Gotowe bibliografie tematyczne / Of Industrial Arts

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Of Industrial Arts”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 1 lutego 2022

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Artykuły w czasopismach na temat "Of Industrial Arts"

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Cirakoglu, Huriye. "Hand arts and industrial design". New Trends and Issues Proceedings on Humanities and Social Sciences 5, nr 6 (14.09.2018): 128–33. http://dx.doi.org/10.18844/prosoc.v5i6.3849.

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The ornamentalism that starts with the history of mankind was born from the passion of mankind to embellish the material used and to shape it with an understanding of art. Handicrafts are income-generating, production-oriented activities based on the individual’s knowledge and skill, often using natural raw materials, made by hand and simple tools, reflecting the pleasure and skill of the person carrying the cultures, traditions folkloric characteristics of the community. Handicrafts are the most important items showing the level of culture and civilisation of the society or nation in which they have emerged. Thus, handicrafts indicate the economic level, beliefs, customs and customs of that society, the climate and technological level of the geographical area in which they live. Increasing world population and technological developments have affected production methods and tools. In developed countries, it is very important to cultivate the human power that can produceand use the technology.Keywords: First keyword, second keyword, third keyword, forth keyword;
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Aughterson, Kate, i Jessica Moriarty. "Place-based arts: Post-industrial landscapes". Journal of Writing in Creative Practice 8, nr 2 (1.06.2015): 103–7. http://dx.doi.org/10.1386/jwcp.8.2-3.103_2.

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Muñóz Campos, Paloma, i Sofía Rodríguez Bernis. "Industria, decoración y diseño. Historias del Museo Nacional de Artes Decorativas". Ge-conservacion 8 (4.12.2015): 67–77. http://dx.doi.org/10.37558/gec.v8i0.291.

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La posición de las artes decorativas –artes aplicadas, cultura material, diseño, artesanía- en el panorama actual cultural de los museos está necesitada de una reflexión para conectar con la sociedad y con los cambios operados en la museología del siglo XXI. El Museo Nacional de Artes Decorativas (MNAD) ha reflejado en su evolución el desarrollo de las profesiones dedicadas a los objetos de consumo. Aunque en sus inicios como Museo Nacional de Arte Industrial (MNAI) se centró en el fomento de los productos de la segunda Revolución Industrial, acabó por perder la batalla de la modernidad tras la Guerra Civil, privilegiando el acopio de “obras de alto valor decorativo”, al margen del debate contemporáneo fuera de nuestras fronteras, que buscaba tender un puente entre arte e industria. Hoy el museo se enfrenta al nuevo reto de prestar servicio a una sociedad en crisis y trabaja en su redefinición conceptual como institución, hacia la construcción de un nuevo museo. Un museo de todos y para todos, que nos ayude a comprender los objetos que configuraron y configuran nuestro entorno.
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Howlett, James, i Brad Huff. "Industrial Arts/Technology: What are We Doing?" Phi Delta Kappan 88, nr 10 (czerwiec 2007): 764–67. http://dx.doi.org/10.1177/003172170708801013.

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Rokuzō, Yasuda, i Penny Bailey. "Japan's Industrial Arts: Present and Future (1917)". Review of Japanese Culture and Society 28, nr 1 (2016): 51–54. http://dx.doi.org/10.1353/roj.2016.0022.

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Lim, Kyungsoon. "Liberal Arts Education in the 4th Industrial Revolution". Studies of Korean & Chinese Humanities 58 (31.03.2018): 1–20. http://dx.doi.org/10.26528/kochih.2018.58.001.

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�hman, Mats, Erik S�derman, Irena Cynkier i Birgitta Kolmodin-Hedman. "Work-related respiratory problems in industrial arts teachers". International Archives of Occupational and Environmental Health 67, nr 2 (1995): 111–18. http://dx.doi.org/10.1007/bf00572234.

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Castillo, Eduardo. "The School of Arts and Trades in Santiago (EAO), 1849–1977". Design Issues 32, nr 1 (styczeń 2016): 32–40. http://dx.doi.org/10.1162/desi_a_00362.

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The School of Arts and Trades (Escuela de Artes y Oficios, EAO) in Santiago is one of the earliest examples of how enlightenment-based ideas of education, developed during the industrial revolution, reached Latin American states at the dawn of their independence. The School was founded in 1849 at the behest of President Manuel Bulnes to promote the development of the “mechanical arts” among the “sons of honest and industrious artisans”, with the intention of training a workforce for a fledgling domestic industry through the teaching of four trades: carpentry, blacksmithing, foundry and mechanics. From the beginning until well into the twentieth century, a polytechnical approach was repeatedly considered and rejected in favour of a solid industrial formation rather than specialization in a particular trade. This discussion began early on and continued throughout the life of the EAO, with various specialtes added over time to the basic structure of the school; the initial four workshops, however, were a constant presence throughout.
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Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry". Mudra Jurnal Seni Budaya 25, nr 3 (30.09.2010): 293–301. http://dx.doi.org/10.31091/mudra.v25i3.1567.

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Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.
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Kitarō, Kunii, i Penny Bailey. "Industrial Arts and the Development of Japan's Industry (1932)". Review of Japanese Culture and Society 28, nr 1 (2016): 55–61. http://dx.doi.org/10.1353/roj.2016.0023.

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Rozprawy doktorskie na temat "Of Industrial Arts"

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Buesnel, Eric. "Industrial Imagery and Contemporary Arts". Thesis, University of Derby, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521698.

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Colelli, Leonard A. "Relationship of activities experienced and taught by secondary manufacturing teachers /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487261553059751.

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Bebee, James F. "A telephone survey of public attitudes concerning industrial arts education /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487261553058302.

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Gul, Rabail. "Regenerating Post Industrial sites through Landscape Urbanism". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22225.

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Modern urban environments are full of void, underused spaces. But it is these urban voids that are our opportunities to transform and revitalize struggling urban environments. While some brownfields are quickly capped and converted into new places of business, this kind of transformation does little to get rid of the site contamination and a future of concealed complications. On the other hand, if brownfields are converted into park and open space, they then become opportunities for recreation, education and true environmental revitalization. Park users are given the opportunity to learn about the natural environment and how it can be restored and are also able to enjoy the benefits of recreation to improve their social, physical, and mental health. Overall, major economic, social, and environmental benefits are reaped from this kind of redevelopment.The purpose of this project is to explore the benefits of reclaiming an urban brownfield for reviving it through different regenerating strategies. Firstly through the development of a recreational space i.e a park and secondly through a residential area. While exploring these strategies a study of landscape urbanism as a new lens towards revival and study of environmental concerns such as soil remediation technique are involved.
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Cannaday, Bruce D. "Basic concepts of industrial technology". Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/458486.

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The purpose of this creative project was to develop a three dimensional model that would assist Industrial Technology Educators describe contemporary concepts of communication, construction, manufacturing, and transportation. The creative project was designed to appreciation of Industrial Technology. It also assisted them in developing problem solving techniques.A model community and activity packet were developed. The model community was the central focus for analysis. The concepts represented in the model community are reinforced with activities in the activity packet.
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Zalewski, Sondra. "Design, graphic arts, and the environment /". Online version of thesis, 1994. http://hdl.handle.net/1850/12205.

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Jensen, Erick. "An assessment of safety/risk management practices/perspectives among high school/middle school technology education instructors and business/industry professionals". Menomonie, WI : University of Wisconsin--Stout, 2005. http://www.uwstout.edu/lib/thesis/2005/2005jensene.pdf.

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Gunduz, Erol Mehmet. "Playing With Clay| Knowledge Making Across Physical and Digital Materials". Thesis, Teachers College, Columbia University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10287813.

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Digital clay is a virtual material that exists currently in many 3D design software applications. Coupled with the rapid development of 3D printing technology, clay forms designed with a computer can now be externalized into the physical world as 3D prints or, vice versa, as digital scans. Recently, advanced tools have become available to artists and designers as affordable systems marketed to the professional consumer. As a response to these developments, my research examines the learning that occurs for eight artists who have been asked to play with physical and digital clay. This research employs a multiple case study methodology to understand the challenges of learning to work with digital clay and the supporting role of physical material engagement in this process. By interviewing participants and thematically analyzing their responses, I presented the subjective experience of the artists through portraiture showcasing the educational role play assumes when engaging across physical and digital media. Findings of the study suggest that engaging physical and digital materials calls upon a broad scope of cognitive processes including recollection and mental wanderings that contributed to reflection and discovery of novel ideas. Details from unstructured interviews were presented through narrative reporting as this research also strives to make sense of the participants' experience and situate the details of the study’s context.

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Manauté, Benoît. ""Flambe! Illumine! Embrase!" La place de la manufacture de vitrail et mosaïque d'art Mauméjean dans le renouveau des arts industriels franco-espagnols (1862 - 1957)". Thesis, Pau, 2012. http://www.theses.fr/2012PAUU1009/document.

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S’appuyant sur la petite structure créée à Pau, en 1862, les Mauméjean, père et fils, réussirent à développer une véritable firme internationale - basée en France (Paris, Hendaye) et en Espagne (Madrid, Barcelone, Saint-Sébastien) - qui, durant près d’un siècle, travailla à l’ornementation d’un nombre considérable d’édifices civils et religieux disséminés dans plus de vingt-cinq pays. Récompensé lors de l’Exposition des Arts Décoratifs et Industriels Modernes de 1925, leur travail fut pourtant, dès les années 1950, décrié, dévalorisé : pour répondre aux critères de la « noble expression artistique » un maître verrier devait nécessairement produire peu, dans une petite structure, avec de petits moyens. L’incroyable quantité de verrières sorties des ateliers Mauméjean contribua à forger le mythe d’une production sérielle, dépourvue de toute valeur esthétique. Malgré de récents apports, les recherches menées dans le domaine du vitrail semblent profondément marquées par cette traditionnelle opposition entre fabrication à grande échelle et artisanat. S’appuyant sur un large catalogue d’œuvres conservées en France, en Espagne ou aux États-Unis, ainsi que sur l’analyse d’un très riche fonds d’atelier, cette étude se propose d’interroger ces modèles de production, tout en réévaluant l’apport artistique d’une manufacture qui, offrant un remarquable exemple de réussite, participa activement au renouveau des arts industriels franco espagnols
The Mauméjean family, father and sons, managed to develop a real international firm, from the small business they created in Pau, in 1862. For almost a century, this international firm, based in France (Paris and Hendaye) and Spain (Madrid, Barcelona and Saint-Sébastien), worked on the ornamentation of a significant number of both civil and religious edifices, scattered over more than twenty-five countries. Though their work was rewarded during the 1925 Exhibition of Decorative and Modern Industrial Arts, it was also disparaged and depreciated, as early as the 1950’s. Indeed, to meet the criteria of the “noble artistic expression”, a master glazier had to produce small quantities, in a small structure, and with little resources. The incredible quantity of windows realised by the Maumejeans’ workshop contributed to the creation of the myth of a mass production, devoid of aesthetic value. In spite of new contributions, researches made in the field of stained-glass windows seem to be marked by this traditional opposition between mass production and craft production. Relying on a large catalogue of works kept in France, Spain, or even in the USA, as relying on the analysis of a very extensive workshop collection, this study offers to question these models of production, reappraising the new artistic dimension brought by a manufacture which, giving a remarkable example of success, actively took part in the revival of the Franco-Spanish industrial arts
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Ruberg, Daniel M. "Integrated Design Strategies: A Live-Work Industrial Arts Center for Cincinnati, Ohio". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367927851.

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Książki na temat "Of Industrial Arts"

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Centre, Curriculum Development. Industrial arts teacher education syllabus. Lusaka: Curriculum Development Centre, 1994.

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Pick, John. Industrial support for the arts. London: Rhinegold, 1990.

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Buesnel, Eric. Industrial imagery and contemporary arts. [Derby: University of Derby], 1998.

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Sangster, Sandra. Industrial arts review: Report to Committee. [Willowdale, Ont.]: North York Board of Education, 1988.

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Varnum, William H. Arts & crafts design: A selected reprint of Industrial arts design. Salt Lake City: Gibbs-Smith Publisher, 1995.

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Korkeakoulu, Taideteollinen. The University of Industrial Arts, Helsinki: [prospectus]. Helsinki: The University, 1989.

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J, Baye. The industrial arts of the Anglo-Saxons [microform]. London: S. Sonnenschein, 1985.

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Veblen, Thorstein. The instinct of workmanship and the state of the industrial arts. New Brunswick (U.S.A.): Transaction Publishers, 1990.

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Simons, Leon. The basic arts of financial management. Wyd. 3. London: Century-Hutchinson, 1986.

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The basis for artistic and industrial revival in India. New Delhi: Usha, 1986.

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Części książek na temat "Of Industrial Arts"

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Dethridge, Lisa. "Arts and Communications". W The Fourth Industrial Revolution, 107–24. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1614-3_7.

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Massacesi, Raffaella. "Applied Arts and Communication Design for Inclusion". W Advances in Industrial Design, 324–31. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80829-7_40.

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Stankiewicz, Mary Ann. "This Great Industrial Battle". W Developing Visual Arts Education in the United States, 123–48. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-54449-0_6.

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Giblin, Peter. "Applications of Singularity Theory and 3D Modelling in Arts and Retail". W UK Success Stories in Industrial Mathematics, 265–70. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25454-8_34.

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Lewis, Pericles. "Globalizing the Liberal Arts: Twenty-First-Century Education". W Higher Education in the Era of the Fourth Industrial Revolution, 15–38. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0194-0_2.

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Hammouni, Zakia, Tiiu Poldma, Eva Kehayia, Ingrid Verduyckt, Natalina Martiniello, Emilie Hervieux i Walter Wittich. "Designing an Inclusive Theatre Environment: Co-creating a Relaxed Performance Within the Segal Centre for Performing Arts in Montreal". W Advances in Industrial Design, 233–38. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80829-7_29.

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Granger, Rachel. "Co-creative Third Space, Maker Space and Micro Industrial Districts". W Palgrave Studies in Business, Arts and Humanities, 151–76. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37035-0_8.

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Li, Ziyang, Zhuoran Li i Ang Zhang. "Industrial Internet Talent Cultivation in China from the Perspective of Undergraduate Majors". W Cross-Cultural Design. Applications in Arts, Learning, Well-being, and Social Development, 362–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77077-8_28.

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Lafuente Sánchez, Víctor A., i Daniel López Bragado. "Graphical Strategies for a New Swedish Architecture: Asplund and the Industrial Arts Exhibition Design in 1930". W Architectural Draughtsmanship, 769–76. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_60.

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Roberts, Ken. "The Arts". W The Leisure Industries, 182–98. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-20304-4_13.

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Streszczenia konferencji na temat "Of Industrial Arts"

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Hasiru, Meysa Dj, Trie Hartiti Retnowati i Anne Enur Latifah. "Karawo: Surviving the Industrial Revolution 4.0". W 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.045.

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Isa, Badrul. "Industrial Revolution 4.0 and Its Influence on Visual Arts Education". W 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.058.

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Surbono, Wahyu, i Sutiyono. "Resistance of Rebo Pungkasan Traditional Ceremony in Industrial Revolution 4.0". W 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.024.

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Elibol, Cankiz. "ASSESSMENT OF NOVELTY AND DISTINCTIVE CHARACTER IN INDUSTRIAL DESIGNS". W SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.065.

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Bartosova, Nina. "INDUSTRIAL ARCHITECTURE IN BRATISLAVA � LINKING THE PAST TO THE PRESENT". W SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.091.

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Zhou Feng. "Study of new digital media arts". W 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375371.

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Morrison, Tessa, Ning Gu i Nicholas Foulcher. "Applying Augmented Reality to Preserving Industrial Heritage". W Electronic Visualisation and the Arts (EVA 2012). BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/eva2012.30.

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Xu, Qing. "On the virtuality of modern arts". W 2008 9th International Conference on Computer-Aided Industrial Design & Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730794.

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Qing Xu. "On the virtuality of modern arts". W 2008 9th International Conference on Computer-Aided Industrial Design & Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730811.

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Morrison, Tessa, Helen Giggins i Nicholas Foulcher. "Timeline Newcastle: Reconstructing Industrial Newcastle - Implementation and Exhibition". W Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.24.

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Raporty organizacyjne na temat "Of Industrial Arts"

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Ezell, Virginia H. Small Arms Industrial Base Study. Fort Belvoir, VA: Defense Technical Information Center, sierpień 2001. http://dx.doi.org/10.21236/ada385756.

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Zhang, Ling, Brent Holland i Eulanda A. Sanders. Collaborative Wearable Art Design Process for Wearable Art Designers, Artists, and Industrial Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1756.

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Diehl, Jim. National Defense Industrial Association Joint Services Small Arms Section Annual Conference. Fort Belvoir, VA: Defense Technical Information Center, sierpień 2001. http://dx.doi.org/10.21236/ada385754.

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WINTEC INC PANAMA CITY FL. Program Executive Office - Special Programs. National Defense Industrial Association Joint Services Small Arms Symposium. Fort Belvoir, VA: Defense Technical Information Center, sierpień 2001. http://dx.doi.org/10.21236/ada386385.

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Guidati, Gianfranco, i Domenico Giardini. Joint synthesis “Geothermal Energy” of the NRP “Energy”. Swiss National Science Foundation (SNSF), luty 2020. http://dx.doi.org/10.46446/publication_nrp70_nrp71.2020.4.en.

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Near-to-surface geothermal energy with heat pumps is state of the art and is already widespread in Switzerland. In the future energy system, medium-deep to deep geothermal energy (1 to 6 kilometres) will, in addition, play an important role. To the forefront is the supply of heat for buildings and industrial processes. This form of geothermal energy utilisation requires a highly permeable underground area that allows a fluid – usually water – to absorb the naturally existing rock heat and then transport it to the surface. Sedimentary rocks are usually permeable by nature, whereas for granites and gneisses permeability must be artificially induced by injecting water. The heat gained in this way increases in line with the drilling depth: at a depth of 1 kilometre, the underground temperature is approximately 40°C, while at a depth of 3 kilometres it is around 100°C. To drive a steam turbine for the production of electricity, temperatures of over 100°C are required. As this requires greater depths of 3 to 6 kilometres, the risk of seismicity induced by the drilling also increases. Underground zones are also suitable for storing heat and gases, such as hydrogen or methane, and for the definitive storage of CO2. For this purpose, such zones need to fulfil similar requirements to those applicable to heat generation. In addition, however, a dense top layer is required above the reservoir so that the gas cannot escape. The joint project “Hydropower and geo-energy” of the NRP “Energy” focused on the question of where suitable ground layers can be found in Switzerland that optimally meet the requirements for the various uses. A second research priority concerned measures to reduce seismicity induced by deep drilling and the resulting damage to buildings. Models and simulations were also developed which contribute to a better understanding of the underground processes involved in the development and use of geothermal resources. In summary, the research results show that there are good conditions in Switzerland for the use of medium-deep geothermal energy (1 to 3 kilometres) – both for the building stock and for industrial processes. There are also grounds for optimism concerning the seasonal storage of heat and gases. In contrast, the potential for the definitive storage of CO2 in relevant quantities is rather limited. With respect to electricity production using deep geothermal energy (> 3 kilometres), the extent to which there is potential to exploit the underground economically is still not absolutely certain. In this regard, industrially operated demonstration plants are urgently needed in order to boost acceptance among the population and investors.
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Atkinson, Dan, i Alex Hale, red. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, wrzesień 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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