The work submitted for the PhD by Publication is evidence of my investigation into the significance of textiles as an aesthetic experience within a socially engaged form of material practice, some of which involves other people. Social engagement has been an active and deliberate agent in the aesthetic transformation of functional material objects in two of my publications called The Sleeping Bag Project and You Are the Journey. A third publication is a co-edited book called Outside: Activating Cloth to Enhance the Way We Live. A range of essays by artists, curators and writers discloses previously unwritten commentaries on community initiatives that probe a range of empathetic modes of investigation that explore meaningful spaces for participation. I have come to recognise that a proactive attitude towards collaboration is evident in all three publications. It is exemplified by my approach to co-orchestrating the Outside book and by an eagerness to work with others to advance the concept of the transformative power of cloth within the live arena for socially engaged textile practices today. The relations between an aesthetic transformation and socially engaged practice was implicit in Rozsika Parker’s seminal text The Subversive Stitch first published in 1984 providing an analysis of textiles within social history. At the beginning of work on this PhD my relationship with the book was complex and full of tensions. My perceptions of Parker’s work changed as I discovered at the very end of my thesis connections between her work and mine that enable a deeper understanding of the need in my socially engaged textile practice today for the kind of aesthetics she describes historically as arising from social constraint. Consequently The Subversive Stitch has now re-appeared with value as a touchstone for my work in a contemporary context. The thesis then discusses examples of the outcomes of practices by other artists and considers the attention given to visual aesthetics within socially engaged practices. Ideas are developed to suggest how the aesthetic dimension of textiles may enhance principles of communal giving as an innovative strategy stretching beyond the coalition government’s Big Society agenda presented in 2010. Examples from investigations of textiles in museum archives including embroideries created by internees within Second World War prisoner-ofwar camps in the Far East are also examined. The aesthetic dimension of the embroideries carries significance through the vulnerable context in which they were created, as a potent series of statements involving cloth in action. In contemporary Britain, I have shown how such everyday objects as sleeping bags and travel tickets can capture the imagination by creating a connection with participants, when they may not have been consciously seeking an insight separate from the functionality of these objects. Nevertheless, an aesthetic gesture is surreptitiously tucked away. This has created a hybrid form of social engagement that can move fluidly between private and public spaces. The social engagement also involves processes of interaction and exchange with the object in the presentation of an active relationship with the object that is both seen and unseen.

The purpose of this study is to find the function of handicrafts in life adjustment education. It should also help in determining sound methods of organizing and teaching handicrafts.

Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.

Made available in DSpace on 2015-03-04T21:16:49Z (GMT). No. of bitstreams: 0 Previous issue date: 25 / Universidade do Vale do Rio dos Sinos / Esta tese trata de uma pesquisa sobre o ensino e a aprendizagem de trabalhos manuais com mulheres negras em Rio Grande (RS – Brasil) e Capitán Bermúdez (Santa Fe – Argentina). Tal pesquisa foi elaborada a partir da temática “Pedagogias da não-formalidade ou das tramas complexas (re)inventadas por mulheres negras através do ensino e da aprendizagem de trabalhos manuais e a busca por emancipação”. Foram promovidos encontros, no Brasil, município de Rio Grande, com mulheres pertencentes ao grupo étnico afro possuidor de experiências em profissões destinadas historicamente às mulheres e, em particular, às mulheres negras: o trabalho doméstico (domésticas, lavadeiras, cozinheiras, etc.), o cuidado de crianças pequenas e o embelezamento capilar vinculado às tranças. Também participaram desta investigação, na Argentina, município de Capitán Bermúdez, mulheres que, mesmo não expressando o grupo étnico ao qual pertencem, apresentam fenotipicamente indícios de serem descendentes de indígenas argentinas, atuantes nas me / This thesis is a survey about the teaching and learning of Manual Works (Handicrafts) with black women in Rio Grande (RS – Brazil) and Capitán Bermúdez (Santa Fe – Argentina). Such survey was elaborated from the following theme: “Non-formalities Pedagogy or Complex plots (re)invented by black women through teaching and learning of manual works (handicrafts) and the seek for emancipation”. There were held meetings in Brazil – city of Rio Grande – with women belonging to the Afro ethnic group that have experience in professions historically destined to women and particularly to black women, being: domestic labour (housekeepers, washers, cooks …), babysitting and hair embellishment linked to hair plaits (corn rolls). Also took part in this investigation, in Argentina – city of Capitán Bermudez, women that, even not expressing the ethnic group which they are part of, demonstrate phenotypically pointers of being descendents from Argentinean Indians, acting in the same professions. At a first sight it may seem wron

The main purpose of this study is to identify the major driving factors that determine the environmental commitments and certification ownership of small and medium sized enterprises (SMEs) in Turkey. Turkey has been undergoing major economic and environmental developments since 1990ies. SMEs play a significant role in the Turkish economy, constituting 99.8% of total enterprises in number. Even though most managers overlook their firms&rsquo / particular impacts, SMEs&rsquo / cumulative effect on natural environment is significant. According to previous research, regulations, community, competitors, suppliers, consumers and media have been found to be the main external determinants that affect a manager&rsquo / s attitudes about the environment and therefore his or her firm&rsquo / s environmental commitments / whereas managers&rsquo / beliefs about the environment, their confidence in their firm&rsquo / s abilities and resources and their environmental governance principles are the internal determinants. In line with previous research findings, this study tries to examine the effects of these factors along with the demographic characteristics of the manager&rsquo / s. As the results of the questionnaire distributed to 80 SME managers in Ankara suggest, institutional and social pressures and manager&rsquo / s confidence in him/herself and his/her firm&rsquo / s abilities showed to have significant influence on the firm&rsquo / s environmental commitments, along with the size of the company and the education level of the manager. In addition to that, external pressures and size are also major factors driving SMEs to obtain environmental certifications.

Users evaluate and assign value to products regarding several factors, one of which is design attributes. The attributes can provide certain consequences, which can, in turn, serve to users&rsquo / desires or ultimate goals in life. Value is attributed regarding the desirability of the sequential chain of attributes, consequences and goals. Considering value creation for the users as designers&rsquo / main responsibility / they should focus on how these chains are shaped while designing products. This study mainly concentrates on this relation between design attributes, the consequences these attributes provide, and the ultimate goals of users these consequences satisfy. Three main types of consequence and user goals, which are together called as value types, are identified in the literature: pragmatic, experiential and symbolic. How these value types can be provided by design attributes is examined both with literature review and a research on users&rsquo / pre-purchase value assignment to portable digital audio players. The research on portable digital audio players is conducted using laddering technique. After the interviews with 30 respondents, the value types identified in the literature review as pragmatic, experiential and symbolic value are supported by the data / and and an extension is suggested within the subgroups of experiential value. The salient design attributes that are valued at pre-purchase, and outstanding relations between designed attributes, consequences and user goals are identified.

This report contains discussion of four design projects aimed to investigate the ability of handicrafts to communicate complicated subject matter. In this exploration, handicrafts are used to present the experience of recovering from a traumatic experience by challenging commonly held stereotypes about handicrafts. By breaking the trauma and recovery process into four distinct stages, each stage can be discussed in detail via the corresponding design piece. Consequently, each stage also allows for new opportunities to apply handicraft practices in new ways. Through this line of questioning, the four pieces expand upon the imagery, materiality, subject matter, and formal creation techniques typically used in handicraft projects. This collection adds to a greater body of work that intersects traumatic experiences with art and design and that explores the power of design as a communication tool. It opens the door for further investigation into the application’s potential as a teaching tool for trauma victims, nontraditional applications of the craft, its ability to aid in the recovery process, and the potential risk and benefit victims have from such work being done and from creating such pieces themselves. / text

The focus of this thesis is an examination of domestic handicrafts and the significance of these to Australian women's lives. The topic focuses on how the making of simple and ordinary handicrafts provides women with an escape from the domestic demands of day to day life. This thesis incorporating a body of ceramic artefacts and written exegesis is the result of an exploration of comfort and safety found in handicrafts and clay. In addition, the concepts of repetition and extraordinary ordinariness have been investigated. Exploration of this topic has required an examination of handicraft techniques, prompting me to confront and consider my own domestic situation and consider my own approach to and relationship with clay. For the final series of artworks in response to the research I have drawn inspiration from historical women's handicrafts techniques and made reference to these within the ceramic artefacts presented. Research into the area of handicraft as escape has prompted exploration into works by artists not only in the field of ceramics but those working with other media and therefore enriching my response to the topic. My research has provoked me to translate and transform women's craft skills to create a framework for my own works in clay in addition to establishing a context for my work within the field of contemporary ceramics and more broadly within contemporary visual arts. Among the results of the project has been the development of a new approach to the medium of clay incorporating innovative techniques, as well as a greater conceptual framework within my own ceramics practice.

This Master thesis with a title Specifics of teaching Handicrafts at a multileveled school is focused on creating several teaching proposals for the subject Handicrafts at a multileveled school. The emphasis is put on the differentiation between the levels of difficulty for individual classes. The theoretical part includes findings on a level of thinking of primary-school pupils and their abilities to learn. The thesis also covers the essence of constructivism which is primarily the base of the educational field of Man and the world of work contents of this educational field and its goals. The next chapter includes the characteristics of the subject Handicrafts and of the term technical literacy, which are closely connected. The last chapter mentions alternative features of the multileveled school for which the compiled activities are designed. In the practical part, there are five different teaching proposals for the individual classes of the multileveled school from Year 3 to Year 5 and the execution of four of these proposals is given. The practical part ends with answers to several questions looking into the opinions of teachers from two South Bohemian multileveled schools on the implemented classes.

Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento. / Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.