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1
Fennessy, Kathleen M. « 'Industrial Instruction' for the 'Industrious Classes' : Founding the Industrial and Technological Museum, Melbourne ». Historical Records of Australian Science 16, no 1 (2005) : 45. http://dx.doi.org/10.1071/hr05003.
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This paper examines the movement to foster scientific and technical learning in the colony of Victoria during the 1860s. It discusses how the concept of a public museum for 'industrial' and 'technological' instruction emerged, and analyses the events leading to the establishment of the Industrial and Technological Museum, Victoria's first public institution for educating the people in applied science.
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Birch, William D., et Thomas A. Darragh. « George Henry Frederick Ulrich (1830–1900) : pioneer mineralogist and geologist in Victoria ». Proceedings of the Royal Society of Victoria 127, no 1 (2015) : 17. http://dx.doi.org/10.1071/rs15002.
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George Henry Frederick Ulrich (1830–1900) was educated at the Clausthal Mining School in Germany and arrived in Victoria in 1853. After a short period on the goldfields, he was employed on the Mining Commission and then on the Geological Survey of Victoria until its closure in 1868. In 1870 he was appointed Curator and Lecturer at the newly established Industrial and Technological Museum of Victoria. In 1878 he was appointed inaugural Director of the Otago School of Mines, New Zealand, a position he held until his death in 1900. His legacy includes detailed original maps of central Victorian goldfields, the foundation of the state’s geological collections, and among the first accounts of Victorian geology published in German periodicals, until now little known. As the only scientist of his times in Victoria with the qualifications and expertise to accurately identify and properly describe minerals, he provided the first comprehensive accounts of Victorian mineralogy, including the identification of the first new mineral in Australia, which he named maldonite. His contribution to mineralogy is recognised by the species ulrichite. Ulrich was universally respected for his scientific achievements and highly regarded for his personal qualities.
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Windover, Michael. « Exchanging Looks : ‘Art Dekho’ Movie Theatres in Bombay ». Architectural History 52 (2009) : 201–32. http://dx.doi.org/10.1017/s0066622x00004196.
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Bombay of the interwar years was a city in transition. TheUrbs Prima in Indus, and second city of the British Empire, became increasingly both a site of nationalist sentiment and a conduit of cosmopolitan cultural and economic currents. Its urban fabric witnessed the shift from colonial, Victorian city tomodernemetropolis. Captured in A. R. Haseler’s dramatic aerial photograph from the mid-1930S (Fig. 1), the Regal Cinema stands out against the Indo-Saracenic monuments of late imperial Bombay — notably George Wittet’s Gateway of India (1924) seen at the top of the photograph, his Prince of Wales Museum (1923) — its gardens on the bottom left — and, on the right, his Royal Institute of Science (1920). Although not a government-commissioned building, to the right of the Gateway, on the waterside, is the Taj Mahal Hotel (1903), a luxurious structure intended by the Parsi industrialist, Jamsetji N. Tata, to be a location for inter-cultural relations. Extending this type of space to some degree, the Regal was built by another Parsi, Framji Sidhwa, in 1933. The cinema marked the beginning of a decade-long building boom that corresponded with a significant population increase, as more and more migrants joined the city’s growing industrial workforce.The Art Deco styling of the new financial, residential, and commercial buildings, like the Regal, celebrated and framed a modern public culture which responded to the unique socio-political realities of interwar Bombay. ‘Public culture’, a term developed by Arjun Appadurai and Carol Breckenridge, is conceptualized here as a dynamic process of indigenization, one that takes into account the global flow of ideologies through human migration and especially by mass media, one that destabilizes the ‘high-low’ binary and avoids the homogenizing terminology of ‘westernization’ or ‘Americanization’. The Art Deco cinema might be considered a crossroads where the often interpenetrating and sometimes competing narratives of commerce, nation, empire and formations of modern subjectivities intermingled: a nexus of cultural, economic, technological and political flow. The use of Art Deco is important in the context of Bombay as the style signified modernity and a particular sense of cosmopolitanism on the one hand, and yet resonated with or extended pre-existing cultural traditions in a distinctly local manner on the other.
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Tótszegi, Tekla. « Contribuții la cercetarea Muzeului Tehnologic–Industrial din Cluj ». Anuarul Muzeului Etnograif al Transilvaniei 34 (20 décembre 2020) : 299–314. http://dx.doi.org/10.47802/amet.2020.34.16.
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"Contributions to the research of the Technological-Industrial Museum of Cluj The Technological-Industrial Museum of Cluj opened its doors in 1888, with the name “Franz Iosif I Museum of Industry”, in memory of the Emperor's visit to Cluj, made in 1887. Frequent changes of premises, of exhibition spaces and finally the institution closing; transfers of artefacts between different institutions, which often resulted in the loss of essential documents needed for artefacts identification; all these considerably complicate both the research work and the attempts for exhibitional and educational valorisation. This paper aims to synthesise the information published, mostly in Hungarian, about the Technological-Industrial Museum from Cluj and to add the results of our own research on artefacts that nowadays belong to the Transylvanian Ethnographic Museum’s collections, wishing to provide a starting point for possible future publications on the subject. Keywords: Technological-Industrial Museum, collection, craft, applied art, ethnography "
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McMullen, Gabrielle L. « Noted colonial German scientists and their contexts ». Proceedings of the Royal Society of Victoria 127, no 1 (2015) : 9. http://dx.doi.org/10.1071/rs15001.
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German scientists made substantial and notable contributions to colonial Victoria. They were involved in the establishment and/or development of some of the major public institutions, e.g. the Royal Society of Victoria, National Herbarium, the Royal Botanic Gardens, Museum Victoria, the Flagstaff Observatory for Geophysics, Magnetism and Nautical Science, the Pharmaceutical Society of Victoria and the Victorian College of Pharmacy. Further, they played a leading role not only in scientific and technological developments but also in exploration – Home has identified ‘science as a German export to nineteenth century Australia’ (Home 1995: 1). Significantly, an account of the 1860 annual dinner of the Royal Society of Victoria related the following comment from Dr John Macadam MP, Victorian Government Analytical Chemist: ‘Where would science be in Victoria without the Germans?’ (Melbourner Deutsche Zeitung 1860: 192). This paper considers key German scientists working in mid-nineteenth century Victoria and the nature and significance of their contributions to the colony.
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Valentines-Álvarez, Jaume, et Jaume Sastre-Juan. « The Failed Technology Museum of Catalonia ». Nuncius 34, no 1 (25 février 2019) : 128–54. http://dx.doi.org/10.1163/18253911-03401005.
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Abstract In March 1937, the Technology Museum of Catalonia was created by a governmental order, but it never materialized. How come was a national museum of technology perceived as an urgent need in the midst of the Spanish Civil War? This article explores how this failed attempt was rooted in the long-standing political interest of the engineering community in the musealization of technology in Barcelona. On the one hand, it analyses the tradition of technological display aimed at increasing industrial productivity and improving technical education. On the other hand, it studies the techno-nationalist efforts by engineers to construct a respectable technological past for the nation through display. Finally, it explores how these two approaches would have been articulated in the Technology Museum of Catalonia in the context of the key role played by engineering professionals during the Spanish Civil War.
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Bross, Benjamin A. « Embodied Contradictions and Post-Industrial Built Environments ». Enquiry The ARCC Journal for Architectural Research 20, no 1 (31 août 2023) : 20–40. http://dx.doi.org/10.17831/enqarcc.v20i1.1186.
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In October of 2004, the Museo de Medicina Laboral (Museum of Labor Medicine), opened to the public in Real del Monte, State of Hidalgo, Mexico. The museum, located on the grounds of what had been the Hospital Minero (Mining Hospital), was a building complex conceived, built, and operationalized at the height of Mexico’s Industrial Revolution and the region’s only medical facility specializing in the healthcare needs of miners and their families. Utilizing historical analysis, the hospital reveals contradictions frequently embodied by the era’s Modernist built environments. Inaugurated in 1907, the hospital was the culmination of the United States Smelting Refining and Mining Company (USSRMC) and its Mexican subsidiary, Compañía Real del Monte y Pachuca’s (CRMyP) efforts to bring healthcare to its employees while maximizing production. On one hand, the hospital’s design and operation expressed an optimism wrought by the dissemination of positivist and utilitarian philosophies and economic growth spurred by technological innovation; on the other, growing wealth inequality and deteriorating, often brutal, labor conditions. Nearly 120 years later, the hospital again embodies a global reality. In contemporary post-industrialist economies, once these built environments cease being productive, they are usually abandoned or demolished; only a few are transformed and repositioned for other uses. As the region’s mining industry ceased productivity, the hospital was first abandoned and later rescued by a newly privatized enterprise that donated the medical building complex to a non-for-profit civil association focused on mining heritage. Now the Museum, an architectural expression that fused global and local economic, technological, and aesthetic sensibilities, has become an example of commodified didactic heritage.
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Burgio, Lucia, Kelly Domoney, Georgia Haseldine et Caroline McCaffrey-Howarth. « Making London Porcelain—A Multidisciplinary Project Connecting Local Communities with the Technological and Innovation Histories of London’s Early Porcelain Manufacturers ». Heritage 6, no 2 (15 février 2023) : 1958–76. http://dx.doi.org/10.3390/heritage6020105.
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This collaborative multidisciplinary pilot project involving the Victoria and Albert Museum (V&A), the Ashmolean Museum, and Newham Borough of London, examined the composition of a selection of eighteenth-century porcelain objects by two of London’s first porcelain manufacturers, Bow and Chelsea. As the first science-based public engagement project to be piloted by the V&A, it succeeded in bringing together young Londoners and their communities to investigate local histories of scientific and artistic innovation through the analysis and remaking of eighteenth-century porcelain. Scientific object analysis informed activities with local sixth-form students, revealing the intimate link between art and science, and showcasing the V&A Science Lab as a national hub for heritage science. Public outreach activities, including an exhibition at Stratford Library and workshops for Newham Heritage Month also provided hands-on learning, including curatorial and object-handling experience, and the embodied practices of remaking. Ultimately, this project stimulated new ways of engaging with ceramics collections and explored how the creativity and ingenuity of eighteenth-century ceramics pioneers can provide inspiration for the next generation of makers.
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Pudlis, Agnieszka. « Powstanie i cechy palety barw Kangxi wucai 康熙五彩 oraz falangcai 珐琅彩 – spotkanie kultur a estetyka podwójnej obcości. Część I : Problematyka terminologii i badań nad porcelaną eksportową ». Gdańskie Studia Azji Wschodniej, no 23 (31 août 2023) : 24–53. http://dx.doi.org/10.4467/23538724gs.23.002.18148.
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This essay focusses on issues connected with research into the history of exported porcelain from the Far East. To this end, it discusses the literary context of the expressions “the family of roses” and “the family of greens,” and also the genesis, main features, and current terminology relating to the two most widespread techniques of glaze-painting decoration (Kangxi wucai 康熙五彩 and falangcai 珐琅彩). The article discusses the most important techniques of decoration that preceded the development of the Kangxi wucai palette and the relations between technological development and the taste of the period. It also indicates the important items in Polish collections, especially in the National Museum in Gdańsk. From the holdings of this museum, the author selects a plate decorated with wild geese on Lake Taihu. An analysis of the plate – with regard to the technology of its production, aesthetics, and iconography – is the main element in the article. Polish items are presented in the context of important European collections: the British Museum, the Victoria and Albert Museum, the Musée Guimet, the National Museum in Oslo, and the Museo Correr in Venice. The author formulates a new term in art theory: the aesthetics of double foreignness. It makes it possible to give a name to a phenomenon that develops in the process of reception and analysis of objects produced in one developed and isolated civilization, intended for and commissioned by a second civilization.
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Valentinovich Bogdanov, Aleksey, et Igor Gennadievich Malygin. « Cognitive Information Systems for Protection of Museum Complexes ». International Journal of Engineering & ; Technology 7, no 4.38 (3 décembre 2018) : 82. http://dx.doi.org/10.14419/ijet.v7i4.38.24326.
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The paper considers the conceptual provisions of building a promising cognitive information security system of the museum complex on a cyber-physical basis. The stratified model of cognitive information security system of the museum complex was presented. It was shown that the key technological platform for the security of the museum complex is information and network technologies integrated (converged) with the technologies of industrial artificial intelligence. The generalized structural scheme of the cognitive cycle of the information security system of the museum complex was considered. The characteristic of the basic processes realized in a cognitive contour was given.
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McVicar, Mhairi. « Specifying intent at the Museum of Childhood ». Architectural Research Quarterly 16, no 3 (septembre 2012) : 218–28. http://dx.doi.org/10.1017/s1359135513000067.
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In a 2009 interview, architect Peter St John of Caruso St John Architects defined a good architect as one who makes few compromises, highlighting precise instructions as imperative in achieving this. An architectural project, St John stated, 'is far more likely to work well if you put an enormous effort into defining what you want, to achieve quality’. At Caruso St John Architects' 2006 entrance addition to the Victoria and Albert Museum of Childhood in Bethnal Green, London [1], the precise specification of mortar and mastic joints throughout a cut-stone facade was employed to define expectations of quality in the constructed facade. These specifications, written in accordance with the recommendations of professional practice, set out stringent expectations of dimensional perfection. When dimensional variations during design development and construction threatened to disrupt these expectations, the precise definition of quality shifted, becoming less defined by dimensional perfection and more reliant upon the ‘architectural intentions’ underpinning the project. In referencing conceptual, ideological, historical and technological intentions which were difficult definitively to express, this critical phrase – ‘architectural intentions’ – is examined here in terms of its ambiguity in the context of the written specification [2].Ambiguity in the written specification is emphatically rejected by regulatory and advisory bodies in the architectural profession, which frequently advise that the written specification must provide, above all else, certainty. In The Architects' Journal in 1989, author Francis Hall went as far as describing the properly drafted specification as the ‘one certain opportunity’ for an architect to set down a ‘definitive and enforceable expression of standard and quality’. ‘Properly drafted’ is typically translated as a prosaic language, specifically devoid of poetic content. The ability of the unambiguous written specification to convey adequately the poetic content of architectural intentions has, however, been under critique since its inception.
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Fennessy, Kathleen M. « ‘Making difficult things plain’ : Learning at the Industrial and Technological Museum, Melbourne, 1870‐1880 ». History of Education Review 34, no 2 (14 octobre 2005) : 59–77. http://dx.doi.org/10.1108/08198691200500010.
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Székely, Miklós. « Programul unei vieți : rolul lui Lajos Pákei în înființarea Muzeului Industrial și a Școlii Industriale din Cluj ». Studia Universitatis Babeș-Bolyai Historia Artium 66, no 1 (30 décembre 2021) : 115–54. http://dx.doi.org/10.24193/subbhistart.2021.05.
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"One Life’s Mission: Lajos Pákei’s Role in Establishing the Industrial Museum and the Industrial School in Cluj. The development of museums and schools of industry took place in some important industrial cities of the Dual-Monarchy, a part of the capitals in Salzburg, Graz, Prague, Brno, Czernowitz starting from the 1870-1880s. In the last quarter of the 19th century several school and some museum buildings of industry were erected in Hungary. Some of these new edifices were capable of performing dual, educational and museum tasks due to their special spaces: their list includes Ödön Lechner’s Museum of Applied Arts in Budapest, Alajos Hauszmann’s Technologic Museum of Industry in Budapest and Lajos Pákei’s Museum of Industry in Kolozsvár (Cluj Napoca). It is exactly in this period that Lajos Pákei graduated from Theophil Hansen’s studio in Vienna, and soon after, in 1880 he became chief architect of the city of Kolozsvár. In his new position the young architect played a prominent role in the infrastructural and institutional modernization of the city. One of the biggest investments of the city focused on the reshaping of the industrial institutional structure – this process was articulated around the foundation of the Museum and School of Industry of the city. Acting also as the director and professor of architectural disciplines in the school of industry of the city he had a significant impact on the development of a master builder, stone and wood carving classes and moreover in the curriculum of the educational profile of the institution. Lajos Pákei followed the architectural principles of Camillo Sitte in terms of urban city planning in Kolozsvár under the influence of the Austrian architects work published in 1889 entitled Der Städtebau nach seinen künstlerischen Grundsätzen. Kolozsvár, the par excellence renaissance town of historic Hungary. The town was the birthplace of the last great medieval king of Hungary, the earliest renaissance ruler over the Alps, King Mathias (1443-1490) whose political and cultural legacy as national king and the town’s long goldsmith and woodcarving activity have become a points of reference the late 19th century discourse on the modernization of Kolozsvár. Lajos Pákei was one of the members of the first generation of architects having accomplished their studies in the new political circumstances related to the creation of the Austro-Hungarian Monarchy. Lajos Pákei in Kolozsvár has completed diverse missions simultaneously such as did Camillo Sitte in Vienna or Joseph Leitzner in Czernowitz: he actively reshaped the urban spaces of his city, made architectural plans for the industrial museum and school, as director he influenced the educational profile of the school of industry and the acquisition policy of the museum of industry. Lajos Pákei prepared several plans for this building of dual function through almost first fifteen years. After a number of design changes the museum-school building was finally built between 1896 and 1898. Due to the rapidly growing collection, the shift in the acquisition policy from technological profile to applied arts objects, the growing number of students soon it became too small, and the construction of a purely museum building has become necessary. The building of the museum of industry has been erected in 1903–1904 opposite the previous one, according to the plans of Lajos Pákei. The first, museum-school building followed the construction principles of Hungarian secondary school architecture of its time, including a centrally positioned external wing for the technological collection. The second one – planned purely for museum purposes – followed the latest example of applied art museum buildings, the one of Joseph Schulz in Prague built in 1897–1901. The history of two buildings of Lajos Pákei in Kolozsvár reflect the specialization of educational and museum spaces, the characteristics of the changing models in industrial education and presentation of the changing profile of the collection as “ideal of a modern museum” as an attempt to develop. The study interprets the foundation and the management of the museum and school of industry as the lifetime project of Lajos Pákei in the context of architectural modernization (both in education and practice) in the Dual Monarchy and in the theoretical framework of urban planning. Keywords: urban planning, museum of industry, vocational education, decorative arts, museum of decorative arts "
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Tregenza, Liz. « ‘Mary Quant’, Victoria and Albert Museum, London, UK, 6 April 2019–16 February 2020 ». Textile History 50, no 2 (3 juillet 2019) : 253–55. http://dx.doi.org/10.1080/00404969.2019.1654231.
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Lozanovska, Mirjana, et Akari Nakai Kidd. « ‘Vacant Geelong’ and its lingering industrial architecture ». Architectural Research Quarterly 24, no 4 (décembre 2020) : 353–68. http://dx.doi.org/10.1017/s1359135520000421.
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Once a prosperous manufacturing town, Geelong in Victoria, Australia is undergoing a process of deindustrialisation and, in turn, redefining its identity to better retain viability in a globalised world. For instance, the town bid to host a Guggenheim museum on its Eastern Beach shore at the turn of the millennium, and has recently become a UNESCO City of Design (2017). Like so many declining regional industrial towns, Geelong has been undercut by the new economic forces, and has sought a new identity in cultural economies. The ‘Vacant Geelong’ project, which began at Deakin University in 2015 and is ongoing, evolved as a response to vacant industrial architecture in Geelong. Major industries including Ford (vehicles), Alcoa (aluminium), timber sawmills, wool mills, Pilkington Glass, cement works, and the oil refinery once defined the town and its history as an industrial architectural landscape.1 Major industries transformed the architectural and cultural terrain. Despite these cycles of transformation and erasure, and counter to a progressive and chronological approach to change, the ‘Vacant Geelong’ project explored this vacancy of industrial operation, yet presence of industrial architecture. Through inscriptions – artworks, design projects, creative research, installations, texts – it addressed those material realities that did not leave, the industrial structures – silos, ducts, chimneys, warehouses – that give Geelong its continuing industrial architectural character.
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Fedorenko, Olga. « The Advertising Museum in Seoul : Dream-Images and the Freedom to Advertise ». positions : asia critique 30, no 4 (1 novembre 2022) : 763–92. http://dx.doi.org/10.1215/10679847-9967344.
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Abstract This article examines how the Korea Advertising Museum in Seoul participates in constructing narratives of past and present in postmillennial South Korea, and how historical advertisements create ambiguities within those narratives. The analysis is inspired by Benjaminian scholarship on collective dreamworlds and on advertisements as dream-images, while the curatorial choices are situated against, first, the historical-cultural specificity of advertising in South Korea and, second, the social-political imaginaries of the mid-2000s, when the museum was developed and opened. The article details how the Advertising Museum constructs the post-democratization South Korean present as the dreamed-of future, by equating historical progress with a triumphant march of technological, political, and aesthetic freedom to advertise. When museumified old advertisements are brought into the present as technologically and aesthetically archaic, they support the hegemonic narrative of progress and arrival. However, the article also shows how the dream-images of old advertisements are not perfectly contained. Old advertisements still may shock because their collective utopias remain unattainable in the postmillennial present, despite its technological and industrial sophistication and despite it being declared the hoped-for future.
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Litvin, Tatyana A. « The dragon motif in Far Eastern porcelain : Towards attribution problems ». Issues of Museology 14, no 1 (2023) : 48–59. http://dx.doi.org/10.21638/spbu27.2023.104.
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The article is devoted to the analysis of a typical Chinese figurative motif — a dragon, in porcelain objects of the Ming and Qing dynasties and in works of Japanese ceramic art of the Meiji era. The approach to the study of decorative and applied art from the point of view of the motive has been repeatedly tested by the author when compiling typological series of antique motifs in the decorative and applied art of Russian classicism. The novelty of this article is that for the first time more than fifty Chinese and Japanese objects with dragons dating from the 14th — early 20th centuries originating from the National Museum of Chine, the Shanghai and Nanjing Museums, the Metropolitan Museum of Art, the National Museum in Tokyo, the Victoria and Albert Museum, the State Hermitage Museum, as well as from several private collections. The following features were compared: posture, body position, color scheme, the nature of the background, as well as whether the dragon image is single or paired, the painting is made underglaze or overglaze, in the form of a flat or relief image. The early stage of the 14th–16th centuries it does not allow us to find prototypes of dragon images in the past, but still the author has collected certain information about cases of reflection of the dragon theme in Chinese cultural monuments. The objects of the 18th and, especially, the 19th centuries serve as a good material to find in the art of the bygone eras of the Celestial Empire the previous artistic interpretations of dragons. In the final part of the article, an overview of dragon images in Japanese ceramic art is presented, the reasons for the migration of this motif caused by the victory of Japan, as a competitor, in the Far Eastern porcelain market are substantiated.
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Bide, Bethan. « ‘Christian Dior : Designer of Dreams’, Victoria and Albert Museum, London, UK, 2 February–1 September 2019 ». Textile History 50, no 2 (3 juillet 2019) : 249–52. http://dx.doi.org/10.1080/00404969.2019.1654227.
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Fiorenza, Elia. « Industrial Growth and Socio-Economic Impact : An Analysis of Armi's Manufacturing History in the Mongiana Industrial Village of Serre Calabria ». European Scientific Journal, ESJ 20, no 5 (29 février 2024) : 107. http://dx.doi.org/10.19044/esj.2024.v20n5p107.
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The Mongiana Arms Factory in Calabria (Italy), built in 1852, constitutes a significant example of 19th century armoury. Designed by Domenico Fortunato Savino, active from 1852 to the mid-1860s, the factory produced 2000-3000 weapons annually for the bourbon army, with a peak of 7000-8000 in periods of maximum production. He introduced the «Mongiana» spring-loaded rifle, replacing the French model of 1842. After the unification of Italy, it lost relevance, being downgraded to a transformation workshop, and later closed. Today, part of the Ecomuseum of the Ironworks and Foundries of Calabria, the building has been under restoration since 2013. The Museum of the Royal Bourbon Ironworks, the result of a careful recovery process, allows for an in-depth exploration of the historical, economic, and technological role of the factory in the panorama of the steel industry of the time.
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Gerasimov, Grigoriy I. « The idea of the museum and its implementation : On the example of the history of the Tula State Museum of Weapons ». Issues of Museology 14, no 1 (2023) : 4–16. http://dx.doi.org/10.21638/spbu27.2023.101.
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The purpose of the article is to test the theoretical provisions of the idealistic approach to history developed by the author, as well as idealistic views on the museum. The author examines the history of the Tula State Museum of Weapons. The article substantiates the decisive importance of ideas in the evolution of the museum of weapons, the formation of its collection. The pre-revolutionary museum collection was formed on the basis of ideas: the preservation of weapons; savings necessary in the technological process of “exemplary” products; preservation of original designs that may be useful for the production of weapons in the future; storage of various “curious” weapons. The exposition of the Tula Museum of Weapons of that time clearly carried out the monarchist idea. In 1917, the museum, given its monarchical orientation, was liquidated. In 1920, it was recreated on a new ideological basis, which was determined by the installation of the Soviet government. In the post-war period, the main idea was the participation of museums in the education of workers on revolutionary and labor traditions. The museum funds were formed, the exposition was organized, all forms of work were filled with content. The collapse of the communist worldview devalued the ideological foundations of the exposition created in 1989 on the basis of communist ideas. The purpose of the modern exposition is to generate interest in the development of weapons as an important component of the general historical process of Russian civilization. The ideas embodied in the exposition are also transmitted by all other forms of museum activity. The author believes that the history of the Tula State Museum of Weapons confirms the position of an idealistic approach to history that every museum is based on ideas that determine its goals, objectives, content of the collection, exposition and forms of work.
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Prayer Moyo et Sibongile Manzini. « Extent of Application of Fourth Industrial Revolution Technologies to Enhance Tourism Sustainability : A Case of Selected Tourism Operators in Victoria Falls ». International Journal of Entrepreneurial Research 4, no 2 (2 novembre 2021) : 20–27. http://dx.doi.org/10.31580/ijer.v4i2.2044.
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This study sought to analyse the extent of the application of Fourth Industrial Revolution techniques (4 IR) in the tourism sector of Zimbabwe using the Victoria Falls as a case study. The objective of the study was to analyse the effectiveness of 4IR technologies on the competitiveness amongst tourist operators and to determine strategies that could be adapted to improve the use of 4IR technological trends. A sample of 96 tourist respondents were used in the study, as well as 30 tour operators. The study also used probability sampling through systematic random sampling for tourists and non-probability sampling through random sampling for tour operators. The findings clearly showed that pre-travel technologies used by tour operators have enhanced tourists choice of patronage. However, on-site technologies used by tour operators were limited acording to tourists who indicated that they were not satiesfied with the extent to which on-site technologies were applied. The reasons behind slow adoption of 4IR technologies by most operators emanated from lack of managerial skills, lack of expertise and lack of desire to innovate. The study recommended that operators should urgently adopt the use of artificial intelligence, they should budget towards technological upgrading as well as installation of cyber crime security systems. Organisations should also invest in digital transformation.
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Malykh, Svetlana E. « Notes by Vladimir S. Golenischev on Ancient Egyptian Pottery from the Collection of the Pushkin State Museum of Fine Arts : On the Provenance of Museum Objects ». Oriental Courier, no 3 (2023) : 140. http://dx.doi.org/10.18254/s268684310028344-6.
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Determination the provenance of many museum objects collected in the 19th and early 20th centuries remains problematic in the most cases, since they were mainly purchased from antiques dealers. This is also true for the collection of Egyptian antiquities by Vladimir S. Golenischev, currently located in the Pushkin State Museum of Fine Arts in Moscow. Among the various artifacts, more than a hundred ceramic vessels are represented here. An analysis of Golenischev’s card file, his brief notes and notes in pencil and ink on the objects themselves allow us to determine the place of origin of some of them. These were mainly the necropoleis of Gebelein and Semaine (Upper Egypt), less often Berenice (on the Red Sea coast) and Elephantine. This deepens our knowledge about museum objects together with the technological analysis of clay fabric and morphological analysis, which in some cases makes it possible to define the manufacturing place of pottery.
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Sylaiou, Stella, Panagiotis Dafiotis, Christos Fidas, Elia Vlachou et Vani Nomikou. « Evaluating the Impact of XR on User Experience in the Tomato Industrial Museum “D. Nomikos” ». Heritage 7, no 3 (20 mars 2024) : 1754–68. http://dx.doi.org/10.3390/heritage7030082.
Texte intégralRésumé :
This study presents the background and the evaluation of integrating eXtended Reality (XR) in the permanent exhibition at the Tomato Industrial Museum “D. Nomikos”. This paper firstly provides the context of this study by outlining the methodological, technological, and museological approaches undertaken to integrate XR in a quest to enhance visitors’ meaningful engagement with the industrial heritage-related exhibition. Storytelling and narration are key elements of the museum’s museological design through audio tours and interactive AR-based visualization n of the machinery’s role and function. This paper presents and discusses the design of the evaluation methodology employed in the context of pertinent methods and approaches used in related research. This study investigates the effectiveness of XR for audience engagement and the added value that such technologies offer to the user experience as well as possible improvements. The main method adopted for gathering quantitative data is the User Experience Questionnaire (UEQ), and for qualitative data, through semi-structured interviews. Moreover, the findings are analyzed, interpreted, and discussed. Based on a case study, this paper offers a broader discussion of the challenges and prospects connected to the quest of employing emerging technologies and assessing their impact on visitors’ museum experience, reaching conclusions for future directions in the field.
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Savi, Lucia. « ‘Undressed : A Brief History of Underwear,’ Victoria and Albert Museum, London, UK, 16 April 2016-12 March 2017 ». Textile History 48, no 1 (2 janvier 2017) : 140–44. http://dx.doi.org/10.1080/00404969.2017.1295672.
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Neal, Rachel. « ‘Fashioning Masculinities : The Art of Menswear’. Victoria and Albert Museum, London, UK, 19 March 2022–6 November 2022 ». Textile History 53, no 1 (2 janvier 2022) : 105–8. http://dx.doi.org/10.1080/00404969.2022.2200288.
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Hendon, Zoe. « ‘Kimono : Kyoto to Catwalk’, Victoria and Albert Museum, London, UK, 29 February–18 March and 27 August–25 October 2020 ». Textile History 51, no 2 (2 juillet 2020) : 242–47. http://dx.doi.org/10.1080/00404969.2020.1835242.
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Movna, Uliana. « Traditional Beekeeping of Ukrainians of Boykos Region : the Industrial-Technology Aspect ». Ethnic History of European Nations, no 62 (2020) : 15–24. http://dx.doi.org/10.17721/2518-1270.2020.62.02.
Texte intégralRésumé :
The article is the first attempt to outline the main features of the economic and production complex of traditional Boykos beekeeping as a significant segment of Ukrainian ethnic culture on the basis of materials of own field searches and literature and museum sources. Subjects of our research are processes, which creates technology culture of apiculture of Ukrainians in Boykos region and artefacts as the result of them (apiary arrangement, bee keeping, receiving of honey and their application, types of beehives and features of their design, types of beekeeper equipment). The important role of types and designs of traditional frame hives (logs, hollows, straw baskets) and modified rational dwellings for bees (Slavs, Ukrainian beds, Dadans) is emphasized. It is established that with the development of modern beekeeping (late XIXth – early XXth century), traditional pre-beehives began to give way to local frame modified housing for bees, as more rational for insect life and beekeeping. The significant value in the process of optimization of care of bees is played by apiary accessories – protective face nets, chimneys, pumps, robes, honeycombs. The process of obtaining bee products is considered, in particular technological methods of honey harvesting, depending on the type of beehives. Obtaining honey and the feasibility of its economic use was dictated by the appropriate technological methods of honey collection in collapsible and non-collapsible hives, time and conditions of storage of sweet product. After analyze the significant number of ethnographical field and sporadic bibliographical sources the historical roots and prevalence are proved and the regional specifics of beekeeping as a traditional economic occupation of boykos are clarified.
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Lin, Jian-Liang, Fang-Yi Su, Chieh-Ya Lin et Kuo-Hung Hsiao. « Developing an Integrated Teaching Module for the Topic of Smart Industry in the Museum ». International Journal of Information and Education Technology 13, no 5 (2023) : 806–12. http://dx.doi.org/10.18178/ijiet.2023.13.5.1871.
Texte intégralRésumé :
The teaching of innovative technology in primary education in Taiwan is not enough at present. The National Science and Technology Museum cooperated with the university and the vocational high school to deliver the smart industry knowledge to senior high school students. Here, this research presented a 5-step design procedure to systematically develop an integrated teaching module for various issues. It is a demonstration example that the research generated an integrated teaching module for the smart industry’s issues by the design procedure. The knowledge database of module content was built and applied multiple teaching ways to enhance students’ attention. The module developed an e-book, one augmented reality (AR) game, one board game, and one package of teaching aids for maker education to introduce the historical developments of industrial revolutions, the internet of things, the smart vehicles, and the industrial robots. Furthermore, the learning outcome and the generic learning outcomes (GLOs) are the evaluation index and the evaluation method, respectively. By the framework of the GLOs, the questionnaire with a 5-level Likert scaling was designed for evaluating the module. By the experiment of demonstration teaching, the statistical analysis revealed that either students from the engineering or non-engineering departments have positive learning outcomes. A slight difference is in the category of “Activity, Behavior, and Progression”. The research inferred that the culture of the tested school and the students’ background could affect the learning outcomes. The result indicated that the integrated module is useful to science popularization learning of technological issues.
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Cała, Marek, et Anna Ostręga. « Geotechnical Aspects of Revitalisation of Post-Mining Areas - An Example of the Adaptation of Katowice Hard Coal Mine for the New Silesian Museum / Geotechniczne aspekty rewitalizacji terenów pogórniczych - przykład adaptacji KWK „KATOWICE” na nowe muzeum śląskie ». Archives of Mining Sciences 58, no 2 (1 juin 2013) : 361–74. http://dx.doi.org/10.2478/amsc-2013-0025.
Texte intégralRésumé :
The article presents the history of the Katowice Hard Coal Mine and the concept of revitalisation taking into consideration the historical development of the mine which today is closed. The concept accepted for realisation assumes adaptation of the post-mining area with its historical infrastructure for cultural functions, and namely for the construction of the New Silesian Museum. Basing the concept on the idea of minimum interference into the existing spatial layout of the former mine has had the result that the museum areas and garages have been designed under the surface of the area adjacent to the historic facilities of the mine. In relation therewith, it was necessary to carry out the works aimed at reinforcing foundations of the historic buildings and protecting the geotechnical pit slopes. The article presents the technological solutions applied to protect the historic buildings, the lift tower, and the excavations for new facilities of the Silesian Museum. Attention was drawn to the instability of the subsoil and of the rock mass due to previous mining operations conducted in the area, the need to adapt the protection technology to the existing conditions as well as the need of constant monitoring of geotechnical works underway.> It is emphasised that the presented investment is part of an ongoing process aimed at preserving the industrial part of the material cultural heritage of Upper Silesia, for centuries connected with hard coal mining and as such it stands a chance to become a showcase not only for Katowice but for the entire region of Silesia.
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Davis, Robert. « Collected to extinction ? History and records of the Western Rufous Bristlebird ». Australian Field Ornithology 40 (2023) : 288–93. http://dx.doi.org/10.20938/afo40288293.
Texte intégralRésumé :
The Rufous Bristlebird Dasyornis broadbenti is a species endemic to Australia and now found only in Victoria and South Australia. The enigmatic western subspecies, Western Rufous Bristlebird D. b. litoralis, was described in 1901 and is now considered extinct. Because of the paucity of information on this subspecies, I aimed to locate all known museum specimens, document its known range and ecology, and ascertain the key drivers of its decline. In total, 16 specimens were collected between 1901 and 1907, with no definitive evidence of its survival subsequently. The Western Rufous Bristlebird occupied a very small range between Cape Naturaliste and Cape Mentelle, Western Australia, and was seemingly extirpated within a 7-year period, potentially by over-collecting, because of its small area of occupancy and likely strong territoriality. Habitat change wrought by fire and clearing, as well as feral predators, were additive stressors. Putative sightings in 1945 and the 1970s, 1980s and to present times, have continued but all are unsubstantiated.
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Bersenev, G. P., V. A. Kutuev et A. S. Flyagin. « On scientific and practical workshop of Ural blasting specialists ». Mining Industry Journal (Gornay Promishlennost), no 4/2022 (25 août 2022) : 64–67. http://dx.doi.org/10.30686/1609-9192-2022-4-64-67.
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The article presents information on the outcomes of the scientific and practical workshop on drilling and blasting operations in surface and underground mines and special blasting operations, which was organized by the Blasting Specialists of the Urals Association and held on May 26, 2022, at the Museum Complex of the Urals Mining and Metallurgical Company in the City of Verkhnyaya Pyshma with participation of the Institute of Mining of the Urals Branch of the Russian Academy of Sciences and the Urals Department of the Federal Service for Environmental, Technological and Nuclear Supervision (Rostekhnadzor). The workshop included presentations on the following topics: dedicated blasting operations in explosion bonding of metals and demolition of buildings; experience in working with non-explosive mixtures and devices, including ‒ pulse gas generators in restrained urban conditions; results of development and testing of a method to study the rock mass strength properties during roller-bit drilling of blast holes in open-pits; forthcoming innovations in Federal Law No.116 "On industrial safety of hazardous facilities"; relevance, specific features and conditions of blasting operations below the safety covers; mining and technical conditions of underground operations in the Donskoy GOK mine in Kazakhstan. A tour of the four exhibition centres of the Museum Complex, i.e. those of the military and automobile equipment, the "Wings of Victory" aviation exhibition, the "Ceremonial Regiment" exhibition centre, and the open exhibition site with railway and artillery equipment, was held upon completion of the theoretical part of the event.
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Vechkanova, Irina G. « Support of Games on Gender and Age Identification in Psychological and Pedagogical Habilitation of Preschoolers with Development Delay ». Journal of Pedagogical Innovations, no 2 (3 juillet 2023) : 56–67. http://dx.doi.org/10.15293/1812-9463.2302.06.
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The article discusses the results of the study of the gender and age identification of preschoolers and, based on their consideration, suggests approaches to the organization of jointly distributed activities and a spatially developing play environment for habilitation and educational activities with children with different starting opportunities. The analysis of the results of the diagnosis of the process of sexual identification showed the role of social factors, the immediate environment in the formation of this process. The social factors of habilitation are revealed – play and communication during educational events involving children and adults (teachers and parents), as well as technological parameters of the educational situation, which are aimed at accompanying games on gender and age identification. The directions of the organization of the universal design of the educational environment and the implementation of tasks in games on social literacy/gender and age identification in the conditions of the “Educational eventˮ technology are described. Attention is drawn to social and museum-educational practices on the assimilation of roles, traditional cultural values, norms and rules of behavior in an inclusive society, civic identity, and historical memory by children with development delay.
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Evshin, Andrey, et Roman Starkov. « Archaeological Work on the Territory of the Kazarinovs Faience Factory in 2020–2021 ». Historical Geography Journal 2, no 2 (2023) : 102–9. http://dx.doi.org/10.58529/2782-6511-2023-2-2-102-109.
Texte intégralRésumé :
Studies of the faience industry of the second half of the 19th century are continuing in the Kirov region. During the 2020–2021 period, the Kazarinovs factory was discovered, it was also taken under state protection and its systematic study began. This is one of the first archaeological works in Russia on such a monument of industrial archeology. The obtained collection allows drawing conclusions about the product range and its decor, as well as about the technological features of production. It was found that unlike, for example, many others entrepreneurs, the Kazarinovs did not produce a wide range of products. The small number of labels made it possible to assume that the Kazarinovs did not put labels on all their products and therefore the products of local factories can be stored in museum collections, but their attribution due to the absence of labels is not possible. The findings of saggers and sagger triangular pins made it possible to clarify the firing process and more fully describe the production of earthenware.
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Wei, Le, An Gu, Zhimou Guo, Junjie Ding, Gaowa Jin et Yong Lei. « An Integrated Study on the Fading Mechanism of Malachite Green Industrial Dye for the Marquisette Curtain in the Studio of Cleansing Fragrance, the Palace Museum (Beijing) ». Molecules 27, no 14 (9 juillet 2022) : 4411. http://dx.doi.org/10.3390/molecules27144411.
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Historical marquisette curtains were composed of lightweight fabrics, woven in an open-mesh and leno-type weave, usually made of silk, and found in Qing imperial buildings. As panel curtains, they were exposed to light, and so underwent fading. This study investigated the manufacturing technology and fading mechanism of dyed marquisette fabric from the Studio of Cleansing Fragrance, the Palace Museum (Beijing). The technological aspects were identified. The types of weave, fiber, and adhesive used to fix the curtain to the wooden frame were identified through microscopic observation and infrared spectroscopy. A color change characterization was performed based on UV-visible diffuse reflectance spectra. The textile colorant was identified as malachite green (MG), and its degradation by light was subsequently studied by dynamic photolysis experiments in a kinetic solution for the rapid exploration of by-products. The main degradation pathways were thus identified and the factors responsible for the induced color changes were discussed. A comparison of the liquid chromatography-mass spectrometry (LC–MS) results of the products derived from the photolysis method as well as of the samples extracted from the object allowed for the identification of the presence of different degradation pathways in the faded and unfaded parts of the textile. A metabolomics analysis was applied to account for the differences in the degradation pathways.
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Zhitova, Ekaterina N., Nikolai A. Kazakov, Mariya M. Rostovtseva et Ulyana V. Yumanova. « DEVELOPMENT PROSPECTS FOR INDUSTRIAL TOURISM IN THE CHEBOKSAR CITY DISTRICT ». Географический вестник = Geographical bulletin, no 3 (2023) : 135–46. http://dx.doi.org/10.17072/2079-7877-2023-3-135-146.
Texte intégralRésumé :
The Cheboksary city district has a good tourist and geographical position. The city is situated on inter-regional tourist routes (river cruises, car routes) and neighbors large agglomerations of the region. All this can help attract a significant number of tourists. Yet, natural-historical and cultural resources are inexpressive, and, therefore, the city has an insignificant tourist and recreational base. The main region’s attraction is the ethnic culture of the Chuvash people. However, it is strongly deformed, there was no component of urban architecture in it and this component is almost absent at present. It appears that a new focus on industrial tourism, based on the production system of the city, will make it possible to attract tourists to Cheboksary. Industrial tourism is a new direction of tourism and it has been included in the list of tourist services in Russia relatively recently. For this reason, industrial tourism as a phenomenon has been little researched and this study is the first to consider it from the given perspective. The purpose of our research is to analyze the possibilities of the industrial (production) system of the Cheboksary urban district in terms of the development of industrial tourism. The economic entities of the city were assessed on the basis of existing GOSTs and standards enshrined in regulatory legal acts. The city has industrial heritage sites represented by ‘industrial’ museums. Among the most famous ones is the unique Scientific and Technical Museum of the Tractor History of the Tractor Plants Concern. On the territory of the city, there are specialized exhibitions of science and technology. The development of a relatively new tourism direction requires significant material expenditures not only from the owners of industrial enterprises but also from the city authorities. It is necessary to develop and implement in municipal government bodies an appropriate organizational and legal structure that would provide organizational, methodological, technological, and material assistance in the creation and promotion of production-tourist-excursion products. Industrial tourism is undoubtedly possible, but for now on a small-scale basis, and mainly for solving the image problems.
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Bokotey, Mykhaylo. « STUDIO MOVEMENT IN THE UNITED STATES OF AMERICA : INFLUENCE OF KEY FIGURES AND LEADING CENTERS ON THE WORLD GLASS ART ». Bulletin of Lviv National Academy of Arts 49, no 49 (25 décembre 2022) : 6–14. http://dx.doi.org/10.37131/2524-0943-2022-49-1.
Texte intégralRésumé :
The article reveals the activities of the key institutions and the most prominent figures in the glass art of the United States of America, contributed to the development and spread of the international glass studio movement worldwide. Particular attention is paid to the work of one of the most influential museum and research centers in the field of glass art research in the world – the Glass Museum in Corning, NY. Attention is also drawn to the work of the Glass Art Society, a public organization that brings together hundreds of artists, scientists, manufacturers and amateurs of art glass and pays considerable attention to the accumulation of informational resources. The work of the leading artists of the American art glass, pioneers of the world studio movement G. Littleton, M. Lipofsky, D. Chiguli, T. Patti, R. Marquis, T. Zinski and many others is analyzed. The stylistic and technological features of the artists individual compositions are indicated, and the basic typological characteristics of contemporary American art glass are determined on their basis. It is concluded that understanding of the concept of a studio glass from the beginnings of origin in the United States lies in the following planes: decorative, technological and experimental, conceptual and figurative. The activities of key centers, including museum, educational and industrial institutions, are outlined as well as their level of influence on the development of contemporary glass art is outlined. The description of one of the leading manufacturers of art glass in the USA, a company with centuries-old tradition of glass making Steuben Glass is show in the article. The influence for the international studio movement and development of the glass industry is made basing on the selected samples of the product range. The analysis of scientific sources is proposed and special attention is paid to their authors, who belong to the most prominent personalities of the world art history. The aim of the study is to highlight the activities of key educational, museum, production and organizational clusters, individual artists and scholars in the United States, which have contributed to the development of the international studio glass movement. Methodology of the research: methods of diachronic and synchronous description of artistic phenomena, method of formal analysis and synthesis, structural-functional and stylistically typological methods are used in the article. Relevance and scientific novelty. Ukrainian art studies considered the issue glass art mainly in the context of decorative and applied arts. With the advent of the concept of "fine glass" the question of a thorough rethinking of the terminological system and its introduction into scientific circulation raises. Actually the appeal to the original sources of the studio movement birth in the American art of the second half of the 20th century, as well as a thorough analysis of conceptual principles and a clear understanding of its functioning in the general context of world art will contribute to solving of this key problem. It is concluded that it was thanks to the American artists the international studio glass movement, the powerful artistic phenomena, began to spread in the world. The artistic centers and individual personalities of the United States continue to actively and successfully influence the overall development of contemporary world decorative and fine arts, glass art in particular.
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Donina, Larisa N. « High-relief coinage in the Kazan-Tatar jewelry tradition : historical and technical analysis ». Historical Ethnology 8, no 3 (4 décembre 2023) : 374–88. http://dx.doi.org/10.22378/he.2023-8-3.374-388.
Texte intégralRésumé :
The article is devoted to identifying the origins and regional features of the technology of high-relief coinage in the Kazan-Tatar jewelry tradition. The main source was the electronic database of Tatar jewelry from museum collections, collected within the framework of the academic project “Jewelry of the Turkic peoples of Eurasia: general and special” (Russian Foundation for Basic Research 2013–2014, No. 13-06-97056). The research was based on a systematic technical and stylistic analysis of traditional jewelry and a detailed synchronous-diachronic examination of Bulgar-Golden Horde and Tatar products with three-dimensional images. Reconstruction of technological techniques related to this type of artistic metal processing made it possible to identify specific features of the formation of decor. The manual method of obtaining a unique relief using punches with a figured striker predominated. The decorations are characterized by the following: two or three-level bas-relief, the absence of a “locking” profile, the principle of “compositing” that underlies the conventionally interpreted floral and plant motifs, geometric orderliness, subject to the laws of the central-radial composition. The completed form of the decoration corresponds to the typical features of “notch chasing”, which is a marker of the Tatar craft tradition: smooth relief and “grain” background. An integrated approach allowed us to conclude that the origins of the existing artistic and figurative system can be traced in artifacts of the Bulgarian and Golden Horde silver of the 11th–14th centuries, made by embossing, stamping, and punching on a matrix. The formation of technological features was influenced by the traditions of high-relief coinage, which received regional development among Kazan silversmiths in the 17th–18th centuries. The specifics of Tatar relief coinage as a whole were formed in the context of Islamic art.
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Ignatova, S. I., O. G. Babak et S. F. Bagirova. « Development of high-lycopene tomato hybrids using conventional breeding techniques and molecular markers ». Vegetable crops of Russia, no 5 (30 octobre 2020) : 22–28. http://dx.doi.org/10.18619/2072-9146-2020-5-22-28.
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Relevance. High lycopene fruit content has been regarded as a very important genetic trait in tomato breeding. Use lycopene molecular markers in combination with conventional breeding techniques allowed us to create hybrids with high lycopene accumulation, excellent organoleptic qualities, high yield production and resistance to pathogens, and to effectively optimize our breeding programmes for commercial greehouses production.Material and Methods. In this study tomato samples including selected lines and hybrids with various allelic combinations of genes determining carotene accumulation, and other genetic traits, such as disease resistance and yield production were tested. Introgression of spontaneous and induced mutations was used to increase carotenoid levels (og and hp) and improve fruit technological qualities (nor, alc, rin). The research material was tomato collection, mutants, breeding lines and hybrids listed in the State Register Russian Federation tomato hybrids of breeding SS Agrofirm "Ilyinichna" VNIIO branch of the All-Russian Scientific Research Institute of Vegetable Growing – Branch of the FSBSI Federal Scientific Vegetable Center. DNA typing of fruit quality genes was performed at the Institute of Genetics and Cytology of the National Academy of Sciences of Belarus.Results. New domestic hybrids for industrial greenhouses, which characterised by improved organoleptic qualities and technological traits were developed with the help of phasedcross-breeding that allowed to combine the genes nor, rin, alc, leading to an extension of the shelf life with the genes B, og, hp1, etc., contributing to an increase in carotenoid content in fruits. It was established that for targeted selection and hybridization, despite the negative influence of the nor, rin, alc genes it is possible to raise the level of carotenoids to average values. Correlation between lycopene concentration in fruits and high temperature and level of insolation was confirmed. It was shown that pink-fruited forms contain significantly more lycopenethanred-fruitedones. Different all eliccombinations of structural genes involved in carotenoids biosynthesis and regulatory genes that provided maximal accumulation of lycopene in hybrid swithred and pink fruits were revealed. Hybrids with the combination of high concentrations of sugar (° Brix), dry matter and maximal lycopene values, combined defining excellent taste were selected: Prekrasnaiya lady, Olya, Quadrille, Victoria. New F1 hybrids one for industrial greenhouses: G950, G956, G960, Magistral and pink fruited G12897, surpassed the Dutch standard in productivity up to 21%, and in tastes/organoleptic qualities for 1-1.8 points.
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Maistruk, N. « EDUCATIONAL AND PROFESSIONAL POTENTIAL OF POTTERY CENTERS AND SCHOOLS IN UKRAINE ». Ukrainian professional education, no 9-10 (7 septembre 2021) : 122–29. http://dx.doi.org/10.33989/2519-8254.2021.9-10.263617.
Texte intégralRésumé :
Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School - Opishne Factory «Artistic Ceramics,» Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.
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Maistruk, N. « POTTERY CENTERSAND SCHOOLS IN UKRAINE : EDUCATIONAL AND PROFESSIONAL POTENTIAL ». Ukrainian professional education, no 14 (29 décembre 2023) : 65–72. http://dx.doi.org/10.33989/2519-8254.2023.14.300218.
Texte intégralRésumé :
Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School – Opishne Factory «Artistic Ceramics», Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.
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Pransky, Joanne. « The Pransky interview : Dr Rodney Brooks, Robotics Entrepreneur, Founder and CTO of Rethink Robotics ». Industrial Robot : An International Journal 42, no 1 (19 janvier 2015) : 1–4. http://dx.doi.org/10.1108/ir-10-2014-0406.
Texte intégralRésumé :
Purpose – This article, a “Q&A interview” conducted by Joanne Pransky of Industrial Robot Journal, aims to impart the combined technological, business, and personal experience of a prominent, robotic industry engineer-turned entrepreneur regarding the evolution, commercialization, and challenges of bringing a technological invention to market. Design/methodology/approach – The interviewee is Dr Rodney Brooks, the Panasonic Professor of Robotics (emeritus), Massachusetts Institute of Technology (MIT), Computer Science and Artificial Intelligence Lab; Founder, Chief Technical Officer (CTO) and Chairman of Rethink Robotics. Dr Brooks shares some of his underlying principles in technology, academia and business, as well as past and future challenges. Findings – Dr Brooks received degrees in pure mathematics from the Flinders University of South Australia and a PhD in computer science from Stanford University in 1981. He held research positions at Carnegie Mellon University and MIT, and a faculty position at Stanford before joining the faculty of MIT in 1984. He is also a Founder, Board Member and former CTO (1991-2008) of iRobot Corp (Nasdaq: IRBT). Dr Brooks is the former Director (1997-2007) of the MIT Artificial Intelligence Laboratory and then the MIT Computer Science & Artificial Intelligence Laboratory. He founded Rethink Robotics (formerly Heartland Robotics) in 2008. Originality/value – While at MIT, in 1988, Dr Brooks built Genghis, a hexapodal walker, designed for space exploration (which was on display for ten years in the Smithsonian National Air and Space Museum in Washington, D.C.). Genghis was one of the first robots that utilized Brooks’ pioneering subsumption architecture. Dr Brooks’ revolutionary behavior-based approach underlies the autonomous robots of iRobot, which has sold more than 12 million home robots worldwide, and has deployed more than 5,000 defense and security robots; and Rethink Robotics’ Baxter, the world’s first interactive production robot. Dr Brooks has won the Computers and Thought Award at the 1991 International Joint Conference on Artificial Intelligence, the 2008 IEEE Inaba Technical Award for Innovation Leading to Production, the 2014 Robotics Industry Association’s Engelberger Robotics Award for Leadership and the 2015 IEEE Robotics and Automation Award.
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Pransky, Joanne. « The Pransky interview : Helen Greiner, Serial Robotics Entrepreneur, Founder and CEO of CyPhy Works, CoFounder iRobot Corporation ». Industrial Robot : An International Journal 42, no 3 (18 mai 2015) : 181–85. http://dx.doi.org/10.1108/ir-02-2015-0035.
Texte intégralRésumé :
Purpose The following article is a “Q&A interview” conducted by Joanne Pransky of Industrial Robot Journal as a method to impart the combined technological, business and personal experience of a prominent, robotic industry engineer-turned entrepreneur regarding the evolution, commercialization and challenges of bringing a technological invention to market. Design/methodology/approach The interviewee is innovator Helen Greiner, Founder and CEO of CyPhy Works. Ms Greiner describes her technical and business experiences delivering ground robots into the industrial, consumer and military markets, which led to her pioneering flying robot solutions. Findings Helen Greiner received a bachelor’s degree in mechanical engineering and a master’s degree in computer science, both from MIT. She also holds an honorary doctor of engineering degree from Worcester Polytechnic Institute. Greiner is one of the three co-founders of iRobot Corp (Nasdaq: IRBT) and served as iRobot’s Vice President of Engineering (1990-1994), President (1994-2008), and Chairman (2004-2008). She founded CyPhy Works in 2008. Greiner has also served as the President, Board Member for the Robotics Technology Consortium; a Trustee for MIT; and is currently a Trustee for the Boston Museum of Science. Originality/value Inspired as a child by the movie Star Wars, Greiner’s life goal has been to create robots. Greiner was one of three people that founded iRobot Corporation and developed a culture of innovation that led to the Roomba Autonomous Vacuuming Robot. There are now more than 12 million Roombas worldwide. She also led iRobot’s entry into the military marketplace with the creation and deployment of over 6,000 PackBot robots. Greiner has received many awards and honors for her contributions in technology innovation and business leadership. She was named by the Kennedy School at Harvard in conjunction with the US News and World Report as one of America’s Best Leaders and was honored by the Association for Unmanned Vehicle Systems International with the prestigious Pioneer Award. She has also been honored as a Technology Review Magazine “Innovator for the Next Century” and has been awarded the DEMO God Award and DEMO Lifetime Achievement Award. She was named one of the Ernst & Young New England Entrepreneurs of the Year, invited to the World Economic Forum as a Global Leader of Tomorrow and Young Global Leader and has been inducted in the Women in Technology International Hall of Fame.
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Srinivasan, A. V., G. K. Haritos et F. L. Hedberg. « Biomimetics : Advancing Man-Made Materials Through Guidance From Nature ». Applied Mechanics Reviews 44, no 11 (1 novembre 1991) : 463–82. http://dx.doi.org/10.1115/1.3119489.
Texte intégralRésumé :
“The X–29 and HI–MAT use on–board computers to provide greater flexibility. Designers hope that someday these techniques will give man–made flying machines the agility of a dragonfly, which can hover and change direction almost instantly in its search for food.” (Footnote on a display at the National Air & Space Museum, Washington, D.C., August 1990) Future technological advances are becoming increasingly dependent on our ability to design and produce materials with specific thermomechanical and electronic properties. The projected structural and electronic performance requirements for materials are unprecedented. The realization of corresponding technological goals will require significant scientific and technical breakthroughs fueled by innovative thinking. Biomimetics attempts to tap a virtually inexhaustible source of ideas and inspiration: naturally–evolved systems. Mankind has long marveled at the efficiency and effectiveness of biologically–evolved structural systems. Biologists have studied exhaustively the time–proven processes that natural systems employ for synthesizing multifunctional materials with unparalleled precision, thus enabling the species to survive and prosper. The prospect of mimicking biological synthesis in producing man–made materials has generally appeared to be an impossible task. In recent years, however, revolutionary advances in our ability to probe the fabric of materials down to their atomic structures and in the processing control of advanced materials’ microstructures have fueled a renewed interest in imitating natural processes, initially in the laboratory, and ultimately, at the industrial scale. Engineering and scientific communities have a fundamental role to play in this new revolutionary and promising endeavor. The benefits to specific thermomechanical properties resulting from each microstructural feature designed into the biological system have to be understood and quantitatively catalogued. Recommendations for incorporating architectural features encountered in nature in customized man–made systems must be based on engineering analysis of the property enhancement resulting from each observed physical mechanism. This paper addresses a few specific examples of nature’s ingenuity in building–in features which advance properties such as strength, impact resistance, damage control through multiple fracture–energy absorbing paths, and built–in damage–assessment and repair–activating sensors. Potential benefits to advanced artificial materials through inspiration derived from understanding the function of natural materials are also discussed.
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Wahyudiputra, Alexei. « DEATH AS THE “REAL” : A PSYCHOANALYTIC READING OF MATTHEW ARNOLD’S YOUTH AND CALM ». Poetika 9, no 1 (26 juillet 2021) : 43. http://dx.doi.org/10.22146/poetika.v9i1.63325.
Texte intégralRésumé :
Matthew Arnold was one of the poets who paid special attention to youth and the dynamics of youth culture in the Victorian era. Living in an era that stimulated modern times, Arnold produced writings that can be classified as historical records, although not factual, of society's reactions to the fundamental social and cultural changes of the time. The literary arena was particularly affected, as the Victorian era marked the beginning for poets and artists alike to shed the romantic spirit that they had breathed into their works and adapt to the technological and industrial realities around them. This article explores Matthew Arnold's poem entitled “Youth and Calm”. The poem explores a stream of consciousness that contemplates “the youth" and their dreams. This study aims to uncover the meaning of the poem based on its textual composition without correlating it with Arnold's other works. Using theoretical phenomenology tools to dissect language phenomena and the Freudo-Lacanian method in interpreting the theme, this study led to the revelation that the poem talks of “death” as a symbolically repressed object. Matthew Arnold merupakan salah satu penulis puisi yang menaruh atensi lebih pada pemuda dan juga dinamika kebudayaan muda-mudi pada era Victoria. Hidup di dalam yang era mendasari kultur modern, Arnold menghasilkan karya-karya yang dapat diklasifikasikan sebagai catatan historis, meskipun tidak faktual secara absolut, terkait reaksi masyarakat dalam menghadapi perubahan sosial dan kultural yang begitu mendasar di kala itu. Terlebih dalam arena literatur, kehadiran era Victorian merupakan awal penanda bagi penyair dan produser seni lainnya untuk mulai menanggalkan jiwa romantisme yang mereka hembuskan pada tiap karya dan beralih pada realita teknologi dan industri di sekitar mereka. Dalam artikel ini, puisi Matthew Arnold yang ditelaah secara mendalam berjudul “Youth and Calm”. Puisi tersebut mengeksplorasi arus pemikiran yang berisikan kontemplasi terhadap figur “pemuda” dan apa yang mereka impikan. Penulisan ini bertujuan untuk menggali makna puisi berdasarkan komposisi tekstualnya dan tanpa menghubungkannya dengan karya Arnold lainnya. Menggunakan paradigma fenomenologi untuk membedah struktur kebahasaan serta Freudo-Lacanian dalam menginterpretasi tema menghasilkan sebuah makna bahwa “Death” atau kematian merupakan objek yang secara simbolis dipendam oleh subjek youth yang dibahas pada puisi ini.
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Chornyi, Maksym. « WOOD IN WORKS OF ART AND ARCHITECTURE, HISTORY OF USE AND PROBLEMS OF CARE ». Current Issues in Research, Conservation and Restoration of Historic Fortifications 15, no 2021 (2021) : 13–21. http://dx.doi.org/10.23939/fortifications2021.15.013.
Texte intégralRésumé :
Wood is a material used to create works of art, architecture and has been known to people for thousands of years. In Ukraine there is a huge number of outstanding works of architectural, art, decorative, sacred, industrial and utilitarian nature. Significant efforts are being made by conservation and museum workers to preserve and care for such works. The article provides information about the history of using wood to create works of art and architecture. The complex of art history, technological, nature protection and conservation-restoration information is generalized and the holistic understanding of the important role research and preservation of works, made with the wood use is given. The history of the woodworking industry in Ukraine was studied by S. Hensiruk, O. Furdychko, V. Bondar, and the specifics of artistic woodworking craft were analyzed by B. Suliak, M. Serhieieva. Peculiarities of Ukrainian wooden architecture were studied Y. Taras, L. Prybieha, Y. Ivashko, H. Shevtsova. Important information on the experience of preserving the cultural heritage of Ukraine can be found in the publication from O. Rybchynsky. This article analyzes the areas of wood application as a basis for the manufacture of art works, and architectural construction. The specifics of the use wooden in sacred architecture, art, decorative and applied arts of Ukraine are outlined. The types made of wooden art works are determined and their role in the Ukrainian culture is established. It is substantiated that the preservation of valuable art works is a very important task for conservation science and society in general. The author reveals the main problems of preservation and the reason for the destruction of wooden art works, and to implement the correct methods of preserving wooden objects, an interdisciplinary, synthetic approach is needed. All works of wood are constantly under the destructive influence of many factors, and the article identifies modern ways to overcome the problem of destruction wooden art works and basic care for them.
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Лахтионова, Е. С. « The Inception of Activities for the Preservation of Industrial Heritage in Sverdlovsk Oblast in the 1970s–1980s (Based on the Materials of the Regional Periodical Press) ». Nasledie Vekov, no 2(34) (30 juin 2023) : 54–65. http://dx.doi.org/10.36343/sb.2023.34.2.004.
Texte intégralRésumé :
Цель статьи – реконструкция начального этапа деятельности общественных и политических акторов по сохранению индустриального наследия в Свердловской области и определение значения периодической печати для этой деятельности на данном этапе. Источниками, спектр которых определил научную новизну исследования, послужили материалы, опубликованные в региональной периодической печати в 1970–1980-е гг. Проведен их анализ по жанровой принадлежности, тематике и целям создания, а также по тому, кто является их автором. Уделено внимание характеристике объектов индустриального наследия и способам их сохранения. Делается вывод об увеличении в 1980-е гг. количества публикаций на тему необходимости сохранения памятников индустриального наследия, что должно было выражаться, с точки зрения авторов газетных статей, в выявлении таких объектов, постановке их на учет, изучении и музеефикации. Данная тенденция соответствовала общегосударственной политике по охране историко-культурного наследия нашей страны. The article aims to determine the features of the initial stage of activities to preserve industrial heritage monuments in the 1970s–1980s at the regional level and identify the importance of the print media in this process. The research material was articles in eight newspapers of Sverdlovsk Oblast. The author employed a typological analysis, for which the following type-forming features were identified: publisher, place of publication, purpose of publication, readership, authors, purpose of articles. In the direct analysis of the text of the articles, the author used a qualitative (conceptual) analysis to consistently reflect the phenomena of public life in the context of Soviet history. In total, approximately 7,900 newspaper issues were studied, among which 44 articles, 45 notes, 27 reports were identified as relevant to the study. The articles were aimed at highlighting the activities of state bodies, the All-Russian Society for the Protection of Historical and Cultural Monuments, or individual residents in the preservation of industrial heritage monuments in order to draw the attention of the general public to specific problems that could and had to be solved. The notes and reports contained a brief description of the activities of the All-Russian Society for the Protection of Historical and Cultural Monuments in relation to a particular monument, and also informed readers about the functioning of already established factory museums or the opening of new ones. The authors of the analyzed materials were journalists, representatives of public organizations, museum staff, writers, specialists in various fields of knowledge. All of them knew the specifics of the Urals and understood the need to preserve objects that were a source of knowledge about the scientific, technical, technological and production achievements of previous generations. The monuments that needed to be preserved are industrial plants, hydroelectric power stations, models of equipment and transport. The methods of conservation that the authors of the articles suggested were identification, registration, study, museumification. In the 1980s, the number of articles published on this problem increased, and their focus changed. They began to play the role of a motivator in the struggle to preserve the monument, causing a great resonance among the general public, scientists, specialists, representatives of party and government bodies. The publication of materials in newspapers, which were official publications, confirms that the preservation of the industrial heritage was in line with the national policy.
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TYBJERG, KARIN. « J. LENNART BERGGREN and ALEXANDER JONES, Ptolemy'sGeography : An Annotated Translation of the Theoretical Chapters. Princeton and Oxford : Princeton University Press, 2000. Pp. xiii+192. ISBN 0-691-01042-0. £24.95, $39.50 (hardback). » British Journal for the History of Science 37, no 2 (24 mai 2004) : 193–96. http://dx.doi.org/10.1017/s0007087404215813.
Texte intégralRésumé :
J. Lennart Berggren and Alexander Jones, Ptolemy's Geography: An Annotated Translation of the Theoretical Chapters. By Karin Tybjerg 194Natalia Lozovsky, ‘The Earth is Our Book’: Geographical Knowledge in the Latin West ca. 400–1000. By Evelyn Edson 196David Cantor (ed.), Reinventing Hippocrates. By Daniel Brownstein 197Peter Dear, Revolutionizing the Sciences: European Knowledge and Its Ambitions, 1500–1700. By John Henry 199Paolo Rossi, Logic and the Art of Memory: The Quest for a Universal Language. By John Henry 200Marie Boas Hall, Henry Oldenburg: Shaping the Royal Society. By Christoph Lüthy 201Richard L. Hills, James Watt, Volume 1: His Time in Scotland, 1736–1774. By David Philip Miller 203René Sigrist (ed.), H.-B. de Saussure (1740–1799): Un Regard sur la terre, Albert V. Carozzi and John K. Newman (eds.), Lectures on Physical Geography given in 1775 by Horace-Bénédict de Saussure at the Academy of Geneva/Cours de géographie physique donné en 1775 par Horace-Bénédict de Saussure à l'Académie de Genève and Horace-Bénédict de Saussure, Voyages dans les Alpes: Augmentés des Voyages en Valais, au Mont Cervin et autour du Mont Rose. By Martin Rudwick 206Anke te Heesen, The World in a Box: The Story of an Eighteenth-Century Picture Encyclopedia. By Richard Yeo 208David Boyd Haycock, William Stukeley: Science, Religion and Archaeology in Eighteenth-Century England. By Geoffrey Cantor 209Jessica Riskin, Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment. By Dorinda Outram 210Michel Chaouli, The Laboratory of Poetry: Chemistry and Poetics in the Work of Friedrich Schlegel. By David Knight 211George Levine, Dying to Know: Scientific Epistemology and Narrative in Victorian England. By Michael H. Whitworth 212Agustí Nieto-Galan, Colouring Textiles: A History of Natural Dyestuffs in Industrial Europe. By Ursula Klein 214Stuart McCook, States of Nature: Science, Agriculture, and Environment in the Spanish Caribbean, 1760–1940. By Piers J. Hale 215Paola Govoni, Un pubblico per la scienza: La divulgazione scientifica nell'Italia in formazione. By Pietro Corsi 216R. W. Home, A. M. Lucas, Sara Maroske, D. M. Sinkora and J. H. Voigt (eds.), Regardfully Yours: Selected Correspondence of Ferdinand von Mueller. Volume II: 1860–1875. By Jim Endersby 217Douglas R. Weiner, Models of Nature: Ecology, Conservation and Cultural Revolution in Soviet Russia. With a New Afterword. By Piers J. Hale 219Helge Kragh, Quantum Generations: A History of Physics in the Twentieth Century. By Steven French 220Antony Kamm and Malcolm Baird, John Logie Baird: A Life. By Sean Johnston 221Robin L. Chazdon and T. C. Whitmore (eds.), Foundations of Tropical Forest Biology: Classic Papers with Commentaries. By Joel B. Hagen 223Stephen Jay Gould, I Have Landed: Splashes and Reflections in Natural History. By Peter J. Bowler 223Henry Harris, Things Come to Life: Spontaneous Generation Revisited. By Rainer Brömer 224Hélène Gispert (ed.), ‘Par la Science, pour la patrie’: L'Association française pour l'avancement des sciences (1872–1914), un projet politique pour une société savante. By Cristina Chimisso 225Henry Le Chatelier, Science et industrie: Les Débuts du taylorisme en France. By Robert Fox 227Margit Szöllösi-Janze (ed.), Science in the Third Reich. By Jonathan Harwood 227Vadim J. Birstein, The Perversion of Knowledge; The true Story of Soviet Science. By C. A. J. Chilvers 229Guy Hartcup, The Effect of Science on the Second World War. By David Edgerton 230Lillian Hoddeson and Vicki Daitch, True Genius: The Life and Science of John Bardeen, the Only Winner of Two Nobel Prizes in Physics. By Arne Hessenbruch 230Stephen B. Johnson, The Secret of Apollo: Systems Management in American and European Space Programs, John M. Logsdon (ed.), Exploring the Unknown: Selected Documents in the History of the U.S. Civil Space Program. Volume V: Exploring the Cosmos and Douglas J. Mudgway, Uplink-Downlink: A History of the Deep Space Network 1957–1997. By Jon Agar 231Helen Ross and Cornelis Plug, The Mystery of the Moon Illusion: Exploring Size Perception. By Klaus Hentschel 233Matthew R. Edwards (ed.), Pushing Gravity: New Perspectives on Le Sage's Theory of Gravitation. By Friedrich Steinle 234Ernest B. Hook (ed.), Prematurity in Scientific Discovery: On Resistance and Neglect. By Alex Dolby 235John Waller, Fabulous Science: Fact and Fiction in the History of Scientific Discovery. By Alex Dolby 236Rosalind Williams, Retooling: A Historian Confronts Technological Change. By Keith Vernon 237Colin Divall and Andrew Scott, Making Histories in Transport Museums. By Anthony Coulls 238
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Palumets, Ülle. « Linase lapsesärgi taasloomine : uurimiskäik ja tööprotsess / Recreating children’s linen shirt : the course of research and the process of work ». Studia Vernacula 8 (13 novembre 2017) : 174–95. http://dx.doi.org/10.12697/sv.2017.8.174-195.
Texte intégralRésumé :
Shirts form a part of Estonian folk costume. Shirts have been mainly made of linen in Estonian areas. About a century ago, the custom of wearing homemade traditional clothing disappeared, as a result of industrial development. Nowadays, there is no practical need to make traditional linen shirts for children. This article focuses on the process of making linen shirts in a situation in which several crucial steps in their production, such as flax growing and processing, and the creation of homespun linen fabrics, have ceased to exist. I adopted a practical work process as my research method, since this allowed me to gain firsthand experience of the problems encountered when sewing shirts. In parallel to this process of practical work, I collected information for analysis from historical sources and literature (archival material, museum pieces, memories). Craft professionals aided me in the selection of the best techniques.
During the work process, I sought answers to the following questions: How does the aim of creating a shirt affect the choices one makes during the work process? What are the possible technological methods one can use to achieve this? How does the use of different materials and techniques affect the visual similarity between the recreated artefact and the original? Do these techniques make the item more comfortable to wear or less so?
Taking the example of a shirt belonging to the collection of historical folk costume preserved in the Estonian National Museum (a woman’s shirt (ERM 18238) originating from Tori Parish), I created two children’s shirts. The aims that were set prior to sewing those two shirts differed. The linen fabrics that were used and the approaches to cuts and to sewing techniques were different. While the shirts are similar to the original in general terms, their details reveal variation which stems from their different materials and work techniques.
Estonian folk costume shirts were usually white. Since it is very difficult to dye linen fabrics with natural dyeing agents because of the properties of flax fibre, bleaching in sun was typically used when processing linen fabrics. However, the process of bleaching resulted in something we nowadays perceive as somewhat grey, a colour far from the so-called yellow-tinted ‘natural white’, and further still from snowy white.
According to historical sources, it was the sewing of and cutting out of the shirt from the fabric which were the most significant stages of the whole process. The written records reveal that many various prophecies were thought to lie in the act of sewing. When examining the shirts in detail, it is possible to describe the techniques and tools that have been used to create them.
The theoretical part of the article concentrates on shirts as meaningful artefacts and does so from a semiotic perspective. The practical part gives a detailed overview of the process of sewing two shirts, by sewing one of them by hand and the other with the help of a sewing machine; one of them was made from linen fabric that had been handwoven on looms at home, while the other was made from modern enzyme-treated material.
The choice of embroidery threads and sewing techniques was determined by the materials. All work procedures had to be assessed in accordance with the thickness of threads, the relations between warp and weft, and the softness of the fabric. Cuts, and the possible need for making adjustments, also needed to be considered. For example, placing a sleeve that has a selvedge as one of its edges on to a fabric is more economical in terms of material loss than the simple narrow sleeve cut that is used nowadays, where the warp thread runs along the centre line of the sleeve. I experimented with various options when sewing the collar and front parts together. However, it became evident that the solution that was visually less robust did not allow the brooch to stay in its correct position near the throat.
To conclude, changes made during the work process must not be arbitrary ones. Technological development and changing needs have resulted in the partial adjustment or change of the materials, techniques and cuts.
Keywords: folk costume, children’s clothing, shirts, sewing, linen fabrics, technology
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Palumets, Ülle. « Linase lapsesärgi taasloomine : uurimiskäik ja tööprotsess / Recreating children’s linen shirt : the course of research and the process of work ». Studia Vernacula 8 (13 novembre 2017) : 174–95. http://dx.doi.org/10.12697/sv.2017.8.174-195.
Texte intégralRésumé :
Shirts form a part of Estonian folk costume. Shirts have been mainly made of linen in Estonian areas. About a century ago, the custom of wearing homemade traditional clothing disappeared, as a result of industrial development. Nowadays, there is no practical need to make traditional linen shirts for children. This article focuses on the process of making linen shirts in a situation in which several crucial steps in their production, such as flax growing and processing, and the creation of homespun linen fabrics, have ceased to exist. I adopted a practical work process as my research method, since this allowed me to gain firsthand experience of the problems encountered when sewing shirts. In parallel to this process of practical work, I collected information for analysis from historical sources and literature (archival material, museum pieces, memories). Craft professionals aided me in the selection of the best techniques.
During the work process, I sought answers to the following questions: How does the aim of creating a shirt affect the choices one makes during the work process? What are the possible technological methods one can use to achieve this? How does the use of different materials and techniques affect the visual similarity between the recreated artefact and the original? Do these techniques make the item more comfortable to wear or less so?
Taking the example of a shirt belonging to the collection of historical folk costume preserved in the Estonian National Museum (a woman’s shirt (ERM 18238) originating from Tori Parish), I created two children’s shirts. The aims that were set prior to sewing those two shirts differed. The linen fabrics that were used and the approaches to cuts and to sewing techniques were different. While the shirts are similar to the original in general terms, their details reveal variation which stems from their different materials and work techniques.
Estonian folk costume shirts were usually white. Since it is very difficult to dye linen fabrics with natural dyeing agents because of the properties of flax fibre, bleaching in sun was typically used when processing linen fabrics. However, the process of bleaching resulted in something we nowadays perceive as somewhat grey, a colour far from the so-called yellow-tinted ‘natural white’, and further still from snowy white.
According to historical sources, it was the sewing of and cutting out of the shirt from the fabric which were the most significant stages of the whole process. The written records reveal that many various prophecies were thought to lie in the act of sewing. When examining the shirts in detail, it is possible to describe the techniques and tools that have been used to create them.
The theoretical part of the article concentrates on shirts as meaningful artefacts and does so from a semiotic perspective. The practical part gives a detailed overview of the process of sewing two shirts, by sewing one of them by hand and the other with the help of a sewing machine; one of them was made from linen fabric that had been handwoven on looms at home, while the other was made from modern enzyme-treated material.
The choice of embroidery threads and sewing techniques was determined by the materials. All work procedures had to be assessed in accordance with the thickness of threads, the relations between warp and weft, and the softness of the fabric. Cuts, and the possible need for making adjustments, also needed to be considered. For example, placing a sleeve that has a selvedge as one of its edges on to a fabric is more economical in terms of material loss than the simple narrow sleeve cut that is used nowadays, where the warp thread runs along the centre line of the sleeve. I experimented with various options when sewing the collar and front parts together. However, it became evident that the solution that was visually less robust did not allow the brooch to stay in its correct position near the throat.
To conclude, changes made during the work process must not be arbitrary ones. Technological development and changing needs have resulted in the partial adjustment or change of the materials, techniques and cuts.
Keywords: folk costume, children’s clothing, shirts, sewing, linen fabrics, technology
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Darwell, John. « Drink cans ». Ecozon@ : European Journal of Literature, Culture and Environment 1, no 2 (6 novembre 2010). http://dx.doi.org/10.37536/ecozona.2010.1.2.370.
Texte intégralRésumé :
Drink cans, River Petteril, From series '100 Yards, Or So'. 2003John Darwell is a much awarded, independent British photographer whose work expresses his interest in social and industrial change, concern for the environment, and the depiction of mental health. For almost three decades, his work has been exhibited and published widely, both nationally and internationally, including exhibitions in London, the USA, Mexico, South America and the Canary Islands. It is featured in a number of important collections including the National Museum of Media/Sun Life Collection in Bradford, the Victoria & Albert Museum, London and the Metropolitan Museum of Art, New York. His varied projects, that explore the external and internal landscapes of the contemporary world, include a trilogy on notorious sites marked by nuclear destruction or nuclear pollution (e.g. Hiroshima, Sellafield, Chernobyl); projects that evoke changes in the industrial landscapes (Manchester and Stockport clothing industry, Port of Liverpool, Manchester Docks); projects on the impact of foot and mouth disease in North Cumbria, the experience of depression, and the work of Kurt Schwitters. John Darwell also holds a position as a lecturer at the University of Bolton and the Cumbria Institute of the Arts. See http://www.johndarwell.com