Suchergebnisse

A paper based around a selection of my own knitted works, Knitted Homes of Crime (2002), How to make a piece of work when you're too tired to make decisions (2004), It Sucks (2005) and the knitted banner series (2000 – 2005). The paper reflected on my use of knitting to explore and subvert the pervasive issues of the domestic, motherhood, gender inequality and the craft/fine art divide. Issues that are still pertinent over thirty years after Su Richardson was producing her crochet and mixed media works for "Feministo: Portrait of the Artist as a Housewife (1975 – 1977)", ICA, London, 1977. The paper was part of an event entitled, "Counterculture Crochet", organised by the Women's Art Library/Make to accompany the exhibition, "Burnt Breakfast and other works by Su Richardson", curated by Alexandra M. Kokoli at The Constance Howard Gallery and Special Collections Reading Room at Goldsmiths, University of London 6th July - 9 September 2012. "Simultaneously celebrating, exploiting and subverting the connotations of feminine craft skills such as crochet and embroidery, Su Richardson's home-made objects explore domesticity, femininity and their mutual implication from a distinctly feminist point of view. The exhibition, 'Burnt Breakfast and other works', includes the iconic crocheted 'full English', in which the womanly skill of crochet is used against the grain, to express in a humorous manner a growing dissatisfaction with patriarchal gender roles, and also to challenge the hierarchical division between art and craft. "Cooking and crochet cancel each other out, making this Breakfast into a mockery of more than one aspect of housewifely duties," explains the curator Alexandra Kokoli. To mark the opening of the event to the public, the College hosted 'Counterculture Crochet'; a Q&A with the artist, presentations on the work and its contexts by invited speakers Hazel Frizell, Janis Jefferies and Freddie Robins, and an open discussion with the audience (6 July, New Academic Building, Goldsmiths.) Su Richardson's work marks the intersection of feminist aesthetic, philosophical and political preoccupations. This exhibition reveals Su Richardson to be a key precursor to the recent and fast-expanding reclamation of craft techniques in fine art practice, exemplified in the work of Freddie Robins, Tracey Emin, Craig Fisher and Gillian Cooper among many others." http://www.gold.ac.uk/library/exhibitions/exhibitions-archive/

AbstractRecent feminist writings have likened crochet to coral reefs and other ecological forms that privilege a hyperbolic and expansive creativity. Looping text with a series of photographs taken by the author between 2013 and 2016, this essay describes women's crochet in Delhi, India as a form that intensively manipulates surfaces rather than expanding along them. The proximate action of crochet – structured and expressive, domestic and otherworldly – imparts a disruptive plasticity to surroundings. Women's domestic lives are sites of sensory and temporal attunement, a wakefulness to the self, mediated by this plasticity of crochet in both practice and form.

The World Health Organization has confirmed the severe health consequences of noise pollution. Paradoxically, conflicts and regulations seem more common not where noise pollution reaches the worse levels. As a new "trend" in health related issues, it seems to be more seriously taken in the West, arguably a great deal quieter than less developed countries. In the latter, the battle has been picked up by the more affluent or middle income segments of the population. But when it comes to limit noisy religious signals, they often meet strong resistance, specially in interfaith contexts, but also in Indonesia, among members of the same religion. In order to overcome cultural and political factors, they are sometimes turning to a public health narrative. It implies a shift in sensory and sleeping patterns, not unlike pre-industrial Europe, but relatively new for these regions. ; Organisasi Kesehatan Dunia (WHO) telah mengonfirmasi konsekuensi kesehatan yang parah dari polusi suara. Paradoksnya, konflik dan peraturan tampak lebih umum bukan di mana polusi suara mencapai tingkat yang lebih buruk. Sebagai "tren" baru dalam isu-isu yang terkait dengan kesehatan, tampaknya lebih serius diambil di Barat, bisa dibilang jauh lebih tenang daripada negara-negara kurang berkembang. Pada yang terakhir, pertempuran telah diambil oleh segmen populasi yang lebih makmur atau menengah. Tetapi ketika datang untuk membatasi sinyal agama yang berisik, mereka sering menghadapi perlawanan yang kuat, khususnya dalam konteks antar agama, tetapi juga di Indonesia, di antara anggota agama yang sama. Untuk mengatasi faktor budaya dan politik, mereka terkadang beralih ke narasi kesehatan masyarakat. Ini menyiratkan pergeseran pola sensorik dan tidur, tidak seperti di Eropa pra-industri, tetapi relatif baru dalam konteks ini.

Abstract
The European Union (EU) is regularly criticized for using its trade policies to arm-twist other countries into agreeing to supply European factories with raw materials. One area of its trade policy, however, has thus far escaped attention in this regard: trade defence. This should change as the EU increasingly uses trade defence instruments not only to address unfair trade practices but also to seek access to raw materials from other countries. It does so by imposing higher trade defence tariffs on countries that employ policies that ensure raw materials extracted within their territories are processed domestically. This approach is worrisome since, due to the EU's market size, it may discourage resource-rich countries from developing downstream industries of their own. Furthermore, these countries' policies are often in line with their international obligations so that the EU is unilaterally infringing on these countries' sovereignty over their natural resources when targeting these policies. These countries and their exporting producers should thus seize the means at their disposal to put a stop to the EU's practices.

As a researcher I have always maintained a firm boundary between my professional work and my personal hobbies. One of my most recent academic projects has traced the development of techniques and styles of needlework pictures and pictorial samplers made by young women in eighteenth-century England, while in my spare time I have increasingly turned to crocheting clothing and toys for friends and family. However, following recent developments in material culture and archival studies, which have encouraged reframing conceptions of authorship and resituating objects within larger networks of connection, it seems foolish to suppose that my work on needlework in the long eighteenth century is unaffected by my investment in crochet (and vice versa). This article aims to initiate discussions around the relationship between personal lives and professional research and seeks to explore how my practice of crochet and my research of textiles from the long eighteenth century are intimately connected.