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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

During excavations carried out in 2023 at the cemetery of the Lusatian culture in Dąbrowa, site 2, Wieluń County, an urnless cremation burial was discovered (Object 24), which is dated generally to the Hallstatt period. Burnt human bones were scattered throughout the object, which form a relatively compact cluster in the central part of the grave. Ceramic fragments from various vessels were found in the fill of the grave cavity. Metal objects, both bronze and iron, showed signs of being smoldered in the fire. This fosters the conclusion that they had been burned with the deceased on the pyre and placed in the grave together with burned human bones. At the same time, such a state of preservation of the grave offerings made it impossible to specify the dating of the tomb. Within the grave, a fragment of an iron plate was found, on which mineralized remains of fabric were preserved. Technological analysis showed that it was a half-basket weave fabric of a very high quality, made of thin z-single yarn (0.25–0.30 mm and 0.40–0.50 mm) and of surprisingly high thread count (32–34/12–14 threads per cm). In the basin of the Vistula and the Oder rivers, none of the fabrics discovered so far had similar parameters. On the other hand, textiles from the main canters of weaving production at the time, such as the Hallstatt culture and the Scandinavian area, showed similar characteristics, but only in rare examples. This highlights the importance of the weaving product presented here. It is difficult to answer conclusively whether we are dealing in this case with an imported object or one produced in a local weaving workshop, although much points to the first option. Given the context of the find and the accompanying offerings, it can be assumed that the fabric belonged to a person of a higher social status. The local community’s custom of accumulating and then depositing imported items of quality into graves also makes such a hypothesis plausible. On the other hand, certain foreign patterns were adopted and creatively developed in local craft workshops of the Lusatian Culture. Most likely, involvement in long-distance trade routes allowed this society to achieve a high position in the aforementioned exchange. It was important to settle and control areas located in the basin of the upper Warta and Prosna rivers, i. e., on the southern borderlands of central Poland. It was here, through Silesia, that foreign patterns flowed in, which were then transmitted further along the Warta river basin in the northern direction, towards the “Lusatian interior”. The communication route created for the Baltic amber trade played an important role here. Finds of this raw material were recorded both in the Hallstatt circle, in areas of northern Italy, and present-day Slovenia. [ABSTRACT FROM AUTHOR]

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management 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.)

Archaeological research into industrial heritage is a relatively recent field of study in the Czech Republic. During the past six years, several historical textile production facilities (including five dyeing workshops) have been uncovered as part of preparatory work for construction projects in areas traditionally associated with the textile industry. Following excavations, these facilities have been the subject of interdisciplinary research. This article presents a comprehensive account of its findings. The introductory part traces the historical development of the textile industry in what is now the Czech Republic. The article then presents the results of research carried out at sites in Brno, Úštěk and Krnov, documenting the possibilities of rescue archaeology and non-destructive surveys as well as tracing this type of workshop's heating units evolution, providing a comprehensive overview of industrial dyeing in the territory of the present-day Czech Republic during the 18th and 19th centuries. [ABSTRACT FROM AUTHOR]

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 increase in clothing consumption year after year generates a growing demand for raw materials and, therefore, large quantities of waste from the textile and manufacturing process with an environmental impact on the air, land and water component. The research specifies the amount of waste generated by 7 companies in Bogotá D.C during Q1 of the current year, prior knowledge of their production processes through direct observation that allowed the textile waste to be categorized by activity in Spinning (4,106.4 kg), Washing and treatment of fabrics (10,500 m3), Clothing (1,203 kg), Garment finishing (511 kg), Unspecified (50 kg) and Others (2.76 kg), finding that Lycra (12% - 407 kg), Cotton (10% - 343.57 kg) and Rayon (9.7% - 340 kg) are the materials with the highest waste generation. [ABSTRACT FROM AUTHOR]

Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) 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 Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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.)

El aumento en el consumo de prendas de vestir año a año genera una creciente demanda de materias primas y, por tanto, grandes cantidades de residual del proceso textil y confección con impacto a nivel ambiental en el componente aire, tierra y agua. La investigación precisa la cantidad de residuo generado por 7 empresas de Bogotá D.C durante el Q1 del año en curso previo conocimiento de sus procesos productivos por medio de observación directa que permitió categorizar el residuo textil por actividad en Hilatura (4.106,4 kg), Lavado y teñido de telas (10.500 m3 ), Confección (1.203 kg), Remate prenda (511 kg), No especificado (50 kg) y Otros (2,76 kg), encontrándose que la Licra (12% - 407 kg), Algodón perchado (10% - 343,57 kg) y el Rayón (9,7% - 340 kg) son los materiales con mayor generación de residuos.

Las prácticas de conservación en los museos son procesos que se convierten en parte importante de la biografía de los objetos, en ocasiones influyendo en su configuración física y documental. En este artículo discutimos el caso de una pieza textil depositada en el Museo Nacional de Historia Natural de Chile (MNHN), la cual corresponde a un posible faldellín o delantal proveniente de Arica, de un contexto arqueológico local de época incaica. Esta pieza ingresó a la colección hace más de un siglo, por medio de una donación privada; a pesar de sus intervenciones, hemos podido reconfigurar su diseño original en función del trabajo comparativo con otros ejemplares similares, reconstruyendo así su contexto y asignación cultural.

La noción de destrucción atraviesa el proyecto de textil y performance como una forma de construir. Generalmente lo entendemos como algo negativo, me interesa trabajarlo como una forma de contradicción al ser la destrucción lo que germina la diversidad creativa. Uno de los principales objetivos es sin destrucción no hay experimentación. Son dos los momentos del proyecto: la destrucción/acción y los textiles. En el primero por medio del performance propongo una experiencia estética para despertar en el espectador una sensación de fragilidad desde la contemplación. En la destrucción de objetos, está implícito el sonido de los golpes y ver salir volando fragmentos que funcionan como detonadores de emociones de contingencia. En el segundo momento del proyecto por medio registros textuales y dibujísticos para ensamblar textiles, propiciando orden después del caos. Los pedazos no coinciden entre uno y otro por lo que las irregularidades y huecos destacan el desajuste.

Lin Tianmiao (Taiyuan, 1961) ha recibido especial atención en el ámbito artístico occidental, siendo frecuentemente considerada como “artista feminista”. Sin embargo, la artista ha rechazado de manera continua esta etiqueta. Un rechazo que resulta especialmente interesante para la reevaluación de la categoría de “artista feminista” y las connotaciones de esta taxonomía. En este artículo, para problematizar la figura de “artista feminista”, en primer lugar, se introduce el marco conceptual en torno a conceptos como “mujer artista” y “arte femenino” para después ahondar en la figura de “artista feminista” en relación al arte contemporáneo chino. A continuación, se analiza la posición de rechazo de Lin con respecto a la etiqueta “artista feminista”, para después analizar dos factores que han influido en la identificación de Lin con dicha figura, es decir: el uso del textil y la autorrepresentación corporal. Finalmente, se estudia de qué modo esa percepción como “artista feminista” ha influenciado la propia producción de la autora. De este modo, a través de un caso específico, se muestra la lógica de la construcción de la categoría de “artista feminista” y los retos que conlleva, con el fin de poder reevaluar su modo de empleo.

Copyright of Ge-Conservación is the property of Instituto del Patrimonio Cultural 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 Safety & Security Sciences Review / Biztonságtudományi Szemle is the property of Obuda University 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 GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) 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.)

El presente artículo analiza el rol del naturalista italiano Clemente Onelli en la difusión de la técnica del telar criollo. Interesado en las cualidades técnicas y materiales del textil americano, Onelli elaboró un discurso teórico a través del cual vinculó sus características principales con elementos identitarios de la nacionalidad argentina. Onelli se volvió una figura híbrida en la que se conjugaron los roles del crítico, el coleccionista y el gestor: esta última faceta lo llevó a contribuir en la gestación de proyectos educativos e industriales en torno al textil criollo desarrollados durante el siglo xx.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia 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.)

La industria textil representa una figura decisiva debido a los impactos negativos que generan sus procesos productivos en materia de calidad del agua, aire, suelo y la gestión de sus residuos. En especial, existe gran preocupación sobre el recurso hídrico, por las cantidades y los tipos de químicos que emplea esta industria. Por ello, en este artículo se lleva a cabo una revisión sobre la problemática de las aguas residuales provenientes de la industria textil y los avances tecnológicos para el tratamiento de estas. Como resultado se encuentra que, as pequeñas y medianas empresas corresponden al sector de las empresas más vulnerables en términos de su capacidad para enfrentar la creciente presión social, regulatoria y de fiscalización en materia ambiental, con necesidades de bienes y servicios ambientales que se encrudecen a raíz de la informalidad de muchas empresas, a las que, por ende, no se les realiza ningún tipo de control por parte de las autoridades ambientales. Así mismo, se identificaron diferentes metodologías de tratamiento de aguas residuales textiles, que incluyen técnicas combinadas, como la electrocoagulación y electro-oxidación, procesos avanzados de oxidación (PAO), Fenton (H2O/Fe2+) o foto-Fenton (UV/H2O2/Fe2+), entre otros, que garantizan altos rendimientos en la eliminación, por ejemplo, de parámetros como la demanda química de oxígeno (DQO), la demanda bioquímica de oxígeno (DBO), y el color. Adicional a ello, se resalta el uso de nanomateriales de titania como buenos adsorbentes de metales como plomo (Pb), cadmio (Cd), cobre (Cu), zinc (Zn), y níquel (Ni) y, como alternativa de bajo costo para las pequeñas empresas, materiales de desecho y minerales como buenos adsorbentes de colorantes, que se pueden reutilizar con altas eficiencias en varios ciclos.

This article explores the characteristics and contexts for use of the shirt in Portugal between the end of the 14th century and beginnings of the 15th century. The shirt's use as nightwear is discussed, as well as its relationship with the body and nudity. Formats and materials for the shirt are also analysed through the lens of the different social statuses of the wearers, and with regard to the more general social context of Portugal and the Portuguese at that time. [ABSTRACT FROM AUTHOR]

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 global textile industry is the second most polluting manufacturing, responsible for 20% of wastewater and 10% of carbon emissions in the world. Therefore, this research has as its main objective to identify sustainable strategies for the use of textiles from fast fashion. For this reason, information was collected from databases such to search for eco-sustainable strategies for the textile industry, involving the sustainable development goals (SDG) 12 and 8, the circular economy and business model that was based on 4 fundamental pillars: product design, value and resource for the customer, collaboration with organizations and supply model, in order to eliminate the linear chain of production and unsustainable consumption of Fast Fashion. Finally, by implementing alternative sustainable strategies for the use of textiles, technological advances are generated in the management of the industry, contributing to the benefit of 92 million tons of annual waste from fashion. [ABSTRACT FROM AUTHOR]

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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.)

Overview of the materials used in the CUBE The article provides a general description of the building materials used for the two building parts BOX and TWIST of the carbon reinforced concrete building CUBE. The focus of the article is on the presentation and explanation of the decisive material properties of those building materials that are not yet subject to a product standard and whose use was therefore subject to approval in individual cases (in German: Zustimmung im Einzelfall, ZiE). These included seven different concretes, three carbon fabrics, two different carbon rods, glass fibre rods and three high‐performance insulating materials. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

La presente investigación se centra en el estudio del comportamiento del consumidor, en relación a las diferentes prendas de vestir confeccionadas. El objetivo fue identificar y categorizar los factores que determinan el consumo de prendas confeccionadas y el comportamiento de compra en la ciudad de Ambato – provincia de Tungurahua, Ecuador. El estudio presenta los resultados proporcionados por un modelo de investigación descriptiva con determinantes clave para la compra de prendas confeccionadas que se pueden agrupar en las categorías, (1) estilo de vida, (2) liderazgo de moda, (3) atributos económicos, y (4) contexto de consumo. La revisión ofrece una visión general sistemática del diverso conjunto de conceptos y orientaciones que se han utilizado, hasta ahora, para examinar el comportamiento de los consumidores hacia la compra de prendas confeccionadas. Los hallazgos muestran que existe un fuerte enfoque en la sostenibilidad de la ropa. El consumo sustentable ha originado el impulso de investigaciones que procuran develar tácticas que admitan la concienciación de las corresponsabilidades sociales, frente a la decisión de compra, tanto desde la perspectiva de consumidor, productor como del comerciante. El análisis se realizó a través de criterios de evaluación, aglutinando a la mayoría de los consumidores en prendas confeccionadas, productores y comerciantes.

The textile industry represents a decisive figure due to the negative impacts generated by its production processes on the quality of water, air, soil, and waste management. In particular, there is great concern about water resources, due to the quantities and types of chemicals used by this industry. For this reason, this article reviews the problems of wastewater from the textile industry and the technological advances for its treatment. As a result, it is found that small and medium-sized companies correspond to the most vulnerable sector in terms of their capacity to face the growing social, regulatory, and fiscal pressure in environmental matters, with needs for environmental goods and services that are increasing due to the informality of many companies, which, therefore, are not subject to any type of control by the environmental authorities. Different textile wastewater treatment methodologies were identified, including combined techniques such as electrocoagulation and electro-oxidation, advanced oxidation processes (PAO), Fenton (H2O/Fe2+) or photo-Fenton (UV/H2O2/Fe2+), among others, which guarantee high performance in the elimination, for example, of parameters such as chemical oxygen demand (COD), biochemical oxygen demand (BOD), and color. In addition, the use of titania nanomaterials as good adsorbents of metals such as lead (Pb), cadmium (Cd), copper (Cu), zinc (Zn), and nickel (Ni) and, as a low-cost alternative for small companies, waste materials, and minerals as good adsorbents of dyes, which can be reused with high efficiencies in several cycles. [ABSTRACT FROM AUTHOR]

Copyright of Textil v Muzeu is the property of Moravian Museum Brno, Historical Museum, Etnographic Institute 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 Textil v Muzeu is the property of Moravian Museum Brno, Historical Museum, Etnographic Institute 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 Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores 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 Antikvitás & Reneszánsz is the property of MTA-SZTE Antikvitas es Reneszansz, Forrasok es Recepcio Kutatocsoport 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 Revista Latinoamericana de Etnomatemática is the property of Universidad de Narino 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 Epos is the property of Editorial UNED 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 Papeles de Europa is the property of Universidad Complutense de Madrid 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.)

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Bajo una metodología de narrativa de experiencias profesionales, se presenta una primera aproximación sobre las experiencias vividas y las actitudes observadas en un taller de arte textil para adolescentes en una escuela privada de nivel secundaria, dicho taller se plantea como un espacio de recuperación de la propuesta hecha por el Nuevo Modelo Educativo planteado en México por la Secretaría de Educación Pública (SEP) en 2017 en torno a los llamados Ámbitos de Autonomía Curricular que a partir de 2019 entraron en desuso. La observación activa de los fenómenos acaecidos en este nuevo taller propicia la reflexión sobre la relación entre el desarrollo de las habilidades manuales, los procesos cognitivos y el desarrollo de habilidades socioemocionales que se suscitan mientras los adolescentes enfrentan experiencias estéticas en espacios de confianza y cooperación por medio de materiales y herramientas textiles.