3D textile performs offer a high potential to increase mechanical properties of composites and they can reduce the production steps and costs as well. The variety of woven structures is enormous. The algorithms based on the conventional weaving notation can only represent the possible woven structures in a limited way. Within the scope of this dissertation, a new weaving notation was developed in order to analyze the multilayer woven structures analytically. Technological solutions were developed in order to guarantee a reproducible preform production with commingled hybrid yarns. Terry weaving technique can be utilized to create vertical connections on carrier fabrics, which makes it suitable for the development of complex profiles. A double rapier weaving machine was modified with electronically controlled terry weaving and pneumatic warp yarn pull-back systems. Various spacer fabrics and 3D profiles were developed. A linear take-up system is developed to assure reproducible preform production with a minimum material damage. Integrated cutting and laying mechanisms on the take-up system provides a high level of automation.

Abstract I want to talk about tactile experiences, words that extend beyond touch. A full-body experience of space that begins with the senses, creating a collective understanding when everything is combined. We step in unbeknownst, activating our senses through the shapes and textures that enthral us. With our eyes, we access the dynamic of the room.  The foundation of my work is texture, so I explore the surface through it and textile is my chosen material because it allows me to do just that. By distorting, adding and pulling apart I can always get a new experience of it. In this project I work with three-dimensional patterns on the surface of the textile, and with subtle changes in volume I try to capture the light that falls on it and emphasis the texture to make the experience of it even richer.

The character of woven textiles is dependent on both the materials and the loom technology used. While digitally-controlled jacquard looms are a major development in weaving technology, they have mostly been used in developing representational and pictorial weaving. Such three-dimensional weaving as exists, utilises materials in predictably similar ways. Here, through systematic experimentation, three shrinking and two resisting yarns have been combined in multi-layer weaves in order to explore their potential for form-generating behaviour. Three-dimensional form occurs when the shrinking yarn/s place the resisting yarn/s under tension. To relieve this tension, the resisting yarn moves within the weave, creating waves or folds. The resulting form is highly sensitive to variation, demonstrating emergent behaviour, and identifying the woven textile as a complex system. Demonstrating the variety of form possible from a limited number of materials, the results represent a small body of work aiming to re-form weaving. The exploration of synergistic material combinations is therefore shown to be an exercise of value to fields from art textiles through to industry. It demonstrates that there is great development potential in woven textiles. Understanding the behaviour of materials is fundamental to furthering form-based weaving.

Jane Austen (1775- 1817) vécut à une période de ruptures politiques, économiques et sociales sur lesquelles se greffèrent des expériences de la séparation sur les plans familiaux, personnels mais également professionnels et littéraires qui engendrèrent un sentiment de déchirure, sinon conscient, du moins profond. Le sentiment de la déliquescence du lien social et le besoin conséquent de liant qui émanent de ses 9 romans sont le reflet littéraire de ces expériences initiales fortes de la déliaison. De ce constat – navré – de la fragmentation du monde résulte l’élaboration d’une véritable éthique de l’attachement qui témoigne d’une préoccupation centrale pour les notions de sociabilité, de bienveillance et de politesse. Celles-ci définissent le souci d’autrui comme la voie tant de l’harmonie sociale que de la félicité et de la moralité, mettant en avant le rôle essentiel de la médiation d’autrui dans la constitution du sujet et établissant Austen non seulement en véritable romancière de l’union mais en romancière conservatrice. Cependant, chez Austen, le maillage se fait également procédé d’écriture, relevant d’une volonté de structuration, d’ordre et de contrôle scripturaux, qui, si elle accorde une place de choix au lien avec le lecteur, n’est pas sans présenter des ambivalences conséquentes. Le maillage ne cacherait-il pas autre chose qu’un besoin de relier le monde ? Ne participerait-il pas, au final, à définir Austen comme une romancière de l’Ego, travaillée par la notion de désir et partageant notamment les préoccupations de ses contemporains romantiques ? / Our project is to offer an analysis of the nine major works of English novelist Jane Austen. Austen (1775-1817) lived through a time of political, economic and social changes, on top of which came further personal and professional experiences of loss and separation which led to an overwhelming sense of fragmentation. As to counter what she deemed a serious threat to her world, Austen thus elaborates a profound ethics of attachment, testifying to a real concern for the notions of sociability, sympathy and politeness, which bears striking similarities with Shaftesbury’s philosophy. Concern for others is defined as the only real path towards social harmony, personal felicity and morality, underlining the centrality of social relationships in Austen’s representation of the individual. However, we will throw light on the complexity and problems of such representation, so as to show how instrumental those ambivalences are in defining Austen actually as a novelist of the « I », preoccupied with the notion of personal desire and sharing the concerns of her Romantic contemporaries as early as Northanger Abbey and Sense and Sensibility.

No description available.

This paper on Project learning within the education of cultivation work at primary school assesses educational project works, its brief history and types, as well as different point views on the matter. Not only does it deal with the problematic terminology, but also its introduction into the practical education. The three projects discussed are as follows: 1. What can be found on fields in autumn? 2. What is never abundant? 3. Weaving plants All of them have been brought into the practical use and can serve the teachers for inspiration. Understandably, the projects have been elaborated to suit the Project-based Education, combining more subjects and unifying them.

Made available in DSpace on 2014-08-20T13:31:41Z (GMT). No. of bitstreams: 1 Ana Manuela Farias Regis_Dissertacao.pdf: 32148595 bytes, checksum: 79af8f10ff9be353ea3e94465f2a53a9 (MD5) Previous issue date: 2013-12-16 / This study is part of a research developed in the Visual Arts Postgraduate Program/ Master's degree of the Arts Center of the Federal University of Pelotas/ RS, in order to analyze how art teaching makes possible to question art as a form of expression. This study considers art as a body-subject relationship, using as methodology collective creation workshops, which confront the clutter that creating provides, make possible to poeticization the tiny, the anodyne, the garbage, the ordinary and what is not important in everyday life. Through the creation of poetic images is possible to work the unreasonable (Meira, 2007), the sensitive, therefore approaches to the craft. The author participated in the group exposing her trajectory, which identifies with the other participants of the workshops, composed mostly by students of Education and by artisans cooperative enterprises, without higher education. After concluding the Textile Art I/ II disciplines, the author realized that the craft was also part of her training as a teacher and artisan, so allowed to share her experiences in meetings. This way, the author understood the constitution of the body-subject when working with plots, lines and drawings. This study is based on works such as "Design + Craft: The Brazilian Path" of Adélia Borges, which presents a brief history of brazilian handicraft; "The Craftsman" and "Together", present the construction of what is the craft, under the gaze of Richard Sennett; from the aesthetic education standpoint, the author uses the work of Marly Meira: "Philosophy of Creation - Reflections on the meaning of the sensitive"; "Phenomenology of Perception" of Maurice Merleau-Ponty; "The sense of the senses: the sensitive education" of João Francisco Duarte Júnior, and "Emotions and language in Education and in Politics", of Humberto Maturana, who makes an analysis from the perspective of the sensitive being. / Este estudo faz parte de uma pesquisa que se desenvolveu no Programa de Pós-Graduação em Artes Visuais/ Mestrado, do Centro de Artes da Universidade Federal de Pelotas/RS, cujo objetivo é analisar como o ensino da arte possibilita problematizar a arte como forma de expressão. Este estudo considera a arte em uma relação corpo-sujeito, utilizando como metodologia a realização de Oficinas de Criação Coletiva, que confrontam a desordem que a criação traz, tornam possível a relação que poetiza o minúsculo, o anódino, o lixo, o vulgar, o sem importância de todo o dia. Por meio da criação de imagens poéticas, pode-se trabalhar o descabido (Meira, 2007), o sensível, razão pela qual se aproxima do artesanato. A autora participou do grupo trazendo sua trajetória, o que a identifica com os participantes das oficinas, constituídas, em sua maioria, por alunos em Pedagogia e por artesãs cooperativadas, sem formação superior. Após cursar as disciplinas de Arte Têxtil I e II, a autora percebeu que o artesanato também fez parte de sua formação como professora e artesã, possibilitando que compartilhasse suas vivências e experiências nas tramas. Dessa forma, foi possível compreender como se constitui um corpo-sujeito, quando trabalha-se com tramas, linhas e desenhos. O estudo fundamentou-se em obras como: Design + artesanato: o caminho brasileiro , de Adélia Borges, que apresenta uma breve história do artesanato no Brasil; O Artífice e Juntos , que apresentam a construção do que é artesanato sob o olhar de Richard Sennett; e sob o olhar da educação estética, a autora traz Marly Meira, com seu trabalho Filosofia da Criação. Reflexões sobre o Sentido do sensível ; Maurice Merleau-Ponty com Fenomenologia da Percepção ; O sentido dos sentidos: a educação (do) sensível , de João Francisco Duarte Júnior; e Emoções e linguagem na educação e na política , de Humberto Maturana, que analisa sob uma ótica do Ser sensível.

Orientador: Franco Giuseppe Dedini / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica / Made available in DSpace on 2018-08-22T03:41:34Z (GMT). No. of bitstreams: 1 Duarte_AdrianaYumiSato_M.pdf: 12125505 bytes, checksum: 3905d87344e274e166ea8b7f129f87c3 (MD5) Previous issue date: 2013 / Resumo: A presente pesquisa tem como objetivo propor uma linguagem para a técnica artesanal de trançado manual, atividade praticada em diversas regiões do Brasil que utiliza materiais flexíveis para desenvolver produtos como cestos e esteiras, de modo a sistematizar a construção das armações e reafirmar a importância desta atividade para o país nos aspectos sociais, culturais e econômicos. Para tanto, o cenário desta pesquisa é baseado na análise da produção artesanal no Brasil, estudo do trançado manual e suas atividades análogas e a inserção das diretrizes de metodologia e ferramentas de projeto neste contexto. O conhecimento atrelado à prática do trançado manual é transmitido de forma oral e geracional, e em razão disto, está sendo perdido progressivamente. Por este motivo, como consequência da sistematização do trançado, o resgate deste conhecimento também é contemplado na pesquisa. Os resultados da pesquisa indicaram a relação entre o trançado manual e a tecelagem, atividade têxtil que transforma fios em tecidos, transferindo a nomenclatura, representação numérica e gráfica da tecelagem para o trançado manual. Assim, o que se pretende nesta pesquisa é sugerir uma linguagem para o trançado manual, ainda inexistente na área, que permita o desenvolvimento de um banco de dados e, futuramente, novas armações / Abstract: This research aims to propose a language for the artisanal braiding, a handicraft technique practiced in different regions of Brazil that uses flexible materials to develop products like baskets and mats, in order to systematize the construction and to reaffirm the importance of this activity in social, cultural and economic aspects. Therefore, the background of this research is based on the analysis of handicraft production in Brazil, the study of the braiding and its similar activities and the insertion of guidelines from methodology and design tools in this context. The knowledge linked to this practice is transmitted orally and between generations, and because of this, is being gradually lost. For this reason, as a consequence of the systematization of braiding, the rescue of this knowledge is also covered in this survey. The results indicated the relationship between artisanal braiding and weaving, a textile activity that transforms yarn into fabric, transferring the numerical and graphical representation for weaving to braiding. So, what is intended in this research is to suggest a language for artisanal braiding, which is lacking in the area, in order to allow the development of a database and, in future, new patterns / Mestrado / Mecanica dos Sólidos e Projeto Mecanico / Mestra em Engenharia Mecânica

Manufacturing of thermoplastic composite based on textile preforms made from hybrid yarns is well suited for the production of fiber-reinforced plastic (FRP) in medium- and large-scale production runs. Especially, the consolidation of thermoplastic FRP is currently complicated by the high viscosity of molten material. Woven multilayered and z-reinforced NCF-preforms are very interesting for FRP supposed to withstand threedimensional loading and impact stress. These preforms with z-directional reinforcement improve the FRP delamination behavior and out-of-plane characteristics. The wellknown composite parameters are essential to ensure the use of these materials in a wide range of applications.

Mjuk robotik är ett område inom robotik där mjuka material används för att skapa robotar som kan användas i kontakt med människor samt anpassa sig till okända miljöer och uppgifter. För att kunna skapa mjuka robotar behövs mjuka material med förmåga att röra sig med många frihetsgrader. Det har i tidigare forskning visat sig möjligt att integrera McKibben aktuatorer i vävda textiliers väftriktning för att skapa en konstruktion med förmågan att röra sig med en frihetsgrad. Detta arbete ämnar undersöka hur McKibben aktuatorer kan integreras i en vävd textils varp- och väftriktning med syfte att uppnå ett så högt antal frihetsgrader och rörelser som möjligt. Arbetet syftar även till att kategorisera egenskaper hos den textila struktur som tas fram på ett sätt som underlättar användningen av textil inom mjuk robotik. En vävd konstruktion bestående av en dubbelvävd tuskaftsbindning designades med kanaler i väft-och varpriktning där McKibben aktuatorer kunde placeras. Flera konstruktioner med varierande väfttäthet och antal bindepunkter tillverkades sedan för att testa hur de påverkade konstruktionens E-modul, böjstyvhet och kraftgenerering. För att undersöka hur många frihetsgrader som konstruktionen kunde uppvisa testades olika rörelser. Här undersöktes om avståndet mellan McKibben aktuatorerna hade någon påverkan på dess förmåga att röra sig. Resultaten från testerna visade att E-modulen och böjstyvheten båda ökade med ökande väfttäthet. Väfttätheten anses alltså vara en effektiv parameter för att variera tygets flexibilitet och styvhet. Antalet bindepunkter hade ingen påverkan på E-modulen och ett tydligt samband till böjstyvheten kunde inte hittas. Testerna av konstruktionens förmåga att utöva kraft visade att konstruktionen kunde utöva en signifikant kraft mellan 15 – 20 Newton. När det kom till rörelse kunde konstruktionen uppvisa fyra frihetsgrader. Det framkom att zonstorleken hade en påverkan på de olika rörelsernas storlek. Om konstruktionen placerades i en bestämd form innan McKibben aktuatorerna aktiverades upptäcktes att den kunde bibehålla denna form självständigt under en längre tid. Det ansågs därmed intressant att i framtiden undersöka om denna egenskap skulle gå att kombinera med andra rörliga textila material, för att skapa en mjuk struktur med möjligheten att anta olika komplexa tredimensionella former för användning inom mjuk robotik. / Soft robotics is a category within robotics where soft materials are used to create robots for safe use in contact with humans or capable of adapting to their surroundings. To create soft robots, the materials must be able to move with several degrees of freedom where the movement is activated by some type of actuation. Previous research has already integrated McKibben actuators in woven textiles in weft direction, with the possibility to move in one degree of freedom. This work aims to integrate McKibben actuators in both warp and weft direction to achieve as many degrees of freedom as possible. The properties of the textile structure will also be characterized based on certain properties that could facilitate its use in soft robotics. To integrate the actuators, a double woven structure was created in plain weave with channels in warp and weft direction. The parameters weft density and number of binding points were then varied to investigate their effect on the textiles Young’s modulus, flexural rigidity and force generation. The degrees of freedom were tested by creating different movements where the distance between the actuators was varied to examine its effect on the movements. Results from the tests showed increasing Young’s modulus and flexural rigidity with an increasing weft density. Weft density is therefore an effective parameter to adapt the textiles flexibility and stiffness. The number of binding points had no effect on Young’s modulus and no distinct relationship could be seen with flexural rigidity. The force generation tests showed that the structure could exhibit a force between 15 – 20 N. With the movements tested, the textile construction could achieve four degrees of freedom and it was established that the distance between the actuators influence the size of the movements. If the textile was held in a certain position before actuation, it was discovered that it could independently hold that position for a long period of time. This type of memory effect could be interesting to investigate further to achieve more complex 3D movements in textiles for use in soft robotics.