tag:blogger.com,1999:blog-77777276131608601642024-03-14T01:57:15.393+11:00craft + design enquiry journalAn open access, peer-reviewed journal promoting and disseminating research excellence about craft and design.Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.comBlogger44125tag:blogger.com,1999:blog-7777727613160860164.post-84210781612847703692015-11-13T19:15:00.001+11:002015-11-13T19:15:11.291+11:00Landscape, Place and Identity in Craft and Design NOW ONLINE <br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Issue 7 (2015) <b>Landscape, Place and Identity in Craft and Design</b> edited by Kay Lawerence </span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
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</xml><![endif]--><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 115%;">
This issue publishes 8 papers by Sue Kneebone, Sera Waters, Tom Lee, Peta
Carlin, Rowan Bailey and Claire Barber, Panita Karamanea, Alice Lewis and an
open section submission from Simona Segre Reinach.</span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">NOW AVAILABLE ONLINE</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-7-2015-landscape-place-and-identity-in-craft-and-design/" target="_blank">http://press.anu.edu.au/titles/craftdesign-enquiry/issue-7-2015-landscape-place-and-identity-in-craft-and-design/ </a></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>craft + design enquiry </i>is open access (FREE to view online and FREE to download) or available in print-on-demand hard copy $33 from <a href="http://craft + design enquiry is open access (FREE to view online and FREE to download) or available in print-on-demand hard copy $35 from ANU Press." target="_blank">ANU Press</a>. </span><br />
<br />
<div class="Body-Text-No-Indent">
<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="CharOverride-2">Cover image: </span><span class="CharOverride-3">Salvaging discarded sleeping-bags from the aftermath of Leeds Music Festival, 2010</span><span class="CharOverride-2">. Photo: Claire Barber. </span></span></span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-42769536080294258942015-10-08T08:21:00.003+11:002015-10-08T08:22:43.986+11:00craft + design enquiry: Change of Status<!--[if gte mso 9]><xml>
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<span lang="EN-US" style="font-size: large;">craft + design enquiry: change of status</span></h1>
<div class="MsoNormal">
<span lang="EN-US" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;">Due to non-receipt of funding from the Australia
Council for the Arts in 2015, the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">craft + design enquiry</i></b> Editorial
Board is seeking more stable support for the ongoing operations of the journal.
These investigations will mean a hiatus in <i style="mso-bidi-font-style: normal;">craft
+ design enquiry</i>’s publishing schedule.</span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 14.0pt;"></span></i></b></div>
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<br /></div>
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<span lang="EN-US" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;">The Call for Papers for Issue 8 (2016–17) is on
hold until further notice. Future announcements about Calls for Papers will be
published on the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">craft + design enquiry</i></b> blog. </span><span lang="EN-US"></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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<![endif]-->Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com5tag:blogger.com,1999:blog-7777727613160860164.post-85429642594532899472015-01-06T16:00:00.001+11:002015-01-06T16:00:32.863+11:00The symmetry of khayamiya and quilting: International relations of the Egyptian tentmakers<span style="font-family: Arial, Helvetica, sans-serif;">The symmetry of <span class="Emphasis char-style-override-12">khayamiya</span> and quilting: International relations of the Egyptian tentmakers</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Sam Bowker</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUB57wjJw0ur6wqvFjs4t5ZzN0MZ2XnOXRAP33tjcHJnhyrNemPyEgDpplP-wd7jqDb5s7sLHnip5kO9xIJAoWp4kEtCu4rPAvrt6xE3i1l2uN2WWQjGX8V0UcAagwKCRpWWUhh_UiELf/s1600/008Figure2_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUB57wjJw0ur6wqvFjs4t5ZzN0MZ2XnOXRAP33tjcHJnhyrNemPyEgDpplP-wd7jqDb5s7sLHnip5kO9xIJAoWp4kEtCu4rPAvrt6xE3i1l2uN2WWQjGX8V0UcAagwKCRpWWUhh_UiELf/s1600/008Figure2_fmt.png" height="406" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"> <span class="Emphasis char-style-override-8">Khayamiya</span> in local context, prior to an event in the City of the Dead, Cairo, 2007</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Photo: Jenny Bowker</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="Emphasis char-style-override-8"><b>Abstract</b> </span>The tentmakers of Cairo or <span class="Emphasis char-style-override-8">khayamin</span> (derived from the Arabic word for tent, <span class="Emphasis char-style-override-8">khayam</span>), can demonstrate ongoing engagement with changes in the usage, composition and production of their traditional craft: <span class="Emphasis char-style-override-8">khayamiya</span> (Egyptian tentmaker appliqué). These changes have resulted in new patronage from quilters, moving <span class="Emphasis char-style-override-8">khayamiya</span> from a locally marginalised folk product to global recognition as a spectacular Egyptian craft. This collaboration highlights the long-term engagement of non-Egyptian audiences by the tentmakers, who have responded to changing local conditions and attitudes by directing their work to the interests of foreign collectors, rather than the local Egyptian market. In turn, this has prompted new evaluations of their largely unexplored history.<span class="char-style-override-13"><a class="footnote-link" href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch03.xhtml#footnote-13513-1" id="footnote-13513-1-backlink">1</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">By reviewing these changes, it will be shown that contemporary <span class="Emphasis char-style-override-8">khayamiya</span> serve longstanding cultural imperatives that are both Egyptian and non-Egyptian. For over a century the tentmakers have engaged with orientalist imaginations without losing their cultural foundations. Their collaboration with quilters presents a logical continuation of their adaptability to exigencies that has enabled them to sustain their distinctive and diverse craft. In turn, this mutual engagement has resulted in the deeper contextualisation and reappraisal of <span class="Emphasis char-style-override-8">khayamiya</span> as contemporary craft. Read full paper</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Abstract from </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch03.xhtml#toc_marker-6" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">The symmetry of <span class="Emphasis char-style-override-12">khayamiya</span></span></span></a><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch03.xhtml#toc_marker-6" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> and quilting: International relations of the Egyptian tentmakers</span></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 6</span> </span></span><a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank"><span style="color: #2288bb; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Issue 6 2014, Craft.Material.Memory</span></a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">khayamiya, tourist, tentmakers, Egypt, applique, quilt</span> </span>Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-59845157147403421662014-12-10T10:30:00.000+11:002014-12-10T10:30:27.840+11:00The mnemonic qualities of textiles: Sustaining lifelong attachment<span style="font-family: Arial, Helvetica, sans-serif;">The mnemonic qualities of textiles: Sustaining lifelong attachment</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Emma Peters</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLvu1JO-iVSY_1DL8mw79lbxlQJs_sUfEy4pjCYK5dLlEZoyGOvl7PDF2yZDCpx0D7ewjQOk-trvCCpO8NTLxUVfDSmEoXe526Rji3babh5XsSkO3crRICTfioRGnZ-KxvFlphcQhJ5i4N/s1600/010Figure%209_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLvu1JO-iVSY_1DL8mw79lbxlQJs_sUfEy4pjCYK5dLlEZoyGOvl7PDF2yZDCpx0D7ewjQOk-trvCCpO8NTLxUVfDSmEoXe526Rji3babh5XsSkO3crRICTfioRGnZ-KxvFlphcQhJ5i4N/s1600/010Figure%209_fmt.png" height="640" width="606" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Unknown artist, <span class="Emphasis char-style-override-8">Patchwork quilt</span>, n.d., cotton fabric, cotton thread, cardboard backing pieces, 1800 x 2100 mm</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Photo: Danielle Chau</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="Emphasis char-style-override-8">Abstract </span>This paper uses Jonathon Chapman’s theory of emotionally durable design to explore how memory is invested in and lends value to textile artefacts, thus ensuring their enduring preservation. Through an examination of the works of Elisa Markes-Young, John Parkes, Sara Lindsay and Ilka White, the paper argues that a greater understanding of objects with mnemonic qualities provides new ways of challenging object obsolescence for art and design practice, thus offering a model for sustainable design.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Abstract from </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch05.xhtml#toc_marker-8" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The mnemonic qualities of textiles: Sustaining lifelong attachment</span></a><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 6</span> </span></span><a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank"><span style="color: #2288bb; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Issue 6 2014, Craft.Material.Memory</span></a></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">textiles, memory, sustainability, material culture, biography, design</span> </span>Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-46658067706143906652014-11-25T13:54:00.001+11:002014-11-25T13:55:04.801+11:00Experiential collaborations from garment to costume: Play and the thing as design outcome<div class="Chapter-Title" id="toc_marker-11">
<span style="font-family: Arial, Helvetica, sans-serif;">Experiential collaborations from garment to costume: Play and the thing as design outcome</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Martha Glazzard, Sarah Kettley, Tessa Marie Acti and Karen Harrigan</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi1maoQytex2yTeSdjYag6jSm3d3wxuLHs7UvXh3EGRyS9UEVhSxJfAh4H_Pwv4Cd384w8o5mEbjOJYnF6GTsXXFcAjU_Fq2LVgzJPLXecJ9XkpDCPPaRr0fuke2X04TEMcrgtFOalyL5z/s1600/Figure%2012%20First%20encount_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi1maoQytex2yTeSdjYag6jSm3d3wxuLHs7UvXh3EGRyS9UEVhSxJfAh4H_Pwv4Cd384w8o5mEbjOJYnF6GTsXXFcAjU_Fq2LVgzJPLXecJ9XkpDCPPaRr0fuke2X04TEMcrgtFOalyL5z/s1600/Figure%2012%20First%20encount_fmt.png" height="640" width="457" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="Figure-Title">
<span style="font-family: Arial, Helvetica, sans-serif;"> First encounters between dancers and costumes, 2012, photograph of rehearsals</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Photo: Anders Vejen Andersen, courtesy of Anders Vejen Andersen and Ingrid Kristensen</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="Emphasis char-style-override-8"><b>Abstract</b> </span>Nottingham Trent University (NTU) textile, fashion and interaction practitioners were invited to collaborate with a Danish dance group to contribute a collection of costumes for performances concerned with emotion and the senses, with the ultimate aim of understanding the qualities of audience engagement with dance. This paper discusses the designers’ use of play as a methodology, and its relationship to the philosophical notion of the <span class="Emphasis char-style-override-8">thing</span>, or how artefacts are brought into being. This provides a framework for the deliberate attempt to preserve a level of ambiguity in the outcome of the design process, such that the creative engagement of other stakeholders is explicitly supported. Epistemological and methodological developments have been the result of a number of <span class="Emphasis char-style-override-8">differences</span>: between the practices and experiences of the design collaborators; between the conceptualisation of costume as static and a need for something new, yet relevant to the themes of emotion; and between the designers’ intentions and expectations of how a garment might be used, and the dancers’ response to the garments. Outcomes are discussed as moments in a complex and ongoing process, when meanings temporarily coalesce, only to be opened up again. Such a conceptualisation of design has major implications for how we think about methodology, evaluation, material and expertise. <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch08.xhtml#toc_marker-11" target="_blank">Read full paper</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Abstract from </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch08.xhtml#toc_marker-11" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Experiential collaborations from garment to costume: Play and the thing as design outcome</span></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 6</span> </span></span><a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank"><span style="color: #2288bb; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Issue 6 2014, Craft.Material.Memory</span></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">experimental design, collaborative design, play, emotional design, material experimentation, thingliness</span> </span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-44030687958364607542014-11-18T14:39:00.000+11:002014-11-18T14:48:59.712+11:00Reworking the archive: Experimental arts, memory and imagination<span style="font-family: Arial, Helvetica, sans-serif;">Reworking the archive: Experimental arts, memory and imagination.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">By Katherine Moline and Jacqueline Clayton</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU3DoHNgIm-z9oImP6HtP3zSVxUiAxRV6nMRAadX0sF_n9Js5UU-TOcXB-uLjrBzg8qjum9eTH6WdmvbMsqdkTGOSv2TU6l521RrKfIFxepW3CtvieOYRMkm7X6Jb7PECaGnL2txlqODnf/s1600/014Fig5_LegoFarm_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU3DoHNgIm-z9oImP6HtP3zSVxUiAxRV6nMRAadX0sF_n9Js5UU-TOcXB-uLjrBzg8qjum9eTH6WdmvbMsqdkTGOSv2TU6l521RrKfIFxepW3CtvieOYRMkm7X6Jb7PECaGnL2txlqODnf/s1600/014Fig5_LegoFarm_fmt.png" height="425" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Onkar Kular, Noam Toran and Keith Jones, <span class="Emphasis char-style-override-8">Lego farm</span>, 2010</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Photo: Diego Trujillo</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><strong> </strong><span class="Emphasis char-style-override-8"><strong>Abstract</strong> </span>Over the past 50 years institutional critique has become a part of the contemporary programming of museum exhibitions produced by practitioners in design, craft and visual art. Challenges and critiques of orthodoxies in museology have developed in response to changing social practices. This paper considers two site-specific installations, <span class="Emphasis char-style-override-8">I cling to virtue </span>(2010) by Onkar Kular, Noam Toran and Keith R. Jones at the Victoria and Albert Museum, London, and <span class="Emphasis char-style-override-8">Pleased to meet you: introductions by Gwynn Hanssen Pigott</span> (2012–2013) at the Museum of Anthropology, The University of British Columbia, Vancouver. Both works invited visitors to engage with the artists’ invented arrangements and to attend to subjective responses as authoritative readings of museum display. In other words, they questioned institutionally directed interpretation and brought key aspects of globalisation into view. This paper first describes the installations, then places them within the framework of globalisation and the social imaginary proposed by Arjun Appadurai and Cornelius Castoriades. It discusses concepts of the heterogeneity of globalisation within the framework of the social imaginary evoked in the installations and analyses the works in these terms. The replaying of historical material in these works, we contend, questions the negative implications of globalisation. Further, the definition of interdisciplinarity framed by the social imaginary provides fertile ground for reconceptualising specialisation. When seen within the social imaginary, the experimental approach to curatorial and exhibition norms exemplified by the two installations provides intriguing models for intervening in the archives and histories of design, craft and visual art. </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch09.xhtml#toc_marker-12" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Read full paper</span></a><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Abstract from </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch09.xhtml#toc_marker-12" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Reworking the archive: Experimental arts, memory and imagination.</span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: </span> <a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank"><span style="color: #2288bb;">Issue 6 2014, Craft.Material.Memory</span></a></span></span></span><br />
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<span style="font-family: Arial; font-size: x-small;">experimental design, craft, archive, memory, museology, globalisation </span></div>
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Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-54313610400465319692014-11-06T16:37:00.000+11:002014-11-06T16:39:31.895+11:00NAVA Artists' Grants<div class="row regular anchor-heading">
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<span style="font-size: small;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="display: inline !important;">This grant operates in quarterly rounds. Applications for the next round close on midnight <span style="color: red;">Saturday 15 November 2014</span>.</span> </span></span></h3>
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</span><span style="display: inline !important;"><span style="font-family: Arial, Helvetica, sans-serif;">The NSW Artists’ Grant
has been initiated by NAVA to assist professional visual and media arts,
craft and design practitioners residing in NSW to produce, present and
promote their work throughout NSW, interstate and overseas. Funds for
the scheme have been made available by Arts NSW specifically to
encourage the undertaking of creative and cost-effective initiatives.
These funds are to assist directly with the costs associated with the
development and implementation of a project plan, for example: the
production of new creative work; presentation in a venue; travel or
freight; technical assistance; preparation and distribution of a
portfolio; market research; building contacts; creating and maintaining a
database; setting up a website, and/or a publicity campaign. </span><a href="https://visualarts.net.au/nava-grants/" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Read complete details</span></a><span style="font-family: Arial, Helvetica, sans-serif;"> </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">
Australian Artists' Grant
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<span style="display: inline !important;">
<span style="font-size: small;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="display: inline !important;">This grant operates in quarterly rounds. Applications for the next round close on midnight <span style="color: red;">Saturday 15 November 2014</span>.</span> </span></span></span></h3>
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<span style="font-family: Arial, Helvetica, sans-serif;">
</span><span style="font-family: Arial, Helvetica, sans-serif;">This grant <span style="display: inline !important;">provides assistance towards the costs of public presentation for </span><span style="display: inline !important;">professional visual and media arts, craft and design practitioners who are </span><span style="display: inline !important;">Australian citizens or permanent residents. </span><span style="display: inline !important;">This
includes, but is not limited to: advertising; promotional printing;
mail outs; media photographs; media releases; equipment rental; framing;
freight; installation costs; insurance; opening costs; space rental;
technical assistance; travel. Please be aware that this grant does not
provide assistance towards the production of artwork (materials, studio
rental etc).</span> </span><a href="https://visualarts.net.au/nava-grants/" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Read complete details</span></a></div>
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Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-78046748996573294392014-11-04T14:25:00.001+11:002014-11-04T14:39:27.314+11:00DESIGN Canberra 2014<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfj_7Ue_uWyYnaLaQF8c2Rkj3jkbDSG4pxfUZxPkzjvP0qThcYcB7SxlFF1Cj0sQQjKHvbwKaFmKixSrN015cD22WWIQnh-vC5LM73HEIKrfBP7PGr56LFMMO99y9QcSbgUOvhB7LS8ptk/s1600/LOCKUP_Design-Canberra_CMYK72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfj_7Ue_uWyYnaLaQF8c2Rkj3jkbDSG4pxfUZxPkzjvP0qThcYcB7SxlFF1Cj0sQQjKHvbwKaFmKixSrN015cD22WWIQnh-vC5LM73HEIKrfBP7PGr56LFMMO99y9QcSbgUOvhB7LS8ptk/s1600/LOCKUP_Design-Canberra_CMYK72.jpg" height="308" width="640" /></a></div>
<br />
<br />
<b>20 – 23 November 2014, launch 19 November 2014</b><br />
<br />
In 2014 Craft ACT: Craft and Design Centre is launching <a href="http://events.craftact.org.au/design-canberra/" target="_blank"><b>DESIGN Canberra</b></a>,
a four day festival celebrating and promoting Canberra’s vibrant and
diverse design community. Inspired by Canberra’s innovative design
sector, <a href="http://events.craftact.org.au/design-canberra/" target="_blank"><b>DESIGN Canberra</b></a> will host a series of events engaging the Canberra community with craft and design, architecture and the designed city:<br />
Full details and events calendar can be found on the website <b><a href="http://events.craftact.org.au/design-canberra/" target="_blank">DESIGN Canberra</a></b>.Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-26037452541064143402014-10-28T14:36:00.002+11:002014-11-18T14:53:33.313+11:00Les Tricoteuses: The plain and purl of solidarity and protest<div class="Chapter-Title" id="toc_marker-5">
<span style="font-family: Arial,Helvetica,sans-serif;">Les Tricoteuses: The plain and purl of solidarity and protest</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Chapter-Author-9">
<span style="font-family: Arial,Helvetica,sans-serif;">Liz Stops</span></div>
<div class="Chapter-Author-9">
<br /></div>
<div class="Chapter-Author-9">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrz2bQZeKvwEtq873aQcik6SGYmPbSU4doePs2iLvDSfy8MWwVsD9PPNPbKnDitg3r775eAQmPTLHbwe22cnDDCHYZkqzZedbYykTpaaamD5sF8z-OkSJTl1faRqbGPzNcjBFBTC4sWwdL/s1600/007.figure+10_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrz2bQZeKvwEtq873aQcik6SGYmPbSU4doePs2iLvDSfy8MWwVsD9PPNPbKnDitg3r775eAQmPTLHbwe22cnDDCHYZkqzZedbYykTpaaamD5sF8z-OkSJTl1faRqbGPzNcjBFBTC4sWwdL/s1600/007.figure+10_fmt.png" height="456" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="Figure-Title-7">
KNAG banner</div>
<div class="Source-7">
Photo: Clare Twomey 2013</div>
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<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Blockquote-9">
<span style="font-family: Arial,Helvetica,sans-serif;"><b><span class="Emphasis char-style-override-8">Abstract</span></b>
This paper focuses on the use of knitting as a protest tool by the
Knitting Nannas Against Gas (KNAG), a group formed to combat the
development of Unconventional Gas Mining (UGM) in the Northern Rivers of
New South Wales. KNAG is socially and politically motivated, but not
aligned to any political party. The group’s ‘Nannafesto’ emphasises care
for community and country while protesting against corporate greed. I
situate KNAG within a broad historical and contemporary framework of
similarly motivated movements that have used knitting as a tool for
social, cultural and ideological influence. I also elaborate on the act
of knitting as a form of witness bearing, a means to facilitate calm
persistence, a strategy for processing ideas and an instrument for
reinforcing the threads connecting community. <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch02.xhtml#toc_marker-5" target="_blank">Read full paper</a></span></div>
<div class="Blockquote-9">
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Abstract from: <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch02.xhtml#toc_marker-5" target="_blank">Les Tricoteuses: The plain and purl of solidarity and protest</a></span></span></div>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 6</span> <a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank">Issue 6 2014, Craft.Material.Memory</a></span></span><br />
<span style="font-family: Arial; font-size: x-small;"></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Knitting nannas, political, CSG, craft, activism</span> </div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-78420338408642025572014-10-21T13:37:00.000+11:002014-11-18T14:54:17.952+11:00Unfinished business: Craft and revivification <div class="Chapter-Title" id="toc_marker-7">
<span style="font-family: Arial,Helvetica,sans-serif;">Unfinished business: Craft and revivification</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Chapter-Author-10">
<span style="font-family: Arial,Helvetica,sans-serif;">Mae Finlayson and Karen Hall</span></div>
<div class="Chapter-Author-10">
<br /></div>
<div class="Chapter-Author-10">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitO554VkkhnUO__kLxY02EAkEFLwkDBDII56K95-GNofChwapQR7bada33Sz0K3XggzR9yPuVm6gSRE2cE6sDoVchBO_dvOL4zmmw13Sudl_xPORq5RkKFUhMChadCOUFMiKIeYNthteOV/s1600/009Figure3_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitO554VkkhnUO__kLxY02EAkEFLwkDBDII56K95-GNofChwapQR7bada33Sz0K3XggzR9yPuVm6gSRE2cE6sDoVchBO_dvOL4zmmw13Sudl_xPORq5RkKFUhMChadCOUFMiKIeYNthteOV/s1600/009Figure3_fmt.png" height="400" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mae Finlayson, <span class="Emphasis char-style-override-8">All my love, Anon. (stretched doily)</span> (detail), 2013, yarn, pins and embroidery hoop, dimensions variable
<br />
<div class="Source-8">
Photo: Mae Finlayson</div>
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<div class="Chapter-Author-10">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Blockquote-10">
<span style="font-family: Arial,Helvetica,sans-serif;"><b><span class="Emphasis char-style-override-8">Abstract</span></b>
Reactivating incomplete and discarded domestic craft projects is an
exploration of how such objects can mediate between presence and
absence. Contemporary creative work that gathers and reclaims the
unfinished projects acknowledges, extends and plays with their rich
materiality as well as the dormant stories embedded within them. Using
unfinished objects can be a way of speaking to loss and absence, and an
assertion of the presence of other voices in the act of repurposing. A
material dialogue, created through the trace of the hand and the
repetitive labour of crafting, emphasises the potential within these
discarded objects. The tension between the implied presence of the first
maker and the displacement of the past through revivification is the
entry point to nostalgia, a label that implies both being out of place
as well as out of time. While nostalgia is often seen as an innately
conservative practice, functioning as a reductive stand-in for the
richness of the past, we take up Svetlana Boym’s (2001) argument that
the impossible longing of reflective nostalgia can be productive,
humorous and utopian. This essay explores the interplay of past and
present in the process of finding, remaking and repurposing. <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch04.xhtml#toc_marker-7" target="_blank">Read full paper</a></span></div>
<div class="Blockquote-10">
<br /></div>
<div class="Blockquote-6">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Abstract from: <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch04.xhtml#toc_marker-7" target="_blank">Unfinished business: Craft and revivification</a></span></span></div>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 6</span> <a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank">Issue 6 2014, Craft.Material.Memory</a></span></span></div>
<div class="Blockquote-13">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;"> </span></span></div>
<div class="Blockquote-13">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;">craft, unfinished, trace, materials, nostalgia </span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"></span><br />Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-11865137256834159082014-10-08T14:19:00.000+11:002014-11-18T14:54:34.849+11:00Crafting new spatial and sensorial relationships in contemporary jewellery <span style="font-family: Arial,Helvetica,sans-serif;">Crafting new spatial and sensorial relationships in contemporary jewellery</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Sabine Pagan </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuqUU5PMwaxhAkwT89idErXPlSXpwpqb73Ay8_uH_lGRNu30f9A0Je18uLZeCkIyzHsFPZi8BNoeyDBgN-BW2FQr1mUzRHE754G5f4h0aCy_xG6tLGfjgM41Dg14CgLUC6wRYi8x7AXxFQ/s1600/012Figure+3_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuqUU5PMwaxhAkwT89idErXPlSXpwpqb73Ay8_uH_lGRNu30f9A0Je18uLZeCkIyzHsFPZi8BNoeyDBgN-BW2FQr1mUzRHE754G5f4h0aCy_xG6tLGfjgM41Dg14CgLUC6wRYi8x7AXxFQ/s1600/012Figure+3_fmt.png" height="396" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">Sabine Pagan, <span class="Emphasis char-style-override-8">Site #2</span>, ring, 2009, 9k yellow gold cube (handmade), surgical steel mount (rapidprototyped), 35 x 35 x 12 mm</span><span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Source-4">
<span style="font-family: Arial,Helvetica,sans-serif;">Photo: Emily Snadden</span></div>
</td></tr>
</tbody></table>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<br />
<div class="Blockquote-6">
<span style="font-family: Arial,Helvetica,sans-serif;"><b><span class="Emphasis char-style-override-8">Abstract </span></b>The
body occupies a significant place in both contemporary jewellery and
architectural practice. The wearable object is made for the body and,
therefore, invites the presence of a wearer, even if only
metaphorically. Similarly, our built environment is constructed in
relation to the scale of the human body and to accommodate our actions
as users of architecture. Yet, important to both practices is the
relationship between the object — jewellery or architecture — and the
body beyond its physicality. </span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Blockquote-6">
<span style="font-family: Arial,Helvetica,sans-serif;">This paper examines embodiment from a cross-disciplinary perspective. Drawing on Jack Cunningham’s model (2005) <span class="Emphasis char-style-override-8">maker–wearer–viewer</span>
as a framework, I propose an extended schema that integrates the object
within the relational dynamics, with the aim to investigate the
embodied relationship between object and wearer. </span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Blockquote-6">
<span style="font-family: Arial,Helvetica,sans-serif;">Underpinning the research is a case study
that I conducted on the sensorial qualities of Peter Zumthor’s
architecture, in particular Therme Vals<span class="Emphasis char-style-override-8">. </span>The
study demonstrates that the embodied experience of the architecture by
the user contributes to the development of these qualities.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Blockquote-6">
<span style="font-family: Arial,Helvetica,sans-serif;">In this paper, I argue that the transposition
and testing of this concept in jewellery generates new relational
variables, from which a new methodology of practice in jewellery
informed by architecture emerges. <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch07.xhtml#toc_marker-10" target="_blank">Read full paper</a></span></div>
<div class="Blockquote-6">
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="Blockquote-6">
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Abstract from: <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch07.xhtml#toc_marker-10" target="_blank">Crafting new spatial and sensorial relationships in contemporary jewellery</a></span></span></div>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 6</span> <a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank">Issue 6 2014, Craft.Material.Memory</a> </span></span></div>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<div class="Blockquote-13">
<span style="font-size: x-small;">
</span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;"><br /></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">jewellery, architecture, cross-disciplinary, wearing, senses, Therme Vals</span></span><br />
<div class="Figure-Title-4">
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-11825826696531651482014-09-18T09:47:00.000+10:002014-09-18T09:56:15.874+10:00Craft and the archive: Museum collections and memory in a Balinese village<span style="font-family: Arial,Helvetica,sans-serif;">Craft and the archive: Museum collections and memory in a Balinese village.</span><br />
<div class="Chapter-Author-13">
<span style="font-family: Arial,Helvetica,sans-serif;">Siobhan Campbell</span></div>
<div class="Chapter-Author-13">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEzFUSZBquRwECMdWBUOZcXI2h2Ob0NaBenSepvhKVcuWcoUngVc-ci1zx5ooEyBC81puBC4UXKgMwmZZ3EXD3pfdqg8yFBVKsSojTimPXP4jfOuj4Fi_48OD2gjYhyJ7Sz5IFA9cYQf5S/s1600/Figure+1.+Unknown+artist,+Hanoman,+c.+1900,+kober,+natural+pigment+on+cotton+cloth,+490+x+530+mm,+Forge+Collection+E074236.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEzFUSZBquRwECMdWBUOZcXI2h2Ob0NaBenSepvhKVcuWcoUngVc-ci1zx5ooEyBC81puBC4UXKgMwmZZ3EXD3pfdqg8yFBVKsSojTimPXP4jfOuj4Fi_48OD2gjYhyJ7Sz5IFA9cYQf5S/s1600/Figure+1.+Unknown+artist,+Hanoman,+c.+1900,+kober,+natural+pigment+on+cotton+cloth,+490+x+530+mm,+Forge+Collection+E074236.png" height="400" width="370" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Unknown artist, <span class="Emphasis char-style-override-8">Hanoman</span>, c. 1900, <span class="Emphasis char-style-override-8">kober</span>, natural pigment on cotton cloth, 490 x 530 mm, Forge Collection E074236</span></span>
<div class="Source-9">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Photo: Emma Furno, courtesy of the Australian Museum</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="Emphasis char-style-override-8"><b>Abstract</b> </span>This
paper examines the different forms of indigenous agency embodied in a
museum collection and identifies personal relationships as a
constructive platform from which to understand objects in collections of
material culture. Specifically, it describes the results of a field
investigation to gather Balinese responses to the Forge Collection of
Balinese Art at the Australian Museum. This approach reflects the
broadening vision in museum practice and scholarship over the last
decades, recognising that most museum institutions describe themselves
as the custodians or guardians of collections and seek to engage with
the indigenous communities that produced them. Most people in the
village of Kamasan in East Bali, Indonesia, have recollections of the
late collector and anthropologist Anthony Forge, given that only 40
years has passed since he lived in the village with his family. This
paper relates some general responses to his collecting project before
considering the complex and productive relationship between Forge and
the artist Mangku Mura. Not only is it apparent that the relationship
between artist and anthropologist–collector had implications for the
material form of art produced in the village, and subsequently housed in
the museum collection, it shows that traditional artists produce their
art in defiance of conventional understandings of ‘traditional’ art.
While this paper is an occasion to reflect on the applicability of a
particular field methodology and approach to other cultural collections,
it also points to the wider implications for interpreting ‘traditional’
practices by opening up to debate ideas about timelessness and
originality in the context of changing social relations. <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch11.xhtml#toc_marker-14" target="_blank">Read full paper</a></span></div>
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<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Abstract from: <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch11.xhtml#toc_marker-14" target="_blank">Craft and the archive: Museum collections and memory in a Balinese village </a></span></span></div>
<div class="Blockquote-13">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 1</span> <a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank">Issue 6 2014, Craft.Material.Memory</a></span> </span></div>
<div class="Blockquote-13">
<span style="font-size: x-small;"><br /></span></div>
<div class="Blockquote-13">
<span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Museum Collections, Balinese Art, Kamasan Village, Fieldwork, Source Communities,<br />Anthony Forge </span></span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-30293823874468137322014-09-02T10:00:00.002+10:002014-10-15T10:17:49.542+11:00The strange quiet of things misplaced: Craft, material and memory in the work of Elisa Markes-Young<div class="Figure-Title-5">
<span style="font-family: Arial,Helvetica,sans-serif;">The strange quiet of things misplaced: Craft, material and memory in the work of Elisa Markes-Young</span></div>
<div class="Figure-Title-5">
<span style="font-family: Arial,Helvetica,sans-serif;">By Belinda von Mengersen</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnXntf7VyiuMOW308J1R6ZqWN65MUgtOX5ixmvDFG-lzJYoHOSiV9G-VT14ihOK-EvF95il9ZVWNXJcjl_gEcV6xVokENYjA0-GAx8_qe-_f1T5wnGPclht73pb1lRDhPYRKRJGcbmIry/s1600/Figure+4.+Elisa+Markes-Young,+The+strange+quiet+of+things+misplaced+%2333,+2010,+acrylic,+pencil,+pastel,+wool,+cotton+and+silk+on+Belgian+linen,+550+x+1100+mm.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTnXntf7VyiuMOW308J1R6ZqWN65MUgtOX5ixmvDFG-lzJYoHOSiV9G-VT14ihOK-EvF95il9ZVWNXJcjl_gEcV6xVokENYjA0-GAx8_qe-_f1T5wnGPclht73pb1lRDhPYRKRJGcbmIry/s1600/Figure+4.+Elisa+Markes-Young,+The+strange+quiet+of+things+misplaced+%2333,+2010,+acrylic,+pencil,+pastel,+wool,+cotton+and+silk+on+Belgian+linen,+550+x+1100+mm.png" height="640" width="295" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"> Elisa Markes-Young, <span class="Emphasis char-style-override-8">The strange quiet of things misplaced #33</span>, 2010, acrylic, pencil, pastel, wool, cotton and silk on Belgian linen, 550 x 1100 mm</span>
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<div class="Source-5">
<span style="font-family: Arial,Helvetica,sans-serif;">Photo: Christopher Young. Licensed by VISCOPY Australia</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b> </b><span class="Emphasis char-style-override-8"><b>Abstract</b> </span>This paper
will consider the relationship between the performative nature of craft
and the transformation of memory, as exemplified in the work of Elisa
Markes-Young. Particular reference will be made to her series <span class="Emphasis char-style-override-8">The strange quiet of things misplaced </span>(2007–2011),
which is based on memories of domestic linen from her Eastern European
childhood. This discussion offers a provisional reading of the series,
relating to the concepts of craft, material and memory, and considers
how devices like encounter and mimicry can elicit both memory and
improvisational craft practices. Markes-Young, who has no formal
training in traditional textile techniques, describes her process as a
literal activation of memory through making, giving rise to the
question: ‘Can the techniques of material practice provide the means for
not only creation and reflection, but also an altogether new
“encounter” between the artist and her work: occasioning both new works
and enriched memories?’ Such a proposal contrasts with the popular
conception of artists drawing on memory to inspire their artworks: here,
it is suggested, memory is encountered, activated, and enhanced by
physical and conceptual craft practice. <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch06.xhtml#toc_marker-9" target="_blank">Read full paper</a></span></div>
<div class="Figure-Title-5">
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<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><span style="font-size: x-small;">Abstract from </span></span><span style="background-color: rgba(255, 255, 255, 0);"><span style="font-size: x-small;"><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry+Issue+6%2C+2014+Craft+%E2%80%A2+Material+%E2%80%A2+Memory/11091/ch06.xhtml#toc_marker-9" target="_blank">The strange quiet of things misplaced: Craft, material and memory in the work of Elisa Markes-Young</a> </span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><span style="font-size: x-small;">Full paper published in craft+design enquiry: </span></span><span style="font-size: x-small;"> <a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" target="_blank">Issue 6 2014, Craft.Material.Memory</a></span></span><br />
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<![endif]--><span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";">Memory,
Conversation, Encounter, Material-Practice, Performance, Creative-Research </span></span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-4576824167624894612014-08-21T12:06:00.001+10:002014-08-21T12:06:35.111+10:00Craft.Material.Memory NOW ONLINE<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu5Err9QViGvixhCOrXcHomAn1oNlW3xcvUkma4erMhNYVYzZpqLHfR1G68_kAalbbY-mFjxKNnCcXeBTZrH5bRAphEKl7qm1HytQMOcBc9m2Tql54ZgtjACZyrNgEZ2UULw4Q6DSDx9Sq/s1600/cover-highresolution.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu5Err9QViGvixhCOrXcHomAn1oNlW3xcvUkma4erMhNYVYzZpqLHfR1G68_kAalbbY-mFjxKNnCcXeBTZrH5bRAphEKl7qm1HytQMOcBc9m2Tql54ZgtjACZyrNgEZ2UULw4Q6DSDx9Sq/s1600/cover-highresolution.jpg" height="400" width="281" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;">Issue 6 (2014) <b> Craft.Material.Memory,</b> edited by Anne Brennan and Patsy Hely</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">NOW AVAILABLE ONLINE </span><br />
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<![endif]--><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/"><span style="font-family: Arial,Helvetica,sans-serif;">h</span>ttp://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/</a></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>craft + design enquiry </i>is open access (FREE to view online and FREE to download) or available in print-on-demand hard copy $35 from ANU Press.</span><br />
<br /><span style="font-size: x-small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Cover image: Bob Katter wearing a KNAG (Knitting Nannas Against Gas) Hat</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Photo: Jenny Leunig, 20 June 2013 </span>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-5301610782254476392014-07-24T11:05:00.002+10:002014-07-24T11:13:11.964+10:00Find our new Facebook pageWe have moved to a new Facebook page for the journal. Click on this link to see the new page <a href="https://www.facebook.com/craftdesignenquiry">https://www.facebook.com/craftdesignenquiry</a><br />
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<br />Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-70421388288604677102014-07-10T10:54:00.000+10:002014-08-22T09:09:46.895+10:00Call for papers craft+design enquiry Issue 8 (2016) <span style="font-family: Arial,Helvetica,sans-serif;"><b></b></span><br />
<div style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><b>‘Global Parallels: Production and Craft in </b></span></div>
<div style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;">Fashion and Industrial Design Industries’</span> </b></span></div>
<div style="text-align: center;">
<b><span style="color: red;">NOW OPEN </span></b></div>
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<br />
<span style="font-family: Arial,Helvetica,sans-serif;">
The <i>craft + design enquiry </i> Editorial Board welcomes Tiziana Ferrero-Regis, Rafael Gomez
and Kathleen Horton, from Queensland University of Technology, as the
Guest Editors of c+de#8 with the theme of ‘Global Parallels: Production
and Craft in Fashion and Industrial Design Industries’. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
Contributors to c+de#8 are invited to submit Expressions of Interest for
either the Themed Section or the Open Section by following the Steps to
Submitting a Paper outlined below. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> Expressions of Interest
close on <span style="color: red;">30 April 2015</span>. For contributors invited to submit papers, the
deadline for full papers is <span style="color: red;">30 June 2015</span>. c+de#8 will be published in
mid-2016. </span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;">Open Section — call for papers </span></b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">The Guest
Editors and the c+de Editorial Board invite submissions to the Open
Section exploring any aspect of contemporary craft and design.
Expressions of Interest for the Open Section are assessed by the c+de
Editorial Board. All invited submissions to the Open Section are peer
reviewed and selected for publication in line with c+de procedures for
the Themed Section. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Contributors to the Open Section of c+de#8
should follow the Steps to Submitting a Paper outlined below.
Expressions of Interest close on<span style="color: red;"> 30 April 2015</span>. For contributors invited
to submit papers, the deadline for full papers is <span style="color: red;">30 June 2015.</span> </span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;">Themed Section — call for papers: </span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;">‘Global Parallels: Production and Craft in </span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;">Fashion and Industrial Design Industries’ </span></b></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Guest
Edited by Tiziana Ferrero-Regis , Rafael Gomez and Kathleen Horton of
Queensland University of Technology, Brisbane. They write: </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">This
special issue of c+de aims to explore questions of design and craft
across fashion and industrial design industries in the current global
context. In light of de-localisation of manufacturing practices and
increasingly complex supply chains, the alternating place and meaning of
‘skills and craft’ in the context of these vast global industries, and
the transformational role and status of the designer in a market that is
equally flooded with fast fashion and disposable ‘on trend’ lifestyle
products, we seek to examine how the two worlds of fashion and
industrial design intersect in terms of production, craft and design. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaPYEZk-OTqE43u1QhvISpvxUzsgwLO9xW7Qgvq0t4Vnuczulu7AQQBp7Wyo-fi2ExBSAt7te9ESlQyfZdXnlYPmFpUfbvL3sDMp-WguteQn0U4P5Z-PWBL7E6J3SVzUppIUDPrBG7SUVr/s1600/Call+8+Image+1+Briz+Vegas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaPYEZk-OTqE43u1QhvISpvxUzsgwLO9xW7Qgvq0t4Vnuczulu7AQQBp7Wyo-fi2ExBSAt7te9ESlQyfZdXnlYPmFpUfbvL3sDMp-WguteQn0U4P5Z-PWBL7E6J3SVzUppIUDPrBG7SUVr/s1600/Call+8+Image+1+Briz+Vegas.jpg" height="282" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">The
Wasteland collection by Maison Briz Vegas, Paris 2011,</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> top and shorts
made from recycled T-shirt fabric,</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">with original hand-block prints Photo: Carla van Lunn </span></td></tr>
</tbody></table>
<br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">The
geographical distribution of manufacturing in the fashion industry and
in industrial design has changed radically in the past 25 years, with
much of the production and jobs shifting to low-income countries. The
globalisation of production has generated long supply chains of many
mediators that are employed neither to solve problems nor invent new
styles. In the fashion industry, mediators ‘translate’ pre-existing
trends into products at a pre-identified price point and for a specific
market. In this respect the term fashion designer is something of an
anachronism. Typically, in both fashion and industrial design, the
notion of design is bound to the creative celebrity designer (think Karl
Lagerfeld or Steve Jobs) who is synonymous with brand or corporate
identity. In both industries, however, teams of ‘invisible’ design
mediators, whose roles and responsibilities are defined largely through
market and industrial imperatives, are scattered across the supply chain
and the globe. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilWavyBxIOtxS31_t9-ymGPCp2L4U0R_pYPMGi3YVAjOQ9G5Hpw8qFdJO428lIXiRKNeH8pbyltGw4K12k8WLFoETvXRrbh53fWdiTMnurbx3BS3AMmPniAg8K-FXnH-DJJ88_SPW-dNuu/s1600/Call+8+Image+2+GreetSt-TLaw-4508.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilWavyBxIOtxS31_t9-ymGPCp2L4U0R_pYPMGi3YVAjOQ9G5Hpw8qFdJO428lIXiRKNeH8pbyltGw4K12k8WLFoETvXRrbh53fWdiTMnurbx3BS3AMmPniAg8K-FXnH-DJJ88_SPW-dNuu/s1600/Call+8+Image+2+GreetSt-TLaw-4508.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">Ellaspede Design Studios 2012, design process, sketching and conceptualisation </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Photo: Tammy Law Photography, courtesy of Ellaspede </span></td></tr>
</tbody></table>
</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Design
mediator, or product developer, is a rather less romantic term than
designer, but one that has far more industry cachet. Industrial changes
in both fashion and industrial design have shaped and re-oriented
conceptual definitions of ‘design’, and introduced the product
developer. Thus we argue that the currency of this term is vital in
understanding not only the nature of contemporary fashion and industrial
design practice, but also the status, profession and evolution of
‘design’ as it is applied across both fields. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">We would also like
to explore the rise of independent design practices that have
purposefully engaged with a reinvigorated idea of craft and local
production in response to globalised design production. In these models,
design and manufacture is often reconnected via an engagement with
craft practices. Therefore, while design and craft have often been posed
as oppositional forces (one representing industrialisation, planning
and management, and the other standing for the handmade, the material
and the authentic), both the fields of fashion and industrial design are
witnessing innovative new models of practice linking artisanal values
with post-industrial design processes, thus instigating the rise of a
new-age designer, one which indeed embraces a more holistic approach </span><br />
<br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">This issue of c+de invites contributions in the following areas: </span><br />
<ul>
<li><span style="font-family: Arial,Helvetica,sans-serif;"> re-orientation of the definition of ‘design’ in fashion and industrial design </span></li>
</ul>
<ul>
<li><span style="font-family: Arial,Helvetica,sans-serif;"> the emergence of the ‘product developer’ and ambiguities between design and product development </span></li>
</ul>
<ul>
<li><span style="font-family: Arial,Helvetica,sans-serif;"> the spectrum of possibilities afforded by craft production </span></li>
</ul>
<ul>
<li><span style="font-family: Arial,Helvetica,sans-serif;"> the creative process and diffusion of creativity along the supply chain </span></li>
</ul>
<ul>
<li><span style="font-family: Arial,Helvetica,sans-serif;"> design and innovation in local manufacturing </span></li>
</ul>
<ul>
<li><span style="font-family: Arial,Helvetica,sans-serif;"> design and/or product development in the future </span></li>
</ul>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Issue #8 Guest Editors:</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Dr
Tiziana Ferrero-Regis is senior lecturer in fashion history and theory,
School of Design, QUT. She has a professional background in advertising
and fashion and has published in several journals on a range of topics
that include memory and history in cultural representations (Recent
Italian Cinema: Spaces, Contexts, Experiences 2009), the politics of
fashion, the role of the designer, and fashion and film. From her visits
to communities of women workers in the textile and clothing industry in
India in the mid-</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">1980s, she has developed a research focus on the division of international labour and sustainability. </span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Dr
Rafael Gomez is an industrial designer and design researcher. He is a
lecturer in industrial design, School of Design at QUT, and has
practiced for over a decade in industrial design, graphic design,
branding, high-end visualisation and projection graphics for small,
medium and large enterprises. As a founding member of the Design and
Emotion Australia Chapter, his research focus is the converging of
design, emotions and experiences with health and medical devices in
everyday life. He has written extensively on design and emotional
experience with portable interactive devices and automotive design and
continues to forge national and international collaborations with a view
to establish research strength in the Asia-Pacific region. </span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Kath
Horton is head of fashion in the School of Design at QUT. Her research
and teaching focuses on the aesthetics and politics of fashion across
both historical and contemporary contexts. In 2010 Kath founded the
stitchery collective, a platform for collaborative fashion design
projects. Through both her theoretical and practice-based projects Kath
explores the possibilities for alternative forms of engagement with
fashion in the 21st century. </span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;">Steps to submitting a paper for c+de#8 </span></b></span><br />
<span style="font-size: small;"><b><span style="font-family: Arial,Helvetica,sans-serif;">Step 1 </span></b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b>Themed
Section</b>: Expressions of Interest (one A4 page) are invited to be
submitted before <span style="color: red;">30 April 2015 </span>to <a href="mailto:jenny.deves@anu.edu.au">jenny.deves@anu.edu.au</a>. The Guest
Editors will review abstracts and respond promptly to contributors. </span><br />
<br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b>Open
Section</b>: Expressions of Interest (one A4 page) are invited to be
submitted before <span style="color: red;">30 April 2015</span> to <a href="mailto:jenny.deves@anu.edu.au">jenny.deves@anu.edu.au</a>. The Editorial
Board will review abstracts and respond promptly to contributors. </span><br />
<br />
<b><span style="font-family: Arial,Helvetica,sans-serif;">Step 2 </span></b><br />
<span style="font-family: Arial,Helvetica,sans-serif;">If
invited to submit a paper, contributors to both the Themed Section and
the Open Section, are required to complete and submit their final papers
by 30 June 2015 to jenny.deves@anu.edu.au. Submitted papers must meet
the style requirements outlined in the c+de <a href="http://craftdesignenquiry.blogspot.com.au/p/blog-page_8.html" target="_blank">Author Guidelines</a> and be
accompanied by a c+de#8 Lodgement Registration Form (copies available
from<a href="http://jenny%2Edeves@anu.edu.au/" target="_blank"> jenny.deves@anu.edu.au</a> or the c+de blog
<a href="http://craftdesignenquiry.blogspot.com.au/">http://craftdesignenquiry.blogspot.com.au</a>/) </span>Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-63008653743980156342014-06-12T12:44:00.002+10:002014-09-09T10:27:05.818+10:00Information for issues 6, 7 and 8 <!--[if gte mso 9]><xml>
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<h1>
<span style="mso-fareast-font-family: "Times New Roman";">Update for
CDE Readers</span></h1>
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<span style="color: #606060; font-family: "Helvetica","sans-serif"; font-size: 11.5pt; line-height: 150%;"><span style="color: black;">Issue 6, 2014: Craft.Material.Memory online from August 2014 on</span> <a href="http://press.anu.edu.au/titles/craftdesign-enquiry/issue-6-2014/" style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; word-wrap: break-word;" target="_blank"><span style="color: #6dc6dd;">ANU Press website </span></a></span></div>
<div class="MsoNormal" style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; line-height: 150%; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt;">
<span style="color: #606060; font-family: "Helvetica","sans-serif"; font-size: 11.5pt; line-height: 150%;"><span style="color: black;">Issue 7, 2015: Landscape, Place and Identify in Craft and
Design. Call for papers</span> <span style="color: red;">now closed</span> – <span style="color: black;">invited papers are due in by 30 June 2014.
To be published mid-2015</span></span></div>
<div class="MsoNormal" style="-ms-text-size-adjust: 100%; -webkit-text-size-adjust: 100%; line-height: 150%; margin-bottom: 12.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt;">
<span style="font-family: "Helvetica","sans-serif"; font-size: 11.5pt; line-height: 150%;">Issue 8, 2016: '</span><span style="font-family: "Helvetica","sans-serif"; font-size: small; line-height: 150%;"><span style="font-family: Arial,Helvetica,sans-serif;">Global Parallels: Production and Craft in </span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Fashion and Industrial Design Industries’</span></span><b> </b></span><span style="font-family: "Helvetica","sans-serif"; font-size: 11.5pt; line-height: 150%;"><a href="http://craftdesignenquiry.blogspot.com.au/2014/07/call-for-papers-craftdesign-enquiry.html" target="_blank">Call for Papers</a> To
be published in mid-2016.</span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-9374634473495650962014-06-03T20:58:00.000+10:002014-06-03T20:58:52.593+10:00In the Spaces of the Archive By Caroline Bartlett<span style="font-family: Arial, Helvetica, sans-serif;">In the Spaces of the Archive </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">By Caroline Bartlett</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Arial;"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8vQF0iVkuKrlUxaIEoV2obZIqH6Ukh8uf_zFCbTgFhXpS9Ek1F3qBWFaUurrTb-ZJgwn5zOfV63QfqpOIe53cxtI8zI30qq9h-WQo3gkcBBcSJgbC1Rdb4D8bSztAgW6K4IVijpV87JOS/s1600/photo.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8vQF0iVkuKrlUxaIEoV2obZIqH6Ukh8uf_zFCbTgFhXpS9Ek1F3qBWFaUurrTb-ZJgwn5zOfV63QfqpOIe53cxtI8zI30qq9h-WQo3gkcBBcSJgbC1Rdb4D8bSztAgW6K4IVijpV87JOS/s1600/photo.PNG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><dir>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">2002. Bodies of Knowledge Volume V; Arbiters of Taste. (1934 encyclopaedia, embroidery hoops, silk crepeline, pins). 34 x 84 x 5cm. Photographer Michael Wickes. </span></dir><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">
</span><span style="font-family: Helvetica 45 Light,Helvetica 45 Light; font-size: xx-small;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Collection Victoria and Albert Museum</span></span></td></tr>
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<div class="Blockquote-1">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="Emphasis-1"><strong>Abstract</strong></span>: In this paper, I offer an explanation of my own working art practices as set within the context of the spaces of the archive and presented as a series of questions arrived at through action, illuminated in turn by anthropological theory. Over the last few years I have examined various museum collections, archives and encyclopedias in relation to the way these knowledge systems both represent and promote the formation of individual and collective identities, memories and value systems.</span></div>
<div class="Body-Text-No-Indent">
<span style="font-family: Arial, Helvetica, sans-serif;">Artifacts located within museological and archival systems can be powerful sensory and social forms in which different meanings and memories are embedded, but their significance can be obscured rather than revealed by the systems which control them. How we experience these objects within the physical, material, social, and political spaces of the archive leads to questions about how these sets of relations interact and what can be understood from this. In this vein then, and in the context of the tactile and sensory orientation of my own textile art practice, I look at four of my site-specific works produced in relation to the spaces of the archive: <span class="Emphasis-1">Overwritings</span> (1999), <span class="Emphasis-1">Storeys of Memory</span> (2001), <span class="Emphasis-1">Bodies of Knowledge</span> (2002) and <span class="Emphasis-1">Conversation Piece</span> (2003), focusing in particular on the latter, and show how investigation into different collections has prompted the making of new aesthetic objects which comment on and attempt to draw out these relations. </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+1%2C+2009/10191/ch03.html#toc_marker-3" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Read full paper</span></a></div>
<div class="Body-Text-No-Indent">
<span style="font-family: Arial, Helvetica, sans-serif;"> </span></div>
<div class="Body-Text-No-Indent">
</div>
<div class="Body-Text-No-Indent">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: Arial, Helvetica, sans-serif;">Abstract from: </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+1%2C+2009/10191/ch03.html#toc_marker-3" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">In the Spaces of the Archive</span></a></span></span></div>
<div class="Body-Text-No-Indent">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: Arial, Helvetica, sans-serif;">Full paper published in craft+design enquiry: issue 1 </span><a href="http://press.anu.edu.au/?p=212251" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Migratory Practices</span></a></span></span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-52927558732397553212014-05-19T08:39:00.000+10:002014-05-19T08:39:23.982+10:00Crafting relations: Aspects of materiality and interactivity in exhibition environments, Sandra Karina Löschke<br />
<span style="font-family: Arial,Helvetica,sans-serif;"> Crafting relations: Aspects of materiality and interactivity in exhibition environments</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> By Sandra Karina Lösch</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gx6DPc5i6yd8wHJQdqc2kDRZfU1KxQgpleQLP8IdyxfCBKMwT20RQMgU8WKLeDCZPQeTJtDdrY6Q97gNZHbgagbRbo2xSaO_KvZFXUL_jDC161z5ReCzyslgpWg8KZ-DP5QjPLDfSOwb/s1600/figure1-los_opt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gx6DPc5i6yd8wHJQdqc2kDRZfU1KxQgpleQLP8IdyxfCBKMwT20RQMgU8WKLeDCZPQeTJtDdrY6Q97gNZHbgagbRbo2xSaO_KvZFXUL_jDC161z5ReCzyslgpWg8KZ-DP5QjPLDfSOwb/s1600/figure1-los_opt.png" height="400" width="299" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">1968 Reconstruction of the Abstract Cabinet at the Sprengel Museum Hannover/Germany, 2009.</span></td></tr>
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<div class="Blockquote-5">
<span style="font-family: Arial,Helvetica,sans-serif;"><b><span class="char-style-override-5">Abstract</span>:</b>
The past decades have seen the early avant-garde’s laboratory paradigm
and associated exhibition practices re-appropriated by relational art.
Both art movements re-evaluate our relationship to the world and to one
another and exhibition environments play an important role in the
crafting of these relations.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Blockquote-5">
<span style="font-family: Arial,Helvetica,sans-serif;">Against this background, the paper
investigates two aspects of avant-garde practice that touch upon
relational aspects in exhibitions: first, the Constructivists’ radical
re-evaluation of materiality as relations of energies between the
physical world and human beings that has been summarised under the
heading of faktura; and, secondly, the practical and directed
application of faktura in the design of exhibition environments with the
objective of producing new relations between audience, art institution
and the world.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="Blockquote-5">
<span style="font-family: Arial,Helvetica,sans-serif;">Using Lissitzky’s Hannover and Dresden
demonstration rooms as case studies, the paper identifies an inventory
of techniques and materials deployed for the construction of what has
been considered the first relational environment. It intends to
establish a platform for the discussion of trans-historical
correspondences that can be detected in contemporary approaches to
interactivity and materiality — particularly in art practices associated
with relational aesthetics and postproduction art. Does Lissitzky’s
precedent anticipate, challenge, or offer expansions on current
thinking? <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+4%2C+2012/10031/ch05.html#toc_marker-10" target="_blank">Read full Paper </a></span></div>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="background-color: rgba(255, 255, 255, 0);"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Abstract from: </span><a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+4%2C+2012/10031/cover.html" target="_blank">Crafting relations: Aspects of materiality and interactivity in exhibition environments</a></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 4 <a href="http://press.anu.edu.au/?p=202481" target="_blank">Relational Craft and Design </a></span></span><br />
<br />Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-66118675653847383132014-05-08T11:20:00.000+10:002014-05-08T11:20:25.710+10:00Ecology and the aesthetics of imperfect balance<div class="Chapter-Title" id="toc_marker-5" style="font-weight: bold; margin-bottom: 23px; margin-top: 14px; padding: 0px;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Ecology and the aesthetics of imperfect balance</span></span></div>
<div class="Chapter-Author-5" id="toc_marker-5-1" style="margin-bottom: 17px; padding: 0px; text-align: start;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">By Roderick Bamford</span></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPJw-MtK44S0MP-etqaKV-UYBd_0sRYWeLk094z_T2ZXb8dE52wlTTTZqy1lnOZ-IXPVOC09eriHFCnXe2V1odLOUdsrmlft_Fhv7JOiR1-dHFmX9wTzqs5GD_ivYgn01jIr_Klaym-c_9/s1600/5.2_fmt.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPJw-MtK44S0MP-etqaKV-UYBd_0sRYWeLk094z_T2ZXb8dE52wlTTTZqy1lnOZ-IXPVOC09eriHFCnXe2V1odLOUdsrmlft_Fhv7JOiR1-dHFmX9wTzqs5GD_ivYgn01jIr_Klaym-c_9/s1600/5.2_fmt.png" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="Figure-Title-4">
<span style="font-family: Arial,Helvetica,sans-serif;"> Malin Lundmark, Tea-cup-lamp, 2003, porcelain.</span></div>
<div class="Source-4">
<span style="font-family: Arial,Helvetica,sans-serif;">P<span>h</span>o<span>t</span>o: <span>St</span><span>e</span>phan <span>L</span>undb<span>e</span><span>r</span><span>g</span>, <span>c</span>ou<span>r</span><span>t</span><span>e</span>sy of M<span>a</span><span>li</span>n <span>L</span><span>und</span><span>m</span><span>a</span><span>r</span><span>k</span><span>.</span></span></div>
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<div class="Blockquote-5" style="margin-bottom: 9px; margin-left: 28px; margin-right: 28px; padding: 0px; text-align: start;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><span class="char-style-override-8" style="font-style: italic;">Roderick Bamford’s</span> practice traverses art, craft and design, with a specialization in ceramics. He works from a studio north of Sydney and lectures at the College of Fine Arts, University of NSW.</span></span></div>
<div class="Blockquote-5" style="margin-bottom: 9px; margin-left: 28px; margin-right: 28px; padding: 0px; text-align: start;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Abstract: Historically, craft values have provided a pivotal argument in the conflict between industrial and natural worldviews, concerning both the artefacts and social conditions of their creation. Today, the implications of carbon both as a fuel and a toxin demand a better understanding of the ‘sign’ values embedded in such dialogue, and inform responses to the dangers posed by dominant anthropocentric perspectives. Amidst the logic of a number of ‘design for sustainability’ arguments, craft emerges as an antidotal signifier to the combined impacts of hyper efficient production and rampant ‘throw away’ consumerism. Yet, in the carbon context, notions of benign impact and enduring value associated with craft can elicit contradictions. Drawing on literary arguments and examples in practice, this paper surveys relationships between craft and design as instruments of sustainability theory. Whilst recognizing the importance of qualitative factors in this context, and the increasing attention given to them in research, the critique emerges largely from a more established quantitative, or measured perspective. The relevance of this approach is attributed to the primacy of material outputs in both craft and design practice. In this context the writing aims to address a comparative gap in the discussion of practices in craft and design, and to contribute to a deeper understanding of their relationship. In seeking possibilities for craft within a discipline of sustainable culture, it explores a role for aesthetics in the context of what may be considered unnecessary artifacts.<a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+3%2C+2011/10211/ch05.html#toc_marker-5" target="_blank"> Read full paper</a> </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Abstract from: <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+3%2C+2011/10211/ch05.html#toc_marker-5" target="_blank">Ecology and the aesthetics of imperfect balance</a></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);">Full paper published in craft+design enquiry: issue 3 <a href="http://press.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+3%2C+2011/10211/cover.html" target="_blank">Sustainability in craft and design</a></span></span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-79199829418346584242014-04-29T09:01:00.002+10:002014-05-08T12:46:10.460+10:00Abstracts closing tomorrow<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="color: red;">NOW CLOSED</span></b></span> <br />
Abstracts for Issue number 7 <i><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-family: "Calibri","sans-serif";">“Landscape, Place and Identity in
Craft and Design”</span></span> </span>Guest Edited by Kay Lawrence </i>are due 30 April 2014. Please contact Editor Jenny Deves for information on submitting abstracts or visit the <a href="http://craftdesignenquiry.blogspot.com.au/p/blog-page_13.html">blog </a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span>jenny.deves@anu.edu.au<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-32377088243271966122014-04-20T15:41:00.001+10:002014-05-08T12:43:57.303+10:00Current Call for papers closing soon <span style="font-family: Arial,Helvetica,sans-serif;"><b><i>Call for Papers</i> issue #7 CLOSING SOON <span style="color: red;">NOW CLOSED</span></b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGot-WFw7yuk1d49bslwS4jn7aGMyewjuS0X9JfVH5Di1l9lAbiqJ99j-RBWkpuVlL-5dRUthV3B9mfoQUaX-bd98U8HR9DOFUqqhg9jiHrnYPYQ3GT72nT2YWoeTup9vV2LgQtEXZD-eb/s1600/For+better+or+for+worse.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGot-WFw7yuk1d49bslwS4jn7aGMyewjuS0X9JfVH5Di1l9lAbiqJ99j-RBWkpuVlL-5dRUthV3B9mfoQUaX-bd98U8HR9DOFUqqhg9jiHrnYPYQ3GT72nT2YWoeTup9vV2LgQtEXZD-eb/s1600/For+better+or+for+worse.jpg" height="640" width="451" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 14px;"><br /></span></span><span style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: 11px;"><span style="color: mediumblue;">Image credit: Sue Kneebone <i>For Better or for Worse</i>, 2010 Giclee print</span></span></span></td></tr>
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</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><span style="font-family: Arial,Helvetica,sans-serif;">The Call for Papers for craft + design enquiry issue #7, guest edited
by Kay Lawrence, closes soon for both the OPEN SECTION and the THEMED
SECTION “Landscape, Place and Identity in Craft and Design”.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><span style="font-family: Arial,Helvetica,sans-serif;">Abstracts are due by <span style="color: red;">30 April 2014</span>, if invited full Papers are due by <span style="color: red;">30 June 2014</span>.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><span style="font-family: Arial,Helvetica,sans-serif;">The full Call for Papers #7 can be found on <a href="http://craftdesignenquiry.blogspot.com.au/p/blog-page_13.html">call for papers page </a> </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 11px;"><span style="color: mediumblue;"></span></span></span>Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-34938533061301067622014-03-18T11:50:00.000+11:002014-03-18T12:00:31.066+11:00craft + design enquiry Publisher Name Change<span style="font-family: Calibri;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Recognising the industry-wide shift to digital publishing, ANU E Press has changed its name to ANU Press!<br />
</span><div class="ecxMsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #1f497d; font-family: "Calibri","sans-serif";"><span style="color: black;">ANU</span></span><span style="font-family: "Calibri","sans-serif";"><span style="color: black;"> Press will continue to function as an electronic, open access publisher. The change occurs in response to recognition <span style="color: #1f497d;"><span style="color: black;">that the</span></span> publishing industry as a whole has embraced digital publishing, so the ‘E’ has become superfluous and<span style="color: black;"> </span><span style="color: #1f497d;"><span style="color: black;">the</span> </span>Press will<span style="color: black;"> </span><span style="color: #1f497d;"><span style="color: black;">be</span> </span> more appropriately served by a simpler, more encompassing brand.</span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">craft+design enquiry can be found at </span><a href="http://press.anu.edu.au/titles/craftdesign-enquiry/"><span style="font-family: Arial, Helvetica, sans-serif;">http://press.anu.edu.au/titles/craftdesign-enquiry/</span></a><span style="font-family: Arial, Helvetica, sans-serif;"> </span><br />
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<br />Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-90044973839389692492014-02-25T17:57:00.000+11:002014-05-08T12:44:22.836+10:00Reminder: Current call for papers issue #7<h2>
<span style="font-family: Arial,Helvetica,sans-serif;"><b> </b></span><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="color: red;">NOW CLOSED</span></b></span></h2>
<b><span style="font-family: Arial;"></span></b><br />
<span style="font-family: Arial,Helvetica,sans-serif;">“Landscape, Place and Identity in Craft and Design” Issue 7: 2015,</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Guest Edited by Kay Lawrence</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeq1jcczN266oSR95TO_v7XsiIwrDI9CI7ACnpKa9VStsNhvJ7DzZN8MpdZN0x5vlauSN7lvPA5oYnz0w_f8_PqSgKmhyphenhyphen1K_sOjVcC5uBelTpVhpfc9ROrKxq7vkz3CVFlHAiAjJfL9MwA/s1600/For+better+or+for+worse.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeq1jcczN266oSR95TO_v7XsiIwrDI9CI7ACnpKa9VStsNhvJ7DzZN8MpdZN0x5vlauSN7lvPA5oYnz0w_f8_PqSgKmhyphenhyphen1K_sOjVcC5uBelTpVhpfc9ROrKxq7vkz3CVFlHAiAjJfL9MwA/s1600/For+better+or+for+worse.jpg" height="400" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Image credit: Sue Kneebone, For better or for worse, 2010, giclee print</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Kay Lawrence invites contributors to submit abstracts responding to the
theme “Landscape, Place and Identity in Craft and Design” or to submit
abstracts for the Open Section exploring subjects on any aspect of craft
and design. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Submit abstracts now until <span style="color: red;">30 April 2014</span>, if invited, full papers are <span style="color: red;">due 30 June 2014</span>.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">About
the theme, Kay writes “The words used to describe the physical
environment and our relationship to it, are always nuanced. The concept
of 'place' refers to a particular portion of space that may or may not
be occupied by people, while also encompassing the idea of dwelling, of
living in a particular place.....</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br />View full #7 Call for Papers <a href="http://craftdesignenquiry.blogspot.com.au/p/blog-page_13.html">link </a> </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><br /></span></span><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span> Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com0tag:blogger.com,1999:blog-7777727613160860164.post-72872571666630939512014-01-07T07:58:00.000+11:002014-01-07T07:58:42.251+11:00Craft and sustainable development: reflections on Scottish craft and pathways to sustainability<div class="Chapter-Title" id="toc_marker-6">
<span style="font-family: Arial,Helvetica,sans-serif;">Craft and sustainable development: reflections on Scottish craft and pathways to sustainability</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">By Emilia Ferraro, Rehema White, Eoin Cox, Jan Bebbington and Sandra Wilson</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8ZpqFphL3tM3gGB2x4h_jSmVlVwiTz6Ce-BGe3FujV7A2pWBeNQJYIoYS4vaMfYqxyDwJnitN54jnsWlaE4dHw3QXz008CkRbbcRV8kKkqsPvHeARdIWGQiUExQg27KP44shP_ZWrwtO/s1600/fig3a_fmt.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZT1nH5fx-XWteJmgsuYY0BnP_knwsLFEED_4lVSoGJ3gf_3FUfFOD_H8f4Yt51Np2jse6fp4M-Zso9FlYHkVcSXHFk8ibj_KDzbJTkCfd0EDJ1YfcxPlaCrP7JwDNN-pSOsHDNnlvYS3/s1600/fig3a_fmt.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZT1nH5fx-XWteJmgsuYY0BnP_knwsLFEED_4lVSoGJ3gf_3FUfFOD_H8f4Yt51Np2jse6fp4M-Zso9FlYHkVcSXHFk8ibj_KDzbJTkCfd0EDJ1YfcxPlaCrP7JwDNN-pSOsHDNnlvYS3/s1600/fig3a_fmt.png" height="168" width="320" /></a></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">1. Introduction</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">This paper discusses the potential
contributions of craft to the transition to more sustainable societies.
Craft, we argue, offers a number of leverage points where links between
its economic and educational models and pathways to sustainability
emerge. The paper, thus, contributes both to alternative and more
creative definitions of “sustainability”, and to current debates on the
“persistence” of craft and its role in “modern” societies (cf.
Greenhalgh, 2006). Craft, we believe, can be seen no longer as existing
against or in spite of modernity; on the contrary, in the context of
sustainable development, it clearly emerges as “a modern way of thinking
otherwise” (Adamson, 2009:5).</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">We begin with an introductory
debate on the definitions of craft and the changing meaning of
sustainable development over time. Using the data of a scoping study we
undertook on the craft sector in Fife, East Scotland, we then discuss
the common ground and leverage points between craft and sustainable
development and make some concluding comments.</span></span></div>
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</span></span><div class="Body-Text-No-Indent">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">A remark about the authors is in
order here. ‘We’ are three scholars in sustainable development, one
scholar in art and design and the owner of a craft gallery. ‘We’ are at
the same time two professional craft practitioners (one in jewellery and
metal design and the other in furniture design), one ‘novice’ and two
‘hobbyists’. All of u share interests in and multiple engagements with
sustainable development and craft that range from mainly theoretical to
very practical involvement. It is this interdisciplinary background and
array of different personal experiences that inform the discussion of
both craft and sustainability put forward in this paper. <a href="http://epress.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+3%2C+2011/10211/ch06.html#toc_marker-6">Read complete paper </a></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Introduction from: <a href="http://epress.anu.edu.au/apps/bookworm/view/craft+%2B+design+enquiry%3B+issue+3%2C+2011/10211/ch06.html#toc_marker-6">Craft and sustainable development: reflections on Scottish craft and pathways to sustainability</a></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Full paper published in <i>craft+design enquiry</i> ; Issue 3 <a href="http://epress.anu.edu.au/titles/craftdesign-enquiry/issue-3-2011">Sustainability in craft and design</a></span></span> </span></div>
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<span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Image: </span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;"> Forms of craft enterprise discipline in Scotland</span> </span></div>
Anonymoushttp://www.blogger.com/profile/11966363655477578128noreply@blogger.com1