Thesis (M.Tech.: Fashion Design)-Durban Institute of Technology, 2006, 168 leaves : ill. + 1 CD-ROM (4 3/4 in.). / My journey of awareness which is an exploration of my identity through design has resulted in a body of artefacts presenting as sculptures and various pieces of jewellery and a written dissertation. The sculptures include bronze castings as well as stoneware ceramic pieces. I produced silver jewellery and vitreous enamelled pieces which include some gold and glass bead detail. Although my sculptures could be considered as fairly small, working on this scale was a new experience to me as a jewellery designer who is used to working on an even smaller scale. I found it challenging to express the necessary emotion and meaning in my work while creating on such a relatively small scale. The body of artefacts is a concrete manifestation of my exploration of identity and was produced as an intuitive expression of memories and emotion. My memories are of personal experiences within a specific cultural and historical context, and the exploration forms part of a critical transformative inquiry. The motivation for this transformative inquiry forms part of a holistic de-fragmentation of my personal and cultural identity in an attempt to construct meaning and authenticity through design. The artefacts were produced in holistic cycles presenting in two distinct phases which are discussed chronologically. I recorded the process and my thoughts and feelings in a reflective journal which included a visual journal in my studio and served as a reference for my discussion of the cycles. I experienced the process of making as a ritualistic enactment of healing and the construction of meaning. In the written and illustrated submission for the award of this degree, I have endeavoured to offer an explanation of my professional and emotional development that formed part of the transformative process. I have chosen not to separate my explanation of my development as a designer and my personal development as it occurred concurrently. Digital imagery of my body of artefacts forms a record of my work offered for exhibition purposes and is included with the written dissertation.

This thesis deals with the development of a body of my own creative work and the teaching of jewelry-working in the secondary schools. Emphasis in both instances was given to the use of the natural environment as a stimulus for design ideas. The philosophy of nature as art forms has been the focus of my creative endeavors for several years. This lead to the design and completion of jewelry, flatware, and holloware in this study. Knowledge gained in my work experiences formed the basis and background of the presentation of these skills to secondary students.

by Tung Man Kei. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 82-83). / ABSTRACT --- p.ii / TABLE OF CONTENTS --- p.iv / LIST OF TABLES AND FIGURE --- p.vi / LIST OF APPENDIXES --- p.vii / PREFACE --- p.viii / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Chapter II. --- ISO-9000 Standards --- p.4 / Recent Development of ISO 9000 Standards --- p.6 / Other Quality Standards and Awards --- p.8 / Influence of ISO 9000 --- p.11 / Implementation of ISO 9000 --- p.15 / Chapter III. --- CASE STUDY: PART (A) JEWELLERY INDUSTRY AND ABC JEWELLERY LIMITED --- p.18 / Jewellery Industry in Hong Kong --- p.18 / The ABC Jewellery Limited --- p.20 / Organizational Structure of ABC Jewellery Limited --- p.21 / Production Department --- p.22 / Stone Department --- p.24 / Human Resources Department --- p.24 / Quality and Technology Department --- p.25 / Management Information Department --- p.26 / Marketing Department --- p.26 / Export Department --- p.27 / Financial Situation of ABC Jewellery Limited --- p.28 / Chapter IV. --- CASE STUDY: PART (B) IMPLEMENTATION OF ISO-9002 CERTIFICATE OF A MANUFACTURING COMPANY - ABC JEWELLERY LIMITED --- p.30 / Quality Reform of ABC Jewellery Limited --- p.30 / The MANCOM - A Reform of Management Committee --- p.32 / The Implementation Plan of ISO-9000 of ABC Jewellery Limited --- p.34 / Step 1： Preliminary Goals Setting and Formulation of Action Plan --- p.35 / Step 2: Creation of Mission and Vision Statements --- p.37 / Step 3: Formation of Quality Team --- p.37 / Step 4: Education of Quality Concept --- p.38 / Step 5: Preparation of Quality Manual and Work Procedures - the Business Procedures --- p.40 / Step 6: Reengineering of Business System --- p.43 / Step 7： Registration for ISO-9002 --- p.44 / Problems faced by the Company --- p.45 / Dilemma --- p.53 / Chapter V. --- CASE STUDY: PART (C) LATEST SITUATION OF ABC JEWELLERY LIMITED --- p.54 / Quality and Technology Department --- p.54 / """Quality In Progress"" and Other Quality Improvement Projects in the Company" --- p.55 / Chapter VI. --- CONCLUSION OF THE CASE STUDY --- p.57 / TABLES AND FIGURE --- p.59 / APPENDIXES --- p.63 / BIBLIOGRAPHY --- p.82

Thesis (MA (VA)(Visual Arts. Jewellery Design))--University of Stellenbosch, 2008. / In this thesis I explore my jewellery practice as a transformative process. I suggest that the handling of material can be described in alchemistic terms as a process that is primarily aimed at the transformation of the alchemist him/herself. This view is applicable to jewellers who employ an alchemistic approach to their own practice. I will demonstrate this point by dividing my exploration into three sections, namely transformation of material (which also entails the transformation of value), transformation of meaning, and finally, the ritualistic process of transformation as a transformative element.

Thesis (MA (VA)(Visual Arts. Jewellery Design))--University of Stellenbosch, 2006. / In this thesis I concern myself with a rather particular process of making jewellery – a creative process which epitomises repetitive, labour-intensive and timeconsuming actions, results in an “optimal” experience (Csikszentmihalyi 1990) and leads to meticulous and refined products. In dealing with this process I present its conceptual framework which I understand as a sequence of physical, mental and emotional elements through which I move from fascination (the initiating factor of the process) to product (a concrete and legitimising by-product of the process). As I progress from fascination to product, I move through the distinct, yet interwoven stages of ideation, planning and preparation, production, meditation, incubation and insight. These stages, together with fascination and product, constitute a continuous, three-dimensional spiralling form which characterizes the conceptual structure of my process. Within that conceptual structure, I differentiate between the phase of decisionmaking and the “experiential” phase (here signifying “to experience”). The former phase comprises the stages of ideation, planning and preparation, and production; whereas the latter phase stretches over the stages of production, meditation, incubation and insight. I define decision-making as a sequential thought-process and distinguish between an open-ended and a highly restricted or defined type of decision-making. The open-ended type takes the form of free experimentation and dominates the stage of ideation, leading to those ideas which I choose to translate into concrete jewellerypieces. As I move from ideation to planning and preparation, and subsequently to production in developing and implementing my idea, I increasingly make use of the restricted type of decision-making in the form of relying on previously accumulated knowledge and experience. Understanding decision-making as “a logical process leading to a conclusion” (Loy 1988:146), I interpret decision-making in general, and the restricted type in particular, in terms of the philosophical notion of dual thoughtprocesses, based on the causally and sequentially linked elements of decision-making. As the stage of production progresses, the dual thought-processes of decisionmaking are increasingly relegated to my sub-conscious. Consequently, my consciousness is free to engage in what I refer to as meditation, as a result of which I move into the experiential phase of my process. My meditative state of mind can be ascribed to non-dual, spontaneous and random thought-processes which bring with an atmosphere of incubation out of which insights arise. As a result of my non-dual mind-set I experience both my thinking and my acting during meditation as non-dual, accumulating or resulting in an exhilarating, overtly positive, worthwhile and fulfilling experience. Even though this experience acts as a motivation for engaging in the process and is therefore of enormous significance, the tangible product of the process does serve a legitimizing function as it endows my almost excessively time-consuming and labour-intensive acts with purpose. However, as a result of the input of enormous amounts of personal energy over prolonged time-spans my process leads to an intimate relationship between my products and me, causing a dilemma and paradox as I struggle to let go of my jewellery-pieces.