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Copyright of Contaduría y Administración is the property of Facultad de Contaduria y Administracion-Universidad Nacional Autonoma de Mexico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this research was to denote the influence of the Exporta Fácil Program on the export of handicrafts from Lima 2014. For this reason, the research was developed within the framework of the quantitative approach, with a causal correlational field design. The study covered a population of 5,451 and a sample of 421. Two previously validated instruments were applied. For the validation of the hypotheses, the own Ordinal Regression Test was used with the purpose of clarifying the Cause-Effect relationship. The results show that the Exporta Fácil program contributed to Lima 2014 handicraft exports, after accepting the hypothesis after the Chi Square (X2) statistical test; Because the data tends to adjust to approximately 7.3 percent. [ABSTRACT FROM AUTHOR]

This research applies design thinking to craft a prototype for a digital participation strategy that boosts the ability of Colombian communities to protect natural ecosystems. It delves into modern digital involvement trends related to environmental sustainability and examines the roles of AI and blockchain in ensuring transparency and accountability. The paper also touches on community-driven methods for sustainable management, highlighting approaches like adaptive and landscape-based co-management that incorporate citizen science and collaborative engagement. The research is rooted in participatory methods, co-creating the empathy map and prototype with the community of Villavicencio, Colombia, and the research team. [ABSTRACT FROM AUTHOR]

The Samson Press, founded in 1930 by Flora Grierson and J.M. Shelmerdine, was a private press that printed various items such as Christmas cards, postcards, calendars, and bookplates. It was associated with the Scottish Renaissance movement and was one of the few presses operated by women. The press aimed to cater to a niche market while embodying the artistic ethos of the Arts and Crafts movement. It faced challenges during wartime restrictions on paper use and was destroyed by fire in 1936, resulting in the loss of many copies of their publications. The press played a significant role in the Scottish literary revival and twentieth-century literary modernism. [Extracted from the article]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Art and design involve divergent creative processes. Design is a more constrained domain than art. While creativity in some specific domains, such as painting, sculpture, and music, has been widely studied, some have as yet been little explored. One example is stone carving. What characterizes stone carving, as a creative occupation? What is a stone carver's creative process? We set out to answer these questions by interviewing a stone carver about his profession, his process, his productions, and his place in society. In this case study, we examined the stone carver's discourse using a combination of three content analysis software tools. Taken together, the results highlight and detail 3 of the 7 Cs of creativity: the stone carver as creator, his creating (creative process), and his creations (productions) on which the interview focuses. The results of this participatory case study were validated by the stone carver himself. They reveal that stone carving sits at the intersection between handicraft, design, and art. [ABSTRACT FROM AUTHOR]

Previous research on collaboration activities between designers and craftsmen has been frequently carried out. Starting from its focus on developing craft products aligning with the market needs, efforts to investigate mutual learning processes between designers and crafts in their everyday life, to the investigation of the co-designing process in making craft products. However, previous research has merely focused on the micro-scale activities without attending to the sociocultural influences surrounding the craft and design practices. Therefore, in this paper, we delve into the collaborative activities of the crafters and a designer in one of the biggest birdcage-maker villages in West Java Province, Indonesia, and look at the social infrastructure that supports the daily activities of the birdcage crafters in influencing design directions. We also investigate how the traditions that exist in the everyday life of craftsmen can persistently challenge and impact the process of collaboration, design, and innovation produced by craftsmen and designers. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The intangible cultural heritage is considered part of the identity and history of any country as well as it plays a vital role in economics. Traditional craftsmanship is perhaps the most tangible manifestation of intangible cultural heritage. Egypt's heritage in handicrafts is rich, unique and diversified, all stemming from its long history. The handicraft centers are available in all the governorates of Egypt. However, the management of the handicraft sector faces many problems, including the lack of: databases; coded products; and adequate marketing policy. This study presents the design and management of Remote Sensing, GIS and GPS applications to establish a geographic database for the handicrafts centers in the New Valley Governorate, Egypt. Also, it will link those centers with the archaeological heritage of the governorate. This study also presents a website's development to display all the collected data to be available to the public and help in the marketing process. [ABSTRACT FROM AUTHOR]

This study demonstrates the central role of women in preserving local cultural handicrafts as a home-based industry and the role of government bodies and stake holders in preserving these cultural handicrafts. The study focuses on five villages located in four regencies on the island of Java. Data collection was obtained through interviews and questionnaires. Over the course of one month data was collected from 258 craftswomen and managers as respondents. The results show the importance of the roles occupied by women within local handicraft industries. These women are often viewed as subordinate to their male counterparts, yet these women are expected to shoulder multiple burdens and roles, both work-related and domestic. The conclusions of this study indicate that both central and local Governments are not providing adequate support to meet the needs of these women. [ABSTRACT FROM AUTHOR]

The school and the home are both influential contexts in which a child learns mathematics, and therefore schools and families should work collaboratively to achieve shared goals for children's mathematics learning. In culturally and linguistically diverse areas, schools have richness to draw on but may face additional challenges in engaging with parents from varying backgrounds. To understand these challenges, this study undertook a culturally focussed investigation of mathematics home-school partnerships within one diverse school in a low socio-economic area of Auckland, New Zealand. Teachers responded to a questionnaire, and focus group interviews were held with diverse groups of parents. Findings indicated tensions regarding differing mathematics pedagogies used at school and by parents and different desires around formal communication about mathematics learning. The diversity of the school generated further challenges because different parent groups dealt with the tensions in different ways. Knowing more about these parental approaches may help diverse schools to design programmes and craft communication that include more of their community in mathematics teaching and learning. [ABSTRACT FROM AUTHOR]

The Journal of Modern Craft focuses on craft scholarship from around the world. The current issue includes three research articles on different craft phenomena from various locations. The first article explores sculptural textiles, tapestries, and fiber art practice in Israel during the 1970s, specifically focusing on the 1975 exhibition at the Israel Museum. The second article examines the changing craftsperson identities in Jingdezhen, China, known for its ceramic production. The third article discusses the history of Vietnamese lacquer painting, which emerged from collaboration between Vietnamese and French artists during the colonial period. The issue also features a Statement of Practice that explores the relationship between queerness and metalwork, as well as an essay from 1945 on mid-century technological culture. [Extracted from the article]

The paper approaches the subject of traditional craft and local know-how from the perspective of design practice. The specific focus is on those fields of design that produce the so-called culture-intensive goods (Hesmondhalgh, 2002; Bovone and Mora, 2003), such as fashion, home goods and food. They are the result of recombination by design of a specific cultural capital into new shapes and meanings. The paper will focus on the so-called "Made in Italy" and discuss, through best practices selected in those fields, how Design act as a cultural mediator shaping future artifacts rooted in the reinterpretation of the past. On one hand, accessing craft culture and its reiterative attitude of transmission of identity and tradition over times. On the other hand, recombining craft processes into reconfigured practices, encoding different meanings into new narratives. [ABSTRACT FROM AUTHOR]

This essay focuses on the skilled industrial worker as an exhibition visitor in the second half of the nineteenth century. It analyzes two exhibitionary spaces that have been central to the display and categorization of made things: the museum and the international exhibition. The first part of the essay considers how industrial workers were represented as museum visitors, through close analysis of a painting and a statue. The second part draws on the published reports of industrial workers visiting the international exhibitions of 1862 (London) and 1867 (Paris), to further understand how they engaged with the objects on display. Together, these analyses aim to restore visibility and agency to the industrial worker as a central yet largely overlooked agent in the histories of art, craft and design. The essay argues that these exhibitionary spaces were in fact engaged with by highly knowledgeable visitors. The labor of industrial workers was skilled, often handmade, and recognized and critiqued by communities of makers. Focusing attention on these specialists offers insights into labor histories, the continued significance of craft in industrial contexts, and the importance of exhibitions as sites of discourse and the construction of professional identity. [ABSTRACT FROM AUTHOR]

Jinnan (Southern Shanxi) embroidery is a traditional Chinese folk handicraft. In this study, we collected a large number of historical resources and theoretical materials of Jinnan embroidery and randomly sampled 100 works as research objects. These works were compared, and the artistic expression and implication in these works were analysed. We found that animal patterns are the main object of Jinnan embroidery and that the colour scheme in Jinnan embroidery is simple, with red and yellow as the main colours. After an in-depth analysis of their theme and value, the embroidery patterns were shown to convey totem worship, reproduction worship and auspicious worship, reflecting the long-term aesthetic concepts and living customs in southern Shanxi. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Learning & Technology is the property of Canadian Network for Innovation in Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Atacameños is the property of Estudios Atacamenos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CEM Cultura, Espaço & Memória: Revista do CITCEM is the property of Universidade do Porto, Faculdade de Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Eesti Rakenduslingvistika Ühingu Aastaraamat is the property of Eesti Rakenduslingvistika Uhing (ERU) / Estonian Association for Applied Linguistics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Facial expression recognition becomes an attractive research area in the field of biological recognition, which plays a vital role in a wide range of the application of the medical treatment, security systems, education, and so on. Extracting discriminative facial expression features has been an essential solution to improve the performance in dynamic facial expression recognition tasks. In this paper, we present a novel dynamic facial expression recognition framework that fusing geometric features with semantic features to effectively extract robust features. First, the proposed distance difference method is used to identify the peak frame in an image sequence, and the geometric features are calculated by the proposed geometric feature-based method. Then the geometric features are described semantically to construct a semantic feature set. Finally, we conduct an assessment on these geometric features according to the feature intensity standards and semantic rules to obtain the final fused features. Our method is carried out on two benchmark datasets: CK + (Extended Cohn-Kanade) and MMI (M & M Initiative). Its efficiency is demonstrated by extensive experiments. The best result achieves 98.73% recognition rate as classifying the 6 classes on CK+ and 87.36% on MMI, outperforming the results of state-of-the-arts. [ABSTRACT FROM AUTHOR]

This research focuses on the young people and an issue of national handicraft preservation in the form of southern style hand weaving. A game is used in the study on arts and cultures as a learning medium optimized for the young people who play an important role in preserving the traditional handicraft being at the verge of extinction. The "Exploring Na Muen Sri" was developed based on digital micro-game and Person-Artefact-Task model as well as the game production with the purpose of creating the learning media and a simulation containing new knowledge about hand-weaving art and history that is suitable for the young people. The case study was on the weaving history of Na Muen Sri Community located in the southern Thailand. An experiment was conducted with undergraduate students to explore the effectiveness of the proposed approach in the field of cultural study. The results show that the game can effectively enhance players' cognitive growth along with cultural awareness. It can be concluded that the simulated learning environment created in the digital game enables to bring about comprehension supporting the lifelong learning of hand weaving art and history while simultaneously preserving the local wisdom of hand weaving of fabrics. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The boundaries between art and handicrafts are rarely clear-cut. Today, in the age of heritage protection in contemporary China, the transition from craftsmen to artist is particularly noticeable and fraught. Usually it is the attributes of products (i.e., tradition or indigenousness, creativity or innovation) that determines whether the products' producers are artists or craftspeople. However, the producer's background and the general cultural contexts in which the products are made are also important factors that influence the crossing between these boundaries. An ethnographic field study of folk root carving in the central China highlands reveals three key dimensions concerning the transition from handicrafts to art in this context: increasing one's intellectual capital; paying less heed to craft-rigidity (jiangqi), or deskilling; and developing relationships with well-known public figures; all of which have been spurred on by current heritage protection projects. While assisting individual craftsmen in crossing the boundary from handicrafts to art at a micro level, these heritage projects have contributed to the maintenance of such a boundary at the macro level. [ABSTRACT FROM AUTHOR]

Kashmir from the earliest times has been known throughout the world not only for its beauty but also for its handicrafts. Shawls became one of those exquisite products made in Kashmir which became synonymous to the beauty of Kashmir. Thousands of miles away from the valley, in European countries, it became a fashionable item and earned fame for its delicacy and elegance. It brought riches to the state but its makers (shawl weavers) led a miserable life. The present paper is an attempt to look into the shawl industry during the second half of the 19th century, keeping in view not only its development and role in the state economy but also the causes which resulted in its downfall. [ABSTRACT FROM AUTHOR]

The research paper is devoted to finding out the impact of Goods and Services Tax on handicraft exporters. With the introduction of GST, people are confused with its implications and this study contributes in making clearness among the people, how GST is positive for them. This study concentrates on the ease of doing export business after the introduction of this new tax. This research paper also focuses on the impact of each GST variable (registration, return rates, input tax credit, letter of undertaking/Bond, refund, e-way bill, and reverse charge mechanism) on handicraft exporters. It is a correlational research study. Simple random sampling has been used. Exporters have been randomly identified from different locations in Jaipur. One-Way ANOVA statistical test and multiple-linear regression analysis have been used. There is a notable effect of GST on Jaipur handicraft exporters. This research paper also revealed that each GST variable has a significant impact on exporters of handicrafts with regard to ease of exports. The results of this research paper can also be useful for future researchers. As GST was introduced in 2017, still no such study has been conducted to measure the implication of this tax on registered exporters. The results of this research paper can be beneficial for the Government, Export Promotion Council of Handicrafts, Exporters, and Taxpayers. This research study has concluded the positive impact of this new tax on exporters of handicrafts. [ABSTRACT FROM AUTHOR]

Copyright of Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)