D. Wood – författare

Philosophy flourished in Australia after the war. There was spectacular growth in both the number of departments and the number of philosophers. On top of this philosophy spread beyond the philosophy departments. Serious studies, and interest in philosophy is now common in faculties as diverse as law, science and education. Neither is this development merely quantitative, the Australian researcher has come of age and contributes widely to international debates. At least one movement originated in Australia. This makes the study of philosophy in Australia timely, evidenced by the number of articles concerned with this area that begin to appear in international journals. In Australia itself there is growing interest in the history of the country's philosophical development. There are discussions in conferences and meetings: the matter is now the subject of courses.

Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live.Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue.A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft.

Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live.Just as John Ruskin and William Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalization, is overdue.A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicized craft.

As climate change, war, social injustice, gender and racial inequality, unchecked technology and exploitative capitalism remain urgent issues, the worldwide craft community has responded in notable ways. In this follow-up to Craft is Political (Bloomsbury, 2021), D Wood and contributors demonstrate how global circumstances have given rise to additional craft scholarship that further interrogates the political agency of craft.With extensive global focus, this book features twenty-two essays on craft and politics that transcend the familiar Euro-American canon and demonstrate change through craft. Particular attention is brought to the Global South with authors writing about Brazil, Chile, India, Laos, Malaysia, Morocco, Nigeria and Thailand. Chapters look at the erasure of Moroccan women weavers’ stories and digital archiving of Black craftspeople in the USA. They explore pottery and eel pots critical to the identity of Virginian Indian tribes, and women’s roles in Nigeria as depicted in ceramic art. One author reveals the revival of traditional practices in Laos, and another the increasing recognition of previously-maligned Sami people of Sweden. Essays also explore craft sustainment in Finland, hand loom weaving in colonial north India, women’s craft organizations in Northern Ireland and an Australian textile artist’s exhibition devoted to climate change grief. Craft by LGBTQ artists from Malaysia and Canada is included. The mix of essays is topical, enlightening and intended to be provocative of the political agency of craft.

As climate change, war, social injustice, gender and racial inequality, unchecked technology and exploitative capitalism remain urgent issues, the worldwide craft community has responded in notable ways. In this follow-up to Craft is Political (Bloomsbury, 2021), D Wood and contributors demonstrate how global circumstances have given rise to additional craft scholarship that further interrogates the political agency of craft.With extensive global focus, this book features twenty-two essays on craft and politics that transcend the familiar Euro-American canon and demonstrate change through craft. Particular attention is brought to the Global South with authors writing about Brazil, Chile, India, Laos, Malaysia, Morocco, Nigeria and Thailand. Chapters look at the erasure of Moroccan women weavers’ stories and digital archiving of Black craftspeople in the USA. They explore pottery and eel pots critical to the identity of Virginian Indian tribes, and women’s roles in Nigeria as depicted in ceramic art. One author reveals the revival of traditional practices in Laos, and another the increasing recognition of previously-maligned Sami people of Sweden. Essays also explore craft sustainment in Finland, hand loom weaving in colonial north India, women’s craft organizations in Northern Ireland and an Australian textile artist’s exhibition devoted to climate change grief. Craft by LGBTQ artists from Malaysia and Canada is included. The mix of essays is topical, enlightening and intended to be provocative of the political agency of craft.

Boot Bling presents 15 easy projects for glamming up your boots. Using little more than ribbon, chain, embellishments and a few simple tools, you can take your tired old boots from drab to fab in no time at all. Clear instructions and a detailed techniques section takes the mystery out of making your bling.

In many respects, lead in drinking water has become a forgotten problem, since the mid 1980s when a range of environmental controls were implemented to reduce exposure to lead. This is largely because the sampling protocols, that underpin regulatory controls, are mostly inadequate and have tended to under-estimate the amount of lead that can be present in drinking water (IWA, 2010). Optimisation of Corrosion Control for Lead in Drinking Water Using Computational Modelling Techniques shows how compliance modelling has been used to very good effect in the optimisation of plumbosolvency control in the United Kingdom, particularly in the optimisation of orthophosphate dosing. Over 100 water supply systems have been modelled, involving 30% of the UK’s water companies. This “proof-of-concept” project has the overall objective of demonstrating that these modelling techniques could also be applicable to the circumstances of Canada and the United States, via three case studies. This report is the first in the Research Report Series published by the IWA Specialist Group on Metals and Related Substances in Drinking Water. Authors: Dr. C. R. Hayes and Dr. T. N. Croft Collaborators A. Campbell, City of Ottawa Water (CA) I. P. Douglas, City of Ottawa Water (CA) P. Gadoury, Providence Water (US) M. R. Schock, US Environmental Protection Agency (US)