By Varvara Konstantinov

The e-book is a realistic consultant for making ten beaded necklaces, bracelets and jewelry. It contains over 50 transparent and descriptive diagrams, rigorously detailing each step of the method.

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Extra resources for Coraling Technique Step-By-Step Instructions for Making Ten Original Design Necklaces, Bracelets and Earrings in the Most Popular Russian Beading Technique

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Which arises on the boundaries of a work by overcoming its material — extraaesthetic — determinateness as a thing” (“CMF,” 297), but also invite us to consider the specificity of different kinds of aesthetic events in their differentiated material effects/affects. In this chapter, I wish first to more generally reflect on aesthetic activity, and second, to briefly dwell on two alternative modes of artistic creation, respectively, music, as perhaps the most apparently disembodied form, and in the final section, the intrinsically body-related art of modern jewelry.

On the contrary, for Bakhtin, the constitutive, embodying force of artistic form becomes productive only as an “actuality of a special, purely aesthetic order” (“CMF,” 315). At once pointing up the subjectivating operations of aesthetic creation and the differentia specifica of art as activity, his reflections thus not only allow us to conceive of the aesthetic object as a “completely new ontic formation . . which arises on the boundaries of a work by overcoming its material — extraaesthetic — determinateness as a thing” (“CMF,” 297), but also invite us to consider the specificity of different kinds of aesthetic events in their differentiated material effects/affects.

This distinction in evaluation was first formally called into question at the turn of the twentieth century when the Arts and Crafts movement in Britain and elsewhere, in the wake of the Industrial Revolution, sought to elevate the status of craftsmanship and the “decorative” arts and to expand the application of the aesthetic criterion hitherto reserved for the “fine” arts to include the 33 Art i s t ic Act i vi t y “vernacular” forms of the creative practices of craft and design. Writing against this background, and against that of an emerging avant-garde modernist movement that would equally, and perhaps even more fundamentally, call into question all classical distinctions and appreciations of art forms and genres, Bakhtin and Whitehead, each in his own way, and to divergent purposes, appear to respond — whether deliberately or not — to these developments by effectively foregrounding precisely those aspects of aesthetic activity that obtain in the sensual and perceptual body in its entirety, that is, on the prepersonal and presubjective level of affect, and thus provide a philosophical framework in which to place contemporary developments in the world of art and craft at large.

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