Após uma revisão de trabalhos que se dedicam a investigar as relações entre a docência e a tecnologia em suas múltiplas formas apresentamos uma série de redimensionamentos das ações docentes no contato com tecnologias digitais. Partindo dos quatro verbos fundamentais propostos por Nílson Machado como forma de caracterizar e expressar a natureza das ações docentes mapear, mediar, tecer e narrar discutimos o redimensionamento da docência no contato com aparatos tecnológicos em contextos permeados por tecnologias ou constituídos digitalmente a partir delas, sobretudo em modalidades de educação híbridas e online considerando, portanto, a Educação a Distância (EAD) de variadas formas. Em nossa tese buscamos, além de examinar e apresentar um conjunto de ações e estudos, oferecer subsídios e ideias que possam contribuir para a prática docente, na esperança de ampliar a compreensão das ações do professor no ciberespaço e das relações mediadas por dispositivos digitais examinando diferentes abordagens e formas possíveis de interação com os alunos no interior de uma comunidades de aprendizagem num paradigma ecossistêmico de educação online. / After a review of works devoted to understand the relationships between teaching and technology in its many forms we present a series of teachers\' actions redefined in contact with digital technologies. Based on four key verbs proposed by Nílson Machado as a way to characterize and express the nature of teaching practices mapping, mediating, weaving and storytelling we discourse about the new dimensions of teaching in contact with technology devices in contexts permeated or digitally made by technology, especially in hybrid and online education modalities therefore considering Distance Education (DE) in different perspectives. Besides an examination and after presents a set of researches and proposals, this work seeks to provide insights and ideas that can contribute to the teaching practices, hoping to broaden the understanding of the teacher\'s actions in cyberspace and about the relationships mediated by digital devices examining different forms and approaches of interacting with students inside a learning community in an ecosystem paradigm of online education.

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Fielding is an ongoing exploration of place-making, spaces of learning and relationship building in formal and informal learning environments. The project is comprised of a series of events and workshops that are embodied, multimodal, olfactory and engagement-focused and a mobile cart that helps to facilitate these happenings both in and out of the formal gallery space. I regard my art practice as pedagogical, a blurring of art and life into intentional ways of being in the world; an experience of sharing practices with others and a form of what is regarded in institutionalized art as social practice. I find art to be a powerful lens through which to see, and I strive to demonstrate how it can be applied in all matters of living. The practices of making enable me to contribute towards a more equitable, care-ful, empathic, connected and beautiful earth.

The purpose has been to examine the textile artist Viveka Nygrens ́s artistry and her abstract textile expression between the years 1985 and up to 2000. This is done through an examination of Nygren ́s textile production in general and in detail through an examination of the textile expression in color, shape, and weaving techniques in two selected works. Furthermore, both the existence of the abstract expression in textile art during Nygren ́s time and the contemporary art field ́s views on and values about the relationship between art and art and craft are studied. This is done through a case study of the exhibition catalogs from the Scandinavian art triennials that were carried out within the chosen time frame.  Issues is:  What does Nygren ́s textile artistic look like? What choices does she make in her craft, regarding technology and materials? How does she use the hand weaving techniques in the abstract expression? What does the abstract textile art scene look like during the period 1985 – 2000? Are handwoven techniques used and what do the textile work look like? Are there actors who express opinions about the relationship between art and art and crafts? Theoretically, the essay is based on the concepts of art and art and craft and the field of tension that prevails between them. On the one hand it is about a creative relationship between art and art and craft, which is based on knowledge and creativity, in an individual and on the other hand it is about the excitement, in society and the field of art, in the question of what art is and what is art and craft. The survey showed that the non-imaginative abstract expression dominated the textile art scene and interest in weaving techniques fell sharply in the last year of 1995. The survey showed that the relationship between art and art and craft was very tense for each triennial. In the essay ́s investigation of the textile triennials, it emerged that on the textile art scene there has been a shift from an art form based on a craft tradition to one among other techniques on the art scene. Thus, it can also be stated that Viveka Nygren ́s artistic starting points were a craftmanship that served under her abstract art expression.

Three-dimensional (3D) profiled woven fabrics with varying cross-sections along the component parts are needed in a number of industrial applications. One of the main advantages of the ribbon loom weaving technique is the ability to produce highly diverse structures with open or closed edges. The realization of 3D profiled woven fabrics that satisfy the requirements is directly connected to the ability to process high-performance fibers in the weft direction. The processing of high-performance yarns in the weft direction with low fiber damage will open new application areas for shuttle weaving machines. By employing modified mechanical loom elements, the variety of producible structures can be increased significantly.

Structural frames have been established in many technical applications and typically consist of interconnected profiles. The profiles are commonly joined with node elements. For lightweight structures, the use of composite node elements is expedient. Due to the anisotropic mechanical properties of the fibers, high demands are placed on the orientation of the fibers in the textile reinforcement structure. A continuous fiber course around the circumference and at the junctions is necessary for an excellent force transmission. A special binding and forming process was developed based on the weaving technology. It allows the production of near-net-shaped node elements with branches in any spatial direction, which meet the requirements of load-adjusted fiber orientation. The principles by which these three-dimensional (3D) node elements are converted into a suitable geometry for weaving as a net shape multilayer fabric are reported. The intersections of the branches are described mathematically and flattened to a plane. This is the basis for the weave pattern development. Forming simulations on the macro- and meso-scales complement the analyses. A macro-scale model based on the finite element method (FEM) is used to verify the general formability and the accuracy of the flattenings. Since yarns are pulled through the textile structure in the novel forming process, the required tensile forces and the pulling lengths of the individual yarns are analyzed with a meso-scale FEM model. The flattening for two different node structures is realized successfully, and the simulation proves formability. Furthermore, the necessary forming forces are determined. Finally, the developed method for flattening the 3D geometry is suitable for the design of a variety of spatial node structures and the simulation supports the design of automated forming processes.

The increasing need of consistent implementation of lightweight constructions in many technical fields makes the manufacture of near net-shaped node structure to be used in textile-reinforced composites a subject of great interest. The manufacture of the node structure is required to provide a strong node point whilst maintaining the circumference of each adjoining strut. Despite a variety of available methods to produce three-dimensional nodal fabric, the required geometry for the complex nodular connection element has not yet been fully achieved. Furthermore, the available methods have limitations. The developed woven concept in this work allows for maintaining the configuration of the node structure and dimensions of the tubes, especially at the node points. As a result, all tubes positioned at node points are fully open; this is accomplished without distorting the surrounding area once the flat woven node structure is removed from the loom and erected into three-dimensional configuration. In order to produce a three-dimensional structure on a conventional weaving machine, the structure must be flattened in an appropriate way. By using a mathematical algorithm, it is possible to graph the flattened structure precisely. The developed weaving concept and relating calculation are applied to create the weaving plan of the spatial nodal structures, which can be produced on a shuttle weaving loom. The developed concept in this paper will provide repeatable manufacturing of complex node structures by using the conventional weaving loom. The struts of node structures manufactured using this method can be woven at any angle and with spatial arrangements.

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A wall might appear as basic, a clean surface without an identity of its own, nothing but a clean slate upon which to leave any impression. Though the walls surrounding us are all but anonymous. They are built with a structure making them stand tall and strong. They are filled with insulation to keep us warm and sheltered. They are hard and they are soft. They can allow us to isolate ourselves from each other or they are fragile enough to let us know someone is on the other side. They cover the basic necessities of our houses, and we in return cover them to make our spaces less anonymous. There is softness hidden in your walls mainly aims to highlight the textile components of architecture which we usually never see. While we tend to view textiles mostly as decoration, they constantly perform in a lot of various ways all around us. In this project I have worked with prefabricated building materials that according to me have textile qualities, but they aren’t viewed as textile. Or I have tried to adapt textile techniques to non-textile materials to test them in new ways. The wall as the leading actor has first and foremost been used as a conversation partner for the material exploration and contextualization. The main material used is wool sheep insulation though many other materials have been put to the test throughout the process.

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