Howard S. Becker: Work

Howard S. Becker is American sociologist. Explore interesting quotes on work.

Howard S. Becker: 70 quotes1 like

“(Art worlds) consist of all the people whose activities are necessary to the production of the characteristic works which that world, and perhaps others as well, define as art.”

Howard S. Becker

Source: Art Worlds (1982), p. 34.

“That accounts for a truly crazy cycle in which students repeat the worst stylistic excesses the journals contain, learn that those very excesses are what makes their work different from what every damn fool knows and says, write more articles like those they learned from, submit them to journals whose editors publish them because nothing better is available (and because academic journals cannot afford expensive copy editing) and thus provide the raw material for another generation to learn bad habits from.”

Howard S. Becker

Source: Writing for Social Scientists (1986), p. 41.

“The audience is unpredictable, and the people who produce and distribute the artistic work have no real contact with it. They market the work in large quantities as with books and records, or through a mechanical system, as with radio and television, so that they could not, if they tried, know audience members personally.”

Howard S. Becker

Source: Art Worlds (1982), p. 125.

“Imagine you are doing a woodworking project, perhaps making a table. Fortunately, you needn't make all the parts yourself. Some are standard sizes and shapes - lengths of two by four, for instance - available at any lumberyard. Some have already been designed and made by other people - drawer pulls and turned legs. All you have to do is fit them into the places you left for them, knowing they were available. You want to make an argument instead of a table. You have created some of the argument yourself, perhaps on the basis of new data or information you have collected. But you needn't invent the whole thing. Other people have worked on your problems or problems related to it, and have made some of the pieces you need. You just have to fit them in where they belong. Like the woodworker, you leave space, when you make your portion of the argument, for the other parts you know you can get. You do that, that is, if you know that they are there to use. And that's one good reason to know the literature: so that you will know the pieces are available and not waste time doing what has already been done.”

Howard S. Becker

Source: Writing for Social Scientists (1986), p. 141-142 as cited in: Using the Literature to Formulate your Research Question http://www.utexas.edu/research/pair/usingthe.htm at utexas.edu. Accessed Feb 19, 2013.

“Maybe the years I spent playing the piano in taverns in Chicago and elsewhere led me to believe that the people who did that mundane work were as important to an understanding of art as the better-known players who produced the recognized classics of jazz. Growing up … may have led me to think that the craftsman who help make art works areas important as the people who conceive them… Learning the "Chicago tradition" of sociology from Everett C. Hughes and Herbert Blumer surely led to a skepticism about conventional definitions of the objects of sociological study.”

Howard S. Becker

Source: Art Worlds (1982), p. ix.

“The idea of an art world forms the backbone of my analysis. "Art world" is commonly used by writers on the arts in a loose and metaphoric way, mostly to refer to the most fashionable people associated with those newsworthy objects and events that command astronomical prices. I have used the term in a more technical way, to denote the the network of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produce(s) the kind of art works that art world is noted for.”

Howard S. Becker

Source: Art Worlds (1982), p.x.

“Treating a person as though he were generally rather than specifically deviant produces a self-fulfilling prophecy. It sets in motion several mechanisms which conspire to shape the person in the image people have of him. It the first place, one tends to be cut off, after being identified as deviant, from participation in more conventional groups, even though the specific consequences of the particular deviant activity might never of themselves have caused the isolation had there not also been the public knowledge and reaction to it. For example, being a homosexual may not affect one’s ability to do office work, but to be known as a homosexual in an office may make it impossible to continue working there. Similarly, though the effects of opiate drugs may not impair one’s working ability, to be known as an addict will probably lead to losing one’s job… The homosexual who is deprived of a “respectable” job by the discovery of his deviance may drift into unconventional, marginal occupations where it does not make so much difference. The drug addict finds himself forced into other illegitimate kinds of activity, such as robbery and theft, by the refusal of respectable employers to have him around.”

Howard S. Becker

Source: Outsiders: Studies in the Sociology of Deviance (1963), p. 34.

“Good sociology is sociological work that produces meaningful descriptions of organizations and events, valid explanations of how they come about and persist, and realistic proposals for their improvement or removal.”

Howard S. Becker

Becker (1972) "'Radical politics and sociological research" cited in: John Peter Sugden, Alan Tomlinson (2002) Power Games: A Critical Sociology of Sport. p. 108.

“[Professionals] define the problems of their art similarly and agree on criteria for an acceptable solution. They know the history of previous attempts to solve those problems, or some of it, and the new problems those attempts generated. They know the history of work like theirs, so that they, their support personnel, and their audiences can understand what they have attempted and how and to what degree it works.”

Howard S. Becker

Source: Art Worlds (1982), p. 230.

“[ Folk art, consists of] work done by ordinary people in the course of their lives, work seldom thought of by those who make or use it as art at all.”

Howard S. Becker

Source: Art Worlds (1982), p. 245 as quoted in: John Ross Hall, Mary Jo Neitz, Marshall Battani (2003) Sociology On Culture. p. 196.

“All artistic work, like all human activity, involves the joint activity of a number, often a large number of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation.”

Howard S. Becker

Source: Art Worlds (1982), p. 1.

“John Cage said that music is the moral evaluation of sound. We might generalize his remark: when we speak of art, we make a moral evaluation of the relative worth of the various contributions to a work. It is no surprise that many of the participants differ with more conventional evaluations and rank their own contributions as more important than that of the artist as conventionally defined.”

Howard S. Becker

Art Worlds (1982)