Objects can evoke our most vivid memories and sensory emotions, through the stories that have been engraved into them across their lifetime. Throughout history, patchwork-quilting has been used to tell stories, hide messages and hold histories. They are seen as objects of warmth, comfort and security, inanimate extensions of ourselves that store our most complex sentiments and memories- becoming heirlooms that are kept in the families and communities for generations, preserving our histories and material culture.    I intend to explore the inseparable relationship between craft and narrative within quilts, whilst re-imagining the quilts forms and functions in order to communicate stories more vividly. To do so I will use my memories of My Dead Dog, Henry, to illustrate narratives and embed them into quilted objects to stage as a tableau of artifacts. I intend to encourage the viewer to realise the imagined, through a haptic experience of my material world, whilst simultaneously creating my own heirlooms that can be passed down so my stories are not forgotten. / <p>The full thesis contains copyrighted material</p><p>which has been removed in the published version</p>

In the 20th-century, the advent of Taylorism led to a radical reconceptualisation in the organisation of human work. The formal scientifically-conceived aim of increased “efficiency” behind this project masked the moral and psychological changes which were also inherent in the project which is still ongoing. Now, at the turn of the 21st century, given the profusion of corporate scandals and the complicity of unscrupulous business practice in the current ecological and economic crises, researchers in a number of fields focused on work and its organisation have begun to warm to the possible relevance of religious ethics to social responsibility in business practices, offering some promise for a new rapprochement. In this dissertation, I offer a close study of the biblical texts that have nourished a moral vision of work for Christian and Jewish communities. I seek to nuance my study of these texts in Hebrew and Greek with an agrarian sensibility in order to highlight the moral vision of human / non-human interaction in the forms of work described and the ecological sensibility which undergirds this ancient vision of “good work” which is preserved in these texts. More specifically, I explore the moral relationship between work and worship through a close study of two related themes. In Part 1, I begin with a sustained look at the details of “good work” as narrated in the Tabernacle construction account in Exodus 25-40. This study of Exodus provides a platform upon which to explore work themes of volition, design, tacit knowledge, and interaction between the sociality and agency of work. In subsequent chapters, I go on to analyse subsequent temple construction accounts in 1 Kings, Jeremiah 22, Isaiah 60, Zechariah 14, 1-2 Chronicles, and across the New Testament. In this deliberately intertextual study, I attend to the transformation of the meaning of the Tabernacle/Temple across the Hebrew Scriptures and New Testament, as temple building texts in particular assume an eschatological aspect. My study of these subsequent construction accounts also adds nuance and texture to my account of moral making in conversation with several contemporary theorists, particularly with regards to work agency, aesthetics, sociality, skill and wisdom, and the material culture of work. This section culminates with the conclusion that in the New Testament, the church becomes both the product and the site of moral work building a new “temple”. Following this conclusion, in Part 2 of the dissertation, I develop a more detailed account of the relational dynamic between work and worship as it is delineated in Hebrew and Christian offertory practice. For this study, I turn to close readings of offertory practices in the Hebrew Scriptures (with special focus on Leviticus 1-3 and other Pentateuchal offertory texts), the New Testament and early Christian (1-4c.) moral philosophy. I highlight the relationship between worship and work in these liturgies and argue that in their practical logic, work is “drawn into worship.” In particular, I argue that three aspects of offertory practice may provide a framework for rehabilitating contemporary worship so that it may once again draw work into a morally formative dynamic. These three aspects correspond to the material and practised details of specific offerings and include: (1) the relativisation of utility with the burnt offering (2) the engagement of work quality and aesthetics through consecratory firstfruits offerings and (3) the sociality of liturgical work with the shared meal in the peace offering. These texts and the early Christian practices through which their liturgies were deployed hint at possible avenues for a rehabilitation of the moral work life of contemporary Christians. I argue that the proper performance of worship must “draw in” and engage the ordinary work of the people of God, and that a rehabilitation of offertory practice, particularly in light of the rich range of practices demonstrated in the Christian tradition offers a promising place for the reconceptualisation of work.

Recruiting and retaining an adequate share of the UK workforce is vital to meeting the construction industry's demands and sustaining its current growth. This requires the industry to attract new employees, adopt a proactive approach to Human Resource Development (HRD) and the formulation of effective retention strategies. Career development programmes are required which can align the industry's needs with the career expectations of the individual employee. However, despite the importance of such schemes to the trade and craft occupations, most research devoted to career development has a professional and managerial focus. A need to redress this imbalance has been compounded by a variety of factors such as the scarcity of skilled people, falling recruitment levels and high employee turnover rates. The overall aim of the work reported in this thesis is to develop an understanding of trade and craft career dynamics. The information can be used as a framework for supporting specific career management and career development initiatives, which in turn will serve to actively encourage skill development, attract new employees and retain the services of the current workforce. Drawing on the conceptual languages of extant "Careers" and "Human Resource Management" theory, the research adopted an ethnographic research approach. An iterative multiphase research design framework was utilised, involving a combination of research paradigms. These quantitative and qualitative methods included: a questionnaire of 563 informants; discussions with 54 groups of trainees; and 88 indepth interviews with both New Entrant Trainees (NETs) and Qualified and Experienced (QE) construction workers. By encouraging systematic narrative accounts of the attitudes, behaviours and idea systems of the actors involved a better understanding of the nature of trade and craft employment was developed. Combining and comparing the fmdings of both datasets (NETs and QEs) and relating this to the outlined theoretical perspectives sheds new light on the career dynamics within the industry. The resear_c~-. found that although employees are not comprehensive in their information and search of career options; they do place a high priority on career development. However, career development is limited due to the realities (opportunities and operational conditions) of the industry; which influence attitudes of individuals and their peers. Employees often further encounter a series of career decision errors which affect the employment relationship. The fmdings suggest that good career development practice is capable of helping to attract, recruit and retain a sustainable share of the UK workforce. As such, the fmdings provide a platform from which effective employment strategies can be developed in the future.

<p>Simulation of the planing hull in waves has been addressed during the last 25 years and basically been approached by strip methods. This work follows that tradition and describes a time-domain strip model for simulation of the planing hull in waves. The actual fluid mechanical problem is simplified through the strip approach. The load distribution acting on the hull is approximated by determining the section load at a number of hull sections, strips. The section-wise 2-dimensional calculations are expressed in terms of added mass coefficients and used in the formulations of both inertia and excitation forces in the equations of motions. The modeling approach starts from the hypothetic assumption that the transient conditions can be modeled based on those section-wise calculations. The equation of motion is solved in the time-domain. The equation is up-dated at each time step and every iteration step with respect to the momentary distribution of section draught and relative incident velocity between the hull and water and catches the characteristic non-linear behavior of the planing craft in waves.</p><p>The model follows the principles of the pioneering work of E. E. Zarnick differing on model structure and in details such as the modeling of the lift in the transom area. A major part of the work is concerned with experiments and evaluation of simulations with respect to performed model tests and to published experiment data. Simulations of model tests have been performed and comparisons have been made between measured and simulated time series. The link between simulation and experiment is a wave model which is based on a wave height measurement signal. It is developed and evaluated in the thesis.</p><p>The conclusions are in favor of the 2-dimensional approach to modeling the conditions for the planing hull in waves and among further studies is evaluation of simulated loads and motions to full-scale trial measurement data.</p>

To use others specific competence in a boathouse Interior architects and specialists that cooperate, find more possible choices than the prevailing standardised solutions, and are able to break the norms that dominate their respective fields. Both of us use our specific tools and learn from one another when we meet. This leads to architecture that is more multifaceted as well as a greater understanding of our respective skills. The investigation regarding the power of collaboration will be conducted in the context of a houseboat: a specific building, with specific functions. It is logical to come into contact with scents, lights, sounds, details and functions in that specific building. We will create parts that could be situated in that kind of building. / Att använd andras specifika kunskaper i ett båthus Inredningsarkitekter och specialister som samarbetar hittar fler möjliga val än gängse standardiserade lösningar och får möjlighet att bryta de normer som råder inom respektive fält. Båda använder sina specifika verktyg och i mötet lär vi av varandra. Det leder till en mer mångfacetterad arkitektur och ökad förståelse för våra respektive kompetenser. Undersökningen av samarbetets kraft sker inom ramen av ett båthus. En specifik byggnad, med specifika funktioner. Det finns en logik i att du möter de dofter, ljus, ljud, detaljer och funktioner just där i den specifika byggnaden.

Creative Writing Joins Rhetoric and the Public Arts: A Comparative Study of Craft, Workshop, and Practice beyond English Studies analyzes the field of creative writing through the lenses of classical rhetorical scholarship, aesthetic theory, and craft criticism in the arts. Through a historical analysis of techne (craft or method) and telos (end or final cause) in the work of Aristotle and Plato, I argue that what we call "craft" often suffers from a limiting definition that privileges formal and material constraints over the more vital concerns of knowledge and consciousness reflected in artistic education. Craft knowledge is demonstrated through the processes of art-making internalized by the student apprentice. No matter the form or discipline, craft practice embodies the processes and consciousness that make art education possible. The dissertation analyzes concepts of craft as technique while revealing how artistic method illuminates the ends to which art serves. Craft consciousness, a term outlined in this dissertation, is defined as an awareness of artistic method and practice across disciplinary boundaries. If applied by teachers and students of creative writing, this consciousness will redefine writing workshop, curriculum design, programmatic elements, and the mission of creative writing as an academic discipline. By shifting the field toward the craft principles shared with the performing and fine arts, the dissertation uses rhetoric and public arts as lenses for reimagining the mission of creative writing more broadly as a discipline simultaneously engaged with democratic and occultic principles. In proposing an alternative approach to traditional writing workshop by examining author-function, this dissertation also draws from Paulo Freire's term "nuclei of contradiction" in order to argue for a pedagogy that attends to the inherent contradictions that form the foundation of creative writing culture. Freire's "critical consciousness" informs the term "craft consciousness" and the latter term forms the scaffolding in which to reimagine educational principles in creative writing. In order to reimagine craft and workshop practices in traditional and virtual spaces, this dissertation examines how theories, histories, and practices in craft will transform creative writing into a field grounded in artistic practice and intellectual inquiry.

This thesis studies the development of the “macro” and “craft” sectors of the brewing industry. After a comprehensive understanding of the history of beer, the focus segues into the economic development of the industry – including macro and microbrewery concentration, strategy analysis, and the recent emergence of craft breweries. Finally, two data sets are analyzed. The first examines overall industry trends against factors of horizontal differentiation, while the second observes how certain characteristics of an individual beer drinker indicate the degree to which their taste in / preference for beer has changed over the last five years. Results show that with the diminishment of homogeneity (via quality of ingredients and cultural shifts), craft breweries emerged. Furthermore, traits such as the quality of a beer drunk and the number of beers drunk a week are strong indicators that an individual beer drinker’s taste for beer has changed in the last five years. These findings, supported by earlier industry observations, suggest that craft breweries will continue to acquire a larger share of the American brewing industry.

This paper explores the factors related to demand for craft beer and whether there is a specific stereotype of craft beer drinkers that aligns with this demand. Using regression analysis on data from all 50 states, this paper concludes that there is a significant correlation between the number of organic farms, colleges, and 55-64 year olds and the number of craft breweries in a state, suggesting that there is evidence that craft beer drinkers tend to be eco-friendly. The paper then goes on to briefly discuss certain production, distribution, and expansion strategies.

This thesis revolves around my work Desirable Objects, an installation in glass and other materials, which deals with objectification based on female and animal trophies. The topics included are those that have been crucial to my working process; craft, post-colonial studies and European hierarchical dualism, where woman and nature are seen as connected, but inferior. My motivation has been to get a better understanding of underlying power structures, and put this knowledge in relation to my own work. This process has led me to make a full body casting of my own body as a method of self-exploitation, in an attempt to expose myself to a similar power perspective. By making the dualistic connection between woman and nature, I am commenting a phenomenon that in my view has resulted in a similar exploitation of both. / Åtråvärda objekt

Vi lever i en ömtålig vardag. Vi gör den än ömtåligare genom vårt sätt att leva. Det är ingen idé att jag säger det med ord; jag har redan sagt det så många gånger att människorna runt omkring mig har slutat lyssna. Kanske är objekt en bättre ingång till samtal. I det här arbetet har jag, genom såväl text som praktiskt arbete inom corpuskonstfältet, undersökt vad som händer med oss när vardagen faller sönder och kaos utbryter. Genom en startpunkt i klimatkatastrofen år 536, som ledde till att närmare hälften av Nordens befolkning dog, har jag spekulerat kring om samma sak skulle hända idag, eller kanske att det händer idag. Resursbrist leder alltid till våld. Trots att vi vet det fortsätter vi knapra i oss jorden en liten bit i taget. Vad är tanken att vi ska göra när den tar slut? / We live in a fragile everyday. We make it even more fragile by the way we live it. There is no point in saying it with words any more, I've already tried that so many times that people have stopped listening. Maybe objects are a better way to start a conversation. In this project, that consists of this thesis and the physical body of work "Memories from a parallel future", I've been investigating what happens to us when the everyday falls apart and chaos erupts. With a starting point in the climate-crisis of the year 536, that led to the death of almost half of the Norse population, I've been speculating what would have happened today. Or maybe that it is actually happening today. Depletion of resources always results in violence. We know this, but still we keep nibbling at the earth, a little chunk at a time. What do we plan to do when there is nothing left? / <p>Bilder av verk av konstnärerna Iain Baxter&amp;, Naoko Ito och Luiana Rondolini har tagits bort av upphovsrättsliga skäl. Titlarna på verken står dock kvar. </p>