Dissertationen: „Craft“

1

Singleton, Benedict. „On craft and being crafty“. Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/21414/.

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This thesis explores how designers might approach human behaviour as a material to be worked on. Unlike politicians, economists, lawyers, philosophers, psychiatrists and many others, designers have few disciplinary resources to draw on in this space. Indeed, it is barely discussed at all. Contemporary designers are, we are told, supposed to treat people and things differently, and ensure that the latter are subservient to the agendas of the former - calls that become all the more insistent when designers are looking for ways to incorporate the design of services and organisations into their practice, a project that summons the prospect of breaking this taboo. But what would a form of design that took human behaviour as its object actually be like? This thesis takes up this question as an issue in the philosophy of design, through investigating a long and rich history of suspicions about designers - namely, suspicions that they might extend their material palette from dead materials to living human beings. This exploration uncovers the emergence in the Industrial Revolution of today’s fears that designers might ‘treat people like things’; but it also uncovers an older, almost lost history of ideas about design, which understood its applicability to human beings in a way that, today, is strikingly unfamiliar. Here we find the almost forgotten but still-lingering link between craft and being crafty, encapsulated well by the lost ancient Greek concept of mêtis, 'cunning intelligence'. Mêtis isolates that aspect of design at work when extraordinary effects are elicited from unpromising materials, connecting design to political intrigues, daring military stratagems, the operations of impresarios and salesmen, and other instances wherein, through ingenious means, the weak prevail over the strong. By uncovering and developing these ideas, the thesis provides a view of design that connects it to human behaviour not through domination but through clever manipulation, a morally complex but undoubtedly potent approach that informs an alternative conception of how human behaviour might be understood as the object of design. The principle contribution of this thesis is, therefore, to provide a novel examination of human behaviour as the object of design; its main achievement is to provide the design disciplines with, on the one hand, an exposition of the implicit associations this project has at present; and on the other, the disinterment of mêtis and related ideas as a promising counter-perspective.

2

Modrei, Karen. „Craft Fiction“. Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7814.

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In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.

3

Seay, Laina. „Craft Cyborg“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2426.

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By merging the ancient associations that clay has with the human form and prosthetic science I question the relevancy and role of the human body in the future. As prosthetics heighten the awareness of the body through absence these additive limbs further this relevancy by presence. With greater advances in genetic engineering and plastic surgery biology will no longer dominate and these ridged clay extensions could become flesh.

4

Sollevi, Anna. „Craft Reality“. Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5835.

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CRAFT REALITY Handicra vs. Digital technology A mashup with the aim to unify and to expand. A research of the possibilities that appear when I allow textile cra to get a ected by and to interact with digi- tal manipulation and the aesthetic of the world wide web. A study in contemporary and underground art forms, developed by them young or A method of working with techniques and material, once taught by those today seen as them old: Maybe it can be both.

5

Golsteijn, Connie. „Hybrid craft : towards an integrated physical-digital craft practice“. Thesis, University of Surrey, 2014. http://epubs.surrey.ac.uk/805669/.

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Nowadays, people engage in a diverse range of craft practices in their everyday lives, which take place in physical and digital realms, such as creating decorations for their homes, modifying IKEA furniture, making digital photo collages, or creating their own personal websites. Within this increasingly hybrid age, in which people engage with physical and digital artefacts alongside each other and simultaneously, the research presented in this thesis poses that there are opportunities for new forms of making and creativity at the intersection of physical and digital realms. In other words, it introduces hybrid craft as a new everyday craft practice. Using an interaction design research methodology that consists of research for design (interviewing physical and digital crafters about their current practices) and research through design (designing, prototyping, and evaluating a novel toolkit for hybrid craft, called Materialise), this thesis explores what forms hybrid craft practice may take in everyday life, and what new systems or tools could be designed that facilitate this practice. Employing a comparison of physical and digital craft practices, and findings from design work, design guidelines are formulated for effective combination of physical and digital materials, tools, and techniques, and the realisation of interactive hybrid craft results in interaction design, for example by implementing surprising material behaviour within physical-digital combinations, and by realising techniques to work with physical and digital materials in the same materiality realm. Through empirical and theoretical grounding and reflection, this thesis establishes hybrid craft as a novel concept within design research and craft communities that has a wide range of possibilities in everyday life, both in offering ways to do more with digital media, and in encouraging new forms of making and creativity.

6

Joe, Hyunsik. „Sensor Craft Control Using Drone Craft with Coulomb Propulsion System“. Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/42781.

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The Coulomb propulsion system has no exhaust plume impingement problem with neighboring spacecraft and does not contaminate their sensors because it requires essentially no propellant. It is suitable to close formation control on the order of dozens of meters. The Coulomb forces are internal forces of the formation and they influence all charged spacecraft at the same time. Highly nonlinear and strongly coupled equations of motion of Coulomb formation makes creating a Coulomb control method a challenging task. Instead of positioning all spacecraft, this study investigates having a sensor craft be sequentially controlled using dedicated drone craft. At least three drone craft are required to control a general sensor craft position in the inertial space. However, the singularity of a drone plane occurs when a sensor craft moves across the drone plane. A bang-bang control method with a singularity check can avoid this problem but may lose formation control as the relative distances grow bounded. A bang-coast-bang control method utilizing a reference trajectory profile and drone rest control is introduced to increase the control effectiveness. The spacecraft are assumed to be floating freely in inertial space, an approximation of environments found while underway to other solar system bodies. Numerical simulation results show the feasibility of sensor craft control using Coulomb forces.
Master of Science

7

Hansson, Henrik. „Craft Physics Interface“. Thesis, Linköping University, Department of Computer and Information Science, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-8497.

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This is a masters thesis (20p) in computer science at the University of Linköping. This thesis will give an introduction to what a physics engine is and what it consist of. It will put some engines under the magnifying glass and test them in a couple of runtime tests. Two cutting edge commercial physics engines have been examined, trying to predict the future of physics engines. From the research and test results, an interface for physics engine independency has been implemented for a company called Craft Animations in Gothenburg, Sweden.

8

Pitts, Bradley McGilvary 1978. „Spacesuit: space craft“. Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/82796.

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9

Kao, Hsin-Liu (Hsin-Liu Cindy). „Hybrid body craft“. Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/120684.

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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2018.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 209-223).
Sensor device miniaturization and breakthroughs in novel materials are allowing for the placement of technology increasingly close to our physical bodies. However, unlike all other media, the human body is not simply another surface for enhancement - it is the substance of life, one that encompasses the complexity of individual and social identity. The human body is inseparable from the cultural, the social, and the political, yet technologies for placement on the body have often been developed separately from these considerations, with an emphasis on engineering breakthroughs. This dissertation investigates opportunities for cultural interventions in the development of technologies that move beyond wearable clothing and accessories, and that are purposefully designed to be placed directly on the skin surface. How can we design emerging on-body interfaces to reflect existing cultural practices of decorating the body, with the intent to expand the agency of self-expression? This dissertation looks at this question through the development of a series of research artifacts, and the contextualization of a design space for culturally sensitive design. In this dissertation, Body Craft is defined as existing cultural, historical, and fashion-driven practices and rituals associated with body decoration, ornamentation, and modification. As its name implies, Hybrid Body Craft (HBC) is an attempt to hybridize technology with body craft materials, form factors, and application rituals, with the intention of integrating existing cultural practices with new technological functions that have no prior relationships with the human body. With this grounding, HBC seeks to support the generation of future technologized customs in which technology is integrated into culturally meaningful body adornments. The artifacts in this dissertation encompass the integration of technologies such as flexible electronics, chemical processes, and bio-compatible materials into existing Body Craft customs. These artifacts contribute novel, culturally inspired form factors, and introduce unprecedented interaction modalities for on-body technologies. A design space is created in which to examine shifts in the communicative qualities of these Body Crafts due to the integration of technology, as well as new forms of self-expression that have emerged. This dissertation contributes a culturally sensitive lens to the design of on-body technologies. The intention is to expand their lifetimes and purposes beyond mere novelty and into the realms of cultural customs and traditions.
by Hsin-Liu (Cindy) Kao.
Ph. D.

10

Harper, Joshua Matthew. „Intersections of Craft“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275071801.

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11

Sillies, Nicholas J. „Activating Material Craft“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275663097.

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12

Jacobs, Jennifer (Jennifer Mary). „Algorithmic craft : the synthesis of computational design, digital fabrication, and hand craft“. Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/91843.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.
49
Title as it appears in the MIT degrees awarded booklet, September 18, 2013: Algorithmic craft: tools and practices for creating useful and decorative objects with code Cataloged from PDF version of thesis.
Includes bibliographical references (pages 129-131).
Programing is a singular creative tool with the potential to support personal expression. Unfortunately, many people who are new to programing view it as a highly specialized, difficult and inaccessible skill that is only relevant for career paths in science, engineering, or business fields. Despite this perception, programing enables novel forms of creative expression and communication in the medium of computation. Visual and physical art, craft, and design are interrelated domains that offer exciting possibilities when extended by computation. By forging strong connections between the skill of programming and the construction of personally relevant physical objects, it may be possible to foster meaningful creative experiences in computation and making for non-professionals. The combination of computational design, digital fabrication, and hand craft to create functional artifacts offers an opportunity to make programing compelling for people with an interest in craft sensitive forms of making. I define the synthesis of these fields with the term algorithmic craft. This thesis describes my work in developing a set of software tools that attempt to make the practice of algorithmic craft accessible for novice programers. Through it, I describe the design of each tool and discuss my experiences in engaging people in the creation of objects that are imagined by the mind, designed with programming, formed by machines, and shaped by hand.
by Jennifer Jacobs.
S.M.

13

SUMMERS, JOSHUA CRAIG. „MATERIALS AND CRAFT IN ARCHITECTURE- A WORKSHOP FOR THE STUDY OF CRAFT“. University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054816376.

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14

Holmberg, Annelie. „Craft skills and creativity“. 名古屋大学大学院教育発達科学研究科技術・職業教育学研究室, 2009. http://hdl.handle.net/2237/12376.

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15

Melgarejo, Martinez Maria Fernanda. „Craft in violent dynamics“. Thesis, Konstfack, Keramik & Glas, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6166.

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In concrete words this master project is the exploration of violent dynamics through craft practices. Using performance as a method of creation in a collaborative project; clay as the main material, the maker’s body as the subject and sound as the space, having the possibility to transform and exchange their rolls during the creation process. The work is thought to be presented in a public space or a space which can be accessible to a wide range of people. The ephemeral characteristic of the piece lead me to use multi-media documentation and on-the-side pieces which have been crucial for this exploration.

16

Barras, Jeanette Shannon. „The school of craft“. Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53413.

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A certain amount of care is inferred with the thought of craftsmanship. With a decline in craftsmanship in today’s society, the care and thoughtfulness inherent in the skill of making objects are gradually being replaced by the "ready-made" and the immediate. In order to reverse this trend we must educate the children, teach them the love of craft and making. The children must learn that care and its resultant lasting product are important. To help preserve the care for making lasting and significant things, I have chosen as my thesis to design a school of craft where children are to gain such knowledge. My hope is to design a space which is expressive of the ideas of craftsmanship using the knowledge of today’s technology.
Master of Architecture

17

Nyoni, Jabulani. „School admissions and principals' craft-competency and craft-literacy in case law compliance“. Diss., Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10022008-132017/.

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18

Ihle, Ivar-Andre Flakstad. „Coordinated Control of Marine Craft“. Doctoral thesis, Norwegian University of Science and Technology, Faculty of Information Technology, Mathematics and Electrical Engineering, 2006. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-945.

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This thesis contains new results on the problem of coordinating a group of vehicles. The main motivation driving this work is the development of control laws that steer individual members of a formation, such that desired group behavior emerges. Special attention is paid to analysis of coordination issues, in particular formation control of marine craft where robustness to unknown environmental forces is important. Coordinated control applications for marine craft include: underway replenishment, maintaining a formation for increased safety during travel and instrument resolution, and cooperative transportation. A review of formation control structures is given, together with a discussion of special issues that arise in coordination of independent vehicles.

The main contributions of this thesis may be grouped into two categories:

• Path-following designs for controlling a group of vehicles

• Multi-body motivated formation modeling and control

A previously developed path following design is used to control a group of vehicles by synchronizing the individual path parameters. The path following design is advantageous since the path parameter, i.e., that parameter which determines position along a path, is scalar; hence coordination is achieved with a little amount of real-time communication. The path following design is also extended to the output-feedback case for systems where only parts of the state vector are known. The path following scheme is exploited further in a passivity-based design for coordination where the structural properties render an extended selection of functions for synchronization available. Performance and robustness properties in different operational conditions can be enhanced with a careful selection of these functions. Two designs are presented; a cascaded interconnection where a consensus system provides synchronized path parameters as input to the individual path following systems renders time-varying formations possible and increases robustness to communication problems; a feedback interconnection which is more robust to vehicle failures. Both designs are extended to sampled-data designs where plant and controller dynamics are updated in continuous-time and path parameters are exchanged over a communication network where transmission occurs at discrete intervals. Bias estimation is included to provide integral action against slowlyvarying environmental forces and model uncertainties.

A scheme for formation modeling and control, inspired by analytical mechanics of multi-body systems and Lagrangian multipliers, is proposed. In this approach to formation control, various formation behaviors are determined by imposing constraint functions on group members. Several examples illustrate these formation behaviors. The stabilization scheme presented is made more robust with respect to unknown time-varying disturbances. In addition, the scheme is extended towards adaptive estimation of unknown plant and parameters. Furthermore, it can be applied with no major modifications to the case of position control for a single vehicle.

The formation control scheme is such that it may be used in combination with a set of position control laws for a single vessel, thus enabling the designer to choose from a large class of control laws available in the literature. The input-to-state stability (ISS) framework is utilised to investigate robustness to environmental and communication disturbances. A loop-transform, together with the ISS framework, yields an upper bound on the inter-vessel time delay below which formation stability is maintained.

19

France, Mark Alan Paul. „Gregory Doran : craft, tradition, 'Shakesepeare'“. Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/14392/.

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This thesis is the first study into the career, to date, of the current Artistic Director of the Royal Shakespeare Company (RSC), Gregory Doran. My thesis commences by identifying that, although he is one of the most prolific and high profile directors of Shakespearean plays working in Britain today, there has been no attempt thus far to articulate or analyse what characterises his work, or how he makes it. Acknowledging that he positions himself within a tradition of Shakespearean theatre directing that rhetorically locates the source of Shakespearean meaning and authority within the Shakespearean text, I argue that this locates him in critical territory at odds with performance critics who reject this paradigm, but rather see the theatrical event as a contested site of meaning(s) that are neither universal nor immanent in the text. His personal identification with Shakespeare, and his lengthy association with the RSC, a site of production identified as hegemonic and imperialistic by many scholars, has led to critical dismissal of Doran by some as a blandly conservative director. In this thesis I argue that Doran’s theatre-making craft, as he defines it, is an enabling one. His process, which draws on Stanislavskian ideas of character that are commonplace within British theatre, has distinctive elements that promote ensemble building, clarity and textual understanding. It is democratising in intent, opening up pathways for performance outcomes that are accessible to an audience without foreknowledge of the play. I further argue that Doran’s aesthetic negotiates tradition, design and space in ways that cannot be reductively dismissed as conservative, and that his work exhibits authorial traits linked to his sexuality and Catholic upbringing that are Doranian, not Shakespearean, in origin. I also argue that he has made an important contribution to the staging of lesser-known plays from the early modern repertoire.

20

Sewell, David Joseph. „The craft of the detail“. Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22966.

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21

Freiji, Ousama Musa. „Red clay : Georgia craft workshop“. Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/24173.

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22

Jacobi, Loren, Rick Campbell, Chee Nam Chau, Chin Chuan Ong, Szu Hau Tan, Hock Hin Cher, Cory Alexander et al. „Tailorable Remote Unmanned Combat Craft“. Thesis, Monterey, California : Naval Postgraduate School, 2012. http://hdl.handle.net/10945/15434.

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Approved for public release; distribution is unlimited.
U.S. military and civilian vessels are critically vulnerable to asymmetric threats in littoral environments. Common asymmetric weapons such as Anti-Ship Cruise Missiles (ASCM), Low Slow Flying (LSF) aircraft and Fast Attack Craft (FAC) / Fast Inshore Attack Craft (FIAC) threaten U.S. strategic goals and can produce unacceptable losses of men and material. The SEA-18B team presents an operational concept for a family of Unmanned Surface Vessels USV) capable of defending ships from asymmetric swarm attacks. This USV, the Tailorable Remote Unmanned Combat Craft (TRUCC), can operate in concert with the next generation of capital surface vessels to combat this critical threat with maximum efficiency. Critical performance criteria of the TRUCC family were determined through agent-based simulation of a Straits of Hormuz Design Reference Mission. Additional models addressed ship synthesis and operational availability. A Technology and Capability Roadmap outlines areas of interest for investment and development of the next-generation USV. Interim technology and capability milestones in the Roadmap facilitate incremental USV operational capabilities for missions such as logistics, decoy operations and Mine Warfare. The TRUCC operational concept fills a critical vulnerability gap. Its employment will reduce combat risk to our most valuable maritime assets: our ships and our Sailors.

23

Howarth, Barry. „The craft of Arnold Bennett“. Thesis, University of Liverpool, 2016. http://livrepository.liverpool.ac.uk/3001694/.

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For the first thirty years of the twentieth century, Arnold Bennett (1867-1931) was one of most famous writers in Great Britain and the United States of America. His stock began to wane after the end of the First World War, and since his death his work has been neglected. What remains of his reputation today rests largely on his achievements in his Five Towns fiction. During his lifetime and posthumously, Bennett was accused of operating as a literary profiteer and vulgar self-promoter. Some of his contemporaries alleged that, as a literary reviewer, he exercised a capricious and excessive influence on the middlebrow reading public. His detractors also suggested that his penchant for writing potboiling serials revealed that he was little more than a commercial servant of magazine and newspaper editors, and of the mass consumerist ideology which they blandly sustained. Most damagingly, his critics came to believe that the quality of his fiction had so declined by the end of the war that he was artistically incapable of embracing the radical challenges of Modernist experimentation. The thesis shows that, as a prolific journalist and perceptive literary critic, his catholic appeal to the reading public was extensive. It also shows that his articles are important for contemporary readers because they sketch out a relief map pointing to the most significant contours of the literary landscape between 1900 and 1930. In addition, the thesis demonstrates that his serials have been injudiciously undervalued. Whilst they were never conceived as high Art, they were important because they helped him to develop as a writer. They provide cogent proof that he always travelled freely along a continuum linking the artist to the craftsman and tradesman. Furthermore, the cultural codes, social values and moral shibboleths which they presciently evoke still resonate in the digital age of the twenty-first century. In his presentation of the enclosed Five Towns communities, the thesis argues that Bennett combined mimetic topography and local culture with deft and complex interpretations of social and private identity. This sophisticated construct allowed him to combine his fidelity to realism with subtle explorations of self-definition. Bennett was not just an accomplished regionalist, and the thesis concludes that he never became stranded as a beached reactionary after the war. His metropolitan novels draw freely upon the interest which he took in the work of Freud and W.H.R. Rivers. They shaped the emergence of his new manner fiction and several of his short stories, allowing him to demonstrate the invalidity of Virginia Woolf's claim that he could not write convincingly and powerfully about human psychology and its susceptibilities to the refracted and sublimated impressions of daily life.

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Poništová, Natália. „Marketingová komunikace Craft beer pubu“. Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2020. http://www.nusl.cz/ntk/nusl-416905.

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The diploma thesis focuses on marketing communication of Craft Beer & Food pub U Vašinů. The first part is focused on theoretical knowledge of marketing and marketing mix. The second part contains an analysis of the environment and the current marketing communication. In the last part suggestions are presented to improve the current situation, which are based on analyzes.

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Lucardi, Audrey Lea. „Adding Value Through Digital Craft“. Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/36174.

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This thesis is an attempt to embody sustainability by discovering value that transcends cost or function. Many objects are considered waste when they still function, but no longer delight the user. Using digital modeling tools and computer numerical controlled machines, designers can digitally craft products unique to the individual. Utilizing these aspects to create pleasure, designers can motivate consumers to be more thoughtful in their consumption, extend the desirable life of a product, and change the current societal norm of disposability.
Master of Science

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Mallon, Hazel. „The Thinking Body In Craft“. Thesis, Konstfack, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7819.

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Maia, Inês Isabel Vizinho da. „Craft design : abordagens e experiências“. Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12251.

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Mestrado em Design
O Craft-Design, produção manual de objetos tendo em vista uma função (Ihatsu, 1997, p.300), articula-se na relação do craft - técnicas artesanais - e design associados. Estas entidades configuram uma área que se encontra em expansão, sendo, cada vez mais, alvo de diversos estudos por parte de uma comunidade científica e académica diversificada proveniente, por exemplo, das áreas da antropologia, economia e sociologia. No entanto, existe, ainda, uma larga indefinição sobre o significado e sentido da designação Craft Design, no contexto Português, que importa clarificar. Quando se discute sobre craft-design no ambiente académico (Hobbis, 1997; Thompson,1997; Ihatsu,1997;Thomas,1997; Stenros, 2002; Latouche,2011), são frequentemente lançadas questões que se debruçam sobre o caráter abrangente do tema: porque se atribui valor às manualidades e artesanatos (Hobbis, 1997)? Qual a importância destas na construção e preservação das identidades locais? Qual o papel do craft-design na economia? Como pode ser definido o que é o craft em relação à arte e ao design? (Ihatsu,1997) Em que pontos estas três áreas se fundem e o que é que as distingue? Qual a importância da história oral e das histórias de vida no desenvolvimento de novos produtos, através das técnicas artesanais (Thompson, 1997; Appadurai,1986; Miller, 2010)? Neste trabalho, estabelecem-se relações entre diferentes perspetivas, definições e abordagens do craft design, percebendo-se as suas convergências. Propõe-se um modo de identificar elementos caracterizadores que possam constituir referências de análise de objetos, no contexto do Craft Design. Para um melhor entendimento do Craft Design para lá da fisicalidade dos objetos, este trabalho explora também os ‘diálogos’ (Miller, 2010) entre o ser humano e os artefactos, facilitando a compreensão de como fazemos as coisas, na medida em que as coisas nos fazem, também, a nós. Pensando no contexto Português, este trabalho articula conhecimento de ordem teórica e prática, relacionado com o Craft Design, no sentido de contribuir de forma crítica e reflexiva para a valorização das perspetivas que sobre ele existem. resumo palavras-chave Craft-design, tecnicidade, manualidades, etnografia, identidade local.
The Craft- Design — manual production of objects serving a purpose (Ihatsu, 1997, p.300), articulates the relationship of craft — craft techniques — and associated design. These entities englobe an area that is expanding, being, more and more, the focus of many studies by a diversified scientific and academic community, for areas like anthropology, economy and sociology. However, there is still a large uncertainty about the meaning and significance of the Craft-Design designation, in the Portuguese context, that is important to clarify. When discussing craft-design in the academic environment (Hobbis, 1997, Thompson, 1997; Ihatsu, 1997; Thomas, 1997; Stenros, 2002; Latouche, 2011), there are often questions that lean on the comprehensive nature of the subject: because it assigns value to handicrafts and craft? What is the significance of these in the construction and preservation of local identities? What is the role of craft-design in the economy? What can be defined as craft in relation to art and design? At what point do these three areas meet and what differentiates them? What is the importance of oral history and life stories (Thompson, 1997) in the development of new products using traditional techniques? In this work, we establish relations between different perspectives, definitions and approaches of craft-design, listening to their convergences. It's proposed to create a method to identify characteristic elements that can be identified as an object search reference, in the Craft-Design context. For a better understanding of the Craft-Design, beyond the physicality of objects, this paper also explores the “dialogues” (Miller, 2010) between human beings and their artifacts, facilitating the understanding of how we do things, as things also make us. Thinking in the Portuguese context, this paper articulates both theoretical and practical knowledge related to the Craft-Design, as a way of uncovering some evidence already emerged and, ultimately, to contribute, in a critical and reflective way, to the enlargement, enrichment and appreciation of the perspectives that exist about it. abstract keywords Craft-design, technicality, handicrafts, local identity, ethnography.

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Summers, Joshua. „Materials and craft in architecture“. Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=1054816376.

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29

Hill, Morris Barnard Jr. „My foundation to my craft“. Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1629.

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30

Gowlland, Geoffrey Karim. „The making of an exclusive craft : skill, style and personhood in a Chinese craft community“. Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612946.

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31

Hahn, Celia, Sebastian Meier, Dirk Weichgrebe, Thi Nguyet Tran, Holger Appel, Leonhard Fechter und Peter Werner. „Integrated water management concept for craft villages - example from the food processing craft village Dai Lam“. Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-88503.

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Craft villages played a significant role in the development of Vietnam’s rural economy for a long time. The range of products and production methods, including the processing of materials and chemicals, are now adapted to modern market requirements but environmental and labour protection issues are not adequately considered in the management of the craft villages. The reasons are various: poor education of responsible operators, deficient technical equipment or missing regulatory framework and implementation of existing regulations. The INHAND project (Integrated Water Management Concept for Craft Villages) started in 2011 and is studying the food processing village of Dai Lam located on the banks of the Cau River in the Bac Ninh province (about 40 km NE of the capital Hanoi). The household-scale business focus mainly on rice and cassava processing with 200 out of 1000 households producing alcohol from cassava and rice, 10 households producing tofu, and 30 households recycling aluminium. In addition, most households also raise pigs. The wastewater is released mostly untreated into the receiving stream. Within the framework of the INHAND project, four German und two Vietnamese partners will conduct a basic analysis inventory in the village with identification of suitable measure for an integrated, environmentally sound concept for the removal and reuse of all output streams. The second major task of the 3.5 years research project is the conceptualisation, development and implementation of pilot-scale treatment facilities in the village and the scientific monitoring of their planning and operation
Đã từ lâu, làng nghề đóng vai trò quan trọng trong quá trình phát triển kinh tế nông nghiệp tại Việt Nam. Các sản phẩm và phương thức sản xuất, bao gồm cả giai đoạn xử lý vật liệu và hóa chất, đã từng bước được cải tiến cho phù hợp với yêu cầu của thị trường hiện đại. Tuy nhiên, những yếu tố về môi trường và an toàn lao động vẫn chưa được quan tâm đúng mức tại các làng nghề do nhiều nguyên nhân như: trình độ của nhà sản xuất, vận hành còn hạn hẹp, thiếu trang thiết bị kỹ thuật, các quy chuẩn còn thiếu hoặc chưa được thi hành triệt để. Dự án INHAND (đề án xử lý nước tổng thể cho làng nghề) được khởi động từ năm 2011 và hiện đang tiến hành nghiên cứu làng nghề chế biến thực phẩm Đại Lâm ,nằm bên bờ song Cầu, thuộc tỉnh Bắc Ninh, cách Hà Nội 40 km. Mô hình kinh tế hộ gia đình tại làng chủ yếu tập trung vào chế biến gạo và sắn: 200 trong số 1000 hộ gia đình nấu rượu gạo và sắn, 10 hộ sản xuất đậu phụ, 30 hộ tái chế nhôm. Ngoài ra, gần như tất cả các hộ đều có nuôi lợn. Nước thải của làng được dẫn trực tiếp ra các khối nước mở, gần như không qua xử lý. Trong khuôn khổ dự án INHAND, bốn đối tác Đức và hai đối tác Việt Nam sẽ tiến hành phân tích hiện trạng môi trường của làng để tìm ra những biện pháp thích hợp nhằm xử lý và tái sử dụng các dòng thải. Nhiệm vụ thứ hai trong thời gian 3,5 năm của dự án là lập ra đề án, phát triển và triển khai các trạm xử lý ở quy mô thử nghiệm, đồng thời quan trắc khoa học các quá trình thiết kế và vận hành

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Peng, Fanke. „Visual Thinking - Beyond Craft Making : Identifying and verifying a visual analysis model (VAM) for craft practice“. Thesis, University of Dundee, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521661.

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33

Garme, Karl. „Modeling of planing craft in waves“. Doctoral thesis, KTH, Aeronautical and Vehicle Engineering, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-14.

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Simulation of the planing hull in waves has been addressed during the last 25 years and basically been approached by strip methods. This work follows that tradition and describes a time-domain strip model for simulation of the planing hull in waves. The actual fluid mechanical problem is simplified through the strip approach. The load distribution acting on the hull is approximated by determining the section load at a number of hull sections, strips. The section-wise 2-dimensional calculations are expressed in terms of added mass coefficients and used in the formulations of both inertia and excitation forces in the equations of motions. The modeling approach starts from the hypothetic assumption that the transient conditions can be modeled based on those section-wise calculations. The equation of motion is solved in the time-domain. The equation is up-dated at each time step and every iteration step with respect to the momentary distribution of section draught and relative incident velocity between the hull and water and catches the characteristic non-linear behavior of the planing craft in waves.

The model follows the principles of the pioneering work of E. E. Zarnick differing on model structure and in details such as the modeling of the lift in the transom area. A major part of the work is concerned with experiments and evaluation of simulations with respect to performed model tests and to published experiment data. Simulations of model tests have been performed and comparisons have been made between measured and simulated time series. The link between simulation and experiment is a wave model which is based on a wave height measurement signal. It is developed and evaluated in the thesis.

The conclusions are in favor of the 2-dimensional approach to modeling the conditions for the planing hull in waves and among further studies is evaluation of simulated loads and motions to full-scale trial measurement data.

34

Olausson, Katrin. „Vibration mitigation for High Speed Craft“. Thesis, KTH, Marina system, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-118798.

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The crew of small, high-speed marine craft (HSC) is exposed to high levels of vibrations and shocks that can imply risks for adverse health effects. The working environment needs to be improved by appropriately isolating the crew from the severe, non-linear accelerations that characterise the motions of small HSCs. This thesis presents a brief overview of the vibration mitigation techniques flexible hull design, active vibration control and suspension seats. The suspension seat is analysed further. A boat-seat interaction model describing the seat motions when excited by non-linear, vertical accelerations is established. The seat model is used to investigate how the seat characteristics influence the seat response motion, that is, the crew vibration exposure. Published experiment data in terms of accelerations at the seat base measured on a 10 meters HSC unit of the Swedish Coast Guard is used as exciting motion of the seat. By systematically varying the spring stiffness and damping coefficients of the seat, the response motion for 10 different seats are calculated and evaluated according to existing standards regarding whole body vibration exposure, ISO 2631-1 and ISO 2631-5. The thesis concludes that the mitigating effect of the seat can be improved radically by reducing the spring stiffness coefficients and increasing the damping coefficients of the seat. The spring stiffness is however limited downwards by the seat motion stroke, since bottoming out events have to be avoided and the motion stroke for practical reasons cannot be too large. Further, the relation between crew weight and resulting vibration exposure is investigated by varying the crew weight for two different seats. Slightly higher vibration levels are found for the lower crew weigths, although the distinction between the seat reponse motions is small compared to the variations found when comparing different seats. However, it is concluded that the crew weight is an important parameter when studying the vibration exposure, since it influence the motion stroke of the seat.

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Aslan, Nazmi. „Maneuverability estimation of high-speed craft“. Thesis, Monterey, California: Naval Postgraduate School, 2015. http://hdl.handle.net/10945/45808.

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Approved for public release; distribution is unlimited
This thesis focuses on the problem of predicting the maneuvering characteristic of high-speed craft. A mathematical model is derived based on equations by Lewandowski and Denny-Hubble in order to find the fundamental maneuvering characteristics. The model is developed in the MATLAB Simulink in-time domain with the help of Nomoto’s first-order model, which encapsulates the fundamental dynamics of turning on the horizontal plane. After the development of the model, Predator and Prey interactions are analyzed in order to estimate helmsman reaction when the vessel is attacked by a missile. Three different attacking situations are analyzed in missile-vessel interactions for the safety of the vessel, and the optimum distance has been found to start the escape maneuver. According to these escape situations, the missile should maintain a certain g-force to make an adequate turn and hit the vessel. These critical g-forces are calculated for each situation.

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Turney, Joanne Amanda. „Home craft in Britain 1975-2002“. Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288476.

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37

Knott, Stephen. „Amateur craft as a differential practice“. Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1132/.

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This doctoral dissertation provides a theoretical examination of amateur craft as a differential practice. Concepts drawn from an inter-disciplinary source base are used to define, characterise and elucidate features of amateur craft practice that have long been presumed superfluous and opposite to valorised ‘professional’ practice. I investigate the attraction, motivation and complexities that lie behind this widespread, yet largely understudied, phenomenon of modern culture. Studies of everyday life, social history, aesthetics, material culture, art criticism and craft theory help conceptualise the position of the amateur, and case studies from the nineteenth and twentieth centuries – including the paint-by-number mania in 1950s USA, suburban chicken keeping, and amateur railway modelling – serve to substantiate the theoretical claims made. The thesis is not comprehensive in its coverage of either a specific craft medium or a particular chronology or geography. Instead the thesis is divided into three thematic chapters: amateur surface intervention, amateur space, and amateur time. These chapters reveal some of the unexpected consequences of subjecting amateur practice to serious study. The examples demonstrate how amateur craft practice is differential within capitalism,dependant on its structures while simultaneously stretching, refracting, and quietly subverting them. As a reprieve or a supplement to an individual’s primary occupation, the constrained freedom of amateur craft practice fulfils an essential role within modern life, providing a temporary moment of autonomous control over labour-power in which the world can be shaped anew.

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Yu, Wenhao. „Home Craft Pre-Fab Customize Units“. University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731680.

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39

Garg, Vikas Ph D. (Vikas Kamur) Massachusetts Institute of Technology. „CRAFT : ClusteR-specific Assorted Feature selecTion“. Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/105697.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2016.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 45-46).
In this thesis, we present a hierarchical Bayesian framework for clustering with cluster-specific feature selection. We derive a simplified model, CRAFT, by analyzing the asymptotic behavior of the log posterior formulations in a nonparametric MAP-based clustering setting in this framework. The model handles assorted data, i.e., both numeric and categorical data, and the underlying objective functions are intuitively appealing. The resulting algorithm is simple to implement and scales nicely, requires minimal parameter tuning, obviates the need to specify the number of clusters a priori, and compares favorably with other state-of-the-art methods on several datasets. We provide empirical evidence on carefully designed synthetic data sets to highlight the robustness of the algorithm to recover the underlying feature subspaces, even when the average dimensionality of the features across clusters is misspecified. Besides, the framework seamlessly allows for multiple views of clustering by interpolating between the two extremes of cluster-specific feature selection and global selection, and recovers the DP-means objective [14] under the degenerate setting of clustering without feature selection.
by Vikas Garg.
S.M.

40

Kane, Faith. „Designing nonwovens : craft and industrial perspectives“. Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/8073.

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Nonwovens form a significant and rapidly growing sector of the textiles industry. The nonwovens sector originally set out to provide economical alternatives to traditional textiles for functional product components such as interlinings and carpet backings. Through constant growth and development nonwovens are now considered as sophisticated engineered fabrics that economically meet specific functional needs. Since the 1970's, however, the potential to use nonwoven fabrics and technologies within design has been under consideration by textile researchers, textile artists and fashion and textile designers and makers. The resulting fabrics have found application in mass marketable products such as gift and flower wrap and as one-off designer products such as scarves. In comparison to traditional sectors of the textile industry such as woven textiles, however, in regard to design there seems to be little middle ground between these two production contexts. Further to this, the range of nonwoven technologies that have been explored by textile designers, makers and artists is relatively limited and focuses predominantly on the needle-punching method of manufacture to produce felt-like fabrics. This situation presents a potentially missed opportunity within the nonwovens sector of textile manufacture. The research presented in this thesis aims to identify and explore the undeveloped opportunities to design nonwoven materials from an aesthetic perspective using a specific range of production processes and materials. The work is set within the context of designer maker practice and as such considers both industrial and craft perspectives on the design and manufacture of nonwovens. In doing so the relationship between craft and industry within the sphere of nonwovens is brought into question and the opportunities and limitations of working as a designer maker within this sphere are explored. The development of textile products for niche, high-end markets is of growing importance within the European textiles industry. This research explores the potential to develop design-led nonwovens for high-end markets. The work was conducted using a practice led research approach which revolved around the development of innovative new fabrics suitable for high-end markets. The work focuses on the use of carding, needle-punching and thermal bonding technologies that utilize heat and pressure and subsequent decorative finishing processes including devore, embossing and laser cutting. The ability to design nonwoven fabric structures specifically for use in these processes formed a central part of the contribution to knowledge made within the work. In particular, the development of devore and laser techniques for nonwovens made from contrasting fibre layers or with decorative materials embedded within them. The fabrics produced evidence new design concepts within the sphere of nonwovens. The suitability of the designs for production within different manufacturing contexts was assessed through a series of interviews with nonwoven manufacturers and their suitability for the high-end markets was evaluated through a series of focus groups and interviews with textile and product designers. The qualitative nature of the analysis made provides a new perspective on the design value of nonwovens. The results of the research confirmed the aesthetic appeal of certain fabrics within the collections produced and their suitability for high-end markets. The findings identified key factors in regard to how value is attributed to nonwovens within this market and suggested that further research into developing high-value nonwovens is required. The work identified key issues that designers working with nonwoven technologies need to be aware of to enable designs that are relevant for commercialization to be developed.

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Scott, Peter. „Craft skills in flexible manufacturing systems“. Thesis, University of Bath, 1987. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377776.

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42

Kelley, D. (Dennis). „Creating a craft brewery brand identity“. Master's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201906052410.

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Abstract. The craft beer market is a relatively new and recent phenomenon gaining popularity among beer drinkers. As this is a new and quickly expanding consumer product, the amount of research into the branding practices of craft breweries is limited. The purpose of this thesis is to explore how consumers view craft breweries based on six key areas of branding and how craft breweries can utilize these findings to better brand themselves and their beers in an effort to increase profits. The theoretical framework of the thesis focuses on the Brand Identity Prism conceptualized by JN Kapferer (2012) in his book The New Strategic Brand Management: Advanced Insights & Strategic Thinking. With the Brand Identity prism as a starting point, further in depth research is taken to provide additional key elements to each of the six segments in an effort to relate them to craft beer branding and ways that beer brands have in the past succeeded and how craft beer brands can utilize them to reach their consumer targets. Further research areas include a beer community forum dialog as well as interviews with craft beer professionals. Interviews are conducted in an effort to gain further real world examples of how the six outlined segments of the brand identity prism and additional elements are utilized by craft brewers that they follow as well as methods that they themselves employ. The conclusion of the thesis presents finding for craft brewery managers to better create a brand identity moving forward in a competitive market as well as presents limitations of this study and the possibility for further scientific research into this subject.

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STEVENS, James. „Post-Digital Craft: Defining Digital Risk“. Doctoral thesis, Università degli studi di Ferrara, 2020. http://hdl.handle.net/11392/2487846.

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This thesis seeks to define what the research refers to as digital risk. Risk in the making of an artifact was mostly eliminated with Fordist principles of manufacturing and efficiency. However, in a post-digital era, these principles no longer fully apply. Although mass-customization and micro-manufacturing still do not rival large industry, the process is demonstrating promise. The shifting to customization allows designers now to reengage in the production of custom artifacts with the aid of digital applications and fabrication techniques. Digital fabrication has been researched and is continuing to develop, but the unique post-digital question of this thesis is how risk, an element all but eliminated from our process, can be reintroduced productively. Intentionally taking risks while working with digital applications does yield results not otherwise achieved. This thesis demonstrates that digital risk is a valuable principle within post-digital processes. The experiment in this thesis, Digital Ceramic Risk (Section 4), explores the entanglement of the post-digital and post-human condition by examining risk through the crafting of a hybridized digital and physically made artifact. These experiments were conducted in three phases. Phase one profiles the creation of a digital tool that enabled hybridized manual and digital ceramic printing. Using this 3D printer, the research Identified risk variables through documented tests. Variables such as material failure, tool failure, and digital errors were tracked and analyzed. Phase two demonstrates a high level of skill and craft through the use of hybridized methods. By applying the identified risk factors from Phase one, the outcomes of the experiments generated newly crafted forms that otherwise would not have been realized through an only digital process. Phase three demonstrated optimized printing skills and craft through sustained practice and improved digital tools. The outcomes of this phase created a visually distinct collection of vessels. Each vessel was modified as it was printed to create a version of the control vessel that was digitally modeled, and that generated the g-code controlling the 3D printer. These improvised artifacts were re-digitized and dimensionally quantified into data. This data was encoded into an Artificial Intelligence (AI) database for the propagation of an infinite number of new vessels. This extension of the handmade object into an AI database is a human infusion into the post-human cybernetic network. The case studies and experiments contained within this thesis demonstrate how craftspeople can now both exist in the material world while still existing in the broader post-digital and post-human condition.

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Schenk, Jan-Christof. „The making of a new South African craft : township craft and development discourse in post-apartheid Cape Town“. Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/14635.

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Includes bibliographical references (leaves 90-93).
The author discusses postdevelopment theory by exploring unintentional effects of development practices in Cape Town's craft scene. A heterodox research design is adopted, drawing on Pierre Bourdieu's ideas on cultural production, notions of authenticity, representation and the modern/traditional dichotomy as well as thoughts on the making of a New South African identity. This is applied to the dynamics of Cape Town's craft scene in the pursuit of answering four research questions: (i) What role does the township play in the image of post-apartheid South Africa? (ii) How does development discourse contribute to the re-imagining of post-apartheid South Africa through 'township craft'? (iii) Is development discourse conducive to maintaining and creating tensions between centres and peripheries in the New South Africa? (iv) To what extent can a heterodox research design contribute to the postdevelopment debate? Through the socio-semiotic analysis of qualitative data obtained from interviews with fourteen stakeholders in Cape Town's craft scene as well as observations made at sites, where 'township craft' is presented and/or produced, the author is able to give three main insights in relation to the stated questions: (i) The image of the township, represented through cultural commodities, plays a crucial role as a place of creativity and positive change in the making of a post-apartheid identity. (ii) Development discourse manifests itself in the making of a New South African identity through material culture in the form of 'township craft' and its conceptual as well as spatial contexts. (iii) The use of development discourse in the making and marketing of 'township craft' in combination with supposedly 'common knowledge' about the art/craft divide has the potential to create and maintain patterns of inequality between producers and sellers of 'township craft'. A recommendation is made to explore further possibilities of heterodox research designs for studies using a postdevelopment theoretical framework.

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Thorsteinsson, Gisli, Brynjar Olafsson und Etsuo Yokoyama. „The origin of craft education in Iceland“. 名古屋大学大学院教育発達科学研究科技術・職業教育学研究室, 2009. http://hdl.handle.net/2237/12371.

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46

Olafsson, Brynjar, und Gisli Thorsteinsson. „Design and Craft Education in Icelandic Schools“. 名古屋大学大学院教育発達科学研究科技術・職業教育学研究室, 2012. http://hdl.handle.net/2237/17030.

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47

Strasser, Monika. „Can body modifications be seen as craft?“ Thesis, Konstfack, Ädellab/Metallformgivning, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3426.

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The main question of this essay is: "Can body modifications be seen as craft?". Craft is the essence of the author's work and her passion. But she is also interessted in beauty and has a critical approach to the fact that beauty generate pressure in society. Through history different ideals of beauty have been existing. Ideals of beauty and body modifications are very much conetected to each other. Within this essay the author tries to connect the process of the interventions made to the body, in order to reach beauty, to her field of work the crafts. As a trained crafts woman, she has also a critical view on existing hierarchies between different kinds of skilled making. Other artists with similar ideas in their work are presented. It is investigated how different sources define craft, making tools, and body modification. Using this background, four ways to connect craft and beautification are presented: the use of tools, the making of tools, the body, and the process of making. It can be concluded that there is indeed a connection in the tools used to perform each task and the relation to the human body.

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Allen, A. M. „The locksmith craft in early modern Edinburgh“. Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/24487.

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The Edinburgh locksmith craft was a branch of a hierarchical incorporation of metal workers known as the Incorporation of Hammermen. This thesis aims to gain a better understanding of the organisation, influence and practicalities of a specific occupation found in most urban areas of early modern Europe. The thesis looks at three broad areas, set out in six chapters relating to the locksmith craft. The first area is the structure, government, and influence of the locksmiths in the social hierarchy in which the craft existed. How influential were the locksmiths? How wealthy were they? What patterns of growth and decline are visible in the surviving records for the hammermen? What does this tell us about Edinburgh’s early modern metalwares market? The second area deals with the relation of the locksmiths to society. The locksmiths had unofficial associates with other craftsmen both within their own incorporation and outside it, who worked with similar materials or techniques. The role of the craft in providing security is also scrutinized, both in general burgess duties, and the locksmith’s unique contribution in providing security technology. The third area deals with the practical side of their trade. Their workplace, products and services are looked at in order to understand just what they contributed to early modern society, and how they applied their skills. This thesis is multi-disciplinary, in that it relies heavily on both historical documents, such as the Incorporation of Hammermen’s minute books and burgh records, and also on surviving material culture, through the extensive collection of locks and keys housed in the National Museums of Scotland. Thy physical objects used by a society are as important a record as the written documents. By studying the surviving artefacts, some interesting hypotheses can be drawn on the role of the locksmith in early modern urban society, as well as giving a better understanding of the skill levels required to work in the particular craft. The period covered is from 1483, when the metalworkers were first given permission to incorporate into an organized craft guild, to 1750, which is an arbitrarily chosen point, before which Edinburgh was an increasingly demanding consumer society, but which predates the new technology prompted by the Industrial Revolution. The technology and social structure of the locksmiths did not change drastically over this period, though both were remarkably different from the medieval or modern periods. It was a time when guild influence was still strong, and technology was relatively weak. This study represents a single craft in a unique time period.

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Moon, Barbara Jean. „Craft theory in research on teacher education“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0022/NQ51901.pdf.

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50

Razola, Mikael. „On Structural Design of High-Speed Craft“. Licentiate thesis, KTH, Marina system, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-118786.

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The development in structural design and construction of high-speed craft has been extensive during the last decades. Environmental and economical issues have increased the need to develop more optimized structures, using new material concepts, to reduce weight and increase performance efficiency. However, both lack of, and limitations in design methodology, makes this a difficult task. In this thesis a methodological framework which enables detailed studies of the slamming loads and associated responses for high-speed planing craft in irregular waves is established. The slamming loads can either be formulated based on numerical simulations, or on experimental measurements and pressure distribution reconstruction. Structure responses are derived in the time-domain using finite element analysis. Statistical methods are used to determine design loads and lifetime extreme responses. The framework is applied to perform phenomenological studies of the slamming loading conditions for high-speed craft, and used to highlight and quantify the limitations in the prevailing semi-empirical method for design load determination with respect to slamming. A number of clarifications regarding the original derivation and the applicability of the prevailing semi-empirical method are presented. Finally, several potential improvements to the method are presented and the associated implications discussed. The long-term goal of the research project is to establish a method for direct calculation of loads and response for high-speed planing craft, which can enable design of truly efficient craft structures. The methodology and the results presented in this thesis are concluded to be important stepping-stones towards this goal.

In page VII, Paper B is wrong title. The correct title is "Experiental Evaluation of Slamming Pressure Models Used in Structural Design of High-Speed Craft". QC 20130228

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