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1
Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
Full textAbstract:
This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
2
Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
Full textAbstract:
This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
3
Morris, Darrell, Janet W. Bloodgood, Jan Perney, Elizabeth M. Frye, Linda Kucan, Woodrow Trathen, Devery Ward, and Robert Schlagal. "Validating Craft Knowledge." Elementary School Journal 112, no. 2 (December 2011): 205–33. http://dx.doi.org/10.1086/661522.
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4
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
5
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
6
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
7
Atkinson, Paul. "Ethnography and Craft Knowledge." Qualitative Sociology Review 9, no. 2 (April 30, 2013): 56–63. http://dx.doi.org/10.18778/1733-8077.09.2.06.
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The paper has twin themes: the creative work of ethnographic interpretation, and the ethnographic interpretation of creative work. Illustrated with reference to recent and current fieldwork on craft, dance, and opera, it suggests some ways in which the ethnographer might creatively engage with her or his chosen fields. It criticizes the current view of “grounded theory,” which is found to be far too procedurally driven, in favor of more creative explorations of data.
8
Leinhardt, Gaea. "Capturing Craft Knowledge in Teaching." Educational Researcher 19, no. 2 (March 1990): 18–25. http://dx.doi.org/10.3102/0013189x019002018.
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9
Kumar, Sanjeev, and Nandini Dutta. "Weaving a knowledge tapestry of traditional crafts for modern fashion designers: an Indian experience." Art Libraries Journal 36, no. 2 (2011): 17–24. http://dx.doi.org/10.1017/s0307472200016874.
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Design innovations in India’s fashion products result from a fusion of modern technologies and traditional craft skills. This paper highlights the role of the National Resource Centre and the network of resource centres of the National Institute of Fashion Technology in collecting and preserving heritage resources using computer technology. Plans for a National Design Repository and for Shilpakala Jnana Kosha, a digital repository for the tacit craft knowledge of artisans, share the objectives of preserving endangered traditional skills, supporting a process of revival and optimising the use of traditional crafts in contemporary fashion design.
10
Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.
Full textAbstract:
The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
11
Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.
Full textAbstract:
The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
12
Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.
Full textAbstract:
The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
13
Partarakis, Nikos, Voula Doulgeraki, Effie Karuzaki, George Galanakis, Xenophon Zabulis, Carlo Meghini, Valentina Bartalesi, and Daniele Metilli. "A Web-Based Platform for Traditional Craft Documentation." Multimodal Technologies and Interaction 6, no. 5 (May 10, 2022): 37. http://dx.doi.org/10.3390/mti6050037.
Full textAbstract:
A web-based authoring platform for the representation of traditional crafts is proposed. This platform is rooted in a systematic method for craft representation, the adoption, knowledge, and representation standards of the cultural heritage (CH) domain, and the integration of outcomes from advanced digitization techniques. In this paper, we present the implementation of this method by an online, collaborative documentation platform where digital assets are curated into digitally preservable craft representations. The approach is demonstrated through the representation of three traditional crafts as use cases, and the lessons learned from this endeavor are presented.
14
Wahidin. "BUILDING ENTREPRENEURSHIP THROUGH TALIKUR CRAFT TRAINING FOR HOUSEHOLD ISSUES." BALANGA: Jurnal Pendidikan Teknologi dan Kejuruan 10, no. 1 (June 30, 2022): 22–26. http://dx.doi.org/10.37304/balanga.v10i1.4985.
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Talikur craft is currently being favored by women, be it teenagers or adult women. However, not everyone can buy it due to economic limitations considering the price is not cheap. Therefore, this service activity was carried out to provide training on how to make talikur crafts. So, participants can make their own talikur craft as desired. The methods used in this activity are direct training (lectures, demonstrations, and questions and answers) and mentoring. The result of this service is that participants have the knowledge and skills to make talikur crafts in various forms and models.
15
Nugraha, Adhi. "Does Art Benefit from Craft Knowledge?" Research in Arts and Education 2009, no. 2 (June 1, 2009): 1–9. http://dx.doi.org/10.54916/rae.118706.
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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz Høgseth, and Pirita Seitamaa-Hakkarainen. "Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Craft Research 11, no. 2 (September 1, 2020): 177–209. http://dx.doi.org/10.1386/crre_00025_1.
Full textAbstract:
The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach, adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, including its methodological approaches, with a focus on Ph.D. theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The purpose of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
17
Zabulis, Xenophon, Carlo Meghini, Nikolaos Partarakis, Cynthia Beisswenger, Arnaud Dubois, Maria Fasoula, Vito Nitti, et al. "Representation and Preservation of Heritage Crafts." Sustainability 12, no. 4 (February 15, 2020): 1461. http://dx.doi.org/10.3390/su12041461.
Full textAbstract:
This work regards the digital representation of tangible and intangible dimensions of heritage crafts, towards craft preservation. Based on state-of-the-art digital documentation, knowledge representation and narrative creation approach are presented. Craft presentation methods that use the represented content to provide accurate, intuitive, engaging, and educational ways for HC presentation and appreciation are proposed. The proposed methods aim to contribute to HC preservation, by adding value to the cultural visit, before, and after it.
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Lahti, Henna, and Päivi Fernström. "Crafticulation as a method of knowledge creation." Craft Research 12, no. 2 (September 1, 2021): 183–204. http://dx.doi.org/10.1386/crre_00049_1.
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Our aim in this article is to introduce the idea of ‘crafticulation’ as a part of scientific method and to present a case study related to it. A novel course, Materializing in Craft Science, was offered in the first year of the craft teacher master’s degree at the University of Helsinki. The aim of the course was to pilot a method of crafticulation by materializing theoretical mind maps. Crafticulation consists of the words, ‘craft’ and ‘articulation’ and further, crafticulation is seen as a part of practice-led research in which craft plays a key role in eliciting a wide spectrum of knowledge. Our research question is how crafticulation emerged in students’ inquiry processes. The research data included twenty individual mind maps, materializations and reflections of the course. Based on theory-driven data analysis, the results indicated that many students used crafticulation for demonstration purposes. For example, they tested the connection between their craft-making process and well-being. Another approach was to convey a certain experience by way of crafticulation. In some cases, crafticulation was linked to analogies and metaphors in learning theoretical concepts. Furthermore, the students found new avenues in which to reflect research topics and to deepen their inquiry processes.
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Duarte Alonso, Abel, and Nevil Alexander. "Importance of acquiring knowledge through feedback in an emerging industry." Asia Pacific Journal of Marketing and Logistics 29, no. 2 (April 10, 2017): 265–82. http://dx.doi.org/10.1108/apjml-07-2016-0128.
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Purpose The purpose of this paper is to investigate the importance of feedback in developing and operationalising knowledge from the perspective of craft brewing operators. The study contributes to various literature streams, including marketing and craft brewing entrepreneurship. An additional contribution is made through the adoption of the knowledge-based theory of the firm, and the SECI process to facilitate understanding of the significance of knowledge in the craft brewing industry. Design/methodology/approach An online questionnaire was designed to gather data from mainly micro and small craft brewery operators. Of the 110 craft breweries identified across Australia, 57 (51.8 per cent) participated. The predominantly qualitative data were analysed using content analysis and word association. Findings The importance of knowledge acquisition for craft brewery firms was revealed in various ways. For example, respondents most favoured new knowledge to learn about quality issues and perceptions of quality among buyers/consumers. Further, acquired knowledge through feedback was a determinant factor in participants’ decision to produce particular styles of beers. Several alignments with the adopted theoretical frameworks were revealed, including the role of socialisation (SECI process) illustrated through the transformation of explicit into tacit knowledge. Originality/value The study examines the dimension of knowledge in the craft brewing industry, which, although considerably developing, continues to be underresearched. Furthermore, the study’s findings underline various important implications for the craft brewing industry, suppliers, and for end consumers. The study also proposes a refinement of both the RBTF and the SECI process based on the findings.
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Zabulis, Xenophon, Nikolaos Partarakis, Carlo Meghini, Arnaud Dubois, Sotiris Manitsaris, Hansgeorg Hauser, Nadia Magnenat Thalmann, et al. "A Representation Protocol for Traditional Crafts." Heritage 5, no. 2 (March 30, 2022): 716–41. http://dx.doi.org/10.3390/heritage5020040.
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A protocol for the representation of traditional crafts and the tools to implement this are proposed. The proposed protocol is a method for the systematic collection and organization of digital assets and knowledge, their representation into a formal model, and their utilization for research, education, and preservation. A set of digital tools accompanies this protocol that enables the online curation of craft representations. The proposed approach was elaborated and evaluated with craft practitioners in three case studies. Lessons learned are shared and an outlook for future work is provided.
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Westerlund, Tina. "Knowledge in our hands: Analytical tools for craft knowledge communication." Craft Research 13, no. 2 (September 1, 2022): 237–59. http://dx.doi.org/10.1386/crre_00078_1.
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Craft knowledge is built from examples of experiential knowledge, and when individual or group experiences are gathered and compared, new knowledge is created. This requires socialization between practitioners or a systematic collection of practice descriptions, such as in a manual. However, there is always a risk that knowledge that is difficult to put into words will never be captured or communicated. The aim of this article is to show how theoretical frameworks can be used as analytical tools to help us develop methods that support the communication of craft knowledge. Using a research-through-practice approach in the field of horticulture combined with frameworks based on Bengt Molander’s concept of three knowledge orientations and Nonaka and Takeuchi’s knowledge conversation criteria (SECI-model), I will discuss how it is possible to make practitioners’ subjective knowledge more readily available to others.
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Bell, Emma, and Hugh Willmott. "Ethics, politics and embodied imagination in crafting scientific knowledge." Human Relations 73, no. 10 (October 17, 2019): 1366–87. http://dx.doi.org/10.1177/0018726719876687.
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This article explores ‘research-as-craft’ as a sensitizing concept for disclosing the presence of ethics and politics, as well as embodiment and imagination, in the doing and representation of scientific activity. Routinely unnoticed, marginalized or suppressed in methodology sections of articles and methodology textbooks, research-as-craft gestures towards messy, tacit, uncertain, yet rarely thematized, practices that are central to getting science done. To acknowledge and address the significance of research-as-craft in knowledge production, we show how it relates to three forms of reflexivity – constitutive, epistemic and disruptive. Through this we demonstrate the craftiness that is required when struggling with the indeterminacy that is endemic to the production and communication of scientific knowledge. By showing how empirical situations require imaginative interpretation by embodied researchers, we argue that our conception of research-as-craft facilitates appreciation of scientific inquiry as an indexical activity that involves the crafted object and the researcher in an ethico-political process of co-constituting knowledge.
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Kirillova, Ekaterina. "Learning a Craft in 13th-century Paris and the Value of Professional Knowledge." ISTORIYA 13, no. 11 (121) (2022): 0. http://dx.doi.org/10.18254/s207987840023080-7.
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The “Book of Crafts” of Paris (Livre des métiers) demonstrates the exceptional variety of highly specialized crafts, the multiplicity of social and professional traditions formed by the 13th century, and the variability of approaches to resolving complex issues of organizing the activities of artisans and merchants in a medieval metropolis. The author singles out the set of information of the “Book of Crafts” about apprentices and vocational training, which was exceptional in terms of volume and content; studies the general quantitative and qualitative characteristics of the set on apprenticeship in the Parisian statutes. The training in the 13th century almost completely included the next stage of professionalization like gaining experience, and the end of apprenticeshipdid not end with a professional test, which sometimes arose when an apprentice became a teacherhimself. The author emphasizes the fundamental value of apprenticeshipin the system of admission to the profession and the exceptional importance of the attitude towards vocational training reflected in the Parisian registers for the history of the medieval craft.
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Indahyani, Titi. "Sukses Mengembangkan Desain Seni dan Kerajinan Menjahit Aplikasi Berbahan Dasar Limbah Kain (Kain Perca) bagi Industri Rumah Tangga." Humaniora 1, no. 2 (October 31, 2010): 431. http://dx.doi.org/10.21512/humaniora.v1i2.2885.
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Arts and craft products are now beginning to be produced by many home industries such as sewing patchwork application products. But the lack of knowledge of art, design and product marketing in this industry making products become less competitive and provide income earning less than the maximum. Besides, home industry players sometimes do not have the high endurance and sustainability in business. As one of the national strategic issues, the arts, crafts and creative industries get serious attention from the government. It is expected with the opening horizons of knowledge in art, design and product marketing in the area of sew patchwork application craft (which is use the waste fabric) will impact the development of entrepreneurship opportunities and support many home industries entrepreneur from local micro become sustainable macro business. This action will also support to further explore the various culture of Indonesian arts, crafts and other creative industries became more creative, innovative and competitive by using waste materials that are environmentally friendly.
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Grimmett, Peter P., and Allan M. MacKinnon. "Craft Knowledge and the Education of Teachers." Review of Research in Education 18 (1992): 385. http://dx.doi.org/10.2307/1167304.
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Burney, Deanna. "Craft Knowledge: The Road to Transforming Schools." Phi Delta Kappan 85, no. 7 (March 2004): 526–31. http://dx.doi.org/10.1177/003172170408500711.
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Niedderer, Kristina, and Katherine Townsend. "Designing Craft Research: Joining Emotion and Knowledge." Design Journal 17, no. 4 (December 2014): 624–47. http://dx.doi.org/10.2752/175630614x14056185480221.
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Stein, Jesse Adams. "Hidden Between Craft and Industry: Engineering Patternmakers’ Design Knowledge." Journal of Design History 32, no. 3 (March 30, 2019): 280–303. http://dx.doi.org/10.1093/jdh/epz012.
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Abstract Craft is currently experiencing an academic and popular revival, as evidenced by increasing interest in ‘makers’ and artisanal practices, both within and beyond design history. Yet, in this moment of craft’s resurgence, some aspects are regularly overlooked. Industrial craft in manufacturing, for instance, is a field ripe for closer analysis. Engineering patternmaking is an industrial craft that remains almost invisible in design history, despite the design-related nature of patternmaking, and its centrality to many industrial manufacturing processes. Drawing on oral histories with Australian patternmakers, this article emphasizes that patternmaking is both a manual and intellectual practice that requires thorough knowledge of drawing, materials, geometry, three-dimensional visuality and manufacturing processes planning. Accordingly, I argue that patternmakers possess and enact a specific type of design knowledge, a form of expertise that has thus far been undervalued in both design and craft histories. Making use of Nigel Cross’ influential theorization of ‘designerly ways of knowing’, this article explores the connections and divergences between design and patternmaking knowledge sets, reminding us that the making of manufactured objects is deeply collaborative across professional and class formations. In doing so, I highlight the significance of industrial craft knowledge in the actualization of design. This example has broader historical implications for how design history frames and values the knowledge, skills and influence of those engaged in industrial production.
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Brown, Sarah Emily. "To be ‘skilled’ or not to be ‘skilled’? A case study exploring the interaction of two crafts in anthropological fieldwork in Madagascar." Journal of Arts & Communities 10, no. 1-2 (March 1, 2020): 53–66. http://dx.doi.org/10.1386/jaac_00005_1.
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This article reflects on the use of, and interactions between, embroidery and reed weaving as methods in anthropological fieldwork with Malagasy craftswomen. The research explores changes in craft methodologies as weavers faced with declining natural resources have shifted to practising embroidery instead. Engagement with the making process was central to the research design, through an apprenticeship in reed weaving and participant observation using both crafts. Reflection on this approach suggests that the researcher’s pre-existing skills affected the role that each craft took in the research, shaping distinct modes of interaction and generating different types of knowledge. Research activities using weaving, in which the researcher was seen as ‘unskilled’, tended to generate technical, practical and logistical knowledge. Activities using embroidery, in which the researcher was already experienced and seen as a ‘skilled’ practitioner, shaped more exploratory research spaces in which more personal conversations emerged. This article discusses ways that the two processes were used to complement each other and suggests that combining both ‘skilled’ and ‘unskilled’ positions could help to overcome some of the challenges of cross-cultural craft research.
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Dai, Ying, and Shyh-Huei Hwang. "Technique, Creativity, and Sustainability of Bamboo Craft Courses: Teaching Educational Practices for Sustainable Development." Sustainability 11, no. 9 (April 28, 2019): 2487. http://dx.doi.org/10.3390/su11092487.
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The 18-year history of bamboo craftsmanship in the university curriculum of Taiwan started with the popularization of concepts such as green design, community building, and cultural and creative industries. Bamboo is an environmentally-friendly material that has received much attention in the 21st century. Craftsmanship has drawn the attention of universities. This study uses participatory observation and interviews to collect information on bamboo craft courses in four departments of three universities and uses qualitative coding analysis to explore the sustainable teaching methods of craftsmanship teachers, sustainable development learning effects on students, and different ways of promoting sustainable development education (ESD) with bamboo craft courses in different universities. The research results show the following: (1) There are differences in bamboo craft courses: teachers’ craftsmanship and curricula are different, resulting in differences in technical depth and creativity; (2) with respect to the ESD evaluation criteria of the four bamboo craft courses, skills learning itself is not complete, but students are provided with a path to self-reliance in the craft and in responding to cultural sustainability challenges; and (3) regarding the relationship between ESD and bamboo craft education, bamboo craft education promotes the concept of sustainability and is important for the creation of crafts; universities offer opportunities for testing students’ technical talents and knowledge, but ESD is limited and blurry.
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Hagstrum, Melissa. "Household Production in Chaco Canyon Society." American Antiquity 66, no. 1 (January 2001): 47–55. http://dx.doi.org/10.2307/2694317.
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The household is the most basic and flexible component of human social organization. It is through the household that we can understand the Chaco phenomenon from the point of view of agriculture and craft production. Households strive for autonomy and self-sufficiency and they spread themselves thin to meet basic subsistence requirements. As a result, scheduling of agricultural and craft activities is critical to the success of the household. Craft technologies must be complementary with agricultural activities; for example, pottery may be made during the heat of the day when agricultural tasks are at a lull. The concept of intersecting technologies suggests that technical knowledge, resources, and labor may be shared among crafts and other activities. Chacoan households probably specialized in the production of different crafts including pottery, jewelry, basketry, and other woven goods. Within the context of the Chaco regional system the mobilization of labor would have been through obligatory work assignments that complemented domestic autonomy in agricultural production and, as a result, would have been organized seasonally.
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Amrita, Nyoman Dwka Ayu, and I. Dewa Gede Putra Sedana. "Revitalization Palm Leaf Craft Business." International Journal of Community Service Learning 6, no. 1 (March 21, 2022): 37–43. http://dx.doi.org/10.23887/ijcsl.v6i1.43439.
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Palm leaf craft is one of the crafts that has good prospects and is in great demand by tourists because it is made of natural materials and has a very artistic shape. The palm leaf craft business is the economic foundation of the community in Madangan Kelod, Gianyar. However, the prospect of this palm leaf craft business is still not optimal. Based on observations, there are palm leaf craft business groups that really need help to overcome the problems they face. The problems faced by this craft business group are inadequate production equipment, lack of insight into online marketing, lack of knowledge of group management, division of tasks members and recording the administration of financial statements carefully and thoroughly. The purpose of this program is create availability of adequate equipment and partners being able to increase the amount of handicraft production by 30%, partners being able to increase sales by 30%, and all members of the craftsman group being able to understand group management and be able to make group bookkeeping. The method of implementing this activity is preceded by collecting information from partners' conditions, designing activities to be carried out, followed by program socialization, conducting training, mentoring and evaluation.
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Groth, Camilla, Veikko Jousmäki, Veli-Matti Saarinen, and Riitta Hari. "Craft sciences meet neuroscience." Craft Research 13, no. 2 (September 1, 2022): 261–83. http://dx.doi.org/10.1386/crre_00079_1.
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Collaboration between disciplines is necessary when research questions cannot be answered within a single discipline. Joining of forces can produce results that neither discipline could provide alone. Here we exemplify collaboration between a ceramic craft researcher and three neuroscientists working in the field of human brain imaging. In our case study of clay throwing, the researcher‐practitioner’s eye gaze, muscular activity and hand acceleration were recorded online, synchronized with video and thermal-camera recordings. We describe the experimental setting and discuss, besides the possible future interests in this kind of research, also the different levels of collaborative work between disciplines. We found that the monitoring methods worked well in the naturalistic setting in a ceramic studio, providing some new perspectives into the craft practice. For neuroscientists, clay throwing ‐ involving accurate sensorimotor hand control, haptics and eye‐hand coordination ‐ provides an attractive setup to extend previous neuroscientific and behavioural findings in strictly controlled laboratory experiments into naturalistic situations. The applied monitoring devices might allow practitioner‐researchers in crafts to become aware of unconscious steps in the making process. The applied methods could also help to accumulate general craft-making knowledge and build related theory.
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Chirakranont, Rangson, and Sirijit Sunanta. "Craft Beer Tourism in Thailand." Tourism Analysis 26, no. 2 (April 14, 2021): 237–39. http://dx.doi.org/10.3727/108354221x16079839951493.
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The craft beer movement and craft beer tourism are a new global phenomenon that has reached various parts of the world. However, the literature on craft beer tourism mostly focuses on traditional origins of craft beer in Western countries—the US, Australia, and European countries. This research note illustrates how a study of the Thai craft beer movement and craft beer tourism could contribute to the existing body of knowledge. The consumption of non-Western people in non-Western places has been underrepresented in the literature of food and beverage tourism. The craft beer movement has spread to Thailand via urban middle-class Thais who brought the passion for and knowledge of home brewing from the West to Thailand. Brewing lessons, brewery visits, and craft beer events/ festivals have functioned as community building activities for Thai craft beer enthusiasts as well as the main craft beer distribution channel. Craft beer consumption continues to grow despite the Thai alcoholic production law that prohibits home brewing. For future studies, different craft beer tourism activities in Thailand should be analyzed for 1) the adoption of the experience economy framework, 2) the formation of the consumption community, 3) the roles of various stakeholders who differentially contribute to and benefit from craft beer tourism activities, and 4) the role of foreign tourists in the development of craft beer tourism in Thailand.
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Chambers, Ruth, and Mireille Perron. "Re-Negotiating Materiality: Craft Knowledge and Contemporary Art." RACAR : Revue d'art canadienne 42, no. 1 (August 15, 2017): 22–31. http://dx.doi.org/10.7202/1040837ar.
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L’origine de la section Pratiques remonte à une demande des artistes membres de l’AAUC désireux, désireuses de voir plus de travaux d’artistes contemporains circuler dans le cadre de RACAR. Le format vise à multiplier les rencontres possibles entre une thématique actuelle et ses praticien.ne.s. Les huit artistes sollicité.e.s choisissent comme mode d’expression les métiers d’art et/ou emploient des pratiques artisanales. Il s’agirait d’un type de réflexivité qui passe par une re-négociation de la matérialité des oeuvres et leurs processus au moyen de savoir-faire artisanaux. Cette re-négociation par la connaissance artisanale a des implications élargies. Ces artistes et leurs oeuvres contribuent au discours des critiques matérialistes apparues dans différents domaines du savoir. Nous avons demandé à chaque artiste de soumettre une image et une courte description de leur oeuvre à la lumière de notre thématique.
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Cardoni, Andrea, John Dumay, Matteo Palmaccio, and Domenico Celenza. "Knowledge transfer in a start-up craft brewery." Business Process Management Journal 25, no. 1 (February 4, 2019): 219–43. http://dx.doi.org/10.1108/bpmj-07-2017-0205.
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Purpose The purpose of this paper is to explore the role of the entrepreneur in the knowledge transfer (KT) process of a start-up enterprise and the ways that role should change during the development phase to ensure mid-term business survival and growth. Design/methodology/approach An in-depth, qualitative case study of Birra Flea, an Italian Craft Brewery, is presented and analysed using Liyanage et al.’s (2009) framework to identify the key components of the KT process, including relevant knowledge, key actors, transfer steps and the criteria for assessing its effectiveness and success. Findings The entrepreneur played a fundamental and crucial role in the start-up process, acting as a selective and passionate broker for the KT process. As Birra Flea matures and moves into the development phase, the role of the entrepreneur as KT’s champion needs to be integrated and distributed throughout the organisation, with the entrepreneur serving as a performance controller. Research limitations/implications This study enriches the knowledge management literature by applying a framework designed to provide a general description of KT, with some modifications, to a single case study to demonstrate its effectiveness in differentiating types of knowledge and outlining how KT can be configured to support essential business functions in an SME. Practical implications The analysis systematises the KT mechanisms that govern the start-up phase of an award-winning SME, with suggestions for how to manage KT during the development phase. Seldom are practitioners given insight into the mechanics of a successful SME start-up; this analysis serves as a practical guide for those wishing to implement effective KT strategies to emulate Birra Flea’s success. Originality/value The world’s economy thrives on SMEs, yet many fail as start-ups before they even have a chance to reach the development phase, presenting a motivation to study the early stages of SMEs. This study addresses that gap with an in-depth theoretical analysis of successful, effective KT processes in an SME, along with practical implications to enhance the knowledge, experience and skills of the actors that sustain these vital economic enterprises.
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Black-Hawkins, Kristine, and Lani Florian. "Classroom teachers’ craft knowledge of their inclusive practice." Teachers and Teaching 18, no. 5 (July 27, 2012): 567–84. http://dx.doi.org/10.1080/13540602.2012.709732.
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Davids, Karel. "Public Knowledge and Common Secrets. Secrecy and its Limits in the Early-Modern Netherlands." Early Science and Medicine 10, no. 3 (2005): 411–27. http://dx.doi.org/10.1163/1573382054615424.
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AbstractOpenness of knowledge was in the Dutch Republic no more a natural state of affairs than in other parts of Europe at the time, but it became dominant there at an earlier date than elsewhere. This puzzling phenomenon is the subject of this essay. The article shows that tendencies to secrecy in crafts and trades in the Netherlands were by no means absent and that public authorities were not principled supporters of openness. Openness of knowledge did not prevail because arguments in favour of a free exchange of knowledge won the day against a rhetoric in defense of secrecy or because a rapid change in methods of production and marketing rendered the maintenance of craft secrecy practically impossible. The weakness of secrecy in the early-modern Netherlands, this essay argues, can be explained by the relative tardiness of the growth of the corporate system and the typical features of the institutional structure of the Dutch Republic. Craft secrecy in the Dutch Republic, as far as it existed before the middle of the eighteenth century, was normally based on a contractual relationship between individual actors rather than on any form of enforcement by public agencies.
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Matsin, Ave. "Konverents "Traditsioonilised kampsunid Läänemeremaades"." Studia Vernacula 4 (November 5, 2013): 165–70. http://dx.doi.org/10.12697/sv.2013.4.165-170.
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The International Crafts Conference ‘Traditional Knitted Sweaters around the Baltic Sea’ was held on the initiative of the Department of Estonian Native Crafts of the University of Tartu Viljandi Culture Academy from 16-18 May 2013. During its three days, the conference focussed on the kinds of sweaters that have historically been knitted around the Baltic Sea and how they reflect our common history. Almost all craft researchers who delivered presentations came to the same conclusion: the tradition of our knitted sweaters started from the knitted silk night sweaters exported from England in the 16th century, which people in the Nordic countries started copying using local materials. The function of the sweater changed from nightwear to an everyday piece of clothing.
The conference was attended by around a hundred foreign guests from the Shetland Islands, Denmark, Sweden, Finland, Norway, Latvia, Germany and the United States, plus more than a hundred guests from Estonia. The heads of the national central folk art and craft unions of Finland and Sweden also attended, as Estonia handed the status of the lead state of the Nordic Folk Art and Craft Association over to Finland at the conference.
Approximately 450 people attended the Omamood 2013 fashion show, which took place on the first day of the conference. The second international competition in knitting whilst walking, ‘Walk & Knit’, was also held within the scope of the conference. The success of the conference is a good reason to start planning new international events. This model – where the same event includes looking back at historical items, while considering the implementation of this knowledge in contemporary creations – fulfils the mission of the Department of Estonian Native Crafts and will help to inspire our crafts circles.
Keywords: sweaters, knitting, Nordic Folk Art and Craft Association
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Matsin, Ave. "Konverents "Traditsioonilised kampsunid Läänemeremaades"." Studia Vernacula 4 (November 5, 2013): 165–70. http://dx.doi.org/10.12697/sv.2013.4.165-170.
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The International Crafts Conference ‘Traditional Knitted Sweaters around the Baltic Sea’ was held on the initiative of the Department of Estonian Native Crafts of the University of Tartu Viljandi Culture Academy from 16-18 May 2013. During its three days, the conference focussed on the kinds of sweaters that have historically been knitted around the Baltic Sea and how they reflect our common history. Almost all craft researchers who delivered presentations came to the same conclusion: the tradition of our knitted sweaters started from the knitted silk night sweaters exported from England in the 16th century, which people in the Nordic countries started copying using local materials. The function of the sweater changed from nightwear to an everyday piece of clothing.
The conference was attended by around a hundred foreign guests from the Shetland Islands, Denmark, Sweden, Finland, Norway, Latvia, Germany and the United States, plus more than a hundred guests from Estonia. The heads of the national central folk art and craft unions of Finland and Sweden also attended, as Estonia handed the status of the lead state of the Nordic Folk Art and Craft Association over to Finland at the conference.
Approximately 450 people attended the Omamood 2013 fashion show, which took place on the first day of the conference. The second international competition in knitting whilst walking, ‘Walk & Knit’, was also held within the scope of the conference. The success of the conference is a good reason to start planning new international events. This model – where the same event includes looking back at historical items, while considering the implementation of this knowledge in contemporary creations – fulfils the mission of the Department of Estonian Native Crafts and will help to inspire our crafts circles.
Keywords: sweaters, knitting, Nordic Folk Art and Craft Association
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El Amrani, Imane, Abdelmjid Saka, Nada Matta, and Taoufik Ouazzani Chahdi. "A Methodology for Building Knowledge Memory Within the Handicraft Sector." International Journal of Knowledge Management 15, no. 3 (July 2019): 45–65. http://dx.doi.org/10.4018/ijkm.2019070103.
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The Moroccan handicraft is threatened by the loss of its knowledge and several authorities are calling to safeguard this cultural heritage through a detailed transcription and development of an interactive multimedia system. In response to this call, this article represents a first step in addressing this need. It provided a basic methodology for building a craft memory which will be considered as a benchmark for handicraft knowledge preservation. The study focuses on identifying the most critical and vulnerable know-how and modelling the knowledge which needs to be retained. To do so, a methodological framework is proposed and validated through a case study on the Moroccan zellige craft. The methods used here are derived from the world of Knowledge Management (KM) and Knowledge Engineering (KE); in particular, MASK method, GAMETH and M3C. Nevertheless, their systematic application is not perfectly adapted, it needs to be in accordance to the craft characteristics and the artisan's profile which is the key point of the current study.
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Walker, Nancy T., Jennifer Wimmer, and Thomas Bean. "Multiple Texts, Teacher Craft Knowledge, and Principled Practices in High School Economics A Case Study of Kenneth." Social Studies Research and Practice 4, no. 3 (November 1, 2009): 28–36. http://dx.doi.org/10.1108/ssrp-03-2009-b0003.
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This article considers the current state of teacher discourse and reflection, situated in daily practice, craft knowledge, multiliteracies and new literacies. Based on studies of content area teachers' use of multiple texts in social studies fields like economics, the authors profile Kenneth, an experienced teacher whose practice is grounded in craft knowledge and ideas about principled practices. In addition, Kenneth is an active proponent of new and digital literacy practices in his classroom simulations. The case example of Kenneth is then used to suggest how the process of practical argument might offer other content area teachers a useful framework for teacher reflection based on teachers’ craft knowledge and principled practices.
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Coalter, Milton J. "The Craft of Christ's Imperfect Tailors." Theology Today 50, no. 3 (October 1993): 387–96. http://dx.doi.org/10.1177/004057369305000305.
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“Once knowledge becomes habitual, one can act to recall its content, without constantly referring to recorded sources previously read. A ‘studied response’ in ministry takes on new meaning when viewed in the light of the medieval scholar's concern to create an internal book of memory. Knowledge derived from reading and study, but stored in a constantly ruminating memory, presents the promising potential of rapid, yet thoughtful, responses to spontaneous occasions for ministry and service.”
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Hagendijk, Thijs. "Learning a Craft from Books." Nuncius 33, no. 2 (June 26, 2018): 198–235. http://dx.doi.org/10.1163/18253911-03302002.
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Abstract The early modern period witnessed a great increase in the production and dissemination of artisanal handbooks, manuals and recipes. A central question is what role these texts played in the transmission of artisanal knowledge. This study explores the case of Dutch silversmith Willem van Laer (1674–1722) who published a Guidebook for upcoming gold- and silversmiths (1721), a comprehensive and well-received manual of the craft. To assess the role of the Guidebook in the acquisition of practical skills in the eighteenth century, this study employs traditional historical methods combined with historical re-enactment. I argue that effective use of the Guidebook depended on complementary hands-on education of master craftsmen, which suggests that the Guidebook was far from a DIY crash course and illustrates that the textual transmission of craft knowledge depended upon, rather than threatened, established routes to craft learning, such as apprenticeships.
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Day, Thérèse. "Teachers’ craft knowledge: a constant in times of change?" Irish Educational Studies 24, no. 1 (March 2005): 21–30. http://dx.doi.org/10.1080/03323310500184343.
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Grimmett, Peter P., and Allan M. Mackinnon. "Chapter 9: Craft Knowledge and the Education of Teachers." Review of Research in Education 18, no. 1 (January 1992): 385–456. http://dx.doi.org/10.3102/0091732x018001385.
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Mulholland, Judith, and John Wallace. "Computer, craft, complexity, change: explorations into science teacher knowledge." Studies in Science Education 44, no. 1 (March 2008): 41–62. http://dx.doi.org/10.1080/03057260701828135.
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Shomirzayev, Shomirzayev. "National followers in the students use of educational technologies instruction of interests." International journal of linguistics, literature and culture 7, no. 3 (April 26, 2021): 152–57. http://dx.doi.org/10.21744/ijllc.v7n3.1508.
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This article discusses how to use the craft of national crafts. More importantly, the role of the teacher in the learning process is determined by the fact that the learners are helped by independent learning. In addition to teaching the readers not only the knowledge they have, they also understand their role in teaching independent, creative thinking, critical thinking about their personality and knowledge, analyzing information, identifying what needs to be done, drawing conclusions, and teaching their own ideas. The main purpose of collaborative learning is to work on a common problem and focus on the problem.
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Susanti, Santi, Rachmaniar Rachmaniar, and Iwan Koswara. "Pelatihan Daring Aplikasi Media Sosial dalam Pemasaran Produk Kerajinan Bambu di Selaawi, Garut, Jawa Barat." Jurnal Pengabdian Pada Masyarakat 5, no. 4 (November 30, 2020): 943–53. http://dx.doi.org/10.30653/002.202054.666.
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ONLINE TRAINING OF SOCIAL MEDIA APPLICATION FOR MARKETING BAMBOO CRAFT PRODUCT IN SELAAWI, GARUT, WEST JAVA. The distribution of goods and services needs marketing to reach the potential customers. The development of internet technology expand the marketing of goods and services from traditional to online market. The bamboo artisans of Selaawi Subdistrict, Garut Regency, realized that it was necessary to market their products online to increase the market share of their craft products, which are currently distributed offline. The Community Service (PPM) Team of Fikom Unpad conducted "Online Training on Social Media Applications for Marketing Bamboo Craft Products in Selaawi, Garut Regency" for creative bamboo economic people in Selaawi Subdistrict, who have not used social media or not optimally used social media as a marketing and promotion channels for bamboo handicraft products. This PPM aims to elevate bamboo artisan’s knowledge in using social media to support the marketing and distribution of bamboo handicraft products directly to customers and sales agents. The social media skills is expected to invite buyers, and increase bamboo artisan’s income. PPM activity presented speakers who owned Amygdala Bamboo, the Head of Selaawi subdistrict, the coordinator of bamboo craft artisans in Selaawi, and PPM Team of Fikom Unpad. This PPM activity was conducted online through Zoom Cloud Meetings, which was attended by bamboo crafts artisans and other participants.
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Li, Yufei, Xiaoyong Ma, Xiangyu Zhou, Pengzhen Cheng, Kai He, and Chen Li. "Knowledge enhanced LSTM for coreference resolution on biomedical texts." Bioinformatics 37, no. 17 (March 11, 2021): 2699–705. http://dx.doi.org/10.1093/bioinformatics/btab153.
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Abstract Motivation Bio-entity Coreference Resolution focuses on identifying the coreferential links in biomedical texts, which is crucial to complete bio-events’ attributes and interconnect events into bio-networks. Previously, as one of the most powerful tools, deep neural network-based general domain systems are applied to the biomedical domain with domain-specific information integration. However, such methods may raise much noise due to its insufficiency of combining context and complex domain-specific information. Results In this article, we explore how to leverage the external knowledge base in a fine-grained way to better resolve coreference by introducing a knowledge-enhanced Long Short Term Memory network (LSTM), which is more flexible to encode the knowledge information inside the LSTM. Moreover, we further propose a knowledge attention module to extract informative knowledge effectively based on contexts. The experimental results on the BioNLP and CRAFT datasets achieve state-of-the-art performance, with a gain of 7.5 F1 on BioNLP and 10.6 F1 on CRAFT. Additional experiments also demonstrate superior performance on the cross-sentence coreferences. Availability and implementation The source code will be made available at https://github.com/zxy951005/KB-CR upon publication. Data is avaliable at http://2011.bionlp-st.org/ and https://github.com/UCDenver-ccp/CRAFT/releases/tag/v3.1.3. Supplementary information Supplementary data are available at Bioinformatics online.