Cooperative approach to crafts /

Mode of access: Internet.

The cooperative approach to crafts /

Caption title.

American crafts : a rich heritage and a rich future.

Item 14-A

Cooperative approach to crafts for senior centers /

Includes appendices.

The arts and crafts of older Spain,

Bibliography: v. 3, p. [259]-268.

The synthesis and avaluation of Friedel-Crafts polymers

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Conformational change in a urea catalyst induced by sodium cation and its effect on enantioselectivity of a Friedel-Crafts reaction

While developing bis-camphorsulfonyl urea as a hydrogen-bonding catalysts, we discovered that the native conformation of the catalyst is unsuitable for inducing enantioselectivity. By complexing the catalyst with weakly Lewis acidic sodium cations, we were able to change the conformation of the catalyst and attain a significant improvement in the selectivity. We provide structural information from X-ray crystallography to show that the uncomplexed catalyst is indeed in an unfavorable conformation. Infrared and Raman spectroscopic studies show that sodium binds the catalyst through the carbonyl and sulfonyl groups. Simulated IR and Raman spectra match well with the experimentally recorded spectra, thereby corroborating the proposed conformational change. This result shows that weak Lewis acids can be used to tune the conformation of hydrogen-bonding catalysts and enhance the selectivity of reaction catalyzed by these systems.

Ethos and Ideology of Knowledge Organization: Toward Precepts for and Engaged Knowledge Organization Drawing on The Arts and Crafts Movement, Critical Theory, and Žižek

Ethos is the spirit that motivates ideas and practices. When we talk casually about the ethos of a town, state, or country we are describing the fundamental or at least underlying rationale for action, as we see it. Ideology is a way of looking at things.It is the set of ideas that constitute one’s goals, expectations, and actions. In this brief essay I want to create a space where we might talk about the ethos and ideology in knowledge organization from a particular point of view; combining ideas and inspiration from the Arts and Crafts movement of the early Twentieth Century, critical theory in extant knowledge organization work, the work of Slavoj Žižek, and the work of Thich Nhat Hahn on Engaged Buddhism.I will expand more below, but we can say here and now that there are many open questions about ethos and ideology in and of knowledge organization, both its practice and products. Many of them in classification, positioned as they are around identity politics of race, gender, and other marginalized groups, ask the classificationist to be mindful of the choice of terms and relationships between terms. From this work we understand that race and gender requires special consideration, which manifests as a particular concern for the form of representation inside extant schemes. Even with these advances in our understanding there are still other categories about which we must make decisions and take action. For example, there are ethical decisions about fiduciary resource allocation, political decisions about standards adoption, and even broader zeitgeist considerations like the question of Fordist conceptions (Day, 2001; Tennis 2006) of the mechanics of description and representation present in much of today’s practice.Just as taking action in a particular way is an ethical concern, so too is avoiding a lack of action. Scholars in Knowledge Organization have also looked at the absence of what we might call right action in the context of cataloguing and classification. This leads to some problems above, and hints at larger ethical concerns of watching a subtle semantic violence go on without intervention (Bowker and Star, 2001; Bade 2006).The problem is not to act or not act, but how to act or not act in an ethical way, or at least with ethical considerations. The action advocated by an ethical consideration for knowledge organization is an engaged one, and it is here where we can take a nod from contemporary ethical theory advanced by Engaged Buddhism. In this context we can see the manifestation of fourteen precepts that guide ethical action, and warn against lack of action.

Why fundamentalism?

Why Fundamentalism? was an exhibition proposal and critical writing project developed from concept phase through to detailed proposal. It included an edited video document that lay out its core ideas and presented the diverse voices of each collaborator. A number of key themes were engaged around the hot-button (and much misunderstood) concept of Fundamentalism. The proposal included an exhibition layout, developed test imagery, ideas and animations, proposed forms for future works and a process whereby design briefs would lead to subsequent commissions. Two major grant applications were submitted to the Australia Council and Arts Queensland, with the support of State Library of Queensland, the University of Adelaide and numerous others. The project remains at the developed proposal stage awaiting suitable funding----- Critically the show became an active vehicle for drawing and exploring a line of distinction between ideas of ‘what is fundamental’ and ‘fundamentalism’ as it rested in the popular imagination, as well as in political and philosophical debates. It teased out and engaged with a number of key questions that included The Problem of Ungroundedness, A Politics of Finitude, The Post-modern/Pluralist Problem, Silent Fundamentalisms (Voices of Reason and Neo-con Religions), Fundamentalism as a Media Construct, The Pre and Post Cold-war Other, The Pressing Need for Foundations in the West and Islam as Foundationalism (rather than fundamentalism).

Party 25

Party 25 involved the conception and public launch of a radically new form of political party during that year’s Australian general election. The entire project was also intentioned as a conceptual artwork. Party 25 avoided conventional party-political approaches and was neither a protest group nor an advocacy organisation, but rather a new form of political association that confronted what we understood as the debilitating limits and impotence of contemporary parliamentary democracies in transitioning our societies towards ecological sustainability.----- Party 25 was based on responding to one fundamental question which all of its policies served - “how does humanity get to the 25th century?” By basing itself on a dramatically long-term approach uncommon within conventional politics it raised the proposition that humanity does not have an assured future. Party25 therefore shaped its agendas around the idea that any future now lies in human hands and so how humanity treats the ecologies on which it depends innately determines the quality of the inseparable relationship between its being, and the being of the biophysical world.----- The project was conceived through a number of discussion papers, workshops and creative works and was launched publicly at the Judith Wright Centre Brisbane accompanied by a full length showing of evocative imagery, text and sound, a series of speeches and the launch of a succinct web presence. Through the website and this party launch a community of interested participants and creative practitioners was sought who then would form the basis of a nascent community of change.

In step

In Step was a wearable artwork consisting of a pair of embroidered foot bandages and an actuator ‘cushion’ embedded with 15 electromechanical actuator pistons. The bandage was embedded with woven, soft and flexible fabric sensors - interconnected with metallic connecting threads, fasteners and a wireless interface (in a final form). When wrapped around a foot and lower leg the sensors sat on the ball of the toes and heel. This ‘wearable interface’ was then connected wirelessly to a soft sculptural form, which employed actuators to tap gently in response to the qualities of the walk detected by the soft sensors. In this way the ‘tread qualities’ of the walker could then be felt by someone else holding this device against their stomach – thereby allowing pairs of participants to ‘feel’ the tactile qualities of the other's walk. The work was presented both as a working object and via a short videorecorded performance.----- In Step generated innovative new approaches to interface and sensor embedded clothing/footware whilst also creating an evocative vehicle to comment upon contemporary Post Colonial theories of weight and groundedness – particularly the psycho-geographical ‘separation’ from the landscape that inspired Paul Carter’s “environmentally grounded poetics”. The work’s final form also suggested critical new directions for responsive clothing and footwear for the emerging genre of smart textiles.

Fundamental sounds

Fundamental Sounds was a live, intercultural and multidisciplinary concert that presented a new synthesis of music, performance & visual arts addressing the imperative of sustainability in a new and evocative form. The outcome was a ninety-minute concert, performed at a major concert hall venue, involving four live musicians, numerous performers & large-scale projections. The images and the concert were scripted in three key phases that spoke to three epochs of human evolution identified by ontological designer and futurist Tony Fry - ‘Pre-Settlement’, ‘Settlement’ and the era that he suggests that we have now entered – ‘Unsettlement’ (in mind body and spirit). The entire work was professionally recorded for presentation on DVD and audio CD.----- Fundamental Sounds achieved a new synthesis between quality performance forms and cogent critical ideas, engendering an increasingly reflective position for audiences around today’s “era of unsettlement” – an epoch Fry has recognized that we must now move to quickly displace through adopting fundamentally sustainable modes of being and becoming.----- The concert was well attended and evoked a range of strong, reflective reactions from its audiences who were also invited to join and participate within a subsequent ‘community of change’ initiated at that time.