Varieties Classification into Plain, Patterned and Un-patterned from Fabric Images

The presented work gives a methodology to classify fabric images as plain, patterned and un-patterned. Discrete Wavelet Transform is applied and wavelet features are extracted. Feed Backward Selection Technique is used in the feature selection phase. Two prediction models, namely, Support Vector Machine and Artificial Neural Network are used. The overall classification rates of 81% and 86.5% are obtained for fabric types using Support Vector Machine and Artificial Neural Network classifiers. The classification rates for varieties of non-plain fabric images are found to be 84% and 88% respectively

Contact, Crossover, Continuity: Proceedings of the Fourth Biennial Symposium of the Textile Society of America (1994) [Entire]

Preface 7 Contact, Crossover, Continuity: Fiber and Garment Featured Paper: Ancient Near Eastern Fibers and the Reshaping of European Clothing Elizabeth J. W. Barber 9 Wreath and Cap to Veil and Apron: American Modification of a Slavic Ritual Patricia Williams 19 Panel: Textile Transformations and Cultural Continuities in West Africa Akwete-Igbo Weavers as Entrepreneurs and Innovators at the Turn of the Century Lisa Aronson 31 What’s in a Name: The Domestication of Factory Produced Wax Textiles in Cote d’Ivoire Kathleen E. Bickford 39 Technology and Change: The Incorporation of Synthetic Dye Techniques in Abeokuta, Southwestern Nigeria Judith Byfield 45 The Transformation of Men into Masquerades and Indian Madras into Masquerade Cloth in Buguma, Nigeria Elisha P. Renne and Joanne B. Eicher 53 Discussant: Discussion of “Textile Transformations and Cultural Continuities in West Africa” Christopher B. Steiner 63 Foreign Contact in the Pacific Rim The Conversion of Chinese Court Robes into Japanese Festival Hangings Gloria Granz Gonick 67 Micronesian Textiles in Transition: The Woven Tol of Kosrae Ann Deegan and Ross Cordy 81 Bolong-Bolong and Tirtanadi: An Unknown Group of Balinese Textiles Marie-Louise Nabholz-Kartaschoff and Monika Palm-Nadolny 93 Green Labels with Golden Elephants: Western European Printed Cottons for Malaysia and Indonesia Frieda Sorber 105 Looking to the Past, Looking to the Future: Two Contemporary Approaches Continuity of Culture: A Reenactor’s Goal Elizabeth McClure 117 The Influence of Computer Technologies on Contemporary Woven Fiber Art Cynthia Schira 127 Featured Paper: Contact, Crossover, Continuity: The Emergence and Development of the Two Basic Lace Techniques Santina Levey and Milton Sonday 139 Panel: New Meanings, Borrowed Forms: Flux and Influx in the Textile Traditions of Flores, Indonesia Supplementary Weft on an “Ikat” Isle: The Weaving Communities of Northwestern Flores Roy W. Hamilton 147 The “Severed Shroud”: Local and Imported Textiles in the Mortuary Rites of an Indonesian People Penelope Graham 159 From the Ancestors or the Portuguese: Exotic Textiles in Flores and the Solor Archipelago (abstract only) Robyn Maxwell 167 Cloth as Marriage Gifts. Change in Exchange among the Lio of Flores Willemijn de Jong 169 Crossover: Motifs Transformed Byzantine Influences along the Silk Route: Central Asian Silks Transformed Anna Maria Muthesius 181 The Pomegranate Pattern in Italian Renaissance Textiles: Origins and Influence Rosalia Bonito Fanelli 193 Ottoman Silks and Their Legacy (abstract only) Diane Mott 205 The Assimilation of European Designs into Twentieth Century Indian Saris Linda Lynton 207 Continuity: Influence of the Marketplace Raphael’s Acts of the Apostles Tapestries: The Birth of the Tapestry Reproduction System Marjorie Durko Puryear 217 Market Effects on the Design and Construction of Carpets in the Milas Region of Southwestern Turkey, 1963–1993 Charlotte A. Jirousek 229 Traditional Techniques in New Settings Featured Paper: Charmingly Quaint and Still Modern: The Paradox of Colonial Revival Needlework in America, 1875–1940 Beverly Gordon 241 From Bohemian to Bourgeois: American Batik in the Early Twentieth Century Nicola J. Shilliam 253 New Twist on Shibori: How an Old Tradition Survives in the New World When Japanese Wooden Poles are Replaced by American PVC Pipes Yoshiko Iwamoto Wada 265 Video: Paj Ntaub: Textile Techniques of the Hmong (video script) Joyce Smith 271 Panel: Fashioning Identity: Appropriation and Creativity in Pre-Columbian and Contemporary Andean Cloth Anni Albers: Pre-Columbian Resonances, The Significance of Pre-Columbian Art in Her Textiles and Writings Virginia Gardner Troy 281 Ancient Andean Headgear: Medium and Measure of Cultural Identity Niki R. Clark and Amy Oakland Rodman 293 Paracas Cavernas, Paracas Necropolis, and Ocucaje: Looking at Appropriation and Identity with Only Material Remains Ann Peters 305 Dressing the Part: Indigenous Costume as Political and Cultural Discourse in Peru Katharine E. Seibold 319 Ethnic Artists and the Appropriation of Fashion: Embroidery and Identity in the Colca Valley, Peru Blenda Femenias 331 (Re-)Fashioning Identity: Late Twentieth-Century Transformations in Dress and Society in Bolivia Elayne Zorn 343 Appendix: Roster of Participants at the 1994 Symposium 35

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Textile Society of America- Seventh Biennial Symposium 2000 WHOLE ISSUE

Approaching Textiles, Varying Viewpoints Proceedings of the Seventh Biennial Symposium of the Textile Society of America Santa Fe, New Mexico 2000 The papers are unedited and reproduced as submitted. No part of this book may be reproduced in any form or by any means without written permission from the author. Students and researchers wishing to cite specific authors are encouraged to contact those individuals, as many of these papers represent work in progress, or work which has been committed for publication elsewhere. Contents Prefac

Social Mobility and the Worsted Weavers of Norwich, c.1450-1530

This thesis explores the question of social mobility in late medieval English towns, using the worsted weavers of Norwich as a case study. Social stratification is a key topic in medieval urban history, and the question of rising oligarchy and class conflict have influenced the way historians understand the institutional and constitutional development of late medieval English towns. This study employs a dual approach to the question of whether commercial success created an urban environment conducive to social and occupational mobility for craftsmen. It first considers the development of Norfolk’s native worsted cloth industry in the fourteenth and fifteenth centuries. It then uses a prosopographical analysis of the worsted weavers to consider whether the commercial success of worsted cloth was creating the opportunity for social mobility among urban artisans. This study finds that opportunities for social mobility were indeed increasing in the late fifteenth century. The thesis has been divided into two parts. The first part examines the economic and institutional context for the fifteenth-century commercial revival of worsted cloths in overseas trade. It also considers the way that the regional production of worsteds became regulated by the Guild of Worsted Weavers in Norwich. It then considers the constitutional development of craft guilds in Norwich in the fifteenth century, and their integration as public institutions. The second part of the thesis examines the lives of Norwich’s worsted weavers between c.1450 and 1530. It uses the framework of an 'artisanal cursus honorum' to consider the various ways in which the worsted weavers, both individually and as a group, advanced professionally, socially, and economically

A History of Islamic Court Dress in the Middle East.

The aesthetic ideal of the well-dressed Muslim male and female was formulated in ?ad?th literature, which counselled that the individual's devotion should be reflected in suitable humble and unostentatious attire. Although the evidence is fragmentary, the reality of the Umayyad and Abbasid courts, however, shows an increasing concern for ritual and ceremonial, along with a growing belief that the individual's status, profession and political (and religious) allegiance should be manifested in dress. It has been generally assumed that costume in the Islamic Middle East remained virtually unchanged in its structure and form until the 19th century. A careful examination of the visual sources in respect of the military dress in the medieval and post-medieval periods challenges this assumption, which is further weakened by the pictorial evidence of court costumes in the Ottoman and Safavid empires. At both courts, distinctive features in dress and head-gear identified the wearer's rank, status and to some extent, office. To don clothes associated with another group was to indicate publicly one's social aspirations, and for this reason sumptuary laws were repeatedly issued, with questionable effect, to re-establish as traditional a social order and stratification. Similarly in the 19th and 20th centuries, government programmes of radical modernization were accompanied by rigorous clothing reforms for both men and women. As the study of costume has to be undertaken with reference to political, social and economic history, each section is introduced by a short historical summary. This is followed by the examination of data relating to the court dress of the period, and concluded with information on the economic situation of the textile industry

Native American Chic: The Marketing Of Native Americans In New York Between The World Wars

Focusing on four key figures - Morris de Camp Crawford, John Sloan, Amelia Elizabeth White, and René d\u27Harnoncourt - this dissertation analyzes museum and gallery exhibitions of Native American art mounted in the United States, particularly New York City, during the interwar period, and documents the immediate and lasting impact these shows and their promotion had on the emergence of Indian Chic in women\u27s fashion and interior design. In the late 1910s, Crawford, a research editor for Women\u27s Wear and honorary research associate at the American Museum of Natural History, mounted a campaign encouraging Euro-American designers to seek inspiration in museum collections, particularly Native American production. Crawford\u27s efforts led to the AMNH\u27s 1919 Exhibition of Industrial Art in Textiles and Costumes; a series of exhibitions at the Brooklyn Museum in the 1920s; and Mallinson Fabrics\u27 1928 American Indian Series. Meantime, Sloan bolstered awareness of Native American art through exhibitions of Pueblo watercolors at the Society of Independent Artists exhibitions in the 1920s, and the groundbreaking Exposition of Indian Tribal Arts in 1931. White, a New York socialite living in Santa Fe, joined Sloan in his efforts, financing the EITA and promoting the incorporation of Native American art into modern Euro-American décor through her New York City gallery and exhibitions of her personal collection. In the mid-1930s, Indian Chic received government backing with the creation of the Indian Arts and Crafts Board. As its general manager, D\u27Harnoncourt promoted Indian art\u27s suitability as inspiration for modern Euro-American design in two landmark exhibitions: the Indian Court at San Francisco\u27s Golden Gate Exposition in 1939 and Indian Art of the United States at New York\u27s Museum of Modern Art in 1941. These exhibitions created a sensation that was widely reported in the popular press, and U.S. consumers responded enthusiastically to Indian-inflected and -inspired clothing, accessories, footwear, cosmetics, and household goods and accent pieces. The notion of Native American Chic, created in the 1910s by Crawford and promoted by Sloan, White, and d\u27Harnoncourt throughout the interwar period, endures today

Science on a Deep-Ocean Shipwreck

Author Institution: Departments of Geological Sciences and Zoology, Museum of Biological Diversity, The Ohio state University ; Columbus-America Discovery GroupA five-year scientific investigation of a site on the North Atlantic seafloor, 270 km off Cape Fear, NC, at a depth of 2,200 m, was undertaken in conjunction with recovery operations on a nineteenth-century steamship (SS Central America which sank in an 1857 hurricane while carrying passengers and cargo en route to New York from the California gold fields). Activities in the disciplines of oceanography, marine geology, marine biology, materials science, and undersea archaeology were undertaken with the tele-directed submersible robot, Nemo. The study included field observations at the site (recorded in over 3,000 hours of videotape and 25,000 still photographs), examination of hundreds of deep-ocean specimens and artifacts, and analysis of several experiments deployed on the seafloor. Resting on a gentle slope of the Blake Ridge, the shipwreck environment was cold, lightless, oxygen-rich, and flushed by moderate currents. The sediments were a foraminiferal-pteropod ooze, deposited at a slow rate (1.7 cm/1,000 years). A diverse community of errant and sessile benthic invertebrates and benthopelagic fishes colonized the shipwreck deriving from it food, cover, and a place of attachment. This deep-ocean oasis supported a greater variety and concentration of animal life than did the surrounding ooze habitat. The timbers of the shipwreck were degraded by woodboring bivalves. The iron machinery was extensively corroded and mobilized into flow structures (rusticles) by iron-oxidizing bacteria. Passenger luggage recovered from the shipwreck contained artifacts which provided insight about the life styles of the voyagers during the Gold Rush. This project demonstrated that a holistic approach to a deep-ocean site of historic importance can provide understandings of the interrelated processes which affect cultural deposits on the abyssal seafloor and the marine life that they foster

1994 NASA-HU American Society for Engineering Education (ASEE) Summer Faculty Fellowship Program

Since 1964, the National Aeronautics and Space Administration (NASA) has supported a program of summer faculty fellowships for engineering and science educators. In a series of collaborations between NASA research and development centers and nearby universities, engineering faculty members spend 10 weeks working with professional peers on research. The Summer Faculty Program Committee of the American Society for Engineering Education supervises the programs. Objectives: (1) To further the professional knowledge of qualified engineering and science faculty members; (2) To stimulate and exchange ideas between participants and NASA; (3) To enrich and refresh the research and teaching activities of participants' institutions; (4) To contribute to the research objectives of the NASA center