[pt] Responsabilidade social nas relações entre designers e artesãos: um caminho sustentável? tem como objetivo principal verificar se projetos autodenominados de responsabilidade social entre designers e artesãos podem proporcionar a geração de renda e a preservação das tradições sócio-culturais dos artesãos envolvidos. O foco recai em exemplos de alianças onde empresas ou representantes de empresas ajudam grupos de artesãos ou comunidades a se ajustarem ao mercado fazendo isto explicitamente como uma finalidade social e não simplesmente uma terceirização. Nos interessamos em casos onde a empresa utiliza a expertise específica de seu mercado para a finalidade social e desta forma capacita e/ou promove estes grupos ou comunidades. A partir desta pesquisa foi possível verificar questões sobre as relações entre designers/estilistas e artesãos que influenciaram diretamente o desenvolvimento de produtos artesanais e sua permanência regular em mercados específicos como o mercado da moda. / [en] Social responsibility in relations between designers and artisans: a sustainable way? has as its chief objective to investigate whether projects selfstyled as social responsibility between designers and artisans may make it possible to generate income and preserve the social and cultural traditions of the artisans involved. The analysis focuses examples of alliances between companies or representatives of companies helping groups of artisans or communities to adjust to the market and doing so explicitly with a social aim and not just outsourcing. We are interested in cases where the company uses market-specific expertise for social ends and thus enables and/or promotes these groups or communities. From this research it was possible to verify issues related to the relationships between designers/stylists and artisans that directly influence the development of handicrafts and their consistent permanence in specific markets, such as the fashion market.

The diploma thesis deals with traditional crafts and other sources of livelihood, which are part of the Romany culture. Some professions disappeared decades ago, but others are still surviving today. After introducing the historical and social context, this work will be devoted to the individual crafts. These include coppersmiths, cast pot makers, ironsmiths, tinsmiths, silversmiths, bricklayers, woodcarvers, goldsmiths, weavers and sievers. The aim will be to describe what the craftsmen were doing and what their typical products were. In some cases, thesis will describe the manufacturing processes and materials used. The following chapters will focus on music-related (fiddler) or magic-related professions, and other crafts that provided the main source of livelihood for the Roma. The diploma thesis will be supplemented by excerpts from the narratives of the Romanian Roma, whose original wording, as well as the quotes used, are attached in the appendix. There are also photographs of products made by Roma.

Lorsqu’ils parlaient des diverses activités économiques, les auteurs anciensdistinguaient le plus souvent le secteur de l’agriculture, l’élevage et le commerce.L’Afrique est avant tout un pays agricole, réalité fort bien traduite par Pline l’Ancien :« elle apparaît consacrée à Cérès… »1. Depuis Caton l’Ancien, il y a un intérêt réel porté àla valorisation des terres, ce qui est aussi sensible chez Pline le Jeune (voir sacorrespondance et son intérêt pour le rapport de ses domaines). Mais en ce qui concerne lesactivités de transformation des produits de la terre ou des matières premières, il est detradition de considérer que les Romains méprisaient ce genre d’activités et que les métiersde l’artisanat étaient mal considérés. / Small craftsmen in the epigraphic and literary sources of Roman Africa: - Catalogues epigraphic, literary and iconographic - Identification of business. - Distribution to the provincial levels and in African cities - Places of practice of professions (the city: neighborhood, domus, basilicas, urban and rural market ...... - Legal status of artisans (free, emancipated, slaves,,,)

This thesis focuses on the task of dexterous manipulation of deformable objects, and in particular, clothing and garments. The task of manipulating deformable objects such as clothing can be broken down into a series of sub-tasks: (1) perceive and pick up garment, and then identify garment and recognize its pose; (2) using a manipulation strategy, regrasp the object to put it into a canonical state; (3) scan the surface of the object to find wrinkles, and use an iron to remove the wrinkles; (4) starting from the wrinkle-free state, fold the garment according to pre-planned sequence of manipulations with optimized trajectories; In this thesis, we will address all the phases of this process. A key contribution of the work is innovative use of simulation. We use offline simulation results to predict states of deformable objects (i.e. cloth, fabric, clothing) that are then recognized by a robotic vision/grasping system to correctly pick up and manipulate these objects. The recognition will use the simulation engine to deform the models in real time to find correct matches. The simulation will also be used to find the optimized trajectories for the manipulation of the garments, such as the garment folding.

Esta dissertação buscou recuperar o processo de concepção e implantação de uma exposição de longa duração, bem como analisar sua expografia, a fim de revelar as ideias mobilizadas pelas estratégias e recursos expográficos. Trata-se da exposição do Museu de Artes e Ofícios de Belo Horizonte, aberto ao público em 2006. Situado na antiga Estação Ferroviária Central da cidade, o museu expõe, em sua exposição de longa-duração, um amplo acervo relativo às práticas de produção pré-industrial no Brasil, composto de objetos e instrumentos de trabalho associados a diversos ofícios manuais. Essa exposição, inovadora no país devido ao tema que rege o Museu, utiliza-se de estratégias expográficas que remetem à experiência francesa dos ecomuseus. Percorrer o processo de constituição deste museu, revelando suas matrizes e referências museológicas, bem como a abordagem do acervo e as ideias mobilizadas por seu discurso expográfico especialmente no que tange à memória do trabalho e à representação dos trabalhadores são os objetivos desta dissertação. / This dissertation looked for to recover the process of conception and implantation of a long term exhibition, as well as to analyze it in order to reveal the ideas mobilized by the strategies and exploitative resources. It is the exhibition of the Museum of Arts and Crafts of Belo Horizonte, opened to the public in 2006. Located in the old Central Railway Station of the city, the museum exhibits, in its long-term exhibition, an ample collection related to the practices of production pre-industrial in Brazil, composed of objects and instruments of work associated with various manual crafts. This exhibition, innovative in the country due to the theme that governs the Museum, uses expographics strategies that refer to the French experience of ecomuseums. The objectives of this dissertation are to go through this museum\'s process of constitution, revealing its matrixes and museological references, as well as the approach to the collection and the ideas mobilized by its expographic speech, especially about the memory of work and workers\' representation.

This thesis is a study of the social and cultural significance of Standen from the perspective of the Beale family's lived experience of the property from 1890 to 1914. The Beales commissioned architect Philip Webb to design Standen in 1891, they were sole owners of the property until it was bequeathed to the National Trust in the early 1970s. Although Standen is recognised by architectural historians as a fine and complete example of Art and Crafts architecture of the period and is celebrated for its William Morris wallpapers, little is known about how the family experienced the house. Drawing on Henri Lefebvre's theory which understands a user's space as lived and not represented, this thesis moves away from traditional architectural accounts to focus on the family's lived experience and the role they played in the creation of Standen. It analyses family and estate archives, the property and its collection of objects and photographs to reveal that Standen's decorative interior, as an ‘eclectic' mix of styles blending Arts and Crafts with Aestheticism, was interwoven with social and cultural meaning. Representing original and innovative research into the history of domestic interiors and living space, this thesis aims to encourage new ways of engaging with and critically understanding the late-nineteenth century Arts and Crafts Movement.

Title of the thesis: Art and architecture of the Ethnographic exhibition 1895 The topic of the presented diploma thesis is the reconstruction of artist and item list presented on the Ethnographic exhibition of 1895, which was held in the premises of Holešovice Fairground in Prague from May 15 to September 28, 1895. Despite being one of the most important exhibition events held in Bohemia in the 19th Century (Jubilee Exhibition of 1891 - Ethnographic Exhibition of 1895 - Architecture and Engineering Exhibition 1898), it has not yet been systematically covered - not even from the history of art perspective. Based on the original material (leaflets, catalogues, guide-books) the thesis attempts to re- introduce the original public image of the exhibition and the character of the exposed items. The chapters of the thesis deal with the exhibition banner, the architecture (The Old Prague and Sample Village exhibitions), paintings, sculptures, commercial art (exhibition souvenirs). The thesis also attempts to trace the items and sketch their fate after the exhibition was over.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O modelo de desenvolvimento, caracterizado pela concentraÃÃo de riquezas e centrado na perspectiva econÃmica, resultou em desigualdade social e agravamento de problemas ambientais (SACHS, 2008). Por volta do final do sÃculo XIX, alguns estudiosos passaram a se dedicar ao desenvolvimento do conceito e da aplicabilidade da tecnologia social, que se refere a um conjunto de mÃtodos, tÃcnicas ou produtos, considerados reaplicÃveis e construÃdos atravÃs do conhecimento da prÃpria populaÃÃo, com potencial para promover o desenvolvimento sustentÃvel (RTS, 2013). Como exemplo de atividade que pode ser desenvolvida com base nos fundamentos da tecnologia social e da sustentabilidade, pode-se mencionar o artesanato (PENA, 2010). Assim, a presente pesquisa tem como objetivo geral analisar os efeitos da tecnologia social, utilizada por artesÃos organizados em associaÃÃes, para o desenvolvimento sustentÃvel. Trata-se de um estudo de natureza qualitativa, do tipo interpretativo. A estratÃgia de pesquisa compreende o estudo de caso Ãnico, tendo com unidade de anÃlise a AssociaÃÃo ComunitÃria de MocotÃ, de VÃrzea Alegre, localizada na RegiÃo do Cariri. A coleta de dados foi realizada por meio das tÃcnicas grupo focal, entrevistas semiestruturadas e a observaÃÃo nÃo-participante. Participaram do processo de coleta de dados oito artesÃs da AssociaÃÃo ComunitÃria de MocotÃ. Para concretizar a anÃlise de dados aplicou-se a anÃlise de conteÃdo. De acordo com os principais resultados obtidos, constatou-se que a produÃÃo artesanal da AssociaÃÃo ComunitÃria de Mocotà configura-se como tecnologia social favorÃvel ao desenvolvimento sustentÃvel, visto que produz efeitos significativos, sob a perspectiva da sustentabilidade econÃmica, social, ambiental, cultural. O trabalho associativo gera emprego e renda, cujos associados possuem potencial para custear as despesas do grupo e gerar lucro. Minimiza as diferenÃas existentes entre as condiÃÃes de vida das pessoas enfatizando direitos bÃsicos da populaÃÃo. Incentiva a utilizaÃÃo dos elementos naturais sem comprometer a integridade do meio ambiente. Respeita tanto o conhecimento popular como o saber cientÃfico, valorizando a diversidade cultural. / The model of development, characterized by the concentration of wealth and centered on the economic outlook, resulted in social inequality and worsening environmental problems (Sachs, 2008). By the late nineteenth century, some scholars began to devote to developing the concept and applicability of social technology, which refers to a set of methods, techniques or products considered replicable and built through knowledge of the population itself, with potential to promote sustainable development (RTS, 2013). As an example of activity that can be developed on the foundations of social technology and sustainability, one can mention the craft (PEN, 2010). Thus, this research has the overall objective to analyze the effects of social technology used by artisans organized in associations, to sustainable development. This is a qualitative study, the interpretive type. The research strategy comprises the single case study, and with the unit of analysis Mocotà Community Association of VÃrzea Alegre city, located in Cariri Region. Data collection was conducted through focus group techniques, semi-structured interviews and non-participant observation. Participated in the data collection process eight artisans of the Mocotà Community Association. To realize the data analysis applied to content analysis. According to the main results, it was found that small-scale production of the Mocotà Community Association appears as favorable to sustainable social development technology, since it produces significant effects, from the perspective of economic, social, environmental and cultural sustainability. The associative work generates employment and income, whose members have the potential to defray the expenses of the group and generate profit. Minimizes the differences between the conditions of life emphasizing basic rights of the population. Encourages the use of natural elements without compromising the integrity of the environment. Regards both popular knowledge as scientific knowledge, valuing cultural diversity.

La thèse prend comme objet d’étude des artisans colombiens entre 1880 et 1930 dans les villes de Medellín et Bogotá. Elle les considère comme des sujets fondamentaux dans les dynamiques qui se sont développées pendant cette période. Au-delà de la description du monde artisanal, la recherche s’intéresse à la manière dont ce secteur est devenu un agent qui a réagi aux phénomènes à l'échelle nationale et transnationale. Dans le premier sens, en Colombie, les liens sociaux et les formes de production que les artisans avaient enfanté depuis des siècles ont été actifs et exprimés de diverses manières, comme la révolte qui a éclatée à Bogotá en 1893 et les publications dans les journaux des artisans. L’Hégémonie conservatrice qui a conduit la Colombie à la fin du XIXe siècle avait pour un de ses objectifs l’enseignement technique, en particulier pour les artisans, afin de remplacer la fonction exercée par les corporations et de préparer la main-d’œuvre à l’industrie. Dans ce contexte, il y eu une prolifération d'établissements d'enseignement des connaissances de base et techniques avec une composante morale importante. Cette recherche s'intéresse à l'analyse des écoles d'art et métiers et rend compte des réactions du secteur artisanal à la professionnalisation de leurs métiers et aux changements requis par l'intention de mettre en œuvre l'industrialisation. Bien que le phénomène de l'enseignement technique aide à comprendre les caractéristiques de l'artisan colombien au cours de la période étudiée, cela ne peut être compris sans une observation plus large.Basée sur l'approche de l'histoire globale des connexions, la présente recherche permet de comprendre, du point de vue peu exploré par l'historiographie, comment l'expérience des artisans en Colombie aux portes de l'industrialisation a dépassé la réalité nationale. Les phénomènes transnationaux tels que l’insertion sur le marché, la professionnalisation et la spécialisation des métiers par le biais de l’enseignement technique et la circulation des connaissances et des personnes faisaient partie de la dynamique du monde artisanal.Dans ce contexte, les espaces d’internationalisation des connaissances, tels que les Congrès d’enseignement technique et les Expositions Universelles, ont permis la circulation de nouvelles techniques, de connaissances artisanales et la socialisation des méthodes d’enseignement. De même, ils ont encouragé la mobilité des personnes liées à ces questions, comme ce fut le cas pour les personnages colombiens, y compris certains artisans. Les voyages en Europe ont permis de connecter le monde artisanal aux nouvelles avancées, mais ils n'étaient pas le seul moyen par lequel les artisans étaient connectés aux techniques européennes. Les congrégations religieuses et les associations de laïcs étaient un autre mécanisme qui favorisait la circulation du savoir artisanal en Colombie. Les Lasalliens, les Salésiens et les Sœurs de la Présentation ont fondé des institutions pour se former aux connaissances techniques avec une forte composante morale.Enfin, entre les phénomènes nationaux et transnationaux, le monde artisanal colombien de la fin du XIXe et du début du XXe siècle a évolué entre différentes logiques. Une partie de lui a défendu ses formes de production dans les ateliers et une autre était ouverte aux nouvelles techniques et aux nouvelles méthodes de production. Ce mouvement, entre permanence et transformation, montre que ce secteur a été un élément clé dans la préparation du pays sur la voie de l’industrialisation, outre ses liens sociaux et ses formes de production moins faciles à dissoudre. / This dissertation studies artisans in Bogotá and Medellín between 1880 and 1930, and considers them crucial subjects in the ongoing dynamics of the period. Beyond describing the artisan’s world, this research concentrates on showing in what ways this sector reacted to national and trans-national phenomena. First, in Colombia, social links and forms of production long-formed by artisans were kept active and manifested themselves in several ways, including the Bogotá 1893 riot and periodical publications. Colombia’s late-nineteenth-century leading conservative hegemony set out to establish technical education, especially for artisans, hoping to replace what the guilds had done in the past and to prepare labor for industrial production purposes. Thus, basic and technical educational institutions proliferated, developing at the same time an important moral component. This work analyzes schools of arts and crafts, accounting for the artisans’ reactions to the professionalization of their crafts and the changes demanded by industrialization. Even though technical education itself sheds light on the characteristics of Colombian artisans during this period, they cannot be fully understood unless we take a broader view. Using a situated global history of connections as a methodological tool, this research allows us to understand, from a point of view seldom present in the historiography, how artisans’ experience in Colombia at the dawn of industrialization went beyond the national context. The artisans’ world was shot through with transnational phenomena such as incorporation in the markets, professionalization and specialization of crafts through technical education, and the circulation of knowledge and people. Thus, spaces for the internationalization of knowledge, such as technical education conferences and universal expositions, enabled the circulation of new techniques, artisanal knowledge, and the socialization of teaching methods. Those spaces equally promoted the mobility of people linked with these issues, including Colombian individuals, several artisans among them. Their trips to Europe allowed them to connect the artisans’ world with new developments, even if this was not the only way they enjoyed connections with European techniques. Religious congregations and lay associations also facilitated the circulation of artisanal knowledge in Colombia. Lasallians, Salesians, and the Sisters of the Presentation founded institutions to teach technical knowledge with a strong moral bent / La tesis de doctorado toma como objeto de estudio a los artesanos colombianos entre1880 y 1930 en las ciudades de Medellín y Bogotá, y los considera como sujetos fundamentalesen las dinámicas que se desarrollaron en este periodo. Más allá de describir el mundo artesanal,la investigación se interesa en mostrar cómo este sector se convirtió en un agente que reaccionóa fenómenos de escala nacional y transnacional. En Colombia, los vínculos sociales y las formasde producción que los artesanos habían gestado durante siglos se mantuvieron activos y semanifestaron de diferentes maneras, como lo fue el motín de Bogotá en 1893 y las publicacionesen periódicos de artesanos.La Hegemonía conservadora que lideró a Colombia a finales del siglo XIX tuvo comouno de sus objetivos la educación técnica, especialmente para artesanos, en vía de reemplazar lafunción que realizaron los gremios en épocas anteriores y de preparar una mano de obra para laindustria. En este contexto se dio la proliferación de instituciones educativas en conocimientosbásicos y técnicos con un importante componente moral. Esta investigación se interesa en analizarlas escuelas de artes y oficios y da cuenta de las reacciones del sector artesanal ante laprofesionalización de sus oficios y los cambios que les exigía la intención de implementar laindustrialización. Aunque por si mismo el fenómeno de la educación técnica ayuda a vislumbrarlas características del artesanado colombiano en la época estudiada, este no se puede entender sinobservarlo de una manera más amplia.Con base en la herramienta metodológica de la historia global situada de conexiones, lapresente investigación permite entender, desde un punto de vista poco explorado por lahistoriografía, cómo la experiencia de los artesanos en Colombia a las puertas de laindustrialización traspasó la realidad nacional. Fenómenos transnacionales como la inserción almercado, la profesionalización y especialización de los oficios por medio de la educación técnica,y la circulación de saberes y personas, hicieron parte de las dinámicas que atravesaron el mundoartesanal.En este contexto los espacios de internacionalización del conocimiento, como loscongresos de educación técnica y las Exposiciones universales, permitieron la circulación denuevas técnicas, de saberes artesanales y la socialización de métodos de enseñanza. Del mismomodo, incentivaron la movilidad de personas relacionadas con estos temas, como fue el caso depersonajes colombianos, entre ellos algunos artesanos. Los viajes a Europa permitieron conectarel mundo artesanal con los nuevos avances, sin embargo, no fueron el único medio por el cual losartesanos estuvieron conectados con técnicas europeas. Las congregaciones religiosas y lasasociaciones laicas fueron otro de los mecanismos que favoreció la circulación de saberesartesanales en Colombia. Los Lasallistas, Salesianos y las Hermanas de la Presentación fundaroninstituciones para formar en conocimientos técnicos con un fuerte componente moral.En suma, entre fenómenos nacionales y transnacionales, el mundo artesanal colombiano definales del siglo XIX y comienzos del siglo XX se movió entre lógicas diferentes. Una parte deél defendió sus formas de producción en los talleres y otra estuvo abierta a las nuevas técnicas ymaneras de producir. Este movimiento, entre permanencia y transformación, muestra que estesector fue una pieza clave en la preparación del país en el camino hacia la industrialización,además de que sus vínculos sociales y sus formas de producción no fueron tan fáciles de disolver

The development of enantioselective reaction methodology has been at the forefront of research in both academic and industrial research laboratories due to the importance of chiral molecules in biological systems. An emerging area of research in the development of enantioselective reaction methodology has been the development of organocatalytic reactions. Organocatalysis, the use of small, chiral organic molecules as catalysts, has the advantage over traditional Lewis acid catalysis in that the reactions in general produce less toxic by-products. One recent breakthrough in the development of enantioselective methodology has been the development of chiral phosphoric acids as organocatalysts. Chiral phosphoric acids have been shown to be excellent catalysts for a wide variety of reactions. In this thesis chiral phosphoric acid-catalyzed enantioselective reaction methodologies have been developed for the addition of sulfonamides and indoles to imines. The development of Bronsted acid-catalyzed amidation of imines allows for an expedient route for the synthesis of N,N-aminals, which have been incorporated into a wide variety of biologically active compounds. Initial studies were undertaken to determine the practicality of a Bronsted acid-catalyzed method for the addition of amides to N-Boc protected imines. Over 20 achiral Bronsted acids were screened, and it was found that phenylphosphinic acid and trifluoromethanesulfinimide were both excellent catalysts for the addition of amides to a variety of imines giving the respective products in excellent yield. The methodology was extended to the development of an enantioselective method for the addition of sulfonamides to imines. It was found that a chiral phosphoric acid derived from the VAPOL ligand was suitable for this purpose. The developed methodology is capable of tolerating a wide variety of functional groups allowing for the preparation of the N, N-aminal products in excellent yield and enantioselectivities. An enantioselective phosphoric acid-catalyzed aza-Friedel-Crafts reaction between N-benzylindoles derivatives and N-benzoyl protected imines has been developed. A catalyst derived from the BINOL backbone was found to be the optimum catalyst for the enantioselective transformation. The developed methodology was capable of tolerating a wide variety of functional groups and provides an expedient route for the synthesis of chiral 3-indolylmethanamines.