Andersen Design Economic Evolution Discourse

Centralization vs Decentralization in the Bronze Age In 2004 anthropologist Edward M. Schortman  and Patricia Urban published  Modeling the Roles of Craft Production in Ancient Political Economies ,  a research paper discussing trends in an active archeology debate over the role of craft production during the Bronze Age. Modeling the Roles of Craft Production in Ancient Political Economies  is an interesting read, particularly because it likewise describes contemporary social organization, or perhaps, better said, what was contemporary, yesterday, but is now rapidly unravelling and no one yet knows where it is going. Contrasts between the centrally managed Sumerian culture and a European egalitarian class of itinerant makers can be applied to contemporary political organization, vulnerable to change, in a world responding to coronavirus. Sumerian Votive Figure Ancient Mesopotamia   Public Domain Dedication (CC0) Before the 1930's when  V. Gordon Childe’ began investi

Down with the Tower to Liberate Diversity ! mitya-ivanov unsplash With the entire world is in a state of transition, I decided to break with my better judgement and to reach out to one of the units of economic development in Maine’s overbearingly centralized economy. I don’t know if it was because I have been reading many articles about money on Medium, or because of it being a time when the old towers of power are in precarious standing that I felt more emboldened than before to speak truth to power. Between the lines the of polite conversation, there was a current of hostility. Central management is aware that I write truthfully of the long history of corrupt practices in Maine’s centrally managed economy . A centrally managed economy uses wealth redistribution as a system of control. Open criticism of the system is neither expected nor anticipated. There is no direct line to be drawn between the undercurrent and the fact that I am a critic of the system but there are

Originally created for Medium These  vintage prototypes  by Weston Neil Andersen, presented in the images throughout this story, tell of a love for the work process which evolved into our company,  Andersen Design Introduction I grew up in a business in a home that designs and handcrafts ceramics. For a while the business also had a production employing about 25 people in a separate location. It was found that our type of production is better suited to a smaller more intimate setting, such as a business attached to a home. However, over the course of 67 years, the size of the of the line grew too wide and large to be produced in a small studio and I envisioned that the future of production should be a network of small independently owned ceramic production studios, which could function as an interactive network. Last month my idea was an anomaly as if existing in an alternate reality, but as the world turned toward social distancing and sheltering in place, the world

Vintage Classic Tropical Fish Designed by Weston Newil Andersen In Philip K Dick's fictionalized biography,  Valis , the fish is an ancient symbol of Christianity. Christianity is the philosophy that my Dad, Weston Neil Andersen ceramic designer and co-founder of Andersen Design , found in the latter years of his life. In earlier days, when the fish in the image above was created, both my parents identified as agnostics. They didn't know if God exists, or perhaps they just didn't know what knowing means. When one applies knowing to God, it must be in the gnostic sense, not in objectivity for God is not an object. God is presence, everywhere. God is in the meaningfulness of life. In the fifties and sixties, Dad was very involved in the readings of Edgar Casey. Later Dad spent time reading Carlos Castaneda. In latter days, after he lost the use of his eyesight. Dad listened to the entire recordings of the New Testament. We call it the rocket ship, but