This study begins with an understanding that immigrant experiences are complex and encompass the change of many factors for the person who moves from one country to another. While existing integration efforts focus on the practical aspects and needs of immigrants, some experiences never get to be expressed and emotional needs remain unvocalized. This study focuses on the emotional needs of immigrant women and the design of an environment where these needs can be vocalized or expressed. In the study we conduct an analysis of the factors which help in establishing trust and rapport with and between immigrant women and investigate how non-verbal tools can be used in eliciting emotional needs and bridging differences in an intercultural setting. This study consists of two design workshops, where the main tool used is embroidery, and individual interviews with all the participants. Nine immigrant women in total were recruited for the study, where each of them comes from a different country. Results show that the most important factors in building trust with the facilitators were the informal communication style, gender, and the spatial layout where the workshops were conducted. Furthermore, the most important factor in eliciting reflections was the use of the autobiographical timeline tool. Finally, the act of creating the embroideries together and the smaller size of the groups proved to be very important in bridging cultural and other barriers between the participants. / Denna studie utgår från en förståelse för att invandrarupplevelser är komplexa och omfattar förändringar av många faktorer för den person som flyttar från ett land till ett annat. Då befintliga integrationsinsatser fokuserar på de praktiska aspekterna och behoven för invandrare, kommer vissa erfarenheter aldrig att uttryckas och känslomässiga behov förbli okända. Denna studie fokuserar på invandrarkvinnors känslomässiga behov och utformningen av en miljö där dessa behov kan uttalas eller uttryckas. I studien utför vi en analys av de faktorer som bidrar till att skapa förtroende och relationer med och mellan invandrarkvinnor. Vi undersöker hur icke-verbala verktyg kan användas för att uttrycka känslomässiga behov och skapa kopplingar mellan individer med kulturella skillnader. Studien består av två designworkshops, där det huvudsakliga verktygetsom används är broderi, och individuella intervjuer med alla deltagare. Totalt rekryterades nio invandrarkvinnor till studien, och var och en av dem kommer från olika länder. Resultaten visar att de viktigaste faktorerna för att bygga upp förtroende med ledarna av workshopen var den informella kommunikationsstilen, könet av ledarna samt den rumsliga layouten där workshoparna genomfördes. Dessutom var den viktigaste faktorn för att framkalla reflektioner användningen av det självbiografiska tidslinjeverktyget. Slutligen visade sig skapandet av broderierna tillsammans i grupp samt den mindre storleken på grupperna vara mycket viktiga aspekter för att skapa kopplingar mellan dels kulturella, men även andra skillnader mellan deltagarna.

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Engaging with both the materiality and visuality of the embroidered artworks by Marguerite Zorach and Elaine Reichek, this thesis analyzes the material acknowledgement, or lack thereof, of the embroidery medium in both the artists' own motivations and how the Museum of Modern Art represents and displays modern embroideries. Often perceived as old-fashioned, in both cultural and artistic frameworks there is at a times tremulous acceptance of the embroidery medium. Both Zorach and Reichek's embroideries are undoubtedly rooted in modernist ideas surrounding form, subject, and aesthetics. Expressed in thread, the concepts behind these artworks are closely stitched to the medium itself, enhanced by the textural and methodological process of embroidery. Despite this, the modes of display used by the MoMA exhibits portray a reluctance to fully embrace and acknowledge the importance of materiality in in the history of embroidery. Examining the inclusion of Zorach's The Circus in the 1938 Three Centuries of American Art exhibition alongside Reichek's 1999 solo exhibition Projects 67: Elaine Reichek displaying her When This You See… embroidery series, this thesis evaluates each artist's use of the medium and how the respective exhibitions framed the embroidered artworks. / Master of Arts / Embroidery, often perceived as a domestic or craft practice, faces cultural and artistic reception challenges when being used as a medium for modern art. Using Marguerite Zorach and Elaine Reichek's embroidered modern artworks, this thesis analyzes how the artists' motivations are translated through the Museum of Modern Art's curatorial and conceptual framework. For these two artists, the materiality, physical processes, and cultural history of the embroidery medium provide grounding contexts for their individual artistic production. This emphasizes that artistic motivation for the use of embroidery is inherently tied to the physical and contextual qualities of the medium, rather than being a simply coincidental choice of medium. Despite this, the MoMA, while not wholly ignoring the material qualities of embroidery and the intimate connection between artist, materiality, and process, does not fully acknowledge and exhibit these closely stitched connections. Analyzing how the MoMA displayed Zorach's The Circus in the 1938 and Reichek's When This You See… embroidery series in 1999, this thesis delves into the cultural forces informing the MoMA's exhibition framing of embroidery alongside how each artist's use of the medium.

This dissertation explores the concept of reproduction as it relates to processes, images and materials in contemporary art. The concept embraces collaboration, embroidery, fragmentation, diffusion, multiplicity, inclusivity, decentralisation, copy, pastiche and appropriation. The convergence of these practices and ideas in contemporary theories and contemporary art, my own included, is explored. The concept ofreproduction intersects with traditional structures of knowledge and aesthetics, such as those of the Individual Artist, authenticity and the construct of Woman. In the process, these are questioned and inevitably redefined. A re-weaving of female identity, in particular, emerges. At the same time, the traditional notion of reproduction is itself unravelled in order to reveal the ambiguities and multi-layered meanings inherent in the concept. Reproductive or regenerative practices and ideas, as examined here, become an effective force for unfolding the complexities of a female-specific aesthetic and identity, previously reduced by traditional structures. / Fine Arts / M.A. (Fine Arts)

While the pastoral environment that surrounds my studio is inspirational in itself, my treescapes and organic abstractions are reflections of referential places experienced along my life's path. Considering the constant onslaught of information in our increasingly rushed society, I hope my work, influenced by the natural world, may allow the viewer to slow down briefly and live in the moment.

Made available in DSpace on 2016-04-25T20:22:45Z (GMT). No. of bitstreams: 1 Cristina Maria Macedo Tomaz.pdf: 2185440 bytes, checksum: 90455a30829828b01017ecddc8deab94 (MD5) Previous issue date: 2009-05-12 / The aim of this study is to research the memory of women who are hosted at the Associação de Crianças Cardíacas e Transplantadas do Coração (ACTC_ Association of Transplanted and Heart Disease Children) while their children are undergoing treatment at Instituto do Coração (INCOR_Heart Institute) located in the city of São Paulo. Most of them come from several different regions of Brazil and belong to the less privileged social classes. We established relations through their recollections and the construction of their identities by registering and interpreting the daily routine at the ACTC, as well as by analyzing these women s background using the memory as a methodological tool. We also tried to understand what to be a woman for this group means as well as how the child s disease and their new living experiences in the city of São Paulo interfere in the construction and reconstruction of their identities / O presente estudo trata da memória de mulheres que recebem hospedagem na Associação de Crianças Cardíacas e Transplantadas do Coração (ACTC), enquanto seus filhos estão em tratamento no INCOR Instituto do Coração, na cidade de São Paulo. A maioria delas vêm de diversas regiões do país e pertencem às camadas mais baixas da nossa população. Ao registrar e interpretar o cotidiano da ACTC, bem como analisar as histórias de vida dessas mulheres, utilizando a memória como recurso metodológico, estabelecemos relações por meio de suas lembranças com a construção de suas identidades. Além disso, procuramos compreender o que é ser mulher para esse grupo, assim como a doença do filho e as novas experiências vividas em São Paulo interferem na construção e reconstrução de suas identidades

Made available in DSpace on 2016-04-26T14:57:36Z (GMT). No. of bitstreams: 1 Cristina Maria Macedo Tomaz.pdf: 2185440 bytes, checksum: 90455a30829828b01017ecddc8deab94 (MD5) Previous issue date: 2009-05-12 / The aim of this study is to research the memory of women who are hosted at the Associação de Crianças Cardíacas e Transplantadas do Coração (ACTC_ Association of Transplanted and Heart Disease Children) while their children are undergoing treatment at Instituto do Coração (INCOR_Heart Institute) located in the city of São Paulo. Most of them come from several different regions of Brazil and belong to the less privileged social classes. We established relations through their recollections and the construction of their identities by registering and interpreting the daily routine at the ACTC, as well as by analyzing these women s background using the memory as a methodological tool. We also tried to understand what to be a woman for this group means as well as how the child s disease and their new living experiences in the city of São Paulo interfere in the construction and reconstruction of their identities / O presente estudo trata da memória de mulheres que recebem hospedagem na Associação de Crianças Cardíacas e Transplantadas do Coração (ACTC), enquanto seus filhos estão em tratamento no INCOR Instituto do Coração, na cidade de São Paulo. A maioria delas vêm de diversas regiões do país e pertencem às camadas mais baixas da nossa população. Ao registrar e interpretar o cotidiano da ACTC, bem como analisar as histórias de vida dessas mulheres, utilizando a memória como recurso metodológico, estabelecemos relações por meio de suas lembranças com a construção de suas identidades. Além disso, procuramos compreender o que é ser mulher para esse grupo, assim como a doença do filho e as novas experiências vividas em São Paulo interferem na construção e reconstrução de suas identidades

The development of electronic textiles has increased significantly during the last ten years. By integrating electronic components or using conductive thread you can create textiles with different technical functions. CEVT is a innovation company within the automotive industry who have gained interest in electronic textiles. The department of innovation want to explore the possibility to integrate electronic textiles into future cars. The mission they have assigned us is a sub-goal in a larger end goal in which we will investigate whether one can develope a textile that can charge a phone wirelessly. To do this, a textile transmitter coil must be produced to enable the induction charging, which is what wireless charging really means. The method that was chosen to produce the textile transmitter coil was embroidery and the conductive thread that was used was a silver plated polyamide thread (HC12) from Sheildex. The thread had a resistance of <100 Ω per meter and some difficulties arose early on, where the resistance of the embroidered coil was to high. To reduce the resistance multiple stitches were sewn together and the conductive thread was also used as a lower thread. The resistance of the final coil had an average of almost 15 Ω which was significantly higher than desired. Tests were made to measure the inductive capability of the embroidered coil. This was done by measuring the power transmission between an embroidered coil and a Samsung Galaxy s8 reciever coil. The results showed that a power transmission was enabled, which means that it works. Though the power transmission was a lot lower when compaired to a commercial transmitter coil that was tested at the same time. The project did not result in a fabric that could wirelessly charge a mobile phone. Nevertheless, the test results showed that it is possible, since a power transmission did occur between the textile coil and the coil from the Samsung. Further research and optimization of the textile coil would be required to realize the induction charging textile. Two interesting ways to go would be by using another embroidery technique called Fibre Tailored Placement (FTP) or by developing a new conductive embroidery thread, with a lower resistance. / The development of electronic textiles has increased significantly during the last ten years. By integrating electronic components or using conductive thread you can create textiles with different technical functions. CEVT is a innovation company within the automotive industry who have gained interest in electronic textiles. The department of innovation want to explore the possibility to integrate electronic textiles into future cars. The mission they have assigned us is a sub-goal in a larger end goal in which we will investigate whether one can develope a textile that can charge a phone wirelessly. To do this, a textile transmitter coil must be produced to enable the induction charging, which is what wireless charging really means.The method that was chosen to produce the textile transmitter coil was embroidery and the conductive thread that was used was a silver plated polyamide thread (HC12) from Sheildex. The thread had a resistance of <100 Ω per meter and some difficulties arose early on, where the resistance of the embroidered coil was to high. To reduce the resistance multiple stitches were sewn together and the conductive thread was also used as a lower thread. The resistance of the final coil had an average of almost 15 Ω which was significantly higher than desired.Tests were made to measure the inductive capability of the embroidered coil. This was done by measuring the power transmission between an embroidered coil and a Samsung Galaxy s8 reciever coil. The results showed that a power transmission was enabled, which means that it works. Though the power transmission was a lot lower when compaired to a commercial transmitter coil that was tested at the same time.The project did not result in a fabric that could wirelessly charge a mobile phone. Nevertheless, the test results showed that it is possible, since a power transmission did occur between the textile coil and the coil from the Samsung. Further research and optimization of the textile coil would be required to realize the induction charging textile. Two interesting ways to go would be by using another embroidery technique called Fibre Tailored Placement (FTP) or by developing a new conductive embroidery thread, with a lower resistance.

Thesis (D.C.A.)--University of Wollongong, 2005. / Typescript. Includes bibliographical references: leaf 173-188.

Thesis (doctoral)--Universität, Münster, 1999. / Inventory catalog.