No presente trabalho investigou-se a utilização de diferentes haletos metálicos hidratados (SnCl2.2H2O, MnCl2.4H2O, SrCl2.6H2O, CrCl2.6H2O, CoCl2.6H2O e CeCl3.7H2O) como catalisadores ácidos de Lewis na alquilação de indóis com olefinas ativadas via reação de Friedel-Crafts. Nas reações entre indóis e cetonas α,β-insaturadas os melhores resultados foram obtidos com o emprego de SnCl2.2H2O (10% em mol) como catalisador. As reações com enonas alifáticas foram realizadas à temperatura ambiente, já a obtenção de adutos indólicos derivados das chalconas só foi possível sob condições de refluxo. Para as reações com nitro-olefinas os melhores resultados foram observados com a utilização de CoCl2.6H2O (10% em mol) como catalisador: seu uso em condições sem solvente, sob aquecimento, permitiu a obtenção de diversos nitroadutos em altos rendimentos e baixos tempos de reação. Dois dos compostos obtidos através desta metodologia foram utilizados com sucesso como materiais de partida na síntese de tetraidro-β-carbolinas, demonstrando a utilidade sintética da metodologia desenvolvida. Um novo líquido iônico imidazólico 1-alquil-éter funcionalizado também foi investigado como promotor na reação de alquilação de indóis, sendo utilizado com sucesso como catalisador nas reações com enonas alifáticas e nitro-olefinas em condições de ausência de solvente. / In the present work, metal halide hydrates (such as SnCl2.2H2O, MnCl2.4H2O, SrCl2.6H2O, CrCl2.6H2O, CoCl2.6H2O and CeCl3.7H2O) were investigated as Lewis acids catalysts for the Friedel-Crafts alkylation reaction between indoles and activated olefins. In the reactions of indoles with α,β-unsaturated ketones the best results were achieved using SnCl2.2H2O as the catalyst. The reactions with aliphatic enones were carried out at room temperature, while reflux conditions were required for the reactions leading to chalcone indolic derivatives. For the reactions with nitroolefins the best results were obtained employing CoCl2.6H2O as the catalyst: its use under heating, in solvent-free reactions, lead to several nitro adducts in high yields and short reaction times. Two of the compounds obtained by this methodology were successfully used as starting reagents for the synthesis of tetrahydro-β-carbolines, illustrating the synthetic utility of the developed methodology. A new 1-alkyl ether functionalized imidazolium ionic liquid was also evaluated as the promoter in the indole alkylation reaction, being successfully employed as the catalyst in reactions with aliphatic enones and nitroolefins under solventless conditions.

This research concerns neglected affective, relational, material, and processual dimensions of amateur crafts practice in an arts-for-health context. Existing studies on the social impacts of the participatory arts are prone to blur the borders between advocacy and research, and are vulnerable to accusations of ‘policy-based evidence making’ (Belfiore and Bennett, 2007, p.138). Researchers have relied predominantly on interview material and surveys, and there is a lack of finegrained, long-term, ethnographic work based on participant observation. The distinctive potentials of making in this context, furthermore, have barely been investigated. This thesis addresses these deficits through a sustained ethnographic study of two wellbeing-oriented crafts groups supported by Arts for Health Cornwall (AFHC). One group was based in the community, the other in primary care. Observation produces novel understandings of the potential benefits of crafting for health as emergent properties of particular locations, relationships, and practices organized in distinctive ways around creative making. Firstly, as a counterweight to normative views of amateur crafts creativity as soothing and distracting, this study highlights a range of transformative affects including frustration, creative ambition, and enchantment. Secondly, countering an atomistic, stable depiction of such affects, this study describes them as fluid aspects of making processes. Thirdly, these unfolding processes are seen to be inseparable from the intersubjective (peer-to-peer and participant-facilitator) dimensions of creative groups. Lastly, this in vivo perspective problematizes a view of materials as an inert substratum upon which makers exercise their creative powers, and highlights the relevance of a ‘vital materialism’ (Bennett, 2010) for understanding the potential benefits of manual creativity. Sustained observation also produces a situated, spatial account of the extended networks of community belonging produced by the activities of such groups. Fieldwork is contextualized within a wider field using interviews with nine UK arts for health organizations. Consideration is also given to the influence of contemporary discourses of wellbeing, agency, and creativity on policy making in the area of arts for health. Findings have implications for good practice in the field, and for further research to inform political leadership concerning the role of the arts in health. These implications are drawn out in relation to the potential future contribution of the arts within a UK health economy undergoing rapid, crisis-driven transformation.

This study explores the relationship between wood-crafting activity and technological development in metal tools during the Late-Middle and Late Bronze Age in Southern England. It suggests that a number of tool types and forms can be characterised as direct responses to specific crafting processes. The study further suggests that through analysis of those tools and crafting processes, the socio-technological relationships between craftspeople and materials can be better explored. The thesis makes a case for the importance of wood-use during the British Bronze Age as a material key both to a range of craft activities and technological change. The discussion highlights the lack of a cohesive analysis of its use, potential and material relationships. It suggests that a semantic approach to craft practice can inform as to how those practices were facilitated, and that particular craft processes focussed on wood-use are manifested in surviving tools. Four tool types are examined - socketed axes, gouges, chisels and saws; their morphology and structure are analysed to discern variations in function and structural trends which are suggestive of common approaches to production and use. The results of this analysis are linked to woodcrafting practices to highlight how particular forms of each tool type were targeted to activity. The study concludes by arguing that Bronze Age tool forms, and their production, were the result of a complex network of social, technological and developmental influences. It finds that a number of forms were indeed targeted to specific wood-crafting tasks, and that tools ostensibly produced separately followed common structural trends which derived from those tasks. The study also concludes that certain tool forms such as saws manifest multi-material developmental origins, and that analysis based on crafting functions has the potential to provide a more cohesive perspective of Bronze Age tool development than has previously been developed.

Textile conservation, defined here as the preservation, investigation and presentation of textiles, is often viewed largely as a technical and aesthetic problem. This research develops an alternative view by understanding objects as being subject to both material and social change. The dynamic aspects of this material and social process is emphasised as ‘stuff happens’. This research proposes, and provides evidence for, a material culture approach to textile conservation, and demonstrates its development and application. An analysis of case studies shows how the material and the social interact at the point of assessment and intervention. Examination of the material aspects of textile conservation reveals that social values influence decision-making. Values held at the time of conservation are shown to depend on the categories used. Investigation of these categories demonstrates that any anomalous quality of the textile undergoing conservation allows for contestation of social values. As values change over time, analysis of each conservation assessment and intervention reveals a comparison of values held at different times viewed retrospectively. The resulting approach is centred on the interaction between things, persons and language where each mediates relations of the others. It is argued that this material culture approach enhances understanding of the dynamic material and social environment of textile conservation principles and practices.

Nigerian textile and clothing industries is face with crisis under the pressure of influx of smuggled second-hand clothing and cheap and poor quality of Chinese textiles. The situation has resulted to closure of many textile industries and massive unemployment with inability of the few existing industries to compete favourably base on price. The study was carried out in Abeokuta among tie-dye/batik practitioners and consumers of tie-dye/batik products with the aim to examine the challenges facing the resist dyeing industries. The research method is divided into three: Theoretical- this involves using secondary data from books, journal, newspaper, and the web to gather background information; Statistical- this involves the use of questionnaire to gather primary data. The data collected was analysed using SPSS (Statistical Package for Social Scientist); and Visual- this entails the use of images to establish facts and make judgement on the basis of the facts discovered. The findings revealed that the challenges facing the practitioners are multi-facet ranging from poor educational status, lack of adequate training/re-training programmes, poor financial status, low customers’ patronage, poor management and marketing skill, lack of adequate and functional social amenities, low purchasing power of consumers who often buy on credit and pay on instalment (some don’t bother to pay their debt), increased competition from smugglers of second-hand clothing and imported Chinese textiles, poor/ no knowledge of information technology, low access to international/ overseas markets and minimal willingness to take risk. Consumers of tie-dye/batik are pertinent to the study. The findings from the consumers shows that about half of the consumers interviewed cannot afford to buy clothes monthly while slightly more than half buy clothes on credit and pay on instalment. The industry has being affected with change in taste of consumers, consequently one third of the consumers do not patronise tie-dye/batik fabrics. Consumers pointed out that tie-dye/batik fabrics are not colourfast and the designs are too common (frequently seen). Consumers also complained of poor customers services of the practitioners. Base on the findings, the study proposes holistic approach to the challenges. A sustainable model of five major pillars (Continuous innovation, Customer Relationship Management, Government Policy Support, Networking and Practitioners Personal Capacity Development) is proposed. Absence of any of the pillar will result to sustainability collapse of tie-dye/batik industry. Other model being proposed include establishment of an Export Centre with an effective and efficient two way communication model; EVIPI an acronym of English words to stimulate innovative entrepreneurial drive in niche marketing, a model for internal secondhand clothing to revisit the pass me down clothing culture among the Yoruba and a networking model to complement each other for development.

No presente trabalho investigou-se a utilização de diferentes haletos metálicos hidratados (SnCl2.2H2O, MnCl2.4H2O, SrCl2.6H2O, CrCl2.6H2O, CoCl2.6H2O e CeCl3.7H2O) como catalisadores ácidos de Lewis na alquilação de indóis com olefinas ativadas via reação de Friedel-Crafts. Nas reações entre indóis e cetonas α,β-insaturadas os melhores resultados foram obtidos com o emprego de SnCl2.2H2O (10% em mol) como catalisador. As reações com enonas alifáticas foram realizadas à temperatura ambiente, já a obtenção de adutos indólicos derivados das chalconas só foi possível sob condições de refluxo. Para as reações com nitro-olefinas os melhores resultados foram observados com a utilização de CoCl2.6H2O (10% em mol) como catalisador: seu uso em condições sem solvente, sob aquecimento, permitiu a obtenção de diversos nitroadutos em altos rendimentos e baixos tempos de reação. Dois dos compostos obtidos através desta metodologia foram utilizados com sucesso como materiais de partida na síntese de tetraidro-β-carbolinas, demonstrando a utilidade sintética da metodologia desenvolvida. Um novo líquido iônico imidazólico 1-alquil-éter funcionalizado também foi investigado como promotor na reação de alquilação de indóis, sendo utilizado com sucesso como catalisador nas reações com enonas alifáticas e nitro-olefinas em condições de ausência de solvente. / In the present work, metal halide hydrates (such as SnCl2.2H2O, MnCl2.4H2O, SrCl2.6H2O, CrCl2.6H2O, CoCl2.6H2O and CeCl3.7H2O) were investigated as Lewis acids catalysts for the Friedel-Crafts alkylation reaction between indoles and activated olefins. In the reactions of indoles with α,β-unsaturated ketones the best results were achieved using SnCl2.2H2O as the catalyst. The reactions with aliphatic enones were carried out at room temperature, while reflux conditions were required for the reactions leading to chalcone indolic derivatives. For the reactions with nitroolefins the best results were obtained employing CoCl2.6H2O as the catalyst: its use under heating, in solvent-free reactions, lead to several nitro adducts in high yields and short reaction times. Two of the compounds obtained by this methodology were successfully used as starting reagents for the synthesis of tetrahydro-β-carbolines, illustrating the synthetic utility of the developed methodology. A new 1-alkyl ether functionalized imidazolium ionic liquid was also evaluated as the promoter in the indole alkylation reaction, being successfully employed as the catalyst in reactions with aliphatic enones and nitroolefins under solventless conditions.

Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town,1989 / In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / A teia de relaÃÃes sociais que constitui a produÃÃo artesanal de louÃa de barro do CÃrrego de Areia, localidade no municÃpio de Limoeiro do Norte, CE revela a interaÃÃo das louceiras com instituiÃÃes como a Central de Artesanato do Cearà (Ceart), alÃm das feiras e dos compradores avulsos mostrando os vÃnculos que elas tÃm com os poderes socialmente estabelecidos, ficiais, mas principalmente aponta para as polifonias existentes no interior do prÃprio lugar, onde questÃes de gÃnero, conflitos entre as famÃlias e interferÃncias de instituiÃÃes ultrapassam a dimensÃo fÃsica dos objetos. Fazer louÃa de barro nÃo à uma atividade que possa ser entendida apenas do ponto de vista comercial. Um olhar mais atento sobre o cotidiano da produÃÃo apresenta as visÃes de mundo, o imaginÃrio, os arranjos sociais, enfim, a arte de quem a faz. Enquanto modelam seus objetos, os artesÃos moldam as prÃprias vidas, num processo constante de criaÃÃo e recriaÃÃo de seu universo cultural particular. O dia obedece a uma continuidade de afazeres que sÃo organizados a partir das necessidades dos artesÃos, nÃo estando seu tempo subordinado ao relÃgio, como ocorre na produÃÃo industrial urbana. Portanto, a produÃÃo artesanal sà pode ser entendida se a consideramos como um palco de disputas por recursos pÃblicos, pelos bens materiais e, sobretudo, como pelos bens simbÃlicos, caracterizando assim uma luta pelo poder que à expressa no desenrolar do prÃprio cotidiano das louceiras. Apesar de serem conhecidas dentro e fora do CÃrrego de Areia, como âas louceirasâ, essas mulheres nÃo podem ser pensadas como uma categoria sÃ, que denote unidade, pois tÃm histÃrias de vida, visÃes de mundo e interesses diversos, que as impedem de estabelecem uma identidade Ãnica. A observaÃÃo no cotidiano e as falas revelaram que diferentes identidades, guiadas por diferentes redes de sociabilidade descritas anteriormente, que orientam a aÃÃo social diÃria das louceiras.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O trabalho aborda as relaÃÃes entre construÃÃo de identidade e o artesanato do povo indÃgena Tapeba, que reside em diversas Ãreas do municÃpio de Caucaia, CearÃ. AtravÃs de uma etnografia realizada entre fevereiro de 2010 à outubro de 2011, trabalhando diretamente com as prÃticas produtivas dos artesÃos, indo a feiras e eventos de comercializaÃÃo, alÃm de entrevistas com Ãndios usuÃrios e lideranÃas em eventos oficiais (sejam realizados pelas comunidades ou pela sociedade nacional como um todo), buscamos a compreensÃo que o citado povo tem sobre o artesanato local. à luz de diversos autores e movimentando as teorias sobre dominaÃÃo, etnicidade, identidades, alÃm de referÃncias sobre a histÃria do povo Tapeba, podemos enxergar que o artesanato està para alÃm de necessidades materiais mantendo uma Ãntima relaÃÃo com o campo do simbÃlico. / The work addresses the relationship between identity construction and handicrafts of the indigenous people Tapeba, residing in various areas of the municipality of Caucaia, CearÃ. Through an ethnography conducted between February 2010 to October 2011, working directly with the production practices of artisans, going to trade shows and marketing events, and interviews with indigenous leaders and users in official events (whether held by communities or society national as a whole), we sought to understand that people have said about the local crafts. In light of several authors and theories about moving domination, ethnicity, identity, and references on the history of the people Tapeba, we can see that the craftsmanship is beyond material needs while maintaining a close relationship with the symbolic field.

See Coversheet for system requirements. The aim of the research is to integrate computer technologies and environmentally - sensitive materials and processes into the practice of the ceramic designer-maker, in order to assess the impact of new technologies on practice. A critical contextual review (including analysis of visual material) revealed a developing interest in environmental issues and computer technologies in designer-maker practice. A shift away from a philosophy which historically has been anti-industrial, towards a wider spectrum of craft production was noted. This diversity was shown in the types of production and the scale of manufacture - from ‘one-offs’ to industrial manufacture. New technologies were acknowledged by critics, commentators and practitioners as facilitating this development, although concerns about the potentially detrimental affect that computer technology could have on craft skills was voiced. A link between a pragmatic philosophy of ‘craft’ practice and new approaches to computer systems design highlighted a perception of the validity of ‘craft’ as a contemporary skill. The lack of established methodologies for practice-based ceramic design research has led to the development of a naturalistic approach within this work which is both holistic and emergent. By necessity this methodology places the design researcher at the centre of the inquiry, and uses practice as the main research vehicle. Selected research outcomes were peer reviewed through two significant international touring exhibitions: ‘Hot Off the Press: Ceramics and Print’ and ‘Objects of Our Time’. Initial investigations concentrated on the development of environmentally-sensitive lustre glazes [lead and cadmium free] incorporating an innovative ‘safe’ reduction firing system. Subsequently, ceramic surface designs and three dimensional forms were developed through the integration of: computer assisted design work (CAD); computer assisted manufacture (CAM); colours and glazes; and environmentally-sensitive screen printing, and existing making methods. The outcome was new aesthetic qualities and an extension of practical capabilities. A critical framework for the analysis of research outcomes was developed in order to make explicit and transferable some of the tacit knowledge embodied in research investigations. The analysis was developed through the use of a computer database system from which an electronic document was developed, allowing the integration of a large amount of visual material into the thesis. The research demonstrated that the integration of new technologies into the holistic and emergent practice of the ceramic designer-maker was appropriate. Many advantages of computer technologies for the ceramic practitioner are identified as transferable to the wider field of designer-maker practice and embody the potential to enhance future developments in this field.