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Journal articles on the topic 'CRAFTI'
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Kouhia, Anna. "Online matters: Future visions of digital making and materiality in hobby crafting." Craft Research 11, no. 2 (September 1, 2020): 261–73. http://dx.doi.org/10.1386/crre_00028_1.
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Over the past twenty years, hobby crafting has experienced a revival of interest, as people have started to seek new ways to engage with crafts as creative leisure in an increasingly digital world. Along the way, emerging, digital technologies have provided new tools and ways to engage in hobby crafting. Indeed, today’s hobby crafts are frequently concerned with material mediated via the internet and accomplished with the aid of software, which also affects our understanding of maker identities in online communities. This article argues that digitalization has not only revolutionized hobbyist craft making with new tools and technologies, but has also paved new ways for practising creative skills, which has had a significant impact on makers’ engagements with craft materials, objects and communities of practices. This is demonstrated through netnographic explorations on Facebook’s leisure craft community where digital material practices are increasingly prevalent in hobbyists’ everyday life. As a conclusion, the article speculates on visions of the future of hobby crafts and its relevance as a leisure pursuit.
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Chaimongkol, Laksana, Siwaporn Pinkaew, Harold C. Furr, John Estes, Neal E. Craft, Emorn Wasantwisut, and Pattanee Winichagoon. "Performance of the CRAFTi portable fluorometer comparing with the HPLC method for determining serum retinol." Clinical Biochemistry 44, no. 12 (August 2011): 1030–32. http://dx.doi.org/10.1016/j.clinbiochem.2011.05.023.
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DeMarrais, Elizabeth. "Understanding Heterarchy: Crafting and Social Projects in Pre-Hispanic Northwest Argentina." Cambridge Archaeological Journal 23, no. 3 (October 2013): 345–62. http://dx.doi.org/10.1017/s0959774313000474.
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Archaeological studies of specialized craft production in hierarchies often highlight the crucial roles of prestige goods in ancient political economies. Yet elaborate crafted items are also produced and circulated widely in heterarchically-ordered societies, where powerful elites are absent. In this latter case, attributing crafting to the agency of elites — or to the demands of political economy — is unconvincing. This article investigates the alternative cultural logic underlying crafting in heterarchies, seeking to understand both the contexts of crafting and the nature of the ‘social projects’ in which artisans were engaged. Expectations for archaeological signatures of craft activity are developed and applied to a case study, drawing upon recent excavations in northwest Argentina.
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Abd Samad, Faisal Ikram, Mohd Yuzri Mohd Yusop, Nik Mohd Ridzuan Shaharuddin, Nasrudin Ismail, and Omar Bin Yaakob. "SLAMMING IMPACT ACCELERATIONS ANALYSIS ON SMALL HIGH SPEED PASSENGER CRAFTS." Brodogradnja 72, no. 1 (January 1, 2021): 79–94. http://dx.doi.org/10.21278/brod72104.
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Small high speed passenger crafts (HSC) are commonly known for their poor seakeeping qualities. These crafts are frequently exposed to large slamming impacts and these repetitive shocks may pose danger to passengers’ safety and health. In Malaysia, small high speed passenger crafts having lengths between 7 to 9 meters are mainly used to transport tourists between popular island destinations. Evaluation on impact and vibration for this type of craft was conducted by using accelerometers attached to several locations on craft’s deck. The test was conducted at speeds ranged between 20 to 30 knots and the highest peak accelerations were recorded. The highest acceleration record during the sea trial was recorded at 4.22 g and the average acceleration measure is 2.20 g. Apart from this test, evaluation on effectiveness of the current foam seat typically used in this craft were evaluated using Dynamic Response Index (DRI) and results have shown that the seat is less efficient when impact reaches more than 1g at speeds of more than 20 knots. It is concluded that safety measures such as the use of more efficient suspension seat and limiting the operational speed need to be taken into consideration.
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Breen, Laura. "Sloppy craft: postdisciplinarity and the crafts." Journal of Modern Craft 10, no. 3 (September 2, 2017): 341–43. http://dx.doi.org/10.1080/17496772.2017.1394522.
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Hart, Imogen, and Jorunn Veiteberg. "Today’s Anthology for Tommorow’s Crafts CRAFT." Journal of Modern Craft 14, no. 1 (January 2, 2021): 107–11. http://dx.doi.org/10.1080/17496772.2021.1926744.
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Van Liere, Robert, and Ching-Ling Wang. "Revealing the Secrets of Chinese Ivory Puzzle Balls: Quantifying the Crafting Process Using X-Ray Computed Tomography." Rijksmuseum Bulletin 69, no. 3 (September 13, 2021): 244–63. http://dx.doi.org/10.52476/trb.11050.
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Chinese ivory puzzle balls are known for their beauty, finesse and their ability to intrigue viewers. From the eighteenth century until recently, they have been crafted by turning, using a simple lathe and a set of drilling and carving tools developed in the eighteenth century. The craft of Chinese ivory puzzle balls has been described as the ‘devil’s work’, as it requires a great deal of proficiency, accuracy and patience. This study presents a novel method for quantifying the crafting process of Chinese ivory puzzle balls. The method is based on measuring the morphological properties of ivory balls in three-dimensional images obtained using X-ray Computed Tomography (CT) scanning techniques. The accuracy of the crafting process is obtained by comparing the measured properties with an underlying mathematical model of the ball. We apply the proposed method to ivory balls from the Rijksmuseum in Amsterdam and the National Palace Museum in Taipei. The results show substantial differences in the accuracy of the crafting process. From an art-historical perspective, the results show that the accuracy of the crafting process evolved during the eighteenth century. They also suggest that the ivory balls we have analyzed have been crafted with different types of turning tools.
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Sewruk, Piotr. "Rzemiosło żydowskie w Lublinie i jego instytucje w latach trzydziestych XX wieku." Studia Judaica, no. 1 (45) (2020): 169–201. http://dx.doi.org/10.4467/24500100stj.20.006.12920.
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Jewish crafts in Lublin and their institutions in the 1930s The paper attempts to reconstruct the condition of Jewish crafts in Lublin in the 1930s after the new legal regulations for industry were introduced in 1927 (“The act on industry law”). Crafts in Lublin in this period were ethnically strongly polarized between the two groups. Jews owned 60 percent of all the workshops in the city, while Poles held the rest of the crafts and services. Jewish craftsmen dominated mainly in textile (tailoring) and leather (shoemaking) industries and services like hairdressing or photography. The article focuses primarily on quantitative and statistic aspects of the discussed topic. Jewish craft organizations (craft guilds), supporting institutions (credit institutions for craftsmen) and Jewish personnel of the Lublin Chamber of Crafts are also presented.
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Mehra, Aashish, Nidhi Mathur, and Vaibhav Tripathi. "Sahaj Crafts: the challenge of alleviating poverty in Western Rajasthan." Emerald Emerging Markets Case Studies 9, no. 1 (May 8, 2019): 1–45. http://dx.doi.org/10.1108/eemcs-06-2018-0099.
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Learning outcomes The learning objectives of this case are as follows: identify and understand the major challenges/problems faced by a social enterprise in promoting handicraft business; examine the value chain architecture of handicraft products; assess the role of the protagonist (Sanjay) as a social change agent in shaping a successful social enterprise; assess Sahaj Crafts' initiatives and analyze whether the key intervention/s planned/executed were required for skilling up of rural artisans and upgradation of handicraft business; know the marketing strategies for handicraft products; and understand the “strategies” which need to be applied for uplifting people's lives at the bottom of pyramid in general and for enlivening of artisans’ clusters in particular. The outcomes are as follows: examining the value chain architecture of handicraft product; understanding the difficulties and challenges of structuring a viable social business model; examining the role of Sanjay as a social change agent in shaping a successful social enterprise; and examining the model of Craft Incubation Center and design education proposed by Sahaj Crafts for improving rural artisans’ livelihood and skills upgradation. Case overview/synopsis Sanjay Joshi – the promoter and CEO of “Sahaj Crafts” (a social enterprise established in Western Rajasthan, India), an initiative to strengthen indigenous skills and mainstream rural craft products and artworks – is faced with the question of how to scale up his organization’s operations. Doing so requires that he address these fundamental challenges in terms of – how to deal with unorganized craft communities; match up product orientation to market demands; integrate modern technology / processes in craft business; combat restricted mobility of women artisans; and make effective interventions so that the artisans learn and enjoy working in the current model and solve the financial issues faced by the social enterprise. Providing effective and implementable answers to those questions is vital to Sahaj Craft’s development in attaining its mission to alleviate poverty in the region. Failing to expand operations above a critical scale may leave Sahaj Crafts vulnerable in meeting sufficient demand for contemporary craft products in the mainstream markets. Complexity academic level This case study is primarily suitable for post-graduate level management students to teach the concepts of designing and operationalizing a “social” business model in a social entrepreneurship module. This case study can also be used for highlighting business model innovations in the social sector of emerging markets. The case could be taught in the following academic domains: social entrepreneurship; bottom of the pyramid; social inclusion; supply chain consolidation (vertical integration in a value chain); marketing strategies for handicraft products; branding; brand positioning; cost and management accounting. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 3: Entrepreneurship
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Makhitha, K. M. "Understanding The Organisational Buyer Behaviour Of Craft Retailers In South Africa." Journal of Applied Business Research (JABR) 31, no. 2 (March 3, 2015): 501. http://dx.doi.org/10.19030/jabr.v31i2.9149.
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<p>The purpose of the study was to investigate the buyer behaviour of craft retailers in South Africa (SA). Specifically, the study investigated the stages in the buying process craft retailers go through when buying crafts from the craft producers. Craft retailers play a dominant role in the craft industry value chain yet craft producers face difficulties selling to this market. Instead, they resort to selling directly to end consumers and not through craft retailers. An understanding of craft retailer and buyer behaviour is a necessity for craft producers who want to sell their products successfully through the craft retailers. A survey was conducted among 233 craft retailers in SA. A convenience sampling method was adopted for the study. The findings revealed that craft retailers go through homogenous buying stages. The stages in the buying process did not differ across different types of craft retailers. The stages also did not differ according to the years of buying experience of craft retailers. An understanding of buyer behaviour of craft retailers would be necessary for craft producers who want to target craft retailers, since they (craft producers) will be able to formulate appropriate and effective marketing strategies targeted at craft retailers. Craft retailers go through a lengthy process when buying crafts. Craft producers, therefore, need to understand the stages that craft retailers go through to ensure that the understanding is incorporated into their marketing strategy.</p>
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Richards, Greg. "DEVELOPING CRAFT AS A CREATIVE INDUSTRY THROUGH TOURISM." Brazilian Creative Industries Journal 1, no. 1 (July 1, 2021): 03–22. http://dx.doi.org/10.25112/bcij.v1i1.2671.
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This paper examines the position of crafts within the creative industries and considers how this has been affected by the growing links between the creative industries and tourism. A review of the creative industries concept indicates that crafts occupy an ambiguous position between art and tradition, which problematises their relationship with the creative industries. This is gradually changing at the creative and tourism sectors become more closely linked, and craft has become an important element of the development of creative tourism experiences. We review the role of craft in creative tourism, including case studies from Brazil, Finland, and Thailand, to examine how tourism can support the creative development of crafts. This analysis indicates that craft can be an important aspect of creative tourism development in different contexts and can provide a strong basis for placemaking initiatives.
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Indrahti, Sri. "Keterampilan Turun-Menurun di Kalangan Perajin Monel Jepara." Endogami: Jurnal Ilmiah Kajian Antropologi 2, no. 2 (June 20, 2019): 150. http://dx.doi.org/10.14710/endogami.2.2.150-157.
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Monel handicrafts grow and develop in Jepara district. It has characteristic that the skill of making monel art is preserved from generation to generation. Its ability to survive was influenced by how much the support of community. Community care and love for the craft can support the existance and development of monel handicraft. The process of descending monel crafts has the advantage that each family as a monel craft business unit has its own characteristics and competitiveness. On the other hand, there is no formal container for learning these skills. This makes monel crafts less open to a wider regeneration process. Even though regeneration really determines the development in the future. Looking at the current development of the craft, efforts to make a more open regeneration process seem necessary. Through this paper, the author try to find steps that can be taken by the supporting community and the Regional Government to form a formal and informal container. It is intended that interested people have access to learn about this craft. Regeneration is carried out to maintain the continuity and development of monel crafts.
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Everhart, Timothy D., and Bret J. Ruby. "Ritual Economy and the Organization of Scioto Hopewell Craft Production: Insights from the Outskirts of the Mound City Group." American Antiquity 85, no. 2 (March 10, 2020): 279–304. http://dx.doi.org/10.1017/aaq.2019.105.
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This article offers insights into the organization of Scioto Hopewell craft production and examines the implications of this organization through the lens of ritual economy. We present a novel analysis of investigations at the North 40 site, concluding that it is a craft production site located on the outskirts of the renowned Mound City Group. High-resolution landscape-scale magnetic survey revealed a cluster of three large structures and two rows of associated pits; one of the buildings and three of the pits were sampled in excavations. Evidence from the North 40 site marks this as the best-documented Scioto Hopewell craft production site. Mica, chert, and copper were crafted here in contexts organized outside the realm of domestic household production and consumption. Other material remains from the site suggest that crafting was specialized and embedded in ceremonial contexts. This analysis of the complex organization of Scioto Hopewell craft production provides grounds for further understanding the elaborate ceremonialism practiced by Middle Woodland (AD 1–400) societies and adds to the known complexity of craft production in small-scale societies. Furthermore, this article contributes to a growing body of literature demonstrating the utility of ritual economy as a framework for approaching the sociality of small-scale societies.
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SINGLETON, BENEDICT. "Subtle empires: On craft and being crafty." Design Ecologies 1, no. 2 (October 10, 2011): 249–64. http://dx.doi.org/10.1386/des.1.2.249_1.
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Cook, Hadrian, and Kathy Stearne. "Rural Crafts: A study in South Wiltshire." Craft Research 12, no. 1 (March 1, 2021): 105–25. http://dx.doi.org/10.1386/crre_00042_1.
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Rural Crafts are crafts with agrarian roots, but they are not easily located historically, or within today’s developed markets. This study stresses Rural over Heritage Crafts (based in manual skills and traditional materials, designs and techniques), although the two are not mutually exclusive. Rural Crafts are considered, present and past, through interviews with practitioners based in South Wiltshire. The study embraces networks of crafters, interviews with individuals and a focus for a rural craft event located at the Harnham Water Meadows at Salisbury, a historic location. It is established that, while few participants sustained themselves financially through their craft, it was clear that participation is ‘value driven’, providing personal benefits. The ethos of sustainability is a strong theme, both in sourcing materials and in the processes employed, especially true for individuals working with wood and thatching. Few clear similarities are found from past cottage industries, although the sense of continuity in craft is still strong. Networks included craft associations, and opportunities for informal learning, but there is a lack of formal training opportunities. This finding may be historic, as most people interviewed were over 60 years. As well as an age bias, there is a strong gender bias with men dominating regular part-time or full-time paid occupations and women treating their craft more as a hobby. Most people treat sales of any products as a bonus, and the future of such activities is dependent more upon personal interests and networks than on formally trained (often younger) individuals, more so than formal training delivered through individual organizations or companies. Otherwise, our conclusions are in line with modern ideas of personal, well-being and social benefits derived from craft activities.
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Wingerden, Jessica Van, and Rob Poell. "Employees’ Job Characteristics and Job Crafting Behavior: The Mediating Role of Perceived Opportunities to Craft." International Journal of Human Resource Studies 8, no. 4 (September 17, 2018): 65. http://dx.doi.org/10.5296/ijhrs.v8i4.13764.
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The present study was designed to gain knowledge about the relationship between job characteristics in the workplace (job demands and job resources), employees’ perceived opportunities to craft, and subsequently their actual job crafting behavior. Specifically, the potential mediating role of perceived opportunities to craft could shed better light on the mechanisms that lead employees to job craft in the context of particular work characteristics. We collected data among a group of Dutch health care professionals working in an organization that offers care for patient with mental disabilities (N=522). Participants of the study reported their job demands; workload, emotional demands and work-home interference, their job resources; role clarity, communication and team cohesion, their perceived opportunities to craft, and their job crafting behavior. We tested the hypothesized antecedents of job crafting perceptions and behavior model with structural equation modelling (SEM) analyses. Results indicated that perceived opportunities to craft mediates the relationship between job resources and employees actual job crafting behavior. The insights provided in this study do not only build on job crafting literature but are also helpful to understand which aspects of the workplace influence employees’ job crafting behavior. Therefore, these insights may be useful for the deliberate cultivation of job crafting behavior within organizations.
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Almamari, Badar Mohammed, Fakhriya Al-Yahayai, and Mohammed Alamri. "Traditional Omani Crafts Approaches To Identity." Technium Social Sciences Journal 10 (July 28, 2020): 566–78. http://dx.doi.org/10.47577/tssj.v10i1.1328.
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The purpose of this study is to identify how landscapes, places, and geographical forms of land influenced craft making identity by addressing Omani crafts enterprises in urban and rural areas. This has been done by interviewing local craftspeople and analysing their responses as a qualitative data collection method using open-ended questions to seek reliability and credibility in the study. The interviews in this research were mostly conducted with participants belonging to ten enterprises under the management of the Public Authority for Crafts Industries (PACI), Department of Art Education and the Handcrafts Centre. Consequently, this study highlights the importance of studying the influence of landscapes, places, and geographical forms in shaping local people's crafts identity by investigating their craft industries in rural and urban areas.
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ΚΑΡΛΑΦΤΗ-ΜΟΥΡΑΤΙΔΗ, ΦΩΤΕΙΝΗ. "Η ΣΥΝΤΕΧΝΙΑ ΤΩΝ ΥΠΟΔΗΜΑΤΟΠΟΙΩΝ ΣΤΗ ΒΕΝΕΤΟΚΡΑΤΟΥΜΕΝΗ ΚΕΡΚΥΡΑ." Eoa kai Esperia 7 (January 1, 2007): 85. http://dx.doi.org/10.12681/eoaesperia.82.
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<p>This study refers to one of the most important crafts of the seventeenthcentury: the craft (Arte) of the shoemakers. Specifically, it attempts toinvestigate and review the factors affecting the process of conducting electionsfor the appointment of the trade union dignitaries, these being: place, time, right to vote and be voted for, problems resulting from the insubordination tolaws and also the adjournment or delay of these elections.</p><p>Furthermore, the paper examines the areas of competence of the tradeunion and other dignitaries. It discusses their duties, which include themanagement of the craft's internal affairs so as to ensure its proper and harmonious functioning. In addition to these duties, the union dignitaries alsorepresented their fellow craftsmen in the Regimento, thus assuming a politicalrole, and recommended the principal officials of the craft's auditing procedure.</p><p>In conclusion and supplementary to the above, the rights and obligationsof the simple members of the trade union are mentioned, along with themanner in which the profession was conducted.</p>
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Kelly, Rachel, and Sandra Fruebing. "Whose futures need crafting? A collaborative evaluation of the British Council/Crafts Council Crafting Futures 5K grant scheme." Art, Design & Communication in Higher Education 20, no. 1 (April 1, 2021): 103–14. http://dx.doi.org/10.1386/adch_00032_1.
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Sandra Fruebing and Rachel Kelly were recipients of 2018‐19 British Council/Crafts Council Crafting Futures 5k grants. A dialogue between Fruebing and Kelly started when they both returned from their project work in Egypt and the Philippines respectively. Both participants related their experiences through their conversations and this led them to discuss and reflect through regular online exchanges stretching from 2019 to 2020. They both are now considering how their experiences of working with marginalized craft communities have become a position from which to consider the role of development in Art & Design Higher Education research and practice. The spectrum of collaboration and companionship that is emerging from their work, both individually and through online meetings and conversations, become like a radio signal, which is tuning and making audible their similar experiences and understandings.
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Wiriadidjaja, Surjatin, Amzari Zhahir, Zahratu Hilall Mohamad, Shikin Razali, Ahmad Afifi Puaat, and Mohamed Tarmizi Ahmad. "Wing-in-ground-effect craft: A case study in aerodynamics." International Journal of Engineering & Technology 7, no. 4.13 (October 9, 2018): 5. http://dx.doi.org/10.14419/ijet.v7i4.13.21319.
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A wing-in-ground-effect (WIGE) crafts can be deployed to fly by utilizing the ground effect, which is a natural phenomenon known to improve the efficiency of airplanes during take-off and landing approaches. In contrast, WIGE craft is not commercially viable for public transport mainly due to the difficulties in controlling its longitudinal stability. As an attempt to support the development of WIGE crafts, this paper presents a case study in aerodynamics based on certain published reports, specifically to reveal the available research data that are considered of interest and can be used as a lesson for further study and analysis. The wind tunnel procedure and testing, as well as numerical investigation of a WIGE craft, are applied and the results are then analyzed. The discussions are oriented in the perspectives of aerodynamics. Based on the tests and calculation, parameters concerning the ground effect as the WIGE crafts approaching the ground surfaces may be identified and hence their values can be determined. Thus, the static longitudinal stability may then be established and optimized for control of the WIGE craft.
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Pontsioen, Robert. "When heritage laws and environmental laws collide: Artisans, guilds and government support for traditional crafts in Tokyo." Craft Research 10, no. 2 (September 1, 2019): 211–36. http://dx.doi.org/10.1386/crre_00003_1.
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Abstract This article examines the legislative basis and operational effectiveness of the national and prefectural systems for designating and promoting traditional crafts in Tokyo. Traditional artisans participate in these systems primarily through their involvement in kumiai ('artisan guilds'), whose historical background and organizational structure are briefly summarized. To evaluate the usefulness of government support for contemporary craft practitioners, four broad and interrelated categories of kumiai activities are examined: promoting craft business, maintaining and enhancing craft skills and product quality, securing the future of craft traditions, and procuring craft materials. These goals are reflected in the frameworks of national and prefectural legislation that aims to support the efforts of kumiai. However, these goals and the resulting legislation have created a sustained discourse of tension palpably felt by many crafters themselves: the clash between laws designed to protect or promote 'traditional' crafts and other laws that aim to safeguard ecology or animal welfare. Examination of this tension as it is understood and discussed by artisans themselves reveals that, although the positive impact of traditional craft designation systems is widely recognized, it is also perceived that incompatible environmental protection laws can negatively affect their business and threaten the long-term sustainability of craft traditions.
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Kappasov, Marat. "Crafts by Nomads of the Ural and Turgai Regions at the Beginning of the 20th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (August 2021): 102–16. http://dx.doi.org/10.15688/jvolsu4.2021.4.9.
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Introduction. The article, based on the “Materials on the Kyrgyz (Kazakh) Land Use Collected and Developed by the Statistical Parties of the Turgai-Ural Resettlement Region”, examines the crafts of the nomads of the Lbischensky, Uralsky, Turgai, Irgiz, Temir uyezds in the early 20th century. Temir, Lbishchensky and Ural uyezds belonged to the Ural region, Turgai and Irgiz uyezds to the Turgai region. Methods and materials. Using the mathematical method, the method of comparative analysis and content analysis, the author shows how much income per person came from crafts in the studied uyezds and proves that crafts were only additional industries and could not compete with nomadic cattle breeding. The article examines the crafts that brought the greatest income. Farmhands, transportation, groundhog hunting, fishing, etc., were well-known crafts; the Muslim spiritual cult and its servants was an unusual craft. Analysis. Our article shows that the studied uyezds had their own craft specializations. For example, a significant number of nomads in Lbischensky uyezd were engaged in transportation, in Turgai uyezd in hunting groundhogs, in Irgiz uyezd in hunting and fishing. Results. At the end of the article, the author concludes that the majority of nomads were primarily engaged in crafts as farmhands due to their poverty.
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Arniti, Ni Ketut. "PENGARUH KOMPETENSI WIRAUSAHA, KREATIVITAS DAN PENGGUNAAN MEDIA SOSIAL TERHADAP PERKEMBANGAN USAHA KERAJINAN BATU PADAS BANJAR SILAKARANG, GIANYAR." MEDIA BINA ILMIAH 13, no. 11 (July 5, 2019): 1753. http://dx.doi.org/10.33758/mbi.v13i11.258.
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This research was conducted to determine the effect of entrepreneurial competence on the development of Padas Stone Crafts, the influence of creativity on the development of Padas Stone Crafts and the influence of the use of social media on the development of the Padas Stone Craft Business. This research was conducted on a number of Padas Stone Carving Art Crafts in the Banjar Silakarang, Sukawati, Gianyar Bali. Data collection was conducted with a questionnaire to 36 respondents. The collected data was analyzed by multiple linear regression, analysis of determination and significance test with t test. The results showed that 1) The amount of the t-count for the entrepreneurial competency variable was 4.702> t table 1.697 with a significance level of 0.000. This means that partially entrepreneurial competence has a real influence on the development of the Craft Business. 2) The amount of the tcount for the creativity variable is 2.962> ttable 1.697 with a significance level of 0.006. This means that partially creativity has a real influence on the development of the Craft Business. 3) The amount of the tcount for the variable social media use is 2.116> t table 1.697 with a significance level of 0.042. This means that partially the use of social media has a real influence on the development of the Craft Business.
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Vlasyuk, Olena. "PROFESSIONAL TRAINING OF FUTURE SPECIALISTS OF ARTS AND CRAFTS." Aesthetics and Ethics of Pedagogical Action, no. 13 (March 9, 2016): 152–62. http://dx.doi.org/10.33989/2226-4051.2016.13.171553.
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The article analyzes the state of Ukrainian art education. The basic ways and prospects of training in higher art’s education in Rivne State Humanitarian University at the Department of fine and decorative art are observed. The question of artistic staff training in Ukraine is very interesting in the context of Ukrainian national school of fine and decorative art. The need for professional training in the field of decorative art was caused by its historical traditions, its aesthetic and practical importance for professional artists and for ordinary people.Therefore, it is possible to solve this problem by integrating the historical experience accumulated and effective approaches to teaching arts and crafts. Thus, there is a clear need for a study towards arts and craft’s professional training and optimal ways of its realization.Educational activities of Department of fine and decorative art of Rivne State Humanitarian University are analyzed in this article.Contemporary tradition of sharing the experience of artistic activity while studying is observed; it is advisable to turn to the works of scientists, which were elaborated during historical practice of training of masters of Arts and crafts. In historical retrospective all these researches kept to the actual ideas about the need for the future artist-craftsmen capacity mastering by taking into consideration the craft traditions and direct involvement into the production process under the guidance of experienced teachers. Their skills and personal qualities will positively affect the student’s success. In addition, the information stated in their works, shows, that the dominant teaching of arts and crafts was a practical component, conducted for a long time by involving students in to the manufacturing process and practical production technology.Professional training of artists and craftsmen in Ukraine is based both on European and national traditions and was conducted in the early twentieth century mainly in departments of arts and crafts in cooperatives, in crafts, stationary craft educational workshops, mobile model studios, art schools (including artistic and industrial schools). Due to the links between folk and professional art, the links between crafts and fine arts, various methodological grounds are available; the students master the technology of decorative and craft products making, they also receive some knowledge of the theory and practice of handicrafts, technological processes of drawing, composition, drawing, secondary and special disciplines.The results of the current research towards the problems of artist-master of arts and crafts training coincides with the thoughts of the scholars, who believe this phenomenon to be complex, ambivalent socio-pedagogical phenomenon, that combines the personal, ethnology and authentic aspects and requires conciliation with the principles of ethnology studies.In Rivne State Humanitarian University at the Department of fine and decorative art future specialist’s training is implemented during educational process, aimed to transforming of the professional activity experience, preserved by humanity, on to subjective, individual heritage, which enables the exteriorization of professional experience, it’s transformation in to individual-psychological heritage and at the same time enables formation of the future artist and master of arts and crafts as a subject of art reproduction of material world in decorative and applied products on the base of comprehension of cultural and historical experience of production and materialization of national art ideas and values.Future professionals of arts and crafts training introduced in Rivne State Humanitarian University was meant to provide a broad range of opportunities to gain knowledge and skills, that enable the personal realization while constant process of improvement, strengthening the ability to search and find the up-to-date information, to learn inspired and excited with the joy of creation.This article does not elaborate all aspects of the problem. Further researches of the questions, concerning the teaching and training of future professionals of arts and crafts have great prospects.
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Chatterjee, Abhishek, and Heitor Alvelos. "Re-inscribing the value of craft in times of dictated obsolescence." Craft Research 11, no. 2 (September 1, 2020): 275–94. http://dx.doi.org/10.1386/crre_00029_1.
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This article introduces a design research mediation project, Anti-amnesia, that explores various connotations of ‘wealth’ as embedded in the material culture and human narratives surrounding traditional crafts in Portugal. The project argues that ‘wealth’ is undergoing a process of signification that is semantically reductive, being brought to tacitly invoke monetary gain rather strictly, if on an underwritten basis, and this is bearing an adverse effect in terms of perceptions towards other consequential but intangible values related to craft practices. In this regard, it presents the case of traditional Azulejos tilemaking, a long-established cultural archetype in Portugal, whose original technique is on the brink of dissipation due to the emergence of newer manufacturing and architectural paradigms. The article respectively reviews the actions of a collaborative initiative Azulejos do Porto that is focusing on the craft’s reanimation through making creative connections between culture and community development. The article correspondingly presents a case for design research and pedagogy to establish long-term hands-on collaboration with such restorative initiatives that are oriented towards traditional making. The project conjectures that the resulting interknowledge can reveal complementarities between all stakeholders: which can be tactical towards addressing critical issues that are affecting traditional crafts’ relevance to contemporaneity; provide suitable conditions for an extended evaluation of crafts’ multifaceted nature in terms of value to culture and society and can connect newer generations of creatives to their making heritage, thereby ensuring a continuity of specialized know-how.
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Dentsoras, Dimitrios. "Virtue and Proper Use in Plato’s Euthydemus and Stoicism." Peitho. Examina Antiqua 10, no. 1 (November 29, 2019): 45–64. http://dx.doi.org/10.14746/pea.2019.1.2.
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The essay examines the description of virtue as a craft that governs the proper use of possessions in Plato’s Euthydemus and Stoicism. In the first part, I discuss Socrates’ parallel between wisdom and the crafts in the Euthydemus, and the resulting argument concerning the value of external and bodily possessions. I then offer some objections, showing how Socrates’ craft analogy allows one to think of possessions as (qualifiedly) good and ultimately fails to offer a defense of virtue’s sufficiency for happiness. In the second part, I examine the Stoics’ craft analogy and note a number of differences from Socrates’ account in the Euthydemus. These include the Stoic claim that external advantages never make any contribution to happiness, even when properly used, and the claim that, unlike other crafts, wisdom does not require any external possessions in order to be exercised and yield benefit and happiness. I then place these differences against the backdrop of the debate regarding virtue’s sufficiency for happiness and argue that the Stoic craft model of virtue fares better than its Socratic antecedent.
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Scafe, Suzanne. "Performing Ellen: Mojisola Adebayo’s Moj of the Antarctic: An African Odyssey (2008) and Running a Thousand Miles for Freedom; Or, the Escape of William and Ellen Craft from Slavery (1860)." Journal of Commonwealth Literature 55, no. 3 (September 16, 2019): 406–20. http://dx.doi.org/10.1177/0021989419848448.
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The subject of Mojisola Adebayo’s one-woman performance, Moj of the Antarctic: An African Odyssey, is Ellen Craft, an ex-slave whose escape from the slave-owning state of Georgia to England in the late 1840s is recounted in the escape narrative Running a Thousand Miles for Freedom; Or, the Escape of William and Ellen Craft from Slavery. Rather than using her performance to present her biographical subject with an interiority the original slave narrative scarcely offers her, Adebayo reconstitutes Ellen and relocates her in an auto/biographical work that self-consciously blurs the boundaries between autobiography, biography, and biofiction, thus exposing the overlap and interdependency of these textual forms. Through a detailed analysis of both texts and their contexts, this essay argues that Adebayo constructs a figurative, first person auto/biography of Ellen Craft, a “call and response” production, originating in an “intimate, somatic engagement with the body of another”, whose “touch” sets up a fluid process of identification. Her work performs a textual revision of the slave narrative genre and its rich, socio-cultural contexts. As a performed, auto/biographical reimagining of Ellen Craft’s flight from slavery Moj of the Antarctic, like Running a Thousand Miles for Freedom, transgresses multiple borders and, in the process, subverts expectations of what constitutes an authentic self. It deconstructs conventionally defined categories of race, gender, and sexuality and radically extends the Crafts’ own examination of the meaning of freedom.
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Srivastava, Dolley. "One District One Product of India." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 14, 2021): 774–77. http://dx.doi.org/10.22214/ijraset.2021.35083.
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The Aim of this research paper is to develop a website used to find products and crafts in INDIA on a single platform – like the ancient craft, world-famous work on clothes which aims to encourage such indigenous and specialized products and crafts. The “ONE DISTRICT ONE PRODUCT”(ODOP) website has been conceived with the view to provide a platform to sell indigenous and specialized products and crafts made in various districts of various states which is very helpful in providing employment.
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Gaston, Elizabeth. "Crafted Futures: A Craft/Technology Collaboration." Journal of Textile Design Research and Practice 5, no. 2 (July 3, 2017): 157–74. http://dx.doi.org/10.1080/20511787.2018.1449074.
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Wingerden, Jessica Van, Joost Van der Stoep, and Rob Poell. "Meaningful Work and Work Engagement: The Mediating Role of Perceived Opportunities to Craft and Job Crafting Behavior." International Journal of Human Resource Studies 8, no. 2 (March 7, 2018): 1. http://dx.doi.org/10.5296/ijhrs.v8i2.12635.
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This study examines the impact of meaningful work on employees’ level of work engagement as mediated by perceived opportunities to craft and job crafting. Based on the literature on meaningful work and job crafting, we hypothesize that meaningful work has a positive relationship with an employee’s level of work engagement in two ways, directly and indirectly via perceived opportunities to craft first and job crafting second (sequential mediation). In order to test the hypothesized relations, we conducted a structural equation modeling on a sample of 1148 employees working in various occupations, organizations, and industries in The Netherlands. The results of this analysis provide support for the hypothesized relations, indicating a strong linkage between meaningful work and work engagement and a partially mediating role for perceived opportunities to craft and job crafting. The main theoretical, practical, and methodological implications of this study are discussed.
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Ribašauskienė, Erika, and Diana Šumylė. "THE ROLE OF TRADITIONAL CRAFT CENTERS IN SAFEGUARDING CULTURAL HERITAGE." Management Theory and Studies for Rural Business and Infrastructure Development 38, no. 4 (December 20, 2016): 412–24. http://dx.doi.org/10.15544/mts.2016.33.
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Maintaining cultural heritage is an essential element of any effort to realize the growth potential and promote sustainability and vitality of rural areas. Founding of traditional craft centers in Lithuania was initiated in 2009 as a way to implement heritage safeguarding measures. Scientific problem was formulated as follows: did these centers prove to be an effective instrument of heritage policy? The present paper aimed at investigating the extent, to which traditional craft centers had implemented its role in safeguarding cultural heritage, and present recommendations for the improvement. Interview questionnaire was sent to 20 municipalities and 51 LAGs, responsible for the establishment of centers. It was identified that craft centers implemented measures, related to safeguarding of cultural heritage, rather actively and qualitatively. On the other hand, not all measures were implemented sufficiently, what made the process of safeguarding traditional crafts not continuous but partly fragmented. Improvement of traditional crafts centers resource management along with promotion of cooperation between TCC, operating in the same municipality, is recommended.
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Peterken, Corinna. "Crafting Living Inquiry with a Quilt of Children’s Images." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 240–55. http://dx.doi.org/10.18432/ari29418.
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Embodied encounters in and with crafting as method led to knowing with making in this research. A crafted bricolage of photographs from young children (aged 15 months to 5 years) was created at their early childhood centre. The children’s photographs became material for further thinking as they were transferred to fabric and combined into a quilt that was tie quilted by children and the researcher as artist/researcher/teachers (Springgay, Irwin, Leggo, & Gouzouasis, 2008). Our craft processes in quilt making initiated ongoing integrated art-making, teaching/learning, and conversations with and without words. Much research in early childhood has a focus on the child, but what do children focus on, and how might they be more than participants? Rich experiences throughout the co-creation of the quilt as a living inquiry provided spaces for learning and knowledge making. Craft as research and a piece of art to display for the learning community provoked questions and opened understandings about and with young children, their preferences, and their capacity as co-researchers.
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Maaruf, Siti Zuraida, Ezzah Md Zain, and Nabilah Abdullah. "SUSTAINING LOCAL HERITAGE: FIBRE ART AS A NEW PARADIGM TO UPLIFT MALAYSIAN CRAFT PRODUCTION." Malaysian Journal of Sustainable Environment 7, no. 2 (August 4, 2020): 119. http://dx.doi.org/10.24191/myse.v7i2.10268.
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By putting forward contemporary fibre art as a new paradigm in Malaysian craft production, this study aims to uncover how it is applied involving selection of material, utilization of technique right up to the appraisal of resultant product. The underlying rationale is to ensure incessant appreciation of Malaysian crafts by the society, especially the younger generation. This research utilized the Design Development Research (DDR) that consisted of three (3) phases. Selection of research participants used purposive sampling based on the respondents' expertise in the area. In Phase 1, Needs Analysis was carried out using semi-structured interviews with three (3) textile experts. In Phase 2: Design and Development, the researcher used ADDIE model to develop crafts using fibre art material for Malaysia craft production. In the third and final phase, Implementation and Evaluation, sixty young people from Shah Alam community took part in an assessment of their acceptance of craft using fibre art. However, discussion on this study focuses on the first phase which is the needs analysis. The findings suggest that contemporary fibre art as a new paradigm to Malaysian craft production is relevant and has the potential to be implemented in Malaysia.
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Van Wingerden, Jessica, and Rob F. Poell. "Antecedents of Job Crafting Behavior within Organizations: The Role of Personal Resources, Job Resources and Perceived Opportunities to Craft in Employees Proactive Behavior." International Journal of Human Resource Studies 9, no. 3 (July 15, 2019): 135. http://dx.doi.org/10.5296/ijhrs.v9i3.14908.
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This study examines the impact of personal resources and job resources on employees’ perceived opportunities to craft and job crafting behavior. Based on research following the Job Demands and Resources (JD-R) theory, we hypothesize that personal resources (i.e., resilience and self-efficacy) and job resources (i.e., developmental opportunities and feedback) have a positive relationship with employees’ perceived opportunities to craft and actual job crafting behavior in multiple and interrelated ways. We collected data among employees working in various organizations and occupations in The Netherlands (N=810), and tested the hypothesized multiple mediation model using structural equation modelling (SEM) analyses. The outcomes of the study increase our knowledge of the factors affecting job crafting behavior within organizations – including employee perceptions (perceived opportunities to craft), employee characteristics (personal resources), and work characteristics (job resources). Combining these antecedents, this study may help to better understand and to stimulate job crafting behavior at work.
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Karyasa, I. Wayan, I. Gede Putu Banu Astawa, I. Gede Ardwi Pradnyana, and Made Vivi Oviantari. "MENGUATKAN BRANDING TENUN ENDEK KHAS BULELENG MELALUI REVITALISASI PEWARNAAN DENGAN FIKSATOR NANOPASTA ANORGANIK BERBAHAN ABU VULKANIK GUNUNG AGUNG." JURNAL WIDYA LAKSANA 10, no. 2 (August 31, 2021): 117. http://dx.doi.org/10.23887/jwl.v10i2.30053.
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In the Covid-19 pandemic era, most of craft industries, including Buleleng endek ethnical woven crafts, had an impact on sales drastically. Woven craft industries did some preventive efforts, one of them was through enhancing ecofriendly industry branding, i.e. through intensifying yarn dying using natural colors from local raw materials. However, the main problems on color quality, color fastness, tensile strength and ductile ability of colored yarns resulted by natural dyeing should be handled. Our current finding on inorganic nanopaste fixator of natural colors could be as solution. The natural color dyeing technology was applied for cotton as well as silk yarn by using local color natural resources. It resulted that the yarns had better color quality, good grade color fastness and higher tensile strength and ductile ability. The industrial partner had good response on the natural dyeing technology, where it was also supported by good response from costumer candidates of the endek woven crafts. The revitalization of natural dyeing technology through applying inorganic fixator nanopaste affected the stronger branding of Buleleng endek woven crafts through enhancing the selling revenue.
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Digjaya Putra, A. A. Gde Dwika, I. Nyoman Widya Paramadhyaksa, and Ida Bagus Ngurah Bupala. "Work Safety and Health Principles (K3) in the Design of Workshop Center of Artificial Natural Stone in Gianyar, Bali." Journal of A Sustainable Global South 1, no. 2 (August 31, 2017): 10. http://dx.doi.org/10.24843/jsgs.2017.v01.i02.p03.
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The embodiment of Balinese buildings is known to be synonymous with the use of natural stone materials which are exposed in such a way and not given additional dyes/coatings. The material used is usually in the form of bricks and sandstone. The center of the natural stone craftsman is a location of concentration of craftsmen who produce hand-crafted natural stone. The artificial natural stone craftsman center has a workshop used by artisans to produce crafts. In the production process, there is certainly a risk of workplace accidents that can be experienced by craftsmen. At the center must implement occupational safety and health to provide a sense of security and comfort in work. There are many work accidents caused by human factors, workplace accidents must be avoided so that the production of crafts can run smoothly. The risk of workplace accidents that can occur in craftsmen centers in the form of being injured by sharp objects, being hit by a hammer, or falling. The health of craftsmen is also an important factor in the production of artificial natural stones. Healthy craftsmen will be able to work productively and produce good quality craft items. The application of occupational safety and health is expected to be a solution in reducing the risk of workplace accidents that can occur in the production process.
Index Terms— centers, craftsmen, accidents, health.
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DEWI, ASIH PERWITA, NUNIK SRI ARIYANTI, and EKO BAROTO WALUJO. "DIVERSITY OF PLANTS USED FOR PLAITED CRAFTS BY THE DAYAK IBAN-DÉSA IN KABUPATEN SINTANG, KALIMANTAN BARAT, INDONESIA." REINWARDTIA 15, no. 2 (December 22, 2016): 67. http://dx.doi.org/10.14203/reinwardtia.v15i2.2941.
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DEWI, A. P., ARIYANTI N. S. & WALUJO, E. B. 2016. Diversity of plants used for plaited crafts by the Dayak Iban-Désa in Kabupaten Sintang, Kalimantan Barat. Reinwardtia 15(2): 67 – 79. — Many plants are used for making plaited crafts such as basketry and woven mats by the Dayak Iban-Désa, a sub-tribe of the Dayak in Kalimantan Barat, Indonesia. The Dayak Iban-Désa gather the craft materials mostly from the plants in the forest. However, the habitats of these plants are being threatened by deforestation. The diversity of plants used for crafts is here documented. This study recorded the scientific names of plant species used for the craft plaiting, and observed abundance of plants used for craft. Information about the plants used were gathered using non-structural interview and focus group discussion (FGD) with the informants and participants. The abundance of plaited plants was observed in 46 plots of 10 × 10 m2 plots by participative ecological method. Nineteen plants species were used as plaited material, belonging to four families: Arecaceae, Poaceae, Pandanaceae and Zingiberaceae. Two species of rattan (Calamus sp. and Plectocomiopsis wrayi Becc.) have the highest Index Cultural Significance (ICS) value. Those species were considered as the most valuable plant materials because of the quality of fiber, intensity on harvesting, and the resulting quality of plaited craft products. However, the demand for high quality products is not always supported by the availability of plant materials in the forest. Therefore, the cultural significance of plants (the ICS values) and their availability should be considered when determining the conservation strategy for each of these species.
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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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Vanderploeg, Jennifer, and Seung-Eun (Joy) Lee. "Factors Influencing Pro-Environmental Behaviors in Craft Businesses." Clothing and Textiles Research Journal 37, no. 1 (September 24, 2018): 51–65. http://dx.doi.org/10.1177/0887302x18800394.
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Since the Arts and Crafts Movement in the early twentieth century, discourse on craft has revolved around conflicts over industrialization. The current craft movement builds on these same responses to the industrialized world while also addressing environmental issues and sustainability. However, authors of craft literature rarely address the pro-environmental business practices of craft artisans or the motivational drivers of such behaviors. In this study, we aim to rectify this imbalance by contributing to an expanded understanding of value and belief drivers of pro-environmental behaviors. The value–belief–norm theory of environmentalism is used to outline the causal influences of pro-environmental behaviors in craft businesses, and our findings support the use of the model. Craft business owners’ pro-environmental behaviors are a result of a causal relationship from values to beliefs, through feelings of obligation to act in pro-environmental ways.
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Makhitha, Khathutshelo Mercy. "Marketing Of Craft To Retailers: Understanding Their Buying Process, Supplier Selection Criteria And Information Sources Used." International Business & Economics Research Journal (IBER) 14, no. 6 (November 3, 2015): 791. http://dx.doi.org/10.19030/iber.v14i6.9486.
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The purpose of the study was to investigate the buying process, supplier selection criteria and information of craft retailers in South Africa (SA). The information collected about the buying process, supplier selection criteria and information sources used were to propose a marketing strategy for craft producers wanting to target retailers. Craft retailers play a dominant role in the craft industry value chain yet craft producers face difficulties selling to this market. Instead, they resort to selling directly to end consumers and not through craft retailers. An understanding of the retailer’s buying process, supplier selection criteria and information sources is a necessity for craft producers who want to sell their products successfully through the craft retailers. A survey was conducted among 233 craft retailers in SA. A convenience sampling method was adopted for the study. The findings revealed that craft retailers go through homogenous buying stages. Craft retailers go through a lengthy process when buying crafts. The most important supplier selection criteria are product quality, product is exciting and attractive, product styling and design and product distinctiveness/uniqueness. The information sources most often used are existing sales records, buyer’s experience and sales persons visiting with samples.
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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.
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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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Baldon, Russell. "A Crafted Presence Irreverent: Contemporary Nordic Craft." Journal of Modern Craft 3, no. 1 (March 2010): 115–17. http://dx.doi.org/10.2752/174967810x12657245205422.
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Bose, Chandan. "Crafting objects, crafting affinities, crafting selves: narratives of home and craft from Telangana, India." World Art 8, no. 1 (August 2017): 39–58. http://dx.doi.org/10.1080/21500894.2017.1347894.
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Tanjung, Dailami, Azmi Azmi, Tetty Mirwa, and Triyanto Triyanto. "ANALISIS NILAI ESTETIS KERAJINAN MINIATUR KAPAL PADA PENGRAJIN KRIYA ASMIDAR DI MEDAN PERJUANGAN." Gorga : Jurnal Seni Rupa 7, no. 2 (December 31, 2018): 284. http://dx.doi.org/10.24114/gr.v7i2.11898.
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AbstrakPenelitian ini di latar belakangi untuk mendeskripsikan nilai estetis pada kerajinan miniatur kapal pada pengrajin kriya Asmidar Di Medan Perjuangan.Pembatasan masalah dalam penelitian ini berfokus pada penerapan nilai estetis dan hasil karya kerajinan miniatur kapal pada pengrajin kriya Asmidar di Medan Perjuangan. Populasi dalam penelitian ini yaitu seluruh kerajinan miniatur kapal pada pengrajin kriya Asmidar. Dalam penelitian ini penulis mengambil teknik sampling jenuh, yaitu teknik penentuan sampel bila semua anggota populasi digunakan sebagai sampel sebanyak 8 karya kerajinan miniatur kapal. Dalam hal ini penulis akan meneliti karya kerajinan miniatur kapal tersebut berdasarkan aspek proporsi, keseimbangan, kesatuan, dan finishing. Adapun metode yang digunakan dalam penelitian ini adalah metode deskriftif kualitatif. Berdasarkan data yang telah diperoleh, maka semua hasil penilaian dari ke dua ahli secara keseluruhan pada kerajinan miniatur kapal karya pengerajin Kriya Asmidar ditinjau berdasarkan aspek proporsi, keseimbangan, kesatuan, dan finishing, secara umum dikategorikan baik dengan jumlah nilai = 703 dan rata-rata (r) = 88 (baik). Kata Kunci:analisis, kerajinan, miniatur kapal.AbstractThis research is in the background to describe the aesthetic value of miniature craft shipments at the craftsmen of Asmidar craft in Medan Perjuangan. The problem limitation in this study focuses on the application of aesthetic values and the work of ship miniature crafts to the craftsmen of Asmidar craft in Medan Perjuangan. The population in this study is all miniature craft of craft in the craft of the Asmidar craft. In this study the author takes a saturated sampling technique, which is a sample determination technique if all members of the population are used as a sample of 8 ship miniature craft works. In this case the author will examine the ship's miniature craft based on aspects of proportion, balance, unity and finishing. The method used in this research is qualitative descriptive method. Based on the data that has been obtained, all the results of the assessment of the two experts as a whole on the miniature craft of the work of the craftsmen KriyaAsmidar are reviewed based on the aspects of proportion, balance, unity, and finishing, generally categorized as good with a number of values = 703 and average ( r) = 88 (good).Keywords:analysis, crafts, miniature’s ship.
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Krivov, A. V., L. I. Sokolov, and V. B. Titov. "Stochastic Trajectories of Space Vehicles with Gravitational Manoeuvres." International Astronomical Union Colloquium 132 (1993): 123–30. http://dx.doi.org/10.1017/s0252921100065994.
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AbstractThe theoretical aspect of close flybies of space-crafts near planets-gravitational manoeuvres have been studied. It is proved that the space-craft motion with gravitational manoeuvres admits the existence of routing scheme and, consequently shows the existence of quasi-random motion.
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Lv, Duo Jun, Yong Feng Li, Chi Jiang, Yue Hong Zhang, and Yi Xing Liu. "Study on Manufacturing Craft of Wood-PSt Composite." Applied Mechanics and Materials 44-47 (December 2010): 2737–41. http://dx.doi.org/10.4028/www.scientific.net/amm.44-47.2737.
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A novel wood-based composite, Wood-PSt Composite, combining both advantages of wood and polymer was fabricated by impregnating styrene monomer into wood pores, followed by in-situ polymerization through a catalyst-thermal treatment inspired from the special porous structure. The manufacturing craft involving the impregnating craft and the polymerizing craft was studied and its structure was also observed by SEM. The analysis results indicated that the optimum impregnating condition was pressure: 0.5MPa, and time: 20min; and the monomer loading linearly correlated with pressure described as Y=201X+8.9, and linearly correlated with time described as Y=3.4X+31.4, respectively. The optimum polymerization craft was temperature: 80°C, time: 8h and AIBN: 3%. SEM observation showed that polystyrene generated in situ wood cellular structure and filled up wood pores under the optimum impregnating and polymerizing crafts, which was in accordance with the optimum manufacturing 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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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.
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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.
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Maryati, Maryati, and Rully Charitas Indra Prahmana. "Designing Learning Translation Using the Motifs of Anyaman Bambu." IndoMath: Indonesia Mathematics Education 3, no. 2 (July 28, 2020): 61. http://dx.doi.org/10.30738/indomath.v3i2.7725.
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Indonesia has many cultures, one of which is in the form of traditional crafts namely Anyaman Bambu. It’s a form of traditional craft in the community that uses bamboo as its basic material. However, people only see these crafts as only a form of traditional craft, even though there are many motifs in these crafts that can be used as a starting point in learning mathematics, namely geometry transformations. Therefore, this research aims also to produce the learning trajectory of students in learning one subject in geometry transformations namely translation, which develops from informal to formal level through the Indonesian Realistic Mathematics Education (IRME) approach. The research method used is design research starting from preliminary design, design experiments, and retrospective analysis. This study explores how the motifs of Anyaman Bambu make a real contribution for ninth-grade students to understand the concept of translation. The results of design experiments show that the context of the motifs of Anyaman Bambu can stimulate students to understand their knowledge of the concept of translation. All the strategies and models that students find, describe, and discuss that show how students' constructions or contributions can be used to help their initial understanding of the translation.
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Hofverberg, Hanna, David O. Kronlid, and Leif Östman. "Crafting sustainability? An explorative study of craft in three countercultures as a learning path for the future." Nordic Journal of Science and Technology Studies 5, no. 2 (December 22, 2017): 8–21. http://dx.doi.org/10.5324/njsts.v5i2.2314.
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This article explores and seeks to identify what ‘crafting sustainability’ could mean in relation to education for sustainable development (ESD). Certain ESD craft pedagogies are explored in three countercultures (from 1900, 1968 and 2017). The empirical data consists of literature from or about these three countercultures. A broad notion of sustainability and the educational philosophies of perennialism, essentialism, progressivism and reconstructivism are used as theoretical frameworks. The findings show the countercultures’ educative craft purposes, craft skills and approaches to learning craft and the possible implications for ESD. In particular, three tensions concerning the implications of an ESD craft pedagogy are discussed.