BELLA PAPERIE APRIL 2018 Class Requirements
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Papermaking: the Historical Diffusion of an Ancient Technique
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Crossref Chapter 3 Papermaking: The Historical Diffusion of an Ancient Technique Jonathan M. Bloom Paper was invented in China in the centuries before Christ and carried by Buddhist monks throughout East and Central Asia (Tsien, 1985), where Muslim Arabs encountered it in the eighth century CE. Muslims carried paper and papermaking to the Mediterranean region, and European Christians there learned how to make it by the twelfth century. Europeans not only forgot their debt to Muslim papermakers but also remained ignorant of paper’s origins in China, so that when they first encoun- tered Chinese paper in the sixteenth century, they thought that the Chinese must have learned the art of papermaking from the ancient Egyptians! Europeans then carried paper and papermaking, along with printing, throughout the globe. While the history of paper has traditionally been overshadowed by the history of printing, the spread of paper and papermaking is arguably equally important, for this rela- tively permanent, cheap, and flexible material not only encouraged the spread of written culture across the globe but also transformed many other human activities. This paper studies mobilities of knowledge from the perspective of paper making by examining how and when this technique diffused from China across Eurasia to the Mediterranean region and from there to the rest of Europe in the period between 600 and 1500. The main factors that enhanced and impeded this spatial diffusion of knowledge were the availability of raw materials and the adoption of differing tech- nologies, but the roles of mediating aspects such as religion, trade, emigration, imports, and exports will also be discussed. -
UNIVERSITY of CALIFORNIA Los Angeles “Pieces
UNIVERSITY OF CALIFORNIA Los Angeles “Pieces of Old Clothing or Even Viler Things”: The Utilization of Paper in Jewish and Christian Books in Medieval Italy and Iberia, a Quantitative Approach A thesis submitted in partial satisfaction of the requirements for the degree of Master of Library and Information Science by Stephanie Geller 2019 © Copyright by Stephanie Geller 2019 ABSTRACT OF THE THESIS ‘Pieces of Old Clothing or Even Viler Things’: the Utilization of Paper in Jewish and Christian Books in Medieval Italy and Iberia, a Quantitative Approach by Stephanie Geller Master of Library and Information Science University of California, Los Angeles, 2019 Professor Ellen Pearlstein, Chair Culture is often proposed as a determinant factor in the decision to use paper as a material support for medieval manuscripts. Specifically, scholars frequently assert that European Jews were more willing to adopt paper as a support than Christians. However, the scholarly field has yet to consider an exhaustive quantitative comparison to support this claim. This study utilizes a quantitative codicological method to infer whether paper usage was truly influenced by cultural factors in Medieval Italy and Iberia. In so doing, this paper also evaluates the extent to which quantitative research can be done using digital resources from cultural institutions with holdings relevant to the geographic and temporal areas of interest to this research. Finally, the data ii gathered is compared to two online databases of medieval manuscripts to extrapolate the accuracy of the results. iii The thesis of Stephanie Geller is approved. Johanna Drucker Miriam Posner Ellen Pearlstein, Committee Chair University of California, Los Angeles 2019 iv Table of Contents Abstract .......................................................................................................................................... -
Section-21.Pdf
section 21: craft STEWARDS: Peta Taske, Brian Taylor, Kerry Taylor ENTRY FEE: $1.00 unless otherwise stated ENTRIES FORMS & FEES DUE: Tues 2nd July DELIVER EXHIBITS: To Art & Craft Hall before 12 Noon Saturday 6th July JUDGING STARTS: 1pm Saturday 6th July CONDITIONS OF ENTRY: · Refer General Conditions of Entry & Show Rules. · All work must have been executed by the Exhibitor. · Class Cards are to be clearly displayed on the front of exhibits · All exhibits must not have been previously entered in the Atherton Show in any section, with the exclusion of the Scrapbooking Masters Class. · Sale of Exhibits: No exhibit will be offered for sale during show. · Entry Form to clearly state type of article and dominant material used. · Where there are three (3) or more exhibits in Any Other Variety classes by different exhibitors, a special class may be provided. · In the event of a tie on points an independent Judge from another section will be requested to act as an arbitrator. · Exhibitors please advise the Show Office or the Stewards of any exhibit entered but not delivered for judging. · Rustic is defined as being simple & unsophisticated and/or made of rough or irregular timbers. · Scrapbooking exhibits are permitted if they have been crafted in a specialty class. · Scrapbooking exhibits must be sized as follows: Masters, Open, & Intermediate - 12” x12” (30cm x 30cm) maximum; Novice - A4 minimum; Junior - 6’’x6” (15cm x 15cm) minimum. WOODWORK SECTION 21: CRAFT ENTRY FEE: $5.00 PRIZES: 1st: $50.00, Certificate; 2nd: $30.00, Certificate; 3rd: Certificate CATEGORIES · Seniors 60 & Over: Open to exhibitors who are not skilled tradesmen · Commercial: Members of a skilled trade, or exhibitors who perform some work in the trade, and who have or are receiving remuneration for their work. -
The Death of Paper- Based Communication
Joan Shorenstein Center on the Press, Politics and Public Policy Discussion Paper Series Hamlet’s Blackberry: Why Paper Is Eternal By William Powers Media Critic, National Journal Shorenstein Fellow, Fall 2006 #D-39 © 2007 President and Fellows of Harvard College. All rights reserved. Introduction* The condition of American journalism in the first decade of the twenty- first century can be expressed in a single unhappy word: crisis. Whether it’s a plagiarism scandal at a leading newspaper, the fall from grace of a network anchorman or a reporter behind bars, the news about the news seems to be one emergency after another. But the crisis that has the greatest potential to undermine what the craft does best is a quiet one that rarely draws the big headlines: the crisis of paper. Paper’s long career as a medium of human communication, and in particular as a purveyor of news, may be ending. Exhibit A is the newspaper industry, which is in decline largely because of competition from newer media outlets, especially on the Internet. Shrinking circulation and ad revenues, together with rising newsprint costs, are chipping away at the enormous profit margins American newspaper publishers have enjoyed for decades, throwing the medium’s future into doubt. Newspapers have been losing readers for many years, but recently the rate of the decline has accelerated. Between 2003 and 2006, U.S. dailies saw their total circulation fall by 6.3 percent for daily editions, while Sunday circulation was down 8 percent.1 The percentage of Americans who read a newspaper every day has fallen from about 70 percent in 1972 to less than 35 percent in 2006.2 “Few in the industry are now saying the downward trend can be reversed,” according to a recent report by the Project for Excellence in Journalism.3 It seems entirely possible that five or ten years from now, newspapers will no longer exist, at least not in * Ben Reno-Weber, a graduate student at the John F.