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1
Choudhury, Anamika. „Traditional art and craft of Sub- Himalayan Darjeeling: historical study“. Thesis, University of North Bengal, 2019. http://ir.nbu.ac.in/handle/123456789/4026.
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2
Capps, Jonathan Michael. „Transcending Traditions with Glass Orbs in Art“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469127095.
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Hockemeyer, L. „Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture“. Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
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Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
4
Summatavet, Kärt. „Folk tradition and artistic inspiration : a woman's life in traditional Estonian jewelry and crafts as told by Anne and Roosi /“. [Helsinki] : University of Art and Design Helsinki, 2005. http://www.loc.gov/catdir/toc/fy0805/2008400416.html.
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5
Wang, Yu Hsin, und n/a. „Learning from the past, providing for our future : an exploration of traditional Paiwanese craft as inspiration for contemporary ceramics“. Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20070205.101252.
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This project started with the Taiwanese�s Cultural & Creative Industries Policy,
which demands that all new products include local cultural content. However, little
is known about Taiwanese cultures. This research looked specifically at one of the
cultures, the Paiwanese Tribe.
This thesis reports on the research journey; identifying what the Paiwanese knew
about their culture and why they were unable to produce traditional products. It
argues that the displacement of the tribe has made it materially impossible to
continue traditional practices. This research then identified ways of capturing spirit
of traditional culture using modern technology. A successful model of working with
crafts people workshops in discussed. A case is made for the use of narrative
enquiry and oral history to record Paiwanese understanding. These
understandings were translated into a design outcome using a design method
called narrative design. The success of this research suggests that such an
approach is one model that can be used in design using new technologies and
materials from the re-establishment method of traditional products.
The understanding generated for regaining traditional craft knowledge is extended
with the design of a tea set that draws on this traditional knowledge, narrative and
culture. The tea set represents this knowledge for a global market. It is argued that
the design process used can guide design that transforms the culture message
and delivers it for a wide audience. This design concept process is a model that
can be used to develop cultural products.
6
Wang, Yu-Hsin. „Learning from the past, providing for our future an exploration of traditional Paiwanese craft as inspiration for contemporary ceramics /“. Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20070205.101252/index.html.
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Thesis (DDes) - National Institute for Design Research, Faculty of Design, Swinburne University of Technology, 2006.Submitted in total fulfillment of the requirements of the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design, Swinburne University of Technology - 2006. Typescript. Bibliography: p. 133-139.
7
Al-Boloushi, Laila. „The problems and prospects of incorporating a living craft tradition (Al-Sadu) inspired by Islamic geometric design into art higher education courses in Kuwait“. Thesis, University of Exeter, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529275.
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8
Donlin, Jane. „The dialectics of textile hand production : In search of poetic content : an enquiry into the position of the traditional textile crafts“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/439.
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This thesis frames the significance of traditional textile hand production as a means of furthering the concept of aesthetic socio-cultural development. It approaches the traditional textile crafts in relation to the proposition that contemporary society is post-traditional and has broken away from nature. By examining the concept of tradition and the processes by which society transforms from the pre-modern context into the late modern, the changing nature of the crafts is explained. The research also examines wider social losses, gains and unforeseen consequences that occur in the continuous process of social transformation. My art praxis is contextualised within the framework of reflexivity, the idea that creative art practice and theory build on one another. Two research methods are used. The first is a reflection on my situation as a maker. Integral to my work is the actual experience of traditional textile hand production. The second, in drawing on the literature from critical theory, proposes the concept of reflexivity as a means by which to rethink the position of the traditional textile crafts, particularly in relation to questions concerning tradition, culture, society, identity, nature and responsible human action.
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Bush, Melissa. „Home Sweet Home: An Infinite Grid of Memory and Repressed Abuse Trauma“. Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5611.
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Incorporating traditional craft mediums of crochet and embroidery, I use digital technology to experiment with wording to graphically represent my abuse trauma. Due to the severity of the subject matter and the work ethic I employ in my art practice, using my hands and being completely involved is a form of masochistic pleasure. My process takes on a Sisyphean approach of penance for the sins of others in my work. During my studio practice, my process reaches a meditative state where my mind is clear and free of the burden. Once I've completed a panel of trauma, the burden is transported into the art and a state of enlightenment is achieved. I began this program taking an analysis from an external perspective, gradually shifting my focus of artistic practice to my internal struggles with memory and repressed abuse trauma. Since I have selfishly focused on my personal tragedies for inspiration for the past three years, my work can now address a more universal subject matter in the future.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
10
Zoran, Amit (Amit Shlomo). „Hybrid re Assembage : bridging traditional craft and digital design“. Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/91860.
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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.Title as it appears in MIT degrees awarded booklet, September 18, 2013: Hybrid reAssembage: introducing traditional practice into contemporary design Cataloged from PDF version of thesis. Title as it appears in MIT degrees awarded booklet, September 18, 2013: Hybrid reAssembage: introducing traditional practice into contemporary design.
Includes bibliographical references.
Hybrid reAssemblage is a design gestalt that lies at the cross-section of digital design practice and the tactile qualities of traditional craft. It spans a territory in which the value of artifacts is produced through automated production as well as human subjectivity. This work is an exploration of two divergent realms: that of emerging computational technologies, and traditional hand-hewn practice. Hybrid reAssemblage proposes a new way of thinking about the machine, as generator of control and efficiency, and the unpredictable and singular nature of the raw and the manual. I illustrate Hybrid reAssemblage through three diverse projects: FreeD is a digital handheld milling device for carving, guided and monitored by a computer while preserving the maker's freedom to manipulate the work in many creative ways. It reintroduces craft techniques to digital fabrication, proposing a hybrid human-computer interaction experience. In addition to the technology, I present a user study, demonstrating how FreeD enables personalization and expression as an inherent part of the fabrication process. Chameleon Guitar exploits a selection of acoustic properties via a set of replaceable resonators and by a simulated shape, merging real-wood acoustic qualities with a simulated guitar body. It marries digital freedom with the uniqueness of acoustic instruments, and demonstrates a hybrid functionality platform. Focusing on the production of sonic qualities, this project is evaluated acoustically, pointing to the significance of attention to detail such as craft and wood qualities. Finally, Fused Crafts is a collection of artifacts that are part handcrafted and part 3D printed, visually demonstrating the potential of combining these practices to create hybrid aesthetics. I illustrate this visual concept with two examples: intentionally broken ceramic artifacts with 3D printed restoration, and 3D printed structure that is designed to allow the application of hand-woven patterns. This project is a search for an approach where both technologies can benefit from each other aesthetically, enriching the final product with new qualities. This dissertation begins with a contextual background, leading to the presentation of the projects. In the last part, I evaluate the work through feedback received from a panel of design, craft, and HCI experts.
Amit Zoran.
Ph. D.
11
Barmby, James Thomas. „The art and craft of university coordination“. Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45690.
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The purpose of this study is to understand the apparent acquiescence of senior officials at Alberta’s universities to legislation that might pose a threat to their institutions’ autonomy. In 1975 the Alberta government under the leadership of Premier Peter Lougheed attempted to introduce a mechanism for coordinating university programs in the Adult Education Act by placing Alberta’s four universities against their will within a system of provincial public post-secondary institutions. The 1975 Act failed to receive third reading due to successful lobbying efforts, yet in 2003 Lougheed's vision was finally realized with the passage of the Post-Secondary Learning Act (PSLA), which enlisted Alberta’s four universities without resistance as members of a provincial system that coordinates post-secondary programming.
A historical analysis, this study was framed within the dimensions of Wenger’s Communities of Practice model to analyze the interaction and trust between and among senior university and government officials in their attempts to find agreement on matters concerning the coordination of university programming. The study found that, only where there was evidence of all three dimensions of the Communities of Practice model, was there mutual trust as well as agreement by the university officials on government initiatives regarding the coordination of university programming. The main conclusion of the study is that university officials responded well to the program coordination concerns of the provincial government when the university officials, treated as equals to their government counterparts rather than as agents of government policy, were given the opportunity to participate in the development of the program coordination legislation and policies in conjunction with government officials.
12
Hein, Dawn Michelle. „The art and craft of the interior“. Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1209805.
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This thesis gives a voice to the call for a holistic approach to the preservation of commercial and particularly domestic architecture. Interior architecture is an important piece of the whole in need of consideration. Arts and Crafts interiors in the state of Indiana are considered in reference to this fact and the case studies chosen exemplify the connection between cultural history and the interior architecture and design.The Arts and Crafts Movement's philosophy worked to integrate the entire design with the surrounding site. The interior was the focus of the synthesized design and it is this emphasis that must be captured. The Midwest played an important role in the development of the Arts and Crafts Movement and central Indiana's interior residential architecture gives evidence to the movement's influential philosophy as well as social changes in the early twentieth century.An introduction to the Arts and Crafts Movement briefly discussing its history in England and the United States is provided as well as a discussion of the Movement's philosophy. Following the history is a chapter concerned with the Arts and Crafts influence in Indiana. Manufacturers and retailers are identified as well as products marketed. Architects and artisans are discussed. Next, a chapter identifies significant interior elements, furnishings, finishes and floor plans. Finally, four case studies are examined ranging from a self-built bungalow to an architect-designed estate. Floor plans, architectural features, and finishes are covered.Department of Architecture
13
Isbister, Vianna. „The Art and Craft of Aerial Dance“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/558.
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The Art and Craft of Aerial Dance discusses my personal experiences training and performing aerial dance, along with my study of safe practices in aerial rigging. My journey as a Theatre and Dance Honors-In-Discipline Scholar at East Tennessee State University from 2016-2020, culminated with my senior thesis capstone performance at Azure Aerial Arts on Friday, December 6th, 2019. This exploration into the world of aerial dance began in the spring of 2017 and has not ceased. If anything, the drive and motivation to continue pushing forward despite many obstacles continues to grow and manifest itself into new forms in my life. This drive, and my work as an intern with Night Owl Circus Arts (NOCA) at Azure Aerial Arts over the summer of 2019, propelled me to choose this topic as my final thesis because of all of my accomplishments at ETSU, this is one that I hold nearest and dearest to my heart.
14
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.
15
Bhattacharjee, Samita. „Poly'nAsia a fashionable fusion of Tongan & Indian textile traditions : this exegesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design (Fashion Design ), February 2005“. Full thesis. Abstract, 2005.
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16
Agrawal, Harshit S. M. Massachusetts Institute of Technology. „InterWoven : integrating traditional basket weaving craft into computer aided design“. Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106063.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2016.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 83-87).
The need and desire to create objects is built into human civilization throughout history. The immense diversity of cultures in the world has led to the development of tremendously diverse design and making traditions. Each of these reflects unique imagination threads in our collective thought process and carries immense value in the growth of it. These days, we are witnessing a rise in the digital maker movement, propelled by digital fabrication machines like 3D printers. These are democratizing manufacturing, however, a point to note is that all of the CAD (computer aided design) software tools to design objects for digital fabrication have been developed in an industrial context. This inherently means that these tools support operations like extrude, revolve etc., but not traditional operations like weaving techniques (plaiting, twining etc.) for example. Digital design language therefore lacks a representation of the diverse making traditions and as such these are not accessible to people to design with. This projects to a subsequent decline in usage of these traditional methods resulting in them slowly fading out. Instead, modem design tools should celebrate the diversity of making traditions and harness the strength of digital means combining it with traditional operations and aesthetics to create objects that were not possible with either of them individually. Through this thesis, I explore questions around how traditional making practices can be incorporated in CAD tools. How can one approach the design of such a tool and what is the variety of design possibilities this opens up, once the traditional and modern techniques inter-weave. I present InterWoven, a CAD tool that aids people in creating designs using traditional basket-weaving techniques.
by Harshit Agrawal.
S.M.
17
Grajewski, Zachary T. „Hybrid Craft: Designing a workflow for traditional and digital craftsmen“. University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439310578.
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Packer, Carolyn E. „The Evolution of Craft in Contemporary Feminist Art“. Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
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19
Astfalck, Jivan. „Narrative structures in body-related craft objects“. Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.
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In a largely under-theorised subject area as the crafts, this practice-based research contributes to the knowledge and understanding of the body related crafts object at PhD level. It conceptualises the narrative methodology necessary to make the creative work and theoretically examines its intention. Because the theoretical work on narrative structures has been largely done outside the crafts/art context, the research adopts and adapts existing procedures and concepts from hermeneutic philosophy and literary theory to expand on the understanding of the body related crafts object in this new context. The research project investigates narrative structures in body related crafts objects to further the understanding of these objects and to make a contribution to the theory of studio crafts practice. The dialogical and dynamic relationship between the surveying of relevant literature and the creative development of the practical work enabled the development of the narrative context of the work itself and the advancement of a studio methodology that emphasizes reflexivity and is conscious of its own need for understanding. Drawing on historical and autobiographical material, fiction and fairy tales, a series of body-related crafts objects have been produced that tell hybrid, fantastical stories. These objects are enigmatic, yet suggestive of the wounds of history and of the trauma and healing processes that are part of our relationships with others. The work is understood as a mnemonic device created to evoke the complexities and webs of relationships, which exist between the various levels of interpretative investments that would otherwise be un-containable. The exploration of the notion of metaphor within a semantic context is here adapted to facilitate new understanding of the metaphorical qualities found in creative and narrative craft objects. Metaphoricity can be regarded as a way of cross-mapping the conceptual system of one area of experience and terminology with another, suggesting a coherent system created for understanding knowledge in terms of critical reflection, and being conducive to new creative articulation and representation. In the work theory emerges as a dynamic encounter, a continuous re-figuration within a tradition of commentary and interpretation. Researched ideas, practical work and developing studio methodology have been explored further and tested in exhibitions, written publications, conference contributions, teaching projects and artists residencies. A large body of practical work has been generated over the period of the research. Some of the objects are pieces of jewellery, using precious metals and other more idiosyncratic materials. Other objects, even though still wearable, extend the boundaries of the traditional piece of jewellery towards what has become a fine art practice, which uses a multi-media approach together with traditional handcraft goldsmithing skills. Assemblage, installation, video and relational interactive projects have been developed to investigate narrative structures invested in those objects.
20
Bin, Khairani Mohd Zahuri. „Contemporary art, craft and hybridity : Malaysian encounters and responses“. Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19907/.
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This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft in Malaysia. The research addresses the question of the impact of hybridity on art and visual culture by focusing on production of artworks from indigenous Malaysian craft - traditional fabrics Pua Kumbu and Batik, and the Sarawakian layer cakes. The main objectives of this research are to understand the problems, consequences and effects of hybridity on art and visual culture and to produce artefacts that explicitly illuminate a new understanding of the dynamic that obtains between hybridity, contemporary art and craft traditions in the Malaysian context. Questions pertaining to the affects of hybridity and globalisation towards Malaysian politics, economy and social aspects were addressed in the artworks as a key aspect of this research. Furthermore, development of the Malaysian art scene in relation with hybridity will be discussed in the light of contemporary art progression historically. Analysis of the theory of hybridity, connections between hybridity in art via the works of international and local artists, will put forward to clarify theses areas. This will include exploration of the issue of national identity. This research will engage in the production of artefacts in the context of a varied studio practice, developing and employing throughout the course of the research materials and techniques deemed appropriate in the production of artefacts that embody the quality of 'local' cultural forms in dialogue with, or resistant to, forms associated with an exogenous, 'global' culture. The artwork production opens up the phenomenon of the current process of hybridity and the issue of Malaysia's national identity. This research will adopt descriptive, heuristic and comparative methods within an overarching practice-led methodology. The building, implementation and evaluation of methodology together which include exhibitions and audience are the key components of this research. Critical review of the production of artworks is seen to be an integral part of the research methodology; this process will encourage and sustain multi-disciplinary approaches to the research question. This research has revealed the connection between hybridity and the advancement of the Malaysia contemporary art movement that has been undergoing transformation through the process of modernisation. Above all, as a Malaysian artist working in the United Kingdom, my practice differs from the normal practice of Malaysian artists who translate "Malay" culture into art work in that it offers a critical view on political, economical and social issues in Malaysia.
21
Boismenu, Nicholas. „Indirect Measure“. Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3351.
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This paper is in support of my thesis exhibition “Indirect Measure” May 5th – June 3rd 2017, at the Reece Museum, located on the campus of East Tennessee State University. This document is an account of my examination into what constitutes art and the change in my perception of the utilitarian ceramic vessel during my research into the perceived difference between craft and art. Using broad definitions, I define what I believe art to be and how it is different from, and the same as craft.
22
Verschooren, Karen A. (Karen Annemie). „.art : situating Internet art in the traditional institution for contemporary art“. Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39149.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.Includes bibliographical references (p. 187-202).
This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly. Through an elaborate discussion of the key players, institutions and discourses on aesthetics, economics and exhibition methodologies, this sociological analysis of the past and current situation hopes to offer a solid ground for extrapolation and predictions for Internet art's future as an art world in its relation to the traditional art institutions.
by Karen A. Verschooren.
S.M.
23
Josephson, Codi Lea. „Mama said sew: stitched samplers, contemporary art and domestic craft“. Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/827.
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My interest in the history of craft as it relates to women and craft in the context of contemporary art led to a more specific personal curiosity about colonial stitched samplers. The incredible skill and patience young colonial stitchers exhibited, layered with the revelatory nature of stitched samplers, sparked a desire to understand them more thoroughly. This thesis is a hybrid product that includes both writing and research about my interest in colonial stitched samplers, craft and contemporary art, as well as ongoing work on three stitched samplers inspired by both colonial schoolgirl samplers and contemporary artists whose work builds upon the tradition of the stitched sampler.
24
Liguori, Samantha. „Stingray : an exploration into the art and craft of playwriting“. Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/579.
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Cloud Nine by Carol Churchill is a good example of non-linear play structure. Episodic plays are part of an even more disjointed time structure. There are both many different locations and characters in an episodic play; it is similar to a film script for that matter. Onstage, this was a revolution; how can a person be in one city and then the next shortly after? This was the rule of continuity that episodic structure broke. Bertolt Brecht did this throughout his movement in epic theatre, and traces of this structure can also be found as early back as Medieval plays. Therein lays the problem. If there are so many different way to write a play, how is it possible to just pick one? How does one even decide? There are many texts on playwriting that all say something different. In the end, the way you format a play script is decided by the structure in which you are writing your script, whether it be linear, non-linear, and episodic structures. This is an exploration to research possible methods of playwriting in the English language, choose a format, and create a story, ultimately forming a universally acceptable play script for a one-act production. Through my process, I researched various elements about play structure. I researched various types of formatting options found throughout texts, and the formatting options found in different publications of plays. I also researched the options of different software programs I could use to format my play. In regards to the show's content itself, I researched the personality disorders of my main character, John, in order to ensure I am staying accurate to the realistic expectations of the disorder. The possible disorders that might influence John included Bi-Polar disorder, Autism, Alzheimer's, or Narcissistic Personality Disorder. These disorders fit the characteristics of John and further research led me to finally adopt Autism as the end result.; David Ball's Backwards and Forwards: A Technical Manual for Reading Plays, Rosemary Ingham's From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images, and Cal Printer and Scott E. Walter's Introduction to Play Analysis aided in ensuring the translation from the script to the stage works together fluidly. By understanding how the play will be analyzed, the potential flaws with the work can be identified before it is put in front of an audience, publisher, or director. A writer needs to know why they made certain choices with both script and character. When a writer can analyze how their script can be perceived, they can create a more solid structure. It also is useful to utilize available play scripts in order to understand the conventions through example. Works that were useful included: Proof by David Auburn, The Glass Menagerie by Tennessee Williams, Equus by Peter Shaffer, The Cherry Orchard by Anton Chekhov, The Vagina Monologues by Eve Ensler, Doubt by John Patrick Shanley, and Death of a Salesman by Arthur Miller. The Vagina Monologues follows the format of episodic structure because of its inconsistencies to time and the multiple characters included in its script. Equus, Proof, and Death of a Salesman are examples of non-linear play structure because of the non-specific timeline the characters follow between past and present. The Glass Menagerie, The Cherry Orchard, and Doubt are all examples of linear structure because a majority of their play's content was written within a specified chronological order.; I researched the historical significance of the car, an all-original, 1969 Stingray Corvette Convertible, in order to allow my characters to speak accurately about their knowledge of the car. I also researched how previous playwrights have accomplished their transitions between the world of the play and a character's alternate reality. This was done in order to provide both a believable and a sly transition so the audience is left unaware until the reveal. In the final stages of this process, I polished the script for inclusion in the Theatre UCF Spring 2012 One-Act Festival (OAF). As stated above, the process of writing a play can be taken down many different avenues; however, the format of a play script is something that remains constant throughout. Knowing the history from where plays derive and which movements created such is just as essential. W. B. Worthen's The Wadsworth Anthology of Drama and Living Theatre by Edwin Wilson and Alvin Goldfarb provide an adequate brevity into the history of theatre. The books Playwriting: Brief and Brilliant by Julie Jensen, Playwriting: A practical guide by Noel Greig, The Art and Craft of Playwriting by Jeffrey Hatcher, and The Elements of Playwriting by Louis E. Catron all provide an introduction to the structured format of the play. These books also contain sections on theory explaining how to create a storyline for a play, how to accomplish believable dialogue, and how to defeat writer's block. Jensen, Catron, and Hatcher all go one step further and take their readers through the processes of publications, copyrights, and productions. Those sources help create the play, but during the editing phase, it is wise to acknowledge how others may study and analyze the work.; Through exploration and research, I plan on combining my two degree tracks, Theatre Studies and Creative Writing, in order to create an original one-act play for production, utilizing the techniques of both fields. My education has been lagging in playwriting, specifically. Neither Creative Writing nor Theatre Studies have any courses geared towards playwriting. Students appear to be taught everything but this aspect. I will, therefore, complete in-depth research in playwriting techniques through literature studies and one-on-one consultations with my professors in both departments. There are many different types of writing structures and play movements. Play scripts can be written in linear, non-linear, and episodic structures. Each structure is measured by the action of a script. The action of a script is developed with each action a character completes that moves the script further along towards a conclusion. Linear structuring of a play is when a majority or all the action of a play occurs in a chronological order. The play, therefore, always will be moving forward in time without any disruptions of said timeline. In a linear play, it does not necessarily mean all the action occurs in this chronological sequence. Comparable to Tennessee Williams' The Glass Menagerie, the entire recollection of Tom Wingfield's story is told chronologically in linear structure, despite the fact that this story is from Tom's memory, about an event he is no longer part of at that time. Non-linear structure occurs when the chronological timeline of a play is broken. The play's action constantly moves backwards and forwards through time. This type of play is based on the ideology of the human thought process. As humans, we may not remember the exact order of how things are remembered; these images and events are distorted somehow by our subconscious in order to remember. Thus, a non-linear play erupts based on the infrequencies of a timeline.B.A.
Bachelors
Arts and Humanities
Theatre Studies
54 p.
25
Furniss, Beverly. „Stitched in time: a progressive interpretation of embroidery“. AUT University, 2009. http://hdl.handle.net/10292/947.
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This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.
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Duque, Cuartas Alejandro. „Colombia's Classical Guitar Repertoire: Traditional, Traditional-Popular, and Art Music Idioms“. Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394724.
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This research explores the diversity of Colombia’s classical guitar repertoire (CCGR). Using musicological and artistic approaches, it aims to expand understanding of the wide stylistic range and diversity of CCGR. In particular, building on previous categorisations of Colombian music, this project offers a three-part framework for better understanding the diversity of CCGR idioms in their contemporary manifestations: namely, traditional, traditional-popular, and art music. Drawing on methods characteristic of historical musicology and artistic research, this research contributes to new understandings of these CCGR idioms through (1) inductive thematic analysis of academic and non-academic publications, including creative outputs such as compositional scores and recordings related to CCGR and the music genres involved; and (2) a CD I recorded for this research that showcases repertoire—including a world premiere piece—displaying the diversity of CCGR across the three idioms outlined above. It is hoped that the research outcomes will (a) expand current knowledge of the nature and diversity of CCGR, (b) help to profile and disseminate relatively unknown CCGR, and (c) inform future research on Colombian music and CCGR. In these ways, these outcomes may be of interest and benefit to composers, guitarists, and researchers, particularly but not only those from Colombia, in understanding, identifying and contextualising the diversity of CCGR.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text
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Wallace, Kyle S. „An Exploratory Study of Learning Journeys for Makers in the Fields of Art, Craft andDesign: An Investigation of the Blurred Boundaries between Art, Craft, and Design“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460024614.
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Cooper, Julie A. „Changing the Traditional High School Photography Curriculum: Integrating Traditional and Digital Technologies“. Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/68.
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This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.
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Stinchfield, Bryan T. „A THEORY OF ENTREPRENEURIAL WORK: ART, CRAFT, ENGINEERING, BRICOLAGE, AND BROKERAGE“. Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1967978691&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Mashigoane, Mncedisi Siseko. „Art as craft and politics : the literature of Mongane Wally Serote“. Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7875.
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Fuhrman, Anne Mary. „The Craft of Portraiture in Eighteenth-Century America“. W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625718.
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Fadorsen, Stephanie Alexandra. „American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art“. Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.
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Remond, Jaya Marie-Paule. „The Kunstbüchlein: Printed Artists' Manuals and the Transmission of Craft in Renaissance Germany“. Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11676.
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The dissertation studies sixteenth-century German artists' manuals (Kunstbüchlein), a new kind of book that addresses certain types of artistic practices. The Kunstbüchlein testify to and shape transformations of knowledge in early modern Europe. Disseminating practical knowledge in printed form, they endowed craft know-how with a form of authority until then reserved for the liberal arts. They aimed also to reconcile theoretical and practical knowledge, what Albrecht Dürer (the crucial forerunner to the authors of the Kunstbüchlein) termed respectively Kunst and Brauch. Authors Sebald Beham, Heinrich Voghterr, Heinrich Lautensack, and Erhard Schön sought to provide accessible, useful knowledge. Focused on a limited set of topics, they pretended to be closer to practice and to respond more effectively to the needs of their apprentices than Dürer and others in their publications. In fact, the Kunstbüchlein did not mediate Brauch, but show instead what their authors understood Brauch to be. Emphasizing the hands-on acquisition of knowledge through looking, reading, and doing, the Kunstbüchlein placed the printed image, whether as schematic diagram or finished illustration, at the core of the didactic process.History of Art and Architecture
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Johns, Melissa. „Tenacious Threads: Crazy Quilts as an Expressive Medium for Making Art“. Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/94.
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In this arts-based study, I will discuss using craft techniques such as crazy quilting in the creative process of making art. The paper describes the history of crazy quilts, a brief summary of artists who use quilts as a medium, and a description of how teaching craft-making skills in the classroom can encourage students to use them for art-making.
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Damian, Michelle Rodgers Bradley. „Archaeology through Art: Japanese Vernacular Craft in Late Edo-Period Woodblock Prints“. [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2738.
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Morton, Jennifer Heather. „Desert voices, pitjantjatjara women's art and craft production in Ernabella, South Australia“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22544.pdf.
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Mahlaba, Siphelele Nadia, und K. D. Ige. „Economic development and women empowerment in Zamimpilo art and craft co-operative“. Thesis, University of Zululand, 2018. http://hdl.handle.net/10530/1849.
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Theses Submitted to the Department of Sociology in fulfilment of the requirements for the Master’s Degree in Sociology in the Faculty of Arts at the University of Zululand, 2018.Development agencies, non-government Organizations (NGOs) and government organizations around the world aim for the betterment of women in all spheres of their lives. Empowerment has been considered the main focal point towards the achievement of the wellbeing of women. The study was about cooperatives and women empowerment. It investigated the extent to which participation, empowerment, capacitation and benefits of membership contribute in enabling cooperatives to empower women. This study applied the Capability Approach (CA) in an attempt to understand the need and importance of capabilities to women in a cooperative. The quality of life of an individual is analysed in terms of the core concepts of functionings and capability, thus the CA focuses directly on the quality of life that individuals are actually able to achieve. The Capability Approach proposed that the most vital thing to deliberate when valuing well-being is what people are actually able to do. Capacitation to disadvantaged people is very important in that it ensures services and assistants directly meet their needs. Participatory planning can be regarded as an instrument for identifying the needs of all persons within a community, a way of constructing harmony, and means of empowering deprived or marginalised groups. Participatory development has created the need that there should be inclusion of everyone concerned in the decision making that enables the utilization of all ideas and experiences especially of the poor in rural communities and that they should have influence in the decision making process. The study hypothesized that the perceived level of participation; empowerment and capacitation will determine the benefit of membership in a cooperative. The survey was conducted using a Five-Level Likert scale to decipher respondents’ perceptions of level of participation, empowerment, capacitation, and perceived benefits. In the beginning of analysis, responses (N=110) were reduced using Principal Components Analysis (PCA) to determine how questionnaire items contributed to variables under consideration, variables extracted were correlated and regressed. A linear regression analysis was used to describe how a benefit of membership mediates the relationship between participation, empowerment and capacitation. iii The results showed that members’ perceived levels of empowerment mediate their Perceived Benefits of membership (PERBEME). This shows how benefits of membership in a cooperative are determined and empowerment experienced. Cooperatives have a potential of empowering women and that is achieved through democratic operation, where members equally participate in the daily business. The findings showed a correlation between independent and dependent variables. The findings further demonstrated that capacitation, empowerment and participation, influence change on the benefits of membership in a co-operative.
National Research Foundation (NRF)
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Calvert, Isaac W. „Investigating the One-on-One Master-Apprentice Relationship: A Case Study in Traditional Craft Apprenticeship“. BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4154.
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Governments around the world are calling for a revival of apprenticeship on a large scale, emphasizing the value of the one-on-one, human interaction between master and apprentice and the teaching involved in that interaction. Although a broader historical view of apprenticeship shares these ideas, certain prominent threads within recent educational research have done a great deal to deemphasize them. Some go so far as to overlook the master-apprentice relationship altogether, assert that masters simply do not exist, and claim that apprenticeship learning happens without any teaching at all. In response to these claims, the researcher took part in an autoethnographic case study, participating himself in a two-year apprenticeship under a master violinmaker. Analysis from the case suggests that the one-on-one master-apprentice relationship plays a key role in apprenticeship learning, that mastery is embodied in individuals rather than in communities alone, and that a master's teaching does in fact make a difference to an apprentice's learning.
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Mak, Wai-man Stephanie. „Chinese arts and craft complex in Ladder Street, Sheung Wan“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945178.
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Lewis-Nash, Robert J. „Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture“. Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.
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Gleason, Caitlin. „Maintenance, Craft and Prototype: Andrea Zittel’s Technologies for Living“. Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11993.
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ix, 77 p. : ill. (some col.)The contemporary artistic practice of Andrea Zittel incorporates a variety of working methods and mediums in making objects that slip easily from one context to another. Zittel's artworks, which range from textiles to found objects, domestic implements and architectural structures, are simultaneously featured in museum collections and used functionally in everyday life. Focusing on her artistic endeavors in New York in 1990s, this study investigates the slippery nature of Zittel's work through the lens of the equally slippery concept of technology. In order to interrogate such intersections, I will examine three of Zittel's projects: Repair Work (1991), A-Z Personal Uniforms (1991-present) and the A-Z Escape Vehicle (1996). These cases exemplify how Zittel's engagement with technology creates a dialogue between her work and artistic and historical movements of the past, while also engaging and critiquing contemporary culture.
Committee in charge: Albert Narath, Chairperson; Kate Mondloch, Member; Allison Carruth, Member
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Alstorp, Paulina. „Ensam är stark!?“ Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4629.
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I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for. Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life. Through this investigation I have become more aware of my view on loneliness and belonging, regarding both myself and others. Can we as humans stand alone, or is interdependence necessary to reach our full potential? Can we experience loneliness in spite of co-existence? And can we feel togetherness in our loneliness? I have created objects in which I hope the observer can recognise themselves, in the emotions I wish to communicate. It may be about shame; shame for not fitting in; not belonging; a nagging sensation that you are not “right”. It may be the dark side which can arise through togetherness; like being situated in an environment where you are surrounded by people but still do not feel you belong; but also the feeling of release that a self-imposed seclusion can give. Through my jewellery I want to show that the way in which something or someone is decorated can raise standards, values and preconceived ideas.Har tagit bort bilder av upphovsrättsliga skäl
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Yan, Keyu. „Craft or Avant-garde? Contemporary Chinese Fiber Art at the Thirteenth Lausanne International Tapestry Biennale“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595538262296012.
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Marchand, Trevor Hugh James. „Moulding minaret makers : a study of apprenticeship and spatial cognition with traditional builders in Sana'a, Yemen“. Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324917.
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Petrosky, Natalie E. „Little Moving Windows“. Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1344224872.
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Fregonese, Margherita <1995>. „Internationalization strategies of craft-based and art-based SMEs: the Fornasetti case study“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15790.
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A new trend is leading the economic system toward the rediscovery of values, traditions and of the quality of products over their cost of production. Italy, thanks to its strong link with craftsmanship and culture, have the opportunity to leverage on those attributes to compete at the international level and to enter new markets. The aim of the research is to understand how an Italian SME characterized by craft production and cultural heritage can reach higher levels of internationalization. The first chapter provides data about the current structure of the Italian industrial system and on the role played by SMEs, focusing on their trends of internationalization. The second chapter analyses the definition and the importance of the Italian Cultural and Creative Industries as their sector is the most representative of Made in Italy and the one in which most of the cultural values and know-how lie. Through the analysis of a single case study, Fornasetti, the third chapter is aimed to answer at the research question: how can a small-medium Italian company, based on art, on prestigious craft skills and on a production completely maintained in Italy, enter new markets? The answer is found looking at strategic and authentic role played by Fornasetti's core pillars in sustaining both its business practices and their internationalization and brand strategy.
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Shelton, Meaghan L. „Intricate, infinite: Addressing the ineffable aspects of women's experience through the lens of traditional craft practice“. Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119698/1/Meaghan_Shelton_Thesis.pdf.
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Art historical research has shown that women's experiences have largely been under-represented in the fine arts; simultaneously, the applied arts that many women have traditionally used as a primary form of self-expression have been deemed equally inadequate for recognition. The reunification of craft with fine arts is essential as a means to bring visibility to rites of passage of the feminine. This practice-led research relocates women's experience by exploring the concept of the invisible but imperative functions of spaces and voids created by the methods and aesthetics of crochet. Through the lens of practice, in five iterations of creative work, the focus of this research seeks to illuminate the ineffable details of female experience.
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Ballard, Daniel Isaiah. „Traditional Pottery in Ghana“. Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/19.
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Thome, Hannah R. „Ravelry.com: Augmenting Fiber Craft Communities and Social Making with Web 2.0“. Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524488670252085.
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Lang, Gabrielle A. „Creating an Authentic Aesthetic: A Study of Craft Consumption and Domestic Ideologies“. University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438658.
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