"The material history of women s craft precipitates and generates a model for soft resistance in responding to the hard, masculine, patriarchal world. Through an articulation of softness softening materials and technology we can restructure our relationship to hard, material impositions and carve new soft, interwoven, communal-communicative spaces. The opposition is subject to power. Shifting the position of women s craft from striving towards entering and simulating male spaces is a way of manipulating intersectionality. In this particular case, there is a certain intersection and interdisciplinary culture that occurs. On the other hand, what fascinates me in terms of materiality, is that the softness and hardness relationship is polarized by gender-based material and gender mainstreaming. The environment we are living is designed by humans through materials and tools that have been changing continuously. In early history, humans divided themselves by daily duties based on their gender role. There were many domains of this division but one of the elements that interests me is softness and hardness. At that point, the characterization of gender and material create the power balance. Feminizing male material through technology, sculptural and constructive materials (hard) as well as digitizing female material (soft) is the core of the thesis. As a result of the transverse of the material we see the non-binary aspect in my works. Technology is inherently masculine because it is always related to power. Particularly, a computer is a woman-made tool, however it is shown as an inherently male tool. There is an extremely strong relationship between soft-ware and soft-art made and shaped by women at the very beginning. However, hard power (masculine) conquered the tool to use for oppression of women. In my practice, using computer soft-ware is a way to take the tool back and women's soft-empowerment. Soft forms adapt to the body, connect with bodies. However, hard forms impose themselves on the body. If 'softness' is a role that is supposed to be adopted by gender, it is definitely supposed to be internalized by all genders as a soft ideology and as a principle of non-binary identities. In this thesis, I started to research the Anatolian Goddess to understand the history of women's craft practice in the particular region where I am from, in conjunction with that history, especially with regard to materials and tools, softness and hardness, woman and man, tradition and technology. It can be seen in this combination as a concern from my wall pieces. I used wood made of laser cut (software) and fur yarn knitting (tangible softness) behind the wood piece. However, the knitting yarn comes out of the wood with the soft body. This wood can be considered more masculine and the fur-knitted yarn is inherently belong to women's practice. In this piece I show the history of women's technological creation and invention behind the history hidden by patriarchy. The next chapter will examine this more closely. The tools we have now are the most efficient ways of effecting positive change and creating space where women can collaborate organically. The space is either cyber or physical potentiality. And the possibility of access by women that is community, national, and international. The most important point revolves around the communities of women crafters organized around technological crafting methods thanks to the internet, accelerated modes of communication, and the distribution and accessibility of new tools for crafting. It is in these spaces that new modes of making are explored, as well as the formation of strong feminine communities that, through their making, can imagine and build a world beyond the patriarchy."--Artist's abstract

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

"The ongoing COVID-19 pandemic marks the most significant, singular global disruption since World War II, with health, economic, political, and security implications that will ripple for years to come." -Global Trends 2040 (2021) Global Trends 2040-A More Contested World (2021), released by the US National Intelligence Council, is the latest report in its series of reports starting in 1997 about megatrends and the world's future. This report, strongly influenced by the COVID-19 pandemic, paints a bleak picture of the future and describes a contested, fragmented and turbulent world. It specifically discusses the four main trends that will shape tomorrow's world: - Demographics-by 2040, 1.4 billion people will be added mostly in Africa and South Asia. - Economics-increased government debt and concentrated economic power will escalate problems for the poor and middleclass. - Climate-a hotter world will increase water, food, and health insecurity. - Technology-the emergence of new technologies could both solve and cause problems for human life. Students of trends, policymakers, entrepreneurs, academics, journalists and anyone eager for a glimpse into the next decades, will find this report, with colored graphs, essential reading.

In today's art world many strange, even shocking, things qualify as art. In this book, Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, along with the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art.

Scores of talented and dedicated people serve the forensic science community, performing vitally important work. However, they are often constrained by lack of adequate resources, sound policies, and national support. It is clear that change and advancements, both systematic and scientific, are needed in a number of forensic science disciplines to ensure the reliability of work, establish enforceable standards, and promote best practices with consistent application. Strengthening Forensic Science in the United States: A Path Forward provides a detailed plan for addressing these needs and suggests the creation of a new government entity, the National Institute of Forensic Science, to establish and enforce standards within the forensic science community. The benefits of improving and regulating the forensic science disciplines are clear: assisting law enforcement officials, enhancing homeland security, and reducing the risk of wrongful conviction and exoneration. Strengthening Forensic Science in the United States gives a full account of what is needed to advance the forensic science disciplines, including upgrading of systems and organizational structures, better training, widespread adoption of uniform and enforceable best practices, and mandatory certification and accreditation programs. While this book provides an essential call-to-action for congress and policy makers, it also serves as a vital tool for law enforcement agencies, criminal prosecutors and attorneys, and forensic science educators.

A CD-ROM and DVD set extracted from the 'The Art of Africa: A Resource for Educators.' The CD-ROM "contains a PDF of 'The Art of Africa: A Resource for Educators, ' which features forty traditional works of African art in The Metropolitan Museum of Art. It includes a brief overview of the Metropolitan's collection of African art; a short introduction and history of Africa; an explanation of the role of visual expression in the continent; descriptions of the featured works of art and background about the materials and techniques that were used to created them ... The DVD, 'Ci Wara Invocation, ' "presents the highlights of a dozen ci wara performances in Bamana communities in present-day Mali that were recorded by five different observers between 1970-2002. Among the Bamana, oral traditions credit a mythical being named Ci Wara, a divine being half mortal and half antelope, with the introduction of agriculture to the Bamana. The ci wara performances are part of biannual celebrations that either launch or conclude the farming season."--Container