Bobbin Lace

Notational systems are useful devices for recording the movements of craftspeople, dancers, and artists. Because of the predominantly haptic nature of their skills, these practitioners experience difficulty in verbalizing descriptions of their work and instructions to fellow artisans. For lace-makers, notation is an effective way of sharing information about the ways a given design is made across generations and community boundaries. But because notation separates procedure from practice and extricates craftwork from its geographical, social, and historical context, it has direct consequences for the ways lace-makers understand skill, proficiency, and design composition. By making craft practice the subject of conversation, notation implicates lace-making in a political economy of knowledge that assigns differential values to different stages of the production process, thereby elevating some ways of knowing above others. Indeed, notation and codification call into question the very agency of the craftswomen as professionals and carriers of local cultural tradition. Based on continuing ethnographic fieldwork among lace-makers in Central Slovakia, this paper analyses the impact of notational use on lace-makers' thinking about their craft knowledge and skill, and, by extension, issues of local style and cultural heritage.Notational systems are useful devices for recording the movements of craftspeople, dancers, and artists. Because of the predominantly haptic nature of their skills, these practitioners experience difficulty in verbalizing descriptions of their work and instructions to fellow artisans. For lace-makers, notation is an effective way of sharing information about the ways a given design is made across generations and community boundaries. But because notation separates procedure from practice and extricates craftwork from its geographical, social, and historical context, it has direct consequences for the ways lace-makers understand skill, proficiency, and design composition. By making craft practice the subject of conversation, notation implicates lace-making in a political economy of knowledge that assigns differential values to different stages of the production process, thereby elevating some ways of knowing above others. Indeed, notation and codification call into question the very agency of the craftswomen as professionals and carriers of local cultural tradition. Based on continuing ethnographic fieldwork among lace-makers in Central Slovakia, this paper analyses the impact of notational use on lace-makers' thinking about their craft knowledge and skill, and, by extension, issues of local style and cultural heritage.RésuméLes systèmes de notation sont des instruments utiles pour enregistrer les mouvements des artisans, des danseurs et des artistes. De par la nature principalement haptique de leurs compétences, ces praticiens ont des difficultés à verbaliser leur travail et leur instructions à leurs collègues. Chez les dentellières, la notation est un moyen efficace de partager des informations sur la manière de réaliser un dessin donné, d’une génération à l’autre et au-delà des limites de la communauté. Mais parce qu’elle sépare la procédure de la pratique et extrait l’artisanat de son contexte géographique, social et historique, la notation a des conséquences directes sur la manière dont les dentellières comprennent la compétence, la maîtrise et la composition des dessins. En faisant de la pratique artisanale un sujet de conversation, la notation implique la dentellerie dans une économie politique des connaissances qui attribue des valeurs différenciées aux différentes étapes du processus de production et élève ainsi certaines manières de savoir au-dessus des autres. De fait, la notation et la codification remettent en question l’agencéité même des artisanes en tant que professionnelles et porteuses d’une tradition culturelle locale. Basé sur un travail de terrain ethnographique en cours chez les dentellières du centre de la Slovaquie, l’article analyse l’impact de l’utilisation de la notation sur la façon dont les dentellières pensent leur savoir et leurs compétences et, par extension, sur les questions de style local et de patrimoine culturel.Les systèmes de notation sont des instruments utiles pour enregistrer les mouvements des artisans, des danseurs et des artistes. De par la nature principalement haptique de leurs compétences, ces praticiens ont des difficultés à verbaliser leur travail et leur instructions à leurs collègues. Chez les dentellières, la notation est un moyen efficace de partager des informations sur la manière de réaliser un dessin donné, d’une génération à l’autre et au-delà des limites de la communauté. Mais parce qu’elle sépare la procédure de la pratique et extrait l’artisanat de son contexte géographique, social et historique, la notation a des conséquences directes sur la manière dont les dentellières comprennent la compétence, la maîtrise et la composition des dessins. En faisant de la pratique artisanale un sujet de conversation, la notation implique la dentellerie dans une économie politique des connaissances qui attribue des valeurs différenciées aux différentes étapes du processus de production et élève ainsi certaines manières de savoir au-dessus des autres. De fait, la notation et la codification remettent en question l’agencéité même des artisanes en tant que professionnelles et porteuses d’une tradition culturelle locale. Basé sur un travail de terrain ethnographique en cours chez les dentellières du centre de la Slovaquie, l’article analyse l’impact de l’utilisation de la notation sur la façon dont les dentellières pensent leur savoir et leurs compétences et, par extension, sur les questions de style local et de patrimoine culturel.

A partir da compreensão da renda de bilros enquanto uma prática que configura objetos, pessoas, relações e subjetividades próprias, essa tese busca destacar a importância e a participação dos gestos e engajamentos técnicos em tais processos de construção. A descrição de diferentes dimensões relacionadas à elaboração de uma renda e à formação das rendeiras, por meio das respectivas ações e sequências operativas, visa dar ênfase aos processos, ao invés dos produtos já finalizados. O trocar e o bater dos bilros nos ensinam não apenas sobre as rendas e rendeiras de Canaan (Trairi – CE), mas iluminam aspectos vinculados às suas escolhas produtivas e às transformações que podem – ou não – incorporar.

Page 1. Simulation of Drying Behavior of Cotton Bobbins by a Simultaneous Heat and Mass Transfer Model Ugur Akyol 1,a , Kamil Kahveci 2,b , Ahmet Cihan 2,c and Dinçer Akal 3,d 1Namik Kemal University, Faculty of Çorlu Engineering, Çorlu, Tekirdağ, Turkey ...

Entre finales del siglo XIX y principios del XX, periodo durante el cual se desarrolla el estilo artístico llamado Modernismo, el interés mostrado por artistas y diseñadores hacia el arte de la Edad Media tuvo como consecuencia la adopción de muchos de sus repertorios decorati-vos. Uno de los motivos que gozó de más éxito entre los proyectistas del momento fue el de la granada, diseño de origen oriental que entre los siglos xv y xvi había sido intensamente trabajado por los principales centros textiles italianos. El artículo ofrece, en primer lugar, una visión general de la fortuna que este diseño floral, de marcado dinamismo, tuvo entre los artistas modernistas catalanes para, posteriormente, centrarse en los encajes de bolillos, inspirados en este motivo, realizados por la Casa Castells para la Real Capilla de Sant Jordi del Palacio de la Generalitat.

Between the end of the nineteenth century and the beginning of the twentieth, period which coincides with the artistic style called Modernism, the interest of many artists and designers in the art of the Middle Ages had as a consequence the use of many of its decorative patterns. One of the most successful motifs among the designers of the modernist era was the one called Italian artichoke-known in Spain as pomegranate-a design of oriental origin that between the fifteenth and sixteenth centuries had been intensively used in the main Italian textile centres. On one hand, this article offers a general view of the success that this floral design, of strong dynamism, had among the Catalan modernist artists. On the other, the text focuses on the handmade bobbin laces, inspired in this motif, that Casa Castells-a well known family of lace makers-made for the Royal Chapel of Sant Jordi in Barcelona.

É comummente aceite e a bibliografia é unânime em consagrar a renda de bilros vilacondense como uma tradição já antiga, que remonta ao século XVII. Foi-se criando uma série de ideias míticas em torno da organização desta arte, sendo, portanto, fundamental perceber o que há de mito e de realidade nesta organização passada e como resistiu às vicissitudes sócioeconómicas até aos nossos dias.