By Courtney Lee Weida (eds.)

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ASIN: B008O4X9M0
Publisher: Ten pace Press
Publication Date: 2011-08-10
Number of Pages: 192
Website: Amazon, LibraryThing, Google Books

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Extra info for Crafting Creativity & Creating Craft

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157). There is an openness to these online sites that is imaginative, visionary, and full of possibility because these sites are always comfortably unfinished and evolving. Our hopes for students can also include opening up dialogues in a fluid way, through such exercises as this remixed and reconceptualized research. CRAFTING COMMUNICATION; COMMUNICATING CRAFT While ceramics communities and other craft communities are on the one hand simply social groups where artistic sharing, technical conversations, and critiques occur; the social interaction may be uniquely asynchronous and visitors may even “lurk” or visit a site without making one’s presence known as in the physical world.

The house on mango street. New York, NY: Vintage. 26 CRAFT OBJECTS AND STORYTELLING Cottin, M. (2008). My black book of colors. Toronto, ON: Groundwood books. Deschamps, J. (Producer), & Jeunet, J. (Director). (2001). Amelie. Belgium: UGC. Edens, C. (2002). If you’re afraid of the dark, remember the night rainbow. New York, NY: Chronicle Books. Eisner, E. W. (1998). The enlightened eye: Qualitative inquiry and the enhancement of educational practice. Upper Saddle River, NJ: Merrill. Gardner, H.

In The Encyclopedia of Knots and Fancy Rope Work, Raoul Graumont and John J. Hensel (1945) have noted that historically, people “have found fascinating interest in the development of knot work . . [and] it can be truthfully stated that the formation of useful knots with rope or cordage of some kind was one of man’s earliest and most essential tools” (p. vii). Certainly, individuals must employ knotting each day in a variety of personal and mundane tasks. Knotting in proliferation can also contribute intricate and patterned artistic products.

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