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The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
CATEGORY TITLE AUTHOR Basic Weaving/Techniques Mastering
CATEGORY TITLE AUTHOR Basic Weaving/Techniques Mastering Weave Structures Alderman Basic Weaving/Techniques Textile Handbook Ame Basic Weaving/Techniques Shuttle Craft Book of American Handweaving Atwater Basic Weaving/Techniques Finishes in the Ethnic Tradition Baizerman Basic Weaving/Techniques Key to Weaving Black Basic Weaving/Techniques Book of Looms: History of Handloom Broudy Basic Weaving/Techniques Understanding Rayon Chenille Butler Basic Weaving/Techniques Learning to Weave Chandler Basic Weaving/Techniques Simple Weaving Chetwynd Basic Weaving/Techniques Craft of the Weaver Colllingwood Basic Weaving/Techniques All About Weaving: Comprehensive Guide to the Craft Creager Basic Weaving/Techniques Weaving: A Creative Approach for Beginners Creager Basic Weaving/Techniques Samplers You Can Use Drooker Basic Weaving/Techniques Easy Weaving With Supplemental Warps Essen Basic Weaving/Techniques Warping All by Yourself Garrett Basic Weaving/Techniques Next Steps in Weaving Graver Basic Weaving/Techniques Sectional Warping Made Easy Groff Basic Weaving/Techniques Weaving: A Handbook of the Fiber Arts Held Basic Weaving/Techniques Creative Weaving Howard Basic Weaving/Techniques Warp and Weave LeClerc Basic Weaving/Techniques Everybody's Weaving Book Lewis Basic Weaving/Techniques Hands on Weaving Liebler Basic Weaving/Techniques Weaver's Companion Ligon Basic Weaving/Techniques Manual of Helpful Hints forHandweavers Mannings Basic Weaving/Techniques Compendium of Finishing Techniques McEneely Basic Weaving/Techniques Weaving as an -
Local Disadvantages and the Weaver's Wage in the British Cotton Industry
Local Disadvantages and the Weaver's Wage in the British Cotton Industry K.C.Jackson Department of Textile Industries, University of Leeds, Leeds, LS2 9JT. 1 Introduction A recent paper in " Ars Textrina" [ 1 ] provided an assessment of the Uni form List,1 which was the basis for determining the piece-rate earnings of weavers in most sectors of the British cotton industry from 1892, until it was gradually superseded following the Second World War. Although the List introduced rigidities in the labour market, nominally it had the advantage for operatives and employers alike, of discouraging under cutting of selling prices on the basis of wage cuts during periods of poor trade. However, this safeguard did not survive the severe pressures of the interwar years, as the legalisation of the List in 1935 testifies [2]. Un der more favorable trading conditions, the List also reduced the chances of disputes arising from wage differentials between mills and between districts. While the Uniform List provided a focus for collective wage bar gaining at industry level between the Amalgamated Weavers' Associ ation (AWA) and the Cotton Spinners and Manufacturers' Association (CSMA), it was not applied universally, since there were sectors of cot ton weaving for which its provisions were not appropriate. Thus sepa rate arrangements evolved in the production of sheetings, the weaving 1 Although the term Uniform List is used throughout this paper, the discussion below relates also to the Colne List, which from 1892 to 1935 was the industry-wide basis for determining wages in the weaving of coloured fabrics. The original Uni form List and the Colne List formed the basis respectively of the Grey and Coloured Sections of the revised Uniform List of 1935. -
Young Adult Realistic Fiction Book List
Young Adult Realistic Fiction Book List Denotes new titles recently added to the list while the severity of her older sister's injuries Abuse and the urging of her younger sister, their uncle, and a friend tempt her to testify against Anderson, Laurie Halse him, her mother and other well-meaning Speak adults persuade her to claim responsibility. A traumatic event in the (Mature) (2007) summer has a devastating effect on Melinda's freshman Flinn, Alexandra year of high school. (2002) Breathing Underwater Sent to counseling for hitting his Avasthi, Swati girlfriend, Caitlin, and ordered to Split keep a journal, A teenaged boy thrown out of his 16-year-old Nick examines his controlling house by his abusive father goes behavior and anger and describes living with to live with his older brother, his abusive father. (2001) who ran away from home years earlier under similar circumstances. (Summary McCormick, Patricia from Follett Destiny, November 2010). Sold Thirteen-year-old Lakshmi Draper, Sharon leaves her poor mountain Forged by Fire home in Nepal thinking that Teenaged Gerald, who has she is to work in the city as a spent years protecting his maid only to find that she has fragile half-sister from their been sold into the sex slave trade in India and abusive father, faces the that there is no hope of escape. (2006) prospect of one final confrontation before the problem can be solved. McMurchy-Barber, Gina Free as a Bird Erskine, Kathryn Eight-year-old Ruby Jean Sharp, Quaking born with Down syndrome, is In a Pennsylvania town where anti- placed in Woodlands School in war sentiments are treated with New Westminster, British contempt and violence, Matt, a Columbia, after the death of her grandmother fourteen-year-old girl living with a Quaker who took care of her, and she learns to family, deals with the demons of her past as survive every kind of abuse before she is she battles bullies of the present, eventually placed in a program designed to help her live learning to trust in others as well as her. -
Double Corduroy Rag
E-newes - coming to you monthly! Get connected: Visit schachtspindle.com for helpful Each issue includes a project, hints, project ideas, product manuals and informa- tion. Follow our blog, like us on Facebook, pin us on helpful tips & Schacht news. Pinterest, visit Schacht groups on Ravelry, follow us TM on Twitter. News from the Ewes DECEMBER 2014 Blanket Weaving in the Southwest. We What is a countermarche loom liked Loie Stenzel’s suggestion for us- and why do we love it for rugs? Project ing patterned as well as solid fabrics, Double Corduroy Rag Rug Before I tell you why we love our countermarche so I spent some time by Chase Ford Cranbrook loom for rug weaving, I want to give you familiarizing myself After weaving off the mohair blanket a very brief overview of three systems for creating with the color pal- sheds. on the Cranbrook Loom (see pictures ettes that appeared On jack looms, on our Facebook), Jane and I decided in the blankets in when the treadle is that a double corduroy rug would be Wheat’s book. I depressed, some shafts fun to try. Corduroy is a pile weave that found several colors raise and the others is created by weaving floats along with and prints of a light- remain stationary. Jack a ground weave. The floats are cut after weight 100% cotton looms are the most weaving to form the pile. Corduroy can fabric to sample Rug sample popular style of looms be either single or double. Generally, with. in the U.S. and is the system we use for our Wolf and Standard Floor Looms. -
Development of Woven Spacer Fabrics Based on Steel Wires and Carbon Rovings
Moniruddoza Ashir*, Cornelia Sennewald, Development of Woven Spacer Fabrics Gerald Hoffmann, Chokri Cherif Based on Steel Wires and Carbon Rovings DOI: 10.5604/01.3001.0010.1710 Institute of Textile Machinery Abstract and High Performance Material Technology, Woven spacer fabrics are used as reinforcing materials for fiber-reinforced plastics. These Technische Universität Dresden, fabrics consist of mostly pliable textile fibers, which still require defined rigidity for different 01069 Dresden, Germany crash applications. In this regard, multi-material woven spacer fabrics present a promising * E-Mail: [email protected] approach. This paper presents the development of multi-material woven spacer fabrics using steel wire and carbon rovings. For the development of such woven spacer fabrics, a syste- matic structure realization based on the weave pattern was performed. Selected structures were produced on a modified weaving machine. Key words: multi-material woven spacer fabrics, structure realization, profiled wire, pull-out test. als for lightweight constructions such as process optimization, the development aluminum or magnesium, which makes of woven spacer fabrics and their com- them highly suited as panel structures for prehensive characterization were carried aeroplane, train or automotive body con- out. Very few publications on woven struction [1]. Spacer fabrics are a class spacer fabrics for lightweight applica- of three-dimensional fabrics where two tions are readily available in literature [8- surface layers are connected to each oth- 12]. One of the first examples of woven er by means of pile yarns or fabric lay- spacer fabrics was presented in [9]. Here ers [2]. Such fabrics are characterized by the development of a weaving machine better resilience properties than classical for the production of spacer fabrics for two-dimensional textile fabrics [3]. -
Natural Fibres Information
NATURAL FIBRES AS TEXTILES THEORY LEARNING OBJECTIVE By the end of the lesson I should be able to… Explain how natural fibres are produced Identify and explain a range of natural fibres WHAT IS .......... A FIBRE? A fibre is a fine strand that looks a little like a human hair. There are long or short fibres and smooth or fluffy ones. What the fibre is like will have an impact on what the fabric it is made into is like. Fibres are categorised by their length; Staple fibres – short fibres (cotton, wool and linen Filament fibres – long fibres (silk and manmade fibres) There are 3 types of fibres: Natural Regenerated Synthetic A fibre is made of monomers joined together in long chains to form polymers FORMATION OF FABRICS Fibre Twisted Felted or Yarn Bonded Woven or Knitted Fabric CELLULOSIC FIBRES Fibres that originate from plants (e.g. The cotton plant or flax plant) Natural Cellulosic Fibres Linen, Cotton, Jute, Hemp, Ramie, Pineapple, Banana, Bamboo Natural fibres that grow in the ground are called vegetable or plant fibres. All plants are made from cellulose fibres so you will sometimes hear this term. Cotton and linen are the most common vegetable fibres but there are other types, e.g. jute, hemp. Advantages Disadvantages Strong Crease badly** Good at absorbing moisture Take a long time to dry Can be washed and ironed at high Can shrink** temperatures Easy to set alight COTTON • Source – grows on plants in hot, wet climates • Physical properties – strong, resists abrasion, durable, absorbent, dries slowly, creases easily, cool to wear • Aesthetic properties – fibres are 15–50mm long and fabrics tend to have a slightly fluffy surface because of this • End uses – underwear, bedding, nightwear, t-shirts, shirts, dresses, jeans, towels, handkerchiefs • Fabric names – denim, poplin, terry towel, velvet, corduroy, chintz • Aftercare – Can be washed and ironed at high temperatures, best ironed when damp, can be bleached • Other facts – Mercerized finish can remove fluffy surface, commonly blended with Polyester. -
The Jaina Cult of Relic Stūpas
The Jaina Cult of Relic Stūpas Peter Flügel1 (SOAS) Abstract This article gives an overview of recent findings on the thriving cult of bone relic stūpas in contemporary Jaina culture. Although Jaina doctrine rejects the worship of material objects, fieldwork in India on the hitherto unstudied current Jaina mortuary rituals furnished clear evidence for the ubiquity of bone relic stūpas and relic venera- tion across the Jaina sectarian spectrum. The article discusses a representative case and assesses the significance of the overall findings for the history of religions. It also offers a new theoretical explanation of the power of relics. Keywords Jaina relic stūpas, mortuary rituals, Vallabha Samudāya, cultural unconscious, theory of generalized symbolic media, relics as social forms 1) I am indebted to Ācārya Vijaya Virendra Sūri, Muni Rajendra Vijaya, Sādhvī Suvratā Śrī, Rāj Kumār Jain, Tejpāl Jain, Vinod N. Dalal, Kīrti Prasād Jain, N. P. Jain, S. Sheth, M. P. Sheth and other members and supporters of the Vallabha Samudāya for their generous help during field research in India, and to Janet Leigh Foster for enhancing the quality of the photos of images selected from the photo albums of the Vallabha Smāraka which were taken with permission. Without the support of Ācārya Mahāprajña, Ācārya Śivmuni, Pravartaka Umeśmuni, Salāhakāra Dineś Muni, Upap- ravartaka Gautama Muni, Sādhvī Ārcanā, Mūḍabidarī Bhatṭ ārakạ Cārukīrti, Sohanlāl Sañcetī, and other Jains in India, my research on Jaina relic stūpas would not have been possible. I would like to thank all of them. I also wish to express my gratitude to Bansidhar Bhatt, Willem B. -
W. H. Trainer Buried with Heduled Injured in Auto Crash Hunters Are Hosts at 810 G a M Dinner Shoddy Work at Slow Rate
Subscribe to the Rec--_ K ord. It pays to get the’ 10 Pages' best. ' •- SIXTY-FIRST YEAR BUOJEEYNAN," M ICH IGAN , TH U RSD AY. DEC. 6, 192S No. 48 H0WD0WN ON SEWER Casualties Among Trustees Worry Harold Blackmun N o w H e r e ’s W. H. TRAINER Village Trustees OPERETTA Over Conditions HUNTERS ARE Gets High Rank SHODDY WORK th e Are Running High in Town Hoosegow In Insurance Game Village councilmen of Buchan BURIED WITH The hour is at hand, according*: Harold Blackmun has received an apparently have been followed HEDULED Proposition HOSTS AT 810 Word from headquarters of the. AT SLOW RATE to Trustee Paul Wynn in a state-: by a jinx during the past week, life insurance company for which Paul Wynn and R oy Pierce both ment before the council meeting; he is writing, to the effect that he encountering automobile upsets, Tuesday" evening, when, the village ONI REFORMING ranked fifth among all, agents of the latter’s experience being told of Buchanan is going* to have to G A M DINNER the entire United States in amount E l Haws in another column of this issue. .take steps in regard to its fioose- sold during the month of Novem IS CHARGED While driving back from his gow, Oh, I would raise a merry stir ber, Which is quite a remarkable country house Sunday evening, The village Biltmore is, in plain record,, considering the fact that B y showing folks wherein they With Clark Company Wynn ran off the road near the Y o u t h f u I Operatic 125 Guests Dined at err parlance, a dirty shame, according this was his second, month in the Bonding Co. -
Textile-Dictionary-Full.Pdf
TEXTILE DICTONARY A ABNORMAL CRIMP- A relative term for crimp that is either too low or too high in frequency and/or amplitude or that has been put into the fiber with improper angular characteristics. ABRADED YARN- A filament yarn in which filaments have been cut or broken to create hairiness (fibrillation) to simulate the surface character of spun yarns. Abraded yarns are usually plied or twisted with other yarns before use. ABRASION MARK- An area where a fabric has been damaged by friction. ABRASION RESISTANCE- The ability of a fiber or fabric to withstand surface wear and rubbing. ABSORBANCE- The ability of a substance to transform radiant energy into a different form, usually with a resulting rise in temperature. Mathematically, absorbance is the negative logarithm to the base 10 of transmittance. ABSORBENCY- The ability of one material to take up another material. ABSORPTION- The process of gases or liquids being taken up into the pores of a fiber, yarn, or fabric. ACETIC ACID- An organic acid (CH3COOH) widely used in textile applications. It is used in textile wet processing, dyeing and printing, and in the manufacture of cellulose acetate and cellulose triacetate. ACETIC ANHYDRIDE- Anhydrous acetic acid [(CH3CO)2O]. It is used in the acetylation process in the manufacture of cellulose acetate. ACETONE- Dimethyl ketone (CH3COCH3). One of the most powerful organic solvents. Acetone dissolves secondary cellulose acetate and other derivatives of cellulose. It is miscible with water and has a low boiling point (55-56°). ACID-DYEABLE VARIANTS- Polymers modified chemically to make them receptive to acid dyes. -
Textiles and Clothing the Macmillan Company
Historic, Archive Document Do not assume content reflects current scientific knowledge, policies, or practices. LIBRARY OF THE UNITED STATES DEPARTMENT OF AGRICULTURE C/^ss --SOA Book M l X TEXTILES AND CLOTHING THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO TEXTILES AXD CLOTHIXG BY ELLEX BEERS >McGO WAX. B.S. IXSTEUCTOR IX HOUSEHOLD ARTS TEACHERS COLLEGE. COLUMBIA U>aVERSITY AXD CHARLOTTE A. WAITE. M.A. HEAD OF DEPARTMENT OF DOMESTIC ART JULIA RICHMAX HIGH SCHOOL, KEW YORK CITY THE MACMILLAX COMPAXY 1919 All righU, reserved Copyright, 1919, By the MACMILLAN company. Set up and electrotyped. Published February, 1919. J. S. Gushing Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. ; 155688 PREFACE This book has been written primarily to meet a need arising from the introduction of the study of textiles into the curriculum of the high school. The aim has been, there- fore, to present the subject matter in a form sufficiently simple and interesting to be grasped readily by the high school student, without sacrificing essential facts. It has not seemed desirable to explain in detail the mechanism of the various machines used in modern textile industries, but rather to show the student that the fundamental principles of textile manufacture found in the simple machines of primitive times are unchanged in the highl}^ developed and complicated machinerj^ of to-day. Minor emphasis has been given to certain necessarily technical paragraphs by printing these in type of a smaller size than that used for the body of the text.