Academic literature on the topic 'Crafts and Industries'
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Journal articles on the topic "Crafts and Industries"
1
Richards, Greg. "DEVELOPING CRAFT AS A CREATIVE INDUSTRY THROUGH TOURISM." Brazilian Creative Industries Journal 1, no. 1 (July 1, 2021): 03–22. http://dx.doi.org/10.25112/bcij.v1i1.2671.
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This paper examines the position of crafts within the creative industries and considers how this has been affected by the growing links between the creative industries and tourism. A review of the creative industries concept indicates that crafts occupy an ambiguous position between art and tradition, which problematises their relationship with the creative industries. This is gradually changing at the creative and tourism sectors become more closely linked, and craft has become an important element of the development of creative tourism experiences. We review the role of craft in creative tourism, including case studies from Brazil, Finland, and Thailand, to examine how tourism can support the creative development of crafts. This analysis indicates that craft can be an important aspect of creative tourism development in different contexts and can provide a strong basis for placemaking initiatives.
2
Karyasa, I. Wayan, I. Gede Putu Banu Astawa, I. Gede Ardwi Pradnyana, and Made Vivi Oviantari. "MENGUATKAN BRANDING TENUN ENDEK KHAS BULELENG MELALUI REVITALISASI PEWARNAAN DENGAN FIKSATOR NANOPASTA ANORGANIK BERBAHAN ABU VULKANIK GUNUNG AGUNG." JURNAL WIDYA LAKSANA 10, no. 2 (August 31, 2021): 117. http://dx.doi.org/10.23887/jwl.v10i2.30053.
Full textAbstract:
In the Covid-19 pandemic era, most of craft industries, including Buleleng endek ethnical woven crafts, had an impact on sales drastically. Woven craft industries did some preventive efforts, one of them was through enhancing ecofriendly industry branding, i.e. through intensifying yarn dying using natural colors from local raw materials. However, the main problems on color quality, color fastness, tensile strength and ductile ability of colored yarns resulted by natural dyeing should be handled. Our current finding on inorganic nanopaste fixator of natural colors could be as solution. The natural color dyeing technology was applied for cotton as well as silk yarn by using local color natural resources. It resulted that the yarns had better color quality, good grade color fastness and higher tensile strength and ductile ability. The industrial partner had good response on the natural dyeing technology, where it was also supported by good response from costumer candidates of the endek woven crafts. The revitalization of natural dyeing technology through applying inorganic fixator nanopaste affected the stronger branding of Buleleng endek woven crafts through enhancing the selling revenue.
3
Almamari, Badar Mohammed, Fakhriya Al-Yahayai, and Mohammed Alamri. "Traditional Omani Crafts Approaches To Identity." Technium Social Sciences Journal 10 (July 28, 2020): 566–78. http://dx.doi.org/10.47577/tssj.v10i1.1328.
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The purpose of this study is to identify how landscapes, places, and geographical forms of land influenced craft making identity by addressing Omani crafts enterprises in urban and rural areas. This has been done by interviewing local craftspeople and analysing their responses as a qualitative data collection method using open-ended questions to seek reliability and credibility in the study. The interviews in this research were mostly conducted with participants belonging to ten enterprises under the management of the Public Authority for Crafts Industries (PACI), Department of Art Education and the Handcrafts Centre. Consequently, this study highlights the importance of studying the influence of landscapes, places, and geographical forms in shaping local people's crafts identity by investigating their craft industries in rural and urban areas.
4
Sewruk, Piotr. "Rzemiosło żydowskie w Lublinie i jego instytucje w latach trzydziestych XX wieku." Studia Judaica, no. 1 (45) (2020): 169–201. http://dx.doi.org/10.4467/24500100stj.20.006.12920.
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Jewish crafts in Lublin and their institutions in the 1930s The paper attempts to reconstruct the condition of Jewish crafts in Lublin in the 1930s after the new legal regulations for industry were introduced in 1927 (“The act on industry law”). Crafts in Lublin in this period were ethnically strongly polarized between the two groups. Jews owned 60 percent of all the workshops in the city, while Poles held the rest of the crafts and services. Jewish craftsmen dominated mainly in textile (tailoring) and leather (shoemaking) industries and services like hairdressing or photography. The article focuses primarily on quantitative and statistic aspects of the discussed topic. Jewish craft organizations (craft guilds), supporting institutions (credit institutions for craftsmen) and Jewish personnel of the Lublin Chamber of Crafts are also presented.
5
Indahyani, Titi. "Sukses Mengembangkan Desain Seni dan Kerajinan Menjahit Aplikasi Berbahan Dasar Limbah Kain (Kain Perca) bagi Industri Rumah Tangga." Humaniora 1, no. 2 (October 31, 2010): 431. http://dx.doi.org/10.21512/humaniora.v1i2.2885.
Full textAbstract:
Arts and craft products are now beginning to be produced by many home industries such as sewing patchwork application products. But the lack of knowledge of art, design and product marketing in this industry making products become less competitive and provide income earning less than the maximum. Besides, home industry players sometimes do not have the high endurance and sustainability in business. As one of the national strategic issues, the arts, crafts and creative industries get serious attention from the government. It is expected with the opening horizons of knowledge in art, design and product marketing in the area of sew patchwork application craft (which is use the waste fabric) will impact the development of entrepreneurship opportunities and support many home industries entrepreneur from local micro become sustainable macro business. This action will also support to further explore the various culture of Indonesian arts, crafts and other creative industries became more creative, innovative and competitive by using waste materials that are environmentally friendly.
6
Mohammad Zaher, Ehab. "Industries and crafts in Baghdad during the second Abbasid era 232-861 AD / 334 AH-946 AD." Journal of Historical Archaeology & Anthropological Sciences 8, no. 3 (October 30, 2023): 162–66. http://dx.doi.org/10.15406/jhaas.2023.08.00288.
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This study aims to address an important cultural heritage, which is the industrial and craft achievements in the city of Baghdad, who are the people of industries, crafts, and artisans who lived during the Second Abbasid Era (334-447 AH/945-1055 AD). Because this group played a role in political, economic and social stability at the same time. The study dealt with the issue of the regulations in place among craftsmen and craftsmen within sects that followed a specific professional hierarchy and binding rules for people of one craft. The study also addressed the economic and social role of craftsmen and the extent of its impact on political stability in the city of Baghdad. In summary; In the second Abbasid era, Iraq witnessed a development in industries and crafts, as several factors helped in its activity, including the availability of various raw materials, as well as commercial activity that provided the industry with raw materials, so multiple industries were established that included various cities, each of which specialized in A specific quality that you are famous for, each This helped the industry flourish at the internal and external levels, such that the Iraqi product reached different regions of the world.
7
Cook, Hadrian, and Kathy Stearne. "Rural Crafts: A study in South Wiltshire." Craft Research 12, no. 1 (March 1, 2021): 105–25. http://dx.doi.org/10.1386/crre_00042_1.
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Rural Crafts are crafts with agrarian roots, but they are not easily located historically, or within today’s developed markets. This study stresses Rural over Heritage Crafts (based in manual skills and traditional materials, designs and techniques), although the two are not mutually exclusive. Rural Crafts are considered, present and past, through interviews with practitioners based in South Wiltshire. The study embraces networks of crafters, interviews with individuals and a focus for a rural craft event located at the Harnham Water Meadows at Salisbury, a historic location. It is established that, while few participants sustained themselves financially through their craft, it was clear that participation is ‘value driven’, providing personal benefits. The ethos of sustainability is a strong theme, both in sourcing materials and in the processes employed, especially true for individuals working with wood and thatching. Few clear similarities are found from past cottage industries, although the sense of continuity in craft is still strong. Networks included craft associations, and opportunities for informal learning, but there is a lack of formal training opportunities. This finding may be historic, as most people interviewed were over 60 years. As well as an age bias, there is a strong gender bias with men dominating regular part-time or full-time paid occupations and women treating their craft more as a hobby. Most people treat sales of any products as a bonus, and the future of such activities is dependent more upon personal interests and networks than on formally trained (often younger) individuals, more so than formal training delivered through individual organizations or companies. Otherwise, our conclusions are in line with modern ideas of personal, well-being and social benefits derived from craft activities.
8
Sato, Daisuke, Yuichi Ikeda, Shuichi Kawai, and Maxmilian Schich. "The sustainability and the survivability of Kyoto’s traditional craft industry revealed from supplier-customer network." PLOS ONE 15, no. 11 (November 9, 2020): e0240618. http://dx.doi.org/10.1371/journal.pone.0240618.
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Due to the changes in consumer demand and generational transformations, Kyoto’s traditional craft industry has suffered substantial revenue losses in recent years. This research aimed to characterize Kyoto’s traditional craft industry by analyzing the supplier-customer network involving individual firms within the Kyoto region. In the process, we clarify the community structure, key firms, network topological characteristics, bow-tie structure, robustness, the vulnerability of the supplier-customer network as crucial factors for sustainable growth. The community and bow-tie structure analysis became clear that the traditional craft industry continues to occupy an important position in Kyoto’s industrial network. Furthermore, we clarify the relationship between modern and traditional craft industries’ network characteristics and their relative profitability and productivity. It became evident that the traditional craft industry has a different network structure from the modern consumer games and electric machinery industries. The modern industries have the strongly coupled component, and the attendant firms there create high value-added and play a significant role in driving the entire industry, while more traditional craft industries, such as the Nishijin silk fabrics and Kyoto doll industries, do not have this strongly coupled component. Moreover, the traditional crafts industry does not have a central firm or a dense network for integrating information, which is presumed to be a factor in the decline of the traditional craft industry.
9
Kappasov, Marat. "Crafts by Nomads of the Ural and Turgai Regions at the Beginning of the 20th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (August 2021): 102–16. http://dx.doi.org/10.15688/jvolsu4.2021.4.9.
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Introduction. The article, based on the “Materials on the Kyrgyz (Kazakh) Land Use Collected and Developed by the Statistical Parties of the Turgai-Ural Resettlement Region”, examines the crafts of the nomads of the Lbischensky, Uralsky, Turgai, Irgiz, Temir uyezds in the early 20th century. Temir, Lbishchensky and Ural uyezds belonged to the Ural region, Turgai and Irgiz uyezds to the Turgai region. Methods and materials. Using the mathematical method, the method of comparative analysis and content analysis, the author shows how much income per person came from crafts in the studied uyezds and proves that crafts were only additional industries and could not compete with nomadic cattle breeding. The article examines the crafts that brought the greatest income. Farmhands, transportation, groundhog hunting, fishing, etc., were well-known crafts; the Muslim spiritual cult and its servants was an unusual craft. Analysis. Our article shows that the studied uyezds had their own craft specializations. For example, a significant number of nomads in Lbischensky uyezd were engaged in transportation, in Turgai uyezd in hunting groundhogs, in Irgiz uyezd in hunting and fishing. Results. At the end of the article, the author concludes that the majority of nomads were primarily engaged in crafts as farmhands due to their poverty.
10
Hardati, Ratna Nikin, Siti Muslikah, Warsito Warsito, and Mustaufir Mustaufir. "Pendampingan dan Pelatihan dalam Meningkatkan Kualitas Produksi Kursi Rotan di Kelurahan Kedungkandang Kota Malang." Jurnal Surya Masyarakat 6, no. 1 (November 30, 2023): 60. http://dx.doi.org/10.26714/jsm.6.1.2023.60-65.
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Currently, many people are pursuing small home industries to improve their welfare and support the resilience of the national economy. One of the home industries that manages wood to make rattan chair crafts is owned by Mr. M. Shodiq in the Kedungkandang sub-district, Kedungkandang sub-district, Malang City. However, several obstacles are still faced by these small industries, including obstacles in increasing the quality and quantity of rattan chair handicraft production due to several factors such as: lack of knowledge about how to process good and varied rattan chair crafts from both the shape and motif aspects, the use of tools which has not been touched by science and technology. The method of community service is socialization about innovation in the development of rattan chair product quality, namely by providing training materials on the use of innovative tools to develop and improve the rattan chair craft industry. The results of this community service include 1) partners have received education and skills in diversifying rattan chair craft products, 2) partners have received appropriate technology-based tools in the form of rattan cutting machines to increase product sales.
Dissertations / Theses on the topic "Crafts and Industries"
1
Amebode, Adetoun Adedotun. "Strategies for economically sustainable resist dyeing industries in Abeokuta, Ogun State, Nigeria." Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/162155/.
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Nigerian textile and clothing industries is face with crisis under the pressure of influx of smuggled second-hand clothing and cheap and poor quality of Chinese textiles. The situation has resulted to closure of many textile industries and massive unemployment with inability of the few existing industries to compete favourably base on price. The study was carried out in Abeokuta among tie-dye/batik practitioners and consumers of tie-dye/batik products with the aim to examine the challenges facing the resist dyeing industries. The research method is divided into three: Theoretical- this involves using secondary data from books, journal, newspaper, and the web to gather background information; Statistical- this involves the use of questionnaire to gather primary data. The data collected was analysed using SPSS (Statistical Package for Social Scientist); and Visual- this entails the use of images to establish facts and make judgement on the basis of the facts discovered. The findings revealed that the challenges facing the practitioners are multi-facet ranging from poor educational status, lack of adequate training/re-training programmes, poor financial status, low customers’ patronage, poor management and marketing skill, lack of adequate and functional social amenities, low purchasing power of consumers who often buy on credit and pay on instalment (some don’t bother to pay their debt), increased competition from smugglers of second-hand clothing and imported Chinese textiles, poor/ no knowledge of information technology, low access to international/ overseas markets and minimal willingness to take risk. Consumers of tie-dye/batik are pertinent to the study. The findings from the consumers shows that about half of the consumers interviewed cannot afford to buy clothes monthly while slightly more than half buy clothes on credit and pay on instalment. The industry has being affected with change in taste of consumers, consequently one third of the consumers do not patronise tie-dye/batik fabrics. Consumers pointed out that tie-dye/batik fabrics are not colourfast and the designs are too common (frequently seen). Consumers also complained of poor customers services of the practitioners. Base on the findings, the study proposes holistic approach to the challenges. A sustainable model of five major pillars (Continuous innovation, Customer Relationship Management, Government Policy Support, Networking and Practitioners Personal Capacity Development) is proposed. Absence of any of the pillar will result to sustainability collapse of tie-dye/batik industry. Other model being proposed include establishment of an Export Centre with an effective and efficient two way communication model; EVIPI an acronym of English words to stimulate innovative entrepreneurial drive in niche marketing, a model for internal secondhand clothing to revisit the pass me down clothing culture among the Yoruba and a networking model to complement each other for development.
2
Sisman, Osman. "Ethics For Industrial Design: An Ethico-political Critique Of Sustainability In Industrial Design." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606800/index.pdf.
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This thesis analyses the concept of sustainability as applied and reflected in industrial design practice in a theoretical way. The discourses on sustainability in general are explored in terms of ecology, economics and politics. The underlying motives resulting in unsustainable ways of production and consumption practices are attempted to be located in contemporary society.
3
Kaygan, Harun. "Evaluation Of Products Through The Concept Of National Design: A Case Study On Art Decor Magazine." Thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607552/index.pdf.
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This study examines the ways in which the concept of 'national design'
informs evaluation of products and their designers, through the example of the field of industrial design in Turkey and the recently influential design magazine Art+Decor. For this purpose, first of all, '
evaluation'
is analyzed as a means in which meanings are imposed on products, and as a tool in struggles for positions and status within the field of industrial design. Then, the role of '
nationality'
in such a function of evaluation is investigated. Finally, a case study is provided, in which the employment of the concept of '
Turkish design'
in evaluation of products and designers is analyzed within the texts published in Art+Decor magazine between 2003 and 2005.
4
Orsel, Imir Isik. "Progressive Obsolescence And Product Non-use In Electrical Kitchen Appliances." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611850/index.pdf.
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The aim of this study is to find out the reasons of progressive obsolescence and product non-use in small kitchen appliances and to examine the relation between the consumer&rsquos pre-purchase expectations and post-purchase experiences with these products to understand the deficiencies of kitchen appliances which cause consumer to stop using them. The reasons of progressive obsolescence and product non-use might be informative for further studies on this subject. Throughout the study, the general issues of need, want, purchase motivations, pre-purchase consumer expectations and post-purchase experience, satisfaction/dissatisfaction were discussed through the literature survey. Progressive obsolescence and product non-use were analysed both through literature survey and a field study which was conducted as in-depth-interviews among kitchen appliance users. It has been seen that progressive obsolescence and product non-use is mostly affected by usability of products, by the changing needs and changing life style and by the emerging of new technologies.
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Ergun, Selcen. "An Inquiry Into Product Design And Advertising As Mediators Of Consumer Identity." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606052/index.pdf.
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This study mainly investigates the roles of product design and advertising in conferring identity related meanings upon products and associating them with certain consumer identities. For this purpose, firstly, the concept of identity and increasing centrality of objects in its construction and expression are explored. Secondly, the nature and dynamics of the relationship between people and objects are discussed with a specific emphasis on the identity related aspects of this relationship. Then, a more detailed discussion is held on the roles played by product design and advertising in the process of identity construction through designed products. Finally, a case study on a selected product group is presented in order to illustrate the theoretical discussions in previous chapters.
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Santos, Ana Paula Silva dos. "O mapeamento da indústria criativa sergipana : sua relação com a propriedade intelectual." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/3405.
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Intellectual property is an instrument that ensures rights involving essential factors to protection of copyright, inventor, artist, patent, trademarks, etc. The World Intellectual Property Organization - WIPO (1975) defines as Intellectual Property, the sum of the rights to all creation to literary, artistic and scientific works. Adding to this information is a creative industry that involves the sectors related to creativity this fundamental factor to leverage the advancement of craft creation. The objective of this study was to map the Creative Industries Sergipana focusing on the craft and its relationship to intellectual property. Visits were carried out in some institutions such as the Brazilian Service of Support for Micro and Small Enterprises in Sergipe - SEBRAE, San Francisco of the Valleys Development Company and Parnaíba - CODEVASF, National Confederation of Artisans - CONSTRIART and Sergipe Program Handicraft Development - PROARTE, to obtain information about the groups of artisans in the state and acquiring contacts, and finally , there was the applicability of the questionnaire with the artisans of Aracaju and the interior of the Sergipe State. There was a significant potential of Sergipe artisans , especially in relation to creativity , however , these professionals do not have the knowledge about the Intellectual Property or on your copyright in favor to protect , enhance and stimulate craft productivity.A Propriedade Intelectual é um instrumento que garante direitos que envolvem fatores imprescindíveis à proteção dos direitos do autor, inventor, artistas, patente, marcas etc. A Organização Mundial da Propriedade Intelectual - OMPI (1975) -, define como Propriedade Intelectual a soma dos direitos relativos a toda criação de obras literárias, artísticas e científicas. Somando a estas informações, encontra-se a indústria criativa que envolve os setores relacionados à criatividade, fator este fundamental para alavancar o avanço da criação do artesanato. O objetivo deste estudo foi mapear a Indústria Criativa Sergipana enfocando o artesanato e sua relação com a Propriedade Intelectual. Foram realizadas visitas em algumas instituições como: Serviço de Apoio ás Micro e Pequenas Empresas Sergipe - SEBRAE, Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba - CODEVASF, Confederação Nacional dos Artesãos - CONSTRIART e Programa Sergipano de Desenvolvimento do Artesanato - PROARTE, para obtenção de informações sobre os grupos de artesãos no Estado e aquisição de contatos, e por último, ocorreu à aplicabilidade do questionário com os artesãos de Aracaju e do interior do Estado sergipano. Observou-se um potencial significativo dos artesãos sergipanos, principalmente em relação à criatividade, entretanto, esses profissionais não contam com o conhecimento em relação à Propriedade Intelectual nem sobre os seus direitos autorais em prol de proteger, valorizar e estimular a produtividade do artesanato.
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Akin, Atif Ahmet. "An Examination Of Possible Contributions Of New Media Terms And Concepts To The Field Of Product Design." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606663/index.pdf.
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New media offer new ways for communication and production. This study aims to explore possible outcomes of the review of the new media literature for a contribution to the field of product design. Examining new media in a descriptive manner, the study presents its basic principles and characteristics. Relevant parts of new media and product design literature are reviewed in order to locate possible connections and/or exchanges between major concepts used in these fields. The two focal points of the study are the transformations that have taken place in (1) userproduct communication and (2) design and production media, resulting from the emergence of new media technologies.
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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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Kane, Faith. "Designing nonwovens : craft and industrial perspectives." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/8073.
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Nonwovens form a significant and rapidly growing sector of the textiles industry. The nonwovens sector originally set out to provide economical alternatives to traditional textiles for functional product components such as interlinings and carpet backings. Through constant growth and development nonwovens are now considered as sophisticated engineered fabrics that economically meet specific functional needs. Since the 1970's, however, the potential to use nonwoven fabrics and technologies within design has been under consideration by textile researchers, textile artists and fashion and textile designers and makers. The resulting fabrics have found application in mass marketable products such as gift and flower wrap and as one-off designer products such as scarves. In comparison to traditional sectors of the textile industry such as woven textiles, however, in regard to design there seems to be little middle ground between these two production contexts. Further to this, the range of nonwoven technologies that have been explored by textile designers, makers and artists is relatively limited and focuses predominantly on the needle-punching method of manufacture to produce felt-like fabrics. This situation presents a potentially missed opportunity within the nonwovens sector of textile manufacture. The research presented in this thesis aims to identify and explore the undeveloped opportunities to design nonwoven materials from an aesthetic perspective using a specific range of production processes and materials. The work is set within the context of designer maker practice and as such considers both industrial and craft perspectives on the design and manufacture of nonwovens. In doing so the relationship between craft and industry within the sphere of nonwovens is brought into question and the opportunities and limitations of working as a designer maker within this sphere are explored. The development of textile products for niche, high-end markets is of growing importance within the European textiles industry. This research explores the potential to develop design-led nonwovens for high-end markets. The work was conducted using a practice led research approach which revolved around the development of innovative new fabrics suitable for high-end markets. The work focuses on the use of carding, needle-punching and thermal bonding technologies that utilize heat and pressure and subsequent decorative finishing processes including devore, embossing and laser cutting. The ability to design nonwoven fabric structures specifically for use in these processes formed a central part of the contribution to knowledge made within the work. In particular, the development of devore and laser techniques for nonwovens made from contrasting fibre layers or with decorative materials embedded within them. The fabrics produced evidence new design concepts within the sphere of nonwovens. The suitability of the designs for production within different manufacturing contexts was assessed through a series of interviews with nonwoven manufacturers and their suitability for the high-end markets was evaluated through a series of focus groups and interviews with textile and product designers. The qualitative nature of the analysis made provides a new perspective on the design value of nonwovens. The results of the research confirmed the aesthetic appeal of certain fabrics within the collections produced and their suitability for high-end markets. The findings identified key factors in regard to how value is attributed to nonwovens within this market and suggested that further research into developing high-value nonwovens is required. The work identified key issues that designers working with nonwoven technologies need to be aware of to enable designs that are relevant for commercialization to be developed.
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Evely, R. D. G. "Minoan crafts tools and techniques, an introduction /." Göteborg : P. Aström, 1993. http://books.google.com/books?id=7zJoAAAAMAAJ.
Full textBooks on the topic "Crafts and Industries"
1
Great Britain. Foreign and Commonwealth Office., ed. UK creative industries: Contemporary crafts. London: Foreign & Commonwealth Office, 2001.
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Crafts of India and cottage industries. New Delhi: UBS Publishers' Distributors, 2003.
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Keith, Brandt. Indian crafts. Mahwah, N.J: Troll Associates, 1985.
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Selling your crafts. New York: Allworth Press, 2003.
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Selling your crafts. New York: Allworth, 1998.
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Beattie, Seán. Cottage industries: Arts and crafts in Donegal. Rock Hill, S.C: Winthrop University, 2009.
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Beattie, Seán. Cottage industries: Arts and crafts in Donegal. Rock Hill, S.C: Winthrop University, 2009.
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Roumanis, Alexis. Crafts. Calgary, Alberta: Weigl, 2013.
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Mark, Bahti, and Hucko Bruce, eds. Southwestern Indian arts & crafts. Las Vegas: KC Publications, 1997.
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Collins, E. J. T. (Edward John T.), Evans Peter, and Morison Patricia, eds. English rural crafts: Today and tomorrow. Cheltenham: Countryside Agency, 2004.
Find full textBook chapters on the topic "Crafts and Industries"
1
Yahada, Reiya, and Tomoyuki Ishida. "Implementation of a Mixed Reality System for the Development of Traditional Crafts Industries." In Lecture Notes in Networks and Systems, 335–42. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14314-4_34.
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Boisseuil, Didier. "La production d’alun en Occident: l’essor d’une industrie nouvelle à la fin du XVe siècle." In L’economia della conoscenza: innovazione, produttività e crescita economica nei secoli XIII-XVIII / The knowledge economy: innovation, productivity and economic growth, 13th to 18th century, 333–51. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0092-9.20.
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This article explores the conditions under which alum production has developed in the Western Mediterranean, in the second half of the fifteenth century. In two decades, between about 1460 and 1480, several important production sites have appeared in the Italian peninsula or in the Iberian peninsula. They have provided European industries and crafts with quality alum, and they quickly overshadowed sources of supply, that had previously prevailed in Anatolia or the Aegean Sea. The article discusses the useful knowledge mobilized to facilitate this growth, in particular, the techniques used and the players involved in this changeover.
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Ojha, S. P., and Pradeep Yammiyavar. "Role of Language in Transfer of Tacit Knowledge: Case Study of Bamboo Crafts Making Industries in Northeast India." In Ergonomics in Caring for People, 337–43. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4980-4_41.
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Dutta, Madhura. "Urban enterprises for traditional craft-based creative industries." In Creative Economy and Sustainable Development, 71–86. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003331476-6.
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Chakraborty, Meghamrita, and Ellen Loots. "Leveraging Skills into a Craft through Social Entrepreneurship and Jugaad Innovation." In Creative Industries in India, 320–37. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003129370-21.
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Child, John. "Craft Gilds and Stationers' Company." In Industrial Relations in the British Printing Industry, 15–31. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003159032-2.
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Gloag, John. "Craft Revivalists and Industrial Designers 1830-1930." In The Englishman's Chair, 253–68. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003333623-12.
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Hassan, Hanisa, Norhasliyana Hazlin Zainal Amri, Mohd Zaimmudin Mohd Zain, and Nurulahda Sulaiman. "Fashionpreneur: Sustaining Traditional Batik Craft Through Entrepreneurship Activity Among Students at Universiti Malaysia Kelantan (UMK)." In Sustainability in Creative Industries, 33–40. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-48453-7_4.
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Child, John. "Consolidation of the Craft Unions. 1848–90." In Industrial Relations in the British Printing Industry, 107–23. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003159032-10.
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Stein, Jesse Adams. "Not Fitting the Pattern: Women in Industrial Craft." In Palgrave Studies in Oral History, 159–90. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-87243-4_6.
Full textConference papers on the topic "Crafts and Industries"
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Reaes Pinto, Paula, António Gorgel Pinto, Paulo Simões Rodrigues, Tiago Navarro Marques, Rui Fragoso, Rui Quaresma, Jose Ventura, Fatima Jorge, and Cristina Marreiros. "UpStart – Creative Industries through Design for Social Innovation, Heritage and Management." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001416.
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The project Up Start - Creative Industries is an initiative of the Aga Khan Foundation in partnership with the University of Évora and promoted by the Portugal Social Innovation program, focusing a particular synergy based in the areas of design for social innovation, heritage, and management. Its main objective is the development of an alternative economic model of socio-cultural innovation and creative practices with disadvantaged citizens. It aims to increase the participants income and improve the living conditions of the communities involved, namely migrant populations from the Lisbon metropolitan area, through the identification and mapping of techniques, arts and crafts developed by migrants from their cultural heritage.
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Shimode, Yutaro, Atsushi Endo, Chieko Narita, Yuka Takai, Akihiko Goto, and Hiroyuki Hamada. "Skill Level Differences of Urushi Craftspeople in Urushi Products." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88288.
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There are various traditional crafts in Japan. Japanese modern manufacturing industries have stemmed from the traditional crafts. And there is craftspeople’s wisdom in the traditional crafts technique inherited for years, which is well known as “tacit knowledge”. Especially in Kyoto which has 1200 years history, many traditional crafts have been inherited. In this study, Urushi crafts was focused. Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has been viewed as special, and admired as black with the highest grade. Therefore, the Japanese word “Shikkoku” has been generated, inhere, “Shi” means Urushi, and “Kkoku” means black color. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. It is considered that these characteristics are influenced by skill level of craftspeople. Then this study aims to analyze a difference between expert craftspeople and non-expert craftspeople in the painting process of Urushi. Body and eye motion between expert and non-expert craftspeople were analyzed and compared. As a result, there were differences in the time of painting with brush. And more there were differences in eye movement. It is considered that these differences were due to the difference of skill level, and in turn, the quality of Urushi products has been influenced.
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Hui, Xie, and Zhang Yan. "Discussion on the Role of Heilongjiang Tourism Crafts in Promoting the Development of Tourism Culture and Creative Industries." In Proceedings of the 4th International Conference on Economics, Management, Law and Education (EMLE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/emle-18.2018.79.
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Tsai, Li-Fen, Jing-Chi Shaw, Pei-Wen Wang, Meng-Long Shih, and Min-Chieh Yang. "Analysis on online word-of-mouth of customer satisfaction in cultural and creative industries of Taiwan: using crafts as an example." In 2011 International Conference on Photonics, 3D-imaging, and Visualization. SPIE, 2011. http://dx.doi.org/10.1117/12.906269.
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Smagina, Anzelika, and Iveta Ludviga. "What is Crafts Entrepreneurship? The Development of its Definition Through Entrepreneurs` and Consumers` Perceptions." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.045.
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Defining craft entrepreneurship has been a challenge for many scholars and researchers in different countries. Not only because of the multidimensional nature of entrepreneurship, but also because of the differences in national regulations setting boundaries for each sector of the economy. Thus, in some countries, craft is a part of the Creative Industries, but in others it is considered as an independent sector of the economy. Understanding what craft is and how craft products can be differentiated and defined has also been a daunting task. Thus, consolidating theoretical knowledge on entrepreneurship and craft entrepreneurship gained from the literature with the results of an empirical study carried out among craft entrepreneurs and consumers of craft products, this study aims to conceptualize craft entrepreneurship and to develop propositions for the definition of craft entrepreneurship by integrating the meaning attributed to craft entrepreneurship and its specifics by craft entrepreneurs with the perception and meaning assigned to craft products and services by consumers. This study applies qualitative methodology and data gathered using semi-structured interviews and open-ended survey questions. 20 craft entrepreneurs represent a perspective of entrepreneurs about entrepreneurship and its specifics in the craft sector, whereas 445 consumers reflect the opinion of the general public about craft and craft-related products. The results of the study indicate that craft entrepreneurship is undoubtedly connected to handmade products, national traditions, small ventures and craft markets and fairs, where craft entrepreneurs commercialize their produce. Although numerous scholars have already attempted to conceptualize craft entrepreneurship theoretically, the contribution of this study is in its integrated application of theoretical and empirical data reflecting the perspectives of entrepreneurs and consumers.
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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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Kilu, Rufai, Mohammed-Aminu Sanda, Lilian Ama Afun, and Anna Alacovska. "The dysfunctional systems of creative entrepreneurship in Ghana." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002157.
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This paper aim at generating knowledge on creative industries in a Ghanaian context, which drive understanding of creative entrepreneurship forward and shape theorization on dysfunctional systems of the creative entrepreneurship. Ghana’s Creative Arts Industry is perhaps the oldest industry: our forefathers danced, had theatre, played music, made amazing crafts and artifacts and created fine garments. Ghana’s Creative Arts span from smock weaving, xylophone and calabash making centers in Savanah and Northern Ghana to kente weavers of Bonwire and Agbozome; and from wood carving at Ahwia and Aburi to the bead makers at Ada and Somanya. However, little is known about the dysfunctional systems of the creative industry in Ghana. It is against this backdrop that this study seeks to explore the dysfunctional systems of creative entrepreneurship in Ghana. An empirical research design with qualitative approach was used. Interviews, Focus Group Discussions and Workshops were used for the data collection. The results showed the creative industry is a functional engine for sustainable and inclusive economic growth, it creates decent jobs and lead to sustainable development. The results however showed a system of dysfunctions among the creative entrepreneurs in a form of government and investor support related challenges, a lack of creative capacity building and research, unfavorable policies to regulate creative activities and the lack of appreciation for Ghanaian culture. The current study generated novel empirical and theoretical knowledge on both functional and dysfunctional systems of creative entrepreneurship in Ghanaian context. It is intimated that; periods of economic challenges are characterized with creative entrepreneurship playing key survival roles. This implies industry wide partnerships is key to have a salient role in driving innovation, economic growth, and welfare, in addition to their effect on job creation. Therefore, innovative and creative entrepreneurship is considered key factor in modern Ghanaian economic development.
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Zhou, Min, Shuang Liang, Peian Yao, and Stefano Follesa. "New Craft Design in the Digital Age." In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001072.
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Craft design has gone through different contexts, and the craftsmanship in the new age is different from that in the industrial age. By analyzing the evolution and new scenario of craft design, the paper summarizes the trend of new craft design. The evolution of craft design shows the following trends: 1) the output diversified to satisfy the new needs due to technological advancement, including the material object, experience, service, and digital content. 2) the responsibility shifts from product design to activity design. 3) the boundaries are blurred; more and more industries, disciplines and people are participating in craft design. This paper believes that the new craft design has two directions: one points to the craftsmanship itself (tangible-intermediate-intangible structure); the other points to the various relationships with other disciplines, environment, and society.
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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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Firmansyah, Firmansyah. "Development Design Quality of Craft Industries in West Java." In Proceedings of the International Conference on Business, Economic, Social Science and Humanities (ICOBEST 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icobest-18.2018.68.
Full textReports on the topic "Crafts and Industries"
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Khuder, Wafaa. The Role of Small and Medium Industries in the Heritage Identity in Iraq: A Case Study of Bashiqa Town. Institute of Development Studies, May 2023. http://dx.doi.org/10.19088/creid.2023.005.
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This paper aims to identify the most famous Yazidi heritage industries in the town of Bashiqa, in Nineveh governorate. It explores the economic, social and cultural reality of three non-material industries (the manufacture of al-rashi, olive oil and soap) in the town of Bashiqa by comparing how they were manufactured in the past with how they are manufactured in the present, and assessing the impact of ISIS gangs on these industries. Finally, the paper puts forward proposals for how these industries can be developed to maintain their heritage and sustainability. The research also aims to invoke the cultural and scientific heritage of the local community to draw inspiration from their sources of strength to plan how local production of the traditional heritage industries can be revitalised after the destruction caused by ISIS. The paper also explores the attachment of the Yazidi community in Bashiqa to the traditional industrial crafts and the extent of their influence on social and economic life, especially given that the city of Mosul is famous for its craft activity, in addition to the cultural and religious differences among the local population of Bashiqa, which comprises several components of Iraqi society (Yazidi, Catholic and Orthodox Christians, and the Muslim Shabak – Sunni, Shiite, and Kurdish) and thus affect the community’s view of the traditional crafts.
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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, April 2013. http://dx.doi.org/10.18235/0009113.
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Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.
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Mahmoud, Hussam, Guillermo Riveros, Lauren Hudak, and Emad Hassan. Experimental fatigue evaluation of underwater steel panels retrofitted with fiber polymers. Engineer Research and Development Center (U.S.), March 2023. http://dx.doi.org/10.21079/11681/46647.
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Many steel structures are susceptible to fatigue loading and damage that potentially threaten their integrity. Steel hydraulic structures (SHS) experience fatigue loading during operation and exposure to harsh environmental conditions that can further reduce fatigue life through stress corrosion cracking and corrosion fatigue, for example. Dewatering to complete inspections or repairs to SHS is time consuming and leads to economic losses, and current repair methods, such as rewelding, often cause new cracks to form after relatively few cycles, requiring repeated inspection and repair. The use of bonded carbon fiber–reinforced polymer (CFRP) to repair fatigue cracks in metallic structures has been successful in other industries; recent work suggests that this method offers a more reliable repair method for SHS. Studies regarding CFRP retrofits of SHS indicate that early bond failure often controls the degree of fatigue life extension provided by the repair. This study aims to extend previous studies and increase the fatigue life of repaired steel components by employing methods to improve CFRP bonding. Additionally, using basalt reinforced polymer (BFRP) instead of CFRP is proposed. BFRP is attractive for SHS because it does not react galvanically and has excellent resistance to chemically active environments.
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Gorman, Clare. Exposing the Worst Forms of Child Labour in Bangladesh’s Leather Sector. Institute of Development Studies (IDS), February 2021. http://dx.doi.org/10.19088/clarissa.2021.001.
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As one of the country’s biggest employers and its second largest exporter, the leather sector is big business in Bangladesh. But it is also in crisis. A dramatic decrease in the global demand for leather since COVID-19 has led to the collapse of the supply chain with workers, especially children, bearing the worst of the brunt. As cracks in the industry’s surface widen, new research from the Child Labour: Action-Research-Innovation in South and South-Eastern Asia (CLARISSA) programme shines a light into its hidden corners, revealing examples of the worst forms of child labour (WFCL) at almost every turn.
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Dinovitzer, Aaron, Brian Leis, Ravi Krishnamurthy, Chris Alexander, and Mures Zarea. PR214-203804-R01 Systematize 20 Years of Mechanical Damage Research. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), June 2022. http://dx.doi.org/10.55274/r0012226.
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This research was funded in part under the Department of Transportation, Pipeline and Hazardous Materials Safety Administration's Pipeline Safety Research and Development Program. The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the official policies, either expressed or implied, of the Pipeline and Hazardous Materials Safety Administration, or the U.S. Government. Research over the past 20 years has improved the pipeline industry's understanding of the behavior and failure processes for mechanical damage. This new understanding of mechanical damage has influenced the methods that should be used to characterize and inspect pipelines for mechanical damage. This research and development work has resulted in a range of assessment tools considering feature formation strain, failure pressure and fatigue life assessment including the effects of coincident features such as corrosion, welds gouges and cracks. The industry has also completed research developing an understanding of appropriate remedial actions to mitigate the risk of mechanical damage features. Guidance documents defining recommended practices for characterization, assessment and remediation of mechanical damage have been developed and published. To support the development of an improved understanding of the accomplishments of research, this project was completed to systematize the last 20 years of mechanical damage research. This report provides this summary in four mechanical damage subject areas including: Formation and Behavior, Detection and Characterization, Assessment and Management, and Repair and Remediation. The report also provides an overview of the treatment of mechanical damage in existing regulations and standards, identifying opportunities for improvement. Gaps in current mechanical damage understanding or tools are also identified as targets for further research. This work should be of interest to regulators, pipeline operators, researchers and engineering consultants or analysts as a description of the state of knowledge and developing a roadmap for future mechanical damage assessment and development.
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Lazonick, William, Philip Moss, and Joshua Weitz. The Unmaking of the Black Blue-Collar Middle Class. Institute for New Economic Thinking Working Paper Series, May 2021. http://dx.doi.org/10.36687/inetwp159.
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In the decade after the Civil Rights Act of 1964, African Americans made historic gains in accessing employment opportunities in racially integrated workplaces in U.S. business firms and government agencies. In the previous working papers in this series, we have shown that in the 1960s and 1970s, Blacks without college degrees were gaining access to the American middle class by moving into well-paid unionized jobs in capital-intensive mass production industries. At that time, major U.S. companies paid these blue-collar workers middle-class wages, offered stable employment, and provided employees with health and retirement benefits. Of particular importance to Blacks was the opening up to them of unionized semiskilled operative and skilled craft jobs, for which in a number of industries, and particularly those in the automobile and electronic manufacturing sectors, there was strong demand. In addition, by the end of the 1970s, buoyed by affirmative action and the growth of public-service employment, Blacks were experiencing upward mobility through employment in government agencies at local, state, and federal levels as well as in civil-society organizations, largely funded by government, to operate social and community development programs aimed at urban areas where Blacks lived. By the end of the 1970s, there was an emergent blue-collar Black middle class in the United States. Most of these workers had no more than high-school educations but had sufficient earnings and benefits to provide their families with economic security, including realistic expectations that their children would have the opportunity to move up the economic ladder to join the ranks of the college-educated white-collar middle class. That is what had happened for whites in the post-World War II decades, and given the momentum provided by the dominant position of the United States in global manufacturing and the nation’s equal employment opportunity legislation, there was every reason to believe that Blacks would experience intergenerational upward mobility along a similar education-and-employment career path. That did not happen. Overall, the 1980s and 1990s were decades of economic growth in the United States. For the emerging blue-collar Black middle class, however, the experience was of job loss, economic insecurity, and downward mobility. As the twentieth century ended and the twenty-first century began, moreover, it became apparent that this downward spiral was not confined to Blacks. Whites with only high-school educations also saw their blue-collar employment opportunities disappear, accompanied by lower wages, fewer benefits, and less security for those who continued to find employment in these jobs. The distress experienced by white Americans with the decline of the blue-collar middle class follows the downward trajectory that has adversely affected the socioeconomic positions of the much more vulnerable blue-collar Black middle class from the early 1980s. In this paper, we document when, how, and why the unmaking of the blue-collar Black middle class occurred and intergenerational upward mobility of Blacks to the college-educated middle class was stifled. We focus on blue-collar layoffs and manufacturing-plant closings in an important sector for Black employment, the automobile industry from the early 1980s. We then document the adverse impact on Blacks that has occurred in government-sector employment in a financialized economy in which the dominant ideology is that concentration of income among the richest households promotes productive investment, with government spending only impeding that objective. Reduction of taxes primarily on the wealthy and the corporate sector, the ascendancy of political and economic beliefs that celebrate the efficiency and dynamism of “free market” business enterprise, and the denigration of the idea that government can solve social problems all combined to shrink government budgets, diminish regulatory enforcement, and scuttle initiatives that previously provided greater opportunity for African Americans in the government and civil-society sectors.
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Cardenas Solano, Leidy Johanna. Vigilancia tecnológica: identificación de usos potenciales de la yuca (manihot esculenta). Corporación Colombiana de Investigación Agropecuaria - AGROSAVIA, 2023. http://dx.doi.org/10.21930/agrosavia.vigilanciatecnologica.2023.1.
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Los estudios de vigilancia científica se enfocan en la identificación de tendencias de base, emergentes y motor, que conforman el estado del arte de una temática específica para establecer el escenario actual de las actividades de investigación. La vigilancia se concibe como el proceso de obtención, análisis, interpretación y difusión de información de valor estratégico, que se transmite a los responsables de la toma de decisiones en el momento oportuno y que permite conocer las líneas de investigación, el trabajo otras latitudes, las empresas líderes de un producto entre otros. Mediante el uso de la vigilancia tecnológica se analizó estado de la investigación para usos potenciales de la Yuca (Manihot esculenta). Se realizó la revisión de la literatura científica y tecnológica de los diferentes usos que se han identificado para el aprovechamiento de la yuca con el objetivo de identificar potencialidades de este cultivo en el contexto colombiano. La yuca (Manihot esculenta Crantz) denominada batata o mandioca pertenece al género Manihot (Euphorbiaceae) y existen más de 100 especies en el género Manihot, es una de las tres clases de yampi del mundo, se cultiva extensamente en zonas tropicales y subtropicales. Esta raíz es una de las principales materias primas para la fabricación de almidón en la industria, la cual tiene una demanda que asciende aproximadamente a 50 millones de toneladas anuales, y se obtiene principalmente de la patata, el maíz, el trigo y justamente, la yuca. El 65% de la producción total de mandioca en el mundo se destina a la alimentación humana y es uno de los principales cultivos alimentarios para los agricultores de bajos ingresos de las regiones tropicales y subtropicales. Además, es la única especie apta para el cultivo económico, su tubérculo raíz y su lámina foliar son comestibles, y debido a que es un cultivo tropical y tiene altos requerimientos de iluminación, la yuca puede crecer normalmente después de ser cultivada al aire libre y recibir suficiente iluminación. Aunque, cuando las raíces de yuca tienen tiempo suficiente para crecer, el alto rendimiento puede dar un contenido de almidón del 27% al 36%, también conocido como punto máximo de almidón de tapioca.