Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 473-520).

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By merging the ancient associations that clay has with the human form and prosthetic science I question the relevancy and role of the human body in the future. As prosthetics heighten the awareness of the body through absence these additive limbs further this relevancy by presence. With greater advances in genetic engineering and plastic surgery biology will no longer dominate and these ridged clay extensions could become flesh.

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The 1970s were a period of renaissance for the crafts in Britain, often referred to as a craft revival. The creation of national organisations and infrastructures to support craft, and define its identity, played a crucial role in this. The received craft revival narrative focuses on the Crafts Council of England and Wales, with its emphasis on raising the status of craft and promoting it as fine art, largely through the efforts the Minister for the Arts, Lord David Eccles. The narrative in Scotland was very different, and is a story that until now remains untold. Scotland had its own national agencies with responsibility for the crafts. But instead of having a focus on the arts, they were tasked with addressing Scotland’s economic decline, and saw an opportunity to develop Scottish craft as both an industry and a product. The emphasis was not on promoting craft as fine art as in England and Wales, but rather on developing craft as commodity. Borrowing from Adamson’s thesis that as a form of cultural production, ‘craft is itself a modern invention’ (Adamson 2013 p. xiii), this thesis will analyse how Scottish development organisations in the 1970s attempted to promote and invent Scottish craft as an industry and product, and how those involved in the making of Scottish craft responded to this. In order to do this, it will examine the origins of the 1970s craft revival in Britain, the legacy of the invention of modern Scottish craft, and the two development agencies tasked with its invention in the 1970s: the Highlands and Islands Development Board, and the Scottish Development Agency. This thesis makes an original contribution by telling the Scottish side of the 1970s craft revival story. It also addresses wider issues that have received little critical attention in craft history, namely the relationship between craft and commodification, and the tension between modernity and tradition in the invention of modern craft.

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During my research, I’ve studied craft through various lenses as a way to explore the realm of meaningful experiences within material culture. It is through an understanding of materials and process, through craft, that we may appreciate the value and impact of our material culture. By considering both the object and the systems it exists in, I have clarified my understanding of sustainable material culture. My explorations with reuse materials culminate in utilizing standardized, industrially manufactured parts, which can be found in multiples, to facilitate small batch production of crafted items. These explorations are not about the singular crafted object, but multiple crafted products. Craft, unlike conventional industrial design, accommodates a conversation between material, maker and methods. An understanding of both practical conventions and experimental methods paired with an appreciation for materials and technique, craft is the foundation for thoughtful making. The convergence of design and craft is rich territory for developing sensible and purposeful objects that are truthful and valuable. / text

This work is a critical analysis of craft internvention upon historic musical instruments. It is centred upon the tension between use and preservation that arose with the conflicting demands of the early music revival for working musical instruments,and of the conservation discipline for the preservation of these artefacts as documents of contemporary instrument-making and musical practices. A framework is developed around three regimens of function, termed Currency, Restitution and Preservation, within which the actions and rationales of craft activity on musical instruments may be characterized. Case studies of nine historic instruments are presented in order to demonstrate the derivation of both the technical and social factors that contributed to their changes in state and status during the period under study. Analysis of the actions taken upon the instruments in their historical and social contexts provides a novel understanding of the relationship between the desire for musical experience, and the need for historical and technical information. The work concludes with a discussion of a strategy for encouraging a balance between musical function and preservation, thus mediating between the conflicting demands.

Thesis (M.S.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains x, 65 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 61).

Thesis (Ed. D.)--Illinois State University, 1987. / Title from title page screen, viewed September 1, 2005. Dissertation Committee: Heather Hanlon (chair), Paul J. Baker, Barbara Heyl, Thomas E. Malone, Thomas W. Nelson. Includes bibliographical references (leaves 118-120) and abstract. Also available in print.