Relevant bibliographies by topics / Arts and Crafts Section

Academic literature on the topic 'Arts and Crafts Section'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Arts and Crafts Section"

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Vale, Brenda, and Yvonne Shaw. ""First find your peasant ..."." Architectural History Aotearoa 16 (December 5, 2019): 72–86. http://dx.doi.org/10.26686/aha.v16.8932.

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Within the context of Edwardian architecture, this paper concerns the interior of dwellings in the 1900s and in particular the furnishings and objects inspired by the Arts and Crafts movement that people might have chosen to have in their homes. The Arts and Crafts section of the 1906 International Exhibition in Christchurch included work by the Haslemere Peasant Arts Society and Haslemere Peasant Industries from England. This paper explores how this movement began, and speculates why its works were part of an exhibition that included works by well-known Arts and Crafts protagonists, such as Morris, Ashbee and Voysey. It looks at the figures involved in the Haslemere ventures, including Godfrey Blount, and the response in the New Zealand press to his ideas that at least 90% of workers should want less rather than more wages, and as a result be involved in working on the land (Blount "Religion and Riches" pp 91-93). The paper also speculates about the life of the peasant and the romanticised view taken of peasants by proponents of the Arts and Crafts movement. It also discusses whether the Arts and Crafts would have flourished, both in New Zealand and Britain, without societies with a middle-class wealthy enough to adorn their homes with its artefacts, or indeed wealthy enough to bankroll it.
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Kostrzyńska-Miłosz, Anna. "Exhibition of Arts and Crafts in Vilnius 1924: Tradition or Modernity?" Acta Academiae Artium Vilnensis, no. 98 (February 8, 2020): 262–78. http://dx.doi.org/10.37522/aaav.98.2020.30.

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The paper analyses the Exhibition of Arts and Crafts opened on 15 September 1924 at the Vilnius Apollo Cinema and presents the press reviews of artistic critics. Particular attention is paid to artistic craftsmanship which demonstrates the attitude of the exhibition’s organisers to tradition and modernity. Crafts constituted about two thirds of the exhibits. The sec- tion was essentially varied and ranged from the Azarewicz / Azarevich Po- ttery Workshop decorated, according to the journalist of Przegląd Wileński in the “native way”, to graphic layout proposals of the Lux Publishers. In addition to painting, sculpture, monument designs, and the artistic photography of Bułhak, Siemaszko, Wysocki, and Świętochowska were presented with the comment that they constituted the “prime section of Vilnius artistic activity”. Such a wide range of artistic visions allowed various trends in the development of 1920’s Vilnius art to be shown.
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Tressol, Nathanaëlle. "The Reception of Russian Arts and Crafts in French Art Journals." Experiment 25, no. 1 (September 30, 2019): 346–62. http://dx.doi.org/10.1163/2211730x-12341347.

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Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.
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Levine, Meredith. "The Directors’ Colloquium at Calgary The Director’s Role: 1/ The Workshops: Transformations." Canadian Theatre Review 52 (September 1987): 4–6. http://dx.doi.org/10.3138/ctr.52.001.

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As Nick Hutchinson, head of the acting and playwriting section of the English language division of the National Theatre School, puts it: “Directing is a difficult craft to teach and a difficult craft to learn, because to be a good director, you have to learn all the crafts of the theatre.” Hutchinson was speaking on a panel about actor expectations at the recent Directors’ Colloquium at Calgary, Canada’s first major attempt to engage directors in a comprehensive examination of the technical and theoretical issues involved in their art. Why has this not been previously attempted? Certainly part of the answer is that directing is still relatively new to the process of creating theatre: directors did not begin to appear until the mid-19th century, before which, actor-managers usually ran theatre companies. Consequently, the art of directing still is struggling to claim its identity, still is delineating its borders amongst the playwrights, actors, designers, and technicians who all collaborate on this most ephemeral form. Who is in control of what in the creative process understandably remains in a state of flux.
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Sanina, S. P. "The Role of Modular Education in the Development of Professional Competencies of Applied Bachelor Students." Psychological-Educational Studies 10, no. 3 (2018): 56–69. http://dx.doi.org/10.17759/psyedu.2018100306.

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The modular principle of the educational process organization is considered in which practical work, training and introductory, educational practice, SSRP are included into the module, along with the theoretical content. The aim of the article is to consider possibilities of modular education in developing professional competencies of future primary school teachers. In the article experience of the module section approbation "Organization of students’ learning activities at Arts and crafts lessons" is presented. Two models of the teacher's activity in the teaching process are described: the “instruction” model of the teaching process and the teacher’s "controlling" activity. Experience of implementing the model of modular education at all stages is presented: an example of the task for students for educational and introductory practice is given; examples of questions discussed in reflexive work are given; how classroom studies are conducted taking into account the specificity of the subject "Arts and crafts". Examples of a test task and a case for the midterm assessment of students are provided. The effectiveness of the modular organization of the educational process in developing students’ professional competencies of applied bachelor degree course is shown.
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Kozhanova, Mira. "Curating national renewal : the significance of arts and crafts in the construction of Soviet identity at the 1925 Exposition internationale des arts d�coratifs et industriels modernes in Paris." Art East Central, no. 3 (2023): 37–57. http://dx.doi.org/10.5817/aec2023-3-3.

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At the Exposition internationale des arts d�coratifs et industriels modernes in Paris in 1925, the newly recognised Soviet Union was given a platform to present its ideology through art. It constructed an official narrative of national renewal through a sophisticated exhibition concept that complemented contemporary art (particularly constructivism) with arts and crafts. This article sheds light on why the Soviet officials chose this specific approach and how their strategy was rooted in the earlier exhibition experience of the Russian Empire and the Soviet Union. Focusing on the two sections of arts and crafts presented in Paris � the Kustar goods of Soviet Russia and folk art from other Soviet Republics � the article examines their significance for the carefully constructed Soviet identity of the time. Furthermore, it analyses the contributions of individual organisers to these sections in light of their statements and writings, their professional positions and their prior experience. By illuminating the human factor behind the official narrative, the article exposes a parallel level of interpretation in order to further a more nuanced understanding of the Soviet contribution.
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Chang, Juyon. "Characteristics of the Craft Section of the Joseon Arts Exhibition." Misulsa Yeongu : Journal of Art History 37 (December 31, 2019): 7–31. http://dx.doi.org/10.52799/jah.2019.12.37.7.

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Guo, Yuchuan. "Complex Discrete System Analysis of Process Design and Tourist Souvenir Making Based on Artificial Intelligence 3D Printing." Discrete Dynamics in Nature and Society 2021 (December 13, 2021): 1–11. http://dx.doi.org/10.1155/2021/1086851.

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With the rapid development of 3D (three-dimensional) printing technology, it has been widely used in the field of ceramic arts and crafts. However, due to the complexity of 3D printing technology, it will face complex modeling and calculation when designing ceramic art crafts. To this end, the artificial intelligence algorithm is introduced, and using the data measured by the built-in modeling instruction of LAMMPS of the artificial intelligence algorithm, the program is used to reset its coordinates, length, width, height, and focal length. The obtained data are modified by postprocessing to correct its coordinates and the size of the simulation frame, so that the nanopowder model is placed in the center, forming a solid ellipsoidal aluminum nanopowder and cutting it into a three-dimensional model of teapot, which is transformed into the STL file of two-dimensional cross section, and the finished product is printed out to the 3D printer. Finally, the RTM model is used to test the quality of tourist souvenirs. The results show that the homogeneity of variance is much greater than 0.10. It can be inferred that the tourist souvenirs of pottery teapots have met the requirements of national technological quality standards.
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Corke-Webster, James. "Roman History." Greece and Rome 65, no. 2 (September 17, 2018): 259–66. http://dx.doi.org/10.1017/s0017383518000207.

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Identity studies live. This latest batch of publications explores what made not just the Romans but the Italians, Christians, and Etruscans who they were. We begin with both age and beauty, the fruits of a special exhibition at the Badischen Landesmuseum Karlsruhe in the first half of 2018 into the most famous of Roman predecessors, the Etruscans. Most of the exhibits on display come from Italian museums, but the interpretative essays that break up the catalogue – which are also richly illustrated – are by both Italian and German scholars. These are split between five overarching sections covering introductory affairs, the ages of the princes and of the city-states, the Etruscans’ relationship with Rome, and modern reception. The first contains essays treating Etruscan origins, history, identity, and settlement area. The second begins with the early Iron Age Villanova site, before turning to early Etruscan aristocratic culture, including banqueting, burials, language, writing, and seafaring. The third and longest section considers the heyday of Etruscan civilization and covers engineering and infrastructure, crafts and production, munitions, women's roles, daily life, dance, sport, funerary culture, wall painting, religious culture, and art. The fourth section treats both the confrontation between Etruscan and Roman culture and the persistence of the former after ‘conquest’ by the latter. The fifth section contains one essay on the modern inheritance of the Etruscan ‘myth’ and one on the history of scholarship on the Etruscans. Three aspects to this volume deserve particular praise. First, it includes not only a huge range of material artefacts but also individual essays on Etruscan production in gold, ceramic, ivory, terracotta, and bronze. Second, there is a recurring interest in the interconnections between the Etruscans and other cultures, not just Romans but Greeks, Iberians, Celts, Carthaginians, and other Italian peoples. Third, it includes the history of the reception of Etruscan culture. Amid the just-shy-of-200 objects included (almost every one with description and high-quality colour image), the reader can find everything from a mid-seventh-century pitcher made from an Egyptian ostrich egg painted with birds, flowers, and dancers (147), through the well-known third- or second-century bcTabula Cortonensis – a lengthy and only partially deciphered Etruscan inscription that documents either a legal transaction or a funerary ceremony (311) – to the 2017 kit of the Etruschi Livorno American Football team (364). Since we have no extant Etruscan literature, a volume such as this is all the more valuable in trying to get a sense of these people and their culture, and the exceptionally high production value provides quality exposure to material otherwise scattered throughout Italy.
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Wiśnicka, Anna. "Simple yet effective. Remarks on Finnish approach to design promotion." Załącznik Kulturoznawczy, no. 6 (2019): 263–84. http://dx.doi.org/10.21697/zk.2019.6.13.

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This paper gathers and analyses the main parts of the Finnish model of design promotion. It starts with providing the clear idea of division into global and national mechanisms as well as into commercial and cultural initiatives. Global mechanisms work on an international level, raising the design awareness and building the global perception of Finland as the country of design. They include works of the International Council of Societies of Industrial Design (now the World Design Organisation) and UNESCO. The promotional efforts taken on the national level focus on establishing the position of the designer and raising the understanding of the importance of design in public spaces. Those are supported by national organisations such as the Arts Promotion Centre Finland (Taike), the Finnish Association for Designers (ORNAMO) and Design Forum Finland (the official organisation of the Finnish Society of Crafts and Design), as well as local initiatives. The last section looks at the role of commercial initiatives, such as fares and marketing strategies, applied to design and the importance of cultural projects, such as museum exhibitions, publications, lectures, etc. All of the measures amalgamate to form a well-established model of design promotion which has been proven to work on many levels. Keywords: design promotion, marketing, d
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Dissertations / Theses on the topic "Arts and Crafts Section"

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Hart, Imogen. "Arts and crafts objects." Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434024.

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Pustina, Petter. "Arts & Crafts Laboratory." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135596.

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Denney, Matthew John. "Arts and Crafts furniture and vernacular furniture." Thesis, Bucks New University, 1997. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.714467.

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Hartigan, Nancy. "A center for arts and crafts: Georgetown." Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/63976.

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“Two great desires which are in essence the desire to absorb and then desire to emit, the desire to know and the desire to test, the desire to hear and the desire to utter, and the basis not only of a true and effective education, not only are they the wholesome body and the enchanting voice of art, but they are greater then these, for they are the animation of quality of that higher purpose and significance of art that we call poetry” Lois Sullivan Crafts are the integration of art and life. They bring together nature and man in the form of a usable object. Architecture may be named the ultimate craft endeavour for through building we create a work of art which is used by man. In the thesis the two disciplines are brought together in the Center for Arts and Crafts. The Center, a complex of structures united by public space acts like the guilds of the early twentieth by providing “a forum for exchange of ideas and theories and [a place for] socializing.” (Cummings, page 25) The craft center offers an opportunity to learn about craft; the use of our minds and hands together. Visitors have the chance to participate with craft through viewing the making process, and making them oneself. The theme for the design becomes “interaction.” Interaction is possible for the neighborhood with those outside and those inside. Providing public space is essential to encourage interaction. “Space is the principle medium of urbanism - the matrix that units public and private interests in the city, guaranteeing a balance between the two.” (Michael Dennis, Court and Garden, page 2) The making of a public rooms is often neglected in today’s architecture. Where ever these courtyards and piazzas occur, they are active and full of life. The Washington Harbor which neighbors the Incinerator site is a successful example of the desire of people to congregate and their need for socializing. The Arts and Crafts Center becomes a stage, enlivening the structure through activities of the public and their interaction with the inhabitants of the complex. The creation of a space which requires human participation to complete the architecture ensures that we, humanity, and the primary subject or object of architecture. Architecture is built by human hands for humans to inhabit. It should spark our imagination and encourage our participation. The honest expressions of structure and materials are rare in recent buildings leaving us faced with false images and removed from reality. How can we interact with false truths? In our search for a new reality we can look back to simpler times and apply their principles to our complex world. Nature and our own histories must become our guide on the journey toward meaningful and engaging architecture.
Master of Architecture
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Chow, Wan-king Janice. "Urban villa for Chinese folk arts and crafts." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31986390.

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Thesis (M.Arch.)--University of Hong Kong, 2002.
Includes 1 technical study and 1 special report. Content page of thesis report missing. Includes bibliographical references. Also available in print.
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周韻琼 and Wan-king Janice Chow. "Urban villa for Chinese folk arts and crafts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986390.

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Noseworthy, Molly. ""Ya'll Come Back" Continuing Arts and Crafts in Gatlinburg." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/36.

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Gatlinburg, Tennessee is a tourist town. I was born and raised in this area, and am currently employed at a ceramics shop in the historic Arts and Crafts Community. Due to this job, I have decided to research the importance of the town and crafts area. In this paper, I will present an overview of the history of the town and its art community, and also present an inside look at life and business in a tourist town. Although the Arts and Crafts Community has grown to be a tourist attraction, its roots still lie in the traditional handmade trades, and its artisans attempt to balance the integrity of their crafts with modern demand and economic realities.
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Summerton, Janet. "Designer crafts practice in context." Thesis, City University London, 1990. http://openaccess.city.ac.uk/7724/.

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This research attempts to identify patterns of successful independent practice among contemporary visual arts practitioners for the purpose of increasing understanding of the structures of and activity within the visual arts in England. The intention is to draw conclusions regarding how such practice can be facilitated and supported. It looks at a particular kind of practice in the area of design craft, and at the organisations charged with the responsibility for state provision, setting this critique in a context of a historical and social perspective. Much of recent conventional practice in the visual arts is considered to have a narrow view of what constitutes acceptable practice and is based on the gallery-based fine arts model. This model is a dubious base line from which to encourage a healthy range of independentpractice, and is of little use to the practitioners in this study, and others of similar intent. The practitioners encountered in this research might beconsidered applied artists, as they have a need to engage with a public during the processes of conception, creation and selling of their work. The patterns have been documented with the assistance of concepts regarding small business, particularly a subsector called micro business. Micro business has recently been identified to describe a pattern of activity which is not conducted for profit or with goals of expansion. The motivation behind micro business is to maintain self determination.
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Wright, Christopher Wellman. "The Arts and Crafts aesthetic in a contemporary setting /." Online version of thesis, 1988. http://hdl.handle.net/1850/11547.

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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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Books on the topic "Arts and Crafts Section"

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Jill, Bace, and Rae Graham, eds. Arts & crafts. New York, N.Y: DK Pub., 2005.

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Haslam, Malcolm. Arts & crafts. London: Macdonald Orbis, 1988.

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Massey, James C. Arts & crafts. New York: Abbeville Press, 1995.

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Arts & crafts style. Oxford: Phaidon, 1991.

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Tina, Skinner, ed. Arts & crafts houses. Atglen, Pa: Schiffer Pub., Ltd., 2010.

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Anscombe, Isabelle. Arts & crafts style. London: Phaidon Press Ltd., 1996.

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Bolton, Vivienne. Arts and crafts. Bath [England]: Parragon, 2002.

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Kallen, Stuart A. Eco- arts & crafts. Edina, Minn: Abdo & Daughters, 1993.

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Arts & crafts carpets. New York: Rizzoli, 1991.

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Magubane, Peter. Arts and crafts. London: Struik Publishers, 2001.

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Book chapters on the topic "Arts and Crafts Section"

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Fave, Antonella Delle, and Gaja Zager Kocjan. "Well&;#x02010;Being in the Arts and Crafts Sector." In The Wiley Blackwell Handbook of the Psychology of Positivity and Strengths&;#x02010;Based Approaches at Work, 508–26. Chichester, UK: John Wiley &;#38; Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118977620.ch26.

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Lúcio, Marília. "Loulé Criativo: our creative tourism development story." In Creative tourism: activating cultural resources and engaging creative travellers, 154–64. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0021.

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Abstract The Loulé Criativo project aims to provide a continuous induction of innovation in the products and work processes of professionals; the necessary conditions for research in the arts and crafts and related topics; support for the installation and business of artisans and professionals in the creative sector, adjusted to their needs; and a cultural programme that includes permanent and temporary exhibitions and events related to the theme of creativity, heritage, and arts and crafts. It strives to be closer and closer to its communities, to create business opportunities for local agents, and to offer quality, differentiated, and authentic tourism so that anyone who decides to spend their vacation in Loulé can have an experience of immersion in the local culture.
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Wilkinson, Philip. "Arts and Crafts." In 50 Schlüsselideen Architektur, 80–83. Heidelberg: Spektrum Akademischer Verlag, 2013. http://dx.doi.org/10.1007/978-3-8274-3066-3_21.

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Xu, Guobin, Yanhui Chen, and Lianhua Xu. "Arts and Crafts." In Introduction to Chinese Culture, 113–31. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8156-9_5.

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Winstedt, R. O. "Arts and Crafts." In The Malays, 161–75. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003463726-9.

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Radbourne, Jennifer, and Margaret Fraser. "Arts and crafts industry development." In Arts Management, 157–66. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416463-9.

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Jackson, Tracy Broadley. "Theme: Arts & Crafts." In The Speech and Language Activity Resource Book, 243–56. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003177852-20.

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Boas, Adrian J. "Crafts and minor arts." In Crusader Archaeology, 175–228. 3rd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003279648-7.

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Madan, Arwah. "Innovation and Craft Revival." In Advances in Media, Entertainment, and the Arts, 376–93. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0504-4.ch017.

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Protecting and preserving the knowledge and skills of traditional crafts is a growing challenge. Further, ensuring a sustainable livelihood to artisans working in these traditional crafts is a tall order. Section one of the chapter explores the traditional tribal art form widely practised among a semi-nomadic tribe in the north-west region of India. Section two of the chapter examines the role of a not-for-profit organization involved in the revival of the ancient Lambani craft. Sabala- an organization located in one of the districts in Southern India has been working on the revival and preservation of Lambani embroidery. At Sabala, crafts are designed to enhance the creative appeal of products for the local and global market, as well. The integration of both, the creative design and the execution of craft in the hands of the artisans can ensure ingenuity in the craft form and not reduce the craft worker to a mere labourer.
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Sondhi, Ranjit. "sampad: working with arts and culture." In Community Organising Against Racism. Policy Press, 2017. http://dx.doi.org/10.1332/policypress/9781447333746.003.0006.

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sampad is a South Asian arts and heritage organisation based at the Midlands Arts Centre in Birmingham, UK, that develops high-quality dance, music, drama, literature, poetry, crafts performances, and events based on traditions drawn from the countries of the Indian subcontinent to engage in a creative intercultural dialogue with all sections of Britain's increasingly diverse society. Through the language of art, it explores the relationship between traditional and emerging identities, between established and popular art forms, within and between different religious, cultural, and social groupings, and between settled communities and new migrants to create the basis for a wider and more informed debate in wider civil society about the construction of community and identity in the modern era. This chapter explores the extent to which sampad has met its aims and objectives. sampad's formal mission statement now is to connect people and communities with British Asian arts and heritage and to play a proactive role in the creative economy.
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Conference papers on the topic "Arts and Crafts Section"

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Barnes, Anthony. "Learning with Lutyens: Noel Bamford and the Design of Ngahere, Auckland (1907)." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5014ps6dt.

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Architects F. Noel Bamford (1881-1952) and A.P. Hector Pierce (1879-1918) both worked in Edwin Lutyens’ London office before establishing their Auckland partnership in 1907. Just prior to the formation of the partnership, Bamford designed a house called Ngahere in the Auckland suburb of Epsom. Ngahere is known as an early and important example of Arts and Crafts architecture in Aotearoa New Zealand. It is a novel application of the butterfly plan, with a dominant central section and two articulated wings. Although built in timber on a foundation of basalt, like some larger villas in surrounding Mount Eden, in its plan and form it was unlike any other house in Auckland. This paper explores the design of Ngahere considering Bamford’s knowledge and experience of Arts and Crafts architecture, including that gained during his time in Lutyens’ office. It asks whether this house is true to the ideals of the Arts and Crafts movement as conceived in England, using pre-industrial forms, traditional construction methods and hand-crafting, or shows evidence of other geographical paths of the Arts and Crafts movement such as the United States and Australia. Additionally, it asks whether aspects of the house relative to planning (including relationship to the site), built form, materials and detailing are reflected in later Bamford and Pierce houses, or more widely in Arts and Crafts houses in the Auckland region. The paper shows that while Bamford’s time in Lutyens’ office apparently provided him with a repertoire of design skills and ideas, it did not render him an acolyte. Rather, Ngahere included clear references to the broader architectural lineage and direction of the Arts and Crafts movement in England and beyond, apparent in the ways the house responds to its site and context, including the visual and physical relationships between indoor and outdoor spaces.
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Fostikov, Aleksandra. "ZANATSTVO U DOBA KRALjA MILUTINA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.149f.

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The economic growth happened during the reign of King Uroš II Milutin in medieval Serbia based on the development of mining and technology leap, parallel with the processes of conquering new territories and byzantiontion, as the urbanization, affected the economic sector itself. The production of precious metals increases, money is minted and the trade flourishes. The strong financial basis finds its special reflection in the increase and strengthening of the army, but also in construction, which in the literature is characterized as above average for one ruler. In addition, apart from the construction itself and military craft production, there is also a flourishing of arts and handicrafts, as well as the use of certain materials. Moreover, there is a flourishing of artistic crafts, as well as further stratification and differentiation of crafts. At the same time, the influences of Byzantium on the craft, that were in the continuity flowed, strengthened in the time of Milutin, as through the alliance, which was crowned with marriage, or through the newly seized territories, which until then were in the Byzantine economic system. Also the arrival of skilled craftsmen from the territory of Byzantium, whose work is preserved both in written sources and in the form of immovable material remains, was one more step for gaining new knowledge of certain skills. Apart from the further development of the craft production, during Milutin's time there was a new codification of it, as it could be seen from Banjska charter, which is the first significant source on crafts organization and with legal norms about some crafts, that is preserved until today.
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Latifah, Anne Enur, I. Wayan Suardana, and Meysa Dj Hasiru. "Ergonomic Aesthetic Existence in Tasikmalaya Woven Crafts." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.032.

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Amirbekovna, Gadzhalova Fatima. "PRESERVATION AND DEVELOPMENT OF PEOPLE ART CRAFTS AND CRAFTS ON EMBROIDERY IN CUBA." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-104-107.

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Wang, Ning. "A Viewpoint on Intervention with Inheritance of Traditional Arts and Crafts by Vocational Teaching of Arts and Crafts." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.138.

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Abdulmejidovich, Yusupov Khizri. "KHARBUK CRAFTS: STUDY AND CONSERVATION ISSUES." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-42-47.

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Kamchompoo, Suleeporn, and Chaloemphan Kaewkanta. "Local Mascot Design by Using Universal Design for Sustainable Community Development: A Case Study of PAA YAO CRAFT MARKET." In 2024 Joint International Conference on Digital Arts, Media and Technology with ECTI Northern Section Conference on Electrical, Electronics, Computer and Telecommunications Engineering (ECTI DAMT & NCON). IEEE, 2024. http://dx.doi.org/10.1109/ectidamtncon60518.2024.10480094.

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Xie, Cong. "Computer Aided Design of Arts And Crafts Products." In 2023 IEEE International Conference on Integrated Circuits and Communication Systems (ICICACS). IEEE, 2023. http://dx.doi.org/10.1109/icicacs57338.2023.10100313.

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Grigoryeva, N. V., and S. L. Sargsyan. "METHODOLOGICAL PRINCIPLES OF STYLIZATION IN ARTS AND CRAFTS." In ИННОВАЦИИ В СОЦИОКУЛЬТУРНОМ ПРОСТРАНСТВЕ. Благовещенск: Амурский государственный университет, 2022. http://dx.doi.org/10.22250/9785934933891_60.

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Lin, Jiaqing, Hiroaki Nishino, and Tsuneo Kagawa. "A Digital Fabrication Assistant for 3D Arts and Crafts." In 2014 Ninth International Conference on Broadband and Wireless Computing, Communication and Applications (BWCCA). IEEE, 2014. http://dx.doi.org/10.1109/bwcca.2014.95.

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Reports on the topic "Arts and Crafts Section"

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Klein, Randal, and Sam Johnson. Environmental Assessment: Proposed Automotive/Arts and Crafts Skills Center, Hill Air Force Base, Utah. Fort Belvoir, VA: Defense Technical Information Center, October 2010. http://dx.doi.org/10.21236/ada530627.

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Henderson, Tim, Vincent Santucci, Tim Connors, and Justin Tweet. National Park Service geologic type section inventory: National Capital Region Inventory & Monitoring Network. National Park Service, July 2022. http://dx.doi.org/10.36967/2293865.

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Type sections are one of several kinds of stratotypes. A stratotype is the standard (original or subsequently designated), accessible, and specific sequence of rock for a named geologic unit that forms the basis for the definition, recognition, and comparison of that unit elsewhere. Geologists designate stratotypes for rock exposures that are illustrative and representative of the map unit being defined. Stratotypes ideally should remain accessible for examination and study by others. In this sense, geologic stratotypes are similar in concept to biological type specimens, however they remain in situ as rock exposures rather than curated in a repository. Therefore, managing stratotypes requires inventory and monitoring like other geologic heritage resources in parks. In addition to type sections, stratotypes also include type localities, type areas, reference sections, and lithodemes, all of which are defined in this report. The goal of this project is to consolidate information pertaining to stratotypes that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic heritage resources. This effort identified 20 stratotypes designated within seven park units of the National Capital Region I&M Network (NCRN): Chesapeake and Ohio Canal National Historical Park (CHOH) contains three type sections, two type localities, one type area, and eight reference sections; George Washington Memorial Parkway (GWMP) contains one type locality; Harpers Ferry National Historical Park (HAFE) contains two type sections, and one type locality/type area; Manassas National Battlefield (MANA) contains two type areas; Monocacy National Battlefield (MONO) contains one type section; National Capital Parks-East (NACE) contains one type locality; Prince William Forest (PRWI) contains one type section. Note that two stratotype designations (for the Harpers and Mather Gorge Formations) are shared amongst multiple park units. Table 1 provides information regarding the 20 stratotypes currently identified within the NCRN. There are currently no designated stratotypes within Antietam National Battlefield (ANTI), Catoctin Mountain Park (CATO), Rock Creek Park (ROCR), and Wolf Trap National Park for the Performing Arts (WOTR). However, CATO, CHOH, and GWMP contain important rock exposures that could be considered for formal stratotype designation as discussed in the Recommendations section. The inventory of geologic stratotypes across the NPS is an important effort in documenting these locations in order that NPS staff recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS has centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks and was therefore adopted for the stratotype inventory. The Greater Yellowstone I&M Network (GRYN) was the pilot network for initiating this project (Henderson et al. 2020). Methodologies and reporting strategies adopted for the GRYN have been used in the development of this report for the NCRN. This report includes a recommendation section that addresses outstanding issues and future steps regarding park unit stratotypes. These recommendations will hopefully guide decision-making and help ensure that these geoheritage resources are properly protected and that proposed park activities or development will not adversely impact the stability and condition of these geologic exposures.
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Tradition and Entrepreneurship: Popular Arts and Crafts from Peru. Inter-American Development Bank, February 2004. http://dx.doi.org/10.18235/0006434.

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An exhibition honoring Peru, and the city of Lima, host of the 45th Annual Meeting of the Board of Governors of the Inter-American Development Bank, presented folk objects and crafts various regions of Peru in which tradition has evolved within age-old artistic expressions. The exhibit also included objects that reflect recent innovations introduced by artisans and entrepreneurs with the idea of making such expressions economically sustainable. The exhibition was organized and curated by the IDB Cultural Center, with the participation of the Museum of the Central Bank of Peru.
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Tradition and Entrepreneurship: Popular Arts and Crafts from Peru. Inter-American Development Bank, February 2004. http://dx.doi.org/10.18235/0008268.

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Presents an exhibition of folk objects and crafts from Peru, representing various regions in which tradition has evolved within oldage artistic expressions, was be presented at the Art Gallery of the Cultural Center of the InterAmerican Development Bank, in Washington, D.C., from February 26 to April 30. The exhibit also includes objects that reflect recent innovations introduced by artisans and entrepreneurs with the idea of making such expressions more economically sustainable.
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