Dissertations / Theses on the topic 'Making and Craft'
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Thieman-Dino, Angela. "Making fun: How urban Black girls craft identity." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3273711.
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Hawson, Thomas. "Contemporary craft in Iceland : communicating culture through making." Thesis, Bucks New University, 2006. http://bucks.collections.crest.ac.uk/9927/.
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This doctoral project develops an interdisciplinary collaborative approach to furniture designer\maker practice. At its core is a practice-based framework that can be used to assess and reflect upon the tacit, primarily visual nature of makers’ knowledge and the way that this can be communicated in order to develop design outcomes. The enquiry takes as its focus a two-year collaboration between the author – a British-based furniture designer/maker – and six indigenous Icelandic craft practitioners in which the ultimate goal was the creation of artefacts that, it was hoped, would be expressive of Iceland’s native craft traditions. During the ‘Iceland Project,’ as it came to be known, interaction between and among participants was grounded in a predetermined plan developed democratically through consultation and dialogue. The project successfully develops new knowledge through a contemporary reinterpretation of indigenous Icelandic craft-making knowledge and demonstrates this through the making of artefacts imbued with recognized cultural status. It also extends furniture designer/maker research by developing an innovative practice-based method of collaboration rooted in the multimedia archiving of the making process which can then be used to illuminate and facilitate future practice. The project is a scholarly display of makers’ knowledge: the process is shared democratically among peers; the decisions that articulate design and methods of making are reviewed; and inter-subjective outcomes are generated. To facilitate learning from designer/maker practice-based research, the creative narrative is necessarily partly articulated through visual media and artifacts.
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Paquin, Garth William. "Thinking Through Making." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242781351.
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Gowlland, Geoffrey Karim. "The making of an exclusive craft : skill, style and personhood in a Chinese craft community." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612946.
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Peach, Andrea. "The making of modern Scottish craft : revival and invention in 1970s Scotland." Thesis, Robert Gordon University, 2017. http://hdl.handle.net/10059/2711.
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The 1970s were a period of renaissance for the crafts in Britain, often referred to as a craft revival. The creation of national organisations and infrastructures to support craft, and define its identity, played a crucial role in this. The received craft revival narrative focuses on the Crafts Council of England and Wales, with its emphasis on raising the status of craft and promoting it as fine art, largely through the efforts the Minister for the Arts, Lord David Eccles. The narrative in Scotland was very different, and is a story that until now remains untold. Scotland had its own national agencies with responsibility for the crafts. But instead of having a focus on the arts, they were tasked with addressing Scotland’s economic decline, and saw an opportunity to develop Scottish craft as both an industry and a product. The emphasis was not on promoting craft as fine art as in England and Wales, but rather on developing craft as commodity. Borrowing from Adamson’s thesis that as a form of cultural production, ‘craft is itself a modern invention’ (Adamson 2013 p. xiii), this thesis will analyse how Scottish development organisations in the 1970s attempted to promote and invent Scottish craft as an industry and product, and how those involved in the making of Scottish craft responded to this. In order to do this, it will examine the origins of the 1970s craft revival in Britain, the legacy of the invention of modern Scottish craft, and the two development agencies tasked with its invention in the 1970s: the Highlands and Islands Development Board, and the Scottish Development Agency. This thesis makes an original contribution by telling the Scottish side of the 1970s craft revival story. It also addresses wider issues that have received little critical attention in craft history, namely the relationship between craft and commodification, and the tension between modernity and tradition in the invention of modern craft.
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Peng, Fanke. "Visual Thinking - Beyond Craft Making : Identifying and verifying a visual analysis model (VAM) for craft practice." Thesis, University of Dundee, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521661.
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Hilligoss, Peter Z. "Modern Craft: Linking Material, Process and Environment." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1244642268.
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Kärklkäinen, Jimmy. "Creativity and Craft Center : Bringing the Making to the City." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135593.
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Schenk, Jan-Christof. "The making of a new South African craft : township craft and development discourse in post-apartheid Cape Town." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/14635.
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Includes bibliographical references (leaves 90-93).The author discusses postdevelopment theory by exploring unintentional effects of development practices in Cape Town's craft scene. A heterodox research design is adopted, drawing on Pierre Bourdieu's ideas on cultural production, notions of authenticity, representation and the modern/traditional dichotomy as well as thoughts on the making of a New South African identity. This is applied to the dynamics of Cape Town's craft scene in the pursuit of answering four research questions: (i) What role does the township play in the image of post-apartheid South Africa? (ii) How does development discourse contribute to the re-imagining of post-apartheid South Africa through 'township craft'? (iii) Is development discourse conducive to maintaining and creating tensions between centres and peripheries in the New South Africa? (iv) To what extent can a heterodox research design contribute to the postdevelopment debate? Through the socio-semiotic analysis of qualitative data obtained from interviews with fourteen stakeholders in Cape Town's craft scene as well as observations made at sites, where 'township craft' is presented and/or produced, the author is able to give three main insights in relation to the stated questions: (i) The image of the township, represented through cultural commodities, plays a crucial role as a place of creativity and positive change in the making of a post-apartheid identity. (ii) Development discourse manifests itself in the making of a New South African identity through material culture in the form of 'township craft' and its conceptual as well as spatial contexts. (iii) The use of development discourse in the making and marketing of 'township craft' in combination with supposedly 'common knowledge' about the art/craft divide has the potential to create and maintain patterns of inequality between producers and sellers of 'township craft'. A recommendation is made to explore further possibilities of heterodox research designs for studies using a postdevelopment theoretical framework.
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Thome, Hannah R. "Ravelry.com: Augmenting Fiber Craft Communities and Social Making with Web 2.0." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524488670252085.
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Nasseri, Mona. "In the making : an exploration of the inner change of the practitioner." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/a43e2b29-7cc0-44dd-a077-83258bdb557b.
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This is a study at the interface of self, craft, and sustainability. It is a small part of a wider personal and social conjecture on the subject of ‘change ’ involving these three domains.This research develops the proposal that the success of a profound social change, which in our time pertains to the change towards sustainable societies, lies in the likeliness of self-transformation in individuals. Here the craft perspective is taken in order to link it to a large body of research in response to environmental and ethical concerns. However, unlike other object-oriented approaches with a similar purpose, the purpose of this research is to seek a greater contribution from craft practice when it is viewed as a transformation of the craftsperson. By referring to this human capacity, it argues, not only is crafting an inducement to self-transformation but also self-transformation can be regarded as a craft. To support this argument, material is drawn from the literature on craft, sustainability, philosophy of the self and social and developmental psychology. The historical and developmental formations of the key areas of the research are explored and psychological factors that motivate desirable ‘changes’ are identified. This exploration is then supported by interviews, personal narratives and the active participation of the researcher in the actual practice of craft. The research suggests that the state of self-actualization, where humanity reaches its fullness, is the destination to which the self needs to transform. It then traces elements involved in such a transformation back to their origin. This includes meanings and values leading to transformation, knowledge leading to meanings, experience leading to knowledge and the embodied connection between the self and the environment leading to experience. At the deepest level, it proposes a particular mode of relationship which is best described as craftsmanship or ‘the craft way of being.’ This process is also traced in the personal experience of the researcher.This thesis concludes with an explanation of the concept of ‘deep craft’. It proposes that the outcome of a deeper understanding of craft, which in effect widens the territory of craft activities, becomes manifest in the world in the form of ‘care taking’, essential for the ‘change’ towards more sustainable societies.
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Laurenson, Sarah. "Materials, making and meaning : the jewellery craft in Scotland, c. 1780-1914." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25848.
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This thesis examines the jewellery craft in Scotland between 1780 and 1914 with a focus on the relationship between materials, making processes, and the social and cultural meanings of objects. While dominant narratives of craft in this period frame producers as the victims of industrialisation, this thesis considers Scotland’s jewellers as cultural actors who shaped their own worlds during a period of profound economic, social and cultural change. A material culture approach is employed to examine the work of Scotland’s jewellers through the things they made. Fusing object-based research with a wide range of visual and textual sources, the thesis shows how producers applied their skill, knowledge and creativity to manipulate raw matter into meaningful objects that not only reflected, but brought about wider social and cultural shifts. Through a focus on materiality, the thesis builds on new methodological approaches to the history of material culture to show how the mutable meanings of matter and workmanship impacted on the ways in which jewellery was produced, consumed, worn and perceived. Scotland provides a rich area of focus for this study. The country has a long history of quality craft production in jewellery and silverware, with the geological and natural diversity of the region providing jewellers with precious metals, coloured stones and freshwater pearls. The study examines industry dynamics, artisanal education and making processes to show how jewellers fashioned an image of their craft that was rooted in ideas of history, inherited skill and quality. The life cycle of native materials is traced from their raw state through the workshop and on to owners’ bodies to reveal how changes in workshop production were inseparable from shifting aesthetics and cultural ideas relating to nature, landscape and the past. These findings complicate the persistent myth of the decline of craft as a result of industrialisation to show that the desire for Scottish-made jewellery stimulated new and revived skills and trades that cut across urban and rural areas. While the thesis is geographically specific to Scotland, it places luxury producers within the interdisciplinary domain of cultural history to provide new insights into the study of the multifaceted transformations that marked British industry during the long-nineteenth century.
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Sundström, Elin. "Water Talks : Rewilding craft: restoring relationship through making objects entangled with place." Thesis, Konstfack, Keramik & Glas, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7810.
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On the brink of a sixth mass extinction, I renegotiate, through crafting, some basic assumptions on which our economy-culture is built, those of separation and dominance. The project Till Källan / Water Talks is based on a method where I ask various places what they would want me to do on site. It is a process of reconnecting to place and the non-human, a radical rethinking of relationship between human and the other. I investigate the possibilities of craft to be a conductor of that relationship.The paper tracks various lines of thought around my practice, like trickles gathering more water into my pond. It starts in a quantum physics philosophical base for how the world is in a state of becoming through intra-action, on to why water is the perfect medium to affect the world through a puddle. I look at how my practice has an affinity with animism as philosophy and indigenous ways of relating to place and materials. I explore various facets of performativity, in world-making, craft-making, in the resulting objects and in the restoring of relationship through ritual. The enquiry that runs through the paper is what craft is when the object was made for a place rather than for the “art-world” or other economic systems. Going back and forth between a western and a non-western mindset, between practice and theory and between the poetic and prosaic, makes for a synthesizing of sources, leading up to the concept of Rewilding Craft, and a number of crafted objects and images that speak of the relationship.
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Smith, Matt. "Making things perfectly queer : art's use of craft to signify LGBT identities." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/24d3ff45-7ca5-40ac-9253-2795ef0edb75.
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This research explores how queer culture and theory can be communicated through crafted objects and curated exhibitions. It interrogates whether it is possible to identify queer characteristics, aesthetics and themes in crafted objects and develops the idea of visual polari – based on Polari, the slang language used by gay men in England predominantly in the mid twentieth century – as a methodology. The research then examines how art related to queer lives has been curated in art organisations and how different curators have approached creating queer taxonomies. It also examines the use of craft techniques by artists addressing queer topics and argues that the marginalised positions of craft – the decorative and the domestic – have been adopted by queer practitioners. Marginalised groups can often be excluded from representation in cultural organisations, and museums and galleries have traditionally shied away from the emerging discipline of queer theory. Although Lesbian, Gay, Bisexual and Transgender (LGBT) Month acts as a focus for queer recognition in museums and galleries, many organisations are unsure how to explore or tackle the subject. The core of this research examines practical case studies that explore how this can be achieved. The research was informed by four exhibitions where I was both the artist and curator. The first – Queering the Museum at Birmingham Museum and Art Gallery – drew on artist intervention methodologies that had been used to address race within museums, but had not been applied to marginalised sexualities. The second was Other Stories: Queering the University Art Collection at the Stanley and Audrey Burton Gallery at the University of Leeds and used oral histories from gay men and women to reposition objects in the art gallery collection. The last two installations were at National Trust properties – Nymans House and Gardens and The Vyne – and examined the queer lives of their former occupants. The exhibitions used artist interventions to disrupt any single interpretive narrative and move away from the centring of the houses’ histories on heteronormative family trees. Queer is a contested term and LGBT encompasses a wide variety of experiences. Although the research strives for inclusion, not all experiences that come under the banner term LGBT are explored equally. Rather, this research aims to move the ideas about how cultural organisations can represent queer lives and to generate debate in the fields of museums, galleries and historic houses.
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Bray, Derin Tyler. "Urban craft in rural Massachusetts the Weymouth cabinetmaking shop of Abiel White, 1790-1851 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 190 p, 2007. http://proquest.umi.com/pqdlink?did=1232384531&Fmt=7&clientId=79356&RQT=309&VName=PQD.
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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).
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Ekström, Anna. "Instructional work in textile craft : Studies of interaction, embodiment and the making of objects." Doctoral thesis, Stockholms universitet, Institutionen för utbildningsvetenskap med inriktning mot tekniska, estetiska och praktiska kunskapstraditioner, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-69529.
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The focus for this thesis is instructions and their role in guiding students’ activities and understandings in the context of textile craft. The empirical material consists of video recordings of courses in textile craft offered as part of teacher education programs. In four empirical studies, instructions directed towards competences in craft are investigated with the ambition to provide praxeological accounts of learning and instruction in domains where bodily dimensions and manual actions are prominent. The studies take an ethnomethodological approach to the study of learning and instruction. In the studies, instructions related to different stages of the making of craft objects are analysed. Study I highlights instructional work related to objects-yet-to-be and the distinction between listening to instructions as part of a lecture and listening to instructions when trying to use them for the purpose of making an object is discussed. Study II and III explore instructions in relation to developing-objects and examine instructions as a collaboration of hands and the intercorporeal dimensions of teaching and learning craft are scrutinised. In Study IV, objects-as-completed are analysed by investigating a certain way of addressing assessment as an educational topic. The manifest character of skills and understandings in craft provide specific conditions for learning and instruction. In craft education, skilled action is not just explained but also shown and established through bodily instructions that make the targeted skills available through bodily understandings of moving and touching. The bodily conduct of students comprises a resource for teachers to assess students’ understanding of the subject matter being taught as the materiality of craft activities reveal the crafters’ understanding of the activity at hand. The thesis demonstrates how skills in craft are made available to students in and through opportunities to see, feel and act in craft-specific ways.At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 2: Submitted. Paper 3: Accepted. Paper 4: Submitted.
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Telford, N. J. M. "Making stories : an investigation of personal brand narratives in the Scottish craft microenterprise sector." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21910.
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This thesis examines the marketing and branding behaviours of a sample of microbusinesses that operate in Scotland’s diverse craft sector by examining brand narratives they create. Context of the sector is first given and demonstrates that this particular topic has received little specific attention in academic literature even though it has been recommended (Fillis 2003a; Fillis 2003b). Such an investigation also offers implications for SME marketing/ entrepreneurship in general, the creative industries in particular and craft brands’ contribution to the overall place branding of Scotland. An empirical methodology is proposed which takes a narrative phenomenological approach, generating narrative texts from depth interviews with creative producers which is subjected to a Grounded Theory approach and narrative analysis in view of craft producer typologies (Fillis 1999; Fillis 2010). The stories of makers are used to generate meaning and outputs to contribute to theory, practice and recommendations for policy. Care is taken to ensure that the testimony of participants is co-created and not entirely the result of the researcher’s interpretation even though this study is interpretive in nature (Rae & Carswell 2000; McAdams 2008; MacLean et al. 2011). Similar to other entrepreneurs or producers in the creative industries, the craft worker in the current era is typified as an individual sole trader who operates in a wider culture, society and economy of increasing complexity and competition (Fraser 2013). This thesis selects those owner/ managers whose businesses rely upon craft practice and are operating in Scotland as its focus, but aims its findings at a wider reach to establish themes for future research to understand how its participants build value into their market offerings by creating personal narratives within larger narratives of craft sector and creative industries discourse. A range of participants from new starts to well-established craft practitioners is featured in the text in order to give depth and breadth to the understanding of current practice in a diverse sector which increasingly interacts with other creative industry sectors (Yair & Schwarz 2011). This thesis posits that creative producers build value through their unique ‘auratic’ persona through their personal brand narrative. This is what differentiates their work and outputs from large corporatized mass-manufacturing systems. The products of individuals’ hand skill may be categorised and classified in many ways – from fine contemporary craft to the vernacular, the utile and that which pays homage to others’ designs. What remains constant, however, is that it emanates from personal identity and the identity of the maker mixing self with story (Leslie 1998). The thesis contributes to the gap in academic marketing literature on microenterprise brand development using the topics of personal narrative, business development, product development, marketing competency/ orientation, and technology use in production and marketing. Additional emergent themes of Microenterprise Social Responsibility, the role of life-work balance of makers parenthood which further ideas of career management in the creative industries are also revealed in the course of this research (see also Summerton 1990; Burroughs 2002; Neilson & Rossiter 2008; McDowell & Christopherson 2009; Banks & Hesmondhalgh 2009). Methodologically, this thesis is hybrid but crucially uses the equipment of story and narrative analysis to offer both insights into practice for the academy and a method that practitioners can use to further marketing development and their brand identity. Through the careful gathering and presentation of various stories – of biography, making and marketing, this thesis presents a current view of craft as created, communicated and exchanged by those working in the field in Scotland today. These case stories act as both informative examples that demonstrate how individual producers create value in their work. The findings are consistent with - but also develop - a maker typology offered by Fillis (1999; 2010) and Burns et al. (2012) thus contributing a methodological and conceptual approach and framework to understand the marketing and branding behaviours of Scottish craft microenterprises (McAuley 1999; Creative and Cultural Skills 2009) but which may also be applied to other types of microenterprise.
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Johns, Melissa. "Tenacious Threads: Crazy Quilts as an Expressive Medium for Making Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/94.
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In this arts-based study, I will discuss using craft techniques such as crazy quilting in the creative process of making art. The paper describes the history of crazy quilts, a brief summary of artists who use quilts as a medium, and a description of how teaching craft-making skills in the classroom can encourage students to use them for art-making.
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MacManus, Sean Christopher. "Architectural Tectonics: A Shift Between the Cultural Tradition of Making to Contemporary Building Processes." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/25235.
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Modern architecture has lost its sense of place by the adoption of practices like standardization and universal modularity, over the focus and influence of unique local building practices. However, looking outside of the cultural main stream works of architecture, there exists some built structures with such purity around how they were constructed and a form of honesty deeply embedded within their material usage. Having been idealized in such a locally specific manner, these attributes become the essence of belonging that ties the building to its particular place. In this thesis, I have considered architecture both within regional or vernacular architectural traditions and the unconstrained means and methods of modern architecture. I looked at how modern technologies related to fabrication can be influenced by the subtle adaptations that traditional architecural crafts have developed, unique to specific regions.Master of Architecture
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Tunick, Joshua Eric. "Craft in Architecture: The Making of a Coffee Mill and a Study of Form Generation." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32833.
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The connection of craft and architecture is a subject that has interested me since I began my architecture education some seventeen years ago. Although my path led me away from, then back to architecture, craft and making has remained a passion of mine through the years; specifically, the role of the individual craftsman in architecture.
It is my contention that as we move further and further into a machine made world, we lose an understanding of, and an appreciation for variation. Everything in our lives is homogenous. People believe that coffee should taste the way that it does at Starbucks, and Starbucks became the monolith that it is by ensuring that their coffee tastes the same no matter where you are in the world.
The craftsman never strives for homogeneity or simple duplication; it is anathema to his being. The cabinetmaker knows he will never find two pieces of wood that are the same, and he knows he can never produce two identical products, no matter his skill. He finds joy in this, and he is fulfilled.
The barista, given control of the quality of the beansâ roast, the grind, the tamp, and the pressure of the extraction will never make two shots the same. This variation makes every cup a unique experience, and provides an endless opportunity to experiment and refine.
I began with a house, and a study of how one generates form in architecture. I ended with a handcrafted coffee mill and portafilter. I utilized the craft of cabinetmaking that I have studied for over a decade, to produce tools for the barista to take full control of his craft.
Whether a piece of furniture, or a shot of espresso - what the hands of a skilled craftsman can create when they are given the tools and the freedom to put their skills and intuition to full use, is something extraordinary, something unique, and something exceeding what the best machine can produce under ideal conditions. This is a lesson I strive to always remember, and one I endeavor to pass on to my children. Now more than ever this idea seems very much at risk of extinction.Master of Architecture
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Smith, Thomas S. J. "Material geographies of the maker movement : community workshops and the making of sustainability in Edinburgh, Scotland." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12815.
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Recent years have seen the emergence of a novel type of community space around the world, labelled variously as makerspaces, hackerspaces, hacklabs, Fab Labs, and repair cafés. These workshops, often known collectively as the ‘maker movement', have inspired considerable speculation regarding their potential to prefigure a more sustainable economy, including a shift to localised and participatory forms of production and consumption (Smith and Light, 2017). Until recently, the social scientific work on such spaces has been sparse, especially in-depth ethnographic work, though scholars are increasingly turning their attention to them, particularly in the fields of design and science and technology studies. This thesis, a practice-led ‘enactive ethnography' drawing from three case study workshops in Edinburgh, Scotland, explores the question of sustainable development and maker spaces along two main axes: firstly, the emergence of sustainable practice in such spaces, and secondly, the relevance of such spaces to the cultivation of human wellbeing. The thesis is the first examination of such spaces drawing from developments in social theory towards relational materialism, more-than-representational approaches, and a focus on social practice. It draws a number of conclusions. Firstly, that claims of an undifferentiated global ‘maker movement' may be exaggerated: the grassroots participant-led creation of such spaces results in irreducible diversity and local differentiation. Secondly, while claims about the potential of such spaces for reconfiguring global production and consumption are overstated, when viewed from a practice-oriented perspective, the communities of practice populating such sites comprise potent and potentially-valuable crucibles of knowledge and materials. And thirdly, trying to move away from individualistic conceptions of wellbeing, the case studies provided evidence for the shared workshops playing a crucial role in the contingent emergence of participant wellbeing. These findings are further developed in tandem with a posthuman reading of maker practices, contributing to timely scholarly debates on ‘making' and ‘craft'.
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Letourneau, Jon P. "Incorporating multi-criteria optimization and uncertainty analysis in the model-based systems engineering of an autonomous surface craft." Thesis, Monterey, California : Naval Postgraduate School, 2009. http://edocs.nps.edu/npspubs/scholarly/theses/2009/Sep/09Sep%5FLetourneau.pdf.
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Thesis (M.S. in Systems Engineering and M.S. in Mechanical Engineering)--Naval Postgraduate School, September 2009.Thesis Advisor(s): Whitcomb, Clifford ; Papoulias, Fotis. "September 2009." Description based on title screen as viewed on 5 November 2009. Author(s) subject terms: Autonomous, unmanned vehicle, USV, UV sentry, model-based, multi-criteria, model-based decision making, MCDM, unmanned surface vessel, model-based systems engineering, MBSE, uncertainty. Includes bibliographical references (p. 91-92). Also available in print.
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Clay, E. S. "A material-led investigation into the creative potential of British 'waste' wools for fine craft felt-making." Thesis, Bath Spa University, 2013. http://researchspace.bathspa.ac.uk/1734/.
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This thesis describes the practical investigation and analysis of traditional materials and processes used in the production of hand made felt. Specifically, the research examines the potential of certain British wool types that are currently undervalued (and often overlooked in the production of fine craft felt). These wools are frequently referred to as ‘waste’ wools. The research further explores aspects of the UK’s wool economy and the problematic issue of waste wool. The aim being to locate and articulate the creative potential of a selection of these wools within the field of fine felt craft practice, and in so doing raise an awareness of their potential diversity and relevance. The investigation questions felt’s marginal status within the textile hierarchy, and problematizes notions of the familial and self-conscious attributed to felt craft by some of its makers. By examining distinctions between craft and industrial felt production, the research considers both the opportunities and limitations of these relationships within the context of designer maker practice. The purpose and focus of this material-led examination is to develop inventive, progressive methods in fine felt craft and couture application seeking material currency with appropriate use of waste wools for handwork production. The practical experimentation was conducted using a practice-led research approach through which materials and sampling methods emerged within a studio-based environment. The study focuses on the use of carding, wet and dry felting and post felting manipulation of surface design using hand-pleating applications. Whilst not specifically suggesting new techniques in felt-making, the modification of existing processes has formed a central part of the contribution to new knowledge created within the work. Therefore the qualitative nature of the research methodology establishes a new perspective on both the value and integrity of British waste wools for the production of fine craft felt-making. The portfolio of fabrics produced confirmed the suitability of materials for fine craft felt-making and further suggested their appropriateness for product development and use. The fabric prototypes and exposition collection evidence new design concepts, situating the practical investigations in a cultural and critical context and in so doing reposition the material in a more valuable and original light. The sampling process identified key areas for innovation and aesthetic appeal suggesting that further research could be developed using other wools and wool blends. From this thesis emerges a vibrant platform for fresh interpretation and potential for British waste wools in fine craft felt-making, further strengthening the creative interplay between material and technique.
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Schroder, Megan Janet. "Making futures: The role of agency and possibility thinking in the creative lives of young people." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122966/1/Megan_Schroder_Thesis.pdf.
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Education, employers and governments are focusing on creativity as a crucial attribute in the development of young people. Utilising Craft's (2000, 2001) framework for 'little c" creativity and 'possibility thinking' this study explores how schools are fostering creative attributes in senior school students. Combined with Eisner's (1998, 2002) framework for knowledge, imagination and innovation as its lens, it uncovers aspects of creativity students identify as helpful in preparing for creative futures. Using a bounded case study approach, this research considers the stories of six Queensland senior school students to discover how young people are employing a 'possibility thinking' approach to life, engaging with play, imagination, risk taking and question posing, to shape themselves and solve problems daily. The study reveals the important role creative adults play, at school and at home, empowering learners to connect ideas, develop new perspectives and solutions in unique ways.
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Stevenson, Frances. "Making changes : applying heuristics to a practice-led investigation of creative wellbeing within the context of contemporary craft." Thesis, University of Dundee, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650301.
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Nanda, Puja 1971. "The culture of building to craft--a regional contemporary aesthetic : material resources, technological innovations and the form making process." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/69409.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.Includes bibliographical references (p. 87-90).
In the non-Western context, there always has been a dilemma between "who we are" and "who we should be" . One could say "between tradition and modernity" . When the alien culture of building was adopted, the ties with the traditional vernacular processes were snapped off without establishing a critical dialogue between the two. The prevalent primitive modes of production were incongruous with the concepts of mechanization . Moreover, the tradition of the craftsman as a master builder was replaced by the differentiation between the architectural practice, the building industry and the exiting crafts. This issue becomes even more complex in the present context, when the architectural practice and the building industry are subject to the global culture of commodification and homogenization . The architectural practices are churning out 'products' that appropriate the local idioms into universal themes without undergoing the 'process' of transformation and metamorphosis into a contemporary vocabulary. The industry, on the other hand, is assuming global references and has a thrust towards universal building materials and systems that ignore the regional resource base. In the kitsch that is generated, the 'regional identity' is lost . Left behind is historical mimicry, thematic interpretations and ethnic nostalgia. One cannot deny that the global culture of integration/homogenization is as much a reality as the local culture of differentiation/uniqueness. Critically looking at this intersection, this thesis states the issue again as: "What kind of a 'culture of building' would generate an 'aesthetic' that draws references from its regional context and is also true to contemporary? There are some alternate practices that sit at the intersection of local and universal aspirations. They achieve a design economy by emphasizing on the larger web of the extended natural patterns of the region . They respect the vernacular aesthetic where the building processes are composed essentially of relationships in time and place. Thus, their culture of building represents a 'process' that integrates the architectural practice with the local crafts and the existing building industry towards an aesthetic that is both regional and contemporary. This thesis represents an effort to formulate an alternative paradigm or a reference language to the current architectural practice in India, that is not subject to the global culture of commodification and homogenization but is rooted in its context. metamorphosis and transformation. This thesis argues that a bias towards the 'process' and not the 'product' has greater potential to render an aesthetic of the place.
by Puja Nanda.
S.M.
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Pitman, Sophie. "The making of clothing and the making of London, 1560-1660." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269651.
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In recent years, urban historians have established that the period from 1560 to 1660 was a key era for London’s development from a relatively small European urban centre into a large dynamic global capital. This dissertation attempts to intervene in London scholarship by drawing attention to the economic, political, religious and – most significantly – cultural importance of clothing in the city in this period. Using material, visual, literary and archival sources, it explores the ways clothing contributed to the development of early modern London and, in turn, how London’s rapid growth changed the making, wearing, and meaning of clothing. This dissertation places material evidence at the fore using extant objects from museum collections. It also employs the new methodology of reconstruction to explore craft, ingenuity, and emotional self-expression in dress. As clothing infused economic and social life, it draws upon on a wide range of evidence, from London guild records, to portraits, travel accounts, personal letters, diaries and account books, plays, sermons and poems. With a focus on urban experience, this dissertation discusses not only elite luxury consumption, but also investigates the wardrobes of guildsmen, immigrant craftspeople, apprentices and maids – asking what they wore, what they thought about what they were wearing, and how they used clothing to navigate through the city during this time of rapid change. A chapter on the ‘London Look’ shows how inhabitants and visitors documented the visual and material styles of the city. Exploring the collaborative processes by which clothing was made, worn and appreciated by craftspeople and consumers, a chapter on making and buying clothing demonstrates how clothes were made and charts the emergence of a new consumer culture. Existing scholarship on sumptuary laws is challenged in a chapter that demonstrates how laws were enforced in the city while also integrating extant objects into the discussion for the first time. Finally, using a sample of London wills, the dissertation shows how Londoners owned, bequeathed and inherited clothing, and imbued it with emotional meaning. In sum, this dissertation aims to integrate scholarship on early modern London with material culture studies, and to promote the new methodology of reconstruction for historians. In revealing how London was conceived during a time of rapid change, clothing can be used as a lens through which to explore wider discourse about a city that by 1657 was being described as ‘Londinopolis.’ Clothing helped to make London into a wealthy, dynamic, and diverse urban centre, and these changes dramatically shaped the way clothing was made and appreciated.
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Kenning, Gail Joy Art College of Fine Arts UNSW. "Pattern as process: an aesthetic exploration of the digital possibilities for conventional, physical lace patterns." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39898.
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Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.
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Batra-Wells, Puja. "Art/Work: Place-Making, Precarity, and the Performance of Artistic Occupational Identities in Columbus, Ohio." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471460370.
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Dover, Noam. "EMBRACING THE DIGITAL TO THE HAND MADE : Bridging digital technology with glassblowing moulds crafting methods." Thesis, Konstfack, Keramik & Glas, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5852.
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Abstract This report accompanies my Master project in the fields of ceramic and glass, the CRAFT! MA program, Konstfack. In this project I fuse my industrial design toolbox and my current engagement in open-source 3D printing technology with my ceramic and glass craft practice. The first pair brings in notions of innovation and an active approach towards technological change, while the second carry ancient craft methods and knowledge. I develop and make 3D printers for clay and use them as an experimental ceramic work method. In this research based practice I use ceramics as the material for 3D printed glassblowing moulds. This act represents a link between ceramic and glass crafts, one that was known to the ancient Roman craftsmen. A view on craft and digital innovation Although the computer is in use for several decades now, in most crafts it is still used mainly as an assistive device and we seem not to look at it as a professional tool; as a craft tool. New methods of making are out there. We need to have two toolboxes now: Our traditional one and our new digital one. We can already CAD our concepts, control CNC machines and build 3D-printers customised to our growing new practice. We share our new knowledge on open-source platforms, teach each other through the web (and around the globe) how to apply digital techniques to our craft. We now have the opportunity to join hands with the movements of democratisation of contemporary manufacturing techniques and reinvent our practice, our tools and what new-craft could be.
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Larsson, Åsa Maria. "Breaking and Making Bodies and Pots : Material and Ritual Practices in Sweden in the Third Millennium BC." Doctoral thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-107370.
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In South Sweden the third millennium BC is characterised by coastal settlements of marine hunter-gatherers known as the Pitted Ware culture, and inland settlements of the Battle Axe culture. This thesis outlines the history of research of the Middle Neolithic B in general and that of the pottery and burial practices in particular. Material culture must be understood as the result of both conscious preferences and embodied practices: technology can be deliberately cultural just as style can be un-selfconscious routine. Anthropological and ethnoarchaeological research into craft and the transmission of learning in traditional societies shows how archaeologists must take into consideration the interdependence of mind and body when interpreting style, technology and change in prehistory. The pottery crafts of the Pitted Ware and Battle Axe cultures were not just fundamentally different technologically, but even more so in the attitudes toward authority, tradition, variation and the social role of the potter in the community. The Battle Axe beakers represent a wholly new chaîne opératoire, probably introduced by a small group of relocated Beaker potters at the beginning of the period. The different attitudes toward living bodies is highlighted further in the attitudes toward the dead bodies. In the mortuary ritual the Battle Axe culture was intent upon the creation and control of a perfect body which acted as a representative of the idealised notion of what it was to belong to the community. This focus upon completeness, continuation and control is echoed in the making of beakers using the ground up remains of old vessels as temper. In contrast, the Pitted Ware culture people broke the bodies of the dead by defleshing, removal of body parts, cremation, sorting, dispersal and/or reburial of the bones on the settlements. The individuality of the living body was destroyed leaving the durable but depersonalised bones to be returned to the joint collective of the ancestors. Just as the bodies were fragmented so were the pots, sherds and bases being deposited in large quantities on the settlements and occasionally in graves. Some of the pots were also tempered with burnt and crushed bones. At the end of the Middle Neolithic the material and human remains show evidence of a growing effort to find a common ground in the two societies through sharing certain mortuary rituals and making beakers with a mix of both traditions, stylistically and technologically.
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Tsaknaki, Vasiliki. "Making Preciousness : Interaction Design Through Studio Crafts." Doctoral thesis, KTH, Medieteknik och interaktionsdesign, MID, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-219765.
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This dissertation explores value-creation in interaction design through practical collaborations with studio craftspersons. A focus is on the meaning of “preciousness” from a design perspective – what I refer to as Making Preciousness – which highlights aspects of material properties, design processes, and the attitude to the design space. Theoretically, the work takes inspiration from the Japanese philosophy of Wabi-Sabi, which is based on the fact that things are impermanent, incomplete, and imperfect. This reflects a view of preciousness beyond notions of practical use, luxury or monetary cost. In addition to theoretical studies, I engaged in practice-based research at the intersection of interaction design and studio crafts, in the domains of leather, silversmith and textile crafting. Through an approach that blends these practices with the making of interactive artefacts, preciousness for interaction design was explored. Through this work, I extract three qualities, all of which are closely linked to attributes and values embedded in the craft practices examined. I refer to these as resourceful composition, material sensuality and the aiming for mattering artefacts. Resourceful composition refers to approaching a design space “resourcefully”, meaning that the designer actively values and uses the specific qualities of materials and tools consciously, for what they are suitable for. Material sensuality is about appreciating the sensory experience of interacting with materials, arriving through particular material qualities, such as texture, temperature or smell, but also interactive qualities. Aiming for mattering artefacts involves actively designing for impermanence, incompleteness and imperfection, and through that contributing to notions of preciousness through use, care, ownership and interaction between users and artefacts over time. The attitude of making preciousness can be seen as tying together materials and making with user experiences of computational artefacts. For interaction design, this points towards making processes in which computation and material knowledge, craftsmanship and aesthetic intentions are placed at the core. These values relate to cultural, but also sensual experiences, which can be seen as under-explored in the design of interactive products.QC 20171213
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Souza, Geruza Valadares. "Oficinas em sa?de mental: uma proposta geneal?gica do fazer artesanal." Universidade Federal Rural do Rio de Janeiro, 2017. https://tede.ufrrj.br/jspui/handle/jspui/2213.
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Avec le mouvement de la r?forme des centres psychiatriques de soins psychosociaux qui font la cr?ation d'ateliers importants dispositifs d'accueil des sujets en d?tresse mentale sont cr??s. L'objectif de ce travail est de discuter du fonctionnement de la cr?ation d'ateliers, remettant en question dans quelles conditions les actions constituent ou non un dispositif de promouvoir l'autonomie et l'inclusion sociale dans le domaine de la sant? mentale. Avec la proposition de rechercher des discours / pratiques qui guident une vision de la d?valuation des activit?s manuelles et de domination d'exploitation et la capture subjectivit?s par la production capitaliste imp?ratif, nous adoptons la m?thode g?n?alogique Foucault - qui consiste ? l'analyse historique des connaissances et pratiques - pour enqu?ter sur les conditions de possibilit? qui favorisaient la d?valuation du manuel ? la clinique et la dissociation cons?quente entre cela et faire intellectuel. Notre engagement est de proc?der ? l'analyse du travail comme ontologie, nous trouvons dans les hypoth?ses Arts and Crafts (MAO) ? penser ? d'autres rapports du sujet avec le travail et le faire manuel. Le MAO propose l'appr?ciation du m?tier de fabrication comme une alternative au travail m?canique et st?r?otyp?e de l'?re industrielle qui appauvrit les exp?riences de l'homme dans leurs actions quotidiennes. Nous croyons que la recherche sur les bateaux de fabrication, peut contribuer ? l'analyse de l'utilisation des activit?s manuelles dans la perspective historico-politique de faire manuel comme un dispositif pour favoriser l'autonomie et l'inclusion sociale. Nous comprenons que la recherche sur l'activit? artisanale du travail de conception comme ontologie permettent d'accro?tre la connaissance de la sant? mentale sur la relation de l'homme ? faire aussi bien que contribuer ? une analyse plus puissante sur les faits et gestes des ateliers de cr?ation
Com o movimento da Reforma Psiqui?trica s?o criados os Centros de Aten??o Psicossociais que tomam as oficinas de cria??o como importantes dispositivos de acolhimento dos sujeitos em sofrimento mental. O objetivo deste trabalho ? problematizar o funcionamento das oficinas cria??o, questionando em que condi??es os fazeres constituem ou n?o um dispositivo de promo??o de autonomia e inclus?o social no campo da Sa?de Mental. Com a proposta de pesquisar os discursos/pr?ticas que norteiam uma vis?o de desvaloriza??o das atividades manuais e que operam a domina??o e captura de subjetividades, atrav?s do imperativo capitalista de produ??o, adotamos a metodologia geneal?gica de Foucault ? que consiste na an?lise hist?rica de saberes e pr?ticas ? para investigar as condi??es de possibilidades que promoveram a desvaloriza??o do fazer manual na cl?nica e a consequente dissocia??o entre este e o fazer intelectual. Nossa aposta consiste em realizar a an?lise do trabalho como ontologia, encontramos no Movimento de Artes e Of?cios (MAO) pressupostos para pensar outras rela??es do sujeito com o trabalho e o fazer manual. O MAO prop?e a valoriza??o do fazer artesanal como alternativa ao trabalho mec?nico e estereotipado da ?poca industrial que empobrecia as experi?ncias do homem em suas a??es cotidianas. Acreditamos que a pesquisa sobre o fazer artesanal, possa contribuir para a an?lise do uso das atividades manuais sob a perspectiva hist?rico-pol?tica do fazer manual, como dispositivo que promova a autonomia e inclus?o social. Entendemos que a pesquisa sobre a atividade artesanal a partir da concep??o do trabalho como ontologia, permita ampliar os conhecimentos da Sa?de Mental sobre a rela??o do sujeito com o fazer, assim como contribuir para an?lises mais potentes acerca do fazeres nas oficinas de cria??o.
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Råhlander, Moa. "How Beads come Together : Late Iron Age glass beads as past possessions and present sources." Thesis, Stockholms universitet, Institutionen för arkeologi och antikens kultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185146.
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This study aims to demonstrate the potential for understanding first millennium glass beads not as individual representatives of types, but as collections of objects brought together and curated by owners. It uses the author’s experience as a skilled bead maker to investigate processes of bead production and mechanics of bead collection current in Scandinavia and Anglo-Saxon England in the period of 6th to 9th century AD. In the study the bead collections of seven graves are examined from the perspective of their production techniques, materials, and damage from wear and cremation. The results point to beads being acquired in different numbers and often worn for long periods of time before being buried.
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Cutting, Nicola. "Children's tool making : from innovation to manufacture." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3969/.
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Through eight experiments this thesis investigated the divergence in children’s abilities in the domain of tool making. Despite being excellent tool manufacturers following full instruction, children displayed great difficulty in innovating novel tools to solve problems. Experiments 1 to 3 found four-to-seven- year-olds’ tool-innovation difficulty to be a robust phenomenon that extended to new tasks requiring different tools made by a variety of methods and materials. Experiments 3 and 4 aimed to discover whether some tool-innovation tasks are harder for children than others. Together these experiments suggested that the difficulty of tool innovation is due to the type of transformation required. Experiments 5 to 8 investigated why children find tool innovation so difficult. Experiments 5 and 6 ruled out singular executive functions as limiting factors on children’s performance. Experiments 7 and 8 found that young children have great difficulty in generating and coordinating the components of a problem even if aspects of the task are highlighted for them. Overall this thesis led to the conclusion that tool-innovation difficulty is due the ill-structured nature of the task. Additionally this thesis provides new definitions and frameworks with which to study tool-related behaviour that will benefit both the developmental and comparative literatures.
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Robinson, Elizabeth. "Women and needlework in Britain, 1920-1970." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/47fc4d88-eea0-e510-6d8f-0bfcc950f7cc/7/.
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This thesis addresses needlework between 1920 and 1970 as a window into women's broader experiences, and also asserts it as a valid topic of historical analysis in its own right. Needlecraft was a ubiquitous part of women's lives which has until recently been largely neglected by historians. The growing historiography of needlework has relied heavily on fashion and design history perspectives, focusing on the products of needlework and examples of creative needlewomen. Moving beyond this model, this thesis establishes the importance of process as well as product in studying needlework, revealing the meanings women found in, attached to, and created through the ephemeral moment of making. Searching for the ordinary and typical, it eschews previous preoccupations with creation, affirming re-creation and recreation as more central to amateur needlework. Drawing upon diverse sources including oral history research, objects, Mass Observation archives, and specialist needlework magazines, this thesis examines five key aspects of women's engagement with needlework: definitions of ‘leisure' and ‘work'; motivations of thrift in peacetime and war; emotions; the modern and the traditional and finally, the gendering of needlework. It explores needlework through three central themes of identity, obligation and pleasure. Whilst asserting the validity and importance of needlework as a subject of research in its own right, it also contributes to larger debates within women's history. It sheds light on the chronology and significance of domestic thrift, the meanings of feminised activities, the emotional context of home front life, women's engagement with modern design and concepts of ‘leisure' and ‘work' within women's history.
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Bunnell, Katie. "Re:presenting making : the integration of new technology into ceramic designer-maker practice." Thesis, Robert Gordon University, 1998. http://hdl.handle.net/10059/1556.
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See Coversheet for system requirements. The aim of the research is to integrate computer technologies and environmentally - sensitive materials and processes into the practice of the ceramic designer-maker, in order to assess the impact of new technologies on practice. A critical contextual review (including analysis of visual material) revealed a developing interest in environmental issues and computer technologies in designer-maker practice. A shift away from a philosophy which historically has been anti-industrial, towards a wider spectrum of craft production was noted. This diversity was shown in the types of production and the scale of manufacture - from ‘one-offs’ to industrial manufacture. New technologies were acknowledged by critics, commentators and practitioners as facilitating this development, although concerns about the potentially detrimental affect that computer technology could have on craft skills was voiced. A link between a pragmatic philosophy of ‘craft’ practice and new approaches to computer systems design highlighted a perception of the validity of ‘craft’ as a contemporary skill. The lack of established methodologies for practice-based ceramic design research has led to the development of a naturalistic approach within this work which is both holistic and emergent. By necessity this methodology places the design researcher at the centre of the inquiry, and uses practice as the main research vehicle. Selected research outcomes were peer reviewed through two significant international touring exhibitions: ‘Hot Off the Press: Ceramics and Print’ and ‘Objects of Our Time’. Initial investigations concentrated on the development of environmentally-sensitive lustre glazes [lead and cadmium free] incorporating an innovative ‘safe’ reduction firing system. Subsequently, ceramic surface designs and three dimensional forms were developed through the integration of: computer assisted design work (CAD); computer assisted manufacture (CAM); colours and glazes; and environmentally-sensitive screen printing, and existing making methods. The outcome was new aesthetic qualities and an extension of practical capabilities. A critical framework for the analysis of research outcomes was developed in order to make explicit and transferable some of the tacit knowledge embodied in research investigations. The analysis was developed through the use of a computer database system from which an electronic document was developed, allowing the integration of a large amount of visual material into the thesis. The research demonstrated that the integration of new technologies into the holistic and emergent practice of the ceramic designer-maker was appropriate. Many advantages of computer technologies for the ceramic practitioner are identified as transferable to the wider field of designer-maker practice and embody the potential to enhance future developments in this field.
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Desmarais, Sarah. "Affective materials : a processual, relational, and material ethnography of creative making in community and primary care groups." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12308/.
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This research concerns neglected affective, relational, material, and processual dimensions of amateur crafts practice in an arts-for-health context. Existing studies on the social impacts of the participatory arts are prone to blur the borders between advocacy and research, and are vulnerable to accusations of ‘policy-based evidence making’ (Belfiore and Bennett, 2007, p.138). Researchers have relied predominantly on interview material and surveys, and there is a lack of finegrained, long-term, ethnographic work based on participant observation. The distinctive potentials of making in this context, furthermore, have barely been investigated. This thesis addresses these deficits through a sustained ethnographic study of two wellbeing-oriented crafts groups supported by Arts for Health Cornwall (AFHC). One group was based in the community, the other in primary care. Observation produces novel understandings of the potential benefits of crafting for health as emergent properties of particular locations, relationships, and practices organized in distinctive ways around creative making. Firstly, as a counterweight to normative views of amateur crafts creativity as soothing and distracting, this study highlights a range of transformative affects including frustration, creative ambition, and enchantment. Secondly, countering an atomistic, stable depiction of such affects, this study describes them as fluid aspects of making processes. Thirdly, these unfolding processes are seen to be inseparable from the intersubjective (peer-to-peer and participant-facilitator) dimensions of creative groups. Lastly, this in vivo perspective problematizes a view of materials as an inert substratum upon which makers exercise their creative powers, and highlights the relevance of a ‘vital materialism’ (Bennett, 2010) for understanding the potential benefits of manual creativity. Sustained observation also produces a situated, spatial account of the extended networks of community belonging produced by the activities of such groups. Fieldwork is contextualized within a wider field using interviews with nine UK arts for health organizations. Consideration is also given to the influence of contemporary discourses of wellbeing, agency, and creativity on policy making in the area of arts for health. Findings have implications for good practice in the field, and for further research to inform political leadership concerning the role of the arts in health. These implications are drawn out in relation to the potential future contribution of the arts within a UK health economy undergoing rapid, crisis-driven transformation.
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Stenger, Rebecca, Tom Thomaes, and Marius Westphal. "CRAFTS: A Compass to Refine and Align Factory Performance towards Sustainability." Thesis, Blekinge Tekniska Högskola, Institutionen för strategisk hållbar utveckling, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14437.
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The manufacturing industry must align business values with sustainability to preserve a healthy socio-ecological environment, that ensures access for future generations to necessary resources. To better understand the interactions between business strategies and facility operations, this research aims to adopt a more holistic perspective of sustainable facility planning processes, applying the Framework for Strategic Sustainable Development. By using relevant environmental and social principles, methods, knowledge, and industrial practices, a strategic decision support was developed as a foundation for the manufacturing industry to improve their sustainable performance. This research (1) collected and analysed existing concepts and processes for sustainability in the industry; (2) developed a practical decision support tool; (3) reviewed the design by experts in the field; and (4) redesigned the tool by implementing expert recommendations. Based on the findings, it is crucial for decision makers to embed a strategic and holistic approach when considering facility design options. Therefore, the strategic decision support tool (CRAFTS) enables opportunities for a broader scope of possible improvements within the confines of the manufacturing facility by guiding experts in the field to decide between retrofitting and new construction. CRAFTS supports the industry to refine and align their business strategies and facility operations with sustainability.
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Charlier, Fabrice. "Technologie des tuiliers gallo-romains (Gaules et Germanies) : analyse comparative et régressive des structures de production des matériaux de construction en terre cuite de l'époque contemporaine à l'Antiquité." Thesis, Besançon, 2011. http://www.theses.fr/2011BESA1006.
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Cette recherche porte sur les techniques de production des matériaux de construction en terre cuiteà l’époque romaine dans les provinces de Gaule et de Germanie. Ces techniques ne nous sontaccessibles directement que par l’archéologie, à la fois par les vestiges mobiliers : les matériauxfabriqués eux-mêmes, et par les vestiges immobiliers : les tuileries qui sont régulièrement mises aujour. Seules les structures de production sont examinées, mais il est souvent fait référence auxmatériaux. L’étude est menée selon deux lignes directrices, l’une horizontale : la chaîne opératoire, l’autreverticale : le temps, du présent vers le passé. Les structures de production sont traitées selon l’ordrede la chaîne opératoire : l’extraction, la préparation de la terre, le façonnage, le séchage et lacuisson. À l’intérieur de chacune de ces cinq phases sont étudiées successivement des structuresd’époque contemporaine (ateliers artisanaux), moderne, médiévale et enfin gallo-romaine. Cettedémarche régressive permet de mettre en évidence les continuités et les ruptures dans lestechniques mises en oeuvre et ainsi de mieux caractériser et comprendre la plus ancienne d’entreelles, celle des tuiliers gallo-romains. Le fonctionnement des structures de production les plusrécentes éclaire celui des structures romaines. Des comparaisons ponctuelles ne sont utilisées quepour tenter d’expliquer certaines caractéristiques originales des structures gallo-romaines. Lesrésultats les plus novateurs ont été obtenus dans l’étude des structures employées dans les phasesde façonnage, de séchage et de cuissonThis research concerns the techniques of tile and brick-making in Roman time in the provinces ofGaul and Germania. We have only access to these techniques through archaeology. First, there arethe movable vestiges: the objects (tiles and bricks), then there are the real estate vestiges: the tilemakingsites which are regularly uncovered. Only the structures of production are examined here,but it is often made reference to materials. The study is led according to two guidelines. One is horizontal: the “chaîne opératoire”, the other is vertical: Time, from present to past. The structures of production are treated according to the orderof the making process: quarrying, preparing clay, shaping, drying, and firing. Inside each of thesefive phases are successively studied structures of contemporary time (craft production), modern,medieval and finally Gallo-Roman. This regressive approach allows us to bring to light thecontinuities and the breaks in the techniques used and thus, to better characterize and understandthe most ancient of them, the Gallo-Roman tile-makers one. The functioning of the most recentstructures of production sheds light on that of the Roman ones. Punctual comparisons are only usedto try and explain some original characteristics of the Gallo-Roman structures. The most innovativeresults were obtained in the study of the structures used in the phases of shaping, drying and firing
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Brown, Emilie Sayward. "Bounded Surface." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1331.
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The relationship between surface, perception, and structure has occupied my graduate studies. Locating, transforming, and transcending the surface requires play with perceptive abilities not only of vision, but of touch, hearing, and the other senses as well. How do the interactions of sense with the qualities of a surface determine our perception of the world? What role does the extension of the senses play in one's ability to perceive surface and structure? Using sense information gleaned from surfaces, the tectonics of our world are made visible. Might this relationship be played backwards as well? Composed structures produce surfaces upon which limina can be sensed.This written accompaniment to the thesis works is intended to continue the exploration of the surface/ sense/ structure relationship. With the visual work as a basis, each section consists of two parts. This structure is a tool for producing sense information for the viewer concerning the visual work.The first part serves as a bridge between the particular visual work and the second part. Consisting of a page or so of text, the first part of each section is also intended to set a tone or position the reader for the second part. The second part is more formal and speaks about the ideas behind the produced object, and for the most part could be applied to any works in this thesis. My desire is that the adjacency of the pieces in each section will create a friction of sorts an awareness of the surface between the two writings, and perhaps, between the writing and the objects.
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Knutes, Helen. "Gestaltandets pedagogik : Om att skapa konsthantverk." Doctoral thesis, Stockholms universitet, Pedagogiska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-26822.
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Why, and what does it involve for an individual to perform Arts and Crafts, are the questions studied in this thesis. The purpose of this thesis is to examine the pedagogical conditions of Arts and Crafts objects, through studying the processes that take place where people give form to personal expressions and to understand the meanings these processes have for them. Phenomenological theory, especially the theory of the lived body, which presents the body as a unity not separated into body and thought, with object and subject in an inter-relationship, is used as a theoretical standpoint throughout the thesis. A phenomenological and a semiotic approach have been used to analyse and describe the empirical data. This thesis consists of three different studies, the examination of a place where Arts and Crafts are performed, the study of people's experiences of creating Arts and Crafts objects, and finally how people relate to their chosen Art and Craft materials. This contributes to an understanding of the pedagogical conditions and processes present in their relationship to work materials. The analysis illustrates that an opportunity for a new level of understanding is reached when particular pedagogical processes are carried out whilst working with various forms of Arts and Crafts materials. These processes understood as pedagogical conditions consist of: time and pace, physical and mental environment, materialization, the object and experience. Another finding is that there are different ways of relating to the Arts and Crafts materials, a bodily relation or a cognitive relation. These ways of relating exist in one person, but one of these relating attitudes is often more salient than the other. Making Arts and Crafts is in this thesis seen as an activity of both bodily and cognitive meaning making.
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Nivrén, Linnéa. "Fertile Wear : Underwear in relation to manufacturing toxicity, the ecosphere and our reproductive zones." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105578.
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Every artifact in this consumerism world is connected to Earth’s four ecological layers. Everything around us, air, organism, water, and soil/rock also known by the names; atmosphere, biosphere, hydrosphere, and lithosphere. All together form the ecosphere, the place that contains all materials and resources that we use when creating artifacts. »Every material that we use comes from the ecosphere and eventually goes back to it.« - Ann Thorpe The way humans use, extract, manufacture and dispose of materials has concerned me for many years, long before I started this design program. It has formed my way of making as a designer, and because of my love for textiles, I have been applying it in that field of practise. I want to design textiles that function and can be used frequently, with a purpose and in the end, decompose before I do. The aim of this conducted design project is to, in a playful way, break down the barrier between maker and user. Combined with unfolding the hidden truths about garments, how they are manufactured and where those textile components originate from. This would enable me to broaden my knowledge in the field and in return I will have the opportunity to share my insights with the public. Within this project I will also put the emphasis on the impact textiles have on our bodies, reproductive health and surrounding ecosystems. Designing with the intention to highlight topics like this, the whole life cycle of garments, creates a stronger bond between user and maker. This is something I as a designer and maker want to build my foundation on. In order to do this I needed to pin down where this conducted design project could take place and what sustainable possibilities of change it could embed for the future.
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Biscaia, Julliana. "Comunicação, consumo e representações do fazer artesanal e artístico: as narrativas dos artesãos no blog Elo7." Associação Escola Superior de Propaganda e Marketing, 2016. http://tede2.espm.br/handle/tede/79.
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Previous issue date: 2016-03-18Art and crafts are contemporary mediated logic of production in blogs such as Elo7 (found in crafts ecommerce offered by Elo7), which brings us with testimonials of craftsmen/women, regarding representation in craft making. According to these craftsmen/women, crafts is a way of making art. The main purpose of this research is to analyze the testimonials found in this blog, conceiving them as publicity texts, since they value the craft activity, approaching it to art. We start from Carrascoza s (2004) strategies to analyze publicity texts concept. We also lay our verification of these texts in the French Discourse Analysis
A arte e o artesanato são lógicas de produção mediatizadas na contemporaneidade em blogs como o Elo7 (presente no site de comercialização de produtos artesanais Elo7), que nos traz depoimentos de artesãos, com representações em relação ao fazer artesanal. Na visão desses criadores, o artesanato é uma forma de fazer artístico. Temos como objetivo analisar os depoimentos presentes nesse blog, concebendo-os como textos publicitários, uma vez que valorizam a atividade artesanal, aproximando a da arte. Partimos da conceituação de Carrascoza (2004) para a análise das estratégias do texto publicitário. Nos ancoramos também na Análise de Discurso de Linha Francesa para empreender nossa verificação.
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Crippa, Benedetta. "World of Desire." Thesis, Konstfack, Grafisk design & illustration, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5855.
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This project report offers an in-depth, detailed account of my creative process and work during my two-year Master in visual communication at Konstfack, Stockholm. My degree project is a celebration of plurality and visual democracy. Starting with identifying different norms pervading the graphic design discipline in the Western world today, both in terms of aesthetic values and systems of thinking, I have worked to propose and visualize alternative possible futures. Drawing has been my main carrier through an intense journey of un-learning and re-learning resulting in an artist’s book in unique copy. With this book, I want to problematize the dominant discourses around objectivity as a utopian ideal with a suppressive agenda, while visualizing a world I can recognize myself in. I have used decoration as a method, emotion and femininity as explorative standpoints, giving space to the metaphorical, the ambiguous and the spiritual to challenge current visual norms. This book emerges as an affirmation of my own quest for visual belonging as a graphic designer and a woman; a testimony of the practice of drawing as actualized power.
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McGrath, Shane Michael. "Making as a tool of self-examination and search for meaning : sifting through remaining residue as the tide of faith ebbs away : an exegesis presented with exhibition as fulfilment of the requirements for thesis Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1311.
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At the commencement of this thesis I saw myself standing at the outer limits of my knowledge with my nose pressed against a wall of demarcation. This wall was built from my willingness to tolerate systems of control in silence and from my unwillingness to make my beliefs and personal convictions known. I set out at the start of this journey with two intentions. I want to raise my voice because I didn’t want to pretend about my faith anymore. And for the first time use my art practice as a mouthpiece to tell these truths.
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Danese, Marie Louise. "Interviews with four contemporary women craft makers about the personal meaning of craft making." Thesis, 2006. http://spectrum.library.concordia.ca/8957/1/MR14346.pdf.
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This qualitative study employs the informal interview technique as both the research and data collection method to delve into the personal meaning that craft making provides for its participants. Research questions addressed four women's backgrounds, experiences and current studio practice dealing with crafts. This study provides the four participants with an opportunity to voice their opinions, concerns and beliefs. The women interviewed speak positively about significant craft making experiences over spans of time. This report demonstrates that such experiences should be made available to a whole range of learners. Results from this study clearly reveal an intense sense of satisfaction and accomplishment derived from craft making. The data analysis and results not only informed the author, an art educator, but it also offers other art educators the opportunity to view craft making as an engaging, meaningful and valuable conduit to successful learning
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Morris, Kathleen. "Emerging Views on Making: Fibre Graduates Reflect on their Practice." Thesis, 2013. http://hdl.handle.net/1807/42635.
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This narrative research examines the ways in which craft is conceptualized from the perspective of five recent graduates from the Material Art and Design Fibre Program at a prominent Canadian art and design university. Recognizing the cultural currents that have excised acts of making, including Western de-industrialization and abundant access to offshore labour markets, this research looks at the role of maker within a new societal context. A nascent theoretical platform for craft, shaped by artists and academics, counters a dearth of voices that has characterized the field’s history. Here, craft is posited as a methodology, characterized by embodiment, subjectivity, resistance, and skill. The experience of emerging makers, and their reflection in relation to this theoretical framework, allows for a broader consideration of present-day craft practice, and a renewed consideration of material arts curricula.
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Torrez, Joseph B. "Light-weight materials selection for High-Speed Naval Craft." Thesis, 2007. http://hdl.handle.net/10945/3002.
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CIVINSA decision analysis study was conducted on the process of materials selection for high-speed naval craft using the Modified Digital Logic (MDL) method. The purpose is to show how this method along with Ashby's material selection process can be integrated to provide a comprehensive tool designed specifically for light-weight material optimization. Using Ashby's Material Selection Charts and the MDL method, a step by step material selection process is outlined. Furthermore, a comparison of the materials based on equivalent plate uni-axial ideal elastic compressive stress was completed using the American Bureau of Shipbuilding (ABS) Guide for Building and Classing High-Speed Naval Craft and then an evaluation was done to optimize material selection depending on the designer's preference for weight and cost, The potential materials for evaluation were selected using Naval Sea Systems Command (NAVSEA) references for the most current materials in use, or being evaluated, for light weight naval construction. The results demonstrate the feasibility of using the MDL method to select one or more materials based on desired mechanical and structural characteristics. The study also introduces the potential use of non-traditional materials in Naval Architecture, such as Ultra High-Performance Concrete Composite (UHP2C) DUCTAL.
Contract number: N62271-97-G-0026.
CIVINS