So far the theoretical approach to weaving resistance and fabric geometry and the factors affecting it have been made for such weaves as plain, hop-sack and warp and weft faced ribs. In this work theoretical models were adopted to determine the fabric geometry and weaving resistance. Experimental and theoretical findings are in agreement. The trends of the effects on values of weaving resistance of such factors as warp elastic constant, weft tension, warp tension, the coefficient of friction of yarn against. yarn agree with the trends obtained by other workers by showing that weaving resistance increases with these factors. The results-also show that-the fabric geometry depends on warp and weft tension at-the moment of beat-up. Additionally, the change of fabric geometry across the fabric, the effect of two different let-off mechanisms,, Hattersley and WIRA/Poole, and the beaming CO processes on weaving resistance and fabric geometry were investigated. It was found that the fabric width-depends on the dynamics of fabric formation before and at the moment of beat-up.

This thesis focuses on the production and display of weavings made by a small number of Musqueam women, who in the 1980s began weaving in the tradition of their ancestors. It addresses the way in which these weavings, positioned throughout Vancouver and worn in public settings, build a visual presence to counter the exclusion of Coast Salish cultural representations from the public construction of history in Vancouver and the discourse of Northwest Coast art. The Vancouver International Airport and the Museum of Anthropology at the University o f British Columbia both share with Musqueam a history of place. A distinct relationship fostered between Museum staff and members of the Musqueam community has yielded several exhibits since the first, Hands of Our Ancestors: The Revival of Weaving at Musqueam, opened in 1986. The presence of Musqueam material at the Museum is part of an extensive history of interaction and negotiation between Canadian museums and the cultural communities whose histories, traditions and material culture are represented - a history which encompasses issues of representation, authorship and authority. The Vancouver International Airport is also situated on Musqueam traditional territory. Designed by representatives from the Musqueam Cultural Committee and the Airport project team, the international arrivals area features works of contemporary Musqueam artists which are intended to create a sense of place with an emphasis on the distinctiveness of its location. Travelers cross several thresholds in the terminal - the sequence o f these crossings carefully choreographed so that deplaning passengers pass from the non-space of international transience to a culturally specific space marked by Musqueam's cultural representations, and then past Customs into Canada. Certain incidents at these sites indicate that visibility and self-representation do not in themselves answer the problems of power and history. When the Museum of Anthropology hosted a meeting for leaders of the Asia Pacific Economic Community in 1997, a newly implemented protocol agreement between Musqueam and the Museum was broken; and in a number of instances, achievements at the Airport have also been impaired. Despite these limits, weavings are not examples of token native inclusion as some critics argue. Rather, they are cultural representations strategically deployed by the Musqueam community. Enlarged from traditional blankets to monumental hangings, these weavings participate with other more recognized monumental Northwest Coast forms. They are visual, public signifiers of Musqueam identity which, without violating boundaries between public and private knowledge, carry messages from the community to a broader audience - messages intended to mark Musqueam's precedence in Vancouver's past as well as to claim visibility in the present.

No description available.

The Navahos have undergone extensive culture change through acculturation that began with their conquest and containment by the U. S. government in 1863. This is not the complete explanation for all Navaho culture change. For instance, in the area of arts, innovation or internallyderived change is evidenced by the replacement of traditional approaches to weaving design by designs that had been exclusively relegated to ceremonial usage within the context of the sandpainting medium.It is the purpose of this work to examine the artist's role during this transition period to determine what internal factors affected the changes. Historical accounts offer ethnographic information concerning the innovation of four design types that had traditionally been exclusively used in ritual as sandpainting designs. This information will be presented and used in an analysis of the weaver in Navaho society; the role of the ritual specialist; the function of weaving in Navaho society and group response to weaving and the weaver. Finally, an appraisal of the specific cases with respect to the analytical framework will be offered in conclusion to validate the role of internal innovation.

This thesis, based on twelve months of fieldwork and archival research undertaken in Ladakh, explores the place of wool and weaving in the life of Rupshu. It attempts to trace the nexus between livestock, fibres, textiles, social and symbolic structures in Rupshu in order to understand the multitude of contexts within which wool-oriented activities exist. The craft of weaving was bestowed upon Rupshu by the gods, and thus all acts related to it have a close connection to the sublime. Rupshu lies in the easternmost part of Ladakh in North India, in a Restricted Areas Zone, as is accessible only to Indian citizens. Hence, extensive fieldwork has not been carried out in this area. Further, though there is a little documentation on the craft of weaving in Ladakh, none exists on the nomadic tradition of weaving. The first two chapters introduce the region of Rupshu and explore the historical context. They include a discussion of the origin and development of weaving and textiles in the area, and of the old trade routes in fibres. The next two chapters examine the connections between livestock, the source of fibres in Rupshu, and the Ladakh pantheon. The relationship between the two is reflected in the manner in which livestock are revered and treated in Rupshu. Further, this affinity is widely expressed in Rupshu, and one such occasion is the harvesting of the fibres. The next four chapters look specifically at the craft of weaving, and local representations of the tradition. Using examples of particular pieces woven in Rupshu, I examine the gender, spatial, and hierarchical relations that they express and perpetuate. Not all the fibres harvested in Rupshu are used there, and the final chapter examines their distribution through trade. While woven articles are not traded, specific containers are woven for the transport of fibres and their characteristics are looked at here. The concluding remarks include a discussion of the future of wool and weaving activities in Rupshu, and address the dangers posed by re-settlement schemes, and a shortage of pasture and over-grazing. These trends would eventually lead to a decrease in the number of livestock, and cause the people of Rupshu to abandon their tradition of nomadic pastoralism.

This research is set in the context of a collaborative agreement between the Industrial Design Department, University of Canberra and the Faculty of Applied Art and Design at Ubon Rajathanee University in the northeast or Isan region of Thailand. In this thesis the textile production of the region was studied with an objective of evaluating the potential for product design process to positively influence production outcomes. Traditional textile production techniques could be lost because these processes are complex and slow, and the current environment, both physical and operational, is changing rapidly. Product design and the design process are relevant to the industrial development of Thailand and village textile production could benefit from structured design and manufacturing strategies that have a consumer focus and improved production outcomes. From a critical review of the relevant literature, it was found that village weavers valued the traditions of their craft and traditional patterns and colours were important in terms of cultural identity and village social organization. Product design process or more specifically, the Generic Design Process (GDP) was reviewed and a model developed that adapted the GDP to the prevailing research environment. The findings led to a program of field research including village interviews where the major issue of the devaluation of traditional natural material dyeing techniques was identified. Field experiments tested alternative dyeing techniques which were evaluated in a survey by village weavers. During the field research care was taken to adapt to the way in which village weavers lived and worked as the two activities were closely interrelated. The degree of skill and knowledge residing in the aging women, who constitute the majority of village weavers, in extensive and profound, and is often described as an example of local wisdom. The theoretical and experimental work has been related, with appropriate results and conclusions, to the potential for maintaining traditional natural dyeing processes albeit with different preservation techniques. The findings from this research suggests that product design processes are appropriate for village production and that the tradition of natural material colour dyes will survive, new colours were created and the potential for new trade in preserved colour dye products. Substantial databases of useful relevant information have been compiled and recommendations are made for future research.

Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Typescript. Includes bibliographical references (leaf 27).

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 264-282). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.)--University of Hong Kong, 1969. / Also available in print.