This project considers the development of the cultural landscape of Native American chiefdoms in the Yazoo Basin of northwestern Mississippi. Chronicles written by certain members of the Hernando de Soto expedition offer exciting glimpses into the landscape and lifeways of Native American societies in 1541, but they do not shed light on how the landscape of chiefdoms in the Lower Mississippi Valley developed during the period before Spanish contact. This dissertation research focuses on the time period just before Spanish contact, the Mississippi Period (AD 1200-1540), and on Mississippian culture, and it investigates how monuments were built and used in a rapidly changing and dynamic landscape, one in which the meandering and flooding Mississippi river affected the long-term formation of social and political networks. This research relies on environmental, ethnohistoric, and archaeological data to provide a historically contingent description of the processes leading to the development of one of the largest and most important archaeological sites in the region. Sediment cores excavated in mound and off-mound contexts suggest the site was constructed over a crevasse splay, a high-elevation landform. Both coring data and trench excavation demonstrate that Mound D, the largest mound at Carson, was built in four stages and that stages II and III were the largest stages. Excavations on Mound D demonstrate that a moderately large-sized structure was once constructed on the southwest corner of the mound summit and that the structure was used to produce craft goods such as shell beads, shell gorgets, and statuary. Data from mound construction and craft production, as well as ethnohistoric and geomorphic research, are used to describe social organization, hierarchy, and leadership at Carson. / 1 / Jayur Madhusudan Mehta

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Background: The production of textile crafts requires resources and skilled artisans. In modern times, textile crafts sold in the global market are often made through collaboration involving artisans and profit, social and non-profit enterprises with aim to globalize the aesthetic or styling, structural aspects, and marketability of the crafted product. Collaboration is understood here as two or more enterprises working together towards common profit ideologies, values or goals. Textile craft producer Jordan River Foundation’s (JRF) and IKEA’s Social Entrepreneurship Initiative; collaboration creates home furnishing collections through design and product development, that aim to promote and develop so called local crafts-based economy. Need: In a collaboration, the textile craft producer plays the role of leveraging its resources, and keeps the capability to test its making in the design development and implementation process of craft products. It is thus this need to know of how these collaborative relationships function from a producer’s perspective, emphasizing on the most value adding factor of the design development process. Purpose: The purpose of the study was to investigate and understand primarily from the craft producer Jordan River Foundation’s point of view, the collaborative design development and implementation process with IKEA. Method: The study is a qualitative, narrative, analysing the data and experience from a two-week participatory field study at Jordan River Foundation. Conclusion: As exposed through the collaboration, with IKEA, JRF is challenged with working with cost efficient process of the usage of materials and techniques in design development and methods of craft production, and at the same time maintains its niche as a craft producer. The study concludes that collaborative design efforts in textile crafts, uplifts and enhances, tangible and intangible values. Within the perspective of textile management, the knowledge of collaborative design development in textile crafts interconnects new spaces and turns skill knowledge into a force of competitive advantage for the participating organisations.

In this dissertation I assess craft production during China’s contentious Northern Wei (or Beiwei) Dynasty (398-494 CE) from both technological and cultural perspectives. The Northern Wei were a “foreign” Xianbei ethnic group who imposed their rule over north China for almost a century. I combine materials analyses of architectural ceramics excavated at royal building sites in the dynasty’s capital city of Datong with historical texts to understand the environmental, political, ethnic, religious, and technological forces that shaped production. I conclude that production processes reflect the complex interaction of new political and religious ideas and practices with longstanding craft traditions. Analyses of mineral and chemical composition of architectural ceramic samples by petrographic thin section and instrumental neutron activation analysis show that artisans selected and processed raw clay materials to achieve certain technical properties, such as low-shrinkage, required for final products. They maintained and refined established techniques such as using molds to facilitate forming of the clay body, and employed downdraft kilns to maintain steady firing temperatures, as shown in thermal expansion tests. They also introduced new techniques such as methods of burnishing roof tiles to increase water resistance. Decorative changes, such as the appearance of lotus patterns on roof tile ends, reflect the expansion of Buddhist influences, underscoring that royal building materials also carried significant political and ritual power in addition to their functionality. These Beiwei materials also reveal details about craft organization: inscriptions found on roof tiles complement details from historical texts, suggesting that ethnic Han artisans worked in construction projects for their new Xianbei rulers. The lack of skilled artisans at this time of constant warfare forced the rulers to adopt a special household-based structure to control and maintain non-Xianbei artisans at a certain social level. With time, these artisans were able to use their skills to gain economic independence and a certain level of management over their production. Architectural ceramics reveal intertwined economic, social, and political variables that played crucial roles in the technological choices and organization of production during this key transitional period of China’s early medieval history.

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Orientador: Franco Giuseppe Dedini / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica / Made available in DSpace on 2018-08-22T03:41:34Z (GMT). No. of bitstreams: 1 Duarte_AdrianaYumiSato_M.pdf: 12125505 bytes, checksum: 3905d87344e274e166ea8b7f129f87c3 (MD5) Previous issue date: 2013 / Resumo: A presente pesquisa tem como objetivo propor uma linguagem para a técnica artesanal de trançado manual, atividade praticada em diversas regiões do Brasil que utiliza materiais flexíveis para desenvolver produtos como cestos e esteiras, de modo a sistematizar a construção das armações e reafirmar a importância desta atividade para o país nos aspectos sociais, culturais e econômicos. Para tanto, o cenário desta pesquisa é baseado na análise da produção artesanal no Brasil, estudo do trançado manual e suas atividades análogas e a inserção das diretrizes de metodologia e ferramentas de projeto neste contexto. O conhecimento atrelado à prática do trançado manual é transmitido de forma oral e geracional, e em razão disto, está sendo perdido progressivamente. Por este motivo, como consequência da sistematização do trançado, o resgate deste conhecimento também é contemplado na pesquisa. Os resultados da pesquisa indicaram a relação entre o trançado manual e a tecelagem, atividade têxtil que transforma fios em tecidos, transferindo a nomenclatura, representação numérica e gráfica da tecelagem para o trançado manual. Assim, o que se pretende nesta pesquisa é sugerir uma linguagem para o trançado manual, ainda inexistente na área, que permita o desenvolvimento de um banco de dados e, futuramente, novas armações / Abstract: This research aims to propose a language for the artisanal braiding, a handicraft technique practiced in different regions of Brazil that uses flexible materials to develop products like baskets and mats, in order to systematize the construction and to reaffirm the importance of this activity in social, cultural and economic aspects. Therefore, the background of this research is based on the analysis of handicraft production in Brazil, the study of the braiding and its similar activities and the insertion of guidelines from methodology and design tools in this context. The knowledge linked to this practice is transmitted orally and between generations, and because of this, is being gradually lost. For this reason, as a consequence of the systematization of braiding, the rescue of this knowledge is also covered in this survey. The results indicated the relationship between artisanal braiding and weaving, a textile activity that transforms yarn into fabric, transferring the numerical and graphical representation for weaving to braiding. So, what is intended in this research is to suggest a language for artisanal braiding, which is lacking in the area, in order to allow the development of a database and, in future, new patterns / Mestrado / Mecanica dos Sólidos e Projeto Mecanico / Mestra em Engenharia Mecânica

O rápido desenvolvimento das tecnologias de impressão tridimensional permite que uma crescente variedade de formas e materiais sejam criados e materializados. Disponibiliza abertamente um método produtivo com a capacidade de desenvolver peças de alta complexidade a um custo mínimo, uma situação sem precedentes na história da humanidade. Paralelamente, o avanço predatório dos bens industrializados dentro do mercado ameaça e potencializa as produções artesanais, as quais enfrentam um constante desafio no relativo à sua supervivência, transmissão e desenvolvimento. O presente teve como objetivo explorar as possibilidades da manufatura aditiva como uma ferramenta para potencializar a qualidade das produções artesanais através da gestão do design, e a construção conjunta da mesma como uma tecnologia social. Trabalhou-se de forma intensiva num entorno de laboratório, visando desenvolver metodologias que contribuíssem às articulações entre o fazer artesanal-digital, a serem implementadas em ações futuras. Desta forma, as tecnologias de impressão 3D serão capazes de gerar não só melhorias morfológicas e estéticas nos acessórios artesanais, mas, principalmente, de estimular as economias regionais, contribuindo para melhorar a situação das comunidades artesanais marginalizadas / The rapid development of 3d printing technologies is allowing an ever increasing universe of shapes and materials to be printed, as well as making complex productive methods more accessible to the vast majority, a situation never seen before in the history of mankind. Parallel to this situation, the predatory advance of industrial made goods in the market has both menaced and given force to artisanal productions. The present research project aims to explore the possibilities of additive manufacturing as a tool to boost artisanal production via design management and the joint construction of 3d printing as a social technology. The project is based on an intensive amount of laboratorial work, with the objective of developing methodologies for artisanal-digital hybridation to be used on future applications. This would render 3d printing technologies the capability of providing greater responses in terms of morphological and aesthetical artisanal accessories, while addressing the most basic human needs and helping to improve the situation of marginal artisan communities

[pt] Os objetos de ensino-aprendizagem estão presentes em sala de aula há muitos anos. Os professores os utilizam para tornar o ensino mais dinâmico e por vezes divertido. Contudo, poucas são as pesquisas relacionadas ao material didático, em sua grande maioria, abordam apenas o livro didático e não os objetos confeccionados pelo professor. Nesta pesquisa são apresentados objetos de ensino utilizados em salas de aula de duas escolas do Rio de Janeiro, uma pautada na pedagogia tradicional (Instituto de Educação do Rio de Janeiro) e outra na pedagogia montessoriana (Aldeia Montessori). As diferenças entre os materiais são claras: a forma de construção, matéria-prima utilizada, tipografia dos textos, imagens, etc. Esses elementos podem tornar o material mais rico visualmente e facilitar a apreensão do conteúdo. Os professores, porém, pouco conhecem sobre teorias de Design e Comunicação Visual, para trabalhar esses elementos de forma efetiva. Coube a esta dissertação compreender os meios e modos de produção do material didático confeccionado e utilizado pelos professores. O que eles pensam, como fazem os objetos, quais matérias primas utilizam, como se dá a escolha das imagens e tipografia presentes no material, foram algumas da perguntas norteadoras da pesquisa. Como resultados ficaram evidentes a importância do Design no âmbito escolar, a necessidade de um designer trabalhando em conjunto com os professores no desenvolvimento desses materiais e são apresentadas algumas sugestões para os professores no momento da confecção do material. / [en] The objects of teaching and learning are present in classrooms for many years. Teachers use them to make education more dynamic and sometimes fun. However, few researches are related to the material, in most cases they address only the textbook and not the objects made by the teacher. In this research, objects of teaching used in the classrooms of two schools of Rio de Janeiro are presented, one based on traditional pedagogy in teaching and other montessoriana. The differences between the materials are clear: the form of construction, raw materials, printing of texts, images, etc. These elements can make the material more visually rich and facilitate the seizure of the content. But the teachers know little about theories of Design and Visual Communication, to work these elements effectively. The objective of this dissertation was, understanding the means and modes of production of teaching materials made and used by teachers. What they think, how they made the objects, which raw materials are used, how is the choice of images and typography to be in material, were some of the questions that guided the search. As results, the importance of design work in schools, the need for a designer working with teachers in developing these materials were evident and some suggestions for teachers at the time of preparation of the material were presented.

Made available in DSpace on 2014-12-17T14:20:01Z (GMT). No. of bitstreams: 1 IgorLS_DISSERT_1-56.pdf: 6696609 bytes, checksum: 685f86728cf2eeeaadf617dc5cc05993 (MD5) Previous issue date: 2010-06-30 / A grande pluralidade cultural existente no Estado de Sergipe pode ser percebida atrav?s da variedade de produ??es artesanais que acontecem principalmente nos seus munic?pios, abrangendo um grande n?mero de pessoas que fazem dela uma atividade geradora de economia. O presente trabalho trata da problem?tica da produ??o da cer?mica artesanal do munic?pio de Santana do S?o Francisco, considerado como o maior produtor de cer?mica do estado. Sob o ponto de vista antropol?gico, o trabalho apresenta relatos de vida e detalhes da sobreviv?ncia do of?cio, herdados atrav?s das gera??es, bem como as ferramentas e alternativas encontradas pela comunidade e suas adapta??es e transforma??es como forma de conserva??o da tradi??o do saber fazer