Craft Research最新文献

{"title":"Marie Segares (2020), ‘Frazier the Frog’. © M. Segares.","authors":"","doi":"10.1386/crre_00062_7","DOIUrl":"https://doi.org/10.1386/crre_00062_7","url":null,"abstract":"","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43311199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preserving cultural craft heritage: Digitizing a traditional Syrian clothing collection","authors":"Monica Sklar, Katherine Hill McIntyre, S. Autry","doi":"10.1386/crre_00055_1","DOIUrl":"https://doi.org/10.1386/crre_00055_1","url":null,"abstract":"This project explores the importance of the preservation of diverse private collections of crafted artefacts, and specifically improving digital access. The focus is on the transformation of an assemblage of 100 Syrian garments held in the United States into a museum-quality, publicly\u0000 accessible archive. Private collections that are not financially endowed face various challenges, including their culturally valuable content being inaccessible and underseen. The goal of archiving and exhibiting this collection of garments is to share Syria’s dress and craft history\u0000 as a form of identity, community, economy, artistic expression and technological development. Each item is unique, representing an everyday life that no longer exists. As people moved to new geographical locations, craft traditions were not always carried with them. Consequently, the garments\u0000 and accessories in this collection feature dyeing techniques, metalwork and symbolic representations of different generations of Syrian people from this ancient to present civilization. Throughout the research process, we learned to synthesize the core issues of contemporary craft heritage\u0000 management, with an initial goal to build a new digital archiving method and template to benefit small or private collections outside of institutions. First, we determined how to do so using affordable and accessible tools, in line with manageable industry standards. Digital photography, metadata\u0000 development, object labelling, and anecdotal interviews complement the existing collection information. The long-term goal is the dissemination of the collection through exhibitions, interactive websites, symposiums and publications. Museums are working harder to diversify their collections,\u0000 and many private collections represent marginalized cultures or do not fit within the established parameters of public institutions. This study touches upon the disparate and specific needs of private versus public collecting, and how to bridge some of the gaps using standardized digitization\u0000 techniques towards similar preservation and outreach goals.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48386656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘I’m not a doctor, but I can sew a mask’: The face mask home sewing movement as a means of control during the COVID-19 pandemic of 2020","authors":"Addie K. Martindale, Charity Armstead, E. McKinney","doi":"10.1386/crre_00050_1","DOIUrl":"https://doi.org/10.1386/crre_00050_1","url":null,"abstract":"As the COVID-19 pandemic emerged, a widespread shortage of personal protective equipment (PPE) specifically N95 face masks were exposed. This need was quickly answered by home sewers who did not hesitate to answer the request of medical professionals to help fill the PPE shortage. As\u0000 the United States entered a national quarantine, home sewers turned to social media, specifically Instagram to share their participation and communicate the need to recruit others to join them in their mask sewing efforts. This research aimed to interpret the Instagram post messages shared\u0000 to understand the motivations of participation in mask sewing efforts. Social media hashtags were used to identify the messages related to home sewing face masks for the pandemic. A netnographic qualitative research approach uncovered five overarching themes: this is helping me, call to action,\u0000 do it right, rising to the occasion and I’m ready for this.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47994629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The role of the state in saving Paitker painting in Jharkhand","authors":"G. Kumari, Abhaya Ranjan Shrivastava","doi":"10.1386/CRRE_00041_1","DOIUrl":"https://doi.org/10.1386/CRRE_00041_1","url":null,"abstract":"This study investigates the background of Paitker painting in Jharkhand, India, and the role of the state in saving it. Paitker painting is more than 500 years old. It is exclusively practised by the Chitrakar community in Amadobi village, a tradition that had been encouraged by the emperors of the Dhalbhum dynasty (1300 ad). Today, Paitker painting is on the verge of vanishing as there are only 45 families left in the Chitrakar community of whom only two are keeping this rare art practice alive. Most have left their community and practice, and migrated to cities to find a more sustainable livelihood. The study adopted an exploratory research design using a qualitative research approach and oral narrative analysis. Four officials of Jharcraft, artisans and policy-makers were interviewed to understand the progress made by the government in saving Paitker painting. Additionally, secondary data was collected to better understand the cultural significance of Paitker painting, the socio-economic value of Paitker for the Chitrakar community and handicraft marketing processes within and outwith India. The main findings of the study reveal that clarity was lacking in the conservation approach and that additional government policy support was needed. The most significant initiatives of the state to date include training and e-retailing through the Jharcraft web-platform. The study found that improving the infrastructure and better promotional efforts to improve marketing, nationally and internationally, could improve the sustainability of Paitker painting in an effort to save it.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46564266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Emerging DIY activities to enable well-being and connected societies","authors":"K. Niinimäki, Marium Durrani, C. Kohtala","doi":"10.1386/CRRE_00038_1","DOIUrl":"https://doi.org/10.1386/CRRE_00038_1","url":null,"abstract":"In recent years we have witnessed an emergence of various do-it-yourself (DIY) activities in urban spaces. This article aims to shed light on these DIY activities in Helsinki, particularly within the textile and garment sector. Six DIY groups were selected, their organizers interviewed, and their respective activities were examined. The aims of this investigation are to understand these activities, the motivations behind them and the implications of making for well-being. The research interest focuses on the collectives and communities Doing It Together (DIT) and Doing It With Others (DIWO) more than individual activities. The main findings indicate that these activities aim to influence well-being at individual, community and societal levels by activating and integrating individuals into the community and society. DIY activities in the current study are based on sustainability-oriented values; they indicate how consumers enter into slower fashion consumption and how designers exercise more meaningful and fluid expertise in design practice. We argue that DIY activities, while niche, are strongly embedded locally, can drive change towards enhanced sustainability and well-being in urban contexts and can even contribute to the aspect of more connected societies.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48188429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The importance of sensorial empathy and the language of touch when crafting textiles for people who are visually impaired","authors":"K. Hunt, Anna Piper, Georgie Worker","doi":"10.1386/crre_00015_1","DOIUrl":"https://doi.org/10.1386/crre_00015_1","url":null,"abstract":"Abstract This article reflects upon a pilot project crafting textile samples/prototypes for people who are visually impaired. It explores the role that sensorial empathy and further understanding of the language of touch play in the textile crafting process for makers working\u0000 with people who are visually impaired, and that aesthetic and experiential textiles (while important to all) are especially important to people who are visually impaired. The project undertakes craft research in an area that is generally overlooked by textile designers. The makers/participants\u0000 were sighted second-year undergraduate textile design students at Nottingham Trent University and the end users, who acted as informants, were service users at My Sight Nottinghamshire (a charity in the United Kingdom addressing visual impairment). The project is situated within human-centred\u0000 design, with a focus on physically intuitive designs crafted for people with visual impairments. The application and usage of the samples/prototypes are aimed at inclusivity, with engagement centred primarily around haptic touch, and so looking at the textiles may not reveal their potential\u0000 application, which becomes more apparent through physical engagement. The project was inspired by work within sensory studies, including the concept of sensorial empathy, and research relating to the language of touch through tactile encounters with art objects from a visually impaired perspective.\u0000 The methods used in the project drew upon empathic design processes, which were informed by sensory ethnography ‐ particularly 'emplacement' and the holistic consideration of mind, body and place ‐ and selected aspects of social haptics, particularly 'environmental description'.\u0000 Recommendations include further development of the language of touch to support textile craft when working with people who are visually impaired and further consideration of 'grounding' as a concept regularly described by the informants.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46734152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Under pressure: Psychological perspectives on letterpress, craft and well-being","authors":"Victoria Squire, Sophie R. Homer","doi":"10.1386/crre_00017_1","DOIUrl":"https://doi.org/10.1386/crre_00017_1","url":null,"abstract":"Abstract Arts and crafts are widely considered to be psychologically beneficial. Letterpress, as a traditional method of printing, was made redundant by computers in the later twentieth century but has enjoyed a 'rebirth' in recent years. There are a growing number of independent\u0000 presses, and universities who are recognizing its potential as a pedagogical tool. As a printing method, it is no longer a necessity, so what is its role going forward? The techniques are not lost, but their value has changed. As a craft, letterpress has several distinctive qualities, particularly\u0000 when compared to digital alternatives. When working with letterpress, students are no longer alone at their desks. Rather, the letterpress workshop is a social, communal space. In this article we reflect on the resurgence of letterpress as a celebration of culture and heritage: a coming together\u0000 of like-minded individuals in a community of action. What is the value of enabling students to immerse themselves in letterpress, and what are the effects of this immersion on the practitioner and their well-being? There is a shift in focus of letterpress from output ‐ mass-produced\u0000 printed media ‐ to process. We analyse the unique qualities of this process ‐ its physicality, the restrictions it imposes and the latitude it allows ‐ and explore links to mental and physical health and well-being. This position paper explores the practical, conceptual\u0000 and emotional dimensions of letterpress as a craft. It draws upon personal reflection, observation and anecdotal accounts collected over years of teaching (V. S.), while offering psychological perspectives on the links between letterpress, craft and well-being (S. R. H.).","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41711937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crafting health, well-being and happiness","authors":"K. Townsend, K. Niedderer","doi":"10.1386/crre_00012_2","DOIUrl":"https://doi.org/10.1386/crre_00012_2","url":null,"abstract":"","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43281610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The contemporary western tattooist as a multifaceted practitioner","authors":"A. McDade","doi":"10.1386/crre_00005_1","DOIUrl":"https://doi.org/10.1386/crre_00005_1","url":null,"abstract":"Abstract Although tattooing has been vaguely discussed in an academic literature for over a century, it has only received serious scholarly interest in recent decades. The literature that exists is primarily within the contexts of art history, economics and dominantly, social\u0000 sciences. With few exceptions, the emphasis is placed on the modified body or the recipient of the tattoo as the focus of the study, and not the process of cultural production. Tattooing from the perspective of the practitioner, and thus the methods, processes and actions of the tattooist,\u0000 is yet to have gained sufficient focus. As a result, understanding of a creative medium that is a dominant form of cultural consumption is limited, largely deductive and lacking in informed internal voices. This article aims to offer insight into the multifaceted and contingent nature of the\u0000 role of the contemporary western tattooist, which may be understood as a tattooist working in a western context in the twenty-first century. Conducted by a researcher who is also a professional tattooist, the article is informed by a multimethod methodology combining a contextual review with\u0000 practical research and autoethnography. Drawing upon professional practice to provide elucidation, a lens for partially understanding the contingent role of the tattooist in pragmatic multiplicity of a visual artist, a designer and a craftsperson is proposed. Specific attention is paid to\u0000 the notion of craft in accordance to the criteria of the supplemental, material and skill proposed by Adamson to exemplify when the tattooist can be understood as performing the action of a craftsperson. The role of the contemporary western tattooist has been either assumed, ignored or studied\u0000 without the necessary resources or methodologies within conventional disciplinary approaches. In introducing an insider practitioner perspective into the current dialogue, tattooing may be better understood and researched in the avenues in which it has previously been studied, while also being\u0000 introduced into the broader craft, design and arts academic discourse.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48275973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"When heritage laws and environmental laws collide: Artisans, guilds and government support for traditional crafts in Tokyo","authors":"Robert Pontsioen","doi":"10.1386/crre_00003_1","DOIUrl":"https://doi.org/10.1386/crre_00003_1","url":null,"abstract":"Abstract This article examines the legislative basis and operational effectiveness of the national and prefectural systems for designating and promoting traditional crafts in Tokyo. Traditional artisans participate in these systems primarily through their involvement in kumiai\u0000 ('artisan guilds'), whose historical background and organizational structure are briefly summarized. To evaluate the usefulness of government support for contemporary craft practitioners, four broad and interrelated categories of kumiai activities are examined: promoting craft business, maintaining\u0000 and enhancing craft skills and product quality, securing the future of craft traditions, and procuring craft materials. These goals are reflected in the frameworks of national and prefectural legislation that aims to support the efforts of kumiai. However, these goals and the resulting legislation\u0000 have created a sustained discourse of tension palpably felt by many crafters themselves: the clash between laws designed to protect or promote 'traditional' crafts and other laws that aim to safeguard ecology or animal welfare. Examination of this tension as it is understood and discussed\u0000 by artisans themselves reveals that, although the positive impact of traditional craft designation systems is widely recognized, it is also perceived that incompatible environmental protection laws can negatively affect their business and threaten the long-term sustainability of craft traditions.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48360314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}