A weaving program initiated in 1981 by the National Welfare Organization to support the women with low educational background living in a Slavic-speaking area of the mountainous borderlands of Northern Greece, and continued for thirty years until its suspension in 2010. This research aims to shed light on factors that are experienced as important by participants in handcrafted employability projects. By uncovering socio-political factors that led to the suspension of the program, and its consequences on the women, insights about better understanding and dealing with similar conditions could be beneficial for future programs. An open-ended research strategy using individual semi-structured interviews, under the scope of the biographical narrative approach, was followed. According to the research results, the existence of the workshop improved the working conditions of the local women. The positive impact of its operation is reflected on the economic and social life of the village too. However, the sudden decision for suspension left no room for reactions, thus resulting to various economic and social consequences on personal and community levels. In conclusion, the power of structural forces started and ended the program. Despite the restrictions and intentions of the program, the people of this small community managed to create beautiful artefacts and a balanced social atmosphere, as well as to enrich the social life of the village.

L’histoire de la Thaïlande, et sa politique d’intégration des «Montagnards», expliquent la spécificité de la situation des Karen sur le territoire national. Ces derniers ne forment pas un groupe homogène, comme le montre mon ethnographie. A partir, et par la comparaison de deux villages sgaw karen, j’appréhende le vêtement karen et la structure des garde-robes comme révélateurs de «l’identité» de ces populations qui se revendiquent à la fois Karen et Thaïlandaises. Ce qui fait le vêtement karen, les règles internes à la culture karen et les influences extérieures, se dégagent de l’analyse technologique et de la typologie qui en découle. Le processus de constitution des garde-robes, au quotidien et en contexte cérémoniel, mettent en exergue la place centrale de la femme. Le prisme du vêtement nous révèle une société attachée à la continuité des générations et intégrée dans la société thaïlandaise dont elle adopte, en partie, les codes. / The history of Thailand and its integration policy for the «people of the Mountains» account for the specific situation of the Karen on the national territory. As my ethnologic study shows, these people do not constitute a homogeneous group. Taking as a starting point the comparison between two sgaw villages, I consider the Karen garment and the structure of the wardrobes as revealing the identity of these people who claim to be both Karen and Thai. The technological analysis and the ensuing typology outline what characterizes the Karen garment, the internal rules within the Karen culture and the external influences. The process of the development of the wardrobes, in daily use and in ceremonies, highlights the central position of women. Through the prism of the garment, is revealed a society attached to the succession of generations and integrated into the Thai society whose codes it partly adopts.

In the Adams Collection at the Tillamook County Pioneer Museum, Tillamook, Oregon, there are 29 baskets that were probably made between 1880 and 1940. They are mostly of raffia, are somewhat faded from their original, bright, commercial colors, and are generally quite small. Despite the fact that these baskets are well-documented and were made by Tillamook women, they are the sort that have been overlooked by anthropologists and by collectors because of their non-"traditional" appearance. In order to determine what relationship these baskets have to Tillamook basketry made earlier, I analyzed them and 39 Tillamook baskets from four other museum collections for features of structural and.decorative techniques, shape, size, and stitch qualities, and noted the.materials used.

The need for innovative lightweight materials are rapidly increased in the recent years, owing to their cost-effective, high-strength, environmentally-sound use of materials and process technologies, in addition to that they reduce the weight of a product. The characteristics of 3D-spacer fabrics as one of the most important lightweight materials in future are multifaceted not only owing to its extremely light materials, but also because of exceptionally high stiffness to weight ratio compared to other constructions. It is also one possible method for improving the properties of fabric-reinforced composites. It can enhance the through-the-thickness properties, such as shear strength, dimensional stability, damage, tolerance, and fracture toughness that are critical for many structural applications. Spacer fabric has been employed in high-technology applications because of its critical mechanical properties related to high tensile strength, tear strength and stiffness. Furthermore, its multidirectional structures allow with more reinforcement along the thickness direction leading to an increase in stiffness and strength properties. The fundamental aim of this thesis exists in the development of a new kind of woven spacer fabrics for the light weight composites materials, in an effort to weave spacer fabrics that can not be realized with the old technology which are mentioned above. Therefore, the work in brief focuses on two main goals: 1. Development of a new kind of spacer fabrics for composites in the lightweight constructions. 2. Development of special devices of a narrow weaving machine for standing the process of the new kind of spacer fabrics production. The slippage strength test had to be carried out for the floated warp yarns through the ground fabrics by using different elements of woven fabric structures variables represented in different fabric constructions, different weft densities and different repeats of constructions by using different materials. The importance of this test related to the backward-movement of the floated warp yarns which is the crucial stage in the weaving process of spacer fabrics during the backward-movement. The results of this test determine the required forces for the backward-movement, on the other side it is the best method to observe the behavior of structure elements during the backward movement. The results of the slippage strength had been statistically analyzed, and the weaving process for the spacer fabrics had been achieved. It was concluded that the best properties for the woven spacer fabrics and the optimum case for the weaving process on the test weaving machine had been achieved when the following items are realized: Development of the narrow weaving machine is closed in assisting operations, let-off and take-up and enhancement for take-up processes. Extra let-off and take-up devices must be constructed at the weaving machine. Extra let-off device has to be used for controlling the floated warp yarns of ground fabrics. On the other side, extra take-up and the developed take-up devices have to be used for controlling the woven spacer fabrics. The experimental results give fundamental knowledges for the next steps in research and development of woven spacer fabrics made of high-performance yarns on the wide weaving machine. / Die Ziele der Arbeit bestanden in der Entwicklung der Geometrie der Spacer Fabrics und der notwendigen Falteneinrichtung an der Bandwebmaschine. Spacer Fabrics werden ausschließlich aus zwei Deckflächen, die durch eingewebte Stege verbunden sind, gefertigt. Zur Entwicklung der Spacer Fabrics muss eine Doppelnadel-Bandwebmaschine mit zwei Webfächern eingesetzt werden. Für die Faltenwebeinrichtung werden der entwickelte Extra-Kettablass und der Extra-Abzug benötigt. Der Antrieb und die Steuerung des Extra-Abzuges erfolgen durch einen Synchronantrieb und der Antrieb und die Steuerung des Extra-Ablasses durch Pneumatik.Eine frei programmierbare Steuerung der Faltenwebeinrichtung ermöglicht eine sichere und optimierte Synchronisation zwischen Webprozess und Faltenbildung. Im Ergebnis einer systematischen Strukturentwicklung von Spacer Fabrics und der Simulation ihrer günstigen Herstellung mittles eines speziell entwickelten Slippage Strength Tests werden die optimalen Strukturen ermittelt. Die experimentellen Untersuchungen bringen grundlegende Erkenntnisse für die folgenden Forschungsschritte zur Entwicklung von gewebten Spacer Fabrics mit Hochleistungsgarnen auf Doppelgreiferwebmaschinen.

WEAVING PAST INTO PRESENT revolves around contradictory feelings towards, on the one hand, the lure of a mythic past, and on the other hand its absurdity and potential danger. This is done by stating that craft and weaving is inherently conservative, closely connected to nostalgia and claimed as something more authentic and pristine. In continuation used in the creation of an idealized and romanticized past generating a separation between an “us and them”. These problems are created by the main quest and question of this work, to weave the past into present and then ask; which past is woven into the present presence of the tapestries? The paper then continues to describe the methods and considerations used and made in this time-translation. Looking at the sketch and the collage as ways of materializing and enmeshing the transient flow of time through cacophonies of ephemera and threads. Concluding that I, just as the ones creating mythic pasts, am not weaving a past at all. But merely weaving a sketch trying to highlight the feeling and fear of loss apparent today in encountering the accelerated present, the eerie future, and the desirable progressive changes towards equality / WEAVING PAST INTO PRESENT rör sig kring motsägelsefulla känslor gentemot å ena sidan, lockelsen i ett mytiskt förflutet, och å andra sidan dess absurditet och potentiella fara. Detta görs genom att påstå att konsthantverk och vävning i sig är konservativt, nära kopplat till nostalgi och ansett som något mer autentiskt och ursprungligt. Fortsättningsvis används det i skapandet av ett idealiserat och romantiserat förflutet som skapar en separation mellan ett “vi och dom”. Dessa problem har uppstått tillsammans med arbetets huvudsakliga mål och frågeställning, att väva det förflutna in i nuet och fråga sig; vilket förflutet är det som vävs till den nuvarande närvaron av bildvävarna?  Uppsatsen fortsätter sedan med att beskriva de metoder och överväganden som använts och gjorts i denna tidsöversättning. Genom att betrakta skissen och collaget som sätt att materialisera och sammanfoga tidens förgängliga flöde genom kakofonier av det efemära och trådar. Slutfattningsvis att jag, precis som de som skapar mytiska förflutna, inte alls väver ett förflutet. Utan bara väver en skiss som försöker belysa den känsla och rädsla för förlust som är uppenbar idag i mötet med det accelererande nuet, den kusliga framtiden och de önskvärda progressiva förändringarna mot jämlikhet.

As programs continue to increase in size, it has become increasingly difficult to separate concerns into well localized modules, which leads to code tangling- crosscutting code spread throughout several modules. Thus, Aspect-Oriented Programming (AOP) offers a solution to creating modules with little or no crosscutting concerns. AOP presents the notion of aspects, and demonstrates how crosscutting concerns can be taken out of modules and placed into a centralized location. In this paper, a taxonomy of aspect-oriented programming, as well as a basic overview and introduction of AOP, will be presented in order to assist future researchers in getting started on additional research on the topic. To form the taxonomy, over four-hundred research articles were organized into fifteen different primary categories coupled with sub-categories, which shows where some of the past research has been focused. In addition, trends of the research were evaluated and paths for future exploration are suggested.

The aim of this essay is to examine how the Norwegian textile artist Hannah Ryggen depicts the mother and the motherhood in her tapestries. The study also investigates how the view of the depicted mother can be interpreted. The analyses are performed using Erwin Panofskys three-step analysis from a gender theoretical perspective. The material analyzed are three Flemish woven tapestries: Unwed Mother (1937), Liselotte Hermann Decapitated (1938) and Mothers Heart (1947). The results show that Ryggen depicts the mother and the motherhood in a wide range of aspects in the examined tapestries. Some of the most prominent aspects found are how the mother often is criticized, in her motherhood, and also as a woman in a patriarchal society. The examination shows how Ryggen uses her unique combination of traditional techniques of weaving to raise awareness of political as well as social issues during her contemporary time. Thus, she emphasizes the mother’s important role in society.

The need for humanity to lessen its impact on the ecologies we’re a part of is becoming increasingly clear.  While there are many technically advanced solutions in the makings, one of the most straightforward ones is to simply use the objects we surround ourselves with longer. We can make them more durable and repairable but what happens when the needs of the user changes? How can we really know what needs the future will bring? I’m searching for a design approach that embraces this unknown. A process where the designer doesn’t have to be the enlightened figure that knows everything in advance. Because if we accept the complexity of the social and ecological reality where our objects end up, we never can be. I want to make objects that can grow and change with the user. A fertile soil for future needs. I’ve used the design process of three different objects to develop these thoughts.  An open ended loom for the weaver Vega Määttä Siltberg, a table made with designer Julie Amira that is disassemblable without tools, and lastly a piece of furniture that changes function without moving parts. The goal of this project is not to produce a solution to a specific problem or to create an object that communicates an idea as well as possible. Rather it’s the reverse. By the process of designing and building I’ve been able to explore the questions that my project is composed of. The thoughts expressed here come from this experience.

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