Thematische Bibliographien / Textil museum

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Auswahl der wissenschaftlichen Literatur zum Thema „Textil museum“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 2. Februar 2022

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Zeitschriftenartikel zum Thema "Textil museum"

Burgess, Chris. „The Development of Labor History in UK Museums and the People's History Museum“. International Labor and Working-Class History 76, Nr. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.

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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.

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A. P., Nunes. „STORING AN OVERSIZED MUSEU DE LISBOA TEXTILE BANNER COLLECTION“. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (23.08.2019): 865–69. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-865-2019.

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Abstract. In 1947 Lisbon held the "Cortejo Histórico de Lisboa", a parade belonging to the “VII Centenary of the Reconquest of Lisbon to the Moors” celebrations. For the accomplishment of this parade, hundreds of scenic objects and accessories were created and three thousand extras and actors participated. Museu de Lisboa has in its collection a significant set of these objects, with highlight to the seventeen-banner collection. These banners that since 1947 were kept in different warehouses, were transferred in 2008 to the Museu de Lisboa Central Storage Unit textile room. The large dimensions of these objects were the main preventive conservation issue the Museum had to solve, regarding the way of storing the collection. In 2018 the Museum designed a project for the vertical storage of these banners. Due to its enormous size (being the biggest 315&thinsp;cm height and 212&thinsp;cm width) it was impossible for the museum to store these objects in flat format. The alternative was designed and executed using Tycore® boards as backing panel, hinged with acid-free buffered paper sheets and then glued together into one large piece with the same size as each banner. The banners with textile strip extensions were mounted onto the panels and stored vertically on metallic grids used for the storage of the Museum painting art collection. Treatments such as dust cleaning, tear consolidation and stain removal were carried out to stabilize the banners prior to the mounting on the boards. This paper describes some of the steps of this eight-month project, involving six people.

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Nagaya, Takeshi. „Textile Technical Museum“. FIBER 58, Nr. 5 (2002): P.142—P.143. http://dx.doi.org/10.2115/fiber.58.p_142.

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Rothwell, Suzanne. „Helmshore Mills Textile Museum“. Archaeological Journal 169, sup1 (Januar 2012): 46–47. http://dx.doi.org/10.1080/00665983.2012.11020996.

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Healy, Marley. „An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts“. Fashion Studies 2, Nr. 2 (2019): 1–16. http://dx.doi.org/10.38055/fs020203.

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This article contains an interview with Petra Slinkard, the Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts. Ms. Slinkard is the first to hold this position at the museum and has held it since February 2018. Prior to this, Ms. Slinkard was the Curator of Costume at the Chicago History Museum. She has a Bachelor of Science in Fashion Merchandising, a Bachelor of Arts in Art History, and a Master of Science in Fashion/Textile History. Over the course of almost ten years, leadership at the museum endeavored to create a plan that would mobilize its fashion and textile collection and reinvigorate its active collecting of fashion objects. This year, the museum opened a new wing that has allocated a specific venue for showcasing exhibitions dedicated to the exploration of its fashion collection. What follows are excerpts from a conversation between the author and the curator. Topics include the Fashion and Textile Collection at the Peabody Essex Museum, the new Fashion and Design Gallery, and the accessibility of the institution’s collection.

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Dovhaliuk, Volodymyr, Adam Ujma und Yurii Chovniuk. „Investigation of the Mechanism of Moisture Absorption in Colloidal Museum Materials in Order to Improve the Safety of Exhibits and Improve the Hygiene of Museum Rooms“. System Safety: Human - Technical Facility - Environment 1, Nr. 1 (01.03.2019): 805–9. http://dx.doi.org/10.2478/czoto-2019-0103.

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AbstractMoisture sorption is one of the most important destruction factors for colloidal capillary-porous exhibits in museums (painting, clothing etc.), which is dependent on microclimate in museum rooms. The analysis of moisture sorption properties, kinetics of sorption and swelling of textile museum exhibits is carried out. Isotherms of desorption of viscose and woollen yarns and fabrics of different density (and threads of them) are identical. The analysis of the isotherms of fabrics of various fibre cloths and threads of them shows that they all are similar in shape to the curves and have the form typical for leading capillary-porous bodies. The hysteresis loop for almost all tissues is observed throughout the range of relative humidity of the medium. In this work, the characteristics of the hysteresis loop (area, limited by it, length of the loop), which are of informational significance in the description of the processes of isothermal sorption-desorption of the materials mentioned above, are indicated. The research results allow optimizing of microclimate control in museum rooms for elimination of destruction of exhibits, improve the safety of storage and ensure the hygiene of the air indoor environmental.

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Orea-Giner, Alicia, und Trinidad Vacas Guerrero. „Textual analysis as a method of identifying museum attributes perceived by tourists: An exploratory analysis of Thyssen-Bornemisza National Museum in Spain“. ESIC MARKET Economic and Business Journal, Volume 51, Issue 3 (05.10.2020): 527–44. http://dx.doi.org/10.7200/esicm.167.0513.2.

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Objective: The identification of museum attributes is essential when analysing the different factors that attract visitors and studying it in order to improve efficiency in museums, as this could affect the use of funds for developing a marketing campaign to attract visitors. This paper offers a literature review that considers museum visits and museum attributes before proposing a methodology. Methodology: The use of big data applied to tourism research is vital, as it allows for the consideration of the opinions of museum visitors. The case study in this paper is the Thyssen-Bornemisza National Museum in Madrid, Spain. The method for identifying the attributes consists of a textual analysis of TripAdvisor reviews written in English (2500) and Spanish (2500). The information is captured using WebHarvy and is analysed using Nvivo12. Results: After analysing the thousand words that were used most frequently, the main attributes were detected, as well as whether the perception of these attributes was positive or negative. The museum’s location and the building itself were the most highly valued attributes. Other attributes that were valued positively were the peripheral services of the museum, such as its food and beverage services. Limitations: The main limitation is that TripAdvisor is not an entirely reliable source of information, so it will be necessary to obtain more reviews to analyse.

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García Neira, Luz. „Los textiles como objeto de conocimiento en el "Proyecto de Renovación Museográfica" del Museu Casa de Rui Barbosa, Río de Janeiro (Brasil)“. Intervención Revista Internacional de Conservación Restauración y Museología 1, Nr. 1 (01.05.2010): 43–53. http://dx.doi.org/10.30763/intervencion.2014.9.108.

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Noy, Chaim. „Gestures of closure: A small stories approach to museumgoers' texts“. Text & Talk 40, Nr. 6 (26.11.2020): 733–53. http://dx.doi.org/10.1515/text-2020-2076.

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AbstractMuseums are familiar public institutions whose primary mode of mediation is narration. They are geared toward narrating collective stories that are authoritative, linear, and grand in scope. Yet with the historical turn museums have recently taken from collection-centered to audience-centered institutions – coupled with a participatory mode of mediation – more than ever museumgoers are now invited to participate in these grand narrations. This article examines the institutional interaction between museums and museumgoers, and the texts that the latter produce in situ. It analyzes over 3000 texts that visitors wrote at the Florida Holocaust Museum, between 2012 and 2015. It employs the “small stories” framework to explore the interactional narrative structure and features within which museumgoers' written comments are elicited and displayed in museums. The analysis highlights the narrative functions and authorial roles that museumgoers are ascribed institutionally, and whether and how they discursively occupy them. Three main narrative strategies of/for participation are discerned, through which museumgoers variously perform gestures of closure of their visit. These narrative gestures index ways, in which visitors signal the approaching end of the museum's narration, employing diverse discursive resources, while adding a coda or a resolution to the institutional narrative.

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Horn, Gerd-Rainer. „Gender and Class in the Twentieth Century“. International Labor and Working-Class History 57 (April 2000): 107–9. http://dx.doi.org/10.1017/s0147547900212763.

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Few nonspecialists know that Belgium was the first continental European country to benefit and suffer from the Industrial Revolution. Resulting in part from this heritage and also building on an even older tradition of textile manufacturing dating back to the High Middle Ages, Belgium is home to a number of high-quality museums and institutions showcasing and researching the age of industry and its corresponding social movements. Two such organizations are the Archive and Museum of the Socialist Workers Movement (AMSAB) and the Museum of Industrial Archaeology and Textiles (MIAT) in the city of Ghent. On April 27–30, 1999, these two institutions joined forces to organize an international conference on “Gender and Class in the 20th Century.” For several days, participants from Switzerland, the Netherlands, France, Great Britain, and Belgium gathered to listen and respond to a variety of presentations covering the whole range of issues related to the conference theme, from sexuality at the point of production to the discursive construction of poverty as female in the contemporary global age.

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Dissertationen zum Thema "Textil museum"

Střeštíková, Vendula. „MUZEUM TEXTILNÍHO PRŮMYSLU V BRNĚ“. Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2018. http://www.nusl.cz/ntk/nusl-377247.

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The diploma thesis is focused on the revitalization of the dilapidated area of the former textile factory in Brno, Obřany. Areal is located in the city's peripheral parts between Maloměřice and Obřany. The location of the areal creates a strategic potential for creating a closer relationship between the central part of the city and its peripheries which allows urban activities spread to the distant area. The main target of the paper was to promote the relationship between the island and the water element - the river which brings a unique composition for the creation of a new central point of the urban part, which in Obřany currently lacking. The main focus of the project was to support the local potential by expanding the range of urban activities and recreational opportunities with respect for industrial heritage of Brno. It was necessary to made a radical interventions for island revitalization. Cleaning the island from inappropriate, structural, statically or architecturally inadequate buildings and re-opening the space for public was needed. The former spinning factory was therefore a key element of the entire project. It is due to its monumental qualities predestined to place the main and dominant function which after a previous analysis and survey was allocated to the textile museum. As the opposite of this huge structure there were designed a free and grassy area of the park which has been cleaned from the old unsatisfactory objects. The preserved buildings of the former textile factories were individually revitalized and designed with new suitable functions.

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Lužný, Jiří. „Muzeum textilního průmyslu v Brně“. Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2013. http://www.nusl.cz/ntk/nusl-216013.

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The diploma thesis task: The aim of this diploma thesis is the design proposal of the Museum's textile industry of the former Vlněna factory on Přízová street in Brno. Textile industry was the engine of Brno development in the period of industrialization. Brno is often called the Moravian Manchester. In this English city it is visible found how much attention is devoted to the history of this industrial heritage and inspiration can be found for the design of Technology Museum. This thesis will build on the work in the preceding semester focused on urban-architectural solution of a city block with a former textile factory, in context with development of the South Center of Brno.

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Stewart, Tekara Shay. „Best practices of textile and clothing museum website development“. [Ames, Iowa : Iowa State University], 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1473265.

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Paula, Teresa Cristina Toledo de. „Inventando Moda e Costurando História: Pensando a Conservação de Têxteis no Museu Paulista - USP“. Universidade de São Paulo, 1998. http://www.teses.usp.br/teses/disponiveis/27/27143/tde-08082001-105338/.

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Este ensaio apresenta as principais idéias e metodologia que têm orientado os trabalhos de Conservação de Têxteis Históricos no Museu Paulista da Universidade de São Paulo. Através dessa discussão específica, todavia, é repensado o papel da conservação/restauração de bens culturais frente à sensibilidade, atitude e ideário deste fim de milênio.
This paper presents the main ideas and method which have been guiding the textile conservation works at Museu Paulista, Universidade de São Paulo. Through this specific discussion, however, the author reconstructs the role of conservation/restoration of cultural heritage related with the sensibility, atittude and ideas brought by the end of the millennium.

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Zajaczkowski, Erica Lea. „Information, Design, and Technology:How They Work Together to Inform a Museum Visitor“. University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1407780595.

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Tolley, Rebecca. „Review of Chicago History Museum, Digital Collection: Costume and Textile Collection“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/5646.

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Lian, Elisabeth. „Digitaliserat kulturarv : En studie av hur fyra forskare med textila föremål som källmaterial upplever sitt arbete i en digitaliserat tid“. Thesis, Uppsala universitet, Textilvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-437226.

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Our whole society is affected by the digitisation process. The policies of the Swedish government encourage the cultural heritage organizations to strategically develop the digitisation of their collections. These strategies often aim to make the collections more accessible but there is not much research about how researchers who have use of the digital information meet with the digital collections. The intention of this thesis is to study four researchers in the field of humanities who have textile objects as source material, and their professional experience of the digitisation of the cultural heritage. The researchers were interviewed in a semi-structured qualitative way, and the interviews were recorded and transcribed for analyzation of the data collected. The main result of the study is that the digital access of research material represents an improvement of their work when it comes to getting a quick and easy overview of their research subject which also represent a chance to improve the research quality by being able to compare and search for similar objects all over the world without having to travel to the collections. It has also become cheaper because of less travelling. Being able to take digital photos is also a big improvement compared to analogue photographs that are expensive and takes time to develop. One negative aspect that the study shows, is that the information in digital collections often lacks the quality that the researchers need, for example close-up pictures or relevant and reliable metadata. The researchers also experience an uncertainty in how to use the digital tools and computer programs in an effectively way and expresses a need for more knowledge about the different IT-systems. This thesis shows that the research topics seem to change due to the digitisation, partly because of the technological possibilities that new methods offers. Digital humanities points to this as a possibility to develop the research in the field of humanities and explore new areas that cannot be done without the digital methods.

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Napier, Ellen Bethany. „Thomas Struth's Museum Photographs and the Textual Experience of Photography“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.

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Abugattas, Urljevic Milena. „Museo del traje y el textil en Lima“. Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2014. http://hdl.handle.net/10757/322707.

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El proyecto consiste en el diseño de un Museo del Traje y el Textil ubicado en el Centro Histórico de Lima. Está basado en la concepción de construir en lo construido que busca poner en valor un inmueble colonial dándole una nueva funcionalidad para integrarlo a la vida cotidiana de la ciudad, contribuyendo así a la difusión de la cultura y ampliando la oferta turística en la capital. Nos valemos de la intervención por contraste, principalmente volumétrico, para lograr un diálogo entre dos momentos históricos sin perder la armonía entre las edificaciones.

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Verdon, Tatiana Sol. „Scientific Analysis and Technical Study of Three Ancient Egyptian Royal Textiles from the Tomb of Hatnofer and Ramose, Western Thebes, New Kingdom, Dynasty 18, 1550-1295 B.C“. Thesis, Fashion Institute of Technology, SUNY, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937091.

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An Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile’s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers’ marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt.

Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.

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Bücher zum Thema "Textil museum"

Porrúa, Ma Isabel Grañén. Museo Textil de Oaxaca: Un regalo para México. Oaxaca de Juárez, Oaxaca: Museo Textil de Oaxaca, 2008.

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Porrúa, Ma Isabel Grañén. Museo Textil de Oaxaca: Un regalo para México. Oaxaca de Juárez, Oaxaca: Museo Textil de Oaxaca, 2008.

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Museum, stedelijk. Textiel in het Stedelijk =: Textiles in the Stedelijk. Amsterdam: Stedelijk Museum Amsterdam, 1993.

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Indonesia), Museum Tekstil (Jakarta. The Jakarta Textile Museum. Jakarta, Indonesia: Jakarta Textile Museum, 1998.

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Textile Museum (Washington, D.C.). The Textile Museum thesaurus. Washington, DC: Textile Museum, 2005.

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Achjadi, Judi. The Jakarta Textile Museum. Jakarta: Museum Tekstil, 2012.

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Arizzoli-Clémentel, Pierre. The textile museum, Lyons. Paris: Musées et Monuments de France, 1992.

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Musée historique des tissus de Lyon. The Textile Museum, Lyons. Herausgegeben von Arizzoli-Clémentel Pierre. Paris: Musées et Monuments de France, 1990.

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Calico Museum of Textiles (India). Experiencing a museum. Ahmedabad: The Foundation, 1998.

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Gallery, Dalhousie Art, und Textile Museum of Canada, Hrsg. Close to you: Contemporary textiles, intimacy and popular culture : Ai Kijima, Scott Kildall, Allyson Mitchell, Mark Newport and Michèle Provost. Halifax, N.S: Dalhousie Art Gallery, 2007.

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Buchteile zum Thema "Textil museum"

Baer, Brian James, und Christopher D. Mellinger. „Museum guides“. In Translating Texts, 104–40. 1. | New York : Taylor and Francis, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315225609-4.

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Lïvandi, Anu. „Coptic Textiles at the Royal Ontario Museum“. In Journal of the Canadian Society for Coptic Studies (Volume 1), herausgegeben von Ramez Boutros, 87–96. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463224974-010.

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Cardamone, Jeanette M., und Peter Brown. „Evaluation of Degradation in Museum Textiles Using Property Kinetics“. In Historic Textile and Paper Materials, 41–75. Washington, DC: American Chemical Society, 1986. http://dx.doi.org/10.1021/ba-1986-0212.ch003.

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Herruzo, Ana, und Nikita Pashenkov. „Collection to Creation: Playfully Interpreting the Classics with Contemporary Tools“. In Proceedings of the 2020 DigitalFUTURES, 199–207. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4400-6_19.

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AbstractThis paper details an experimental project developed in an academic and pedagogical environment, aiming to bring together visual arts and computer science coursework in the creation of an interactive installation for a live event at The J. Paul Getty Museum. The result incorporates interactive visuals based on the user’s movements and facial expressions, accompanied by synthetic texts generated using machine learning algorithms trained on the museum’s art collection. Special focus is paid to how advances in computing such as Deep Learning and Natural Language Processing can contribute to deeper engagement with users and add new layers of interactivity.

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Mazzoli, Roberto, und Enrica Pessione. „Ancient Textile Deterioration and Restoration: Bio-Cleaning of an Egyptian Shroud Held in the Torino Museum“. In Microorganisms in the Deterioration and Preservation of Cultural Heritage, 199–216. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_9.

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AbstractAncient textiles are fragile and several factors can affect their integrity. In the present chapter, the main agents of deterioration of old and new textiles, namely physical-chemical (light, oxygen, heat, and humidity) and biological factors as well as human erroneous interventions will be explored. As far as the biological deterioration is considered, the effects of microbial growth, primary and secondary metabolites (acids, solvents, surfactants, pigments) and enzymes (lipases, proteases, and glycosidases) on textile strength and cleanliness will be described in details. The main fungal and bacterial species involved in the damage (textile discoloration, black and green spots, cuts) will be reported. Adhesive application during restoration procedures is discussed to highlight the risk of glue thickening giving rise to dull precipitates on the fabric.The main strategies for oil-stain and glue removal (both animal glue, such as fish collagen, and vegetal glue, i.e. starch) will be described in the paragraph devoted to biorestoration. Finally, a case study concerning an ancient Coptic tunic housed in the Egyptian Museum of Torino, Italy, and biocleaned by means of gellan-immobilized alpha-amylase from Bacillus sp. will be largely discussed by reporting historical data, adhesive characterization, methods for artificial aging of simulated sample and glue removal from the artwork.

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Völker, Angela, und Dagmar Sachsenhofer. „Mitteleuropäische Textilien und Englische Stoffe. Zur Ankaufspolitik des k. k. Österreichischen Museums für Kunst und Industrie (heute MAK) vor und um 1900“. In Textile Moderne, 145–56. Köln: Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412518066.145.

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Donato, Eugenio. „The Museum's Furnace: Notes toward a Contextual Reading of Bouvard and Pécuchet“. In Textual Strategies, 213–39. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501743429-009.

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Van Raemdonck, Mieke. „2. Function and context of the silk textiles. An outline“. In The Ottoman Silk Textiles of the Royal Museum of Art and History in Brussels, 9–12. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.stah-eb.4.000102.

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Couto, Sónia. „A coleção arqueológica do extinto Museu Municipal do Porto - Origens, Percursos e Estudos“. In Arqueologia em Portugal 2020 - Estado da Questão - Textos, 237–49. Associação dos Arqueólogos Portugueses e CITCEM, 2020. http://dx.doi.org/10.21747/978-989-8970-25-1/arqa17.

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The article presented here aims to make known the archaeological collection of the extinct Municipal Museum of Porto, contextualizing it in the history of this museum and how it was constituted, highlighting the important role of Rocha Peixoto in this process. The route of this collection was complex and characterized by successive transitions between museums and other non-museological spaces, facing adverse conditions regarding to its conservation, study and inventory, until reaching its legal deposit, which is the Museu Nacional Soares dos Kings. After the majority of the archaeological collection left this museum, its dispersion continued, it is unknown where several objects are deposited until today.

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Watson, Nicola J. „Clothing“. In The Author's Effects, 73–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847571.003.0004.

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Chapter 3 investigates ways of figuring the author’s doubled body, physical and textual, through clothing. It contrasts the ways that male and female authorial clothing has been imagined and displayed within the writer’s house museum to animate ideas of the author. It discusses, inter alia, Dorothy Wordsworth’s shoes, William Cowper’s nightcap, Henrik Ibsen’s top-hat, Elizabeth Gaskell’s shawl, Charlotte Brontë’s wedding-bonnet, and Emily Dickinson’s white dress. It argues that the display of clothing within the writer’s museum converts writing into biography. In this common museum trope, clothing is seen to take and preserve the most intimate and truthful form of its wearer, and to survive as witness to it. Clothing displaces the intimacy and truth of writing; text is converted into textile.

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Konferenzberichte zum Thema "Textil museum"

Ambrosio, Eliana. „Do museu fechado ao museu aberto“. In Encontro da História da Arte. Universidade Estadual de Campinas, 2007. http://dx.doi.org/10.20396/eha.3.2007.3650.

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Tamulevich, S. V. „SPECIFICITY OF DESIGNING THE CATALOG OF THE ETHNOGRAPHIC COLLECTION OF THE MUSEUM AS AN OBJECT OF GRAPHIC DESIGN“. In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.19.

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The article discusses the design features of the ethnographic catalog on the example of the project of the multi-page publication «Nanai» Khabarovsk Museum of Local Lore named after N.I. Grodekova. The author defines the purpose and target audience of the museum catalog, describes the relationship between design and content - the interaction of elements of end-to-end design and spread, color, illustrations and typography with text, ways to solve the information and logistics catalog by visual means, traditions and current trends in the implementation of navigation through the publication.

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Paddeu, Gavino, Andrea Devola, Andrea Ferrero und Antonio Pintori. „INTERACTIVE AUDIO-TEXT GUIDE FOR MUSEUM ACCESSIBILITY“. In International Conference on WWW/Internet 2019. IADIS Press, 2019. http://dx.doi.org/10.33965/icwi2019_201913p027.

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Dobranszky, Diana de Abreu. „Beaumont Newhall e o Museum of Modern Art de Nova York“. In Encontro da História da Arte. Universidade Estadual de Campinas, 2007. http://dx.doi.org/10.20396/eha.3.2007.3682.

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Tandy, Travis, Azis Tirtaatmadja und Augustina Ika Widyani. „Attraction of Interactive Display at the Main Exhibition Hall of Jakarta Textile Museum“. In The 2nd Tarumanagara International Conference on the Applications of Social Sciences and Humanities (TICASH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201209.030.

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Cesário, Vanessa. „Analysing Texts and Drawings: The Teenage Perspective on Enjoyable Museum Experiences“. In Proceedings of the 32nd International BCS Human Computer Interaction Conference. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/hci2018.215.

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Lima, Ana Paula Felicissimo de Camargo. „Fluxus sob museu: ainda há arte e vida nesta história?“ In Encontro da História da Arte. Universidade Estadual de Campinas, 2007. http://dx.doi.org/10.20396/eha.3.2007.3718.

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Liu, Fan, und Jie Chen. „Research on the Public Education System of Textile Intangible Heritage in Museums“. In 2020 Conference on Education, Language and Inter-cultural Communication (ELIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201127.065.

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Mingyu, Lu, und Si Xianzhu. „Application of Machine Translation to Chinese-English Translation of Relic Texts in Museum“. In 2010 International Conference on Intelligent System Design and Engineering Application (ISDEA). IEEE, 2010. http://dx.doi.org/10.1109/isdea.2010.4.

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Freitas, Nivaldo Alexandre de. „Apontamentos sobre o problema da recepção estética nos museus de arte a partir de Theodor Adorno“. In Encontro da História da Arte. Universidade Estadual de Campinas, 2007. http://dx.doi.org/10.20396/eha.3.2007.3708.

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Berichte der Organisationen zum Thema "Textil museum"

Marcketti, Sara B., und Janet E. Fitzpatrick. Exhibit Preparation and Promotion: Treasures of the Textiles and Clothing Museum. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-791.

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Reaves, L. Danielle, und Laurel D. Romeo. Apparel Design Students' Use of Textiles and Clothing Museums as Sources of Inspiration. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1335.

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Marcketti, Sara B., und Janet E. Fitzpatrick. Correcting misperceptions: Strategies for attracting and educating a reluctant audience to a museum of textiles and clothing. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-618.

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Shahani, Milan, und Mittu Gupta. Engaging Students to Create a Mural Inspired by a Museum Visit: A Creative Approach to Teach Textiles. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-398.

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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn und Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Hall, Mark, und Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.

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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.

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