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Статті в журналах з теми "Traditional Art and Craft"
1
Prihatin, Purwo. "Seni Kriya Sulaman Tangan Tradisional dan Pengrajin Perempuan Nagari Koto Gadang dalam Dimensi Ekonomi, Sosial dan Budaya." Jurnal Ilmiah Universitas Batanghari Jambi 22, no. 2 (July 26, 2022): 1197. http://dx.doi.org/10.33087/jiubj.v22i2.2384.
Повний текст джерелаАнотація:
This research was motivated by the existence of Minangkabau women's crafts and craftsmen, especially in Koto Gadang who have skills in the field of traditional hand embroidery. This study aims to find out the traditional hand-embroidered craft art of women in nagari Koto Gadang as cultural actors who carry out processes in social activities and craft arts. The research method uses a type of qualitative research, data collection through written sources and literature studies, documentation of cultural artifacts, so that this study can be produced and concluded that the traditional embroidery craft art of Koto Gadang is the embodiment of the expression of aesthetic taste in the form of functional objects and aesthetic objects which in their creation requires ability, experience, and technical skills such as embroidery, terawang, kapalo samek, and suji cair. Traditional embroidery crafts apply ornamental motifs, both flora, fauna and other objects based on nature, become teachers. The traditional embroidery craft art in Koto Gadang as a social product has an impact on the dimension of women's lives in Koto Gadang. The presence of Koto Gadang women and the art of embroidery crafts has become a manifestation of minangkabau women's activities that have produced cultural identity and positively impacted the actors and supporters both the social dimension and the economic dimension.
2
Almamari, Badar Mohammed, Fakhriya Al-Yahayai, and Mohammed Alamri. "Traditional Omani Crafts Approaches To Identity." Technium Social Sciences Journal 10 (July 28, 2020): 566–78. http://dx.doi.org/10.47577/tssj.v10i1.1328.
Повний текст джерелаАнотація:
The purpose of this study is to identify how landscapes, places, and geographical forms of land influenced craft making identity by addressing Omani crafts enterprises in urban and rural areas. This has been done by interviewing local craftspeople and analysing their responses as a qualitative data collection method using open-ended questions to seek reliability and credibility in the study. The interviews in this research were mostly conducted with participants belonging to ten enterprises under the management of the Public Authority for Crafts Industries (PACI), Department of Art Education and the Handcrafts Centre. Consequently, this study highlights the importance of studying the influence of landscapes, places, and geographical forms in shaping local people's crafts identity by investigating their craft industries in rural and urban areas.
3
Graff, Elissa R. "Preserving Traditional Culture in the Cumberland Gap Region." Journal of Appalachian Studies 18, no. 1-2 (April 1, 2012): 234–43. http://dx.doi.org/10.2307/23337717.
Повний текст джерелаАнотація:
Abstract In 2010, Lincoln Memorial University completed two cycles of an Appalachian College Association and University of North Carolina, Asheville (ACA-UNCA) undergraduate research project partnership. The focus of the grant was incorporated into a class entitled Crafts to Culture. The primary mission of the course was to record and preserve the stories and work of craftspeople identified in Bell County, Kentucky; Claiborne County, Tennessee; and Lee County, Virginia. Students explored and analyzed traditional art from the Cumberland Gap region with an emphasis on family traditions, techniques, and the unique characteristics of each craft. An additional course objective was to give students practical skills in the areas of history, art, and communications. Three different academic disciplines were combined with independent goals as students worked together as a group. First, history students gained oral history experience—through interview preparation and practice, recording, transcription, and publications. Second, art students gained art experience by learning the craft traditions from an expert and by replicating a product using the learned technique. Third, broadcast communication students gained communications experience through audio and video recording, editing, and publishing. Teamwork was a byproduct of this project as all of the students needed to work together. This paper reports on an Undergraduate Research Grant Project advisor’s mentoring experience.
4
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Повний текст джерелаАнотація:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
5
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Повний текст джерелаАнотація:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
6
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Повний текст джерелаАнотація:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
7
Rathore, Sumati, Usha Thakur, and Sarla Shashni. "POTTERY: A UNIQUE TRADITIONAL CRAFT IN INNER SIRAJ VALLEY OF NORTHWESTERN HIMALAYAN DISTRICT OF KULLU, HIMACHAL PRADESH." International Journal of Advanced Research 8, no. 9 (September 30, 2020): 1106–11. http://dx.doi.org/10.21474/ijar01/11766.
Повний текст джерелаАнотація:
Pottery is a century old craft used by human and is one of the most tangible and iconic elements of Indian art. This craft system shows the lifestyle of native communities, their belief, faith, customs and tradition through their craft. This paper documents the traditional pottery art of the Sirajicommunity living in the inner Siraj Valley of Kullu district in Himachal Pradesh. The uniqueness of the art is wheels are not used for making different pots as in other parts of the country. Paper also documents the procedures involved in making the pots and its current status. Study revealed that this traditional craft system will not survive if some urgent measures are not be taken in near future.
8
Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
Повний текст джерелаАнотація:
This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
9
Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
Повний текст джерелаАнотація:
This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
10
Amirkhanova, Aida K. "TRADITIONAL SILK HEADSCARVES "TASTAR" OF THE KUMYKS (TO THE PROBLEM OF THE REVIVAL OF THE TRADITIONAL CRAFT)." History, Archeology and Ethnography of the Caucasus 18, no. 1 (March 31, 2022): 234–57. http://dx.doi.org/10.32653/ch11234-257.
Повний текст джерелаАнотація:
The silk headscarves tastars were widespread in the North Caucasus in the late 19th century. In Dagestan, they were produced in the Kumyk villages and were part of the traditional costume of the Kumyk women. The aim of the article is to consider the modern state of traditional crafts among the peoples of Dagestan on the example of the tastar headscarves, to demonstrate the relevance of revival of some types of national artistic crafts. The exclusion of applied arts by industrial products, globalization and the elimination of ethnic and cultural differences caused by it, actualized the study of pieces of material culture in the scientific and art community in order to preserve them. In Dagestan, the preservation of ancient folk crafts is implemented through various educational programs, the creation of centers of traditional culture, schools of folk arts. The article is based on the study, conducted by the methods of interview and participant observation in such centers. The author visited several functioning centers of teaching tastar weaving in Dagestan (Nizhnee Kazanishe, Aksay), talked with craftswomen. The article provides versions of origin of this unique technique of tastar weaving, traces the history of this craft, describes active centers, gives names of the keepers of the old tradition. The conducted research reveals that the modern state of tastar weaving is mainly supported by enthusiasts in villages – old centers of the studied craft.
Дисертації з теми "Traditional Art and Craft"
1
Choudhury, Anamika. "Traditional art and craft of Sub- Himalayan Darjeeling: historical study." Thesis, University of North Bengal, 2019. http://ir.nbu.ac.in/handle/123456789/4026.
Повний текст джерела
2
Capps, Jonathan Michael. "Transcending Traditions with Glass Orbs in Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469127095.
Повний текст джерела
3
Hockemeyer, L. "Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
Повний текст джерелаАнотація:
Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
4
Summatavet, Kärt. "Folk tradition and artistic inspiration : a woman's life in traditional Estonian jewelry and crafts as told by Anne and Roosi /." [Helsinki] : University of Art and Design Helsinki, 2005. http://www.loc.gov/catdir/toc/fy0805/2008400416.html.
Повний текст джерела
5
Wang, Yu Hsin, and n/a. "Learning from the past, providing for our future : an exploration of traditional Paiwanese craft as inspiration for contemporary ceramics." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20070205.101252.
Повний текст джерелаАнотація:
This project started with the Taiwanese�s Cultural & Creative Industries Policy,
which demands that all new products include local cultural content. However, little
is known about Taiwanese cultures. This research looked specifically at one of the
cultures, the Paiwanese Tribe.
This thesis reports on the research journey; identifying what the Paiwanese knew
about their culture and why they were unable to produce traditional products. It
argues that the displacement of the tribe has made it materially impossible to
continue traditional practices. This research then identified ways of capturing spirit
of traditional culture using modern technology. A successful model of working with
crafts people workshops in discussed. A case is made for the use of narrative
enquiry and oral history to record Paiwanese understanding. These
understandings were translated into a design outcome using a design method
called narrative design. The success of this research suggests that such an
approach is one model that can be used in design using new technologies and
materials from the re-establishment method of traditional products.
The understanding generated for regaining traditional craft knowledge is extended
with the design of a tea set that draws on this traditional knowledge, narrative and
culture. The tea set represents this knowledge for a global market. It is argued that
the design process used can guide design that transforms the culture message
and delivers it for a wide audience. This design concept process is a model that
can be used to develop cultural products.
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Wang, Yu-Hsin. "Learning from the past, providing for our future an exploration of traditional Paiwanese craft as inspiration for contemporary ceramics /." Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20070205.101252/index.html.
Повний текст джерелаАнотація:
Thesis (DDes) - National Institute for Design Research, Faculty of Design, Swinburne University of Technology, 2006.Submitted in total fulfillment of the requirements of the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design, Swinburne University of Technology - 2006. Typescript. Bibliography: p. 133-139.
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Al-Boloushi, Laila. "The problems and prospects of incorporating a living craft tradition (Al-Sadu) inspired by Islamic geometric design into art higher education courses in Kuwait." Thesis, University of Exeter, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529275.
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Donlin, Jane. "The dialectics of textile hand production : In search of poetic content : an enquiry into the position of the traditional textile crafts." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/439.
Повний текст джерелаАнотація:
This thesis frames the significance of traditional textile hand production as a means of furthering the concept of aesthetic socio-cultural development. It approaches the traditional textile crafts in relation to the proposition that contemporary society is post-traditional and has broken away from nature. By examining the concept of tradition and the processes by which society transforms from the pre-modern context into the late modern, the changing nature of the crafts is explained. The research also examines wider social losses, gains and unforeseen consequences that occur in the continuous process of social transformation. My art praxis is contextualised within the framework of reflexivity, the idea that creative art practice and theory build on one another. Two research methods are used. The first is a reflection on my situation as a maker. Integral to my work is the actual experience of traditional textile hand production. The second, in drawing on the literature from critical theory, proposes the concept of reflexivity as a means by which to rethink the position of the traditional textile crafts, particularly in relation to questions concerning tradition, culture, society, identity, nature and responsible human action.
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Bush, Melissa. "Home Sweet Home: An Infinite Grid of Memory and Repressed Abuse Trauma." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5611.
Повний текст джерелаАнотація:
Incorporating traditional craft mediums of crochet and embroidery, I use digital technology to experiment with wording to graphically represent my abuse trauma. Due to the severity of the subject matter and the work ethic I employ in my art practice, using my hands and being completely involved is a form of masochistic pleasure. My process takes on a Sisyphean approach of penance for the sins of others in my work. During my studio practice, my process reaches a meditative state where my mind is clear and free of the burden. Once I've completed a panel of trauma, the burden is transported into the art and a state of enlightenment is achieved. I began this program taking an analysis from an external perspective, gradually shifting my focus of artistic practice to my internal struggles with memory and repressed abuse trauma. Since I have selfishly focused on my personal tragedies for inspiration for the past three years, my work can now address a more universal subject matter in the future.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
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Zoran, Amit (Amit Shlomo). "Hybrid re Assembage : bridging traditional craft and digital design." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/91860.
Повний текст джерелаАнотація:
Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.Title as it appears in MIT degrees awarded booklet, September 18, 2013: Hybrid reAssembage: introducing traditional practice into contemporary design Cataloged from PDF version of thesis. Title as it appears in MIT degrees awarded booklet, September 18, 2013: Hybrid reAssembage: introducing traditional practice into contemporary design.
Includes bibliographical references.
Hybrid reAssemblage is a design gestalt that lies at the cross-section of digital design practice and the tactile qualities of traditional craft. It spans a territory in which the value of artifacts is produced through automated production as well as human subjectivity. This work is an exploration of two divergent realms: that of emerging computational technologies, and traditional hand-hewn practice. Hybrid reAssemblage proposes a new way of thinking about the machine, as generator of control and efficiency, and the unpredictable and singular nature of the raw and the manual. I illustrate Hybrid reAssemblage through three diverse projects: FreeD is a digital handheld milling device for carving, guided and monitored by a computer while preserving the maker's freedom to manipulate the work in many creative ways. It reintroduces craft techniques to digital fabrication, proposing a hybrid human-computer interaction experience. In addition to the technology, I present a user study, demonstrating how FreeD enables personalization and expression as an inherent part of the fabrication process. Chameleon Guitar exploits a selection of acoustic properties via a set of replaceable resonators and by a simulated shape, merging real-wood acoustic qualities with a simulated guitar body. It marries digital freedom with the uniqueness of acoustic instruments, and demonstrates a hybrid functionality platform. Focusing on the production of sonic qualities, this project is evaluated acoustically, pointing to the significance of attention to detail such as craft and wood qualities. Finally, Fused Crafts is a collection of artifacts that are part handcrafted and part 3D printed, visually demonstrating the potential of combining these practices to create hybrid aesthetics. I illustrate this visual concept with two examples: intentionally broken ceramic artifacts with 3D printed restoration, and 3D printed structure that is designed to allow the application of hand-woven patterns. This project is a search for an approach where both technologies can benefit from each other aesthetically, enriching the final product with new qualities. This dissertation begins with a contextual background, leading to the presentation of the projects. In the last part, I evaluate the work through feedback received from a panel of design, craft, and HCI experts.
Amit Zoran.
Ph. D.
Книги з теми "Traditional Art and Craft"
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Wendy, Goldblatt, and Hemp Doreen, eds. Craft South Africa: Traditional, transitional, contemporary. Hyde Park, South Africa: Pan Macmillan SA, 2002.
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Vijaydatta, Lotlikar. Coconut: The art of coconut craft. Saligao: Goa, 1556, 2009.
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Taehan Min'guk chŏnt'ong kongye p'esŭt'a: Korea traditional craft festa. Sŏul T'ŭkpyŏlsi: Soŭl Sangsa, 2014.
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Shaw, Robert. America's traditional crafts. New York: Hugh Lauter Levin Associates, 1993.
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5
Robert, Shaw. America's traditional crafts. [New York?]: Beaux Arts Editions, 1993.
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America's traditional crafts. New York: Hugh Lauter Levin Associates, 1993.
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illustrator, Ravinder Reddy D., ed. Traditional crafts of Andhra Pradesh. Hyderabad: Noopur Kumar, 2013.
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1923-, Inumaru Tadashi, Yoshida Mitsukuni 1921-, and Japan Traditional Craft Center, eds. The Traditional crafts of Japan. Tokyo, Japan: Diamond, Inc., 1992.
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author, Kang Kyŏng-in, and Han'guk Kongye Tijain Munhwa Chinhŭngwŏn, eds. Cheongja: Korean traditional celadon. Seoul: Korea Craft & Design Foundation, 2017.
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Leeum, Samsŏng Misulgwan. Kŭmŭn pohwa: Han'guk chŏnt'ong kongye ŭi mi = Opulence : treasures of Korean traditional craft. Sŏul T'ŭkp'yŏlsi: Samsŏng Misulgwan Leeum, 2013.
Знайти повний текст джерелаЧастини книг з теми "Traditional Art and Craft"
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Iyer, Mahesh. "Integrating Traditional Crafts Within Clinical Practice." In Craft in Art Therapy, 131–43. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-11.
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Tan, Keith Kay Hin, and Chun Wei Choy. "Merging Batik and Stained Glass: Creating Contemporary Asian Art from Traditional Craft Objects." In Contemporary Asian Artistic Expressions and Tourism, 191–211. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4335-7_9.
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Mallinson, Jonathan. "12. 1932–35: Individuality and Industrial Art." In William Moorcroft, Potter, 259–90. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.12.
Повний текст джерелаАнотація:
The chapter explores Moorcroft’s creative principles against the background of the Gorrell report and the continuing debate about industrial design, energised by high-profile exhibitions at Dorland Hall (1933), Harrod’s (1934) and the Royal Academy (1935), each with its own priorities. Moorcroft continued to promote the value of individuality, craft and ornament, as opposed to the functionalist machine aesthetic championed by Pevsner or Read, but he overlapped in significant ways with modernist thinking. He was no less critical of contemporary industrial design, often characterised by angular shapes and strident ornament, and he shared the belief that good design should be judged by its coherence and suitability to the manufacturing process, that it should reflect inner conviction rather than commercial opportunism, and that it gives to everyday objects an essential and uplifting beauty. This overlap was exemplified in the widespread admiration for the formal purity of his Powder Blue tea ware which, although launched in 1914, already anticipated modern design values of the 1930s, ‘undatedly perfect’ in Pevsner’s words. These principles also informed Moorcroft’s decorative pottery which continued to attract critical attention, not from the perspective of industrial design (as was now often the case in reviews of studio pottery), but as art work singled out for its expressiveness. But in a letter to The Times he provocatively disowned the label ‘artist’, applied to him by the British Pottery Manufacturers Federation, rejecting the implication that (his) art was elitist, or affordable only by connoisseurs. All his work was seen to have the same quality of design and production, whatever its cost or function, and he presented himself as a fusion of artist and industrialist, a position particularly significant at a time when modern critical thinking was encouraging the collaboration of designers and manufacturers. Amid an ongoing debate about the nature and importance of a national design tradition, Moorcroft’s work was often regarded as English on account of its individuality, irreducible to a (mere) style. Mussolini’s purchase of a flambé vase at the Milan Triennial Exhibition of 1933, reported in the national press, was seen as evidence of the international appeal of this pottery.
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Smith, Hinekura. "Theorising Indigenous art practice, practicing Indigenous art theories." In Encountering Craft, 114–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003026136-7.
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Taylor, Steven S. "Craft and Art." In Leadership Craft, Leadership Art, 109–22. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012784_7.
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Attridge, Derek. "Literature, Art, Craft." In The Routledge Companion to Literature and Art, 40–50. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003273356-5.
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Conner, Berkley D. "Menstrual Trolls: The Collective Rhetoric of Periods for Pence." In The Palgrave Handbook of Critical Menstruation Studies, 885–99. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_64.
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Abstract This chapter explores the protest strategies of Periods for Pence, a collective of Indiana menstruators and allies who organized in response to the passing of extreme antiabortion legislation, House Enrolled Act 1337, by then-Governor Mike Pence in 2016. Through an analysis of the group’s transcribed calls to Pence’s office, as well as various social media posts, Conner illustrates how Periods for Pence engaged in acts of narrative sharing, humor, and symbolic reversal to craft a cohesive account of varied experiences with menstruation. The study also draws on logics of menstruation to rhetorically re-moralize abortion as necessary. Conner concludes by demonstrating how critical study of menstruation-related activism asks scholars to rethink traditional conceptualizations of static “waves” of feminism and feminist rhetorical theorizing.
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Motta, Martina, Giovanni Maria Conti, Giulia Lo Scocco, and Rachele Didero. "Craftmanship and Digitalization in the Italian Knitwear Industry. A Paradigm Shift for the Narrative of Made in Italy." In Springer Series in Design and Innovation, 705–13. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_67.
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AbstractKnitwear is a consolidated industry in Italy and, at the same time, a typical expression of the Made in Italy paradigm linked to the ideas of craftsmanship. While, on the one hand, knitwear is associated with the idea of craft and manufacturing traditions, on the other hand, it is nowadays produced by numerical control machines (CNC) where the technological contribution and the level of automation are very relevant. The convergence of physical and digital environments, at the heart of the Fashion Industry 4.0 debate, is an established feature of knitwear design practice.In the contemporary industrial scenario, knitted items are produced on digitally programmed machines through sophisticated software, and the manual contribution of the individual operator during the knitting phase is reduced to a minimum. In the light of these premises, this contribution questions the opportunity and value of the integration of digital technologies in the storytelling of traditional manufacturing without losing the power to evoke Made in Italy’s values such as quality, aesthetic refinement, and exclusivity. To analyze these issues, the authors report the case study of SMT – Società Manifattura Tessile, a leading knitting company where the technological presence equals that of traditional manufacturing craftmanship, keeping both elements at balance. The case study suggests the importance of the contemporary knitting craftsman to increasingly develop communication skills to make the relationship between technology and manufacturing explicit and possibly smoothly blend it with the Made in Italy archetypes.
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Fitzpatrick, Tal, and Stephanie Dunlap. "Care through craft." In Care Ethics and Art, 131–43. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003167556-13.
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Sapiro, Ian. "Craft, Art, or Process." In The Routledge Companion to Screen Music and Sound, 305–17. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-25.
Повний текст джерелаТези доповідей конференцій з теми "Traditional Art and Craft"
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Ueda, A., and K. Miyazaki. "Sustainable society based on traditional art and craft." In 2003 IEEE 58th Vehicular Technology Conference. VTC 2003-Fall (IEEE Cat. No.03CH37484). IEEE, 2003. http://dx.doi.org/10.1109/vetecf.2003.239925.
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Ueda and Miyazaki. "Sustainable society based on traditional art and craft." In 2003. 3rd International Symposium on Environmentally Conscious Design and Inverse Manufacturing - EcoDesign'03. IEEE, 2003. http://dx.doi.org/10.1109/ecodim.2003.1322705.
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Zheng, Z. "On the Relationship between Modern Industrial Design and Traditional Craft." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.168.
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Yohanda, Derena Martha, and Hafiz Aziz Ahmad. "Jemparingan Tradition as a Traditional Media to Shaping The Character of Teenagers in Klaten." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.070.
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Zhang, Xiaofei. "Study on the Strategies for the Industrialization Development of Henan Traditional Craft Arts." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.124.
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Xiong, Yiyue. "Research on Strategy of Nantong Traditional Craft Revitalization." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.49.
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Ploşniţă, Elena. "Folk art gallery — an eff ective means of promoting traditional culture." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.12.
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Traditional culture is an important element of the Romanian identity. Th ere are dozens of concepts and defi nitions for traditional culture; even any culture can be considered traditional. No matter how we defi ne it, one thing is certain: in the era of globalization, it must be protected, because traditional culture, with its inherent changes, continues to exist, and society is called upon to promote it. In this article, the author touches upon the issue of promoting traditional art by organizing folk art galleries in the form of sales exhibitions. Art galleries are a modern solution for promoting the values of folk art, and their creation would solve several problems: — make a signifi cant contribution to the development of traditional culture through an exhibition approach; — promote authentic traditional culture in the country and abroad; — solve a number of problems related to the sale of traditional art works of folk craft smen; — facilitate the process of studying and learning about traditional culture through organizing some workshops and seminars within them.
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Guridi, Sofia, Tamara Vicencio, and Rodrigo Gajardo. "Arpilleras Parlantes: Designing Educational Material for the Creation of Interactive Textile Art Based on a Traditional Chilean Craft." In TEI '21: Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3430524.3440657.
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Langi, Kezia Clarissa, Dian Widiawati, and Setiawan Sabana. "Development of Natural Dyeing Color Decorations on Traditional Nias Pandanus Weaving as a Souvenir Product." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.009.
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Xia, Fenghua, Wei Pan, Xiaowen Bian, Miaomiao Cui, and Liyan Gao. "Research on Straw and Willow Plaiting in Shandong and Traditional Craft." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.183.
Повний текст джерелаЗвіти організацій з теми "Traditional Art and Craft"
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Khuder, Wafaa. The Role of Small and Medium Industries in the Heritage Identity in Iraq: A Case Study of Bashiqa Town. Institute of Development Studies, May 2023. http://dx.doi.org/10.19088/creid.2023.005.
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This paper aims to identify the most famous Yazidi heritage industries in the town of Bashiqa, in Nineveh governorate. It explores the economic, social and cultural reality of three non-material industries (the manufacture of al-rashi, olive oil and soap) in the town of Bashiqa by comparing how they were manufactured in the past with how they are manufactured in the present, and assessing the impact of ISIS gangs on these industries. Finally, the paper puts forward proposals for how these industries can be developed to maintain their heritage and sustainability. The research also aims to invoke the cultural and scientific heritage of the local community to draw inspiration from their sources of strength to plan how local production of the traditional heritage industries can be revitalised after the destruction caused by ISIS. The paper also explores the attachment of the Yazidi community in Bashiqa to the traditional industrial crafts and the extent of their influence on social and economic life, especially given that the city of Mosul is famous for its craft activity, in addition to the cultural and religious differences among the local population of Bashiqa, which comprises several components of Iraqi society (Yazidi, Catholic and Orthodox Christians, and the Muslim Shabak – Sunni, Shiite, and Kurdish) and thus affect the community’s view of the traditional crafts.
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Pickar, Charles K. Blitzkrieg: Operational Art or Tactical Craft. Fort Belvoir, VA: Defense Technical Information Center, May 1992. http://dx.doi.org/10.21236/ada253540.
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Aston, Thomas, and Marina Apgar. The Art and Craft of Bricolage in Evaluation. Institute of Development Studies, October 2022. http://dx.doi.org/10.19088/ids.2022.068.
Повний текст джерелаАнотація:
This CDI Practice Paper by Tom Aston and Marina Apgar makes the case for ‘bricolage’ in complexity-aware and qualitative evaluation methods. It provides a framework based on a review of 33 methods to support evaluators to be more intentional about bricolage and to combine the component parts of relevant methods more effectively. It discusses two cases from practice to illustrate the value added of taking a more intentional approach. It further argues that navigating different forms of power is a critical skill for bricolage, and that doing so can help to ensure rigour.
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Chibnik, Michael. Crafts and Commodities: Oaxacan Wood Carvings. Inter-American Development Bank, May 2003. http://dx.doi.org/10.18235/0005907.
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Buichik, A. G. TRADITIONAL APPLIED ART OF RUSSIA IN THE 21-ST CENTURY: OPPORTUNITIES AND PROSPECTS. Modern Science: Actual Problems of Theory and Practice №3, March 2019. http://dx.doi.org/10.18411/buichik-ag-doi-4.
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Fleury, Wayne, and Jan Ove Toskedal. PR-535-143745-R01 ART Scan Qualification Study. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), November 2015. http://dx.doi.org/10.55274/r0010879.
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This qualification study is based on the need for a new technology in the asset integrity lifecycle of pipelines including Subsea infrastructure. As of today it is challenging to identify a technology that combines adequate measurement accuracy combined with the ability to operate in gaseous atmosphere found inside natural gas pipelines. Halfwave�s inspection method developed over the last two decades is based on Acoustic Reso-nance Technology (ART), which utilizes the natural frequencies of the pipe wall to determine the remaining wall thickness. The most prominent advantages of ART comprise (i) direct measure-ments of wall thickness with a accuracy within 0.2 mm (95% c.l.), (ii) the broad-band frequency range enables measurements in pressurized gas, avoiding a liquid couplant, and (iii) the transducer matrix with (a flexible) stand-off to the wall enables high-resolution internal geometry mapping of the pipeline to a resolution within 50 �m (95% c.l.). Additional benefits include the ability to detect disbondmant of external coating and delamination in the pipe wall material. ART is a well-known inspection technology dating back to the 1940s in e.g. the aviation industry, scanning air craft wings, and has also been extensively used in connection with integrity measure-ment of down-hole casings (cf. e.g. the USIT tool, by Schlumberger). However, the last decade�s development of broad-band transducers combined with a surge in storage technology has moved the operational envelope and accuracy of ART a quantum leap ahead, offering much more relia-bility in the integrity evaluations of natural gas pipelines. In turn this gives significantly enhanced decision confidence for the pipeline operator. This document will provide a description of ART and also Halfwave�s application of ART within the Oil and Gas industry.
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Korol, A. Non-traditional Methods of Teaching Based on Emotional and Evocative Dramatic Art in the Creative Development of the Personality. Lardy Publishing House, 2018. http://dx.doi.org/10.31812/123456789/3287.
Повний текст джерелаАнотація:
Non-traditional methods of teaching are ways of improvement to the activity of the individual in the process of learning and creative work. It is the result from the destruction of usual stereotypes in knowledge and skills that starts off mechanisms of spontaneous activities, an integration of logical and evocative components. Current study examines the method of emotional and evocative drama art as a way of improvement to effectiveness in the learning and creative activities of the personality.
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Liang, BiYan, BiYan Liang, and Jian Wang. A Meta Analysis of the Efficacy of Tonic Method in Traditional Chinese Medicine for AIDS Immunological Nonresponses. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, April 2022. http://dx.doi.org/10.37766/inplasy2022.4.0077.
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Review question / Objective: To evaluate the efficacy of tonic method in treating AIDS immunological nonresponses. Eligibility criteria: ①Study type: RCT based on tonic method in TCM for AIDS INRs. The language was limited to Chinese and English. ②The research object: HIV/AIDS patients with any disease stage; the intervention objects were adults with no gender restrictions. ③Intervention measures: The treatment group was treated with tonic prescriptions combined with ART, including four types of prescriptions for nourishing qi, nourishing blood, nourishing yin, or nourishing yang; the dosage, frequency, and method were not limited. The control group was treated with ART or mock agent and placebo. ④Outcome indicators: The observation indicators reported in the included studies should include at least one of the following indicators: 1) Effective rate of immune function reconstruction: formulated in accordance with "AIDS (Adult) Chinese Medicine Diagnosis and Treatment Program" (2016 Edition) , effective: CD4 + T lymphocyte counts increased by ≥ 50 cells/l or ≥ 30%, invalid: CD4+ T lymphocyte counts decreased by ≥ 50 cells/l or ≥ 30%; total effective rate = effective number/total number; 2) CD4+T lymphocyte counts level.
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Trachunthong, Deondara, Suchintana Chumseng, Worrayot Darasawang, and Mathuros Tipayamongkholgul. Risk Factors and National Burden of Selected Noncommunicable Diseases in People Living with HIV: Systematic Review, Meta-Analysis and, Disability-Adjusted Life Years protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, September 2022. http://dx.doi.org/10.37766/inplasy2022.9.0018.
Повний текст джерелаАнотація:
Review question / Objective: 1. Are the prevalence/incidence of four major groups of NCDs including MetS, DM, CVD, and CKD different among adults with and without HIV infection? 2. Are there relationships between HIV status, ART (ART use, short and long-term effects of ART), traditional risk factors (BMI), and the development of four major NCDs? 3. Does the trend of NCDs burden attributable to HIV in Thailand increase according to the time? Information sources: 1. Electronic databases: the following databases will be searched: PubMed/Medline, Scopus, Embase, Cochrane Library Thai journals online (ThaiJO), Thai digital collection (TDC), Thai journal index (TJI), and Thai-journal citation index (TCI). 2. Authors or experts in the field will be contacted through emails for any relevant data, results and information.
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Bruce. L52282 State-of-the-Art Assessment of Alternative Casing Repair Methods. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), July 2007. http://dx.doi.org/10.55274/r0010195.
Повний текст джерелаАнотація:
Many natural gas storage wells suffer damage during normal storage operations. Storage operators spend upwards of $100 million per year recovering lost deliverability. Damage to casings in gas storage wells is largely the result of localized loss of metal from corrosion; however, other types of damage do occur. Individual corrosion pits can be found either on the inside or outside of the casing wall. Repair methods that are currently used for natural gas storage well casings include patches, plugs, liners, etc. While currently-used repair methods can be a cost-effective means of repairing damaged casings as compared to the cost of running an entirely new casing, there is a need to identify and develop alternative casing repair methods that are more economical and/or do not have inherent operational disadvantages. Many of the current repair methods are proprietary, and as a result, are relatively costly to perform. In addition, many of these repair methods (e.g., tube and packer system repairs) result in a decreased cross-sectional area, which creates operational limitations due to flow restrictions and reduces the ability to perform well logging operations. The objective of this project was to review current state-of-the-art casing repair technologies to identify more cost effective alternatives. The most prominent form of underground U.S. gas storage is depleted reservoirs. American Petroleum Institute specification 5CT contains the industry standard design guidance for new casings; however, there are no industry standard repair procedures and each state has their own. The most common state required repair integrity test is pressure testing. Casings must withstand tensile, burst, and collapse loads. Most state repair procedures do not specify a target mechanical property that defines repair success. It is therefore easy to assume that a repair should return a casing back to its original integrity level; however, it may not be necessary. The major types of damage mechanisms are corrosion, threaded connection separation, sealant leaks, split casings, and drill bit damage. While a literature search indicated that the most commonly used types of cost effective repair processes are squeezes, liners, and plating, industry feedback indicated that liner repair is the most commonly used repair process. Adhesively bonded, helically-wound, steel strip repair and magnetic pulse welding are the most promising alternative repair technologies identified, mainly because both are applicable for a broad range of damage types and as an alternative to both traditional casing liner and expandable tubular repair technologies.