This dissertation explores the concept of reproduction as it relates to processes, images and materials in contemporary art. The concept embraces collaboration, embroidery, fragmentation, diffusion, multiplicity, inclusivity, decentralisation, copy, pastiche and appropriation. The convergence of these practices and ideas in contemporary theories and contemporary art, my own included, is explored. The concept ofreproduction intersects with traditional structures of knowledge and aesthetics, such as those of the Individual Artist, authenticity and the construct of Woman. In the process, these are questioned and inevitably redefined. A re-weaving of female identity, in particular, emerges. At the same time, the traditional notion of reproduction is itself unravelled in order to reveal the ambiguities and multi-layered meanings inherent in the concept. Reproductive or regenerative practices and ideas, as examined here, become an effective force for unfolding the complexities of a female-specific aesthetic and identity, previously reduced by traditional structures. / Fine Arts / M.A. (Fine Arts)

Made available in DSpace on 2015-02-24T18:18:37Z (GMT). No. of bitstreams: 1 CesarQF_TESE.pdf: 7531394 bytes, checksum: d727e36b043954951c6481375561ee65 (MD5) Previous issue date: 2011-03-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This current work s contains issues about the educative dimension of work and its organization s process and managing for it own professionals. It aims to understand how the skills and pedagogic process, in a educative praxis perspective. Are based in a new culture of work of education process an work managing by workers in Handcraft Association of Serido/ Caic?/ RN. It uses as a methodologic-theoric reference cases s study approach, selecting the procedures of part extructure interview. It was done with six embroidereses from the Handcraft Association. The research shows that the educative process of learning and knowledges construction, in the work and by the work. Those processes develop in exchange experiences net in a friendly economic environment and raise elements of a work culture personal that work there. The embroidereses learn how to embroid doing the job and this learning, a lot of times, is influenced by the life conditions, residence local and infantile work in the country area and the living to the urban area, particularly to Caic?. The knowledge relation between them is the matter fact in the embroider learning process that means a social relation based on the knowledge differences between their position in its structure involving the work division, that each handcraft maker knows every part of the embroider, type of work or machine type, step by step until the work is done. It involves decision, execution and machine movements repetition, the focus are the categories that fit in current flexible financial issue. They schedule the work at home so they have time to do other stuff. Most part of the production currently is done to obey de a certain request that aims as production target, being a homework. Another important issue is the embroider work time: time and experience that is within in the professional life and its knowledge representation of job/profession. This time is got as a acquisition process of certain a work dominion and self knowing; time added to changes that were being there practicing from the new characteristics in the furniture, clothes and towels that are in the introduction communicative and its effect. In this way this work include articulations process among skills, educative process and handcraft work organization that allowed the interpretation and finish, that are related to the case study and its developments: handcraft embroidered considered as a profession, money source not conventional where is not work available and a temporary activity while studyng, homework and flexible work / O presente estudo aborda quest?es sobre a dimens?o educativa do trabalho e seus processos de organiza??o e gest?o pelos pr?prios trabalhadores. Tem como objetivo compreender como os saberes e os processos pedag?gicos, na perspectiva da pr?xis educativa. Constituem-se em elementos de uma nova cultura do trabalho nos processos de organiza??o e gest?o de trabalho pelos trabalhadores no espa?o da Associa??o das Bordadeiras do Serid? (ABS) / Caic? - RN. Adota, como referencial te?rico-metodol?gico, a abordagem do estudo de caso, privilegiando o procedimento da entrevista semi-estruturada, tendo sido realizada com seis bordadeiras da ABS. O estudo nos revela que os processos educativos de aprendizagem e de constru??o de saberes, no e pelo trabalho, e se desenvolvem em redes de trocas de experi?ncias no espa?o de um empreendimento econ?mico solid?rio e criam elementos de uma cultura do trabalho muito peculiar aos trabalhadores que ali atuam. As bordadeiras aprendem a bordar bordando e esse aprendizado ?, muitas vezes, influenciado por condi??es de vida, local de resid?ncia e trabalho infantil na ?rea rural, bem como pela migra??o para a ?rea urbana, particularmente para Caic?. A rela??o de saber ? central no aprendizado do bordado, significando uma rela??o social fundamentada nas diferen?as de saberes vinculadas ? posi??o que se ocupa, e envolve a parcelariza??o ou divis?o do trabalho, em que cada artes? domina cada etapa do bordado, tipo de ponto ou tipo de m?quina, com clara e r?gida separa??o entre decis?o, execu??o e repetitividade dos movimentos da m?quina. S?o focalizadas categorias que correspondem ? atual configura??o do trabalho no capitalismo flex?vel: a encomenda e, o trabalho domiciliar. Grande parte da produ??o do bordado, atualmente, ? efetivada para atender a uma encomenda determinada que se constitua em meta de produ??o sendo, pois, trabalho domiciliar. Outra categoria importante ? o tempo do bordado: tempo e experi?ncia que est? no cerne do eu profissional e de sua representa??o do saber de of?cio/profiss?o; tempo concebido como um processo de aquisi??o de certo dom?nio do trabalho e de certo conhecimento de si mesmo, tempo somados ?s modifica??es que foram sendo impostas na pr?tica, pelas novas caracter?sticas nos m?veis e roupas de cama e mesa, pela introdu??o dos novos meios de comunica??o e da influ?ncia disso em seu trabalho. Assim, esse estudo re?ne eixos da articula??o entre saberes, processos educativos e organiza??o do trabalho artesanal de bordados que permitem concluir, em rela??o ao estudo de caso da ABS, com suas peculiaridades: a atividade artesanal do bordado percebida como profiss?o, fonte de renda informal - onde n?o h? emprego dispon?vel, e como atividade transit?ria enquanto estudo, trabalho domiciliar e trabalho flex?vel

nÃo hà / Desde que se percebe no mundo o homem narra, e pela narrativa se compreende como parte de um todo maior. Por meio de desenhos, gestos, pela oralidade e pela escrita, narrar à antes de tudo, exposiÃÃo e troca de experiÃncias que se manifestam em cores, sons, imagens, sensaÃÃes e sentidos que envolvem tanto o objeto narrado, quanto o narrador e seu receptor. Quando uma narrativa migra de sua linguagem original para outra diferente ocorre um processo de traduÃÃo entre signos, rica em interpretaÃÃes e significados. à o que se dÃ, por exemplo, quando uma narrativa literÃria à levada para o bordado, em que as linhas que preenchem o espaÃo do tecido ganham sentidos tÃo importantes quanto as letras e palavras que cosem um conto. Tomando como ponto de partida a traduÃÃo intersemiÃtica do conto A MoÃa TecelÃ, de Marina Colasanti, em bordados do grupo Matizes Dumont na publicaÃÃo de 2004 da Editora Global, e dividida em duas partes, esta dissertaÃÃo dialoga, em O Direito, sobre o que à visto no bordado do grupo Matizes, sua materialidade e os significados das imagens, como um corpo hÃptico para as palavras Colasanti e como narrativa visual permeada de referenciais mÃticos. Em O Avesso, à traÃado um panorama das relaÃÃes que fundamentam o objeto, intrÃnsecas à evoluÃÃo e Ãs transformaÃÃes do bordado como prÃtica feminina, como cultura e como resultado do gesto criativo das mÃos. / Man tell stories ever since he is aware of his presence in the world, and through narrative he understands himself as part of a greater whole. Above all things, narrating is an exposition and exchange of experiences through drawings, gestures, orality and writing that are manifested in colors, sounds, images, sensations and senses involving all together: narrated object, narrator and its receiver. When a narrative migrates from its original language to a different one, occurs a process of translation between signs, rich in interpretations and meanings. This is the case, for example, when a literary narrative is taken to embroidery, where lines that fill the space of the fabric gain meaning as important as the letters and words that make up for a tale. Taking as foundation the intersemiotic translation of the tale A MoÃa Tecelà by Marina Colasanti, embroidered by Matizes Dumont group to ilustrations in the 2004 publication of Editora Global, this dissertation is divided in two parts. In O Direito, it brings to reflection what is seen in the embroidery of Matizes Group, its materiality and the meanings of the images, as a haptic body for the words written by Colasanti and as a visual narrative permeated by mythical references. In O Avesso, itâs drawn an overview of the relations that ground the object, intrinsic to the evolution and the transformations of the embroidery as a feminine practice, as culture and as a result of the creative gesture of the hands.

The present master's thesis discusses the traditional textile technique of embroidery in the context of contemporary art and analyses the way in which this craft technique has evolved from its invention to this day. The historical development points at the inevitable link between this artistic technique and women's history in Western societies, where embroidery strove to maintain stereotypes on femininity. In the twentieth century, embroidery as well as other textile techniques take on a new, subversive quality which enables the beginning of a social dialogue through art. It becomes a part of the public space in the form of banners in demonstrations or craftivist interventions in city streets. It tries to free itself from stereotypes and become an accessible technique for which the artistic process is as important as the finished piece. The work of contemporary artists reveals the shifting position of textile art, which cannot be considered as a simple offshoot of artistic craftsmanship for it has turned into in an autonomous and widely used medium of expression in current artistic production.

No description available.

Electronic textiles, or smart textiles, is a field that is growing due to the opportunities it provides. Textile integrated electronics enables soft, flexible, lightweight electronic devices that enable long term monitoring within the medical field. Pressure sensors is one device within this field that has been researched. A textile integrated pressure sensor enables monitoring of heart rate, muscle activity, posture, gait phases and finger movements. In this project a resistive pressure sensor has been produced using embroidery with the purpose of investigating how construction and design parameters influence the resistance-pressure relationship. The study consisted in different phases where in Phase I parameters such as fabric substrate, stitch length and yarn type was examined. Phase II investigated design parameters like electrode pattern design, sensor shape, trace distance and size. In the design phase a new electrode pattern and sensor shape was tested. Finally in Phase III a sensor matix and sensor chain was constructed in order to evaluate the possibility of obtaining touch location. The findings in this study showed that the shape, size and yarn type had the most distinct influence on the sensor performance in regards to the resistance-pressure relationship. In an additional recovery test the results indicated that both textile substrate and stitch length could influence the ability to recover to its original shape after applying cyclic pressure. It was also found that the new pattern design performed equally to the conventional pattern designs and at the same time reduced material consumption as well as the embroidery time. The sensor matrix and sensor chain could display a change in resistance when applying a weight at each sensing element, implying that touch location could be detected, but would need further development in construction before potential implementation.

The outcome of my thesis is airy relief in the form of a spreaded Kyjov´s women's folk costumes. It is made up of embroidery and lace, which gets their original lightness without underlying substance.The white color, I have used, strenghts this feeling. All parts are printed by the ABS plastic. I follow the transformation of hand-made embroidery on the machine-made one with this. 3D printing is another entirely fictitious step for me. Just as the embroidery machine adjusts stitches according to their outline, as well as 3D printer has its own structure of applying material.

Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.

O objetivo desta pesquisa é analisar o ensino de bordados e outros trabalhos em suportes têxteis dentro do sistema educacional desenvolvido a partir da segunda metade do século XIX e início do XX, dando particular atenção ao ensino confessional das escolas da Congregação São José de Chambéry. A presente pesquisa analisa como os trabalhos manuais de agulha possuem uma larga identificação com a mulher. Estes trabalhos ajudaram na construção de uma imagem de feminilidade, participando ativamente na formação da identidade de gênero. O século XIX reconheceu a escola como um espaço privilegiado de difusão dessas tradições femininas. Para as mulheres, a escolaridade surge com a importante missão de formar a esposa, a mãe e, com isso, sedimentar os ideais da nação. Neste projeto educacional, o currículo reserva uma particularidade, o ensino exclusivo de trabalhos de agulha para as escolas do sexo feminino. Acreditamos que este particularismo seja revelador de como os trabalhos de agulha eram vistos como o instrumento perfeito para a construção desta feminilidade, e, nas escolas confessionais, como veículo de inculcação dos valores cristãos reformadores do ultramontanismo. / The objective of this research is to analyse the teaching of embroidery and other works in textile production inside the educational system developed from the second half of the 19th and beginning of the 20th centuries, directing particular attention to the confessional education of the schools of the Congregation Saint-Joseph of Chambéry. The present research analyses how needle crafts have a wide identificiation with women. These works have helped on the construction of an image of femininity, taking active part on the formation of the gender identity. The 19th century recognized the school as a privileged space for diffusion of these female traditions. To women, scholarity emerges with the important mission of forming the wife, the mother and, with it, found the ideals of the nation. On this educational project, the curriculum reserves one particularity, the exclusive education of needle works to schools of the female sex. We believe this particularity to be revealing proof of how needleworks were seen as the perfect instrument for the constructing of femininity, and, in confessional schools, as an inculcation vehicle for the reformative Christian values of ultramontanism.

Jules Laforgue (1860-1887) envisage les nouvelles des "Moralités légendaires" comme de « vieux canevas brodés d’âmes à la mode ». Il inscrit ainsi son œuvre au cœur même de la Bibliothèque. Toutefois, contrairement à ce que sa formule pourrait laisser penser, il ne se contente pas d’y écrire des variantes parodiques de "Hamlet", de l’"Histoire de sainte Élisabeth de Hongrie", de "Lohengrin", d’« Hérodias » et des "Métamorphoses" : non seulement il puise la matière de ses récits dans plusieurs dizaines de textes – et pas uniquement dans ces hypotextes –, mais ceux-ci, pour la plupart, ne font pas l’objet d’une mise à distance critique à visée comique. L’impression première qui se dégage du volume, celle d’un ouvrage léger dans lequel les héros sont ridiculisés, les références mêlées et les traditions soumises à un relativisme généralisé, n’est qu’une façade destinée à duper un certain type de lecteur et à dissimuler le sens profond du texte. Ce dernier ne se révèle qu’à l’issue d’une lecture intertextuelle érudite qui, en acquérant une connaissance précise des livres lus par Jules Laforgue, met au jour un principe de réécriture reposant sur la reconnaissance préalable d’analogies entre les différentes œuvres. L’auteur pratique une lecture imaginative – au sens où l’imagination est, pour Charles Baudelaire, l’art de saisir les rapports – et retient des textes-sources les éléments qui résonnent en lui. Leur mise en présence dans les "Moralités" s’avère alors cohérente et le volume apparaît comme une véritable broderie intertextuelle ; chaque fil – chaque œuvre – conserve sa singularité mais tous participent à l’élaboration d’un motif unique : l’expression, par le truchement de la fiction et de la voix des autres, du questionnement existentiel de Jules Laforgue. / Jules Laforgue (1860-1887) said that the novellas of "Moralités légendaires" were « old canvasses embroidered with fashionable souls », thus placing his work at the heart of the Library. But, contrary to what we may think when reading his definition, he does not merely write parodies of "Hamlet", of the "Histoire de sainte Élisabeth de Hongrie", "Lohengrin", « Hérodias » and the "Metamorphoses" : the tales’ material comes not exclusively from these hypotexts, but from dozens of other texts, which are seldom rewritten from a critical and comical point of view. The reader’s first impression of a light work where heroes are ridiculed, references blended and traditions relativized is that of a mere charade intended to dupe a certain kind of reader and to prevent him from understanding the text thoroughly. However, the true meaning of such works only reveals itself through an intertextual reading, which requires precise knowledge of the books that Jules Laforgue read. Only then does one realise that he is rewriting texts amongst which he has seen various links. His own reading is an imaginative one – insofar as, according to Charles Baudelaire, imagination is the art of detecting connections that are not obvious – and he borrows from the intertexts the elements that call forth echoes in his mind. He then assembles them in the "Moralités" in a coherent way. Thus, the book can be seen as a true intertextual embroidery ; each thread – each work – retains its idiosyncrasy but they all contribute to a single design : the expression, through the art of fiction and the voices of others, of Jules Laforgue’s existential questioning.