

In the run up to the new year, I will be dedicating this blog to some thoughts inspired by Matthew Crawford’s book on craft. Doing this now is spurred by a post Tim Boucher wrote on the subject, together with realising that a suitcase sitting innocuously in a corner of my house was stacked full of my books, including Crawford’s. It’s much nicer to write about something when you have the physical object to handle; as we shall see, that’s a sentiment that accords well with Crawford’s position. I’m not interested in writing a review, per se*, but in using it as a jumping-off point for various ideas. I was in a note-taking mood when I read the book, and this will be the belated product. 

Tim writes

Recently ran into a higher educational program for theatrical designers, but discovered they don’t actually build any of their own designs. Coming from a strictly hands-on school of technical theatre and scenic carpentry, this completely mystifies me. How is the designer supposed to understand how forms, shapes, materials, construction techniques, etc actually work in real life if they are not dealing with them on the ground level? 

…One of the best experiences I’ve had working in technical theatre was working this past season at a summer stock theatre where the roles of scenic designer, lighting designer, technical director and crew chief were collapsed into one person: me. Anything I designed, I was immediately thereafter made aware of how shitty or impractical my concept was. 

…But as a result of that experience, I’ve managed to acquire a really close connection to what it means to actually build something, cut wood, put screws in, communicate with other people building, etc. Imagine what a good designer could do with that wealth of practical experience!

This is a concern that Crawford takes up with gusto in his book, titled Shop Class as Soulcraft: An Inquiry into the Value of Work in the US and The Case for Working with Your Hands or Why Office Work is Bad for Us and Fixing Things Feels Good here in the UK. I’ll refer to it as Soulcraft for convenience hereon (quite different from Soul Craft). A trained philosopher, he uses the book to pursue the argument that the work that empowers, that ennobles, that tests the mind and enlightens, is not disembodied ‘knowledge work’ but manual work. 

If you think this is ground that has been ploughed elsewhere, you may be thinking of Richard Sennett’s The Craftsman, by the accounts of many a masterwork**. It’s sitting next to me right now, and just leafing through the acknowledgements I note Sennett giving his credo for the book as “making is thinking”, which you can compare with Soulcraft Chapter 7: Thinking as Doing; the resemblances certainly go further (Crawford references Sennett’s work, though not The Craftsman, and Sennett is quoted in the book blurb). What sets the two apart (here I should admit that I haven’t finished The Craftsman, rewarding as it is) is  that Sennett’s book is founded on a series of philosophical insights backed by a historical and sociological story he assembles, whereas Soulcraft is driven far more by Crawford’s own direct experiences, in the knowledge world of think tanks and publishing, contrasted with his time as an electrician and now as a motorcyle tuner.

The personal nature goes further: Crawford is positively punchy in making his case: derogation of the blue collar in favour of the white is a big mistake, and making it is going to cost you. That applies when he’s levelling his guns at government, with their reduced investment into shop class (we called it CDT - craft, design and technology) and equally when he levels them at his readership, recognising that it’s probable their fingers are trained merely to unthinkingly type. Watch out, he warns, you’ve put your eggs in the wrong basket. I found the book uncomfortable reading at times; this need not be a bad thing but I felt there was a certain degree of individualist machismo that underpinned it. Yours may be one of the “30 to 40 million U.S. jobs to be potentially offshorable”, but the author is safe - he’s put in the copious time needed to master a desired skill that can only be delivered in-person. I can only imagine what he makes of someone choosing to be an artist: are you crazy? TV, MP3, Youtube - you’re sooo replaceable by 4 billion people with a fraction of the cost of living - give it up. Perhaps I’m being uncharitable. That’s what I felt.

I raise this because it points to a broader issue: a celebration of craft and handwork seems to be on the rise: together with Soulcraft and The Craftsman (and the books footnoted below), we have Crafting Gentleness, Etsie, the make-not-mend movement, Makerhood and much more. The motivations for many of these movements seem to be different. Some are extremely community-centric (Makerhood comes to mind), whereas Crawford’s thesis is pretty individualist, about personal excellence and individual attainment. Some are rooted in environmental concerns - Transition Towns are all about reskilling for a low-oil future. Lauding high-end motorcycle tuning is orthogonal or even opposed to these concerns (thanks to @steel_weaver for crystalising that!). Dissensus is no bad thing, but I wonder if some of these positions aren’t genuinely at loggerheads. As always, I’m interested to hear your thoughts.

In the next post I’ll explore some aspects of Soulcraft that particularly resonate with me.

*There’s a good review here!

** Actually, a quick review shows how many books there are in this particular family: Thinking through Craft, Culture of Craft, The Craft Reader etc

Dec 22, 2010
Week's end

Top of Mind: Tissues and lozenges - I lost the body of this week to a hefty virus.

Listening:  LBC, interminably. 

Reading:  Still wrapped in Catch 22, via a meandering detour that included Clause 4. Yup, I read all of Blair’s autobio. Not that much the wiser, but the big print and familiarity of events made it a good mid-fever read…

Planning:  A belated Christmas shop, or I will be leaving many people scowling…

Writing:  Last night I made my first front for Apocalypse World to support the second session of our game. It’s fiddly but did spark some ideas.

And you?

Dec 20, 2010
#weeksend
Week's end

Top of Mind: A week training in SE Asia. Starting to get familiar with Singapore but Kuala Lumpur was a new destination. I preferred its ramshackle energy to its stuffier relation. Saw plenty of old friends, made some new and ate plenty. What’s not to like?

Listening: I’ve been checking out Darkstar and Plan B, who on their latest releases each take edgy urban music and develop it in interesting ways: the former taking dubstep towards the xx or postal service, the latter taking notes from grime but merging that with soulful grooves.

Reading: There are no more unlikely bedfellows than Tony Blair and John Zerzan, and yet their books sit just next to my pillow. But right now? Catch 22 all the way.

Planning: A trip to Godspeed You! Black Emperor, and a walking day out tomorrow with Tom Stafford.

Writing: The Crawford post has become a series, and they’re nearly done.

And you?

Dec 13, 2010
#weeksend
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