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Comments (6) Posted 07.28.12 | PERMALINK | PRINT

Rob Walker

De-weaponization by Design


The mail recently brought copies of Volume 40 of The Studio Potter: The Independent Journal of Ceramics. That’s not a typical occurrence at the home office, but this issue of the magazine was guest-edited by the delightful and ever-impressive Garth Johnson, who invited me to contribute something. While I’m hardly an expert on this craft, we did find a subject that I’ve wanted to address and that made sense for Garth: breakability.

Studio Potter No. 40, including reference to China Knuckles, by Juliet Ames

You’ll have to pick up the issue (which is quite wonderful and full of interesting essays and imagery) to read that.

But I'll say this. Along with my consideration of various objects that had been essentially designed to be broken, I noted Juliet Ames’ China Knuckles: I love the idea of using water jet-cut recycled porcelain to create a highly fragile-looking rendition of an object known for extremely resilient, functionally violent, strength. Brass knuckles — or knuckledusters if you like — are designed to do damage. This is not a thing you're meant to worry about being damaged. And Ames’ re-imagining of the object could be the jumping-off point for a whole separate piece not about breakability, but about the curiously familiar brass-knuckle form.

That separate piece is of course what you are now reading.

It turns out that I “collect” — in the sense of noting and tagging images found online — brass-knuckle variations. In the era of concealed-handgun laws and Predator drones, brass knuckles are practically weapons-kitsch. And yet this distinctly dated form remains instantly recognizable, and evidently potent, enough to inspire multiple design riffs. Why? Surely the raw brutality of the weapon is one reason. Broadly, a great theme in the devising of violence tools is distance — how far the aggressor can be from the site of the damage inflicted — and on this score brass knuckles have little to offer. To the contrary, they mean to amplify the power of the least-distant weapon imaginable: the fist. Even a knife or a lead pipe or a rock do more to insert themselves between the violent hand and its intended victim.

A piece like China Knuckles works, then, because brass knuckles, although antiquated and vaguely ridiculous, remain menacing. Indeed it’s possible to find contemporary examples of what I guess I’d call hyper-weaponized brass knuckles (combined with knives, or used as the base form of Taser-like “zap knuckles”), and at least one company makes a super-hard plastic variation than can supposedly avoid detection at the airport. But I’m not going to dwell on that.

I’m more interested in work that acknowledges, but on some level subverts, or perverts, brass-knuckle power. A garden-fist piece from the “Growing Jewelry” line from HAF by Hafsteinn Juliusson fits the bill. The line also includes a necklace and a ring, but isn’t it particularly compelling to consider a brass knuckle form reimagined as a container of life?  

Growing Jewelry, from HAF by Hafsteinn Juliusson

Another rather nice example: Kate Bauman’s “'Til Death Do Us Part” knuckleduster. “A lot can be said about this ring,” Bauman suggests on her site. Well, yes. Marriage has its struggles, but perhaps the upbeat read here is that the bride might deploy iced-out haymakers on the couple’s behalf — us against the world! — rather than to settle a lovers' quarrel.

'Til Death Do Us Part, by Kate Bauman

Finally I’ll mention instances of domesticating brass knuckles as handy (heh) kitchen tools. A handle-of-a-corkscrew example just came across my radar the other day, and that’s somewhat interesting in its injection of street-thuggery into oenophile ritual.

But I’d personally be more interested in owning knuckledustered meat tenderizer. I have my doubts about its functional prowess compared to the more familiar hammer-style tenderizer, but I can easily imagine the attraction. We all have our moments of craving a primal beat-down of whatever abstract forces  frustrate our days. It’s hard to imagine how a little physical catharsis could be channeled into something more pleasing than particularly tender chicken-fried steak.

Brass Knuckles Corkscrew

 

Knuckle Meat Pounder

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Comments (6)   |   JUMP TO MOST RECENT >>

Weapons-kitsch on the mind?




Yes and while your tenderizing the meat — you should wear this grey beanie with yellow brass knuckles. The wife will just love it on you and you won’t have to buy her that diamond knuckleduster designed by Kate Bauman.
Carl W. Smith
07.29.12 at 07:18

There was another great example of feminized/accessorized brass knuckles in the MoMA exhibit "Safe: Design Takes on Risk": a set of flat stacking rings that, dispersed across the fingers, became a weapon. Less about marital spats than updating the can of mace in the purse. I can't find an image online.
Alexandra Lange
07.30.12 at 09:17

Carl: That's hilarious, I'd (almost) wear that.
Alexandra: Good memory! I think you're referring to "Subtle Safety Defensive Ring" by Amanda Knox:
http://www.moma.org/collection/artist.php?artist_id=28492
Rob Walker
08.01.12 at 08:26


Thirty seconds after following your link to the “Subtle Safety Defensive Ring” I found the “Fight of Party” via designboom.com
“Shua.”
“!”
“KA!! . . . . . . . . . . . . . . .”
FightOfParty.jpg
Design by: Yang ShunFa + Lee Yu Cheng.




Carl W. Smith
08.01.12 at 09:00

I just had to do some research on that topic after reading the article and there are too many examples of how this weapon has been subverted but this one is very funny. For all who don’t know where to put a big smart phone:
http://www.geekosystem.com/wp-content/uploads/2012/03/knucklecase_iphone_case-1-550x540.jpg
Design by knucklecase.com
Rene Andritsch
08.07.12 at 08:24

Yes, Rene . . . and only
$99.00 for the brass knuckle iphone case.
http://www.knucklecase.com/products/knuckle-iphone-4-4s-case
Carl W. Smith
08.10.12 at 12:18



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Rob Walker is a technology/culture columnist for Yahoo News. He is the former Consumed columnist for The New York Times Magazine, and has contributed to many publications. He is co-editor (with Joshua Glenn) of the book Significant Objects: 100 Extraordinary Stories About Ordinary Things, and author of Buying In: The Secret Dialogue Between What We Buy and Who We Are
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