Some sectors emphasize their tradition, such as beer, whiskey and wine, and other sectors pride themselves on continuous innovation in order to achieve ever better quality, such as detergent producers and (high) tech. Needless to say, both sides of the marketing strategy spectrum - tradition or continuous quality improvement - are in fact selling nonsense ...
MULTIFILE
From the 1960s, in several Western European countries folk music revivals took place. In The Netherlands, the folk music revival was heavily inspired by the folk music revival movements in the United States, the United Kingdom and Ireland, and later by the revivals in France and Flanders (Belgium) as well. Initially the repertoire played was mainly American, Anglo-Saxon and Irish, and only gradually attention turned to attempts of reviving Dutch song repertoire (see Koning 1975 for a contemporary analysis).An interesting part of the Dutch folk music revival was the Frisian folk music revival. In the province of Friesland the folk music movement was widespread and active, and at the same time immensely varied concerning repertoires used and meanings conveyed. The presentation will focus on the work of the Frisian-language folk group Irolt, active from 1975 to 1983 and at the time considered the leading Frisian folk group. Through studying their recordings, contemporary documents, and interviews carried out with the leader of the group years after the group disbanded, I try to gain insight in Irolt’s attempt at the – paradoxical – revival of a non-existing repertoire of folk-songs. I will combine Koning’s (1975) idea of `communality’ in folk revival movements combined with Hobsbawm’s (1983) concept of the invention of tradition and ideas about identity constructing going back to Barth (1969, 1994) to shed light on the processes at work and the resulting products, unveiling the hidden meanings of Irolt’s work in terms of a particular construction of Frisian identity.Paper presented at the 42nd ICTM World Conference, 11-17 July 2013, Shanghai, China
This paper discusses the concepts and social dynamics of fashion imitation and custom imitation as put forth by French sociologist Gabriel Tarde (1843-1904). Specifically his 1903 book The Laws of Imitation will be introduced and used to argue that, and examine how, fashion has, since the turn of the century, increasingly become a global custom rather than the exemplary innovative force Tarde associated with fashion. The second part of the paper therefore suggests turning to custom and tradition may be fruitful to revitalise the current state of fashion and can cause new fashions to come into being. The traditional technique used by the people of the Dutch village of Staphorst to decorate the fabrics for their traditional costumes - Staphorster stippling - which is nominated to be inscribed on UNESCO’s list of intangible cultural heritage, is presented as a case study in which it is shown how cultural traditions may unilaterally contribute to ethical, ecological and innovative fashion design. It is furthermore argued that the reciprocal effect of the dynamics between custom and fashion accounts for the preservation of traditional skills and techniques. The text concludes by examining the chances and opportunities as well as the pitfalls one may associate with the proposed dynamic interaction between fashion and tradition.
Recycling of plastics plays an important role to reach a climate neutral industry. To come to a sustainable circular use of materials, it is important that recycled plastics can be used for comparable (or ugraded) applications as their original use. QuinLyte innovated a material that can reach this goal. SmartAgain® is a material that is obtained by recycling of high-barrier multilayer films and which maintains its properties after mechanical recycling. It opens the door for many applications, of which the production of a scoliosis brace is a typical example from the medical field. Scoliosis is a sideways curvature of the spine and wearing an orthopedic brace is the common non-invasive treatment to reduce the likelihood of spinal fusion surgery later. The traditional way to make such brace is inaccurate, messy, time- and money-consuming. Because of its nearly unlimited design freedom, 3D FDM-printing is regarded as the ultimate sustainable technique for producing such brace. From a materials point of view, SmartAgain® has the good fit with the mechanical property requirements of scoliosis braces. However, its fast crystallization rate often plays against the FDM-printing process, for example can cause poor layer-layer adhesion. Only when this problem is solved, a reliable brace which is strong, tough, and light weight could be printed via FDM-printing. Zuyd University of Applied Science has, in close collaboration with Maastricht University, built thorough knowledge on tuning crystallization kinetics with the temperature development during printing, resulting in printed products with improved layer-layer adhesion. Because of this knowledge and experience on developing materials for 3D printing, QuinLyte contacted Zuyd to develop a strategy for printing a wearable scoliosis brace of SmartAgain®. In the future a range of other tailor-made products can be envisioned. Thus, the project is in line with the GoChem-themes: raw materials from recycling, 3D printing and upcycling.
De kunstgrasberg in Nederland is groeiende. In april 2019 hebben een aantal bedrijven, zijnde ketenpartners, de handen in een geslagen om dit te doen veranderen, en hebben GBN Artificial Grass Recycling (GBN-AGR) opgericht. Dit heeft in juni 2020 geresulteerd in een fabriek voor de recycling van de kunstgrasmatten. De eindproducten van deze fabriek zijn circulair grondstoffen zoals circulair zand, circulair SBR, circulair TPE en RTA. Deze grondstoffen worden op traditionele productiewijze in mallen geperst en waaruit rubbertegels, kantplanken, picknicksets worden vervaardigd. Gezien de hoeveelheid aan kunstgrasmatten is er behoefte vanuit de ketenpartners om meer en hoogwaardige producten te realiseren. In dit onderzoek wordt een verkenning gedaan naar de mogelijkheid om gerecycled kunstgras te gaan 3D printen. Zo dat er in de toekomst hoogwaardige en vernieuwde producten uit te vaardigen zijn. Ook zijn de huidige 3D printbedrijven nog niet bekend zijn met circulaire grondstoffen uit gerecycled kunstgras, aangezien het 3D printfilament daarvan nog niet voor handen is. Via materiaalonderzoek, ontwikkeling van 3D printfilament, testen van het filament wordt de eerste aanzet gegeven om tot een grondstof te komen die voor hoogwaardige producten kan worden ingezet. Tevens wordt een productontwerp voor een product gecreëerd. En wordt er een prototype, eventueel op schaal gefabriceerd met het 3D printfilament afkomst van de circulaire grondstoffen van het gerecycled kunstgras. Het einddoel is om de kunstgrasberg in Nederland te doen krimpen, door: - Aantoonbaar te maken aan de maakindustrie dat gerecycled kunstgras een basisgrondstof kan zijn voor producten. - 3D printen een productiemethode is dat voor bepaalde toepassingen voordelen kan hebben om hoogwaardige producten van gerecycled kunstgras mee te maken, naast de al bestaande traditionele productiemethoden.
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
