Relevant bibliographies by topics / Weavers in art

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Weavers in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Weavers in art"

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Verma, Rajiv, Shiba C. Panda, and Ved Prakash Bansal. "Dwindling Handloom, Sinking Weavers in Western Uttar Pradesh: A Case Study of Pilkhuwa, Amroha and Muradnagar." Journal of Business Management and Information Systems 2, no. 1 (June 30, 2015): 10–20. http://dx.doi.org/10.48001/jbmis.2015.0201002.

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There has been an upsurge of interest on the history and conditions of handloom weavers in India in recent years. Various works have appeared. There has, however, been a dearth of microscopic studies relating to the health rights and poverty among the handloom weaving community of India in general and of Western UP in particular. Handloom weaver as a person devoid of basic health rights and subjected to the most inhuman form of poverty – has never been the central theme of the practical research works. According to the Approach Paper for the 12th Plan, the handloom sector is a major employment generating sector. As per the Handloom Census of 2009-10, there are 23.77 lakh handlooms in the country, providing employment to 43.32 lakh handloom weavers and ancillary workers. The dispersed and decentralized handloom sector embodies the traditional wisdom, cultural wealth and secular ethos of our country. It is not just a source of livelihood for lakhs of weavers and artisans, but also environment friendly, energy and capital saving and labour-intensive form of art that has secured India’s presence in millions of homes across the globe. Equally importantly, this sector constitutes the only industry in the country that provides low cost, green livelihood opportunities to millions of families, supplementing incomes in seasons of agrarian distress, checking migration and preserving traditional economic relationships. With women contributing the majority of pre- and post-loom labour and accounting for over 50% of artisans in the country, and a significant mass of weavers/artisans consisting of scheduled castes, schedules tribes and religious minorities, this sector also represents the economic lifeline of the most vulnerable sections of our society. Over the decades, the situation of most weaver’s has deteriorated into a pitiful state, as weavers face increased poverty, hunger, health issue and inability to provide for their families. There is a high level of tuberculosis and malnutrition leading to depression and in some cases, suicide. Weavers also lack accession to public health centres due to severe operational and logistic constraints. The present project intends to highlight the forms of poverty and deprivations prevalent among the handloom weavers of Western Uttar Pradesh.
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King, J. C. H. "Pomo Indian Basket Weavers. Their Baskets and the Art Market:Pomo Indian Basket Weavers. Their Baskets and the Art Market;Pomo Indian Basket Weavers. Their Baskets and the Art Market." American Anthropologist 101, no. 3 (September 1999): 619–27. http://dx.doi.org/10.1525/aa.1999.101.3.619.

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Shukla, Pravina. "Pomo Indian Basket Weavers: Their Baskets and the Art Market:POMO INDIAN BASKET WEAVERS: THEIR BASKETS AND THE ART MARKET." Museum Anthropology 24, no. 1 (March 2000): 80–84. http://dx.doi.org/10.1525/mua.2000.24.1.80.

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Wierciński, Hubert. "Doctors, the Social-Weavers." Anthropological Journal of European Cultures 30, no. 1 (March 1, 2021): 74–95. http://dx.doi.org/10.3167/ajec.2021.300105.

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This paper explores the problem of knowledge and knowledge making among Polish primary care doctors. Following Kirsten Hastrup and Tim Ingold, I argue that doctors are skilful social-weavers capable of exploring and reconciling various orders of knowledge. Thus, through a diverse set of knowledgeable yarns – originating from professional and state regimes, and embedded in today’s social relationships and economies – doctors are involved in the art of weaving a fabric composed of many, it would seem, contradictory orders of knowledge. The fabric in question is one in a constant state of reworking – although it is one that establishes a meaningful and knowledgeable environment in which the doctors can perform.
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Kpogo, Robert Richard Yao, Benjamin Quarshie, and Henry Ofosu Ameyaw. "qualitative inquiry into kete weaving as a developing culture in the Akatsi district." Journal of African History, Culture and Arts 2, no. 3 (July 12, 2022): 132–45. http://dx.doi.org/10.57040/jahca.v2i3.219.

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In Ghana, Kente or Kete weaving is known to be done predominantly in areas of Bonwire, Ashanti Region and Agotime, Volta Region however the art is gradually gaining prominence in other communities in the Volta Region. This paper investigates and documents Kete weaving as a developing culture within the Akatsi District in the Volta Region of Ghana through a qualitative inquiry. The study focused on the history, production and marketing of the art using narrative and descriptive designs and thematic analysis approaches. Using the purposive sampling method, a total of 20 respondents constituting elders, weavers and cloth sellers participated in the study. The study found that the origin of Kete weaving has no roots in the Akatsi District however the art is fast growing as an occupation among the male youth in the district whereas the females, both young and old en.gage in trading the woven fabric and its accessories. Sadly, the future of this occupation is blurred as the ingenious weavers are faced with challenges including a lack of capital and infrastructure to industrialise their craft. Through the findings, this paper establishes that the art of Kete weaving in the Akatsi District is a fertile industry that when expanded and sustained can help create more jobs, thus reducing the poverty rate and improving the standard of living. The Commission for Technical and Vocational Educational Training (CTVET) needs to provide the weavers with additional training on creativity for a wider market target. It is recommended that the Government of Ghana through the Akatsi District Assembly provide infrastructure and financial support for the weavers. Private investors within the fashion industry are entreated to extend their business acumen towards the weavers for expansion.
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Rafiepour, Abolfazl, and Afsaneh Moradalizadeh. "Using mathematical ideas from carpet and carpet-weavers as a context for designing mathematics tasks." Journal on Mathematics Education 13, no. 3 (November 21, 2022): 383–92. http://dx.doi.org/10.22342/jme.v13i3.pp383-392.

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In this study, the mathematics of carpet will be introduced by presenting the lifestyle of two expert carpet-weavers from Kerman, Iran, who work for many years in carpet-weaving activities through an explanation of carpet weavers’ culture. This explanation reveals that carpet weavers can do mathematics and solve related real-world problems without academic education in mathematics according to their needs through practical activities. The main purpose of this study is to investigate the mathematical ideas in the art of carpet weavers, and the ethnography approach is used as a methodological framework. Our findings showed that there are many mathematical concepts in the carpet weaving process, such as mirror axes, parallel and diagonal lines, geometric shapes, ratio, and measurement which can be used as context for developing enrich and meaningful mathematical tasks.
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Anguiano López, Edgar Daniel. "Women identity weavers: territory, culture and worldview." Córima, Revista de Investigación en Gestión Cultural 8, no. 14 (December 21, 2022): 1–25. http://dx.doi.org/10.32870/cor.a8n14.7419.

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The hands of the weaversattribute to textile art a historical, cultural and identity value, since it is through the weavings, colors and symbols that these women communicate their vision of the world, the value of their territory and the significance of their clothing. This article focuses its relevance in identifying the main functions that define the process of creation of handmade textiles in the community of Tlaquilpa, Veracruz, Mexico. The analysis carried out links the relevant elements in the creation of cultural manifestations (social, natural and symbolic) with theories referring to the construction of culture and identity. This research was qualitative, so an ethnographic instrument was used, whose method of data collection was observation and in-depth interview. The results obtained constitute an approach to the identification of the important elements that give origin and meaning to textile art
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Biddle, Jennifer L. "Tjanpi Desert Weavers and the Art of Indigenous Survivance." Australian Feminist Studies 34, no. 102 (October 2, 2019): 413–36. http://dx.doi.org/10.1080/08164649.2019.1697179.

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Hawks, Ria, Jane Bloom, Maurine Packard, Sonia Lugo, Nadine Ulysses, and Stergios Zacharoulis. "SWK-02. WEAVING COMFORT AND SUPPORT FOR CHILDREN WITH BRAIN TUMORS AND THEIR FAMILIES IN AN OUTPATIENT CLINIC." Neuro-Oncology 22, Supplement_3 (December 1, 2020): iii464—iii465. http://dx.doi.org/10.1093/neuonc/noaa222.819.

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Abstract Parents of children diagnosed with brain tumors report high levels of stress at diagnosis and feelings of “being lost” on transition to outpatient follow-up care (Jackson AC, et al, 2007). Ssori is a Japanese form of free-style weaving that encourages people facing life-limiting challenges to discover inner strengths. We report our experience with Saori weaving with brain tumor patients and their families in a pediatric oncology outpatient clinic at a major university medical center. During 2019, we offered weaving sessions twice a week. We had a total of 151 encounters with hematology/oncology patients (age 5–18 years), siblings, or parents. Among these patients there were 20 with primary brain tumor diagnoses. Weaving was offered in the art therapy area of the clinic. After creating a fabric, the weavers had the opportunity to have their work sewn into functional objects, such as pillows, bags, purses, or healing pouches filled with beans that can be heated or cooled for comfort. Brain tumor patients readily engaged in weaving, despite various degrees of neurologic disability including hemiparesis or low vision. In the words of an 8 y/o weaver. “This is so cool. Daddy, can we always come when the weavers are here, so I can weave?” And from a mother: “This is great. She’s focused and busy!” Case studies, including a presentation of Legacy work, will be reported. In conclusion, Saori weaving can be an impactful intervention for childhood brain tumor patients and their families in an outpatient clinic setting.
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Dabrowski, Patrice M. "Hutsul Art or “Hutsul Art”?" Canadian-American Slavic Studies 50, no. 3 (2016): 313–31. http://dx.doi.org/10.1163/22102396-05003003.

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This article is concerned with the fate of the Hutsul kilim and, by extension, Polish-Ukrainian relations in the interwar period. This was a period when the Hutsul highlanders of the Eastern Carpathians (today citizens of modern Ukraine), the traditional weavers of these geometrically-patterned woolen rugs, found themselves within the newly established Second Polish Republic. Most commercial weaving was in Jewish hands at this time, and this production was far inferior to that done by Hutsuls themselves, primarily for their own domestic use. The decline of the Hutsul kilim was arrested by a Ukrainian émigré from Soviet Russia, whose “Hutsul Art” collective reinvigorated the form. This development brought the Hutsul kilim to the attention of those who would wish to appropriate it, or at a minimum consider it part and parcel of interwar Poland’s artistic production. The article demonstrates that, while Ukrainians were keen on integrating the Hutsul kilim into the Ukrainian kilim tradition, Poles preferred to keep the Hutsul kilim distinct, thus allowing it to be seen as part of the heritage of the multiethnic interwar Polish state.
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Dissertations / Theses on the topic "Weavers in art"

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White-Fredette, Cassandra. "Looking to the Future, Selling the Past: Churchill Weavers Marketing Strategies in the 1950s." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/6.

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This thesis explores the Churchill Weavers stereocards housed at the Kentucky Historical Society and Berea College based on visual analysis. By examining the stereocards as advertisements and comparing them to a series of short films created by the company, I will discuss how the Churchill Weavers created a brand that emphasized both an image of traditional American rural production and modern urban consumption. I will further discuss how the marketing strategies used by the Churchill Weavers exemplify a larger trend in American advertising in the years following World War Two.
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Michaud, Kathryn. "Tisserand de rêve = Dream-weaver /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1989. http://theses.uqac.ca.

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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1989.
Programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Molina, Perez Johana del Pilar. "El arte textil y la participación de la mujer tejedora." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657152.

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Este trabajo de investigación tiene como objetivo principal analizar la participación de la mujer tejedora en el proceso de producción de arte textil en el Perú. Asimismo, busca analizar el contexto en el que se desarrolla esta labor, y por último comparar la contribución de los centros de emprendimiento y difusión entre Bolivia y el Perú, países con mayor actividad textil y contextos similares, y posteriormente, entre los principales departamentos del Perú con mayor cantidad de artesanos textiles. Para ello, se utilizaron métodos de investigación cuantitativos y cualitativos. En el primero, se recopiló información de tesis, diarios, e informes de instituciones públicas. Y, en el segundo, se realizó un análisis de manera descriptiva y evaluativa, a un grupo de tejedoras perteneciente a una ONG “Ayllu Ruwasunchis”, ubicada en Pachacámac, a través de una investigación de campo. Por último, se encontró que, en el Perú, las tejedoras se muestran como una incógnita para el consumidor final debido a la presencia de intermediarios. Estos se aprovechan de sus carencias y les proponen precios bajos para luego difundirlos en espacios lujosos, a un consumidor de nivel socioeconómico “A” a precios elevados. Por otro lado, los espacios para promover su emprendimiento y venta están centralizados en las regiones de Cusco y Puno, debido al su gran alcance de materia prima, artesanos textiles, y alto flujo turístico. Sin embargo, Huancavelica, el tercer departamento con mayor cantidad de artesanos, no cuenta con espacios emprendimiento permanentes para la promoción y desarrollo de sus capacidades, y tiene casi en su totalidad espacios de venta informales, y los que son formales se alejan del trato directo entre tejedora y consumidor final.
The main focus of this research is to analyze the participation of women weavers in the textile art production process in Peru. It also seeks to analyze the context in which this work is developed, and finally to compare the contribution of the centers of entrepreneurship and diffusion between Bolivia and Peru, countries with greater textile activity and similar contexts,and later, between the main departments of Peru with the greatest number of textile artisans. As well, quantitative, and qualitative research methods were used. At first, information was gathered from theses, newspapers, and reports from public institutions. And then, a descriptive and evaluative analysis was made of a group of weavers belonging to an NGO "Ayllu Ruwasunchis", located in Pachacámac, through field research. Finally, it was found that, in Peru, weavers are an unknown quantity for the final consumer due to the presence of intermediaries. These people take advantage of their shortcomings and propose low prices and then sell them in luxurious spaces to a consumer of socioeconomic level "A" at high prices. On the other hand, the spaces to promote their entrepreneurship and sale are centralized in Cusco and Puno, due to their large supply of raw materials, textile artisans, and high tourist flow. However, Huancavelica is the third department with the largest number of artisans and doesn’t have permanent spaces for the promotion and development of their skills, and only has informal sales spaces.
Trabajo de investigación
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com, julieraff@yahoo, and Julie Raffaele. "Tide Weavers Project." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080915.134542.

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The Tide Weavers Project examines the representation of landscape in motion picture films and explores the ways in which certain filmmakers closely reference the desert landscape to mirror and represent notions of self and consequently, to shape film character portrayal. I argue that these filmmakers use this setting to describe a particular relationship for themselves and their characters. In this relationship the desert becomes a space in which to project and examine aspects of self and it can initiate a transaction or relationship so intimate that at many points, (human) being becomes landscape, and landscape becomes being. I will draw on the work of a range of Philosophers and Postcolonial theorists to inform my reading of this relationship and to frame my engagement with specific Australian and international films. The inclusion and analysis of my own desert-based motion picture script Tide Weavers will add to my understanding of the possibilities of film (as a medium) provides for altering an audiences' reading of landscape. I challenge the notion of estrangement from the land, either though ignorance or where colonialist landscape theory detracts from a sense of connectedness, such as through the superficial or subjective application of cartography, fear arising from monotonous and unfamiliar geography, and the eroticising of land as woman. I engage with current theory surrounding the idea of fusion with landscape to open new opportunities for exploring landscape/character interaction. I also propose that collaborative working processes between indigenous and non-indigenous filmmakers have the potential to alter the ways in which landscape is both represented and interpreted. I then look at how these ideas are translatable to the themes of the Tide Weavers script. Grief and gender are primary themes, with an emphasis on how respite, sacred space and surrender to landscape can lead to healing. I believe this work will contribute to exciting new filmic interpretations of landscape theory.
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Fiely, Megan Elisabeth. ""Within a framework of limitations" Marianne Strengell's work as an educator, weaver and designer /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143405799.

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Fiely, Megan Elisabeth. "“Within a Framework of Limitations”: Marianne Strengell’s Work as an Educator, Weaver, and Designer." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143405799.

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Grišiūtė, Aistė. "Daugiafunkcinių krepšių grupė ,,Mados pinklės"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120827_154613-50720.

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Bakalauro darbas ,,Mados pinklės“ – tai daugiafunkcinių krepšių grupė, kurią sudaro du krepšiai: kelioninė rankinė bei kuprinė, kurie užtrauktukų pagalba transformuojasi į atskiras krepšių-rankinių grupes. Iš viso komplektą sudaro 5 rankinės, krepšys išsiskaido į tris arba dvi rankines, o kuprinė į dvi. Toks išskirtinis komplektas gali būti demonstruojamas įvairiuose mados renginiuose, eksponuojamas galerijose ar pavyzdžiui individualios aksesuarų parduotuvės vitrinoje. Taip pat tokie gaminiai gali būti pateikiami verslo asociacijų pristatymuose. Juos pakoregavus ir supaprastinus konstrukciją, būtų galima pritaikyti tiražinei gamybai.
Bachelor‘s work „Fashion trap“- group of multifunctional haversacks, which are made of two haversacks: travel handbag and bag, which can be transformed into separate groups of haversacks-handbags with the help of zips. The set is made of 5 handbags, the haversack can be divided into three or two handbags and the bag can be divided into two.Such exclusive set can be shown in various fashion events, exhibited in galleries or, for example, in shop windows of individual shop of accessories. Also such kind of products can be presented in presentations of bussiness associations. Adjusting and simplifying construction, it would be possible to apply them to circulating production.
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Manesco, Lara Maria Arrigoni. "Para além de Penélope: a tessitura mítica e intertextual em contos da literatura brasileira." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-08052018-101003/.

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O trabalho investiga o tema da criação artística em contos brasileiros do século XX por meio da retomada da figura mítica da fiandeira e também indaga de que maneira tal diálogo intertextual com o mito pode ampliar as possibilidades de leitura dos textos em análise. Para tratar tal questão, o recorte apoia-se em narrativas em que a imagem mítica da tecelã é reelaborada como criadora de textos, de receitas culinárias, de tecidos artísticos urdidos em teares modernos, ainda que em constante diálogo com o mito. A pesquisa busca revelar, em um primeiro momento, uma reatualização do mito das tecedeiras em narrativas específicas da literatura brasileira, a saber: A Moça Tecelã (2009), de Marina Colasanti, Desenredo e A vela ao diabo (2001), de Guimarães Rosa, Colheita (1997), de Nélida Pinõn, Penélope (1998) e Ponto de Crochê (2009), de Dalton Trevisan. Por meio da análise comparativa, pretendemos mapear os ecos míticos e intertextuais que dispõem esses textos numa expressiva teia (temático-formal), pois todas as narrativas selecionadas discutem o ato criativo e as referências à tecelagem, embora respondam de maneiras diferentes a essas questões.
This work analyzes the theme of artistic creation in Brazilian short novel in the 20th century through the resumption of the weaver mythical figure and also inquires how this intertextual dialogue with the myth can increase the reading possibilities of the text analyzed. The research seeks to reveal, in the first moment, a revision of the myth of the weavers in specific narratives of Brazilian literature: A Moça Tecelã (2009), of Marina Colasanti, Desenredo and A vela ao diabo (2001), of Guimarães Rosa, Colheita (1997), of Nélida Pinõn, Penélope (1998) and Ponto de Crochê (2009), of Dalton Trevisan. In order to develop this question, the corpus chosen discusses the mythical image of the weaver as breeder of texts, recipes and artistic tissues weaved in modern looms, even if still keeps constant dialogue with the mythical sources. Through de comparative analyses, we intend to map the mythical and intertextual echoes that order these texts in an expressive web (thematic and formal), because all the selected narratives discuss the creative act and the weaving process, although reply in different ways to those questions.
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Lim, Grace T. "Enhancing the weaver ant, Oecophylla smaragdina (Hymenoptera: Formicidae), for biological control of a shoot borer, Hypsipyla robusta (Lepidoptera: Pyralidae), in Malaysian mahogany plantations." Diss., Virginia Tech, 2007. http://hdl.handle.net/10919/26850.

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The weaver ant is a promising biological control agent of a shoot borer, Hypsipyla robusta Moore, on mahogany, but techniques to conserve ant colonies redistributed to mahogany plantations have not yet been developed. The effect of food supplementation and host plant species preference of the weaver ant, Oecophylla smaragdina F., was evaluated in a series of field studies. A simple model was developed to estimate the number of ants within nests on Khaya ivorensis A. Chev. (Meliaceae): log₁₀ (Number of ants) = - 1.16 + 1.09 log₁₀ (Nest size). Nest size is calculated from estimated nest height (ĥ) and length (à ) using the formula = π;r²⁺; à , where r = ½ ĥ. This model was useful for repeated assessments of ant population levels to evaluate treatment effects. It provides better estimates than previous indirect methods based on nest counts and ant trail counts on plant parts. Colonies that were relocated without their queens and very small colonies (< 10,000 ants) failed to establish on new host trees, indicating that a minimum ant population and queen needs to be transferred for colony survival. Established colonies consumed more high-protein foods (live mealworms and fish) than high-carbohydrate liquid foods (honey and –weaver ant formula–, which contained sucrose and human muscle-training powder (Enerpro™)). Relocated colonies consumed more weaver ant formula and as many mealworms as established colonies, indicating that existing and relocated colonies require different food supplementation strategies. Decreasing consumption over time and preferential consumption among high-protein food choices (i.e., of mealworms over fish) indicated that ants select and regulate food consumption based on colony needs. Therefore, food supplementation should be as needed. Preliminary indications were that self-sufficiency in trophobiont (honeydew) levels may be achieved in two months after colony relocation. The optimal colony density that would protect K. ivorensis was estimated to be within the range of 6 – 48 colonies per ha based on previous reports for cocoa and cashew, and a consideration of the low damage threshold for mahogany. Substituting chemical control with weaver ants at those application rates gave similar IRRs (Internal rate of return; 11.6 – 12.2 vs. 12.0%) in preliminary financial analyses, and was preferable from an ecological standpoint. Twenty-nine host plant species were found for Malaysian O. smaragdina, of which 11 were new species records for Oecophylla spp. Also, there were two new genera and eight new species records for Malaysian O. smaragdina. Of eight trophobiont families collected, six species were identified, yielding new trophobiont-host plant species records for four coccoid species and two membracid genera. Screening of several ant-abundant plant species that included preliminary pest risk analyses for trophobionts on K. ivorensis, identified M. citrifolia as a promising candidate for mixed-planting with this mahogany species.
Ph. D.
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Songur, Yasemin. "Waffle Contrasts : Reinterpreting the Traditional Waffle Weave through Technical, Material and Colour Research." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23801.

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Asking the question: How can the waffle weave be reinterpreted through material, technical and colour research, the investigation of this MA thesis revolves around the weaving technique with the aim of presenting a collection of various woven textiles, where the waffle has been used in different ways. The weave, with its three- dimensional structure creates an interesting canvas to experiment upon as its structure creates both texture as well as depth to the textile. Furthermore, the research is conducted through a systematic exploration of the different aspects mentioned above, where theory and practise go hand in hand. Moreover, the practical experiments start as sketches on the computerised ARM looms and then are scaled up and revised on the industrial jacquard looms. The results showcase a variety of waffle weaves; from flat to three- dimensional, with various colour and surface effects as well as different compositions and overall forms. So, through this research, the degree project aims to explore and experiment the potential and possibilities of the waffle weave
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Books on the topic "Weavers in art"

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Dream weavers: Textile art from the Tibetan plateau. Singapore: Times Editions Marshall Cavendish, 2004.

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Stocksdale, Kay Sekimachi. The weaver's weaver: Explorations in multiple layers and three-dimensional fiber art. Berkeley, Calif: Regional Oral History Office, the Bancroft Library, University of California, Berkeley, 1996.

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Ortiz, Hugo Ibarra. Trama y urdimbre de una tradición: Los sarapes de Guadalupe, Zacatecas. Zamora, Michoacán: El Colegio de Michoacán, 2010.

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Trama y urdimbre de una tradición: Los sarapes de Guadalupe, Zacatecas. Zamora, Michoacán: El Colegio de Michoacán, 2010.

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1910-1963, Morton Alastair, ed. Alastair Morton and Edinburgh Weavers: Visionary textiles and modern art. London: V & A Publishing, 2012.

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The tartan weaver's guide: 142 tartans in colour, with historical notes, 228 thread counts and guidance for weavers. London: Shepheard-Walwyn, 1985.

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American Indian art series. Santa Fe, N.M: CIAC Press, 1998.

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Thaïs Wense de Mendonça Cruz. Miragens da existência: O tecelão, a tecelagem e sua simbologia. São Paulo, SP, Brasil: Annablume, 1998.

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McKay, Mary Terence. The centinela weavers of Chimayo: Unfolding tradition. Chimayo, New Mexico: Centinela Traditional Arts, 1999.

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1853-1890, Gogh Vincent van, Brink, G. J. M. van den, Frijhoff Willem, and Nederlands Textielmuseum, eds. De Wevers en Vincent van Gogh. Zwolle: Waanders, 1990.

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Book chapters on the topic "Weavers in art"

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Ramsay, Morgan. "Christopher Weaver." In Gamers at Work, 281–95. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-3352-7_15.

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Schubert, Leanne, and Mel Gray. "Oh, what a tangled web we weave!" In Using Art for Social Transformation, 219–32. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003105350-18.

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Rountree, Kathryn. "Introduction. “We Are the Weavers, We Are the Web”: Cosmopolitan Entanglements in Modern Paganism." In Cosmopolitanism, Nationalism, and Modern Paganism, 1–19. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-56200-5_1.

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Verhecken-Lammens, Chris. "4. Technology of the lampas fabrics and distinctive weaves." In The Ottoman Silk Textiles of the Royal Museum of Art and History in Brussels, 35–48. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.stah-eb.4.000104.

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Xu, Hantian, and Lin Zhang. "Urban Interactive Installation Art as Pseudo-Environment Based on the Frame of the Shannon–Weaver Model." In Culture and Computing. Interactive Cultural Heritage and Arts, 318–36. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77411-0_21.

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Li, Zhihao, Guocai Ma, Gang Zhao, Min Yang, and Wenlei Xiao. "Weave Bead Welding Based Wire and Arc Additive Manufacturing Technology." In Communications in Computer and Information Science, 408–17. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2396-6_38.

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Leydesdorff, Loet. "Towards a Calculus of Redundancy." In Qualitative and Quantitative Analysis of Scientific and Scholarly Communication, 67–86. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-59951-5_4.

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AbstractIn this chapter, I extend Shannon’s linear model of communication into a model in which communication is differentiated both vertically and horizontally (Simon, 1973). Following Weaver (1949), three layers are distinguished operating in relation to one another: (i) at level A, the events are sequenced historically along the arrow of time, generating Shannon-type information (that is, uncertainty); (ii) the incursion of meanings at level B is referential to (iii) horizons of meaning spanned by codes in the communication at level C. In other words, relations at level A are first distinguished from correlations among patterns of relations and non-relations at level B. The correlations span a vector space on top of the network of relations. Relations are positioned in this vector space and can then be provided with meaning. Different positions provide other perspectives and horizons of meaning. Perspectives can overlap, for example, in Triple-Helix relations. Overlapping perspectives can generate redundancies—that is, new options—as a result of synergies.
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Podany, Amanda H. "Builders and Organizers." In Weavers, Scribes, and Kings, 13—C1.F7. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190059040.003.0001.

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Abstract The chapter begins with an overview of developments in the ancient Near East prior to the growth of cities, such as long-distance trade, beginnings of settlements, farming, and the invention of pottery. Uruk was the first city of the Near East to have monumental architecture and a population of tens of thousands of inhabitants. It seems to have been the biggest city in the world in 3500 bce and it was the site of many innovations that had a lasting impact on the Near East and the world. A remarkable structure called the Stone Cone Temple provides a window into several aspects of the society and economy of the time. Although the temple was built before writing was invented, archaeologists can draw conclusions about its construction based on the material remains that survive. Innovation was prized, as seen in the new building materials, such as a form of concrete and stone cones used to create mosaics. The workforce was organized, as seen in the use of clay tokens, bullae, and cylinder seals for record-keeping and administration, and in the use of beveled-rim bowls, probably for distributing rations. A male figure shown in art on cylinder seals and on the Uruk Vase was probably a priest-king who venerated the goddess Inana and played an important role in the city.
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"art weaves." In The Fairchild Books Dictionary of Textiles. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365072.725.

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"The Weaver’s Story." In A Journey of Art and Conflict, 21–34. Intellect Books, 2015. http://dx.doi.org/10.2307/j.ctv36xw2tr.8.

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Conference papers on the topic "Weavers in art"

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Cristian, Irina, and Cristina Piroi. "CAD APPLICATION FOR DOBBY WEAVES DESIGN BASED ON CELLULAR AUTOMATA THEORY." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-249.

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Dobby weaves are decorative structures, which are characterised by small design or geometric figures woven in the fabric structure. Classical methods to diversify dobby weaves can be completed with a series of unconventional methods that derive from mathematics. Theories like fractals, chaos, and cellular automata, applied by CAD, can make easier and more efficient the creation process. The paper presents a CAD application for dobby weaves design (named TexCel) based on Cellular Automata theory, created by researchers from Faculty of Textile-Leather and Industrial Management of Iasi, Romania. Cellular automaton consists in a regular lattice of elements named "cells", which pass simultaneously through a finite number of states, in discrete time steps. Each cell evolves according to the same rule, which depends only on the state of the cell and on a finite number of neighbouring cells. The successive states of certain cellular automata that evolve in a square lattice and that have only two possible states of cells - coloured in black or white), are similar to the graphical representation of weave structures for woven fabrics. TexCel software contains two distinct parts: a drawing modulus and a drawing analysis modulus. The drawing modulus can be activated after the initialisation of the cellular automaton parameters (neighbourhood size, boundary conditions, initial condition and transition rule). The analysis modulus is necessary to eliminate those drawings that don't correspond to the fabric weaves conditions concerning the yarns' binding and the maximum float size. TexCel can select automatically and display only the balanced weaves or those that contain a settled maximum size of yarn floats. The theory of Cellular Automata is immensely rich, with simple rules and structures being capable to produce a great variety of dobby weave patterns. Even after the drawing selection, still remain an impressive number of interesting graphical configurations that can be used to diversify the fabric structure. TEXCEL represent a real "drawing engine" for dobby weave design, with very large resources for pattern creation process.
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Cioara, Lucica. "THE RESOURCES AND THE EFFICIENT USE OF THE CAD-CAM SOFTWARE IN THE TRAINING OF STUDENTS." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-278.

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Software CAD / CAM is professional software for design of woven fabrics and for manufacturing technology Using these systems is efficient if the designers have solid knowledge of the technology and the fabrics structure. In the training of students, CAD CAM system for weaving can be used with successfully as an educational software, if is using all the functions of the program. In this paper we present the resources it has CAD CAM software Arah Weave, in the above presented sense. It is relatively easy to construct a fabric. The whole art is to combinate these elements: - weave (the way the yarns interlace); - warp and weft pattern; - yarns count and your structure; - warp density and weft density. Still, sometimes we will be surprised by what a simple interplay of these factors will produce, in the fabric structure and appearance. To play with these settings, without constrains and with minimale expenses, is the very reason why we should use the Arah Weave software in the instruction processe of the students. Another advantage of using such program is the simulation of the fabric. The simulation mode, shows the fabric in real density with respect to finished fabric Arah Weave programm has a database which stores information for the preparation of the students. All this data are stored in the subdirectories, like following : -fabrics directory-contains all information relevant to 550 fabrics: colors, yarns,weave, density and other technical details; - yarns - contains yarn colors, count, twist, structure; - weaves - contains12000 of weaves; -img- contains images for jacquard conversion or for overprint simulation, model images for usage with Arah Drape, fabric simulation for usage in Arah Drape. This information is used by students as a model and an inspiration source.
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Cioara, Lucica, and Ioan Cioara. "EDUCATIONAL SOFTWARE FOR WOVEN FABRICS DESIGN." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-287.

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The software proposed in this paper presents an educational teaching method of the woven fabrics with simple structure. The program is modular designed with increasing difficulty while the complexity of the approached subject increases. The program respects the principles of the educational methology and the information is presented gradual so that good knowledge assimilation is possible. It is based on the teaching method used by the professors from this branch and follows the steps of the learning process.. The software is useful to all who attend "The structure of woven fabrics" subject, both in high schools and universities. Each modul is repesentatif for the educational program levels (high schools or universities) The successive modules are designed taking into account the classification of the weave for the simple woven fabrics. When designing the program three main directions have been followed: - establishment of the educational methodology (the teaching and testing methods); - analysis and systematization of the structural and appearance characteristics that define the woven fabrics for fundamental weaves, derivative weaves and combined weaves; - establishment of the elements that will be used in testing the knowledge and also the testing steps. From the educational point of view are respected the specific steps of learning and testing the knowledge. So, the program can be used in LEARNING and respectively TESTING variant. The user have to choose one of these options at the beginning of the work session. The applicant has to introduce himself the needed structure characteristics for a certain weave. The program allows the individual study and individual estimate of knowledge.
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Rahman, Md Mamunur. "Phylogeography of weaver ant,Oecophylla smaragdina, in Bangladesh (Hymenoptera: Formicidae)." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.112381.

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Sadakuni, Shingo. "REACTIVE DOCUMENT - THE ELECTRONIC DOCUMENT WEAVED INFORMATION." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.112.

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Arnautu, Irina. "WHAT IS YOUR SOURCE OF INSPIRATION?" In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-207.

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On designing and realization of aesthetic appearance of compound woven structures, each of us uses any visual sources that could inspire us. In this paper were generated new woven structures on the principle of communicating vessels as a metaphor, so that one structure helps the other and is complementary to it. For this purpose was used ArahWeave CAD/CAM textile software for dobby and Jacquard fabric design and weaving, which offers such innovative design possibilities and helps to create amazing patterns. ArahWeave has a special function for constructing multiple layer weaves with different densities in warp and weft layers. The maximum weave size is ,,limited" to 65520 by 65520 threads in ArahWeave Pro and 262080 by 262080 threads in ArahWeave Pro XL. In the Tools menu from Edit weave are advanced weave editing functions, which can be used both on dobby or Jacquard woven fabrics. As sample, in the Edit decomposed window from Tools, the weave area is split into ,,weave table", where the number of columns is number of warps, and the number of rows is number of wefts. The ,,limitations" of a decomposed weave means maximum weave systems of 16 warps and 16 wefts. These so-called ,,limitations" are motivated only by deeper technical reasons on dobby and Jacquard looms. By applying weave to fabric tool, the result will be immediately visible on fabric in the main window, in a selected mode of view (weave, integer, shaded integer or simulation view), and appeared at the desired zoom level. The hyper realistic woven fabric simulations in ArahWeave, ArahDrape, ArahView3D or Arahne online configurator mean cost and time saving and the best design solutions for a creative work.
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Ledin, Anna. "Potential consequences of the exploitation of ant-acacia mutualisms by orb-weaver spiders." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.115891.

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Grieve, Fiona, and Kyra Clarke. "Threaded Magazine: Adopting a Culturally Connected Approach." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.62.

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It has been ten years since the concept of the Publication Platform has been published in the special edition of the Scope Journal ISSN (online version; 1177-5661). The term ‘Publication Platform’ was introduced in the Practice Report, The Site of Publication in Contemporary Practice. This article surveyed a series of publication projects analysing distinctive editorial models as venues for discussion, collaboration, presentation of practice, and reflection. In this context, the term Publication Platform is employed to describe a space for a series of distinctive editorial modes. The platform considers printed matter as a venue for a diversity of discourse and dissemination of ideas, expanding the meaning and boundaries of printed media through a spectrum of publishing scenarios. The Publication Platform positions printed spaces as sites to reflect on editorial frameworks, content, design practices, and collaborative methodologies. One of the central ideas to the report was the role of collaboration to lead content, examining how creative relationships and media production partnership, affect editorial practice and design outcomes. Ten years after, the Publication Platform has evolved and renewed with emergent publishing projects to incorporate a spectrum of practice responsive to community, experimentation, interdisciplinarity, critical wiring, creativity, cultural production, contemporary arts, and craft-led discourse. This paper presents a case study of ‘Threaded Magazine’ as an editorial project and the role of its culturally connected approach. This study uses the term ‘culturally connected approach’ to frame how Threaded Magazine embodies, as a guiding underlying foundation for each issue, the three principles of Te Tiriti o Waitangi: Participation, Protection and Partnership. This presentation reflects on how these principals connect to who Threaded Magazine are collectively as editors and designers, and determined by who we associate with, partner, and collaborate with. A key factor that influenced Threaded Magazine to adopt a more culturally connected approach arose by the invitation to participate in the international publication entitled Project 16/2, commissioned by Fedrigoni Papers for the Frankfurt Bookfair, in Germany. The Project 16/2 created an opportunity for a process of editorial self-discovery. This trajectory translated the tradition of oral storytelling into graphic language, conveying the essence (te ihi) of who we were. The visuality and tactility of the printed media set a format for Threaded Magazine to focus on Aotearoa’s cultural heritage, original traditions, and narratives. This paper overviews the introduction of a kaupapa for Issue 20, the ‘New Beginnings’ edition and process of adhering to tikanga Māori and Mātauranga Māori while establishing a particular editorial kawa (protocol) for the publication. The influence and collaboration with cultural advisory rōpū (group) Ngā Aho, kaumātua and kuia (advisors) will elaborate on the principle of participation. Issue 20 connected Threaded Magazine professionally, spiritually, physically, and culturally with the unique identity and landscape of Indigenous practitioners at the forefront of mahi toi (Māori Contemporary art) across Aotearoa. Special Edition, Issue 21, in development, continues to advance a culturally connected approach working with whānau, kaiwhatu (weavers), tohunga whakairo (carvers), kaumātua and kuia to explore cultural narratives, connections, visually through an editorial framework.
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Campbell, Scott, Ricardo Bueno, Sinasi Eren, and Malik Faisal Abdullah. "Salt Drilling: The State of the Art." In International Petroleum Technology Conference. IPTC, 2021. http://dx.doi.org/10.2523/iptc-21165-ms.

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Abstract Drilling though salt is not a new challenge in the petroleum industry, with successful exploration and appraisal wells in salt environments paving the way for complex field developments. A detailed summary of how these advancements have subsequently evolved into the technology and methods being used today is presented. The numerous challenges, and the resulting solutions, of drilling in salt environments are well documented; a comprehensive review of the relevant published industry literature has been conducted. Additionally, workshops with several major service vendors have been held to ascertain the current status of research and new product development. These two areas form the foundation of this work and have been weaved together and presented to establish what is the state of the art in salt drilling. Since the first salt wells were drilled, the drilling industry has changed considerably. Significant advancements in salt drilling technologies and methods have been made in areas such as: best drilling practices, salt formation geomechanics, salt formation geochemistry, drilling fluids, well cementing, directional drilling, drill string and drill bit design. These advancements have all been clearly delineated in a chronology of continuous improvement, compounded by the considerable weight of industry experience and lessons learned which has in turn led to optimisation, and increased efficiency, of salt drilling operations. Today, salt drilling is prevalent in areas such as the Gulf of Mexico, deep-water offshore Brazil, and deep-water West Africa, where the boundaries are continually pushed due to the perseverance of both petroleum operating companies and service vendors. The existing body of literature on salt wells is large and covers many disciplines of the upstream business, from wildcat exploration through to production. However, this focus is solely on drilling, combining and summarising many years’ worth of experience, learning, research, and development, to present what is the state of the art in salt drilling.
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Tandon, G. P., T. Gibson, J. Shumaker, R. Coomer, J. Baur, and R. S. Justice. "Processing and Characterization of Novel Bismaleimide-Based Shape Memory Polymer Composites." In ASME 2012 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/smasis2012-7936.

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In the present study, a series of novel linear polyaspartimide-based silane endcapped (cross-linked) polymers are synthesized using 4-4′ bismaleimidodiphenylmethane, Jeffamine D-400 (BMI-JA-400), and (3-Aminopropyl) trimethoxysilane. To add strength to these systems, the trimethoxysilane moiety is cross-linked with the addition of water to create a thermosetting material with both improved toughness and variable cross-link densities. Thermal analysis is done to evaluate the developed shape-memory polymer (SMP) resin for composite processing feasibility. The solvent content in the resin and thermal stability is monitored using thermogravimetric analysis (TGA) while advanced rheometric expansion system (ARES) with parallel plate geometry is used to measure viscosity variation with temperature. The resin BMI-JA-400-Si-70/30 is chosen for making the composite based on its viscosity, weight change, and kinetic results. Differential scanning calorimetry (DSC) is performed to determine the cure kinetics including the temperatures at which the cure reaction initiates and completes in order to develop the cure cycle for composite fabrication. The selected SMP resin is hand-impregnated with T-300 plain-weave and T-700 uni-weave carbon fabric. Six-ply composites are successfully fabricated with < 2% void content using both fabric weaves. The thermo-mechanical properties of the SMP resin are measured using dynamic mechanical analysis (DMA). In addition, the shape memory cycle with free recovery is conducted on the SMP resin and composites.
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Reports on the topic "Weavers in art"

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Havrlant, David, and Abdulelah Darandary. Economic Diversification under Saudi Vision 2030. King Abdullah Petroleum Studies and Research Center, April 2021. http://dx.doi.org/10.30573/ks--2021-dp06.

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The last decade has brought a row of substantial changes that have profound implications for the traditional hydrocarbon resource-rich economies. Economic conditions may change radically either throughout a decade or within months. The question is whether there is no other option for a hydrocarbon resource-rich economy than to be held hostage to the fluctuations in global oil prices. The general answer to a changing environment is: Adapt! From the macroeconomic perspective, this means diversifying the economy to broaden the income base and significantly reduce the dependence on oil revenues. The Saudi Vision 2030 represents a complex plan for substantial socioeconomic adjustments that are about to move the economy toward a more diversified and sustainable one. This discussion paper examines the preferred diversification paths for the Saudi economy in more detail, with a focus on the foreseen adjustments in the sectoral composition of the economy along with broader macroeconomic shifts. The evaluation of the foreseen diversification impacts is based on the updated Vision 2030 Input-Output Table that maps the changing structure of the Saudi economy over the coming decade. We discuss the assumed expansion of the diversification frontrunners, their changing contribution to the overall economic activity and identify the preferred diversification paths for the Saudi economy. The advances in economic diversification are measured by applying the Shannon-Weaver index to sectoral GDP and household income. The expected sectoral changes are wide-reaching, so the basic macroeconomic relations are also subject to adjustments. We also conduct a sensitivity analysis to examine the effects of the foreseen diversification on the resilience of the Saudi economy to external shocks.
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