Research paper (M.E.)--Oregon State College, 1948. / Typescript. Includes bibliographical references (leaves 43-46). Also available online.

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The clothes and domestic textiles of the sixteenth century were, next to food, one of the absolute necessities for humankind to survive. This study examines the different types and constructions of textiles closely, using an historical approach, reading original documentation and viewing the scarce fragments of remaining examples. Due to the class of society being considered and the fragility of the textiles, other rare samples, from beyond the sixteenth century needed to be considered to try and assemble a true picture of the textiles available. Agriculture, demography, geography and history have all been drawn upon. The lack of actual samples and the chasm in information regarding these forgotten items of daily living have been continually assessed and evaluated. Other themes addressed include: the relationship of the yeoman in society through sumptuary law; their respect for and association with nature for raw materials; and innovation in improving their skills. Practical attempts to reveal an authentic colour palette of the yeoman world, although not conclusive, have permitted a fresh approach for further enquiry. This research includes detailed worksheets and various hand woven samples which support the practical element of this study, giving a valuable foundation for further investigation. This original work will be of educational value in portraying this sector of society, so easily overlooked because of the grandeur of the sixteenth century nobility. The samples provide tactile experiences reinforcing, the need of textiles to be 'fit for purpose'. Many skills from this period have been lost to future generations, only recreations based on balanced and empiric judgements will help evaluate the of these forgotten fabrics

The goal of this thesis is to investigate the manufacture of metalworking ceramics in late prehistoric Scotland (ca 1000BC – AD800) from the perspective of ceramic technology and with the aim to reconstruct social and material trajectories. This has been implemented through the use of an integrated analytical methodology, interpreted by developing current theories on technology. Previous studies of metalworking ceramics in Scotland have rarely paid full attention to ceramic technology; research has instead focused on metallurgical issues such as metal identification and material morphology. This is central for answering questions regarding metallurgical processes, but fails to answer important questions regarding the technology and manufacture of the ceramic material. The successful production of moulds and crucibles requires that a craft specialist has expert skills in the preparation and firing of clay as well as understanding of the process and design of metal casting. This makes metalworking ceramics an important resource for investigating variation in individual skill and experience, cultural traditions, and scale of production. The main focus is on moulds and crucibles, but parallels, both in terms of method and theory, are made to other types of metalworking ceramics and pottery. The technological relationship between pottery and metalworking ceramics is therefore a vital link in the assessment of production and technological traditions. In addition, clays from a number of sites have been sampled, with the goal to monitor the utilization of clays for the production of different ceramic materials. Materials from nine primary sites, from Traprain Law (East Lothian) in the south to Mine Howe (Orkney) in the north, are central to the discussion of ceramic technologies. The context of casting and crafts from further sites in Scotland and beyond has been essential in the reconstruction of casting production in the late prehistoric period. Developing from ideas of technology as an active process, this study has investigated the collection and preparation of clays to make different ceramic materials. This investigation has employed a range of analytical techniques frequently applied to the study of archaeological ceramics, including ceramic petrography, Scanning Electron Microscopy, X-Ray Spectrometry and X-Ray Diffraction. The focus has been on technology; studies of provenance are auxiliary to the broader questions. It is a central conclusion of this work that the production of metalworking ceramics saw a development towards a more specialised function and technology during the late prehistoric period, and that this development was closely related to material traditions, to some extent transcending wider social trajectories. This research, highlighting particular and general technologies, has showed that the study of ceramic technology of moulds and crucibles can be a valuable resource for the study metallurgical production and technology.

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The research is developed through sculptural artworks that seek to raise the question of their being. They do this through their indeterminate presence, which often awakens people to ask ‘What is it?’ I ask how sculpture can encourage people to wonder about what things are, and how the relationship/s we form with art can then lead us to reflect upon our other more worldly relationships. I also pursue the questions of what is sculpture, and what is contemporary art, in order to map out an understanding of the domain of my practice, and the issues at stake regarding the making and display of sculpture. Through a reading of the ideas of Martin Heidegger and other Continental philosophers, I have focused upon the way our (Modern Western) relationship with things in the world is problematic, and how art can help us to address some of these problems. It is through art’s poetic ambiguities that our usual determined and closed relationship with the world can be opened up to other readings. An investigation into contemporary art practices reveals several issues that put the artwork into context and shed light upon difficulties facing contemporary artists particularly in terms of: what am I to do, why should I do it and how should I proceed? My artworks are aimed at raising questions for the viewer about being, sculpture and contemporary art. I have developed the coopering technique of wooden construction to make unusually shaped wooden container-like sculptures. I have also investigated other semi-industrial working methods to construct sculptural objects that oscillate between various possibilities for the viewer. These artworks operate in the field between the familiar/unfamiliar, functional/non-functional and the known/unknown. They resist the viewer’s efforts at stilling the oscillation between possible readings and evade some of the common roles of contemporary art such as being a site for social and political dialogue or being a reflection of contemporary/pop/consumer culture. This project contributes to the dialogue already in play between several Post-Minimal sculptors whose work touches upon constructed and or manufactured ambiguous forms. It further develops the language of how to discuss these issues through my philosophical readings. It extends the coopering technique beyond the simple cask form to discover the technical possibilities for this method of construction. It brings to the gallery visitor an actual experience of what Heidegger writes about art, particularly in terms of his ideas about ‘the truth of being as revealing/concealing’. The research also develops our understanding of the nature of contemporary art through questioning several aspects of it and through adopting outmoded and laborious methods of making that are at odds with our digital age. The artworks are the result of working toward a position of indeterminacy that is alluring, by partially resisting the viewer’s efforts to know them.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: William Mahoney. Dissertation Committee: Richard Whittemore. Includes bibliographical references.

Thesis (Ph. D.)--Columbia University, 1941. / Thesis note on label mounted on t.p. Vita on label mounted on p. [136]. Bibliography: p. 131-[136].