Handcrafts

Erzählt wird die eng mit Museum, Kunsthandwerk und Silber verbundene Firmengeschichte eines Unternehmens in Schwäbisch Gmünd, das wie kaum eine zweite die Entwicklung von der Gestaltung zum Design im 19. und 20. Jahrhundert repräsentiert.
ISBN 978-3-936988-15-4

• Se pretende presentar a partir de este trabajo un panorama del artesanado y la clase obrera en la República Oriental del Uruguay en el período de tiempo comprendido entre 1870 y 1914.

Dado que el tema es muy profundo y extenso nos vemos obligados a enfocarnos en el artesanado y la salud, estudiando las principales enfermedades y afecciones de salud prevalentes de la época en relación a los artesanos. Además, se analizará las condiciones materiales de vida de esa población y como influía en la salud de la población y particularmente del artesanado.

Fue necesario una búsqueda exhaustiva de material bibliográfico. Para ello se consultó e investigó en el Departamento de Historia de la Medicina, en Facultad de Medicina de la Universidad de la República, buscando estudios de médicos uruguayos sobre enfermedades que afectaban a los artesanos. No se pudo encontrar material en relación directa con el tema y contexto abordado específicamente.                                                   

Se plantea como interrogante si este tema estaba dentro del interés y los conocimientos de los médicos de la época.

ABSTRAK Kajian ini bertujuan meninjau Persepsi Pelancong Terhadap Produk Kraftangan Pasu Sarawak di Waterfront, Kuching. Persepsi ialah proses bagi memilih menyusun dan mentafsir maklumat daripada keadaan sekeliling. Pendekatan ini adalah betujuan untuk mengetahui kewajaran produk kraftangan Pasu Sarawak sebagai cenderahati dalam sektor pelancongan. Melalui kajian ini, pengkaji menggunakan kaedah kuantitatif bagi meneliti kejayaan produk kraftangan, faktor-faktor yang mempengaruhi minat pelancong dan usaha-usaha yang boleh dilakukan untuk membangun dan mengkomersialkan produk kraftangan Pasu Sarawak. Seramai 370 orang responden yang terlibat di dalam kajian ini yang terdiri daripada pelancong domestik dan juga pelancong antarabangsa. Hasil kajian ini akan mendapati pelbagai pendapat daripada responden-responden dan seterusnya dapat membantu industri kraftangan negara khususnya pada produk kraftangan Pasu Sarawak dalam memainkan peranan sebagai cenderahati dalam sektor pelancongan. Justeru, kajian ini dapat membantu produk kraftangan Pasu Sarawak mengenal pasti kelebihan, kelemahan, peluang dan ancamannya.

Die Ausgangsbasis für diesen Beitrag sind die eher unscheinbaren Spinnwirtel, die bei archäologischen Ausgrabungen immer wieder auftauchen. Sie erfahren neben der zeitlichen und kulturellen Zuordnung nur sehr selten nahere Betrachtung, weshalb sie hier von verschiedenen Seiten beleuchtet wurden, ob nun von ihrer Funktion, von diversen experimentalarchäologischen Versuchen oder von der archäologischen Basis her.
Das Spinnen und die Herstellung von Textilien ist eine sehr wichtige Tätigkeit im prähistorischen Alltag. Obwohl das Handwerk archäologisch durch die schlechten Erhaltungsbedingungen von organischen Materialien meist nur in Form der tönernen Spinnwirteln fassbar ist, so ist es doch möglich, durch das Zusammentragen kleinster Hinweise ein plastisches Bild zu erhalten.

Ζούμε σε μια εποχή στην οποία τα μηχανήματα μπορούν να φτιάξουν τα πάντα: ακόμη και να σκέφτονται στη θέση των ανθρώπων. Έχουμε λοιπόν μια «νοήμονα ή έξυπνη» τεχνολογία, όπως αυτάρεσκα αποκαλούμε όλα αυτά τα «γκάτζετς» που μας περιβάλλουν. Και αυτή αναλαμβάνει τα πάντα: από το να μας ταΐζει, να μας βγάζει βόλτα, να μας θερμαίνει, να μας δροσίζει,… να… να… να… Και μέσα σ' όλη αυτή τη μηχανική δραστηριότητα, πού βρίσκεται ο άνθρωπος; Εννοώ ο πραγματικός άνθρωπος, με σάρκα και οστά, με το μυαλό και τα χέρια του, με τα αισθήματά του, με τη θέλησή του να δημιουργεί, να βλέπει και να κρίνει, να προβλέπει και να ενεργεί.

ÖZET Geleneksel Türk el sanatlarımızdan biri olan bakırcılık sanatı, sanayi devrimi sonrasında diğer el sanatlarında olduğu gibi önemini yitirerek yok olma sürecine girmiştir. Çorum'da bu el sanatı için ayrılan Osmanlı dönemi arastasında günümüzde bu işi devam ettiren birkaç usta bulunmaktadır. Bunlar da zamanın hızlı değişim koşullarına ayak uydurmaya çalışmaktadır.

Bu çalışmanın konusu; zengin bir el sanatları geçmişi olan Kastamonu’da, günümüze kadar ulaşabilmiş geleneksel el sanatları içinde Evrenye Bıçakçılığı ve bu sanatı icra eden ustalardır.
Çalışma bir yandan bu ustaların gözünden ve belleklerindeki izlerinden yaşadıkları köyün sosyal ve ekonomik dinamiklerinin zaman içindeki dönüşümüne bakarken, öte yandan köydeki bıçakçılık geleneğine,
bıçakların yapım süreçlerine ve özelliklerine odaklanmıştır.

El presente texto describe de manera preliminar una investigación sobre el fenómeno de la patrimonialización de la cultura material indígena en Colombia a partir del caso específico de la escogencia del Sombrero Vueltiao, artefacto fabricado por los indígenas Zenú del Caribe colombiano, como símbolo cultural de la nación. El texto pretende ser una descripción inicial de la problemática, el escenario y los actores involucrados en dicho proceso.

Lunular or crescent shaped loom-weights are well known in mediterranean area – from Spain, in France, Italy, Greece and Turkey. The weights  have also been found even in the area around the alps, in Hungary, Austria, Czech Republic and Southern Germany, especially accompanying the Jevišovice Culture and the Funnel Beaker Culture (about 3000 BC). The exact function of this unburnt or only less burnt artefacts is reconstructed in different ways.
The experiments proved that crescent loom weights can be used for different textile techniques as band weaving, weaving a large textile on a loom or twining on a frame. It is possible to construct with that tools fabrics as they were found at Late Neolithic sites, especially band weaves, large weaves in tabby as well as structures of twined. Use-wear analysis were done as well.

Although so many important studies have been carried out about the Seyahatnâme (Book of Travels) of Evliya Celebi until now, they haven’t been benefited from
Turkish archives during these studies sufficiently. Correspondingly, it is clear that lots
of problems can not be clarified without using these sources. In this study, on the basis
of estates, new findings have been established about how and when author’s edition of
Seyahatnâme passed to Topkapı Palace Library. Besides with the help of these estates it
has been revealed that Morali Besir Aga who was one of the chief harem eunuchs possessed the author’s edition and they were transported to the Palace by confiscation

This study aims to review the Tourist Perception Toward Handicraft Product's Sarawak Pottery in Waterfront, Kuching. Perception is the process for selecting organize and interpret information from the surrounding circumstances. This approach is intended to justify handicraft product's Sarawak Pottery as souvenirs in the tourism sector. Through this study, researchers used quantitative methods to examine the successful of handicraft products, factors that affect the interests of tourists and businesses can do to develop and commercialize handicraft product's Sarawak Pottery. A total of 370 respondents involved in this study consisted of tourists, both domestic and international tourists. The results of this study will find a variety of opinions from the respondents and thus help the craft industry in particular countries especially handicraft product's Sarawak Pottery in its role as a souvenir in the tourism sector. Thus, this study can help handicraft product's Sarawak Pottery identify advantages, weaknesses, opportunities and threats.

El sanatı ürünleriyle fabrikasyon ürünler arasındaki nitelik farkı kitle turizmi ile kültür turizmi arasındakine benzemektedir. Az sayıda fabrika aynı üründen milyonlarcasını kısa sürede imal edebiliyor. Tur operatörleri ve seyahat acentaları da milyonlarca gezgini benzer biçimde tatile göndermektedir. Kitle turizmi olarak adlandırılan bu yaklaşım ucuz ve türdeş ürünleri (güneş, plaj, otel) sunmayı hedefler ve karı arayışı gibi içkin kavram ve imgelerle fabrikasyon ürünlerden ayrılır. El sanatları özellikle kültür turizmi kapsamında korunarak pazarlanabilecek somut olmayan kültürel miras kapsamındadır. Bu çalışmada, Türkiye'de el sanatçılarının turizm endüstrisi ile olan ilişkileri sorgulanmaktadır. Çalışmanın temel amacı el sanatçılarının ürünlerini turizm kanalıyla değerlendirmesi için neler yapılabileceğini tartışmaktrır. Çalışmada nitel araştırma yöntemi izlenerek Ege Bölgesi'nden toplanan birincil veriler analiz edilmiş, yorumlanmış ve bulguları tartışılmıştır. Bulgulara göre; turizm-el sanatçısı ilişkisinde sorunlar el sanatçıları, turizm camiası ve değişen toplum yapısı olmak üzere üç temel grupta yoğunlaşmaktadır. Çalışmada sırayla kültür mirası, el sanatı ve turizm arasındaki ilişkiler, el sanatlarının turizmde pazarlanması, kültür turizminin içeriği ve el sanatçılarına yönelik saha çalışması bölümleri yer almaktadır.

El presente trabajo se centra en los saberes y prácticas referidos a la producción artesanal del pueblo Qom en la ciudad de Rosario, provincia de Santa Fe, Argentina. Abordamos distintos rubros prod uctivos, como: cestería, alfarería, tejido, confección de arcos y fl echas y realización de collares; formas productivas individuales y/o familiares y; tipos de organización, como: cooperativas, asociaciones y grupos independientes presentes en la mencionada ciudad. La producción y venta de artesanías es parte de las estrategias económicas dentro del contexto urbano, a la vez que motivo de reivindicación identitaria en el conjunto de toda una serie de luchas que incluyen aspectos políticos, sociales y culturales.

Este texto fue publicado en: Lenguaje Creativo de las Etnias Indígenas en Colombia. Cecilia Duque Duque, Editora. Medellin: Suramericana Editores, pgs. 454-458. 2012. ) Una buena parte de los turistas que llegan al Parque Arqueológico Teyuna-Ciudad Perdida piensan que al llegar van a encontrar una ciudad habitada por indígenas de alguno de los grupos que hoy en día vive en la Sierra Nevada de Santa Marta: kogi, wiwa, arhuaco, o kankuamo. Esto usualmente

ÖZ Medeniyet tarihimiz boyunca insanlar yaşadıkları yerin coğrafi şartlarına bağlı olarak çevrelerinde kolay erişilebilen, işlenmesi kolay malzemelerle çok çeşitli araç gereçler ortaya koyarak günümüz dünyasının temellerini atmışlardır. Taş, ahşap, kemik, doğal lifler ve daha sonra da metallerle ortaya konan ürünler giyim kuşamdan yeme içme alışkanlığına; tarımdan sanayiye tüm beşeri yapıyı şekillendirmiştir. Bunlar içerisinde ise ahşap malzemelerle ortaya konan ürünler çok daha çeşitli bir kullanım alanına sahiptir. Mimariden mutfak gereçlerine, ulaşım araçlarından spor aletlerine binlerce üründe kullanım alanı bulunan ahşap, başlı başına bir zanaat kolunu oluşturmuştur. Ahşap işlemeciliğinin en eski ürünlerinden birisi olan bastonlar ise neredeyse insanlık tarihi kadar eski bir alet olarak varlığını hâlâ sürdürmektedir. Baston, medeniyet tarihi boyunca savunma gereci, güç ve asalet göstergesi, ölümsüzlük sembolü, çeşitli spor faaliyetlerinin başlıca malzemesi, yürüyüş gereci ve son olarak da giyim-kuşamın tamamlayıcı ürünü olarak bir dönemin moda algısına damga vurarak hemen her zaman önemini korumuştur. Binlerce yıllık geçmişi bulunan, avadanlığın bu en kadim ürünü olan baston, özellikle 1900'lerin ikinci yarısından itibaren toplum hayatında daha seyrek görülür bir hâl almıştır. Baston, artık yaşlılar ve sağlık sorunları bulunan kimselerce destek aracı amacıyla kullanılan, az sayıda karakteristik bastonun da koleksiyon ya da hediye amaçlı talep edildiği bir ürün hâlini almıştır. Karakteristik bastonlar içerisinde ise ilk akla gelenler Devrek Bastonu ile Ahlat Bastonu'dur. Bunlara ilaveten köklü bir geçmişi bulunan, buna karşılık sayılan bastonlar kadar tanınmayan bir baston daha vardır ki, bu da Beykoz Bastonu'dur. Günümüzde kaybolma noktasına gelmiş olan, çok az literatür bilgisi ve faaliyetin fiilen devam eden son 1 ustasıyla sürdüğü Beykoz bastonculuğu özellikle İstanbul gibi bir dünya şehri için üzerinde durulması gereken sembol ürünlerdendir. Kestane ağacından yapılan, kendine has işlemeleri bulunan, belli başlı birkaç karakteristik modele sahip bu ürün çok uzun yıllar ihmal edilmesi nedeniyle yitirilme noktasına gelmiştir. İstanbul gibi binlerce yıldır pek çok medeniyetin ve de milletin gelip geçtiği bir yerde Beykoz Bastonu, Kandilli Yazmaları, Beykoz Cam İşleri, Şile Bezi gibi karakteristik ürünlerin korunması çok önemlidir. Zira dış etkilere oldukça açık olan bu gibi kozmopolit yerlerde asli kültürel değerlerin yitirilmesi, telafisi mümkün olmayan sonuçlar doğurmaktadır. İstanbul genelinde, Beykoz özelinde çalışma konumuz olan Beykoz Bastonu için ürünün ilk etapta sürdürülebilirliğinin sağlanması, devamında da diğer bastonlar gibi coğrafi işaret kapsamına alınması çok önemlidir. Bu çalışmada da Beykoz Bastonu ile ilgili olarak mevcut literatür bilgisi ışığında ürünün geçmişi, karakteristiği, yapım aşamaları ve son olarak faaliyetle ilgili güncel durum yerinde incelenerek, konuyla ilgili yapılması gerekenler belirtilmiştir. Anahtar Kelimeler Ahşap işlemeciliği, baston, Beykoz Bastonu, İstanbul, kültürel simge.

How can handcrafts live inside communities, how they could survive against the poverty, environment and migration?. A vision from how designers are looking an approach to traditions and techniques that even have no idea how are made. Designers try to use handcrafts looking in them an own identity. How until now doesn´t exist in any design school how to approach them and learn from traditional handcrafts and their communities...

Sustainable strategies for managing fiber-producing Astrocaryum chambira palm tree populations are crucial to protecting this important non-timber forest product used in the economic development of rural, natural-resource-reliant communities of the Peruvian Amazon. Forest inventories (n=26) and semi-structured interviews (n=32) were conducted across three communities along the Tahuayo River to assess the effects of current reforestation practices on managed chambira populations and the artisans who rely on chambira fiber handcrafts as a source of income. Statistical analyses of the relationships among management strategies, chambira population density, average chambira age, and elevation were conducted, with a supplementary geospatial analysis exploring further how elevation and flood risk affect chambira population density. The findings of these analyses support the inclusion of elevation and flood susceptibility considerations in community management plans and call for future research to include assessments of the social and economic dimensions of the chambira handcraft market to gain a full understanding of the chambira handcraft economy's long-term sustainability.

resumen: Este trabajo es una síntesis de la investigación realizada sobre las joyas de oro del Museo de Cádiz recuperadas en contexto arqueológico. Se presentan los análisis mediante técnica PIXE a dos conjuntos pertenecientes, respectivamente, a las dos fases culturales, fenicia arcaica (Siglos VII-VI a.C.) y púnica (siglos V-III a.C.), para determinar la caracterización de las aleaciones y las técnicas de elaboración de las joyas. En ellos se han encontrado composiciones diferenciadas entre las dos fases, y en relación con la producción de orfebrería coetánea de la Península Ibérica. En la producción arcaica han sido detectados contenidos peculiarmente elevados de plata y posible electrum natural, y en la púnica la presencia de elemento traza paladio. Se discute la probable procedencia geográfica del paladio y del oro electrum natural en relación a consideraciones geológicas y arqueológicas.

Kerajinan tangan dari kardus, Batam Hand made, Ipad Stand dari kardus, Batam Handcraft, rumah kucing dari kardus, kerajinan tangan murah dari kardus, Replika Sepatu dari kardus, replika rumah burung Dari Kardus, cindramata dari kardus, oleh-oleh murah dari kardus, produk dari kardus

Bingung mencari cindramata, oleh-oleh atau buah tangan yang murah ? ringan? tidak mudah basi?
jangan bingung... Batam Handcraft menjawab kebutuhan anda untuk oleh-oleh yang tidak mudah basi, tidak berat dan tidak menguras dompet yang dalam.
Batam Handcraft yang bergerak dibidang kerajinan tangan dari kardus dan karton ini membuat beraneka kerajinan tangan seperti : Miniatur minibus, stand laptop, stand smartphone, boneka danbo dan kerajinan tangan lainnya.

Info dan Pemesanan, silahkan hubungi :
0812-7696-5872 (TSEL)
0877-9174-2531 (LINE/WA)
Fernando Reza Destrianto

The bottle gourd (Lagenaria siceraria), also known as calabash, has been known for thousands of years, both in the Old and in the New World, being without a doubt one of the most useful plants domesticated by humans. The article deals with its numerous applications documented in archaeological and historical sources as well as its various uses still observed in various cultures today. Young gourd fruit can be used as food, but interest in the plant grows considerably when its wall becomes lignified, tough and resistant, and can be processed. Gourds are used primarily to produce all kinds of vessels and containers, musical instruments and a huge variety of utensils. They can be also used in hunting and fishing, turned into rafts and used to teach swimming. In addition, calabashes are known to have been used in traditional medicine and rituals of many peoples. They were and still are used to make ceremonial masks and elements of costumes; and they were an important part of grave goods. Although, in the industrialised world, the significance of the plant is undoubtedly smaller than it used to be, people keep finding new applications for it. Artists turning calabashes into beautiful decorative objects are active in many countries.

What do we know about craft activities that took place in the subsidiary buildings of the temples ? Are we able to locate the working place of every group of craftsmen among the archeological remains of mud-brick buildings that surround the main axis of the houses of millions of years ?

With the construction, in Pompeii, of the temporary museum of enterprises and activation of Officiamuseum (the Regional Museum System Design and Applied Arts), which is the driving force, it is necessary to extend the "system" in a geographically and culturally more extensive. To really make this action strategy for the revival of craft and design-not making constant reference to the European market, especially in these years-you have to devise a The Mediterranean Museum System of Design and Applied Arts. Pompeii, once an important trading center in the Mediterranean, could become one of the centers of this system with the city of some countries such as Morocco, Libya, Egypt, Turkey, etcetera. This project is currently supported by Okan University, Istanbul. Professor Ayşe Özbil about it has made a study on craft turkish. Although there was a crisis with globalization, will be enhanced by our project. Furthermore, this work is also supported by a German university, the Cologne University of Applied Sciences. The prof. Jochen Siegemund stepped in with its expertise in the field of Corporate Architecture. The "System"-a sort of international company museums-will represent perhaps a great opportunity for development in the Euro-Mediterranean design.

Αrt catalogue with the recent artworks -2021 (acts and handicrafts) based on John Heartfield's satirical ironic photomontage ‘’German Natural History. Metamorphoses’’ (1934), a detail in the ¨the death’s-head moth¨, patterns with different mediums

postproduction; pastis; craftwork; handiwork; craftsmanship; participative acts; robotics; critical vehicles; public art; mail art; graffiti; speech acts;

Rafael S.-M. Paniagua (2020) Manualidades y apagones: el menosprecio de la cultura y la imaginación popular. Ctxt.es, 25-04-2020. https://ctxt.es/es/20200401/Culturas/31986/maria-acaso-cultura-15M-confinamiento-rafael-sm-paniagua.htm 

La burbuja cultural asociada al confinamiento ha explotado multiplicando las preguntas sobre su importancia en este tiempo, pero también revelando el malestar y las preocupaciones del sector, así como el distanciamiento de la crítica cultural de la sociedad, cuya imaginación popular no entendemos.

When I think about metal, I have in mind some
features like Malleability (the ability to be hammered
or pressed without breaking or craking),
fusibility (the ability to be fused or melted) and
ductibility (the ability to be drawn out into wires).
These are manipulability1 features, they give us
the idea what we can do with the material in
terms of transformations. On the other hand we
can see metals through the physical phenomena
such as electrical and thermal conductivity or in
some cases magnetism. We could even go deeper
in the understanding of the material within
the chemical/physical dimension, with implication
in nanotechnology and the idea of programmable
matter2.
These considerations give me the possibility to
distinguish different ways of transformation of
the material, let consider them in two families:
the first one where the hand and the machinery
as an extension of the hand, are the control
tools, the drivers. The second one, where the drivers
are the interactions of physical conditions.

To better investigate the realm of the material,
we have to use our body. We think physically, so
the point is to expand it directly to give us the
possibility to see things differently, from an augmented
perspective. Our body is able to easily
incorporate exogenous apparatuses, able to let
us think process, and to do so we have to reinforce
the idea of a “totalizing immersion”, a bodily
experience able to activate our senses, but not
only, able to refine them, able to expand them to
new realms. To build new senses and new sensitivities,
to bring back intelligence and sensitivity in
our manufacturing processes and to bring back
intelligence into the material itself.

Bone flutes make use of a naturally hollow raw-material. As nature does not produce duplicates, each bone has its own inner cavity, and thus its own sound-potential. This morphological variation implies acoustical specificities, thus making it impossible to handcraft a true and exact sound-replica in another bone. This phenomenon has been observed in a handcrafting context and has led us to conduct two series of experiments (the first-one using handcrafting process, the second-one using 3D process) in order to investigate its exact influence on acoustics as well as on sound-interpretation based on replicas. The comparison of the results has shed light upon epistemological and methodological issues that have yet to be fully understood.

Kerajinan Tangan khas batam, Kerajinan tangan dari kardus, Batam Hand made, Batam Handcraft, Ukiran Nama dari kardus, Robot Mainan dari kardus, Hiasan Gantung dari kardus, Hiasan Bunga Dari Kardus, cindramata dari kardus, oleh-oleh murah dari kardus, produk dari kardus

Bingung mencari cindramata, oleh-oleh atau buah tangan yang murah ? ringan? tidak mudah basi?
jangan bingung... Batam Handcraft menjawab kebutuhan anda untuk oleh-oleh yang tidak mudah basi, tidak berat dan tidak menguras dompet yang dalam.
Batam Handcraft yang bergerak dibidang kerajinan tangan dari kardus dan karton ini membuat beraneka kerajinan tangan seperti : Miniatur minibus, stand laptop, stand smartphone, boneka danbo dan kerajinan tangan lainnya.

Info dan Pemesanan, silahkan hubungi :
0812-7696-5872 (TSEL)
0877-9174-2531 (LINE/WA)
Fernando Reza Destrianto

Kerajinan Tangan khas batam, Kerajinan tangan dari kardus, Batam Hand made, Batam Handcraft, Lampu Belajar dari kardus, kerajinan tangan murah dari kardus, Replika Sepatu dari kardus, Hiasan Bunga Dari Kardus, cindramata dari kardus, oleh-oleh murah dari kardus, produk dari kardus

Batam Handcraft, Minatur Bus dari kardus, Stand Laptop dari kardus, stand smartphone dari kardus, danbo, hiasan lampu dari kardus, replika sepatu dari kardus, kerajinan tangan dari kardus, oleh-oleh dari kardus, cindramata dari kardus

Bingung mencari cindramata, oleh-oleh atau buah tangan yang murah ? ringan? tidak mudah basi?
jangan bingung... Batam Handcraft menjawab kebutuhan anda untuk oleh-oleh yang tidak mudah basi, tidak berat dan tidak menguras dompet yang dalam.
Batam Handcraft yang bergerak dibidang kerajinan tangan dari kardus dan karton ini membuat beraneka kerajinan tangan seperti : Miniatur minibus, stand laptop, stand smartphone, boneka danbo dan kerajinan tangan lainnya.

Info dan Pemesanan, silahkan hubungi :
0812-7696-5872 (TSEL)
0877-9174-2531 (LINE/WA)
Fernando Reza Destrianto

OPEN ACCESS: http://doi.org/10.30687/978-88-6969-615-2

L’artigianato artistico e tradizionale contribuisce in modo significativo a determinare molti dei tratti centrali, unici e distintivi che contraddistinguono in modo duraturo la percezione identitaria di Venezia nel mondo. Le recenti crisi economiche e sanitarie legate alla globalizzazione hanno messo a dura prova la capacità di resilienza delle botteghe artigiane – custodi della memoria storica e del patrimonio culturale immateriale veneziano – duramente colpite prima dall’emergenza dell’acqua alta di novembre 2019 e poi dall’avvento della pandemia. Il progetto Venice Original E-Commerce, nasce per supportare l’artigianato veneziano a fronteggiare questa crisi e a ritrovare nuove prospettive di sviluppo.

Bone flutes make use of a naturally hollow raw-material. As nature does not produce duplicates, each bone has its own inner cavity, and thus its own sound-potential. This morphological variation implies acoustical specificities, thus making it impossible to handcraft a true and exact sound-replica in another bone. This phenomenon has been observed in a handcrafting context and has led us to conduct two series of experiments (the first-one using handcrafting process, the second-one using 3D process) in order to investigate its exact influence on acoustics as well as on sound-interpretation based on replicas. The comparison of the results has shed light upon epistemological and methodological issues that have yet to be fully understood. This work contributes to assessing the application of digitization, 3D printing and handcrafting to flute-like sound instruments studied in the field of archaeomusicology.

Rak Pensil dari kardus,replika gitar dari kardus, Batam Hand made, Batam Handcraft, sampul buku dari kardus, kerajinan tangan murah dari kardus, Replika Sepatu dari kardus, Hiasan Bunga Dari Kardus, cindramata dari kardus, oleh-oleh murah dari kardus, produk dari kardus

Bingung mencari cindramata, oleh-oleh atau buah tangan yang murah ? ringan? tidak mudah basi?
jangan bingung... Batam Handcraft menjawab kebutuhan anda untuk oleh-oleh yang tidak mudah basi, tidak berat dan tidak menguras dompet yang dalam.
Batam Handcraft yang bergerak dibidang kerajinan tangan dari kardus dan karton ini membuat beraneka kerajinan tangan seperti : Miniatur minibus, stand laptop, stand smartphone, boneka danbo dan kerajinan tangan lainnya.

Info dan Pemesanan, silahkan hubungi :
0812-7696-5872 (TSEL)
0877-9174-2531 (LINE/WA)
Fernando Reza Destrianto

Archaeological flutes, as sound artifacts, both stand in material and immaterial culture. They are made of tremendous subtleties that archaeologists have a hard time to understand while these are craftsmen’s everyday life. These subtleties are the link between material (rough material, tools, gestures) and immaterial (sounds, music, timber, uses) issues. They are the reason why archaeology cannot study ancient sound instruments on its own. A one-year insight experience of apprenticeship alongside a traditional-flute-maker (Jean-Daniel Talma, ElBock workshop) in 2014-2015 was a way to demonstrate that archaeomusicological research has everything to gain when merged with handcrafting. As a new way to practice archaeological studies, “crafting-archaeology” is offering new epistemological and methodological questions, revealing shortcomings or weaknesses in past and actual sound interpretations, giving clues to improve studying methods, and bringing us to consider a “sound-archaeology” rather than a “music-archaeology”. When crafting sounds out of a flute becomes clear and almost natural, changes appear in our way to look, apprehend and understand those instruments. These changes result from the transformation from a quantitative to a qualitative approach.
More than raising new questions, handcrafting is also offering new perspectives in sound archaeology research: it questions our way to think, the consciousness we have of our subjects and even our scholar process. Following craftsmen’s know-how’s teachings in a new qualitative approach, we could even find a new field of application by using recent technological breakthroughs in the 3D industry through a 3D scanning-reconstructing-and-printing protocol.