Dissertations / Theses: '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 professio
Doctor 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.

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Lawson, Judith Pharr. "The transmission of craft knowledge: factors of influence on the process of reflection." Diss., Virginia Tech, 1990. http://hdl.handle.net/10919/37862.

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The purpose of this case study was to explore and describe the process of reflection as it developed during a school year for one cooperating teacher engaged in the coaching process with two student teachers. My interest was driven by the need currently expressed by researchers (Munby, 1989; Russell, 1988; Schon, 1987; Shulman, 1987; Weiss & Louden, 1989) to extend our understanding of reflection to the work of individual teachers. Using Schon's (1983, 1987) account of reflection as the theoretical framework, this study describes the evolution of one teacher's reflective practice as it occurred within reflective interviews, dialogues with her student teachers, and during classroom instruction, tracing the development and changes that occurred in her perspective on her work before, during, and as a result of events of practice. Anomalies in that process--occasions typified by reversions to earlier stages of development--were examined, and factors of influence on her reflection, perceptions, and actions were determined. This work establishes a general structure of the developmental reflective process of a cooperating teacher and identifies emergent patterns in the way she spoke of her work, interacted with her student teachers, and transmitted knowledge. Patterns of control, patterns in the way that problems were framed, and patterns of the use of metaphors in the language manifested themselves through the teacher's own words which captured her thinking, beliefs, and knowledge of practice. Factors that appeared to influence those patterns include (1) the constraints of time and of the school environment, (2) the cooperating teacher's own personal history and educational experiences, and (3) the cooperating teacher's participation in a clinical faculty project, a program for cooperating teachers that provided the opportunity for reflective interaction and guided teachers through the process of collaborative inquiry and joint experimentation. This description may clarify the notion of reflection, and may help develop principles of good practice and more clear-cut strategies in the coaching process of students and cooperating teachers and in the continuing professional development of experienced teachers.
Ed. D.

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Hunter, Simeon. "Analogue Archive : Curating Space for the Craft of Analogue Knowledge, its Evolution, Duration and Effect." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135748.

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My claim is that analogue knowledge must be enacted and therefore cannot be documented explicitly, the emphasis lies in the process therefore architecture must address it in such a way. The architecture lends itself to knowledge as a carrier, of both a space for it to enact and to embody its processes and output. The process here is associated with craftsmanship, enduring and evolving where the craftsperson works to delay the image; they do not work to a set goal (the image) but only to further their own knowledge and craft, it is essentially a process of trial and error that evolves the ‘thing’ it is creating. Craft does not hold itself to exquisite products, quite the opposite; its focus is not on the thing it has created but the idea itself, the iterative act, that is craft. When coupled with the practice of analogue knowledge a proposition emerges, an architecture that embodies and addresses this knowledge as a practice archive. A space that pertains to the principals explored in theory however introduces a platform for craftspeople to inhabit and enact. A space that is not ephemeral, where analogue knowledge can endure and evolve as a practice. It becomes an archive not as accumulative practice, but as engaged or performative practice, the performance is the carrier of theory and enactment of knowledge.

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Hagger, Hazel. "The problems and possibilities for interns of gaining access to experienced teachers' craft knowledge." Thesis, University of Oxford, 1995. http://ora.ox.ac.uk/objects/uuid:056c2835-e034-4168-b81a-2731a173d05b.

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The concluding chapter explores implications of the research findings for the accessibility of teachers' craft knowledge, wider issues about the conditions necessary for the potential of school-based initial teacher education to be realised, and future research in the field.

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Sato, Maho. "An investigation into the relationship between design thinking and skilled knowledge in craft education." Thesis, University of Roehampton, 2010. https://pure.roehampton.ac.uk/portal/en/studentthesis/an-investigation-into-the-relationship-between-design-thinking-and-skilled-knowledge-in-craft-education(6a945e46-bac2-4e5d-8928-7447f192c1c9).html.

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This research is about craft education in schools in England and Japan. In the specialist literature, skilled knowledge has always been identified as the main outcome of craft learning in schools, but contemporary rationales for craft education include fostering children’s design thinking understood as a process of developing creative ideas. At the time this research began in 2005, Japanese government policy for craft education emphasized creative problem solving and designing together with making skills. However, developing design ideas and skilled knowledge may be conflicting aims. There was very little guidance for Japanese craft teachers about how to teach creative thinking and more theoretical discussion about design in England. So I studied how design thinking is taught in England with a view to this contributing to craft education in Japan. The research method was qualitative and comparative. In the first phase, analysis of policy documents for Art & Design and Design & Technology and fieldwork in three primary and five secondary schools was conducted in England. In the second phase, policy documents for Art & Handicraft, Art, Home Economics and Technology & Home Economics were analysed and fieldwork was conducted in the first two subjects in seven primary and six secondary schools in Japan. Then the findings were compared and analysed qualitatively. This research confirmed that skilled knowledge is central to craft education in schools in both countries. There was a significant influence of school subject domains on how crafts were taught in class. The lack of any specification for thinking skills in the learning domains for craft education in Japan may explain why there is less emphasis on teaching design thinking than in England. I concluded that it is possible to teach design thinking and skilled knowledge successfully together in craft projects. However, it is difficult to apply this in practice in school contexts because they often lack relevant staff expertise, time and authentic materials and tools. At the end of the thesis possible ways of teaching design thinking and skilled knowledge together are suggested in the form of a domain model of art curriculum and an interactive design process model. Some strategies for teaching design thinking identified in England could provide a basis for future curriculum development in Japan.

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Resch, Paul. "Performing Difference : A study about knowledge in motion." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6482.

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This study focuses on how an open-ended process of learning can affect education as well as our relationship with knowledge production. Nearing the classroom as a site of important moments this work tries to exemplify what a shift from an epistemic to an ontological pedagogy can mean. The two questions at issue are, What takes place in learning processes when we center conceptual creativity? and, What can the open-ended mean for esthetic methods within educational science? The fieldwork is based in a Swedish elementary school where a group of 10-year olds take on the task of designing objects and performing them for a dinner that is sort of out of the ordinary. An imaginary menu of green beets in lava sauce, roasted earth cakes with stardust and sweet flames with lemon twigs works as an inlet for the participants creative different processes. Using an assemblage of methods and theories this study aims to research how pedagogy can become a site that centers conceptual creativity. Artistic research, design and craft offers a closeness to what Karen Barad calls ”matter that matters”. And for the pedagogical this means a closeness to material culture and how things play a part in the making of our society. It´s called ”Performing difference” because it looks at what the production of differences in relation to knowledge and creativity can mean for pedagogy. The conclusion is partly an understanding of what this setting asks from an educational context and of what happens when we introduce and work with pedagogy from a performative angle. What this study comes to is that a pedagogy that blends theory with practice by turning to new-materialism presents exciting possibilities for education. When the un-disputable is made subject to question and open to interpretation knowledge becomes something we are allowed to enact, engage and provoke. In conclusion the open-ended can mean many things for an educational discourse but I believe one thing is clear - it presents inlets for creativity and our understanding of culture and society.

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Sekaringtyas, Pembayun. "Knowledge Dynamics in Indonesian Cultural Industries : The case of Kasongan pottery cluster and Kotagede silver craft cluster in Yogyakarta Region." Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113881.

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This paper explored the knowledge dynamics of cultural industries in Yogyakarta Region. The aims of this paper are to explain how local knowledge is circulated and how new elements are added, as well as to find out how different kinds of knowledge are anchored. This thesis contributes to fill the gap of the lack of research conducted to explain knowledge dynamics in the context of Indonesian cultural industries. Cultural industries have been increasingly considered important towards economic development, whereas territorial knowledge dynamics (TKD) is considered as an update of the traditional territorial innovation models (TIM). The empirical part of this paper contains data collected from interviews with the representatives of sixteen firms, five government institutions, three local trade associations, one local youth organisation and one non-governmental organisation. The finding reveals that direct observation, face-to-face contact, and local buzz are important towards the circulation of local knowledge within the clusters. Different kinds of innovations were also found, involving multidimensional aspects at micro-levels. In a few cases, innovation was influenced by the presence of global pipelines. Knowledge anchoring happened in a complex process and involved a number of actors in multiple locations and scales. This thesis argues that policy makers should increasingly incorporate the concept of territorial knowledge dynamics (TKD) in the development of Indonesian cultural industries.

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Berge, Britt-Marie. "Gå i lära till lärare : En grupp kvinnors och en grupp mäns inskolning i slöjdläraryrket." Doctoral thesis, Umeå universitet, Pedagogiska institutionen, 1992. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-16589.

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Craft education has been regarded as an important instrument in the efforts to achieve equality which, ever since the end of World War II, have permeated the reforms of Swedish education. In spite of all efforts to the contrary, class- and sex-typed educational programmes are still reconstructed within the reformed education. This study examines the role of craft teacher training in the social and cultural reproduction. Socialization into a profession is a continuous process throughout a person's life. The time spent in craft teacher training is regarded as a meeting between future craft teachers in the light of their life stories and the school subject craft as it is transmitted by teacher trainers. Thus, the data collection includes information on both the future teachers and on the school subject craft. Two groups, one of females and one of males (including one woman), were followed through their teacher training with the help of questionnaires, essays and evaluation documents written by the future teachers. The school subject craft was studied through classroom observations and through taped interviews with teacher trainers. Although these trainee teachers, as fully qualified craft teachers, will have to cooperate within the same subject, and although they will have the same qualifications and equal pay, these educations have different admission rules. Textile craft teachers also have a longer education than wood&metalwork teachers. Besides belonging to different sexes, these two groups turned out to be very different in other respects as well. The future female craft teachers in this study have a middle-class background with well- educated mothers and they also have positive experiences of school. In their future occupation they wish to develop the art of textile craft. The future male craft teachers in this study have a working-class background where studies were something out of the ordinary and they also have negative experiences of school. In their future occupation they want to work together with children within a practical subject. The gender and class patterns developed during the trainee teachers' childhood and adolescence are reinforced by these teacher trainings. Moreover, the trainee teachers seem to reconstruct these patterns in their teaching styles in their future occupations. Both groups want to transmit "preparedness for everyday life" and "creative ability" to the pupils. However, deeper analyses reveal that this agreement is only illusory. The females expect the pupils to be moulded into docile, economical and quality-conscious persons. The males expect the pupils to be moulded into active, ingenious and dexterous persons. Both groups agree that it is easier for girls to become docile, careful and aware of the teacher's demands and that it is easier for boys to become active and ingenious in compulsory school. The gender symbolism -the passive woman and the active man - is reconstructed. Besides uncovering the complex reconstruction of the gender system at the symbolic, structural and individual level, this study also illuminates the reconstruction of the asymmetric relations between theoretical and practical activities within craft teacher training. The study ends with a discussion of how teacher training can contribute to the work for equality by educating the trainee teachers to act as spearheads for an equal society.
digitalisering@umu

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Dominique, Matilda. "The Architecture of Threads." Thesis, Konstfack, Textil, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4751.

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Most people might not reflect upon textiles as anything more than the soft material in our clothes. As a crafts practitioner, I gain knowledge of woven materials that go beyond that. The knowledge of weaving and materials is developing the ideas that form the concept of this project. From the tacit knowledge, derived from years of practically working with textile materials, an intellectual understanding of materials and the worlds they construct is growing. In this project, I decipher my own ideas of the woven structure in order to invite others to experience the universe within textiles. I look at the weave as a structure, built up by small particles in forms of threads. If seeing the weave from a distance, each repeated pattern can in turn be perceived as the smallest element. By seeing woven materials from more than one perspective, I believe that the understanding of the construction itself can develop. As this understanding grows, so does the ability to judge the quality of the material. In this line of thought, the tools used to reflect upon what materials are, how they are made and what they signify, becomes greater. To visualise the knowledge I have of the textile structures I make, I work with a waffle weave structure, together with a dyeing technique called Ikat. I also draw connections between the woven structure and that of a map – as a tool that humans use to understand their surroundings. The use of perspectives and scale is another tool that is used to widen our perception of the world around us. In order to create an experience of the universe within textiles and to invite others into that world, I draw parallels between the miniature scale of the woven material and larger, architectural structures. The final outcome of this project is a textile installation, consisting of three weavings that together form a larger construction. The construction is open for people to enter and experience. Inside the construction a smaller woven piece is presented as a map over the woven world. This weaving initially contains the same information as the large structure, but on a much smaller scale.

Image no. 16 has been removed due to copyright reasons. A link to the image can be found in the List of References

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Kalshoven, Petra Tjitske. "Plays on "the Indian" : representation of knowledge and authenticity in Indianist mimetic practice." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102244.

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Indian hobbyism, or Indianism, is an expression of a typically European fascination with Native American peoples which involves crafting "museum-quality replicas" of clothing and artifacts as well as reenactment of slices of Native American nineteenth-century life by non-Native practitioners in an effort to produce knowledge and meaningful experience through experimentation. Drawing on fieldwork data collected in 2003 and 2004 among play communities of Indian hobbyists in Germany, the Netherlands, Belgium, France, and the Czech Republic, I formulate an understanding of the social, performative, and mimetic dynamics of this phenomenon by conceiving of Indianist practices as forms of play that constantly shift between different play frames. In terms of knowledge production, I argue that the Indian hobby provides a space in which different (epistemological) traditions meet, as Indian hobbyists draw on, and enact, a hybrid reservoir of indigenous and European knowledge systems and art forms. Especially interesting is the relationship between Indianism and the dynamics of museal display in the West, both historically and contemporaneously. In general, I found that two different approaches to the right way of representing may be distinguished in Indianist methodological practice: a "Renaissance" and a "Translational" mode.
Because of its striking mimetic aspects, Indianism raises questions of identity play and cultural appropriation. An important element of the hobbyist quest for knowledge and experience consists in investing the self in an "other" in ways that elicit criticism from outsiders, including anthropologists. Indian hobbyism is a controversial example of "playing at" cultures that (by all conventional standards) belong elsewhere and to someone else, providing interesting insights for debates on identity politics and the construction of "race"---also among Indianists themselves. Rather than longing to embody someone else's identity, however, Indianists, almost in spite of themselves, enact a social world that is filled with action and life in their European present. Indianist practice and desire for authenticity revolve around craftsmanship and reenactment, resulting in skillful replicas, in the here and now.

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Keys, Philip Mark. "Primary and secondary teachers shaping the science curriculum : the influence of teacher knowledge." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15920/1/Philip_Keys_Thesis.pdf.

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This thesis reports on how primary and secondary teachers' knowledge influenced the implementation of a Year 1-10 science syllabus which was introduced into Queensland in 1999. The study investigated how the teachers' knowledge of the primary and secondary teachers differed and how teachers' knowledge impacted on the implementation of the science curriculum. Teacher knowledge otherwise referred to as teacher beliefs and practices has been acknowledged as an influence in the implementation of curriculum. Yet, a considerable portion of curriculum evaluation has focused on measuring the successful implementation of the intended curriculum and not the enactment. As a result, few studies have investigated how the curriculum has been influenced by teacher knowledge or have compared primary and secondary teacher knowledge. Furthermore, in order to provide a seamless grade one to ten science syllabus it is necessary to compare primary and secondary teacher beliefs and practices to determine whether or not the beliefs and practices held by these two groups of teachers is similar or dissimilar and how these beliefs and practices in turn, impact on the implementation of a curriculum. The research adopted Eisner's (1991) methodology of educational criticism and used a comparative case study approach to investigate the teacher knowledge of four primary and three secondary teachers. Data were presented as a dialogue between three composite characters, a lower primary, a middle/upper primary and a secondary teacher. The results revealed that teachers utilised three sets of beliefs to shape the implementation of the science curriculum. These were categorised as expressed, entrenched and manifested beliefs. The primary and secondary teachers did possess similar sets of beliefs and knowledge bases but their strategies for implementation in some instances were different. Furthermore, these sets of beliefs and knowledge bases served as motivator or an inhibitor to teach science in the manner that they did. A theoretical model was developed to explain how these sets of beliefs influenced the curriculum. This study provides professional developers with a framework to observe teacher beliefs in action and thereby to assist in the facilitation of curriculum change.

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Keys, Philip Mark. "Primary And Secondary Teachers Shaping The Science Curriculum: The Influence Of Teacher Knowledge." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15920/.

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This thesis reports on how primary and secondary teachers' knowledge influenced the implementation of a Year 1-10 science syllabus which was introduced into Queensland in 1999. The study investigated how the teachers' knowledge of the primary and secondary teachers differed and how teachers' knowledge impacted on the implementation of the science curriculum. Teacher knowledge otherwise referred to as teacher beliefs and practices has been acknowledged as an influence in the implementation of curriculum. Yet, a considerable portion of curriculum evaluation has focused on measuring the successful implementation of the intended curriculum and not the enactment. As a result, few studies have investigated how the curriculum has been influenced by teacher knowledge or have compared primary and secondary teacher knowledge. Furthermore, in order to provide a seamless grade one to ten science syllabus it is necessary to compare primary and secondary teacher beliefs and practices to determine whether or not the beliefs and practices held by these two groups of teachers is similar or dissimilar and how these beliefs and practices in turn, impact on the implementation of a curriculum. The research adopted Eisner's (1991) methodology of educational criticism and used a comparative case study approach to investigate the teacher knowledge of four primary and three secondary teachers. Data were presented as a dialogue between three composite characters, a lower primary, a middle/upper primary and a secondary teacher. The results revealed that teachers utilised three sets of beliefs to shape the implementation of the science curriculum. These were categorised as expressed, entrenched and manifested beliefs. The primary and secondary teachers did possess similar sets of beliefs and knowledge bases but their strategies for implementation in some instances were different. Furthermore, these sets of beliefs and knowledge bases served as motivator or an inhibitor to teach science in the manner that they did. A theoretical model was developed to explain how these sets of beliefs influenced the curriculum. This study provides professional developers with a framework to observe teacher beliefs in action and thereby to assist in the facilitation of curriculum change.

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Girerd-Barclay, Nicolas. "Just Build It." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86291.

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The Thesis Project aimed to cultivate understanding about the interrelationships between humans and materials in the context of consumerism, sustainability, and time, through helping people learn about woodworking materials and tools, develop a more profound respect for them, and understand how one interacts with them. Incorporating repair culture and material education into a collaborative service design, the author reflected on his sustainability as a woodworker to enable others to connect with materials and tools in a meaningful way. The Project followed a nonlinear process, allowing the author to move back and forth to reflect, refine and progress from idea to form, and back to idea, while respecting his tangible need for medium and method. By researching scores of different woodworking tools found in an antique tool box received as a gift, the author defined their purpose in woodcraft and their connection with people they served and society as a whole. Inspirations for the Project consisted of woodworking, time, and social, environmental and economic stability, in addition to various types of design: service, collaborative, circular, and critical. Four different processes – prototyping, service blueprint, advertising and service experiences – were employed to respond to the research question. Key results included the provision of over 20 services to 15 individuals through a simple design process. By helping people to fix their objects in an ongoing conversation about sustainability with regard to material use and consumption, tools and practices were used effectively to change interrelationships between people and materials. Through the services and ‘hands-on conversations’, many began to understand and appreciate the possibilities of tools to revitalize old furniture and increase their value. Some people used tools themselves to resolve their problems, with all participants showing appreciation for the services, while expressing commitment to use, rather than discard, the objects. A few of the thousands contacted through social media, responded to calls for assistance, with the Project concluding that the process has potential, but without a business model, it would be difficult to sustain. Questions regarding the future included: What type of business could harness opportunities, offering viable employment? How many would need to be involved? How great is the demand for services? Which policies or regulations must be in place for a successful practice? The author was cognizant of the need for additional skills and knowledge to pursue the challenge of operationalizing the services provided through a sustainable livelihood.

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Juntunen, Roos Lisa. "(kahvi) Break With Tradition." Thesis, Konstfack, Textil, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7231.

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In this project I explore the consequences of inventing traditions and the empowering effects of textile making. By looking at Swedish textile history, Finnish coffee packages, a 91 year old woman and a 31 year old aspiring textile artist I come to the conclusion that trying to control history trough traditions can have dire consequences and I am left wanting a more inclusive approach.

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Trusson, Clive. "Resigned robots and aspiring artisans : a conceptualisation of the IT service support worker." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/13335.

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In the last two decades the IT service support worker has emerged to be a worker-type of considerable socio-economic importance. Such workers are symbolic of the trends towards the importance of information/knowledge and information technology within modern economic/political systems. Such systems, heavily influenced by governmental bodies and business organisations, have aggrandised the use of rationalising customer-centric management techniques. And yet such symbolic workers are largely hidden and unacknowledged as a specific type of worker in the business literature. This thesis represents an attempt to conceptualise the IT service support worker as a worker-type, inducing a conceptual model that identifies three aspects to the worker: information systems worker; knowledge worker and service worker and considers them from each of these perspectives. This qualitative research draws on a rich mix of observational and interview data collected across five UK organisations to produce a narrative that suggests that, for different IT service support workers, those different aspects tend to be variably emphasised within their team roles. The study additionally offers a theoretical conclusion that IT service support workers might reasonably be divided into different classes depending upon not only the design of their team role but also their individual career orientations and the nature of the knowledge they actually use in their work. Four such classes are identified as being of particular significance and these are evocatively named: Resigned Robots ; Constrained Careerists ; Establishment Experts and Aspiring Artisans . Whilst being outside of the scope of this study, it is suggested that this novel typology might also be useful for classifying other worker groupings. The study is intended to be useful for the enhancement of IT service management practice and makes several contributions in this regard. These include the need for managers to recognise the importance of experientially-acquired knowledge for efficiency in IT service support work and a suggestion that managers might tailor HRM practices for different classes of worker.

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Maclennan, Maria. "Forensic jewellery : a design-led approach to exploring jewellery in forensic human identification." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/58ace496-6d42-4ea1-966e-a89080e69d6f.

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Jewellery as a tool in the identification of the deceased is increasingly referenced within the scientific process of Forensic Human Identification (FHI). Jewellery’s prevalence in society, connection to both place and geographic region, potential to corroborate primary methods of identification (such as DNA, fingerprinting, or odontology), and robust physical form, means it progressively contributes to practices surrounding identification in a number of forensic fields. Physical marks or characteristics such as hallmarks or serial numbers, personal inscriptions or engravings, representational symbols (such as medals, badges of office, religious iconography or military insignia), and genealogical or gemmological markings, may also prove useful in informing investigators much about a piece - and potentially - the individual to whom it may have belonged. Despite this, jewellery is an approach to establishing human identity that has yet to be explicitly investigated from the perspective of either forensic science or jewellery design. The aim of this research has been to explore the potential of jewellery and highlight its significance within this context, through employing the processes and approaches of design. Informed by my own background in both jewellery and service design; I sought to co-design the interdisciplinary proposition of Forensic Jewellery as an extension of my own personal design practice, in addition to a broader hybrid methodology through which the dualistic perspective(s) of both forensic science and jewellery design may come to be mutually explored. By centring my methodology upon my practice, the research serves to document and reflect upon my auto-ethnographic experiences in inadvertently ‘prototyping’ my emergent new role as a Forensic Jeweller – a jewellery designer engaged within, or whose work pertains to, the field of forensic science. Through a range of forensic-based fieldwork, I sought to immerse myself within various communities of forensic practice by way of considering how a design practitioner may come to add value to this otherwise polarised field - a highly subjective and interpretive framework that has remained wholly unconsidered within forensic science. In simultaneously considering the impact of the perspective of forensics upon the broader field of jewellery design, I came to capture some of the otherwise restricted narratives of Forensic Jewellery emerging from the developing research context through a series of theoretically-informed design ‘reconstructions’: objects, concepts, and scenarios (representational, propositional, and metaphorical); educational material, and series of public engagement activities. The research thus culminates in a unique portfolio of practice – written, conceptual, and visual – with relevance to both forensic science and jewellery design history, theory, and practice. Original contributions to knowledge are demonstrated through the direct study of jewellery within real-world forensic settings through combined theory and practice, while the theoretical and conceptual debates surrounding identity, death, and the human body present within the field of jewellery design are simultaneously extended through the inclusion of forensics as a perspective. The research additionally demonstrates how the visual and tangible sensibilities of design can help to attend to otherwise challenging, emotional, or difficult subjects, capture and communicate tacit knowledge or anecdotal evidence, and ultimately contribute to the development of new and emergent research contexts.

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Holmberg, Annelie. "Hantverksskicklighet och kreativitet : Kontinuitet och förändring i en lokal textillärarutbildning 1955-2001." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9530.

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The aim in this study is to investigate how the textile subjects in the education of teachers in textiles in Uppsala changed during the period 1955-2001. What has the introduction into the academic, scientific tradition meant for the textile education? The aim is to describe what developments occurred as a result of this influence on the subject area, by analyzing the causes and factors inherent in this process. The period under consideration has been divided into four parts: 1955–1961, 1961–1977, 1977–1988 and 1988–2001. The research uses three different sources: documents, interviews and artefacts. The documents include both national and local aspects. To increase the understanding of the work and education 9 interviews have been made with current teacher educators. The artefacts show the transformation of the educators’ intentions and aims, which are expressed in the documents examined, into a physical entity by the students. In the investigation of what changes the concept of practical knowledge will be used. Practical knowledge is considered to form the core of textile education. Practical knowledge is assumed to consist of action, professional knowledge and reflection. Government directives have influenced textile education. Economical and structural assumptions have shaped how the courses have been run and what elements have been included in these. In the change that gradually occurred during the investigated time, the inherent pride in the subject area and the traditions linked to the courses seems to have slowly diminished. The redefinition of textile education as part of the university minimized the value of the education’s core based in action and domestic history. The continued production of artefacts within the course, suggests that despite the use of scientific and research terminology, the manual skills and action were seen as an essential part of the education.

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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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Alvberg, Annika. "Frisörer och frisörlärares syn på gesällbrevsmomentens användbarhet." Thesis, Linnéuniversitetet, Institutionen för teknik, TEK, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-10594.

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Jeansson, Åsa. "Vad, hur och varför i slöjdämnet : textillärares uppfattningar om innehåll och undervisning i relation till kursplanen." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-130419.

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The thesis deals with questions of how the purpose and content in the Swedish school subject Sloyd can be understood in the present, some years after a new curriculum came into effect in 2011. Through sloyd teachers’ stories of their knowledge and the historical traces that have left a mark on their teaching, such as older syllabuses and mediated experiences, the intention is to examine the pedagogical thinking that forms the classroom’s activities. The overall purpose is to develop knowledge of what shapes the design of sloyd, based on how the subject is expressed in the syllabus and in teachers' understandings of teaching and the subject. Based on previous knowledge and interviews, a hermeneutic research process has been designed and developed over time. Seventeen semi-structured interviews with textiles teachers where conducted, recorded and transcribed for the study. The hermeneutic interpretation process involved repeatedly reading and listening, and the material was coded using the digital analysis tool ATLAS.ti. Through repeated reading of the codes, three overarching themes were found: Textiles teachers' perceptions of Sloyd’s purpose and content, Textiles teachers’ teaching, and Manual and intellectual work in unity. The perspective of curriculum theory using a frame factor model is intended to highlight how Sloyd manifests itself at different levels of interpretation, which may impact how sloyd takes shape in the classroom. For a functional perspective on the study's data, didactic theory is used with a focus on subject didactics. The transformation phase is central to the shaping of Sloyd, where teachers’ beliefs and perceptions about the subject will influence their interpretation of the syllabus. Shulman's model of pedagogical thinking and action linked to pedagogical content knowledge, PCK, form the basis for the analysis together with theoretical perspectives on teachers’ pedagogical thinking as Kansanen and Hansén describes it. In summary, two levels of pedagogical thinking are distinguished by analysis. Firstly, based on those teachers who transform and implement teaching in sloyd based on an interpretation that follows the syllabus closely, and secondly, based on those who proceed from an interpretation that is closer to sloyd’s field of knowledge, based on handicraft. This results in two subject conceptions relating to sloyd. Teachers can ascribe to one of these, or move between them in the different phases of pedagogical planning and reflection. The conclusions also include an understanding of why the knowledge requirements in the syllabus largely relate to the students expressing themselves in words regarding their learning and their choices during the process. The curriculum is results-oriented and the knowledge that is evaluated must therefore be measurable and comparable, and be made possible to learn through the subject content. It can also be interpreted as an approximation of a practical knowledge culture to a theoretical knowledge culture, and therefore a legitimation of a practical subject in the school context that elementary school constitutes.

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Domeij, Tina. "An exploration of cultural identity in creative practice." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7230.

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My work is about the feeling of standing in between two worlds of my cultural heritage. To feel connected but at the same time not connected to them. The feeling of missing out in one of my cultural heritage because of the language that I do not fully speak. I use a traditional craft from that side to build a bridge to fill the gap. It is about combining my heritages and the connection/disconnection and fuse them together into one as I am a person of two cultures. By not putting myself in a box that the society wants me to fit in to, I challenge that norm also in my work. I transformed the traditional craft placed in a room of a house to become jewelry. The wearer is allowed to choose what kind of jewelery it is and it can be placed on many different ways. My work is about investigate the meeting of craft on a body, and body in a craft. Its about to invite the Thai practice to my Swedish practice and vice versa and fuse them together.

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Mongeon, Mylène. "Improvising Knowledge: A Case Study of Practices in and Around World Spine Care's Evidence-based Clinics in Shoshong and Mahalapye, Botswana." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34972.

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Global health organizations attend to populations around the world applying an evidence-based model of care that often does not correspond with local realities on the ground. My thesis provides an in-depth anthropological study of how this occurs within practices in and around World Spine Care's (WSC) clinics in Shoshong and Mahalapye, Botswana. More specifically I explore how knowledge is negotiated and improvised on the ground, paying particular attention to the ways WSC volunteers are (un)able to work with local health workers as they desire. I show the flows and counter-flows implicated in the difficult task of reconciling skills with standards. The study is based on a total of 15 months of participation with WSC's organization through attending meetings, activities and shadowing practitioners both in Ottawa and in Botswana. Expanding the scope of their creative improvisational skills beyond the closed settings of WSC clinics is proposed as a way to move forward.

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Dovsten, Evelina. "Every sampling is a testimony." Thesis, Konstfack, Keramik & Glas, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6969.

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A self portrait. With an auto ethnographic study method and my own craft; glass making I examine tacit knowledge. A portrait not only of me, but also the human in need of control. An invite to look at our society and see how the measurable is in charge and positivistic science have the leading position in knowledge production. I aim for the subjective, the knowledge stored in my body which is passed on through making, in to the glass to be kept.

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Tankha, Vijay. "The analogy between virtue and crafts in Plato's early dialogues /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74591.

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This thesis investigates Plato's analogy between virtue and crafts, a comparison made extensively in the early dialogues. I first detail the model of technical knowledge that Plato uses as a paradigm of knowledge. An application of this model shows the inadequacies in some claims to know or to teach virtue. Applying the model to the Socratic dictum, 'Virtue is knowledge' enables us to understand what such knowledge is about. Such knowledge is identified as 'self-knowledge' and is the product of philosophy. Philosophy is thus revealed as the craft of virtue, directed at the good of individuals. One problematic aspect of the analogy between virtue and crafts is the possibility of misuse. Virtue conceived as self-knowledge enables Plato to explain both why such a craft cannot be misused and why it alone can be the basis for benefiting others.

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Pallin, Karolina. "Med föremål som källa : En textilhistorikers perspektiv på mötet mellan praktisk kunskap och Material Culture Studies." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323859.

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The interest for doing this study is developed during my time as a student in textile history atUppsala university, Sweden. Textile history, as it is taught in Uppsala, uses both practical andtheoretical knowledge as a base for analysing, understanding and interpreting, textiles as sourcematerial in research. As a student in textile history I have sometimes experienced a lack ofunderstanding for the position it takes in the academic field, both from people within the textilehistorical field and from the outside. In this study, I take the opportunity to explore this position.I understand textile history research as a field in between the practical and theoretical.Knowledge in craft are used as a base for understanding source material, but are then oftenconnected to the theoretical framework of Material culture studies (MCS) for interpretation.But, even though this is an often-used theory, the problems of finding relevant texts and frame-works are difficult.By generating a grounded theory about the field of craft- and practical research in Swe-den, and then moving on to see what kind of literature the field of MCS can offer, I discuss theposition that textile historical research take between them. The generated theory shows that themain concern in the field of practical research are the aim to be an accepted part of the academy.The analysis of the literature in the field of MCS shows that the areas of technology and materialsciences need tools to understand the human aspect of production. From this I conclude thattextile history, as a field that is already part of creating a meeting between practical researchand MCS, could well take up the position to write its own theories. Theories grounded in prac-tical knowledge, but as a part of the field of MCS. Doing that would be of gain for both fields,and for the textile historians inhabiting and creating a meeting in between the fields.

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Ramos, Roberto S. "NAS ÁGUAS DE GUIMARÃES: UMA ANÁLISE DA SUSTENTABILIDADE PESQUEIRA ARTESANAL DO MUNICÍPIO. MA/BRASIL." Universidade Federal do Maranhão, 2008. http://tedebc.ufma.br:8080/jspui/handle/tede/1209.

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Made available in DSpace on 2016-08-19T18:20:38Z (GMT). No. of bitstreams: 1 Roberto Santos Ramos.pdf: 1664268 bytes, checksum: 6dd3fc0b46dce305d722a2818727a457 (MD5) Previous issue date: 2008-09-27
The craft fishery contributes significantly to the marine and riverside populations constiting an important source of animal protein. This activity defines ictiologicas interactions forming a complex system of knowledge about fishery, which is passed along for the next generations. Moreover, the free access that characterizes these fisheries contributes to the growth of the pressures made on the haliênicos resources. The objective in this work was to evaluate the craft fishery sustentability done at the Guimarães district MA in its environmental, social, economic and technologic dimentions and the handling, so as to contribute to the fishery ordination. Guimarães district is located at the middle-north region at the west coast of Maranhão-Brazil. The data gathering was done from October 2007 to October 2008. The information was gathered through semi-structured questionnaire applied to the fishers, portraying the aspects of the sustentability dimentions treated in this work, and the knowledge that came from the ictiológicas interactions which had its own questionnaire that treated about the reproduction aspects, feeding and fish distribution. Moreover, interviews were done in administrative agencies linked to fisheries, in order to formulate a notion model for the social, economic and political aspects refering to fisheries that reflects themselves in the fishery community at Guimarães. Aiming to have a dimention of the fisher production in the district, disembark cards were used. Fishery projects that occured in the district were investigated through researches participant.. The traditional knowledge was analysed through comparative cognitive chart and model of the union of the many competencies. Date refering to the sustentability dimention was analysed through rapfish. The main results show that the district, for lack of job and income creation alternatives developed its fishers contingent along the years, as well as the kinds and quantities of fishery stuff used, being the zangaria, guizo, fuzarca e curral considered less sustainable. The traditional knowledge about the activity that envolves the fishery stuff, vessels and the knowledge of the fish behaviour, revealed consistent with the cientific information which can be inserted in the handling strategies. The fish production in the district varied from 3.941 kg to 22.377 kg, having Porto Grande (Large Harbor) the biggest volume in disembarked products. Among most of the fish that were caught, there is taínha, followed by corvina and uritinga. The community s handling strategies were considered possible of application in the district, as long as there will be the continuous participation of administrators and regulator agencies turned to fishery. Confirmed, thus, the hipothesis that the practice of the craft fishery as it is done today in the district, without control, without social organization for the activity and without ordination result in lower productive potential of the region, compromising its environmental , social, economic and technologic sustentability.
A pesca artesanal contribui significativamente para as populações marinhas e ribeiras, constituindo-se numa importante fonte de proteína animal. Essa atividade define interações ictiológicas formando um sistema complexo de conhecimento a cerca das pescarias, o qual é repassado ao longo das gerações. Além disso, o livre acesso característico da pesca contribui para o aumento das pressões exercidas aos recursos haliêuticos. O objetivo deste trabalho foi avaliar a sustentabilidade da pesca artesanal praticada no município de Guimarães-MA em suas dimensões ambiental, social, econômica, tecnológica e de manejo, de forma a contribuir com o ordenamento pesqueiro. O município de Guimarães localiza-se na meso-região norte do litoral ocidental do Maranhão-Brasil. A coleta de dados deu-se no período de outubro de 2007 a outubro de 2008. As informações foram coletadas através de questionários semiestruturados junto aos pescadores, retratando os aspectos das dimensões da sustentabilidade abordadas nesse trabalho e os conhecimentos advindos das interações ictiológicas que seguiram questionário próprio, o qual tratou de aspectos da reprodução, alimentação e distribuição dos peixes. Além disso, foram realizadas entrevistas a órgãos gestores ligados à pesca, a fim de formular um modelo conceitual dos aspectos sociais, econômicos e políticos referentes às pescarias, que se refletem na comunidade pesqueira de Guimarães. Visando dimensionar a produção pesqueira no município bem como os projetos e programas desenvolvidos, utilizou-se respectivamente fichas de desembarque pesqueiro e pesquisa participante. O conhecimento tradicional foi analisado por meio de tabelas de cognição comparada e modelo da união das diversas competências. Dados referentes às dimensões da sustentabilidade foram analisados por meio do rapfish. Os principais resultados mostram que o município, por falta de alternativas de geração de trabalho e renda, incrementou seu contingente de pescadores ao longo dos anos, bem como os tipos e quantidades de petrechos de pesca utilizados, sendo a zangaria, guizo, fuzarca e curral considerados menos sustentáveis. O conhecimento tradicional acerca da atividade que envolve os petrechos de pesca, embarcações e o conhecimento do comportamento dos peixes, revelou-se consistente com informações científicas, podendo ser inseridas em estratégias de manejo. A produção pesqueira no município variou de 3.941 kg a 22.377 kg, tendo o Porto Grande o maior volume em produtos desembarcados. Dentre os peixes mais pescados destacam-se os peixes do grupo Mugilidae (tainha), seguidos de Cynoscion e Macrodon (corvina) e Hexanematichthy proops (uritinga). As estratégias de manejo comunitário foram consideradas viáveis de aplicação no município desde que condicionadas à participação contínua de gestores e órgãos reguladores voltadas à pesca. Confirma-se, assim a hipótese de que a prática da atividade pesqueira artesanal nos moldes atuais no município sem controle, sem organização social para atividade e sem ordenamento produzem resultados abaixo do potencial produtivo da região, comprometendo a sua sustentabilidade ambiental, social, econômica e tecnológica.

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Lefvert, Vikström Maria, and Maria Söderberg. "Kära vän : personlig kommunikation i en allt mer digitaliserad värld." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-86702.

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Under året som gått har den digitala kommunikationen ökat drastiskt. En hel värld har blivit påverkad. Digitala verktyg och plattformar har varit en förutsättning för ett fungerande samhälle och för att hålla kontakten med andra människor. I det här examensarbetet ville vi genom grafisk design utforska och lyfta analog kommunikation och vilken rollden spelar idag. Det finns något väldigt fint i mötet mellan papper och penna. Något personligt som går förlorat när budskap digitaliseras. På papper kan vi skri- va ner våra innersta tankar, till oss själva eller till någon annan. Vi kan också använda pappret för att klottra ner små krumelurer, skissa, måla eller på annat sätt sätta vår personliga prägel. Vi ser det här som ett sätt att hant- verka och det är just hantverk som är vår röda tråd. Med vårt projekt vill vi belysa traditionellt hantverk i vår samtid och uppmuntra till personlig kommunikation.
Digital communication has increased drastically during the past year. An entire world has been affected. Digital tools and platforms have been crucial for a functioning society and for us to be able to keep in touch with other people. In this thesis, we wanted to explore analog commu- nication through graphic design and highlight what role it plays today. There is something beautiful inthe meeting between paper and pencil. Something personal that might be lost when messages are digi- tized. On paper, we can write down our innermost thoughts, to ourselves or to someone close to us. The paper can also be used when we doodle, sketch, paint or when we in other ways add a personal touch. We see this as a way of crafting and craftsmanship is our common thread. With our project, we want to shed light on traditional crafts and encourage personal communication.

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BERNER, MARTINA. "KNOWLEDGE TRANSFER: VERO VANTAGGIO COMPETITIVO DELLE ORGANIZZAZIONI ORIENTATE AL FUTURO. UN'INDAGINE NELL'AMBITO DELLE INDUSTRIE CREATIVE DELL'ARTIGIANATO D'ECCELLENZA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/2894.

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La presente tesi si propone di comprendere come le organizzazioni chiamate ad agire in mercati complessi siano in grado di produrre, sedimentare, utilizzare, condividere e rendere disponibile la propria conoscenza. La ricerca si focalizza sulle organizzazioni creative legate all'artigianato d’eccellenza in quanto realtà ancora poco esplorate e all'interno delle quali il tema proposto è percepito in misura crescente. Dallo studio emergono due risultati significativi raggiunti grazie all’elaborazione di una review della letteratura e di un’indagine qualitativa condotta sul campo. Il primo risultato è la constatazione di un recente interesse da parte degli studi accademici per il tema della conoscenza e del suo trasferimento con riferimento alle industrie creative dell’artigianato d’eccellenza. Il secondo risultato mette in risalto la relazione tra trasferimento del saper fare e creazione di manufatti d’eccellenza, e riconosce il maestro d’arte come figura cruciale di questo processo di trasferimento della conoscenza (knowledge transfer) in quanto detentore di un sapere che costituisce ed alimenta il valore unico ed esclusivo dei manufatti. Il lavoro proposto riconosce quindi nel sapere dei maestri d’arte una risorsa cardine da valorizzare e trasmettere, in quanto leva di sviluppo di sistemi produttivi basati sulla qualità, sull’eccellenza e sulla differenziazione.
The goal of this study is to understand how organizations operating in a complex market are able to produce, leave sediment, use, share and make available their knowledge. The focus is on arts & crafts creative industries as still insufficiently investigated organizations, although the proposed theme is increasingly perceived. This study presents two significant results achieved thanks to a literature review and a qualitative field research. The first result is the identification of a unprecedented interest of academic studies for the issue of knowledge and its transfer relevant to arts & crafts creative industries. The second result focuses on the relationship between knowledge transfer and creation of artifacts of excellence. In this second part of the study, the craftsman is a critical factor in the process of knowledge transfer as holder of a knowledge which constitutes and nurtures the sole and the exclusive value of the products. In the present dissertation the knowledge of these craftsmen emerges as a key resource that must be valued and transmitted as lever of development of production systems based on quality, excellence and differentiation.

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Kristin, Wiberg. "Varför slöjdar människor? : Drivkrafter till att slöjda undersöks genom textanalys av tidskriften Hemslöjd." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-129044.

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Uppsatsens syfte är att utforska och belysa fenomenet att slöjda. Det görs genom textanalys av slöjdare och deras drivkrafter till att slöjda. Med hjälp av textanalys av utvalda texter i tidskriften Hemslöjd år 2015 besvaras frågorna: vilka personer skildras i texterna i tidskriften Hemslöjd, samt vilka drivkrafter till att slöjda synliggörs i tidskriften Hemslöjd? Undersökta texter ur tidskriften Hemslöjd skildrar slöjdande personer alltifrån hobbyslöjdare och studenter till yrkesverksamma slöjdare. De kommer från olika delar av världen även om de flesta slöjdar/verkar i Sverige. Sex huvudteman som drivkrafter till att slöjda har identifierats: välmående, självklart att göra egna föremål, nyfikenhet och vilja att förstå, bevara kunskap, att uttrycka sin idé, samt globalt ansvar/miljöengagemang. Välmående samt att bevara kunskap förekommer mest frekvent som drivkraft till att slöjda hos dem som skildras i Hemslöjds texter. Globalt ansvar – miljöengagemang, vilken identifierats som en drivkraft till att slöjda förekommer ej som drivkraft till slöjande i tidigare forskning inom området. Analysen ger exempel på människor som slöjdar för att stå upp för sitt engagemang för miljön genom vad de väljer att göra i vardagen, exempelvis slöjda sitt barns sittvagn. Detta tolkas i uppsatsen som att de skapar sig en meningsfull tillvaro genom hur de agerar, genom att slöjda. Analysen visar vidare på tidskriften Hemslöjd som mediaaktör i samhället och hur tidskriften skriver fram varför människor slöjdar genom att journalister skriver texter där tidskriftens inriktning synliggörs. Detta görs dels genom vilka slöjdande personer som presenteras, samt hur texterna och innehållet utformas baserat på det som analysen identifierat som tidskriftens inriktning. Analysresultaten av vilka som skildras i Hemslöjds texter samt de identifierade teman/drivkrafter till att slöjda hos de som skildras, tolkas i uppsatsen som följer: Tidskriften Hemslöjd vill genom sina texter förmedla att människan har förmågan att för hand tillverka föremål. Tidskriften vill främja och sprida slöjdkunskaper i samhället. Att slöjdande bidrar till människors välmående, stärker dem som människor och deras självkänsla. Genom vilka personer som skildras i texterna visar tidskriften Hemslöjd fram att slöjdande inte avgränsas av nationsgränser, utan är internationellt och knyter samman människor runt hela jorden. Vidare att förmågan att slöjda är en grundläggande mänsklig förmåga och praktisk kunskap värd att spridas. Uppsatsen tolkar vidare analysresultaten som att tidskriften förmedlar att förmågan att slöjda skapar mening och välmående hos människan. Att bevara slöjdkunskaper som riskerar försvinna när äldre generationer går ur tiden, synliggörs i analysen som en viktig drivkraft till att slöjda. Det är en drivkraft till att slöjda världen över vilket synliggörs genom tidskriften Hemslöjds texter. Tidskiften verkar för, lyfter fram och stärker praktisk kunskap, slöjdkunskap, som traditionellt har värderats lägre i samhället än teoretisk kunskap.

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Holmberg, Linn. "The forgotten encyclopedia : the Maurists' dictionary of arts, crafts, and sciences, the unrealized rival of the Encyclopédie of Diderot and d'Alembert." Doctoral thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-88359.

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In mid-eighteenth century Paris, two Benedictine monks from the Congregation of Saint-Maur – also known as the Maurists – started compiling a universal dictionary of arts, crafts, and sciences. The project was initiated simultaneously with what would become one of the most famous literary enterprises in Western intellectual history: the Encyclopédie of Diderot and d’Alembert. The latter started as an augmented translation of Ephraim Chambers’s Cyclopaedia, but it was constructed with another French dictionary as its ideological counterpart: the Jesuits’ Dictionnaire de Trévoux. While the Encyclopédie eventually turned into a controversial but successful best-seller, considered as the most important medium of Enlightenment thought, the Benedictines never finished or published their work. After a decade, the manuscripts were put aside in the monastery library, and were soon forgotten. For about two hundred and sixty years, the Maurists’ dictionary material has largely escaped the attention of researchers, and its history of production has been unknown. This dissertation examines the history and characteristics of the Maurists’ enterprise. The manuscripts are compared to the Encyclopédie and the Dictionnaire de Trévoux, and the project situated within its monastic environment of production, the history of the encyclopedic dictionary, and the Enlightenment culture. The study has an interdisciplinary character and combines perspectives of History of Science and Ideas, History of Monasticism, History of Encyclopedism, and History of the Book. The research procedure is distinguished by a microhistorical approach, where the studied materials are analyzed in a detailed manner, and the research process included in the narrative. The dissertation shows that the Maurists early found themselves in a rival situation with the embryonic Encyclopédie, and that the two projects had several common denominators that distinguished them from the predecessors within the genre. At the same time, the Maurists were making a dictionary unique in the eighteenth century, which assumed a third position in relation to the works of the encyclopédistes and the Jesuits. The study provides new perspectives on the Encyclopédie of Diderot and d’Alembert, the intellectual activities of the Congregation of Saint-Maur, as well as the editor in charge of the Maurist dictionary: Dom Antoine-Joseph Pernety, otherwise known for his alchemical writings.

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Poppel, Stephen M. "Writing, and Reading, about Salman Schocken." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2014. https://slub.qucosa.de/id/qucosa%3A35048.

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Homlong, Siri. "The Language of Textiles : Description and Judgement on Textile Pattern Composition." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis (AUU), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-7216.

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Alvarez, Olivares Juliana. "El mundo artesanal en transformacion, educacion técnica y circulacion de saberes en Colombia, 1880-1930." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC085.

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La thèse prend comme objet d’étude des artisans colombiens entre 1880 et 1930 dans les villes de Medellín et Bogotá. Elle les considère comme des sujets fondamentaux dans les dynamiques qui se sont développées pendant cette période. Au-delà de la description du monde artisanal, la recherche s’intéresse à la manière dont ce secteur est devenu un agent qui a réagi aux phénomènes à l'échelle nationale et transnationale. Dans le premier sens, en Colombie, les liens sociaux et les formes de production que les artisans avaient enfanté depuis des siècles ont été actifs et exprimés de diverses manières, comme la révolte qui a éclatée à Bogotá en 1893 et les publications dans les journaux des artisans. L’Hégémonie conservatrice qui a conduit la Colombie à la fin du XIXe siècle avait pour un de ses objectifs l’enseignement technique, en particulier pour les artisans, afin de remplacer la fonction exercée par les corporations et de préparer la main-d’œuvre à l’industrie. Dans ce contexte, il y eu une prolifération d'établissements d'enseignement des connaissances de base et techniques avec une composante morale importante. Cette recherche s'intéresse à l'analyse des écoles d'art et métiers et rend compte des réactions du secteur artisanal à la professionnalisation de leurs métiers et aux changements requis par l'intention de mettre en œuvre l'industrialisation. Bien que le phénomène de l'enseignement technique aide à comprendre les caractéristiques de l'artisan colombien au cours de la période étudiée, cela ne peut être compris sans une observation plus large.Basée sur l'approche de l'histoire globale des connexions, la présente recherche permet de comprendre, du point de vue peu exploré par l'historiographie, comment l'expérience des artisans en Colombie aux portes de l'industrialisation a dépassé la réalité nationale. Les phénomènes transnationaux tels que l’insertion sur le marché, la professionnalisation et la spécialisation des métiers par le biais de l’enseignement technique et la circulation des connaissances et des personnes faisaient partie de la dynamique du monde artisanal.Dans ce contexte, les espaces d’internationalisation des connaissances, tels que les Congrès d’enseignement technique et les Expositions Universelles, ont permis la circulation de nouvelles techniques, de connaissances artisanales et la socialisation des méthodes d’enseignement. De même, ils ont encouragé la mobilité des personnes liées à ces questions, comme ce fut le cas pour les personnages colombiens, y compris certains artisans. Les voyages en Europe ont permis de connecter le monde artisanal aux nouvelles avancées, mais ils n'étaient pas le seul moyen par lequel les artisans étaient connectés aux techniques européennes. Les congrégations religieuses et les associations de laïcs étaient un autre mécanisme qui favorisait la circulation du savoir artisanal en Colombie. Les Lasalliens, les Salésiens et les Sœurs de la Présentation ont fondé des institutions pour se former aux connaissances techniques avec une forte composante morale.Enfin, entre les phénomènes nationaux et transnationaux, le monde artisanal colombien de la fin du XIXe et du début du XXe siècle a évolué entre différentes logiques. Une partie de lui a défendu ses formes de production dans les ateliers et une autre était ouverte aux nouvelles techniques et aux nouvelles méthodes de production. Ce mouvement, entre permanence et transformation, montre que ce secteur a été un élément clé dans la préparation du pays sur la voie de l’industrialisation, outre ses liens sociaux et ses formes de production moins faciles à dissoudre
This dissertation studies artisans in Bogotá and Medellín between 1880 and 1930, and considers them crucial subjects in the ongoing dynamics of the period. Beyond describing the artisan’s world, this research concentrates on showing in what ways this sector reacted to national and trans-national phenomena. First, in Colombia, social links and forms of production long-formed by artisans were kept active and manifested themselves in several ways, including the Bogotá 1893 riot and periodical publications. Colombia’s late-nineteenth-century leading conservative hegemony set out to establish technical education, especially for artisans, hoping to replace what the guilds had done in the past and to prepare labor for industrial production purposes. Thus, basic and technical educational institutions proliferated, developing at the same time an important moral component. This work analyzes schools of arts and crafts, accounting for the artisans’ reactions to the professionalization of their crafts and the changes demanded by industrialization. Even though technical education itself sheds light on the characteristics of Colombian artisans during this period, they cannot be fully understood unless we take a broader view. Using a situated global history of connections as a methodological tool, this research allows us to understand, from a point of view seldom present in the historiography, how artisans’ experience in Colombia at the dawn of industrialization went beyond the national context. The artisans’ world was shot through with transnational phenomena such as incorporation in the markets, professionalization and specialization of crafts through technical education, and the circulation of knowledge and people. Thus, spaces for the internationalization of knowledge, such as technical education conferences and universal expositions, enabled the circulation of new techniques, artisanal knowledge, and the socialization of teaching methods. Those spaces equally promoted the mobility of people linked with these issues, including Colombian individuals, several artisans among them. Their trips to Europe allowed them to connect the artisans’ world with new developments, even if this was not the only way they enjoyed connections with European techniques. Religious congregations and lay associations also facilitated the circulation of artisanal knowledge in Colombia. Lasallians, Salesians, and the Sisters of the Presentation founded institutions to teach technical knowledge with a strong moral bent
La tesis de doctorado toma como objeto de estudio a los artesanos colombianos entre1880 y 1930 en las ciudades de Medellín y Bogotá, y los considera como sujetos fundamentalesen las dinámicas que se desarrollaron en este periodo. Más allá de describir el mundo artesanal,la investigación se interesa en mostrar cómo este sector se convirtió en un agente que reaccionóa fenómenos de escala nacional y transnacional. En Colombia, los vínculos sociales y las formasde producción que los artesanos habían gestado durante siglos se mantuvieron activos y semanifestaron de diferentes maneras, como lo fue el motín de Bogotá en 1893 y las publicacionesen periódicos de artesanos.La Hegemonía conservadora que lideró a Colombia a finales del siglo XIX tuvo comouno de sus objetivos la educación técnica, especialmente para artesanos, en vía de reemplazar lafunción que realizaron los gremios en épocas anteriores y de preparar una mano de obra para laindustria. En este contexto se dio la proliferación de instituciones educativas en conocimientosbásicos y técnicos con un importante componente moral. Esta investigación se interesa en analizarlas escuelas de artes y oficios y da cuenta de las reacciones del sector artesanal ante laprofesionalización de sus oficios y los cambios que les exigía la intención de implementar laindustrialización. Aunque por si mismo el fenómeno de la educación técnica ayuda a vislumbrarlas características del artesanado colombiano en la época estudiada, este no se puede entender sinobservarlo de una manera más amplia.Con base en la herramienta metodológica de la historia global situada de conexiones, lapresente investigación permite entender, desde un punto de vista poco explorado por lahistoriografía, cómo la experiencia de los artesanos en Colombia a las puertas de laindustrialización traspasó la realidad nacional. Fenómenos transnacionales como la inserción almercado, la profesionalización y especialización de los oficios por medio de la educación técnica,y la circulación de saberes y personas, hicieron parte de las dinámicas que atravesaron el mundoartesanal.En este contexto los espacios de internacionalización del conocimiento, como loscongresos de educación técnica y las Exposiciones universales, permitieron la circulación denuevas técnicas, de saberes artesanales y la socialización de métodos de enseñanza. Del mismomodo, incentivaron la movilidad de personas relacionadas con estos temas, como fue el caso depersonajes colombianos, entre ellos algunos artesanos. Los viajes a Europa permitieron conectarel mundo artesanal con los nuevos avances, sin embargo, no fueron el único medio por el cual losartesanos estuvieron conectados con técnicas europeas. Las congregaciones religiosas y lasasociaciones laicas fueron otro de los mecanismos que favoreció la circulación de saberesartesanales en Colombia. Los Lasallistas, Salesianos y las Hermanas de la Presentación fundaroninstituciones para formar en conocimientos técnicos con un fuerte componente moral.En suma, entre fenómenos nacionales y transnacionales, el mundo artesanal colombiano definales del siglo XIX y comienzos del siglo XX se movió entre lógicas diferentes. Una parte deél defendió sus formas de producción en los talleres y otra estuvo abierta a las nuevas técnicas ymaneras de producir. Este movimiento, entre permanencia y transformación, muestra que estesector fue una pieza clave en la preparación del país en el camino hacia la industrialización,además de que sus vínculos sociales y sus formas de producción no fueron tan fáciles de disolver

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Liao, Nien Feng, and 廖年豐. "The Study of Knowledge Management in Craft Unions." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/84509576594197191108.

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碩士
亞洲大學
經營管理學系碩士在職專班
102
For the craft unions, enterprise is not only technology and know-how use of persons, it is also technology and knowledge creation, enterprises to remain competitive in the market advantages, must be able to continuously innovate and learn from other technology integration and other business advantages, integrated enterprise and outside the knowledge and proper management, into their own advantages, to maintain innovation and response to the rapidly changing competitive environment. The purposes of this study are: First, in craft unions with the different backgrounds for their respective knowledge of knowledge management and organizational knowledge management to promote the impact and analysis. Second, the craft unions investigate the cognitive and organizational knowledge management knowledge management of the relevance of actuator. Third, knowledge management craft unions to resolve differences in perception of organizational knowledge management impact actuator. By the study results, knowledge management activities in the five dimensions of cognition and knowledge management factors to promote awareness of the five dimensions has a significant correlation between the positive and the relevant standards. Shows that when knowledge management activities have increased awareness of the time, knowledge management factors that promote cognitive improvements will follow.

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Tsai, Pei-Shan, and 蔡佩珊. "Consumers'' Knowledge and Needs of Craft Beer in Taiwan." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/61806580927871224885.

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碩士
銘傳大學
觀光研究所碩士班
94
Taiwan participated in WTO in 2002 and the craft beer industry was started as developed counties at the same time. The purpose of this study is to understand consumers’ knowledge and needs of craft beer in Taiwan and analysis the relationship between consumers’ knowledge and consumers’ needs; consumers’ knowledge and willingness of purchase; consumers’ needs and willingness of purchase. A questionnaire survey was performed in eight restaurants (Four restaurants which sell craft beer and four sell mass beer product). Four hundreds consumers who were over eighteen finished questionnaires in those eight restaurants and three hundred and seventy eight effective questionnaires were collected. Results of this paper indicated that consumers’ knowledge of craft beer was low, but consumers’ needs of craft beer were close to “need”. Moreover, consumers needed that different restaurants can supply different beer products; beer with different flavor from mass beer product; fresh beer and beer with strong body. Demographic factors were significant difference in consumers’ knowledge and consumers’ needs. However consumers with master (or above) degree or average salary above NT$55,001 had higher knowledge of craft beer; male consumers prefered beer with strong body and higher alcohol; female consumers and students prefered beer with special or fruity flavor; consumers who were married without children prefered delivery service. Finally, consumers’ knowledge and consumers’ needs were positive correlation and consumers’ knowledge was able to forecast consumers’ needs. Consumers’ knowledge and willingness of purchase were also positive correlation, and consumers’ knowledge was able to forecast willingness of purchase. Consumers’ needs and willingness of purchase were strongly positive correlation, and consumers’ needs were able to forecast willingness of purchase.

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Visotzky, Leora Simcha. "A manifesto on making : the knowledge built building a chair." Thesis, 2014. http://hdl.handle.net/2152/28089.

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Craft is the unification of the work of the hand and the work of the mind through material to produce an object with meaning. A craftsman is he or she who engages in the process of making with conscious intent and engagement with material and a broader scope of people and nature. Today, advances in mechanization and industry have allowed us to embrace a passivity that leaves us disconnected from the world and other people. We can look to craft, particularly with wood, as an antidote for this loss of connection. Through material specificity, the way handwork can offer the maker meaning about the place of the self in the world, and the way in which it illuminates the greater network of people, objects, and nature in which the maker exists, craft is a vehicle by which to produce knowledge otherwise unavailable through today’s methods of production and consumption. Through a personal account of the process of making a rocking chair out of wood and an examination of past and current scholarship surrounding craft and ontological aspects of identity, perception, and experience, the following examination, in conjunction with the actual process of making, aims to create a place for dialogue in the space between aesthetic philosophy and craft, creating a new paradigm for the role and definition of hand work today. It is an inquiry into the relationship between making and the production of knowledge.
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"Knowledge as a marketing strategy: Cultural information and ethnic crafts in the retail environment." UNIVERSITY OF CALIFORNIA, SAN DIEGO, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=1451764.

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Bae, Kyoungjin. "Joints of Utility, Crafts of Knowledge: the Material Culture of the Sino-British Furniture Trade during the Long Eighteenth Century." Thesis, 2016. https://doi.org/10.7916/D8GX4BR6.

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This dissertation examines the material culture of the Sino-British furniture trade in the eighteenth and early nineteenth centuries. In the beginning of the eighteenth century, the British East India Company began importing a large quantity of furniture made in Canton (Guangzhou), China. As the trade between Britain and China became standardized around 1720, this furniture became a part of the private trade carried out by merchants associated with Company. Unlike other objects of the China trade that fed into the vogue of chinoiserie, export furniture crafted with hardwoods from the Indian Ocean was produced in European designs of the time and thus was often indistinguishable from its Western counterparts. What cultural and economic values did export furniture represent in the early modern maritime trade and how did it reify the trans-regional movement of knowledge and taste between China and Britain? Going beyond the conventional perspective on export Chinese objects oriented toward European reception, I connect production with consumption in order to follow the trajectory of export furniture from its origins in the intra-Asian timber trade to its requisition and manufacture in Canton to its reception and use in both Britain and China, highlighting how this process linked the disparate spheres of commerce, knowledge production and distribution, and cultural practices. In the course of exploring these multiple dimensions of the object’s material life, this dissertation underscores export furniture’s bicultural and transcultural characteristics. Utilizing diverse sets of visual, material, and textual sources, each chapter of the dissertation investigates different aspects of the movement of furniture as an assemblage. Chapter 1 reconstructs the itinerary of export furniture as a commodity from the EIC timber trade between India and China to the ordering and shipping of the furniture for the British market. I show how the character of export furniture was shaped by the constraints of space and the economic, environmental, and epistemic contingencies of long distance travel and communication. Chapter 2 examines the influence of imported Asian rosewood – an important cabinet timber from which most hardwood Chinese export furniture was made – on early modern British arboreal knowledge. If the knowledge of rosewood in the seventeenth century was grounded in classical texts that defined it as a subshrub growing in the eastern Mediterranean region, in the eighteenth century the term came to refer to a hardwood species imported from tropical Asia. I argue that this change allowed rosewood to obtain a new status as a universal category in the botanical taxonomy, which collected, pruned, and ordered heterogeneous cultural and natural information associated with it into a neatly classified “cabinet” of universal knowledge. Chapter 3 returns to Canton to investigate Cantonese cabinetmakers and the production of export furniture. By reading the joinery of extant export furniture pieces, I show how Chinese artisans recreated foreign forms by mobilizing their embodied knowledge of craft rather than by imitating European joinery constructions. The details of this material translation not only reflect the flexibility and resilience of traditional Chinese craft but also illuminate the tacit knowledge and craft patterns of early modern Chinese artisans. Chapters 4 and 5 turn to the domain of consumption in Britain and China, respectively. Chapter 4 explores how Chinese cabinets were experienced in early modern Britain. Comparing lacquered and hardwood display cabinets, I show that Chinese cabinets were not just exotic objects; they played an active role in the evolution of the cabinet as a type of furniture in the domestic material culture and created an affective space both within themselves and in their ambient space that invited the bodily experience and imagination of the user-beholder. The final chapter examines the movement and adaptation of European round tables in mid-Qing Chinese material culture. Introduced by European mariners to Canton, the round tables quickly found their niche in local everyday life and eventually spread beyond Guangdong. I show how they partook in the formation of a new social dining practice that conveyed a new political vision of equality. As a whole, my dissertation argues that export furniture was a Eurasian object that embodied cross-cultural knowledge of craft and nature, and engendered new ideas of utility and sociability.

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Ndlangamandla, Mhambi Moses. "Contribution of indigenous knowledge use on the livelihood of rural women in the Lowveld region of Swaziland: a case study of handicrafts." Diss., 2014. http://hdl.handle.net/10500/18527.

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Poverty alleviation is a key item on the agenda of both government and non-governmental organisations. The use of indigenous knowledge to embark on small and medium size enterprises (SMEs) such as handicraft making has shown that it has a potential to yield the desired outcome in many areas. The research addressed the question: to what degree are handicrafts made in the Lowveld region of Swaziland and to what extent do these handicrafts contribute towards the livelihood of rural households? The data was collected using questionnaires and observations. Findings revealed that the production of handicrafts is the second most important livelihood activity for most respondents. Even though the income received from these activities is small, its significance lies in the timing at which it is received; and on its role in supporting existing livelihood activities. Sustainability of the business is, however, threatened by inaccessibility of resources, lack of organisation and trading challenges There is a need to promote the cultivation of natural resources, continuous training workshops and for women to form cooperatives or groups. Further research is needed that would focus on the following areas: a comparative study done in urban areas which shall also investigate the impact of handicraft on urban poor households; a study which will focus on handicraft marketing and consumption and lastly on the youth and handicraft.
Agriculture, Animal Health and Human Ecology
M.Sc. (Human Ecology)

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Schulze, Benjamin W. "Doing-Using-Interacting-Mode. Wirtschaftspolitische Folgerungen zum Lern- und Innovationsverhalten von kleinen und mittleren Unternehmen." Thesis, 2018. http://hdl.handle.net/11858/00-1735-0000-002E-E543-3.

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Dissertations / Theses on the topic 'Craft Knowledge'

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