Academic literature on the topic 'Craft Knowledge'
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Journal articles on the topic "Craft Knowledge"
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
Morris, Darrell, Janet W. Bloodgood, Jan Perney, Elizabeth M. Frye, Linda Kucan, Woodrow Trathen, Devery Ward, and Robert Schlagal. "Validating Craft Knowledge." Elementary School Journal 112, no. 2 (December 2011): 205–33. http://dx.doi.org/10.1086/661522.
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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.
Full textAbstract:
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.
Full textAbstract:
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.
Full textAbstract:
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
Atkinson, Paul. "Ethnography and Craft Knowledge." Qualitative Sociology Review 9, no. 2 (April 30, 2013): 56–63. http://dx.doi.org/10.18778/1733-8077.09.2.06.
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The paper has twin themes: the creative work of ethnographic interpretation, and the ethnographic interpretation of creative work. Illustrated with reference to recent and current fieldwork on craft, dance, and opera, it suggests some ways in which the ethnographer might creatively engage with her or his chosen fields. It criticizes the current view of “grounded theory,” which is found to be far too procedurally driven, in favor of more creative explorations of data.
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Leinhardt, Gaea. "Capturing Craft Knowledge in Teaching." Educational Researcher 19, no. 2 (March 1990): 18–25. http://dx.doi.org/10.3102/0013189x019002018.
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Kumar, Sanjeev, and Nandini Dutta. "Weaving a knowledge tapestry of traditional crafts for modern fashion designers: an Indian experience." Art Libraries Journal 36, no. 2 (2011): 17–24. http://dx.doi.org/10.1017/s0307472200016874.
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Design innovations in India’s fashion products result from a fusion of modern technologies and traditional craft skills. This paper highlights the role of the National Resource Centre and the network of resource centres of the National Institute of Fashion Technology in collecting and preserving heritage resources using computer technology. Plans for a National Design Repository and for Shilpakala Jnana Kosha, a digital repository for the tacit craft knowledge of artisans, share the objectives of preserving endangered traditional skills, supporting a process of revival and optimising the use of traditional crafts in contemporary fashion design.
10
Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.
Full textAbstract:
The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
Dissertations / Theses on the topic "Craft Knowledge"
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Sedighian, Kamran. "A user interface builder/manager for knowledge craft /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64008.
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Gamble, Jeanne. "Tacit knowledge in craft pedagogy : a sociological analysis." Doctoral thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/14963.
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Bibliography: leaves 201-218.This thesis explores the relationship between tacit knowledge and a pedagogy that centres round a master-apprentice relationship, in order to locate tacit craft knowledge within a broader taxonomy of knowledge forms and their transmission practices. By its own definition tacit knowledge constitutes a unique class of phenomenon, namely that which is not presentable in language. It is thus a difficult concept to grasp and an even more difficult concept to represent in words. Evidence from a single qualitative case study on craft transmission practices m the institutional training centre of the Furniture Industry Training Board (known as the 'trade school') in Cape Town is presented and analysed in accordance with a conceptual scheme that derives from the earlier work of Basil Bernstein. Against the background of this analysis of craft pedagogy, the nature of the 'tacit' is explored through a detailed analysis of the evaluative requirements of the final trade test. Thereafter a conceptual model is developed to provide a theoretical explanation for the form that tacit craft knowledge takes. The findings show that strong external 'classification' and 'framing' relations (terms developed by Bernstein) constitute the trade school as a specialised context that is temporarily insulated from the work practices of mass production factories. It is a particular relation between work organisation, tool and materials usage, that retains the traditional craft or trade of cabinet making as the 'identity' recognised as legitimate in the trade school. Internal 'framing' displays two modalities. While strong macro pacing that resembles the daily routine in a factory is maintained throughout the five stages of the apprenticeship curriculum, very weak initial framing over selection, sequencing and macro pacing allows apprentices to develop their own rhythms of work and to make their own decisions about task realisation. However, just before the end of the final stage and before apprentices take their final trade test framing over selection, sequencing and pacing is strengthened and made explicit. Evaluation criteria are very strongly framed in all stages of the apprenticeship curriculum. In terms of the regulative discourse of the trade school the master-apprentice relation is undoubtedly an asymmetrical relation that is mediated through a surrogate kinship role taken on by the master-trainer to exercise a form of positional control. The qualities of character and conduct that are transmitted are those of the autonomous artisan representing a collective craft tradition. The outcome of a strongly classified and framed craft pedagogy that centres round a master/apprentice relationship is found to be an external performance that is grounded or embedded in an internally held competence. Such internalised competence refers to a capacity for visualisation that acts as a proxy for a relationship between 'parts' and 'whole' that cannot be rendered in words. This relationship is held in the body and constitutes what can be called the 'tacit' in craft. The identity of the craft worker or 'tradesman' rests crucially on this combination of external performance and internalised time-space relation. Given this understanding of craft it becomes possible to describe craft as a restricted form of context independent 'knowledge' rather than merely as 'skill'. The conceptual model that is developed in the later part of the thesis locates craft as a form of knowledge that is independent of context in the sense that all craft knowledge realises an order of relation between the features of the object being made that is given by a particular embodied principle of arrangement. It is on this basis that craft takes its place in a systematic taxonomy of knowledge forms, which, although functioning at a fairly high level of abstraction, is nevertheless consistent with the empirical findings of the study. Implications of thesis findings and conclusions for an understanding of knowledge and pedagogy more generally are presented in the final chapter.
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Kragulj, Florian. "Characterising Human Capital in the Craft Industry." Academic Conferences and Publishing International Limited, 2018. http://epub.wu.ac.at/5878/1/2018_ICICKM_Kragulj.pdf.
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Small and medium enterprises (SMEs) play a significant role in Europe's economy. Since SMEs have distinct organisational practices and structures (e.g. owner-run, continuity over several generations, regional engagement), their intellectual capital (IC) differs from large enterprises. However, there is little research on IC in SMEs. Placing special attention on the craft industry, this research aims at closing this gap. It will present a cross-disciplinary review of research on craft to explore the role of knowledge and human capital in the craft industry. The findings point to overall characteristics which can guide future research and inform policy-making in the craft industry.
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Simons, Jennifer, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Enhancing the use of professional craft knowledge in process drama teaching." THESIS_CAESS_SELL_Simons_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/720.
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The research articles in this portfolio describe and analyse how process drama teachers use the special combination of content knowledge, pedagogical knowledge and knowledge gained in 'lifeworld' experiences (described in this portfolio as their 'professional craft knowledge') in order to promote learning. These publications also provide a detailed description of methods used in pre-service teacher education at the University of Sydney to enhance the development of professional craft knowledge in beginning teachers. The studies in this portfolio are framed within an interpretative research paradigm; the subject matter of the research is the way that teachers and learners in process drama collaborate to construct meaning. The methodology is primarily reflective practitioner research, recently described as one of drama's 'own innovative recommended research designs'. Qualitative methods have been used to collect and analyse relevant data. Separate sources of data are used to check the trustworthiness of the findings, through the process of crystallization : the alignment of sources such as reflective journals, outside observations, video records and oral reflections. Professional craft knowledge is developed by individual teachers as they reflect in action on the choices they see as available to them, as they work with their own classes. Often teachers are not conscious of the expertise they are developing; it quickly becomes tacit, embodied knowledge. However, reflecting upon their actions, teachers can usually explain why they acted as they did. The research articles in this Portfolio make use of reflection in and upon action in order to deconstruct the work of process drama teaching. As a collection these articles also examine how the use of reflective practices in pre-service education can facilitate and enhance the development of craft knowledge before teachers enter the professioDoctor of Education
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Simons, Jennifer. "Enhancing the use of professional craft knowledge in process drama teaching /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031014.145035/index.html.
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Thesis (Ed.D.) -- University of Western Sydney, 2002.A portfolio submitted in fulfilment of the requirements for the award of the degree of Doctor of Education, University of Western Sydney, November, 2002. Bibliography : leaves 134-137.
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Martindale, Tim. "Livelihoods, craft and heritage : transmissions of knowledge in Cornish fishing villages." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/8008/.
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In response to a sense of ‘crisis’ in global fisheries, contemporary policies and social science accounts have tended to approach fishery ‘problems’ in terms of models derived from biology and resource-economics. Through a study of the fishing industry in Cornwall, UK, this thesis contributes an alternative perspective – examining how knowledges and meanings attached to the work of fishing are reproduced in the context of wider social relations and economies. Processes of European rural re-structuring, increasing costs and restricted access, have recently exacerbated more long-term trends of decline in Cornish fisheries. However social change and new media for knowledge transmission also contribute to the remaking and reinvention of fishing livelihoods and ideologies. The study is based on a historical ethnographic methodology which included archival research, participant observation, unstructured interviews and life-histories. From the late nineteenth century the marginalisation of Cornwall’s fishing and maritime economy accompanied the ‘discovery’ and idealisation of Cornish fishing villages through art and tourism. Social distance and inequality in fishing villages grew but so also did new forms of co-dependency. More recently conflict has emerged around the politics of the environment, and fishers’ knowledges point to the unpredictability of fishing ecologies and economies, suggesting the potential for alternative management models. Narratives about skill, craft and expertise play a role in how some producers in Cornwall reproduce themselves as independent fishermen and reflect a concern that such skills and dispositions are passed on to future generations. Others have diversified into forms of art and craft production – activities which shape memory and sense of place whilst replicating notions of self- sufficiency. I argue for the potential constructiveness of forms of heritage practice which can be both a source of critical nostalgia and an imaginative approach to the past as a resource for the regeneration of regional maritime economies. Whilst meanings and ideologies attached to the work of fishing in Cornwall may serve as markers of loss or of conflicts around knowledge production, or may mask systemic inequalities, they can also be a source of innovation, reward and creativity
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Wood, Nicola. "Transmitting craft knowledge : designing interactive media to support tacit skills learning." Thesis, Sheffield Hallam University, 2006. http://shura.shu.ac.uk/3202/.
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This research has used a practice-led approach to explore, from the perspective of an interactive media designer, the problem of how to understand and transmit the practical knowledge of skilled craft practitioners. It has involved two practical research projects, each exploring the skills of both expert and novice craft practitioners in the fields of traditional bowl turning and clog making. In the first project I experimentally used a systems-orientated approach to explore the tacit knowledge within the practice of an experienced traditional bowl turning practitioner. This involved eliciting craft knowledge from the expert, using a low-fidelity prototype learning resource as a means of representing that knowledge, and observing learners applying the knowledge through using the resource to support their learning. In the second project I undertook a series of video-recordings with a traditional clog maker, during which I developed a less intrusive elicitation technique based on increasingly focussed observation and interviewing. This overcame the defensiveness encountered with the first practitioner with whom I used an elicitation approach based on his descriptions of his practice. In the light of the outcomes from the practical work, I reconsidered the current context for craft knowledge and developed a framework to understand craft learning. Drawing on three important theorists: Michael Polanyi and his theory of tacit knowledge, John Dewey and his theory of experiential learning, and Donald Schon and his theory of reflection, I reassessed the learning I had previously observed and proposed a new model of how craft knowledge is learned. I propose that the guidance offered by the expert can be seen as a series of bridges that provide the novice with a means of accessing the personal knowledge of the expert. These bridges are not necessarily the way to undertake a task, but a way that the expert feels to be helpful at that time. As a novice increasingly learns from the feedback from their own actions, they can progress their skill by moving through different modes of reflection. This research makes three specific contributions to knowledge. In the field of multimedia design it establishes a methodology for transmitting craft knowledge, refining principles previously published through my MA research, and it establishes techniques for eliciting craft knowledge which are interwoven with the process of developing the transmission resource. In the field of learning and pedagogy it establishes a framework for understanding craft skills learning drawing on recognised theory and validated through appraisal of the practical work undertaken.
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Macdonald, Morag M. "Craft knowledge in medicine : an interpretation of teaching and learning in apprenticeship." N.p, 1997. http://ethos.bl.uk/.
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Macdonald, Morag M. "Craft knowledge in medicine : an interpretation of teaching and learning in apprenticeship." Thesis, Open University, 1998. http://oro.open.ac.uk/56460/.
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The diagnosis and management of patients requires professional know-how or medical craft knowledge. To explain how this knowledge is acquired, this research asked 'How do medical experts pass on their craft?' Other questions arose through successive data collections and progressive focusing on what medical experts did well in their work and teaching. The programme comprised: pilot interviews with three expert physicians; a case study in a hospital medical unit; and paired consultant/SHO interviews. Participant observation, interviews, and expert-novice comparisons explored clinical work, teaching, and learning in apprenticeship. Data analysis of participants' responses and ward round discussions allowed identified categories to cluster within three inter-related constructs instrumental to the acquisition of medical knowledge: gaining experience in the experiential process of clinical practice (1); and the products of experience which manifest as experts' clinical expertise (2) and teaching/learning expertise (3). These constructs can be located within a model of apprenticeship based on Spady's (1973) analysis of authority in effective teaching containing two frames of reference: the social, 'traditional-legal'; and the individual, 'expert-charismatic'. The medical apprenticeship is associated with similar perspectives: the 'traditional-experiential' represents the professional process of learning through patient care with its infrastructure of clinical methods in presentation, discourse, and commentary; and the 'expert-charismatic' represents clinical and teaching expertise coupled with vocational enthusiasm. Experienced experts synthesised two repertoires of knowledge and skills derived from the craft knowledge of medicine and pedagogy, respectively. Both crafts are required for effective clinical education. While apprenticeship accommodates a range of teaching/learning experiences, in postgraduate education experts pass on knowledge through the deliberate engagement of junior doctors in diagnosis and management. The skills involved in this process were largely unrecognised by most senior and junior doctors and were not perceived as 'clinical teaching' although learning was structured through service-based work.
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Titchen, Angie. "Professional craft knowledge in patient-centred nursing and the facilitation of its developments." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285895.
Full textBooks on the topic "Craft Knowledge"
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Smart, Carol, Jenny Hockey, and Allison James, eds. The Craft of Knowledge. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137287342.
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The craft of knowledge: Experiences of living with data. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2014.
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Bourdieu, Pierre. The craft of sociology: Epistemological preliminaries. Berlin: Walter de Gruyter, 1991.
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Spectrum of belief: Joseph von Fraunhofer and the craft of precision optics. Cambridge, Mass: MIT Press, 2000.
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Robert, Lilienfeld, ed. Craft and consciousness: Occupational technique and the development of world images. 2nd ed. New York: Aldine de Gruyter, 1991.
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G, Carayannis Elias, and Chanaron Jean-Jacques, eds. Leading and managing creators, inventors, and innovators: The art, science, and craft of fostering creativity, triggering invention, and catalyzing innovation. Westport, Conn: Praeger Publishers, 2007.
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Moll-Murata, Christine. State and Crafts in the Qing Dynasty (1644-1911). NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986657.
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This book, full of quantitative evidence and limited-circulation archives, details manufacturing and the beginnings of industrialisation in China from 1644 to 1911. It thoroughly examines the interior organisation of public craft production and the complementary activities of the private sector. It offers detailed knowledge of shipbuilding and printing. Moreover, it contributes to the research of labour history and the rise of capitalism in China through its examination of living conditions, working conditions, and wages.
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Marginalism and discontinuity: Tools for the crafts of knowledge and decision. New York: Russell Sage Foundation, 1989.
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Dewan, Deepali. Crafting knowledge and knowledge of crafts: Art education, colonialism and the Madras School of Arts in nineteenth-century South Asia. Ann Arbor, MI: UMI, 2001.
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Kamp, Jeannette, Susan Legene, Matthias Rossum, and Sebas Rümke. Writing History! Translated by Jill Bradley and Natasha Bradley. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986398.
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Historians not only have knowledge of history, but by writing about it and engaging with other historians from the past and present, they make history themselves. This companion offers young historians clear guidelines for the different phases of historical research; how do you get a good historical question? How do you engage with the literature? How do you work with sources from the past, from archives to imagery and objects, art, or landscapes? What is the influence of digitalisation of the historical craft? Broad in scope, Writing History! also addresses historians’ traditional support of policy makers and their activity in fields of public history, such as museums, the media, and the leisure sector, and offers support for developing the necessary skills for this wide range of professions.
Book chapters on the topic "Craft Knowledge"
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Russell, Tom. "Teacher Craft Knowledge." In Encyclopedia of Science Education, 1–2. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-6165-0_209-4.
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Russell, Tom. "Teacher Craft Knowledge." In Encyclopedia of Science Education, 1021–22. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_209.
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Odland Portisch, Anna. "The Craft of Skilful Learning: Kazakh Women's Everyday Craft Practices in Western Mongolia." In Making Knowledge, 59–75. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444391473.ch3.
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De Munck, Bert. "Apprenticeship, Guilds, and Craft Knowledge." In Encyclopedia of Early Modern Philosophy and the Sciences, 1–7. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-20791-9_247-1.
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De Munck, Bert. "Apprenticeship, Guilds, and Craft Knowledge." In Encyclopedia of Early Modern Philosophy and the Sciences, 98–104. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-31069-5_247.
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Carter, Adrian, and Marja Sarvimäki. "Craft tradition and embodied knowledge." In Jørn Utzon and Transcultural Essentialism, 42–61. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003094180-2.
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Buhrman, Kristina. "Knowledge of nature and craft." In Routledge Handbook of Premodern Japanese History, 364–76. Abingdon, Oxon; New York, NY: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315170473-24.
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Hockey, Jenny, Allison James, and Carol Smart. "Introduction." In The Craft of Knowledge, 1–18. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137287342_1.
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Steedman, Carolyn. "Living with the Dead." In The Craft of Knowledge, 162–75. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137287342_10.
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Abram, Simone. "‘Bias Binding’: Re-Calling Creativity in Qualitative Research." In The Craft of Knowledge, 21–38. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137287342_2.
Full textConference papers on the topic "Craft Knowledge"
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Chhajlani, Avani. "Sustainable Design through Up-Cycling Crafts in the Mainstream Fashion Industry of India." In 8TH SUSTAINABLE DEVELOPMENT CONFERENCE. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/sdc.2021.006.
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Abstract Fashion is considered to be the most destructive industry, second only to the oil rigging industry, which has a greater impact on the environment. While fashion today, banks upon fast fashion to generate higher turnover of designs and patterns in apparel and relate accessories, crafts push us towards a more slow and thoughtful approach with culturally identifiably unique work and slow community centred production. Despite this strong link between indigenous crafts and sustainability, it has not been extensively researched and explored upon. In the forthcoming years, the fashion industry will have to re-invent itself to move towards a more holistic and sustainable circular model to balance the harm already caused. And closed loops of the circular economy will help the integration of indigenous craft knowledge which is regenerative. Though sustainability and crafts of a region go hand- in- hand, craft still have to find its standing in the mainstream fashion world; craft practices have a strong local congruence and knowledge that has been passed down generation-to-generation through oration or written materials. This paper aims to explore ways a circular economy can be created by amalgamating fashion and craft while creating a sustainable business model and how this is slowly being created today through brands. KEYWORDS: Circular Economy, Fashion, India, Indigenous Crafts, Slow Fashion, Sustainability, Up-cycling
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Lanham, Thomas, Irvin Shaifa, Ebrahim Poustinchi, and Gregory Luhan. "Craft and Digital Consequences - Micro-Hybrid Explorations at (Full) Scale." In eCAADe 2017 : ShoCK! – Sharing of Computable Knowledge! eCAADe, 2017. http://dx.doi.org/10.52842/conf.ecaade.2017.2.327.
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Zhai, Xiang, Feng Dai, Huiyang Qu, Lingling Zhong, and Chenyong Du. "Research on Knowledge Network Modelling for Aero-craft System Design." In 7th International Conference on Simulation and Modeling Methodologies, Technologies and Applications. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0006403202400247.
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Doty, Kelsie, and Denise Nicole Green. "Craft and Social Media: Sites of Knowledge Production and Consumption." In Breaking Boundaries. Iowa State University Digital Press, 2022. http://dx.doi.org/10.31274/itaa.13569.
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Yukihiro Yamashita and Yoshiteru Nakamori. "A knowledge integration methodology for designing a knowledge base of technology development in traditional craft industry." In 2007 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2007. http://dx.doi.org/10.1109/icsmc.2007.4413972.
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"The Impact of Interpersonal Trust on Knowledge Sharing: The Case of the Moroccan Craft Sector." In 20th European Conference on Knowledge Management. ACPI, 2019. http://dx.doi.org/10.34190/km.19.248.
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Smagina, Anzelika, and Iveta Ludviga. "What is Crafts Entrepreneurship? The Development of its Definition Through Entrepreneurs` and Consumers` Perceptions." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.045.
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Defining craft entrepreneurship has been a challenge for many scholars and researchers in different countries. Not only because of the multidimensional nature of entrepreneurship, but also because of the differences in national regulations setting boundaries for each sector of the economy. Thus, in some countries, craft is a part of the Creative Industries, but in others it is considered as an independent sector of the economy. Understanding what craft is and how craft products can be differentiated and defined has also been a daunting task. Thus, consolidating theoretical knowledge on entrepreneurship and craft entrepreneurship gained from the literature with the results of an empirical study carried out among craft entrepreneurs and consumers of craft products, this study aims to conceptualize craft entrepreneurship and to develop propositions for the definition of craft entrepreneurship by integrating the meaning attributed to craft entrepreneurship and its specifics by craft entrepreneurs with the perception and meaning assigned to craft products and services by consumers. This study applies qualitative methodology and data gathered using semi-structured interviews and open-ended survey questions. 20 craft entrepreneurs represent a perspective of entrepreneurs about entrepreneurship and its specifics in the craft sector, whereas 445 consumers reflect the opinion of the general public about craft and craft-related products. The results of the study indicate that craft entrepreneurship is undoubtedly connected to handmade products, national traditions, small ventures and craft markets and fairs, where craft entrepreneurs commercialize their produce. Although numerous scholars have already attempted to conceptualize craft entrepreneurship theoretically, the contribution of this study is in its integrated application of theoretical and empirical data reflecting the perspectives of entrepreneurs and consumers.
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Hsu, T. Y., and H. J. Wu. "Developing Knowledge Management System for Supporting Learning Activity in the Ceramics Craft Education." In 2020 IEEE International Conference on Industrial Engineering and Engineering Management (IEEM). IEEE, 2020. http://dx.doi.org/10.1109/ieem45057.2020.9309917.
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Lu, Huang-Chen, and Ming-Chyuan Ho. "Research on Key Value Factors of Sustainable Development of Taiwan Ceramic Craft." In 3rd IEEE International Conference on Knowledge Innovation and Invention 2020 (IEEE ICKII 2020). WORLD SCIENTIFIC, 2021. http://dx.doi.org/10.1142/9789811238727_0062.
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Lu, Huang-Chen, and Ming-Chyuan Ho. "Research on Key Value Factors of Sustainable Development of Taiwan Ceramic Craft." In 3rd IEEE International Conference on Knowledge Innovation and Invention 2020 (IEEE ICKII 2020). WORLD SCIENTIFIC, 2021. http://dx.doi.org/10.1142/9789811238727_0062.
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