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1000 tulosta hakusanalla Croft Stuart

Craft of Use

Craft of Use

Kate Fletcher

Routledge
2016
sidottu
This book explores the ‘craft of use’, the cultivated, ordinary and ingenious ideas and practices that promote satisfying and resourceful use of garments, presenting them as an alternative, dynamic, experiential frame with which to articulate and foster sustainability in the fashion sector. Here Kate Fletcher provides a broad imagining of sustainability in fashion that gives attention to tending and wearing garments, and favours their use as much as their creation. She offers a diversified view of fashion beyond the market and the market’s purpose and reveals fashion provision and expression in a world not dependent on continuous consumption. Framing design and use as a single whole, the book uncovers a more contingent and time-dependent role for design in sustainability, recognising that garments, while sold as a product, are lived as a process. Drawing from stories and portrait photography that document the ways in which members of the public from across three continents use their clothes, and the work of seven international design teams seeking to amplify these use practices, Craft of Use presents a changed social narrative for fashion, borne out of ideas of satisfaction and interdependence, of action, knowledge and human agency, that glimpses fashion post-growth.
Craft of Use

Craft of Use

Kate Fletcher

Routledge
2016
nidottu
This book explores the ‘craft of use’, the cultivated, ordinary and ingenious ideas and practices that promote satisfying and resourceful use of garments, presenting them as an alternative, dynamic, experiential frame with which to articulate and foster sustainability in the fashion sector. Here Kate Fletcher provides a broad imagining of sustainability in fashion that gives attention to tending and wearing garments, and favours their use as much as their creation. She offers a diversified view of fashion beyond the market and the market’s purpose and reveals fashion provision and expression in a world not dependent on continuous consumption. Framing design and use as a single whole, the book uncovers a more contingent and time-dependent role for design in sustainability, recognising that garments, while sold as a product, are lived as a process. Drawing from stories and portrait photography that document the ways in which members of the public from across three continents use their clothes, and the work of seven international design teams seeking to amplify these use practices, Craft of Use presents a changed social narrative for fashion, borne out of ideas of satisfaction and interdependence, of action, knowledge and human agency, that glimpses fashion post-growth.
Craft Guilds in the Early Modern Low Countries

Craft Guilds in the Early Modern Low Countries

Catharina Lis; Hugo Soly

Routledge
2019
nidottu
In the half millennium of their existence, guilds in the Low Countries played a highly significant role in shaping the societies of which they were a part. One key aspect that has been identified in recent historical research to explain the survival of the guilds for such a long time is the guilds' continued adaptability to changing circumstances. This idea of flexibility is the point of departure for the essays in this volume, which sheds new light on the corporate system and identifies its various features and regional variances. The contributors explore the interrelations between economic organisations and political power in late medieval and early modern towns, and address issues of gender, religion and social welfare in the context of the guilds. This cohesive and focussed volume will provide a stimulus for renewed interest and further research in this area. It will appeal to scholars and students with an interest in early modern economic, social and cultural history in particular, but will also be valuable to those researching into political, religious and gender history.
Craft, Community and the Material Culture of Place and Politics, 19th-20th Century
Craft practice has a rich history and remains vibrant, sustaining communities while negotiating cultures within local or international contexts. More than two centuries of industrialization have not extinguished handmade goods; rather, the broader force of industrialization has redefined and continues to define the context of creation, deployment and use of craft objects. With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls’ Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization, whether inspired by a calculated refutation of industrial sameness, an essential means to sustain a cultural community under threat, or a rejection of the imposed definitions by a dominant culture. The broader effects of urbanizing, imperial and globalizing projects shape the multiple contexts of interaction and resistance that can define craft ventures through place and time. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.
Craft Notes for Animators

Craft Notes for Animators

Ed Hooks

Routledge
2016
sidottu
If Disney’s Snow White and the Seven Dwarfs represented the Animation industry’s infancy, Ed Hooks thinks that the current production line of big-budget features is its artistically awkward adolescence. While a well-funded marketing machine can conceal structural flaws, uneven performances and superfluous characters, the importance of crafted storytelling will only grow in importance as animation becomes a broader, more accessible art form. Craft Notes for Animators analyses specific films – including Frozen and Despicable Me – to explain the secrets of creating truthful stories and believable characters. It is an essential primer for the for tomorrow’s industry leaders and animation artists.
Craft Notes for Animators

Craft Notes for Animators

Ed Hooks

Routledge
2016
nidottu
If Disney’s Snow White and the Seven Dwarfs represented the Animation industry’s infancy, Ed Hooks thinks that the current production line of big-budget features is its artistically awkward adolescence. While a well-funded marketing machine can conceal structural flaws, uneven performances and superfluous characters, the importance of crafted storytelling will only grow in importance as animation becomes a broader, more accessible art form. Craft Notes for Animators analyses specific films – including Frozen and Despicable Me – to explain the secrets of creating truthful stories and believable characters. It is an essential primer for the for tomorrow’s industry leaders and animation artists.
Craft

Craft

Ananda Lima

St Martin's Press
2024
sidottu
At a Halloween party in 1999, a writer slept with the devil. She sees him again and again throughout her life and she writes him stories about beautiful and impossible things. Craft: Stories I Wrote for the Devil is an intoxicating and unsettling linked collection that lures readers into surreal pockets of the United States and Brazil where they’ll find bite-size Americans in vending machines and the ghosts of people who are not dead. With a singular voice in the narrative-bending tradition of Kafka, Cortázar, and Bulgakov, Lima speaks to Brazilian-American immigrant experiences - of ambition, fear, heartbreak, and home - with equal parts warmth and agitation. Strange, intimate, haunted, and hungry - Craft: Stories I Wrote for the Devil is a powerful experience: once read, you’re as much a part of the stories as they’re a part of you. The collection includes: “Rapture,” “Ghost Story,” “Tropicália,” “Antropógaga,” “Idle Hands,” “Rent,” “Porcelain,” “Heaven, Hell, and Purgatory,” and “Hasselblad.”
Craft

Craft

Ananda Lima

St Martin's Press
2025
nidottu
At a Halloween party in 1999, a writer slept with the devil. She sees him again and again throughout her life and she writes stories for him about things that are both impossible and true. Lima lures readers into surreal pockets of the United States and Brazil where they’ll find bite-size Americans in vending machines and the ghosts of people who are not dead. Once there, she speaks to modern Brazilian-American immigrant experiences of ambition, fear, longing, and belonging - and reveals the porousness of storytelling and of the places we call home. With humour, an exquisite imagination, and a voice praised as “singular and wise and fresh” (Cathy Park Hong), Lima joins the literary lineage of Bulgakov and Lispector and the company of writers today like Ted Chiang, Carmen Maria Machado, and Nana Kwame Adjei-Brenyah. Craft: Stories I Wrote for the Devil includes: “Rapture,” “Ghost Story,” “Tropicália,” “Antropógaga,” “Idle Hands,” “Rent,” “Porcelain,” “Heaven, Hell, and Purgatory,” and “Hasselblad.” A great next read for fans of Carmen Maria Machado's Her Body and Other Parties and V. E. Schwab's The Invisible Life of Addie LaRue. Recommended reading by Chicago Review of Books, Electric Literature, The Kenyon Review, and more!
Craft & Snuggle: My Pet Unicorn (Klutz Junior)
Cuddle and dress-up your new unicorn plush with Craft & Snuggle: My Pet Unicorn by Klutz Junior! Make a pretty flower crown for your unicorn and dress it up with hair accessories and more! The kit comes with an adoption certificate so make sure you fill it in to name your unicorn. After, colour in the super-cute storybook about your unicorn's first ballet class! Included in the kit: Klutz-designed unicorn plush a pre-made tutu a storybook pipe cleaners pre-cut felt pieces stickers. What is Klutz? Klutz is a premium brand of book-based activity kits, designed to inspire creativity in every child. Our unique combination of crystal-clear instructions, custom tools and materials and hearty helpings of humour is 100% guaranteed to kick-start creativity. Super-clear instructions Open-ended Creativity Rewarding Reading Skills to Build On Everything You Need
Craft and the Creative Economy

Craft and the Creative Economy

S. Luckman

Palgrave Macmillan
2015
nidottu
Craft and the Creative Economy examines the place of craft and making in the contemporary cultural economy, with a distinctive focus on the ways in which this creative sector is growing exponentially as a result of online shopfronts and home-based micro-enterprise, 'mumpreneurialism' and downshifting, and renewed demand for the handmade.
Craft and Heritage

Craft and Heritage

Bloomsbury Visual Arts
2021
sidottu
This collection of 19 original essays argues for a critical and sustained engagement between the fields of craft and heritage.The book's interdisciplinary and international array of authors consider how heritage and craft institutions, policies, practices and audiences encounter the constraints and opportunities of production, recognition and exhibition. Case studies spanning 125 years raise and address questions concerning authenticity and commodification, innovation and improvisation, diasporas and decolonization, global economies and national and professional identities. Authors also analyse mechanisms through which craft mobilises and has been harnessed by heritage processes and designations.Examples range from an Irish village at the 1893 Chicago World’s Fair and the role of chronopolitics in contemporary Vietnamese pottery, to the invisibility of crochet within Swedish heritagisation processes and the application of game theory in a ceramics museum. With section one considering citizenship and identity, section two sustainability and section three dynamic craft in cultural institutions, Craft and Heritage interrogates how craft objects, makers and processes intersect with current heritage concerns and practices.
Craft Consciousness and Artistic Practice in Creative Writing
Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.
Craft is Political

Craft is Political

D Wood

Bloomsbury Visual Arts
2021
sidottu
Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live.Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue.A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft.
Craft Consciousness and Artistic Practice in Creative Writing
Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word.For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.
Craft Economies

Craft Economies

BLOOMSBURY PUBLISHING PLC
2023
nidottu
Craft Economies provides a wide-ranging exploration of contemporary craft production, situating practices of amateur and professional making within a wider creative economy. Contributors address a diverse range of practices, sites and forms of making in a wide range of regional and national contexts, from floristry to ceramics and from crochet to coding. The volume considers the role of digital practices of making and the impact of the maker's movement as part of larger trends around customization, on-demand production, and the possibilities of 3D printing and digital manufacturing.
Craft is Political

Craft is Political

D Wood

BLOOMSBURY PUBLISHING PLC
2023
nidottu
Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live.Just as John Ruskin and William Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalization, is overdue.A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicized craft.