Relevant bibliographies by topics / Craft

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Craft'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Craft"

1

Väänänen, Niina, and Katja Vilhunen. "Exploratory factor analysis of sustainable craft theory among Finnish craft hobbyists." Craft Research 15, no. 1 (March 1, 2024): 13–40. http://dx.doi.org/10.1386/crre_00117_1.

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This study explores how Finnish craft hobbyists view their craft practice in a sustainable craft theory context. We collected the data for this study through an online survey in February and March 2021. We analyse the survey questionnaire data (N = 929) using exploratory factor analysis. The findings of the study show detailed information about craft hobbyists’ perceptions towards sustainable craft and reveal how craft hobbyists find sustainable crafts to be well-being-related activities that enhance meaning-making in their leisure time. This study also provides a sustainable craft measure framework for quantitative examination and analysis. The findings of the study can be utilized to understand sustainable behaviour through hobby crafts in the green transition.
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2

Makhitha, K. M. "Understanding The Organisational Buyer Behaviour Of Craft Retailers In South Africa." Journal of Applied Business Research (JABR) 31, no. 2 (March 3, 2015): 501. http://dx.doi.org/10.19030/jabr.v31i2.9149.

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<p>The purpose of the study was to investigate the buyer behaviour of craft retailers in South Africa (SA). Specifically, the study investigated the stages in the buying process craft retailers go through when buying crafts from the craft producers. Craft retailers play a dominant role in the craft industry value chain yet craft producers face difficulties selling to this market. Instead, they resort to selling directly to end consumers and not through craft retailers. An understanding of craft retailer and buyer behaviour is a necessity for craft producers who want to sell their products successfully through the craft retailers. A survey was conducted among 233 craft retailers in SA. A convenience sampling method was adopted for the study. The findings revealed that craft retailers go through homogenous buying stages. The stages in the buying process did not differ across different types of craft retailers. The stages also did not differ according to the years of buying experience of craft retailers. An understanding of buyer behaviour of craft retailers would be necessary for craft producers who want to target craft retailers, since they (craft producers) will be able to formulate appropriate and effective marketing strategies targeted at craft retailers. Craft retailers go through a lengthy process when buying crafts. Craft producers, therefore, need to understand the stages that craft retailers go through to ensure that the understanding is incorporated into their marketing strategy.</p>
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3

Vartiainen, Leena, and Minna Kaipainen. "TEXTILE CRAFT STUDENTS’ PERCEPTIONS OF SUSTAINABLE CRAFTS." Problems of Education in the 21st Century 43, no. 1 (June 20, 2012): 131–40. http://dx.doi.org/10.33225/pec/12.43.131.

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Future teachers have an important role in education for sustainable development. This article describes textile craft teacher students’ perceptions of sustainable textile craft. The data derives from a survey of craft teacher students of the University of Eastern Finland (N = 20). The questionnaire included open-ended and multiple choice questions about sustainability of textile craft education and the relevance of sustainability in the students’ lives. The study reveals textile craft teacher students’ conceptions as consumers, craft makers and future textile craft teachers. The open-ended questions were analyzed by content analysis and the multiple choice questions were analyzed with statistical methods. The results were reflected to Victor Papanek’s function complex. As consumers, students favour good quality products and recycling of textiles. They are concerned about workers’ work conditions and against child labour. Although values and perceptions related to sustainable consumerism are high, sometimes the actual purchasing behaviour differs from the values because of the students’ meagre budgets. As craft makers, availability of locally produced materials and materials made of natural fibres are important to students. As future textile craft teachers, students think that craft is an excellent way to teach sustainability and sustainable craft. They consider it is important to teach life-cycle thinking but also craft culture and skills. Key words: clothing and textile design, sustainable craft, textile craft teachers.
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4

Zhong, Yiming, Shukun Tang, and Mei Lan. "Research on the Inheritance Path and the Branding Inheritance Model of Traditional Crafts." Sustainability 15, no. 7 (March 28, 2023): 5878. http://dx.doi.org/10.3390/su15075878.

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The inheritance of traditional crafts has contemporary value in the economy and socio-culture and, hence, the development of human civilization. China is well known for its traditional crafts and is the main subject of international traditional craft research; the Chinese government is the first leading force in traditional craft inheritance. This paper employs the grounded theory to analyze the content of 79 national policies on traditional crafts in China from 1960 to February 2022, and induces, compares, refines, and formulates an inheritance path for traditional crafts under the guidance of current public cultural policies in China. The path clarifies the Chinese government’s overall structure for traditional craft inheritance and can also serve as a reference for the international community in revitalizing traditional crafts and maintaining cultural continuity. The path contains five models, among which, the branding inheritance model is key to the revitalization of traditional crafts, yet in both theory and practice, there is a lack of implementation plans. This paper reviews branding theories, sorts out the four attributes of brand “Identification, Communication, Value, and Culture”, and then analyses the advantages of the branding inheritance model for traditional craft inheritance in four dimensions—recognition, identification, acquisition, and survival. Subsequently, this study selects the classical brand model focusing on each of the four attributes, explores the path to constructing the four attributes of traditional craft brands with a distinct operational logic, integrates the results of constructing the four attributes, forms a three-stage model of traditional craft branding inheritance, and analyzes the logical relationships of the components in the model. The model is a concrete implementation plan of the traditional craft branding inheritance, which aims to help public institutions formulate policies and guide practices in traditional craft inheritance, by providing a scientific strategic framework with a high degree of universality.
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5

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf
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6

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf
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7

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

Full text
Abstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf
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Stefanidi, Evropi, Nikolaos Partarakis, Xenophon Zabulis, Ilia Adami, Stavroula Ntoa, and George Papagiannakis. "Transferring Traditional Crafts from the Physical to the Virtual World: An Authoring and Visualization Method and Platform." Journal on Computing and Cultural Heritage 15, no. 2 (June 30, 2022): 1–24. http://dx.doi.org/10.1145/3484397.

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Visualizing human motion is a topic that has gained increasing attention in the domain of cultural heritage, due to the need for capturing intangible dimensions, existing for example in theatrical performances, dances, and crafts. In this respect, virtual humans are typically employed to re-enact human motion, executing movements reproduced through predefined animations, or physics simulation engines. In the case of traditional crafts, a defining point is how to model the interaction of virtual humans with craft-related objects and how to transfer it from the physical to the digital world. Toward a more effective and generic modeling and visualization of the interaction of humans with tools and machines utilized in crafts, this article proposes a novel methodology for the modeling and visualization of crafts and presents a platform enabling the authoring and visualization of craft processes. We contribute a way of visualizing craft processes within virtual environments, aiming to increase the usability of craft representation. As an example, we present and analyze the case of the craft of weaving with the use of a loom.
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Guo, Jingyan, and Byunghak Ahn. "Tacit Knowledge Sharing for Enhancing the Sustainability of Intangible Cultural Heritage (ICH) Crafts: A Perspective from Artisans and Academics under Craft–Design Collaboration." Sustainability 15, no. 20 (October 17, 2023): 14955. http://dx.doi.org/10.3390/su152014955.

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The tacit nature of craft forms a barrier to the sustainability of intangible cultural heritage (ICH) crafts in craft–design collaboration that makes facilitating knowledge sharing across domains challenging. Hence, the discussion of tacit knowledge becomes a significant topic in university-based craft–design collaboration. However, there is still a lack of a systematic tacit knowledge-sharing structure for guiding academics and artisans in interacting beyond superficial manifestations in collaboration with the consideration of sustainability. This study aims to seek the relationship between craft–design collaboration, tacit knowledge sharing, and sustainability in the context of ICH crafts in China. By taking a qualitative research approach, grounded in knowledge management, semi-structured interviews were conducted with artisans and academics in China’s Belt and Road regions guided by the four defined dimensions of craft–design collaboration. This study investigates tacit knowledge sharing in craft–design collaboration, and its key contribution to sustainability. The study found that university-based collaboration activity can share knowledge sustainably and dynamically through knowledge accumulation, knowledge expression, knowledge diffusion, and knowledge reflection. Additionally, it argues that the integration of craft–design collaboration and knowledge management should be considered an essential future skill to investigate the sustainability impact of ICH crafts.
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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system. The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula. Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
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More sources

Dissertations / Theses on the topic "Craft"

1

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

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This thesis explores how designers might approach human behaviour as a material to be worked on. Unlike politicians, economists, lawyers, philosophers, psychiatrists and many others, designers have few disciplinary resources to draw on in this space. Indeed, it is barely discussed at all. Contemporary designers are, we are told, supposed to treat people and things differently, and ensure that the latter are subservient to the agendas of the former - calls that become all the more insistent when designers are looking for ways to incorporate the design of services and organisations into their practice, a project that summons the prospect of breaking this taboo. But what would a form of design that took human behaviour as its object actually be like? This thesis takes up this question as an issue in the philosophy of design, through investigating a long and rich history of suspicions about designers - namely, suspicions that they might extend their material palette from dead materials to living human beings. This exploration uncovers the emergence in the Industrial Revolution of today’s fears that designers might ‘treat people like things’; but it also uncovers an older, almost lost history of ideas about design, which understood its applicability to human beings in a way that, today, is strikingly unfamiliar. Here we find the almost forgotten but still-lingering link between craft and being crafty, encapsulated well by the lost ancient Greek concept of mêtis, 'cunning intelligence'. Mêtis isolates that aspect of design at work when extraordinary effects are elicited from unpromising materials, connecting design to political intrigues, daring military stratagems, the operations of impresarios and salesmen, and other instances wherein, through ingenious means, the weak prevail over the strong. By uncovering and developing these ideas, the thesis provides a view of design that connects it to human behaviour not through domination but through clever manipulation, a morally complex but undoubtedly potent approach that informs an alternative conception of how human behaviour might be understood as the object of design. The principle contribution of this thesis is, therefore, to provide a novel examination of human behaviour as the object of design; its main achievement is to provide the design disciplines with, on the one hand, an exposition of the implicit associations this project has at present; and on the other, the disinterment of mêtis and related ideas as a promising counter-perspective.
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2

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

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In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.
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Seay, Laina. "Craft Cyborg." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2426.

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By merging the ancient associations that clay has with the human form and prosthetic science I question the relevancy and role of the human body in the future. As prosthetics heighten the awareness of the body through absence these additive limbs further this relevancy by presence. With greater advances in genetic engineering and plastic surgery biology will no longer dominate and these ridged clay extensions could become flesh.
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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.
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Golsteijn, Connie. "Hybrid craft : towards an integrated physical-digital craft practice." Thesis, University of Surrey, 2014. http://epubs.surrey.ac.uk/805669/.

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Nowadays, people engage in a diverse range of craft practices in their everyday lives, which take place in physical and digital realms, such as creating decorations for their homes, modifying IKEA furniture, making digital photo collages, or creating their own personal websites. Within this increasingly hybrid age, in which people engage with physical and digital artefacts alongside each other and simultaneously, the research presented in this thesis poses that there are opportunities for new forms of making and creativity at the intersection of physical and digital realms. In other words, it introduces hybrid craft as a new everyday craft practice. Using an interaction design research methodology that consists of research for design (interviewing physical and digital crafters about their current practices) and research through design (designing, prototyping, and evaluating a novel toolkit for hybrid craft, called Materialise), this thesis explores what forms hybrid craft practice may take in everyday life, and what new systems or tools could be designed that facilitate this practice. Employing a comparison of physical and digital craft practices, and findings from design work, design guidelines are formulated for effective combination of physical and digital materials, tools, and techniques, and the realisation of interactive hybrid craft results in interaction design, for example by implementing surprising material behaviour within physical-digital combinations, and by realising techniques to work with physical and digital materials in the same materiality realm. Through empirical and theoretical grounding and reflection, this thesis establishes hybrid craft as a novel concept within design research and craft communities that has a wide range of possibilities in everyday life, both in offering ways to do more with digital media, and in encouraging new forms of making and creativity.
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Joe, Hyunsik. "Sensor Craft Control Using Drone Craft with Coulomb Propulsion System." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/42781.

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The Coulomb propulsion system has no exhaust plume impingement problem with neighboring spacecraft and does not contaminate their sensors because it requires essentially no propellant. It is suitable to close formation control on the order of dozens of meters. The Coulomb forces are internal forces of the formation and they influence all charged spacecraft at the same time. Highly nonlinear and strongly coupled equations of motion of Coulomb formation makes creating a Coulomb control method a challenging task. Instead of positioning all spacecraft, this study investigates having a sensor craft be sequentially controlled using dedicated drone craft. At least three drone craft are required to control a general sensor craft position in the inertial space. However, the singularity of a drone plane occurs when a sensor craft moves across the drone plane. A bang-bang control method with a singularity check can avoid this problem but may lose formation control as the relative distances grow bounded. A bang-coast-bang control method utilizing a reference trajectory profile and drone rest control is introduced to increase the control effectiveness. The spacecraft are assumed to be floating freely in inertial space, an approximation of environments found while underway to other solar system bodies. Numerical simulation results show the feasibility of sensor craft control using Coulomb forces.
Master of Science
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7

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

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

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8

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

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

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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2018.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 209-223).
Sensor device miniaturization and breakthroughs in novel materials are allowing for the placement of technology increasingly close to our physical bodies. However, unlike all other media, the human body is not simply another surface for enhancement - it is the substance of life, one that encompasses the complexity of individual and social identity. The human body is inseparable from the cultural, the social, and the political, yet technologies for placement on the body have often been developed separately from these considerations, with an emphasis on engineering breakthroughs. This dissertation investigates opportunities for cultural interventions in the development of technologies that move beyond wearable clothing and accessories, and that are purposefully designed to be placed directly on the skin surface. How can we design emerging on-body interfaces to reflect existing cultural practices of decorating the body, with the intent to expand the agency of self-expression? This dissertation looks at this question through the development of a series of research artifacts, and the contextualization of a design space for culturally sensitive design. In this dissertation, Body Craft is defined as existing cultural, historical, and fashion-driven practices and rituals associated with body decoration, ornamentation, and modification. As its name implies, Hybrid Body Craft (HBC) is an attempt to hybridize technology with body craft materials, form factors, and application rituals, with the intention of integrating existing cultural practices with new technological functions that have no prior relationships with the human body. With this grounding, HBC seeks to support the generation of future technologized customs in which technology is integrated into culturally meaningful body adornments. The artifacts in this dissertation encompass the integration of technologies such as flexible electronics, chemical processes, and bio-compatible materials into existing Body Craft customs. These artifacts contribute novel, culturally inspired form factors, and introduce unprecedented interaction modalities for on-body technologies. A design space is created in which to examine shifts in the communicative qualities of these Body Crafts due to the integration of technology, as well as new forms of self-expression that have emerged. This dissertation contributes a culturally sensitive lens to the design of on-body technologies. The intention is to expand their lifetimes and purposes beyond mere novelty and into the realms of cultural customs and traditions.
by Hsin-Liu (Cindy) Kao.
Ph. D.
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Harper, Joshua Matthew. "Intersections of Craft." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275071801.

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Books on the topic "Craft"

1

Davis, Andrew. Craft craft. Santa Fe, NM: Lumen Books, 2000.

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Gray, Madelaine. Selling your crafts at craft shows. Pownal, Vt: Storey, 1996.

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1940-, John Brian, and Pembrokeshire Craft Markets, eds. Pembrokeshire crafts: And cottage craft producers. Newport, Dyfed: Greencroft for Pembrokeshire Craft Markets, 1986.

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Simon, Watney, Key Joan, Richard Salmon, and Kettle's Yard Gallery, eds. Craft. London: Edward Square Studios, 1997.

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McAlister, Diane L. Native American crafts directory: A guide for locating craft shops and craft suppliers. Summertown, Tenn: Book Pub. Co., 1996.

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Craft Craft Transforming Traditional Crafts. O'Reilly Media, 2007.

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Craft Workshop: Felt Crafts (Craft Workshop). Southwater, 2005.

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Craft Volume 10 Craft Transforming Traditional Crafts. O'Reilly Media, 2009.

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Hayes, Fiona. Crafty Makes: Nature Craft. Quarto Publishing Group UK, 2018.

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Crafty Makes: Nature Craft. QEB Publishing Inc., 2018.

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Book chapters on the topic "Craft"

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Glăveanu, Vlad Petre. "Craft." In Creativity — A New Vocabulary, 28–35. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137511805_4.

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Nicklin, Hannah. "Craft." In Writing for Games, 19–26. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003182832-2.

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Mainstone-Cotton, Sonia. "Craft." In Creativity and Wellbeing in the Early Years, 60–80. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003312710-5.

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Glăveanu, Vlad Petre. "Craft." In Creativity — A New Vocabulary, 51–60. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-41907-2_5.

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Bose, Chandan. "Craft-Through-Relatedness; Relatedness-Through-Craft." In Perspectives on Work, Home, and Identity From Artisans in Telangana, 169–208. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12516-5_5.

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Yun, Liang, and Alan Bliault. "Hydrofoil Craft." In High Performance Marine Vessels, 161–202. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4614-0869-7_5.

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Warren, Robert H. "Craft Labor." In Motivation and Productivity in the Construction Industry, 61–85. Boston, MA: Springer US, 1989. http://dx.doi.org/10.1007/978-1-4684-8827-2_3.

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Dolejší, David. "Craft Guilds." In Encyclopedia of Law and Economics, 433–35. New York, NY: Springer New York, 2019. http://dx.doi.org/10.1007/978-1-4614-7753-2_642.

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Dolejší, David. "Craft Guilds." In Encyclopedia of Law and Economics, 1–3. New York, NY: Springer New York, 2017. http://dx.doi.org/10.1007/978-1-4614-7883-6_642-1.

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Blauer, Ettagale. "Craft Shows." In Contemporary American Jewelry Design, 9–32. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_2.

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Conference papers on the topic "Craft"

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Kim, Dongho, Jerry T. Chiang, Yih-Chun Hu, Adrian Perrig, and P. R. Kumar. "CRAFT." In the 17th ACM conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1866307.1866404.

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Zoran, Amit. "Hybrid craft." In ACM SIGGRAPH Art Gallery. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2810185.2810187.

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Wang, Yu-Shin, Yuan-Yao Hsu, Wei-Lin Chen, Han Chen, and Rung-Huei Liang. "Craft Consciousness." In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702613.2732803.

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Bonanni, Leonardo, Amanda Parkes, and Hiroshi Ishii. "Future craft." In Proceeding of the twenty-sixth annual CHI conference extended abstracts. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1358628.1358712.

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Sheth, Urvi A. "Digital Craft." In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.947.

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Alford, Grant. "Arts & Crafts (and iPads): Digital Craft and Political Economy." In 109th ACSA Annual Meeting. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.20.

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In discussions of craft since the digital revolution in architecture of the past twenty years it is common for an author to situate their position relative to the Arts and Crafts movement of the late 19th and early 20th centuries. Scholars have repeatedly and rightly noticed striking parallels between reactions in design thinking to the industrial revolution and reactions to the digital revolution in architecture. Proponents of various digital schools invoke the likes of William Morris and John Ruskin as historical theoretical foils to visions of craft in the digital age. There is, however, a tendency to overlook or dismiss as naïve the socio-political ambitions that underwrite the better-known aesthetic styles of various craft movements. Revisiting the political economy of movements like the Arts and Crafts and its allies prompts questions about various contemporary formulations of digital craft. Reinterpreting, for example, Ruskin’s prescient critiques of the technological revolution of his time still suggest social, political, and economic implications for handicraft in our own digital age. To define these questions and potentials, this paper will review the historical moral imperative of craft; survey representative attitudes towards craft in several prominent digital schools of thought; and suggest alternative ways of engaging the socio-political possibilities of digital handicraft through architectural drawing with digital tablet computers, such as the iPad.
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Chhajlani, Avani. "Sustainable Design through Up-Cycling Crafts in the Mainstream Fashion Industry of India." In 8TH SUSTAINABLE DEVELOPMENT CONFERENCE. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/sdc.2021.006.

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Abstract Fashion is considered to be the most destructive industry, second only to the oil rigging industry, which has a greater impact on the environment. While fashion today, banks upon fast fashion to generate higher turnover of designs and patterns in apparel and relate accessories, crafts push us towards a more slow and thoughtful approach with culturally identifiably unique work and slow community centred production. Despite this strong link between indigenous crafts and sustainability, it has not been extensively researched and explored upon. In the forthcoming years, the fashion industry will have to re-invent itself to move towards a more holistic and sustainable circular model to balance the harm already caused. And closed loops of the circular economy will help the integration of indigenous craft knowledge which is regenerative. Though sustainability and crafts of a region go hand- in- hand, craft still have to find its standing in the mainstream fashion world; craft practices have a strong local congruence and knowledge that has been passed down generation-to-generation through oration or written materials. This paper aims to explore ways a circular economy can be created by amalgamating fashion and craft while creating a sustainable business model and how this is slowly being created today through brands. KEYWORDS: Circular Economy, Fashion, India, Indigenous Crafts, Slow Fashion, Sustainability, Up-cycling
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Sawatani, Yuriko, and Nobuo Kanai. "New human engagement-first governance approach in craft startups." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003108.

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The research finds a new relationship with customers through crowdfunding in the case of BrewDog, a craft startup. Originally, the concept of craft was regarded as a primitive form of manufacturing that was passing away. However, the Arts and Crafts Movement, started by Morris and others (1892) against the Industrial Revolution, was an attempt to rediscover the potential of human beings themselves. By rethinking the purpose of life as an anti-capitalist movement and analyzing craft startups, where symbolism, aesthetic qualities, and entrepreneurial identity are important elements, we found a customer profile as a future-creating partner that transcends the traditional relationship enabled by the crowdfunding mechanism.
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Loscombe, R. "The ISO 12215 Scantling Standard – Development and Implementation." In Small Craft Regulations. RINA, 2004. http://dx.doi.org/10.3940/rina.sc.2004.06.

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Hanbidge, Philip J. "A Mission-Driven Approach To Vessel Design." In Small Craft Safety. RINA, 2001. http://dx.doi.org/10.3940/rina.sc.2001.03.

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Reports on the topic "Craft"

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Marks, Cynthia, Chance Phelps, Justin Ryan, and Paul Sorensen. Transformation Craft (T-Craft) Concept Study. Fort Belvoir, VA: Defense Technical Information Center, August 2007. http://dx.doi.org/10.21236/ada487273.

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Ohrn-McDaniel, Linda. Business or Craft. Ames: Iowa State University, Digital Repository, February 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-587.

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Smith, Adam, and Michelle Berkebile. LANL Craft: Timecard Modernization Initiative. Office of Scientific and Technical Information (OSTI), July 2020. http://dx.doi.org/10.2172/1645039.

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Hodges, Casey, Rebecca Silver, Jakob Wieser, and Andrew Adelsen. SES T-Craft Model Testing. Fort Belvoir, VA: Defense Technical Information Center, August 2009. http://dx.doi.org/10.21236/ada512793.

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Abdelsalam, Amir, III Luder, Shen Alton, Wohlenhaus Andrea, and Doug. Heavy Lift Army Landing Craft. Fort Belvoir, VA: Defense Technical Information Center, July 2010. http://dx.doi.org/10.21236/ada554333.

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Marshall, N. H., and E. S. Marwil. Cross Reference Analysis of Fortran (CRAFT). Office of Scientific and Technical Information (OSTI), July 1991. http://dx.doi.org/10.2172/6376659.

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Nasr, Navil, Michael Thurston, and Timothy Murtaugh. LEEDS Decision Tools for E-Craft. Fort Belvoir, VA: Defense Technical Information Center, February 2011. http://dx.doi.org/10.21236/ada538600.

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Pickar, Charles K. Blitzkrieg: Operational Art or Tactical Craft. Fort Belvoir, VA: Defense Technical Information Center, May 1992. http://dx.doi.org/10.21236/ada253540.

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Dougan, A., D. Trombino, W. Dunlop, and A. Bordetsky. Maritime Interdiction Operations Small Craft Detection. Office of Scientific and Technical Information (OSTI), January 2010. http://dx.doi.org/10.2172/972414.

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Vecchioni, Matilde. Unregulated Production: Examining Craft-Produced Weapons from a Global Perspective. UNIDIR, June 2024. http://dx.doi.org/10.37559/caap/24/pacav/08.

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Craft production of small arms and light weapons (SALW) is a global and long-standing phenomenon. While manufacturing techniques – both traditional and emerging – evolve at a fast pace, knowledge on craft production remains localized and fragmented. This is compounded by a lack of a universally agreed definition of craft production. In June 2023, UNIDIR initiated research examining craft production of small arms and light weapons (SALW). The objective of this research is to increase knowledge and understanding of craft-produced SALW and raise awareness of the challenges for preventing and addressing their illicit proliferation, trafficking and misuse. This report aspires to be a first step towards a global and more comprehensive dialogue on the issue of craft-produced SALW. The findings presented in it draw primarily on UNIDIR’s “Global survey on addressing the global craft production of SALW”, which was distributed to all United Nations Member States throughout 2023 and in early 2024. A total of 80 countries from all regions of the world contributed to this study by completing the survey. This report explores key types of craft-produced weapon and manufacturing techniques, and profiles the main actors involved in the production and use of these weapons. It also delves into the existing international, regional, and national frameworks that regulate illicit manufacturing and address, most often implicitly, the issue of craft production. Finally, it considers key challenges to efforts to address this global challenge and avenues to improve these efforts. This report intends to provide international and regional organizations and states, in particular their law enforcement agencies, with a representative, yet non-exhaustive, benchmark on the issue of craft production of SALW. The report encourages a new, global dialogue on this critical issue.
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