This dissertation is a study of the relation between Aristotle’s ethics and the crafts (or technai). My thesis is that Aristotle’s argument is at key points shaped by models proper to the crafts, this shaping being deeper than is generally acknowledged, and philosophically more problematic. Despite this, I conclude that the arguments I examine can, if revised, be upheld. The plan of the dissertation is as follows – Preface: The relation of my study to the extant secondary literature; Introduction: The pre-Platonic concept of technē, as evidenced in Greek philosophical and literary sources, in particular the early Hippocratic corpus; Chapter one: The Platonic concept of technē, followed by an investigation of whether Plato affirms a virtue-technē in the Protagoras and Republic; Chapter two: Aristotle’s concept of technē, followed by scrutiny of his arguments in NE VI.5 against a virtue-technē, and of his analyses of slavery and deliberation; Chapter three: An exposition of Aristotle’s function argument, followed by a dominantist interpretation of it, and an explanation of dominantism as in part a technē-influenced doctrine; Chapter four: An examination of Aristotle’s ethical mean and its problems, with a diagnosis of these in terms of influence by the Philebus, and by paradigms derived from the crafts; Chapter five: Argument that Aristotle’s theory of habituation suffers from two significant opacities, these being a function of influence both by the Republic, and by models of craft-learning; Conclusion: Response to key objection; Aristotle’s ethics revised, defended.

This dissertation is a study of the relation between Aristotle’s ethics and the crafts (or technai). My thesis is that Aristotle’s argument is at key points shaped by models proper to the crafts, this shaping being deeper than is generally acknowledged, and philosophically more problematic. Despite this, I conclude that the arguments I examine can, if revised, be upheld. The plan of the dissertation is as follows – Preface: The relation of my study to the extant secondary literature; Introduction: The pre-Platonic concept of technē, as evidenced in Greek philosophical and literary sources, in particular the early Hippocratic corpus; Chapter one: The Platonic concept of technē, followed by an investigation of whether Plato affirms a virtue-technē in the Protagoras and Republic; Chapter two: Aristotle’s concept of technē, followed by scrutiny of his arguments in NE VI.5 against a virtue-technē, and of his analyses of slavery and deliberation; Chapter three: An exposition of Aristotle’s function argument, followed by a dominantist interpretation of it, and an explanation of dominantism as in part a technē-influenced doctrine; Chapter four: An examination of Aristotle’s ethical mean and its problems, with a diagnosis of these in terms of influence by the Philebus, and by paradigms derived from the crafts; Chapter five: Argument that Aristotle’s theory of habituation suffers from two significant opacities, these being a function of influence both by the Republic, and by models of craft-learning; Conclusion: Response to key objection; Aristotle’s ethics revised, defended.

This practice-led research will be accompanied by a dissertation which describes the research process and discusses the research questions and outcomes generated by the practice process. From an initial stage of laboratory and workshop experimentation with recycling High Density Polyethylene (HDPE) and General Purpose Polystyrene (GPPS), to a conclusion which brings experimental design practice to serve the needs of a specific user group, this research aims to show that the role of the designer in material-based research is multiple and complex. The significance of emotional experience is discovered to be of central importance to both material experimentation and the design for a specific user group. The initial context of sustainability becomes reframed through work with a community of residents, staff and relatives associated with a care home for the aged. From addressing the needs of a twenty- first century demographic challenge the designer finds complex meaning in the ecological, ethical and political agendas of sustainability. I employed a range of research methods in this project and conclude that qualitative research practice demands the integration of technical skills, sociological enquiry and an investigation into the ‘tacit knowledge’ of craftsmanship. I investigated the design potential of combining traditional craft and industrial technology to address the challenge of a future society and through this research into recycling plastics, polymers, textiles and other materials propose that material and meaning are closely interrelated. In my work the relationship between the visible traces of tactile sense and the presence of the hand is explored as a sign of ‘contact’ and transmission of emotion. The encasement and display of fibre, textile and personal objects in the plastic tiles is deployed as a medium of interior architecture with the potential to represent the meaning of the experience of end-of-life wellbeing. In this way the designer can make materials which encapsulate the sense of transition, departure, memory, presence and continuity for the old, their relatives and carers. Considering the principle of ‘Emotionally Durable Design’, this research finds new uses for old material.

Magistriniame darbe trumpai apžvelgta amatų raida Vilniuje iki XIX amžiaus pabaigos, nagrinėtas amatininko statuso ir sąvokos kitimas Vilniuje lenkmečiu, sovietmečiu ir nepriklausomos Lietuvos laikotarpiais. Magistrinio darbo tikslas - amatų įpaveldinimo Vilniuje galimybių studija. XX amžiaus pradžioje lietuviams amatai buvo aktualu, kaip tautinio identiteto išraiška. Vyravo kaimo kultūros elementai, kurie turėjo atsispindėti nacionalinėje lietuvių pramonėje. Amatininku tapo lietuvis, kuris gamina tautinį, etninių bruožų turintį produktą. Vilniuje, 1920 – 1939 metais, lenkų okupacijos laikotarpiu amatininkas pratęsė miestietišką amato tradiciją. Vilniaus miesto amatai išlaiko kosmopolitiškumą ir daugiakultūriškumą, būdingą seniesiems Vilniaus amatams. Sovietinė sistema perėmė nepriklausomos Lietuvos laikotarpio požiūrį į amatą, kaip į kaimo kultūros tradiciją, tačiau dėmesį skyrė ne tautiškumo, o liaudiškumo propagavimui. Liaudies menas tapo parodiniu, ekspoziciniu ir reprezentaciniu reiškiniu. Nepriklausomos Lietuvos laikotarpiu atsiradusi rinkos ekonomika nulėmė, kad etnografiniai amato bruožai palaipsniui prarandami, o juos keičia kosmopolitinis, ryškus ir individualus produktas. Dailiųjų amatų, etnografinių verslų ir mugių programa nepilnai įpaveldina senuosius Vilniaus amatus. Būtinas istorinio pagrindimo vertinimo kriterijus, kurį parengtų kompetentingų mokslinių įstaigų darbuotojai ir reglamentuotas, Lietuvos respublikos įstatymu, amatininko statusas, atskiriantis... [toliau žr. visą tekstą] / This master’s work overlooks and analyses the development of handicrafts in Vilnius city till the end of the 19th century, craftsmen’s position and concept during the times of Polish and Soviet influence and independency period. Aim of the work – the study of the inheritance possibilities of handicrafts in Vilnius. At the beginning of 20th century crafts were relevant to Lithuanians as it was the term of the national identity. The prevailing elements should have been from the country culture, as it reflected in national Lithuanian industries. Men who were considered as a craftsmen were Lithuanian, who produced products having ethnical features. During the period of polish occupation (year 1920 – 1939) craftsmen were the only ones who extended the urban craft traditions. The crafts of Vilnius still have its cosmopolitism and are multicultural, what is very characteristic to the old Vilnius crafts. Soviet system intercepted the Lithuanian attitudes to the handicraft, as to the tradition of country culture, but the attention was paid not to the national features, but to the folk. The folk-art became parody, expositional and representative thing. During the period of independency, economics determined, that ethnographical features of craft are shifting, they are being replaced by cosmopolite, individual and vivid products. The program of fairs, smart crafts and ethnographical business do not reflect the old crafts of Vilnius properly enough. It is necessary to base and evaluate... [to full text]

No description available.

This study explores the tension between text and image in the fashion spreads published in three magazines since 1980: The Face, Arena and Vogue. It takes as its starting part Roland Barthes' axiom that the magazine is 'a machine for making Fashion' and pursues his thesis that it is through 'represented clothing', rather than real garments themselves, that the meaning of Fashion is connoted. But it also contests his idea that the Fashion system is a vacuous or trivial form of signification, and in exploring both the verbal and pictorial elements of fashion spreads aims to uncover how they intersect with wider cultural events. The material under discussion has been arranged into three separate parts. Each one has its own discursive framework and diverse methodological perspective, yet it is also dialectically related to the others in a wider argument concerning the construction of the body in word and image in contemporary fashion photography. Part One serves to provide an overview of the evolution of the three chief titles consulted, considering the social, economic and aesthetic factors that have been instrumental in forging an identity for fashion photography since 1980. At the same time, it examines the preoccupation with a postmodern treatment of time and history in various spreads and assesses whether iconocentrism ipso facto renders fashion photography devoid of any deeper meaning. Part Two builds on this argument by analysing the ideas propounded in Roland Barthes' Systeme de la Mode, chiefly the distinction he makes between written clothing (le vetement ecrit) and image-clothing (le vetement-image), in the context of debates on logocentrism. Here I assess whether Barthes' predilection for written clothing is both viable and relevant when it comes to making sense of the symbolic content of represented clothing with particular reference to a fashion spread called 'Amoureuse' from Elle (June 1958). I also evince the same spread along with more contemporary examples to assess the way that Barthes deals with sex and gender in Systeme de la Mode. Part Three consolidates this exploration of gender and fashion by concentrating on the intense interest in sex and the body that has subtended much fashion imagery between 1980 and 1996. At this point, I deal with the objectification of female and male sexualities by mobilising the central tropes of the 'girl' and the phallic body respectively. In the process, I raise a diverse and complex intersection of related issues concerning identity formation and otherness, power, and visual pleasure. Thus I examine the investment that different producers and spectators might have in the fashion image: male and female; straight and gay; and white and non-white. In particular, I draw heavily on the psychoanalytical theories of Freud and Lacan, as well as more recent writing by Julia Kristeva, Luce Irigaray, Judith Butler and Diana Fuss.

Blacksmithing has undergone a dramatic transformation in the last twenty five years. This study examines the changes and the context within which they have taken place. The effects upon the products of the blacksmith are considered through empirical research and practical work. The working methods and philosophies of blacksmiths representative of a continuity of traditions and innovatory practice are investigated through interviews and other approaches. From its origins as a rural and industrial craft, blacksmithing has emerged in the form of art-blacksmithing. Institutional and government intervention, new technologies and markets provide the context in which the ideologies and practices are examined. It is argued that these new blacksmiths are selfconscious designer-makers who are technically innovative, and commercially aware, operating successfully between and within the cultural and commercial arenas. In combining practical and decorative functionalism, and producing site-specific art work at a competitive price, artist blacksmiths successfully inhabit the worlds of art, industry, trade and craft, often simultaneously.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references (leaves 34-37).

Research paper (M.E.)--Oregon State College, 1948. / Typescript. Includes bibliographical references (leaves 43-46). Also available online.

Zugl.: München, Techn. Univ., Diss., 2009