Although many texts discuss studio glass blowing in Australia, few focus on the South Australian situation and even fewer are written by studio glass blowers themselves. As a studio glass blower, I bring to this research experiential knowledge of practice to offer new insights into studio glass blowing. The study accesses knowledge that is implicit, embodied and tacit; knowledge derived from living and working within a particular community. In using this knowledge, I highlight the importance of both financial survival and the development of practice in creating a practitioner's perspective of studio glass blowing in South Australia. The study is designed as an ethnography. This incorporated a review of the literature and images found in published texts; interview and questionnaire data; anecdotal narratives and familiarity with the South Australian glass blowing community; and tacit knowledge of glass blowing practice, glass blowing skills and techniques. This tacit knowledge was accessed through an auto-ethnographic investigation of re-making the selected artefacts. The selection of these artefacts was based on my personal knowledge of glass blowing processes, first hand relationships with individual glassblowers, observation of artefacts and prior experience of working as a studio glass blower.

Thesis (Ph. D.)--Eberhard Karls Universität Tübingen. / Reproduced from typewritten copy. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 172-182).

Thesis (M. Sc.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 92-95).

Texte remanié de : Dissertation : Kunstgeschichte : Universität Münster : 1990. / Bibliogr. p. 249-275. Index.

published_or_final_version / Environmental Management / Master / Master of Science in Environmental Management

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Google Glass is a new personal computing device that employs an over-eyetransparent display together with voice-control in order to offer audiovisual informationto the device's users. Glass is also a new mediated-reality platform,fundamentally different from common computers and smartphones, and theavailable Glass application (Glassware) design guides do not fully cover human-computer interaction issues that are imposed by Glass' characteristics – issuessuch as optimum information density, use of colourization and positioningto separate information, optimum amount of discrete entities on display, and theuse of iconography. By combining existing guidelines for Glassware UI designwith past research on human-computer interaction and psychology, those issuescan be addressed and can lead to additional design principles. To evaluate theefficacy of such combinations within the technical and design limitations imposedby Google Glass, a set of UI mock-ups for fictional Glassware is createdand used in multiple surveys to acquire data on human response to those combinedfactors. During the study, it was determined that factors including colourization,element positioning and use of icons have a definite effect on user perceptionand preferences, whilst factors related to information density andamount of discrete entities on screen are less relevant. Additionally, supportingevidence was found in relation to the assumption that utility is more importantthan functionless aesthetics. As a result, a UI design guideline set was formulatedthat can be used to supplement existing UI design guidelines for GoogleGlass and similar over-eye transparent-screen devices.

Gemlike objects are a nearly ubiquitous phenomenon in the medium of glass, although culturally specific studies remain scarce. This dissertation considers the production of such works in the early medieval period, primarily in association with Abbasid rule. The first half attends to several accessory issues, including glass-related terminology, glass-coloring treatises, the lives of glassworkers, gemstone connoisseurship, and the legal status of such products. These demonstrate a range of coexisting attitudes, including the desirability of such works for their own sake rather than as surreptitious substitutes for “true” gemstones. The second half focuses on an exemplary object, an opaque turquoise glass bowl from the Treasury of San Marco in Venice, which I propose was produced in Baghdad for the caliph al-Mutawakkil just after the year 850. I then consider this work’s changing reception from late medieval Venice to modern scholarship, including ways in which “correct” interpretations of its material and/or origin have been repeatedly supplanted by false leads. The fundamental argument is that gemlike vessels like the San Marco turquoise were not deceptive stand-ins but rather intended to exercise complex discursive practices, both political and connoisseurial in nature, a function that ultimately remains in effect today.

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