<p> This dissertation examines the art and material culture of the Anglo-American cotton trade in the nineteenth century to consider how these transnational processes influenced different modes of production: artistic, industrial and textile. The Anglo-American cotton trade's importance in the nineteenth century rested on the Atlantic slave trade and its aftereffects. Therefore this study foregrounds the centrality of African American history and culture to the trade's structures of exchange, encounter and transmission as they inflected nineteenth-century British and American artistic production and industrial expansion. In four chapters beginning in 1840 and ending at the beginning of the twentieth century, I juxtapose the work of contemporary artists with historical case studies. I argue that these contemporary artists &ndash; Leonardo Drew, Lubaina Himid and Yinka Shonibare &ndash; offer new interpretive frameworks for approaching the transactional and transnational contexts of nineteenth-century British, American and African American art and material culture.</p><p> Chapter one focuses on the relationship between plantations in the American South and New England, using prints, paintings and textiles that reveal the plantation and factory to be connected landscape. I trace how cotton's movement shaped constructions around place, and materialized connections between communities of labor in antebellum America. Chapter two opens with Lubaina Himid's <i> Cotton.com</i> (2002) and expands the historical relationship of plantation and factory out across the Atlantic. Centralizing Eyre Crowe's <i>Slaves Waiting for Sale, Richmond, Virginia</i> (1861) and the export of printed cotton from Manchester, it examines the convergence of the trade in cotton with the trade in slaves. It considers how these market relations shaped the commodification of the enslaved body, British experiences of factory labor, and Manchester production of printed cloth for consumers across the globe. Chapter three begins with Leonardo Drew's <i>Number 25</i> to consider the tensions between materiality and abstraction in the production and commodification of cotton and art objects. I then examine paintings by Edgar Degas, <i> A Cotton Office in New Orleans</i> (1873), and Winslow Homer, <i> The Cotton Pickers</i>, (1876) to explore how these artists negotiated the status of cotton as a global commodity and grappled with the changing networks, of labor, production and commerce in postbellum America. Eyre Crowe's painting of factory workers in Lancashire, <i>The Dinner Hour, Wigan </i> (1874) concludes this section, which examines how the international market for cotton was influencing the representation and experience of industry in north west England. My final chapter, commencing with an installation by Yinka Shonibare MBE <i>Scramble for Africa</i> (2003), focuses on the commercial logic and visual rhetoric of three Southern international exhibitions. I examine how these exhibitions constructed the South &ndash; through visions of cotton plantations and black cotton pickers &ndash; as a space for domestic colonial expansion. Alongside this I look at the ways Africa was being constructed as a new cotton market &ndash; both as a site of cultivation and a site of consumption. In both sections I underscore how the language of commerce, colonialism and cotton shaped particular constructions of space and meanings around the African, and African American body. I conclude with the work of Meta Warrick Fuller to briefly examine how black Americans dismantled these tropes of exclusion, signified by cotton, to project claims for equality.</p><p> The project argues that the art works under examination here draw on an economic language to visualize particular ideas and constructions around labor, production and race in three ways. It traces the contours of a market-driven aesthetic in the ways cotton was used to illustrate or materialize connections to a circulating economy of goods. It describes how cotton's movement shaped the construction of imagined geographies around sites of labor and spaces of consumption. And it sketches out the speculative vision that emerged throughout the nineteenth century in the material and metaphorical associations of cotton, commerce and African American identity. In revealing the representational possibilities of cotton in this way, this dissertation looks at understudied objects to consider the nuanced ways that local cultural forms have, historically, intersected with global processes in the Atlantic world. It centralizes the experience of African Americans, within an Anglo-American culture of exchange and its relationship to a global network of trade and transmission. In doing so it seeks to reframe the ways we might approach historical processes of visuality and perception in the long nineteenth century in order to create a more global, or at least transnational, perspective on the art of this period. </p>

The purposes of this study were to investigate if fashion leaders and fashion followers differ in their attitudes toward buying imported and domestic clothing products, and if fashion leaders and fashion followers differ in their levels of ethnocentrism. The study was conducted through the use of a mailed questionnaire. The target population for this study was female consumers between 18 and 99 years of age living in the state of Florida, randomly selected from a commercially available list of consumers. Data were collected in February and March 1994. A total of 641 female consumers completed and returned useable questionnaires. / Results indicated that fashion leaders as well as fashion followers had a more positive attitude toward buying domestic clothing than toward buying imported clothing. Also, fashion leaders had a more positive attitude than fashion followers toward both domestic and imported clothing products. In addition, fashion followers, in general, were severe regarding imported products, whereas fashion leaders seemed to have a more "moderate" opinion toward them. / Concerning the level of ethnocentrism, no significant difference was found between fashion leaders and followers on this regard. It seems that the age of the respondent was a more determinant factor on ethnocentrism regardless of being a fashion leader or not. / Source: Dissertation Abstracts International, Volume: 55-12, Section: B, page: 5549. / Major Professor: Mary Ann Moore. / Thesis (Ph.D.)--The Florida State University, 1994.

<p> Commercially available Ga⁺ focused ion beam (FIB) instruments with nanometer size probe allows for in situ materials removal (sputtering) and addition (deposition) on a wide range of material. These spatially precise processes have enabled a wide range of nanofacbrication operations (e.g. specimen preparation for analysis by scanning electron microscope, transmission electron microscope, and secondary ion mass spectrometer). While there exists an established knowledge of FIB methods for sample preparation of hard materials, but FIB methodology remain underdeveloped for soft materials such as biological and polymeric materials. </p><p> As FIB is increasingly utilized for specimen preparation of polymeric materials, it is becoming necessary to formulate an information base that will allow established FIB techniques to be generalized to this spectrum of materials. A thorough understanding of the fundamental ion-solid interactions that govern the milling process can be instrumental. Therefore, in an effort to make the existing procedures more universally applicable, the interrelationships between target material, variable processing parameters, and process efficiency of the milling phenomena are examined. The roles of beam current, distance (i.e. step size) between successive FIB beam dwell and the time it spent at each dwell point (i.e. pixel dwell time) are considered as applied to FIB nanomachining of four different thermoplastic polymers: 1. low density polyethylene (LDPE), 2. high density polyethylene (HDPE), 3. Polystyrene (PS), and 4. nylon 6 (PA6). Careful characterization of such relationships is used to explain observed phenomena and predict expected milling behaviors, thus allowing the FIB to be used more efficiently with reproducible results. Applications involving different types of polymer composite fiber are presented.</p>

In the past three decades, textile fiber production has grown more than twofold, reflecting an increasing demand for both fossil and natural resources (Turley et. al., 2009, p.9) resulting in the intensification of environmental impacts such as water scarcity, abiotic depletion, and toxic pollution. Although potentially disruptive technology such as three-dimensional printing (3DP) can eliminate entire supply chain components and potentially reduce energy and water in textile and apparel production, 3DP as an application for clothing production is still at its nascent stage of development––the world’s first 3D-printed garment being created only in 2010. As prevention is preferable to mitigation, it is timely to examine key environmental impacts of potentially disruptive technology in advance of its proliferation. By using environmental management tools such as ISO14044:2006 and the life cycle inventory analysis (LCI) method to identify hotspots for two key impact areas––water and energy consumption––of prevalent 3D printing methods versus that of the conventional cut-and-sew method in clothing production, environmental sustainability parameters can then be established to target underperforming areas and improve the design, manufacture, use, and disposal of future garments. Using one standard T-shirt as a functional unit, this meta-life cycle inventory analysis will compare the energy and water demands of using three main AM techniques––selective laser sintering (SLS), fused deposition modeling (FDM), and field guided fabrication (FGF)––against that of using the conventional cut-and-sew method to create one standard T-shirt out of six most representative materials.

This research documents and discusses the reactions of a family of Dine (Navajo) weavers who were asked to examine selected Dine textiles in the Arizona State Museum's collection. Although the ways Dine weavers perceive their creations is not the focus of many studies, this research explores their aesthetics to gain a greater understanding of the weaving tradition. Building on cross-cultural interviewing techniques that originally used photographs, this study uses a selection of museum textiles to explore Dine aesthetics. The results address Dine weavers' views of the meanings and changes in Dine textile designs, the significance of the process of weaving, and the motivational forces that fuel this tradition.

The effects of cure time, cure temperature, and air circulation on the release of 4-phenylcyclohexene (4-PCH) in tufted carpet backed with carboxylated styrene-butadiene rubber (SBR) latex were examined in this research project. 4-PCH is a suspect cause of certain "building-related" illnesses such as headache, upper respiratory and eye irritation, and fatigue. A standardized method for preparing carpet backed with SBR latex and analyzing its 4-PCH content was developed. The cure parameters investigated included three cure temperatures (225, 250 and 275°F), six cure times (0, 5, 10, 20, 40 and 60 minutes), and three air circulation rates (zero, three air exchanges per minute, and ten air exchanges per minute with 1500 linear feet per minute airflow). Increased airflow (1500 linear feet per minute) over the carpet surface produced the greatest impact on 4-PCH release from carpet. Increasing the cure temperature and cure time also significantly increased the release of 4-PCH.

<p> Growing concerns over the environmental and social impacts related to the production of clothing and textiles have created a need for more discussion about supply chain practices. Currently, there are no guidelines or strategies for addressing sustainable supply chains in the apparel industry that minimize environmental impacts and uphold socially responsible practices. This exploratory case study traces an apparel supply chain, with a focus on cotton, in South Africa that is under a development strategy to create a sustainable supply chain from farm to retail. In-depth interviews were conducted across the supply chain, including cotton farmers, cotton gins, a cotton yarn manufacturer, a textile mill, an apparel manufacturer, and a retailer. The purpose of the study was to gain an understanding of the business decisions at each node of the supply chain that influence the economic, social and environmental dimensions of sustainability by applying the triple top line model (McDonough &amp; Braungart, 2002). This study identifies strengths and weaknesses in sustainable practices that adhere to the triple top line model within each node of the supply chain. Results found economic factors were drivers for good social and environmental practices, with the latter being the smallest segment of the three. The study makes recommendations for improving practices at each node of the supply chain and recommendations for strategies for developing sustainable apparel supply chains.</p>

No description available.

A tapeçaria é uma das formas mais antigas de tecelagem. Esse tipo de tecido possibilita a criação de imagens complexas e suas técnicas e origem são um grande mistério na história geral. A produção têxtil no Peru vem de por volta de 8000 anos a. C. e ao longo da história da região, diferentes culturas desenvolveram a tecnologia têxtil até a chegar à tecnologia manual que temos hoje. As culturas Moche e Chimú viveram na costa norte peruana e desenvolveram técnicas de tecelagem, dentre elas a tapeçaria, que são realizadas até hoje no país, com desenhos antigos e desenhos novos. Os objetivos deste estudo foram: investigar a manufatura de tapeçarias dos séculos XIII à XVI no Peru, distinguindo entre as culturas Mochica e Chimú; demonstrar como a tecnologia manual da produção têxtil, foi empregada nas artes têxteis de Elena Izcue e nas tapeçarias de Maximo Laura, mostrando uma continuidade do povo peruano em usar a mesma temática de seus ancestrais e demonstrar como as técnicas ancestrais são usadas hoje para manter comunidades que permanecem utilizando elementos culturais tradicionais e como eles utilizam a manufatura para permanecer com uma identidade cultural e agregar valor aos têxteis produzidos no Peru. Foi realizada uma pesquisa documental e visitas de campo nos sítios arqueológicos e eventos utilizados para manter as técnicas ancestrais ativas. A revisão bibliográfica gerou uma discussão que possibilitou a comparação entre as duas culturas, que apesar de semelhantes em seus desenhos tinham diferenças nas técnicas para produção têxtil, a comparação de Elena Izcue e Maximo Laura no uso dos motivos pré-colombianos em suas obras e a demonstração, através de teóricos clássicos dos estudos culturais, de que as técnicas tradicionais de manufatura têxtil são uma forma de identidade cultural. Foi possível concluir que as atividades tradicionais são uma forma de manter o modo de vida dos povos que vivem em comunidades interioranas e que ainda hoje preservam os rituais e tradições de seus antepassados; que a identidade cultura peruana está atrelada a atividade de produção têxtil manual / Tapestry is one of the oldest forms of weaving. This type of fabric enables the creation of complex images. Their techniques, and origin, are a great mystery in general history. The textile production in Peru comes from around 8000 years a. C. and throughout the history of the region, different cultures have developed the textile technology until the manual technology that we have today. The Moche and Chimú cultures lived on the northern Peruvian coast and developed weaving techniques, among them tapestry, which are held until today in the country, with old designs and new designs. The objectives of this study were: to investigate the manufacture of tapestries from the 13th to 16th centuries in Peru, distinguishing between the Mochica and Chimú culture; demonstrate how the manual technology of textile production was used in the textile arts of Elena Izcue and in the tapestries of Maximo Laura, showing a continuity of the Peruvian people in using the same theme of their ancestors and demonstrating how the ancestral techniques are used today to maintain communities who remain using traditional cultural elements and how they use manufacturing to remain with a cultural identity and add value to the textiles produced in Peru. Documentary research and field visits were carried out at the archaeological sites and events used to keep the ancestral techniques active. The literature review generated a discussion that allowed the comparison between the two cultures, which although similar in their drawings had differences in techniques for textile production, the comparison of Elena Izcue and Maximo Laura in the use of pre-Columbian motifs in their works and the demonstration, through classical cultural studies theorists, that traditional textile manufacturing techniques are a form of cultural identity. It was possible to conclude that traditional activities are a way of maintaining the way of life of the peoples who live in interior communities and who still today preserve the rituals and traditions of their ancestors; that the Peruvian identity is linked to the activity of manual textile production

A tapeçaria é uma das formas mais antigas de tecelagem. Esse tipo de tecido possibilita a criação de imagens complexas e suas técnicas e origem são um grande mistério na história geral. A produção têxtil no Peru vem de por volta de 8000 anos a. C. e ao longo da história da região, diferentes culturas desenvolveram a tecnologia têxtil até a chegar à tecnologia manual que temos hoje. As culturas Moche e Chimú viveram na costa norte peruana e desenvolveram técnicas de tecelagem, dentre elas a tapeçaria, que são realizadas até hoje no país, com desenhos antigos e desenhos novos. Os objetivos deste estudo foram: investigar a manufatura de tapeçarias dos séculos XIII à XVI no Peru, distinguindo entre as culturas Mochica e Chimú; demonstrar como a tecnologia manual da produção têxtil, foi empregada nas artes têxteis de Elena Izcue e nas tapeçarias de Maximo Laura, mostrando uma continuidade do povo peruano em usar a mesma temática de seus ancestrais e demonstrar como as técnicas ancestrais são usadas hoje para manter comunidades que permanecem utilizando elementos culturais tradicionais e como eles utilizam a manufatura para permanecer com uma identidade cultural e agregar valor aos têxteis produzidos no Peru. Foi realizada uma pesquisa documental e visitas de campo nos sítios arqueológicos e eventos utilizados para manter as técnicas ancestrais ativas. A revisão bibliográfica gerou uma discussão que possibilitou a comparação entre as duas culturas, que apesar de semelhantes em seus desenhos tinham diferenças nas técnicas para produção têxtil, a comparação de Elena Izcue e Maximo Laura no uso dos motivos pré-colombianos em suas obras e a demonstração, através de teóricos clássicos dos estudos culturais, de que as técnicas tradicionais de manufatura têxtil são uma forma de identidade cultural. Foi possível concluir que as atividades tradicionais são uma forma de manter o modo de vida dos povos que vivem em comunidades interioranas e que ainda hoje preservam os rituais e tradições de seus antepassados; que a identidade cultura peruana está atrelada a atividade de produção têxtil manual / Tapestry is one of the oldest forms of weaving. This type of fabric enables the creation of complex images. Their techniques, and origin, are a great mystery in general history. The textile production in Peru comes from around 8000 years a. C. and throughout the history of the region, different cultures have developed the textile technology until the manual technology that we have today. The Moche and Chimú cultures lived on the northern Peruvian coast and developed weaving techniques, among them tapestry, which are held until today in the country, with old designs and new designs. The objectives of this study were: to investigate the manufacture of tapestries from the 13th to 16th centuries in Peru, distinguishing between the Mochica and Chimú culture; demonstrate how the manual technology of textile production was used in the textile arts of Elena Izcue and in the tapestries of Maximo Laura, showing a continuity of the Peruvian people in using the same theme of their ancestors and demonstrating how the ancestral techniques are used today to maintain communities who remain using traditional cultural elements and how they use manufacturing to remain with a cultural identity and add value to the textiles produced in Peru. Documentary research and field visits were carried out at the archaeological sites and events used to keep the ancestral techniques active. The literature review generated a discussion that allowed the comparison between the two cultures, which although similar in their drawings had differences in techniques for textile production, the comparison of Elena Izcue and Maximo Laura in the use of pre-Columbian motifs in their works and the demonstration, through classical cultural studies theorists, that traditional textile manufacturing techniques are a form of cultural identity. It was possible to conclude that traditional activities are a way of maintaining the way of life of the peoples who live in interior communities and who still today preserve the rituals and traditions of their ancestors; that the Peruvian identity is linked to the activity of manual textile production