Relevant bibliographies by topics / Clay craft

Contents

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

Academic literature on the topic 'Clay craft'

Author: Grafiati
Published: 11 December 2022
Last updated: 24 January 2023

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Journal articles on the topic "Clay craft"

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Amboro, J. L., A. Purwasito, and Warto. "The characteristics of teapots made of plastic and clay: what are their designs, functions, and impacts on the environment?" IOP Conference Series: Earth and Environmental Science 1114, no. 1 (December 1, 2022): 012110. http://dx.doi.org/10.1088/1755-1315/1114/1/012110.

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Abstract Currently, people are starting to reduce the use of traditional products and switch to ready-to-use products made from plastic, such as teapots. Nevertheless, clay crafts still maintain their existence in the widespread use of plastic products. Bayat is one of the subdistricts in Klaten Regency, Central Java, which is famous for its ceramics and pottery craft centres. Most artisans in the Bayat make crafts with clay as raw materials. This research focused on the advantages of Bayat pottery over other plastic products. This study aimed to increase public awareness to reduce plastic products’ use in daily life. This study used the descriptive qualitative method. The research was conducted in Bayat, Klaten, from March – June 2022. The results showed that clay crafts were considered more eco-friendly than plastic products. The development of Bayat pottery from clay has implications for design, function, usability, and environmental aspects. In the design aspect, the Bayat teapot can increase the aesthetic value of the craft. In terms of function and usability, the clay teapot functions as a water storage container as well as interior decoration. Meanwhile, in the environmental aspect, raw clay materials are easier to decompose, while plastic products are difficult to decompose.
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Groth, Camilla, Veikko Jousmäki, Veli-Matti Saarinen, and Riitta Hari. "Craft sciences meet neuroscience." Craft Research 13, no. 2 (September 1, 2022): 261–83. http://dx.doi.org/10.1386/crre_00079_1.

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Collaboration between disciplines is necessary when research questions cannot be answered within a single discipline. Joining of forces can produce results that neither discipline could provide alone. Here we exemplify collaboration between a ceramic craft researcher and three neuroscientists working in the field of human brain imaging. In our case study of clay throwing, the researcher‐practitioner’s eye gaze, muscular activity and hand acceleration were recorded online, synchronized with video and thermal-camera recordings. We describe the experimental setting and discuss, besides the possible future interests in this kind of research, also the different levels of collaborative work between disciplines. We found that the monitoring methods worked well in the naturalistic setting in a ceramic studio, providing some new perspectives into the craft practice. For neuroscientists, clay throwing ‐ involving accurate sensorimotor hand control, haptics and eye‐hand coordination ‐ provides an attractive setup to extend previous neuroscientific and behavioural findings in strictly controlled laboratory experiments into naturalistic situations. The applied monitoring devices might allow practitioner‐researchers in crafts to become aware of unconscious steps in the making process. The applied methods could also help to accumulate general craft-making knowledge and build related theory.
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Joyce, Rosemary A., Julia A. Hendon, and Jeanne Lopiparo. "WORKING WITH CLAY." Ancient Mesoamerica 25, no. 2 (2014): 411–20. http://dx.doi.org/10.1017/s0956536114000303.

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AbstractEvidence from sites in the lower Ulua valley of north-central Honduras, occupied betweena.d.500 and 1000, provides new insight into the connections between households, craft production, and the role of objects in maintaining social relations within and across households. Production of pottery vessels, figurines, and other items in a household context has been documented at several sites in the valley, including Cerro Palenque, Travesía, Campo Dos, and Campo Pineda. Differences in raw materials, in what was made, and in the size and design of firing facilities allow us to explore how crafting with clay created communities of practice made up of people with varying levels of knowledge, experience, and skill. We argue that focusing on the specific features of a particular craft and the crafter's perspective gives us insight into the ways that crafting contributed to the reproduction of social identities, local histories, and connections among members of communities of practice who comprised multicrafting households.
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Liu, Tianchi. "Features of the development of clay toys based on folk crafts in modern Russia." Философия и культура, no. 8 (August 2022): 9–23. http://dx.doi.org/10.7256/2454-0757.2022.8.38489.

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The current situation in the manufacture and positioning of clay toys in Russia — a country with rich traditions of the existence of large and small crafts of this kind — is ambiguous, but has positive dynamics. The appeal to the activities of individual toy makers, both amateur and professional artists, provides the basis for understanding the current state of the craft. Of interest is the analysis of the search by craftsmen from different parts of the country for new artistic solutions both in terms of the shape of products and their decoration, in conditions of following the principles of craftsmen of the past. Currently, there is a surge of interest in clay toys in the works of modern masters from Russian researchers. However, a comprehensive study of its existence in various villages and cities of Russia has not been conducted. This determines the need to establish "hotbeds" of craft development, identify the most prominent representatives, establish links between modern creative activity and the traditions of the past, as well as identify new things that artists offer in their activities. The study also includes those crafts that have emerged recently and are not the result of continuity, but have a rather distinctive form and use elements of the artistic language of other crafts.
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DAS, MANIMALA. "CLAY, CRAFT, MUSIC AND SCIENCE: PURNIMA SINHA’S LIFE." Science and Culture 87, no. 1-2 (February 15, 2021): 62–64. http://dx.doi.org/10.36094/sc.v87.2021.purnima_sinha.book_review.das.62.

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Oentoro, Kristian. "Pengembangan desain teko set gerabah kontemporer berbasis budaya lokal di Kabupaten Bojonegoro." Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, no. 6 (July 15, 2019): 189–96. http://dx.doi.org/10.24821/productum.v3i6.2431.

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Pottery is a type of traditional craft that has taken root in the history of art and culture of the Indonesian society. This fact is supported by various forms of ancient earthenware crafts which discovered since prehistoric times and the emergence of pottery craft centers in various parts of Indonesia, including in Rendeng Village, Malo District, Bojonegoro Regency. The changing of market needs and tastes today are a common problem faced by the traditional craft industry, including pottery crafts. Local wealth inside the traditional handicraft design which increasingly disappearing is one of the common concerns. The development of this contemporary pottery design aims to revive the skills of pottery craftsmen and the local culture of the Bojonegoro society in a modern design style. The research and development produced three sets of earthenware teapots, namely a turtle-shaped teapot set, a white combination of turtle-shaped teapot and teapot set inspired by Bojonegoro local coffee. Design research uses action research methods which consist of three design cycles. The application of this research method is useful to improve the capabilities and creativity of pottery craftmen in designing craft designs. Each design development cycle has four stages, namely planning, observation, action and reflection. The results of the study show that the color of the local clay Bojonegoro can characterize contemporary designs with a blend of colors and materials. The local way of drinking coffee as an inspiration for ‘kothok’ coffee teapots set has the potential to commercialize products and new experiences in drinking coffee.Key words: teapot, pottery, contemporary, Bojonegoro
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CHOUDHURY, TANUSHREE, and NIRENDRA M. MISRA. "Role of clay as catalyst in Friedel–Craft alkylation." Bulletin of Materials Science 34, no. 6 (October 2011): 1273–79. http://dx.doi.org/10.1007/s12034-011-0167-4.

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Chen, Li Ling, Yi Zhang, and Jun Xuan Chen. "The Modern Tableware Design Based on Fengxiang Clay Sculpture Art Research." Advanced Materials Research 849 (November 2013): 332–36. http://dx.doi.org/10.4028/www.scientific.net/amr.849.332.

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The development of modern industrial design has a great influence on the product design, not only on the function and structure of products, but also on the combination between these elements and culture. As one famous folk craft of Shaanxi Guanzhong Xifu, Fengxiang sculpture consists of lot totems, pattern, shape, color and craft elements which could be used in design. Tableware design combined with traditional culture can reflect the functions; at the same time improve the artistic quality of products and rich the interest. Products are endowed with the traditional culture elements, in this way, the product is not only a product, but the new soil of the traditional culture.
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Bebber, Michelle R., and Metin I. Eren. "Temper and temperament of prehistoric craft: Temper type evolution and clay body 'workability'." Craft Research 10, no. 2 (September 1, 2019): 237–59. http://dx.doi.org/10.1386/crre_00004_1.

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Abstract Temper is an additive incorporated into clay during the formation of a ceramic vessel, and may consist of various materials. In a number of previous experiments over the past several decades, archaeologists have experimentally demonstrated that tempers used by prehistoric craftspeople would have imparted important post-firing use-life properties to ceramic vessels. However, although widely touted, the notion that prehistoric temper types would have aided in pre-firing vessel formation has never been systematically tested. Here, we experimentally assess whether calcium carbonate-based tempers, like limestone and burnt shell, would have made clay bodies more workable relative to silicate-based grit temper, as has been previously proposed. In this study, participants were asked to build five simple and challenging three-dimensional forms using grit-, limestone- and shell-tempered clay bodies, and then rank these conditions in terms of workability. Our statistical and qualitative assessments of these data were unambiguous: contrary to claims in the scientific literature, the calcium carbonate tempers did not make clay bodies more workable, and were consistently, sometimes significantly, ranked lower than silicate grit-tempered clay bodies in terms of workability. Our results have several implications for temper selection and evolution in prehistory, specifically during the widespread silicate grit to calcium carbonate transition during the Late Woodland period (AD 500‐1400) of the North American Midwest.
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Пуголовок, Юрій. "Технологічні особливості гончарства роменської культури: сировина й матеріали." Scientific journal "Archaeological ceramology", no. 1-2 (January 31, 2022): 99–110. http://dx.doi.org/10.52213/archaeologicalceramology.vi1-2.64.

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Здійснено огляд сировини й матеріалів, які використовували гончарі роменської культури.Археологічні джерела свідчать, що, обираючи місце для своїх городищ, сіверяни звертали увагуй на запаси глини в околицях, яку застосовували не тільки як сировину для гончарства, а й убудівельній справі. Для виготовлення посуду сіверяни використовували глини з кількома видамидомішок, додавання яких було необхідним, оскільки покращувало пластичність, запобігало усадці,поліпшувало сушіння, випалювання та експлуатаційні показники глиняного посуду. Найбільшпоширеною домішкою був шамот. Окрім нього, сіверяни додавали жорству й пісок, але їхконцентрація була менша порівняно з шамотом. Також у формувальній масі кераміки роменськоїкультури відомі органічні домішки – мушлі й залишки рослин. The article reviews the raw materials used by the Romny culture potters. Archaeological sourcesindicate that choosing a place for their settlements, the Siverians paid attention to the clay reserves inthe area. Clay was used not only as a raw material for pottery, but also in building craft. The Siverianspotters were at a stage marked by the use of clay as the main ascending raw material, and the amount ofnon-plastic impurities decreased. The addition of impurities was necessary, as prepared for the formationof pure clay is quite oily and has a large shrinkage. Impurities improved ductility, prevented shrinkage,improved drying, firing and performance of pottery. This fully applies to sand, hardness and fireclay.The most common impurity used by Siverians was grog. These were mostly coarse-grained impurities.They often contributed to the formation of cracks in the walls of the vessel. In addition to grog, there arecases of adding grus and sand, but their concentration is lower compared to grog. Organic impurities arealso known in the molding mass of Romny vessels. There are shells and plant remain. Clays with organicimpurities were used in building craft and during the construction/repair of kilns. Flours, grains or stalksof cereals got into household pottery by accident.
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Dissertations / Theses on the topic "Clay craft"

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Freiji, Ousama Musa. "Red clay : Georgia craft workshop." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/24173.

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Taylor, Glenda. "A study of clay handles on ceramic vessel forms." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/16048.

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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).
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Eriksson, Malin Ida. "In Dialogue with Clay." Thesis, Konstfack, Keramik & Glas, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7227.

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This paper is about my relationship to the material clay, and how it has affected my creative process. In this text I argue that clay is a material with human properties. I think of my practice as a dialogue between me and the material, an exchange rather than a monologue. This is how I picture clay as my main partner for discussing the deeper questions of what it is to be human, how clay as material can stand as metaphor for what it is to be living. I argue that clay has the poetic strength to communicate these questions of life of a more existential nature. Through the argument of clay being a material with human properties, I reason that a practice in materiality is a study of empathy since we spend much time with our materials to fully grasp how they behave. I firmly believe that this world is in need of an empathic movement, and I think that the field of craft has the possibility to be part of that movement. I see practitioners within the field of craft as practitioners of the sometimes irrational, emotional and indescribable parts of life. As researchers of the more existential qualities of life, I believe that we are important voices in a society that is getting more focused on rationality. With some help from writers, practitioners and philosophers within and outside the field of craft, I reason around the following research question: Can a material based practice stand as lodestar in todays society, to show empathy towards each other as beings as well as our surroundings?
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Smith, Amber M. "Lullaby." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3862.

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I have been investigating the way in which my mind has altered my memories, especially from childhood. The more a moment is recalled, the less precise it becomes. The most inaccurate memories from childhood are the ones I have fixated on. Bedrooms are spaces where dreaming, sleeping and reverie take place leading to even more fragmenting. The intimate space of a bedroom allows me to represent the personal distorted recollections. The bedroom furniture is missing parts, shifted in height and placement or combined together. By making doubles of furniture, a direct comparison can be made from the real piece to the made imagined work. A counterpart can be a defense against loss, by having multiples of the same. Through dwelling on the past I have lost most of the original content and am left with disintegrating parts.
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Lewis-Nash, Robert J. "Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.

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Osborne, Ryan T. "Biomorphia." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397772443.

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Dover, Noam. "EMBRACING THE DIGITAL TO THE HAND MADE : Bridging digital technology with glassblowing moulds crafting methods." Thesis, Konstfack, Keramik & Glas, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5852.

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Abstract This report accompanies my Master project in the fields of ceramic and glass, the CRAFT! MA program, Konstfack. In this project I fuse my industrial design toolbox and my current engagement in open-source 3D printing technology with my ceramic and glass craft practice. The first pair brings in notions of innovation and an active approach towards technological change, while the second carry ancient craft methods and knowledge. I develop and make 3D printers for clay and use them as an experimental ceramic work method. In this research based practice I use ceramics as the material for 3D printed glassblowing moulds. This act represents a link between ceramic and glass crafts, one that was known to the ancient Roman craftsmen.  A view on craft and digital innovation Although the computer is in use for several decades now, in most crafts it is still used mainly as an assistive device and we seem not to look at it as a professional tool; as a craft tool. New methods of making are out there. We need to have two toolboxes now: Our traditional one and our new digital one. We can already CAD our concepts, control CNC machines and build 3D-printers customised to our growing new practice. We share our new knowledge on open-source platforms, teach each other through the web (and around the globe) how to apply digital techniques to our craft. We now have the opportunity to join hands with the movements of democratisation of contemporary manufacturing techniques and reinvent our practice, our tools and what new-craft could be.
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Helms, Brittany Faye. "Finding Form." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461157156.

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Song, Min Jeong. "Mechanisms of in-betweenness : through visual experiences of glass." Thesis, Royal College of Art, 2014. http://researchonline.rca.ac.uk/1657/.

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This practice-led project explores the idea of in-betweenness through the physical and metaphorical aspects of glass. The starting point of the research is that glass, as an artistic medium, when examined with a focus on materiality and the making process on both physical and metaphoric levels, can be compared to the idea of cultural in-betweenness. My aim is to provide metaphoric and theoretical analogies that contribute to an understanding of in-betweenness. To examine the mechanisms of in-betweenness, this research integrates literature review with studio practice and object analysis to interpret the material and process of making objects in both literal and metaphorical dimensions. Historical glass artefacts are analysed to explore the idea of a trans-culture embedded in glass exchange between East Asia and Western Europe during the early modern period (roughly sixteenth to nineteenth centuries) and in practice today. Building on the preexisting scholarly analysis of objects from disciplines including anthropology, art history and archaeology, I experimented with glass and creative process in the studio to provide a fresh analysis based on the materiality of glass and the making process. Findings achieved through the conceptual and practical research reveal parallels between the idea of cultural in-betweenness and the materiality of glass. The analogies drawn from my studio practice and theoretical research for understanding the mechanisms of in-betweenness include: - In-betweenness is a fluid concept that is in a transitional state: the state of ‘becoming’. - In-betweenness is a gradual yet disruptive action that breaks the order of things. 4 - In-betweenness is a process of partial or selective abstraction to the extent where the awareness of origin remains whilst ambiguity is also present. - In-betweenness can be achieved through a mixture of control and chance. It is deliberate creation with an element of chance while some amount of control is maintained.
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Books on the topic "Clay craft"

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Dixon, Annabelle. Clay. Ada, OK: Garrett Educational Corp., 1990.

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Roussel, Mike. Clay. Vero Beach, FL: Rourke Enterprises, 1990.

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John, Toki, ed. Hands in clay. 5th ed. Boston: McGraw-Hill, 2004.

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John, Toki, ed. Hands in clay. 4th ed. Mountain View, Calif: Mayfield, 1999.

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Karen, Mitchell, ed. Liquid polymer clay. Iola, Wis: Krause, 2003.

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Polymer clay extravaganza. Cincinnati, Ohio: North Light Books, 2003.

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Kaliski, Mary. Making miniatures in polymer clay. Livonia, MI: Scott Publications, 1998.

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Kracov, David. Modeling with polymer clay. Laguna Hills, CA: Walter Foster Pub., 2001.

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Carlson, Maureen. Clay creation workshop: 100+ projects to make with air-dry clay. Cincinnati, Ohio: Impact, 2014.

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Baird, Daryl E. From a slab of clay. Westerville, Ohio: American Ceramic Society, 2012.

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Book chapters on the topic "Clay craft"

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Nan, Joshua Kin-Man. "From Clay to Ceramic." In Craft in Art Therapy, 55–71. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-5.

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Talib, Mohd Tazul Akmal Mohd, Abdul Rahim Jalil, Verly Veto Vermol, and Rusmadiah Anwar. "Designing ‘Embouchure Clay’ Parameter Formulation: Sabak Earth Ceramic Craft." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 511–19. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_50.

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Talib, Mohd Tazul Akmal Mohd, Rusmadiah Anwar, Verly Veto Vermol, Oskar Hasdinor Hassan, and Abdul Rahim Jalil. "The Potential of Local Clay as Alternative Body for Ceramic Craft: A Case Study in Sabak Bernam." In Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 211–19. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_21.

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Goren, Yuval, Shira Gurwin, and Eran Arie. "Messages impressed in clay: Scientific study of Iron Age Judahite bullae from Jerusalem." In Craft and science: International perspectives on archaeological ceramics. Bloomsbury Qatar Foundation Journals, 2014. http://dx.doi.org/10.5339/uclq.2014.cas.ch16.

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Szymańska, Hanna. "Two “armed” terracottas from Athribis." In Classica Orientalia. Essays presented to Wiktor Andrzej Daszewski on his 75th Birthday, 451–59. DiG Publisher, 2011. http://dx.doi.org/10.37343/pcma.uw.dig.9788371817212.pp.451-459.

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Two terracotta figurines, identified as Athena and as an armed Eros, found in layers from the 2nd century BC at the ancient site of Athribis in the Egyptian Nile Delta, count among the hugely popular pieces of the coroplastic arts drawing stylistic inspiration from Ptolemaic art. Athribian craftsmen were masters at depicting characteristic human types and imitating models from other craft centers, like Alexandria. The Athena figurine (only head preserved) appears to be a unique representation of the goddess crafted out of local clay in a clay workshop by a craftsman inspired by the physiognomy of the reigning Ptolemaic queens. The Eros figurine, depicted in an “Italic” muscle cuirass extremely rare in Egyptian artifacts and holding a Gaulish thureos shield, confirms the exceptional character of the Athribian coroplastic workshops.
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"Chapter Three A CRAFT OF CLAY AND METAL Section-mold Casting Technology and the Anyang Bronze Industry." In Kingly Crafts, 41–85. Columbia University Press, 2019. http://dx.doi.org/10.7312/li--19204-005.

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Maričević, Darko. "Clay Birds as Religious Objects and Works of Craft in the Bronze Age and the Early Iron Age of the Balkans and the Carpathian Basin." In Croatia at the Crossroads: A consideration of archaeological and historical connectivity, 91–108. Archaeopress Publishing Ltd, 2017. http://dx.doi.org/10.2307/j.ctv170x3p4.12.

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Diaper, Dan. "Task Analysis at the Heart of Human-Computer Interaction." In Human Computer Interaction, 70–79. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-87828-991-9.ch006.

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The history of task analysis is nearly a century old, with its roots in the work of Gilbreth (1911) and Taylor (1912). Taylor’s scientific management provided the theoretical basis for production-line manufacturing. The ancient manufacturing approach using craft skill involved an individual, or a small group, undertaking, from start to finish, many different operations so as to produce a single or small number of manufactured objects. Indeed, the craftsperson often made his or her own tools with which to make end products. Of course, with the growth of civilisation came specialisation, so that the carpenter did not fell the trees or the potter actually dig the clay, but still each craft involved many different operations by each person. Scientific management’s novelty was the degree of specialisation it engendered: each person doing the same small number of things repeatedly. Taylorism thus involved some large operation, subsequently called a task, that could be broken down into smaller operations, called subtasks. Task analysis came into being as the method that, according to Anderson, Carroll, Grudin, McGrew, and Scapin (1990), “refers to schemes for hierarchical decomposition of what people do.” The definition of a task remains a “classic and under-addressed problem” (Diaper, 1989b). Tasks have been differently defined with respect to their scope: from the very large and complex, such as document production (Wilson, Barnard, & MacLean, 1986), to the very small, for example, tasks that “may involve only one or two activities which take less than a second to complete, for example, moving a cursor” (Johnson & Johnson, 1987). Rather than trying to define what is a task by size, Diaper’s (1989b) alternative is borrowed from conversation analysis (Levinson, 1983). Diaper suggests that tasks always have well-defined starts and finishes, and clearly related activities in between. The advantage of such a definition is that it allows tasks to be interrupted or to be carried out in parallel. Task analysis was always involved with the concept of work, and successful work is usually defined as achieving some goal. While initially applied to observable, physical work, as the field of ergonomics developed from World War II, the task concept was applied more widely to cover all types of work that “refocused attention on the information processing aspect of tasks and the role of the human operator as a controller, planner, diagnostician and problem solver in complex systems” (Annett & Stanton, 1998). With some notable exceptions discussed below, tasks are still generally defined with people as the agents that perform work. For example, Annett and Stanton defined task analysis as “[m]ethods of collecting, classifying and interpreting data on human performance.”
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Diaper, Dan. "Task Analysis at the Heart of Human-Computer Interaction." In Encyclopedia of Human Computer Interaction, 579–87. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-562-7.ch086.

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The history of task analysis is nearly a century old, with its roots in the work of Gilbreth (1911) and Taylor (1912). Taylor’s scientific management provided the theoretical basis for production-line manufacturing. The ancient manufacturing approach using craft skill involved an individual, or a small group, undertaking, from start to finish, many different operations so as to produce a single or small number of manufactured objects. Indeed, the craftsperson often made his or her own tools with which to make end products. Of course, with the growth of civilisation came specialisation, so that the carpenter did not fell the trees or the potter actually dig the clay, but still each craft involved many different operations by each person. Scientific management’s novelty was the degree of specialisation it engendered: each person doing the same small number of things repeatedly. Taylorism thus involved some large operation, subsequently called a task, that could be broken down into smaller operations, called subtasks. Task analysis came into being as the method that, according to Anderson, Carroll, Grudin, McGrew, and Scapin (1990), “refers to schemes for hierarchical decomposition of what people do.” The definition of a task remains a “classic and under-addressed problem” (Diaper, 1989b). Tasks have been differently defined with respect to their scope: from the very large and complex, such as document production (Wilson, Barnard, & MacLean, 1986), to the very small, for example, tasks that “may involve only one or two activities which take less than a second to complete, for example, moving a cursor” (Johnson & Johnson, 1987). Rather than trying to define what is a task by size, Diaper’s (1989b) alternative is borrowed from conversation analysis (Levinson, 1983). Diaper suggests that tasks always have well-defined starts and finishes, and clearly related activities in between. The advantage of such a definition is that it allows tasks to be interrupted or to be carried out in parallel. Task analysis was always involved with the concept of work, and successful work is usually defined as achieving some goal. While initially applied to observable, physical work, as the field of ergonomics developed from World War II, the task concept was applied more widely to cover all types of work that “refocused attention on the information processing aspect of tasks and the role of the human operator as a controller, planner, diagnostician and problem solver in complex systems” (Annett & Stanton, 1998). With some notable exceptions discussed below, tasks are still generally defined with people as the agents that perform work. For example, Annett and Stanton defined task analysis as “[m]ethods of collecting, classifying and interpreting data on human performance.”
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10

Allchin, Douglas. "A More Fitting Analogy." In Sacred Bovines. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190490362.003.0013.

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In our culture no one needs a biology class to learn about “survival of the fittest.” Yet one might need instruction to unlearn the misconceptions engendered by the analogy’s potent imagery. In popular perspectives, this single phrase conjures images of humans—however civilized—as brutish organisms vying for jobs, status, and power. Maybe they also compete for prime mates. The language of “survival” resonates with “survivor” contests on television: “Outwit. Outplay. Outlast.” Mention of the “fittest” implies that physical “fitness” and athletic prowess are ideals. At the same time, the extremeness of reference to only the “fittest” implies that a human’s fate seems to be life versus death, fit versus unfit, winning versus losing. In all, cooperation and coexistence give way to warfare, conflict, and backstabbing gossip: “society, red in tooth and claw,” to adapt Tennyson’s phrase. Mostly, life reduces to competition. Cutthroat competition. Through just one expression, all these interpretations seem to have a biological basis. None of them are scientifically justified. “Survival of the fittest” is not a neutral phrase, idly describing natural selection. Instead, through unintended metaphors the language fosters major misconceptions. One might hope to remedy these many confusions. But how? “Survival of the fittest” seems to describe both organic evolution and human culture. So first, one must carefully distinguish the processes of each, functioning at different levels (essay 6). Second, one needs to understand how ideology can be unduly naturalized (or improperly inscribed in “nature”). The phrase was never purely descriptive. It expressed cultural values (essay 7). Even with both these pitfalls resolved, however, problems may persist because of the very language itself. The connotations of the phrase seem inescapable. Here, I consider the misconceptions latent in each individual term: “survival” and “fit”—as well as the “-est” suffix. That may help us craft a more fitting analogy or catchphrase to describe natural selection. Consider first the implications of the word “survival.” What matters to evolution is differences in survival rate at a population level. Differential survival leads to differential reproduction, the essence of natural selection.
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Conference papers on the topic "Clay craft"

1

Tokac, Iremnur, Benay Gursoy, Herman Bruyninckx, and Andrew Vande Moere. "Craft-Inspired Digital Fabrication: A Study of Interactive Robotic Clay Carving." In SCF '22: Symposium on Computational Fabrication. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3559400.3562003.

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2

Tokac, Iremnur, Benay Gursoy, Herman Bruyninckx, and Andrew Vande Moere. "Demo paper: Craft-inspired digital fabrication with a study of interactive robotic clay carving." In SCF '22: Symposium on Computational Fabrication. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3559400.3565597.

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3

Shi, Ji, Yesul Cho, Meghan Taylor, and David Correa. "Guiding Instability A craft-based approach for modular 3D clay printed masonry screen units." In 37 Education and Research in Computer Aided Architectural Design in Europe and XXIII Iberoamerican Society of Digital Graphics, Joint Conference (N. 1). São Paulo: Editora Blucher, 2019. http://dx.doi.org/10.5151/proceedings-ecaadesigradi2019_522.

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4

Roselli, Claudia. "Geografie della memoria e zone di transizione: interpretare le possibilità future di salvaguardia dei legami territoriali a Delhi." In International Conference Virtual City and Territory. Roma: Centre de Política de Sòl i Valoracions, 2014. http://dx.doi.org/10.5821/ctv.7959.

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Il futuro delle metropoli sarà quello di continuare ad aumentare in dimensioni ed estensioni, fagocitando territorio, oppure ci sarà un momento in cui le cose cominceranno a cambiare, nella consapevolezza collettiva e politica, che è necessario assimilare i concetti di limite e di sostenibilità? Sembra che le svolte economiche globali abbiano già allertato le menti sensibili verso un necessario cambiamento di rotta nella governance urbana. Non è più possibile ignorare le trasformazioni, talvolta molto pericolose, in atto nelle nostre città, ed è piuttosto necessario tentare un loro indirizzamento verso passaggi temporali che considerino l'importanza della memoria collettiva, attivando l'engramma giusto per costruire nuove relazioni antropologiche, culturali e sociali. Nello specifico il paper vuole esaminare la realtà della città di Delhi, la capitale indiana, svelando l'esistenza nel suo corpo di zone di confine territoriali: zone dove ancora è possibile trovare e riconoscere tracce della sua antica origine rurale fatta di mestieri agricoli e artigiani, forni di argilla e terre coltivate. Questa anima della città, costituita da memorie, saperi e relazioni territoriali è stata minacciata, negli ultimi anni, dal desiderio cieco di espansione di imprenditori senza scrupoli e da decisioni non monitorate capillarmente relative ai piani di sviluppo urbanistico, le quali hanno avuto ricadute non prevedibili a spese del territorio e dell'ambiente. Negli ultimi anni, dopo la fine delle aspettative create dai Giochi del Commonwealth, la città ha sviluppato una rete infrastrutturale più veloce, promuovendo l'utilizzo dei mezzi pubblici e creando una rete metropolitana molto efficiente, presupposto iniziale per riconquistare la sua antica fama di città verde. Oltre a queste nuove potenzialità infrastrutturali anche i tessuti connettivi, tra area ed area e le grandi zone di verde urbano ( giardini, parchi e foreste ) potenziano l'ipotesi di trasformare Delhi in una delle più competitive capitali del futuro. Per realizzare questa visione è necessario creare vocabolari, strade e linguaggi, capaci di suggerire lo sviluppo di nuovi modelli di insediamenti urbani sopratutto nelle zone più sensibili ovvero laddove avviene l'incontro tra l'urbano ed il rurale. The future of the metropolis will be to increase in dimension and extension phagocyting territory, or it will be a moment where the things will start to change, in the collective and politic awareness, that it is necessary to absorb the concepts of limits and sustainability? It seems that the global economic turns have already alerted the sensitive minds towards a necessary change of the course of the urban governance. It is not possible to ignore longer, the transformations, sometime very dangerous, in our cities, todays. Rather it is necessary try to addressed them in a time crossing, capable of understanding the importance of the collective memory, attracting the proper engramma to build new anthropological, cultural and social relations. Specifically the paper would like analyze the reality of the city of Delhi, the Indian capital, disclosing the existences, on its body, of some territorial boundaries. Zones where it is possible to find and to recognize tracks of its ancient rural origins made by crafts and agricultural artisan, clay ovens and cultivated lands. This soul of the city, made by memories, knowledges and territorial relations was menaced, on the last years, from the blind wish of expansions of unscrupulous businessman and from decisions not capillary monitored relatively to urban development plans, which have had unpredictable consequences for the territory and for the environment. After the end of the expectations created from the Commonwealth Games, on 2010, the city developed an infrastructural net more quick, promoting the use of the public transports and creating an underground net very efficient, initial assumption to regain its former glory of green city. Over these new infrastructural potentialities also the connective tissues, between area and area and the big zones of urban green, like gardens, parks and forests, they had great potential in themselves to make Delhi one of the most competitive capital of the future.To realize this visions it is necessary to create vocabularies, roads and languages, capable of suggesting the development of new models of urban settlements mainly on the sensitive zones, where it will happen the encounter between urban and rural.
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