Philosophiae Doctor - PhD / Skills development policies in South Africa and further afield consider learning in and from the workplace as critical to the training of artisans at intermediate level. Since the inception of democracy, South Africa has become part of a globally competitive economic arena where highly skilled workers capable of engaging with new technology in a changing environment are increasingly required. Continuous innovation, it is held (Kraak, 1997), is dependent on the presence of two knowledge forms in society and work: an abundance of formal (scientific and technological) knowledge, and skilled worker 'know-how' or tacit knowledge. In the present system of technical and vocational education, theoretical learning and some practical skills are obtained in institutions, mostly in the recently renamed TVET colleges, while job specific training occurs through prescribed periods of work placement. In light of common assumptions about the value of workplace learning, this research was concerned with exploring whether, and how such learning is taking place. It sought to understand the methodologies, practices, and affordances available to learning in the workplace, from the perspective of candidate apprenticeship/learnership students. To this end this study employed a qualitative approach for investigating how candidates experienced and interacted with the 'real world environment' of the workplace. Semi-structured interviews were conducted with a purposively selected sample comprising candidates engaged in programmes that necessitated a workplace learning component, namely, the apprenticeship and learnership in fitting and turning, motor/diesel and the auto electrical trades. Data analysis was undertaken using both Atlas ti software and manual methods for coding and identification of themes. Lenses used to describe and explain learning in the workplace included the conceptual frameworks of Engestrom‘s (1987) Activity theory; Vygotsky‘s (1978) notion of learning via the 'expert other' within a Zone of Proximal Development; and Lave and Wenger‘s (1991) theorising of situated learning in Communities of Practice. This triangular juxtaposition of complementary theories formed a richly informative explanatory system for my further exploration. As a qualified artisan myself I was familiar with the negative connotations of a historical 'sit by Nellie' approach, a phrase used to caricature the way apprentices learned in the past, by simply being passive observers of the experts. However, my findings were to reveal a vastly different picture of learning in this modern, visual and tactile age. Learners in this study experienced a range of learning modalities, methodologies and affordances that were reported in 'thick' descriptions, building a vivid picture of engagement and interaction. In addition to the abundance of learning opportunities candidates experienced, their responses revealed the indisputably central role played by 'expert others' in moving them towards competence – the expert artisan emerging as the quintessential didactic practitioner. This thesis proceeds to highlight the experiences of candidates on their learning journey in the workplace, and suggests recommendations in respect of these. Key learnings are distilled, which ultimately point to the need for collective effort in appreciating and retaining for the benefit of future generations of artisans, the mentoring potential that exists in our expert artisans wherever they may be found.

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Introducing concepts of Craftsman kit construction to the interior, as well as modern technology to lessen the cost of handcrafted details, opens the possibility to new methods of modular design in which interior units are configured around structural skeletons and central base points that provide supply lines to residential units. One example is Dutch design firm Minale-Maeda’s Keystones, a 3D printed connector that holds together any necessary components, like furniture. These keystones can be printed at home and save time and the need to obtain anything but essential components (website). The design firm works to create an “ongoing awareness of the possibilities of both mass-production and skilled craftsmanship” (L’arco Baleno, 2014). Another interesting example is Dutch design brand Fraaiheid’s Minimal Waste Table, which is created from one piece of laminated plywood with a CNC milling machine which makes for extremely minimal waste (Williamson, 2013). These examples of automation require a craftsman’s hand and mind to create the concept but introduce a modern approach to reducing waste, time and cost.

Esta tese intenta refletir acerca das oficinas como modalidade pedagógica e, mais especificamente, acerca das oficinas de música como possibilidade de engendramentos de espaços menores em educação musical. Inicialmente, buscando saber se os conceitos de \"oficina\", de \"oficina de música\" e de \"oficineiro(a)\" vêm sendo movimentados em pesquisas da área da música, realizou-se uma pesquisa bibliográfica de caráter estado da arte. Visando compreender se e como as pesquisas encontradas tratavam aspectos históricos, conceituais e metodológicos das oficinas de música, fez-se uma análise dos trabalhos localizados no levantamento bibliográfico, com descrições textuais acerca destes e categorizações. A análise comprovou a hipótese deste trabalho, que previa ampla utilização dos termos \"oficina\" e \"oficina de música\", em diferentes pesquisas, sem aprofundamentos ou delineamentos conceituais minuciosos. Um panorama teórico acerca das oficinas de música foi construído a partir de três trabalhos, considerando que estes debruçaram-se específica e sistematicamente sobre a análise dessa modalidade pedagógica, tratando de suas características, bem como de aspectos históricos e conceituais do movimento das oficinas de música no Brasil. Para além da explanação deste panorama teórico, que destacou enfoques, similaridades e divergências entre tais pesquisas, busquei diálogos conceituais com autores das áreas da Educação (Maria Oly Pey, Guilherme Côrrea e Ana Preve) e da Filosofia (Gilles Deleuze, Félix Guattari, Jorge Larossa e Silvio Gallo) no intuito de propor novas conceituações às oficinas e às oficinas de música. Operando por deslocamentos, proponho pensar a oficina como espaço menor de educação, propício às experiências e às viagens. Delineio, também, o que compreendo como oficineiro-artesão, pensando o papel dos educadores nestes espaços. Por fim, atentando ao conceito de nomadismo e suas possibilidades de intervenção em educação, discorro acerca das oficinas como engendramentos nômades, vislumbrando, dentre suas características, a possibilidade de instauração de um espaço e planejamento liso em educação musical. / This work aims to study the workshops as a pedagogical modality and, more specifically, to think musical workshops as a way to create/achieve a minor space in musical education. Initially, in order to comprehend if the concepts of \"workshop\", \"musical workshop\" and \"workshopper\" have being used and moved in Brazilian\'s music researches, a state-of-the-art bibliographic research was carried out. In order to understand if and how the historical, conceptual and methodological aspects of musical workshop where attended, it was realized an analysis of the works found in the bibliographic survey, describing and categorizing them according on how they approached the aforementioned concepts. It was demonstrated true the original hypothesis that most of these researches used the terms \"workshop\" and \"musical workshop\" without conceptual deepening. A theoretical overview about musical workshops was constructed based on the only three works that specific and systematically studied this pedagogical modality, describing its main characteristics, as well as the historical and conceptual aspects of the musical workshop movement in Brazil. In addition to this theoretical overview, that highlighted approaches, similarities and divergences of these researches, we seek for conceptual dialogues with writers from Education (Maria Oly Pey, Guilherme Côrrea, Ana Preve) and Philosophy (Gilles Deleuze, Félix Guattari, Jorge Larrossa, Silvio Gallo) in order to propose new concepts to workshop and musical workshop. Through conceptual displacements, it\'s proposed to think workshops as a minor space of education, propitious to experience and travels. We also delineate what we understand as a craftsman-workshopper, thinking about the educator role in these spaces. Lastly, considering the concept of nomadism and its possibilities of influence in the education process, we discuss about workshops being nomadic spaces, comprehending the possibility of the establishment of a smooth space and planning in musical education.

Esta tese intenta refletir acerca das oficinas como modalidade pedagógica e, mais especificamente, acerca das oficinas de música como possibilidade de engendramentos de espaços menores em educação musical. Inicialmente, buscando saber se os conceitos de \"oficina\", de \"oficina de música\" e de \"oficineiro(a)\" vêm sendo movimentados em pesquisas da área da música, realizou-se uma pesquisa bibliográfica de caráter estado da arte. Visando compreender se e como as pesquisas encontradas tratavam aspectos históricos, conceituais e metodológicos das oficinas de música, fez-se uma análise dos trabalhos localizados no levantamento bibliográfico, com descrições textuais acerca destes e categorizações. A análise comprovou a hipótese deste trabalho, que previa ampla utilização dos termos \"oficina\" e \"oficina de música\", em diferentes pesquisas, sem aprofundamentos ou delineamentos conceituais minuciosos. Um panorama teórico acerca das oficinas de música foi construído a partir de três trabalhos, considerando que estes debruçaram-se específica e sistematicamente sobre a análise dessa modalidade pedagógica, tratando de suas características, bem como de aspectos históricos e conceituais do movimento das oficinas de música no Brasil. Para além da explanação deste panorama teórico, que destacou enfoques, similaridades e divergências entre tais pesquisas, busquei diálogos conceituais com autores das áreas da Educação (Maria Oly Pey, Guilherme Côrrea e Ana Preve) e da Filosofia (Gilles Deleuze, Félix Guattari, Jorge Larossa e Silvio Gallo) no intuito de propor novas conceituações às oficinas e às oficinas de música. Operando por deslocamentos, proponho pensar a oficina como espaço menor de educação, propício às experiências e às viagens. Delineio, também, o que compreendo como oficineiro-artesão, pensando o papel dos educadores nestes espaços. Por fim, atentando ao conceito de nomadismo e suas possibilidades de intervenção em educação, discorro acerca das oficinas como engendramentos nômades, vislumbrando, dentre suas características, a possibilidade de instauração de um espaço e planejamento liso em educação musical. / This work aims to study the workshops as a pedagogical modality and, more specifically, to think musical workshops as a way to create/achieve a minor space in musical education. Initially, in order to comprehend if the concepts of \"workshop\", \"musical workshop\" and \"workshopper\" have being used and moved in Brazilian\'s music researches, a state-of-the-art bibliographic research was carried out. In order to understand if and how the historical, conceptual and methodological aspects of musical workshop where attended, it was realized an analysis of the works found in the bibliographic survey, describing and categorizing them according on how they approached the aforementioned concepts. It was demonstrated true the original hypothesis that most of these researches used the terms \"workshop\" and \"musical workshop\" without conceptual deepening. A theoretical overview about musical workshops was constructed based on the only three works that specific and systematically studied this pedagogical modality, describing its main characteristics, as well as the historical and conceptual aspects of the musical workshop movement in Brazil. In addition to this theoretical overview, that highlighted approaches, similarities and divergences of these researches, we seek for conceptual dialogues with writers from Education (Maria Oly Pey, Guilherme Côrrea, Ana Preve) and Philosophy (Gilles Deleuze, Félix Guattari, Jorge Larrossa, Silvio Gallo) in order to propose new concepts to workshop and musical workshop. Through conceptual displacements, it\'s proposed to think workshops as a minor space of education, propitious to experience and travels. We also delineate what we understand as a craftsman-workshopper, thinking about the educator role in these spaces. Lastly, considering the concept of nomadism and its possibilities of influence in the education process, we discuss about workshops being nomadic spaces, comprehending the possibility of the establishment of a smooth space and planning in musical education.

La thèse examine, à partir de la question patrimoniale, les dynamiques sociales en cours dans des villes du Maghreb et du Moyen-Orient. Sont ainsi analysés les rapports entre les mises en patrimoine et en tourisme et les pratiques artisanales et leurs évolutions dans les centres urbains anciens de Fès, Istanbul et Alep. L’analyse comparée vise à montrer comment en résulte de multiples recompositions, sociales, spatiales et identitaires. Espaces du monde artisanal, visités par les touristes, les centres urbains anciens sont pensés comme une ressource à valoriser par des acteurs locaux et internationaux. Les imaginaires patrimoniaux et touristiques contribuent ainsi à catégoriser l’artisanat, érigé en figure patrimoniale, jugé illégitime, parfois réinventé. Leur mise en acte participe d’un processus d’esthétisation, entre évincement et mise en scène des artisans. Les positions sociales des artisans peuvent alors changer tandis qu’ils développent leurs propres actions pour composer avec l’action publique patrimoniale et le tourisme. / This thesis examines the heritage question, and seeks to understand social dynamics in progress within the cities of the Maghreb and the Middle East. Thus are analyzed the relations between heritagization and touristification, as well as the artisanal practices and their evolution within the ancient urban centres of Fez, Istanbul and Aleppo. The comparative study aims at showing how multiple social, spatial, and identity reorganisation processes are resulting from it. Areas of craft world, visited by the tourists, the ancient urban centres are thought like a resource, which needs to be valorised by local and international actors. In this way, heritage and touristic imaginations are contributing to the craft industry’s categorization, which is established as a heritage figure, judged illicit, and sometime is reinvented. This setting participates to an aesthetic process, in which the craftsmen are ousted or staged as part of the scenery. The craftsmen social position can therefore be changing whereas they are developing their own actions, compromising with the public heritage action and tourism.

Made available in DSpace on 2016-03-15T19:41:55Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-13 / This work proposes a historical recovery of production and operating procedures of Atelier Mirga, led by Polish artist Henrique Mirgalowski and responsible for creating the posters distributed by the Companhia de Annuncios em Bonds in São Paulo. Contextualizes the advertising posters on trams in a city of intense transformation like São Paulo in the first half of the twentieth century. Investigates how the advertising posters on trams, with their surroundings and characteristics, entered into a modernity that cannot be understood outside the urban context. It traces the formative years of Henrique Mirgalowski before arriving in Brazil and becoming a pioneer of modern Brazilian poster. Puts the art in dialogue with the advertising graphics of the period, analyzing the hierarchical distinction between major and "minor arts. Dedicates to the training of the Brazilian advertisers and designers before the 1950‟s, highlighting educational and pioneering role of Henrique Mirgalowski and his studio. Investigates how foreign models influenced the production of Atelier Mirga. Demonstrates how the educational process and the influences at the Atelier Mirga are examples of a rich and varied tradition of Brazilian culture projective in advertising and design, detached from any ideology and visual homogenization / O presente trabalho propõe o resgate histórico da produção e dos procedimentos operacionais do Atelier Mirga, liderado pelo artista polonês Henrique Mirgalowski e responsável pela criação dos cartazes veiculados pela Companhia de Annuncios em Bonds paulistana. Contextualiza o cartaz de bonde em uma cidade em intensa transformação como São Paulo na primeira metade do século XX. Investiga como o cartaz de bonde, com sua ambiência e especificidades, inseriu-se em uma modernidade que não pode ser entendida fora do contexto urbano. Resgata os anos de formação de Henrique Mirgalowski antes de desembarcar no Brasil e tornar-se um dos pioneiros do moderno cartaz brasileiro. Coloca as artes plásticas em diálogo com o desenho publicitário do período, analisando a distinção hierárquica entre artes maiores e menores . Dedica-se à formação do profissional de publicidade e do design brasileiro anterior à década de 1950, destacando o papel educacional e o pioneirismo de Henrique Mirgalowski e seu ateliê. Investiga como os modelos estrangeiros influenciaram a produção do Atelier Mirga. Demonstra como a formação dos profissionais e as influências presentes no Atelier Mirga constituem exemplos de uma rica e variada tradição da cultura projetiva brasileira em publicidade e design, desapegada de ideologias e de qualquer homogeneização visual

Orientador: Silvia Hunold Lara / Dissertação (mestrado) - Universidade Estadual de Campoinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T20:03:01Z (GMT). No. of bitstreams: 1 Alfagali_CrislayneGlossMarao_M.pdf: 5108904 bytes, checksum: bc41bff909465e93aae51f2ef4571065 (MD5) Previous issue date: 2012 / Resumo: A dissertação analisa as condições de vida e de trabalho dos artesãos do ferro que moraram na região de Mariana e Vila Rica, no século XVIII. Por meio da análise de registros das Câmaras dessas duas vilas, de inventários e testamentos, investiga-se o lugar social que esses homens de ofício ocuparam no contexto do Antigo Regime, examinando especialmente as condições materiais de exercício do ofício de ferreiro e de outros correlatos; o processo de ensino-aprendizagem desenvolvido no interior das oficinas; os modos de convivência do trabalho livre e escravo; as heranças (européias e africanas) no conjunto de técnicas, saberes e habilidades empregadas na mineração e transformação do ferro; as diferenças entre artífices livres, negros e libertos; as possibilidades de ascensão econômica pelo trabalho; as solidariedades importantes entre esses artesãos e como eles lidavam com o poder local / Abstract: The main goal of this dissertation is to analyze life and work conditions of iron craftsmen who lived in Vila Rica and at Mariana's region at the eighteenth century. Through the analysis of sources from the Common Council of these two villages, from wills and inventories, we investigate the social place occupied by these artisans in the Old Regime context, examining especially the material conditions to hold the blacksmith occupation and others related to it; the teaching-learning process developed within the workshops; the modes of coexistence of free and slave labor; the inheritance (European and African) in the set of techniques, knowledge and skills that were employed in the iron smelting and smiting; the differences between free artisans, black and freed man; the possibilities of economic ascent through work; the important solidarities that were established between these artisans and how they dealt with the local power / Mestrado / Historia Social / Mestra em História

This master’s thesis is focused on „THE DEVELOPMENT OF SMALL FAMILY-OWNED COMPANY“DOPOS HK s.r.o. from Hradec Kralove region. The purpose of the development is an expansion in terms of the capacity (more hired craftsmen, wider sphere of activity) and also of the economic indicators (sales growth, higher number of realized projects). The company will be (for the purposes of this study) subjected to various analyzes as SWOT, Porter etc. Attention will be also paid to benchmarking. The changes in the company will be made based not just on the results (with the aim to eliminate the deficiencies and get to the higher level of company development).