<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://culturality.museum/omeka/items/show/211">
    <dcterms:title><![CDATA[&quot;Of Paint and Clay&quot; White Ceramic Vase]]></dcterms:title>
    <dcterms:description><![CDATA['Of Paint and Clay' white ceramic vase by Sue Blair of Borgh Pottery. Part of the 2024 exhibition "Of Paint and Clay", with pieces from Sue Blair and David Greenall.]]></dcterms:description>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:medium><![CDATA[https://borghpottery.co.uk/index.php/of-paint-and-clay-exhibition]]></dcterms:medium>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,58.41722895933901,-6.435146315940916;origin,58.41722895933901,-6.435146315940916;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/209">
    <dcterms:title><![CDATA[Calanais Standing Circle 1]]></dcterms:title>
    <dcterms:subject><![CDATA[ARCHAEOLOGY AND BUILT HERITAGE,PEOPLE,PLACES]]></dcterms:subject>
    <dcterms:description><![CDATA[The Calanais Standing Stones are an extraordinary cross-shaped setting of stones erected 5,000 years ago. They predate England’s famous Stonehenge monument, and were an important place for ritual activity for at least 2,000 years.

We don’t know why the standing stones at Calanais were erected, but our best guess is that it was a kind of astronomical observatory.]]></dcterms:description>
    <dcterms:date><![CDATA[3000BC]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[10/10/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[11/25/2025 03:08:33 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[109]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.197557,-6.745146;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/208">
    <dcterms:title><![CDATA[Standing Stones from Calanais Stone Cricle 1]]></dcterms:title>
    <dcterms:date><![CDATA[02/10/2024]]></dcterms:date>
    <dcterms:contributor><![CDATA[sp259]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,58.19761516531847,-6.745154857635498;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/207">
    <dcterms:title><![CDATA[Standing Stones from Calanais Stone Cricle 1]]></dcterms:title>
    <dcterms:date><![CDATA[02/10/2024]]></dcterms:date>
    <dcterms:contributor><![CDATA[sp259]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,58.19761516531847,-6.745154857635498;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/206">
    <dcterms:title><![CDATA[Calanais 1 Stone Circle]]></dcterms:title>
    <dcterms:subject><![CDATA[ARCHAEOLOGY AND BUILT HERITAGE,PLACES]]></dcterms:subject>
    <dcterms:description><![CDATA[Calanais Stone Circle 1]]></dcterms:description>
    <dcterms:date><![CDATA[2024:10:01 16:35:31]]></dcterms:date>
    <dcterms:contributor><![CDATA[sp259]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,58.19758614144185,-6.7451655864715585;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/205">
    <dcterms:title><![CDATA[RuralSpot - Isle of Lewis and Harris]]></dcterms:title>
    <dcterms:description><![CDATA[A RuralSpot in Scotland was held at Clan MacQuarrie Community Centre. Makers and stakeholders were invited to participate in discussions with the Culturality partners. Speakers from the Callanish Stones, Harris Tweed, and Tourism companies shared their experiences.]]></dcterms:description>
    <dcterms:source><![CDATA[events,highlandandislands,ruralspots]]></dcterms:source>
    <dcterms:date><![CDATA[02/10/2024]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[10/09/2024 05:06:22 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/11/2025 02:59:57 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[sp259@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Workshop]]></dcterms:type>
    <dcterms:identifier><![CDATA[108]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.412682257123116,-6.44325613975525;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/204">
    <dcterms:title><![CDATA[October 2024 Partner Meeting - Stornoway]]></dcterms:title>
    <dcterms:subject><![CDATA[INTANGABLE HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[All the Culturality partners met up in the Isle of Lewis to share their updates, next steps in the work packages, and participate in a workshop about project deliverables.]]></dcterms:description>
    <dcterms:source><![CDATA[events,highlandandislands,outerhebrides]]></dcterms:source>
    <dcterms:date><![CDATA[01/10/2024]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[10/09/2024 04:41:01 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[09/21/2025 04:26:50 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[sp259@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Meeting]]></dcterms:type>
    <dcterms:identifier><![CDATA[107]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.20812845099779,-6.3871121406555185;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/203">
    <dcterms:title><![CDATA[Noemi Ganea]]></dcterms:title>
    <dcterms:source><![CDATA[people]]></dcterms:source>
    <dcterms:type><![CDATA[Organisation]]></dcterms:type>
    <dcterms:identifier><![CDATA[106]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/192">
    <dcterms:title><![CDATA[Lofoten]]></dcterms:title>
    <dcterms:description><![CDATA[Lofoten, Lufoahtta  (Lule Sami), or Lufuohttá (Northern Sami) is an archipelago and a traditional district in the county of Nordland, Norway. Lofoten has distinctive scenery with dramatic mountains and peaks, open sea and sheltered bays, beaches, and untouched lands. There are two towns, Svolvær and Leknes – the latter is approximately 169 km (105 mi) north of the Arctic Circle and approximately 2,420 km (1,500 mi) away from the North Pole. The archipelago experiences one of the world's largest elevated temperature anomalies relative to its high latitude.]]></dcterms:description>
    <dcterms:source><![CDATA[7northernnorway,culturallandscapes,lofotenmap]]></dcterms:source>
    <dcterms:language><![CDATA[Norwegian]]></dcterms:language>
    <dcterms:type><![CDATA[Landscape]]></dcterms:type>
    <dcterms:identifier><![CDATA[95]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.1876747,13.9148636;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/191">
    <dcterms:title><![CDATA[Lofoten]]></dcterms:title>
    <dcterms:source><![CDATA[7northernnorway]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[application/vnd.google-earth.kml+xml]]></dcterms:format>
    <dcterms:type><![CDATA[Geolocated]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/190">
    <dcterms:title><![CDATA[Asturias]]></dcterms:title>
    <dcterms:description><![CDATA[Asturias officially the Principality of Asturias, is an autonomous community in northwest Spain.

It is coextensive with the province of Asturias and contains some of the territory that was part of the larger Kingdom of Asturias in the Middle Ages. Divided into eight comarcas (counties), the autonomous community of Asturias is bordered by Cantabria to the east, by León (Castile and León) to the south, by Lugo (Galicia) to the west, and by the Cantabrian Sea to the north.]]></dcterms:description>
    <dcterms:source><![CDATA[oneasturiasspain,twoasturiasspain,asturiasmap,culturallandscapes]]></dcterms:source>
    <dcterms:language><![CDATA[Spanish]]></dcterms:language>
    <dcterms:type><![CDATA[Landscape]]></dcterms:type>
    <dcterms:identifier><![CDATA[94]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.2736364,-5.8481573;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/189">
    <dcterms:title><![CDATA[Asturias (Spain)]]></dcterms:title>
    <dcterms:source><![CDATA[oneasturiasspain,twoasturiasspain]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[application/vnd.google-earth.kml+xml]]></dcterms:format>
    <dcterms:type><![CDATA[Geolocated]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/188">
    <dcterms:title><![CDATA[Inner Hebrides Area]]></dcterms:title>
    <dcterms:source><![CDATA[4scotlandunitedkingdom]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[application/vnd.google-earth.kml+xml KML]]></dcterms:format>
    <dcterms:type><![CDATA[Geolocated]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/187">
    <dcterms:title><![CDATA[Black Logo]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/186">
    <dcterms:title><![CDATA[Green Logo]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/185">
    <dcterms:title><![CDATA[The Ultimate Photosphere Challenge]]></dcterms:title>
    <dcterms:type><![CDATA[External Item]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/184">
    <dcterms:title><![CDATA[Timespan Museum and Art Gallery]]></dcterms:title>
    <dcterms:type><![CDATA[External Item]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/182">
    <dcterms:title><![CDATA[Timespan - Helmsdale Heritage and Arts Society]]></dcterms:title>
    <dcterms:type><![CDATA[External Item]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/181">
    <dcterms:title><![CDATA[Yellow Broom]]></dcterms:title>
    <dcterms:description><![CDATA[| Yellow Broom | Lighting , Product Design + Fabrication Creators of bespoke design based utilitarian piece. We are a two person collaboration based within the Cairngorms National Park in the Scottish Highlands . Valuing simplicity and quality craftsmanship each separate Yellow Broom product is meticulously crafted by hand placing a strong emphasis upon the design and making process. Consciously blending visual art, craft and design Yellow Broom aim to create clarity , harmony and value to object, user and viewer through considered material procurement and application. Applying a considered combination of narrative and craftsmanship YB pair traditional making techniques such as steam bending and wood turning with modern construction methods presenting a clean contemporary minimal aesthetic resulting in high quality, functional, slow crafted objects for the conscientious. In support of a circular economy model sustainability is at the core of our entire practice. We are sensitive to our environmental impact and responsibilities as Scottish based designer/ makers. Our products are created from locally sourced materials and we proudly work with a Zero waste approach making. As well as exhibiting both nationally and internationally Yellow Broom actively work with architects and interior designers. We enjoy and encourage working with clients on bespoke commissions and creative projects both domestic and commercial. | BA (Hons) | Professional member of Visual Arts Scotland | Affiliated Member of Crafts Scotland | Professional member of Applied Arts Scotland | Scottish Artist Union | Inches Carr Award winners 2019 | Board member and Vice Chair Applied Arts Scotland | Advisory board representative for Craft Scotland | Craft Development network sector representative | Freelance Creative project Manager |Publications & Features | Elle Decoration| | Elle Country | Homes and interiors | Vogue | The Guardian | Modern Rustic| | Country Living | Scotland on Sunday | Herald | | Scotsman | | FX Magazine | Financial Times |]]></dcterms:description>
    <dcterms:source><![CDATA[artisans,highlandandislands,people]]></dcterms:source>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Artisan]]></dcterms:type>
    <dcterms:identifier><![CDATA[93]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.3716724539259,-3.604874876327813;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/180">
    <dcterms:title><![CDATA[V&auml;rmland]]></dcterms:title>
    <dcterms:source><![CDATA[6varmlandsweden]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[application/vnd.google-earth.kml+xml KML]]></dcterms:format>
    <dcterms:type><![CDATA[Geolocated]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/179">
    <dcterms:title><![CDATA[V&auml;rmland]]></dcterms:title>
    <dcterms:description><![CDATA[The historical province of Värmland in Sweden has a long, rich history of both natural and cultural heritage, which has often been intimately intertwined with one another. Within the deep, mythical forests and lakes, the old storytelling tradition in Värmland permeates almost all traditions and practices in the region. Famously the Swedish Nobel Laureate in Literature, author Selma Lagerlöf, grew up in Värmland and the region’s presence in her work is deeply imbued in not only the legends and places she writes about, but also the characters and their cultural identities. 

Värmland stands out as a place of large stretches of forest which slopes down into long and narrow lakes that connect into rivers like Klarälven. In these forests and by these rivers, arts and craft traditions have grown. Today, Värmland is well known for its many artisans in different areas such as ceramics, textiles, literature and music. Its rich cultural heritage is a point of pride and defines everyday life in the region. 

Below you may explore some of Värmland’s cultural heritage through tangible and intangible examples. Why not learn more about the Potters of Arvika’s ceramics, or the folklore of herbalism in Värmland’s Finnskogen (“Forest of the Finns”)? With this unique access to a gallery of artisans and their crafts, you may explore world-famous practices whilst also being introduced to local, sequestered practices. ]]></dcterms:description>
    <dcterms:source><![CDATA[6varmlandsweden,culturallandscapes,ruralvarmland,varmlandmap]]></dcterms:source>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Landscape]]></dcterms:type>
    <dcterms:identifier><![CDATA[92]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.9660381,13.2317023;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/178">
    <dcterms:title><![CDATA[UTcraftsperson1]]></dcterms:title>
    <dcterms:description><![CDATA[A portrait of UTcraftsperson1]]></dcterms:description>
    <dcterms:date><![CDATA[20.09.2024]]></dcterms:date>
    <dcterms:contributor><![CDATA[siarhiej.makarevich@ut.ee]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:medium><![CDATA[photo]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/177">
    <dcterms:title><![CDATA[Agnieszka Golda, Jo Law, and Martin Johnson, &ldquo;Twilight State and the Edges of Darkness&rdquo;, (2016)]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-NoDerivs License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Wherewithart]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/176">
    <dcterms:title><![CDATA[Rural areas, women, and textile crafts. &ldquo;A woman weaving a blanket&rdquo; by Paul Kane (ca. 1850)]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Royal Ontario Museum, Gallery of Canada]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/175">
    <dcterms:title><![CDATA[The textile industry and its pollution since the Industrial Revolution. Barbour&rsquo;s flax thread works]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-NoDerivs License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[United States Library of Congress’s]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/174">
    <dcterms:title><![CDATA[Textiles and women in non-european cultures. &ldquo;The Making of Silk Fabric&rdquo; by Wang Juzheng (Northern Song Dynasty, 960&ndash;1127)]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[National Palace Museum, Beijing]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/173">
    <dcterms:title><![CDATA[Women and children working at large cotton manufacturing machines]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-NoDerivs License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:medium><![CDATA[Wellcome Library, London]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/172">
    <dcterms:title><![CDATA[In both historical visual documents and mythology, we can observe how this knowledge was passed down from mothers to daughters, also in the upper classes, who reserved certain tasks like embroidery for the maids while engaging in other activities like wool carding. Illustration of women of different ages performing household task (cooking and spinning and carding wool) from The costume of Yorkshire (1814)]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[British Library]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/171">
    <dcterms:title><![CDATA[The textile linked toand a tool: woman spinning&ldquo;Spinning wheel&rdquo;women as both an attribute and seducing a man. by Adolphe Weisz (ca. 1850)]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Liveauctioneers]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/170">
    <dcterms:title><![CDATA[Woman spinning during October calendar on a Psalter of Eleanor of Aquitaine (ca. 1185)]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain136]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
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    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/131">
    <dcterms:title><![CDATA[Workshop of made by k&Ouml;s, Pillarmo]]></dcterms:title>
    <dcterms:source><![CDATA[spainfaltriquera]]></dcterms:source>
    <dcterms:date><![CDATA[2023:06:09 20:36:35]]></dcterms:date>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/130">
    <dcterms:title><![CDATA[Laboratorio Biomim&eacute;tico-ARBIO, Marl&eacute;n L&oacute;pez and Manuel Persa]]></dcterms:title>
    <dcterms:source><![CDATA[spainfaltriquera]]></dcterms:source>
    <dcterms:date><![CDATA[2022:12:02 10:41:31]]></dcterms:date>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/129">
    <dcterms:title><![CDATA[made by k&Ouml;s, Constantino Men&eacute;ndez and Yolanda Gonz&aacute;lez]]></dcterms:title>
    <dcterms:source><![CDATA[spainfaltriquera]]></dcterms:source>
    <dcterms:date><![CDATA[2023:06:09 20:40:46]]></dcterms:date>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/128">
    <dcterms:title><![CDATA[Sobrescobio, Asturias, Spain]]></dcterms:title>
    <dcterms:source><![CDATA[spainfaltriquera]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/127">
    <dcterms:title><![CDATA[Pillarmo, Asturias, Spain]]></dcterms:title>
    <dcterms:source><![CDATA[spainfaltriquera]]></dcterms:source>
    <dcterms:date><![CDATA[2023:06:09 20:30:55]]></dcterms:date>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/126">
    <dcterms:title><![CDATA[Workshop of Paz Mesa in Les Regueres]]></dcterms:title>
    <dcterms:source><![CDATA[spain]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/125">
    <dcterms:title><![CDATA[Paz Mesa]]></dcterms:title>
    <dcterms:source><![CDATA[spain]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/124">
    <dcterms:title><![CDATA[Les Regueres, Asturias, Spain]]></dcterms:title>
    <dcterms:source><![CDATA[spain]]></dcterms:source>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/123">
    <dcterms:title><![CDATA[ A pouch made of a ram&rsquo;s scrotum]]></dcterms:title>
    <dcterms:alternative><![CDATA[Tubakakott]]></dcterms:alternative>
    <dcterms:description><![CDATA[Monika Hint, an student of the University of Tartu Viljandi Culture Academy, runs her own studio, Koordikamber, in Koordi farm in Viljandi county. Collaborating with fellow artisans, local farmers, and hunters, she uses bone, horn, leather, wool, and other natural, often recycled materials to create products that build on and develop further traditional technologies. Koordikamber also offers courses and workshops. Tanning and tawing are traditional leather processing methods in Estonia. While tanning requires vegetables or flour, alum and salt are used 
in tawing. Until the beginning of the 20th century, these skills were widely practised domestically, though there also existed village tanners. During the 17–19th centuries leather pouches made of ram’s scrotums were used as money bags and tobacco pouches. They were tanned along with the skins and decorated with applique, beads, copper rings and fabric. Nowadays the pouch is suitable for coins, cellphone, pipe, dice, tobacco, talisman etc]]></dcterms:description>
    <dcterms:creator><![CDATA[934,647]]></dcterms:creator>
    <dcterms:source><![CDATA[11estonia,craftedobjects,estoniaobjects,viljandicountymap]]></dcterms:source>
    <dcterms:date><![CDATA[2019]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[14/09/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[24/02/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Hint, Monika. 2013. “Luu töötlemine lamba sääreluust vilepilli näitel.” Studia Vernacula 4: 58-72. https://doi.org/10.12697/sv.2013.4.58-72.
Uus, Made 2019. “Traditional Leather Processing Using Domestic Methods in Estonia.” Studia Vernacula 11: 164–179. https://doi.org/10.12697/sv.2019.11.164-179.]]></dcterms:references>
    <dcterms:extent><![CDATA[18cm x 13cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[91]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.321648,25.726901;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/122">
    <dcterms:title><![CDATA[ A pouch made of a ram&rsquo;s scrotum]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/121">
    <dcterms:title><![CDATA[IE + ZADII]]></dcterms:title>
    <dcterms:description><![CDATA[The items are part of a girl’s traditional costume. Historically the girls of the ethnographic area of Lăpuș used to wear such clothing attire as daily outfit, but with the passing of time the traditional costume is worn only on special occasions such as on holidays, weddings, etc.       
The traditional costume is one of the most important manifestations of traditional culture, the result of the creative effort of a whole community and a real identity brand. The dominant note of the elements that compose the Romanian folk costume is the use of white fabrics made of natural f ibres (plant and animal). Particular attention is paid to the long and difficult technological processes of producing clothing elements in the world of the traditional village, weaving a whole system of beliefs and customs in this regard. The traditional production of costumes relied on local resources such as wool, hemp, linen, and cotton. The most relevant piece of this attire and the element that 
establishes the genesis of the Romanian folk costume is the shirt, which synthesises the most traditional elements and, at the same time, the most numerous artistic elements of ornamentation. In traditional spirituality, the embellishments that are used to decorate the shirt are not just decorative signs, but they have a much deeper spiritual meaning and play a protective role for the person wearing the clothing item. The symbols and various shapes embroidered on traditional costumes embody the identity of the people in a mixture and contraposition of sacred and mundane, faith and pagan superstitions, creative genius and practical functions.]]></dcterms:description>
    <dcterms:creator><![CDATA[645,646]]></dcterms:creator>
    <dcterms:source><![CDATA[10rumania,craftedobjects,romaniaobjects,taralapusuluimap]]></dcterms:source>
    <dcterms:date><![CDATA[1960-1970]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[14/09/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[10/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[40cm x 70cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[90]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,47.493611,24.034167;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/120">
    <dcterms:title><![CDATA[ IE + ZADII]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/119">
    <dcterms:title><![CDATA[Decorative lace doily]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/118">
    <dcterms:title><![CDATA[Manifesto Collection by Cap_able ]]></dcterms:title>
    <dcterms:description><![CDATA[ Inspired by a discussion with a UC Berkeley engineer on privacy and human rights at the Fashion Institute of Technology, Rachele Didero developed the idea of combining crafting in fashion and computer science. Subsequently, Rachele met Federica Busani, current Co founder of Cap_able, and together they decided to transform this project into a start-up, a cultural, as well as entrepreneurial, tool to promote and facilitate innovative actions by young people, in this case young women. Usually, it takes the form of a trig able to enhance networking actions between designers, young entrepreneurs and production districts to encourage their entry into the broad community of sectoral production and to enable the intersection of solutions for the execution, commercialisation and dissemination of design focused on ethic concepts also in order to foster good practices in social issues due to micro-commerce and tourism. Through this start-up they proposed to stimulate a new type of neocraft production in their territories, but 
also connected with a rural sustainable initiative, the Filmar Better Cotton Initiative (BCI).]]></dcterms:description>
    <dcterms:creator><![CDATA[644,643]]></dcterms:creator>
    <dcterms:source><![CDATA[8italy,craftedobjects,franciacortamap,italyobject]]></dcterms:source>
    <dcterms:date><![CDATA[2019]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[14/09/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[10/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[43cm x 51cm x 46.5cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[89]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,45.62,10.02;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/117">
    <dcterms:title><![CDATA[Manifesto Collection by Cap_able ]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/116">
    <dcterms:title><![CDATA[Anna jumper]]></dcterms:title>
    <dcterms:description><![CDATA[Textile artisan Ragnhild Lie discovered that most of the wool from the area was being sent out of the country while people were knitting with foreign-produced yarn. This led her to reclaim the wool and cultural heritage in the craft. With a background in working with wool, Lie decided to establish a workshop centred around sheep, wool and craftsmanship on her small farm. In 2013, she introduced the first 6 wild sheep to the farm. Lofoten Wool was founded in 2014, with sustainability at the core of everything they do. Their commitment to quality, both in design and product, forms the foundation of their work. Lofoten Wool believes in a short production line with local roots that take into account and continue old handicraft traditions. They shear their own sheep and take care of the cultural landscape through traditional grazing techniques. A modern garment with a new design based on a historical knitting tradition is the result.

Traditional practices with wool have developed to yarn production, and a substantial progress in knitting patterns and techniques. They also try to use as much of the sheep as possible: from making soap from the fat, liver pate from the meat, lamb roll, pinnekjøtt (traditional dish), and skin and yarn from the wool. The yarn is spun at Hillesvåg Ullvarefabrikk in Nordhordland before it gets dyed in Lofoten Wool’s workshop using natural colours, some of which come from traditions dating back to Viking times. The garments are hand-knit by local artisans, showcasing a love for craftsmanship and sustainability.

Without sheep and wool, people would never have been able to settle in the north. Wool, the raw material, is regionally distinct because of the unusual climatic conditions of the Lofoten Islands in Norway, north of the Arctic Circle. The wool comes from an old sheep variety “gammelnorsk sau”. The “gammlenorsk sau” sheep variety is extremely hardy and robust, thus tolerating the conditions outdoors all year around. They have a unique pro]]></dcterms:description>
    <dcterms:creator><![CDATA[Lofoten wool]]></dcterms:creator>
    <dcterms:source><![CDATA[7northernnorway,craftedobjects]]></dcterms:source>
    <dcterms:date><![CDATA[2022]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[14/09/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[20/09/2024]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[50cm x 40cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[88]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.149009,13.759657;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/115">
    <dcterms:title><![CDATA[Anna jumper]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/114">
    <dcterms:title><![CDATA[Sk&auml;ktefallstr&aring;lar (Rays of scutching tow)]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/113">
    <dcterms:title><![CDATA[Cullen Woven Tweed Cloth]]></dcterms:title>
    <dcterms:description><![CDATA[ The weaver draws inspiration from the landscape and rich culture of Scotland. As Sam stated:  “I follow a well trodden path that continues to draw connections between the diverse Scottish landscape and the cloth that I make”. 
Weaving woollen cloth has been an essential part of Scottish life for centuries, evolving from handwoven domestic production of the 17th century to mechanised mass production during the Industrial Revolution. Classic cheviots, rustic homespun-style tweeds, robust Estate tweeds, as well as the finest woollen cloths remain a staple of the Scottish textile 
industry. They provide warmth, protection, style, and comfort, while also reflecting craftsmanship, provenance, and individuality amidst a world of mass production. While pockets of mechanised production developed in the Highlands and north east of Scotland, thousands flocked to the newly established mass production mills in the lowlands. 
Claiming to be the oldest firm of loom makers in the world, 
Geo Hattersley and Sons developed the Hattersley Domestic loom in 
parallel with a whole range of sophisticated specialist textile machinery. 
Originally developed for export to the colonies in the late 19th Century, 
the Hattersley Domestic is a compact, semi-automated foot-treadle 
loom. While evolutions in textile manufacturing grew at a higher pace with 
the advances in water, steam and coal power, the Hattersley Domestic 
ensured pockets of production remained in remote rural settings where 
individuals and communities could continue to produce commercial 
cloth and remain on the land]]></dcterms:description>
    <dcterms:creator><![CDATA[52]]></dcterms:creator>
    <dcterms:source><![CDATA[5scotlandunitedkingdom,craftedobjects,highlandandislands]]></dcterms:source>
    <dcterms:date><![CDATA[2023]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[14/09/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[10/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[100cm x 75cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[87]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.679555,-2.956784;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/112">
    <dcterms:title><![CDATA[ Cullen Woven Tweed Cloth]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/111">
    <dcterms:title><![CDATA[Bed Blanket Coat &ldquo;Manta da Cama Coat&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[ Helena Cardoso is a Portuguese designer and visual artist. Cardoso has worked since the late ‘70s, with several artisans specialising in different handmade techniques and materials in northern Portugal, especially traditional Portuguese crafts. Cardoso has been active in the areas of product design, fashion design, interior design, jewellery, social design and visual art. Regarding her work at villages, Cardoso officially started, in 1982, her partnership as a tutor with the Commission on the Status of Women –CCF (nowadays it is called CIG- Commission for Citizenship and Gender Equality) and worked to support groups of women in underprivileged villages in northern Portugal until the present day. 
In 2010, Cabeceiras de Basto City Council invited designer Helena Cardoso to work with artisan women, resulting in a set of new contemporary pieces (some of which use industrial wool), while maintaining the traditional way of making them. The designer was inspired to create the Manta de Cama Coat, which uses ancestral weaving skills —the chequered pattern—, but replaces the colour palette (blacks, oranges, and browns) with a monochromatic one (white and black) with brightly coloured accents using rags of burel. ]]></dcterms:description>
    <dcterms:creator><![CDATA[ Design by Helena Cardoso handcrafted by the  artisans Bucos Women of Casa da Lã group  2023 ]]></dcterms:creator>
    <dcterms:source><![CDATA[3portugal,craftedobjects,portugalobjects]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[17/03/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[17/03/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[107cm x 58cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[86]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,41.5729836,-8.0416041;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/110">
    <dcterms:title><![CDATA[Bed Blanket Coat &ldquo;Manta da Cama Coat]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/109">
    <dcterms:title><![CDATA[Pillow Xalda Collection]]></dcterms:title>
    <dcterms:description><![CDATA[Paz Mesa had her first contact with textile crafts through her mother, who taught her how to spin the wool of her own flock of Xalda sheep; a task that she carried out together with her sisters. They later would give the wool already spun to a cousin who was a weaver, for her to make the garments. However, her work as a professional in the field began two years ago, after an eleven-year training period with different national and international artisans. She works mainly with wool, linen 
and silk: respectful, biodegradable fabrics, committed not only to the environment, but also to the well-being of animals and workers, as well as to the health of the customer. She tries to promote and disseminate more responsible forms of consumption, basing her brand on issues such as sustainability, ecology, territoriality and a circular, ethical and conscious economy. 
The reverse side of the Xalda Cushion is made with organic Asturian wool in the natural brown tones of the Xalda sheep itself, and the front in a mixture with a warp of the same characteristics, combined with a weft of Extremaduran merino sheep wool hand-dyed with natural dyes in the Paz Mesa artisanal textile workshop. The filling is made of Castilian merino wool with an organic cotton inner cover. The wool was spun in Cuenca in the Wooldreamers spinning mill, which allows small quantities of wool to be processed, facilitating the work of the artisans, and achieving different results as compared to manual processing, which Paz Mesa also practises in other pieces. These small spinning mills contribute to preserving native breeds, craftsmanship and the use of the available resources, since many times the wool is discarded because it cannot be processed as it does not reach the enormous quantities required. The fabric was made by hand on a traditional low heddle loom by the artisan.]]></dcterms:description>
    <dcterms:creator><![CDATA[642]]></dcterms:creator>
    <dcterms:source><![CDATA[oneasturiasspain,asturiasmap,craftedobjects,spainobjects]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[14/09/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[10/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[40cm x 40cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[84]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.421367,-5.973356;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/108">
    <dcterms:title><![CDATA[Faltriquera]]></dcterms:title>
    <dcterms:description><![CDATA[ Marlén, biodigital architect and Manuel, biodigital designer and craftsman, make up the Laboratorio Biomimético, a project based on biomimesis, that is, on the attentive observation of nature, directly through field trips, or indirectly, with readings and documentaries. Through this observation and profound understanding, they seek to implement the solutions of nature, a designer with thousands of years of experience, to human challenges. One of the areas of the laboratory is ARBIO, dedicated to the production of biodegradable fabrics that the made by kÖs firm of Constantino and Yolanda uses to make some of its pieces. This collaboration is part of the key points of the lab, which seeks synergies with designers, experts, researchers, and the community in general. Constantino learned to sew with his mother and later trained in Fashion and Clothing. Inspired by his research and interest in textile history and historical recreation, he established the made by kÖs brand in 2013, combining traditional inspiration with contemporary designs, after a work of reproducing old pieces based on paintings and photographs with traditional scenes, especially from the 19th century. After a few years, Yolanda joined, who also began sewing with her mother, as well as with her grandmother and her aunts. She is in charge of reproducing the 
pieces based on Constantino’s model, as well as the more business work, related to suppliers and orders. Her line of garments, with very selected projects, are produced on a small scale and locally, proposing pieces inspired by rural areas, village life and traditional clothing, incorporating current elements to give rise to handmade designer pieces]]></dcterms:description>
    <dcterms:creator><![CDATA[652,651,650,653]]></dcterms:creator>
    <dcterms:source><![CDATA[twoasturiasspain,asturiasmap,craftedobjects,spainobjects]]></dcterms:source>
    <dcterms:date><![CDATA[2022]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[14/09/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[10/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[23cm x 32cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[85]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.189444,-5.467222;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/107">
    <dcterms:title><![CDATA[Faltriquera]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/106">
    <dcterms:title><![CDATA[Pillow Xalda Collection]]></dcterms:title>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/105">
    <dcterms:title><![CDATA[Sharon Pisani]]></dcterms:title>
    <dcterms:description><![CDATA[PhD researcher evaluating how digital tools can help look at cultural landscapes holistically in order to better inform practices related to heritage preservation in the face of climate change threats. I am doing this by looking at how climate change impacts tangible and intangible heritage, how this is affecting community identities and how digital tools can be used to recreate heritage in danger.]]></dcterms:description>
    <dcterms:source><![CDATA[people]]></dcterms:source>
    <dcterms:type><![CDATA[Organisation]]></dcterms:type>
    <dcterms:identifier><![CDATA[83]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,56.34031795095683,-2.808669805526734;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/104">
    <dcterms:title><![CDATA[Catherine Anne Cassidy]]></dcterms:title>
    <dcterms:description><![CDATA[University of St Andrews Open Virtual Worlds research group]]></dcterms:description>
    <dcterms:source><![CDATA[people]]></dcterms:source>
    <dcterms:type><![CDATA[Organisation]]></dcterms:type>
    <dcterms:identifier><![CDATA[82]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,56.34025768013763,-2.8087019920349126;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/102">
    <dcterms:title><![CDATA[Karen Dean]]></dcterms:title>
    <dcterms:description><![CDATA[I am the Community Outreach Officer for the West Highland Museum]]></dcterms:description>
    <dcterms:type><![CDATA[Organisation]]></dcterms:type>
    <dcterms:identifier><![CDATA[80]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/101">
    <dcterms:title><![CDATA[Charlotte Stanton]]></dcterms:title>
    <dcterms:description><![CDATA[Publisher: Routledge, Taylor &amp; Francis]]></dcterms:description>
    <dcterms:type><![CDATA[Organisation]]></dcterms:type>
    <dcterms:identifier><![CDATA[79]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/97">
    <dcterms:title><![CDATA[Emma Lockwood]]></dcterms:title>
    <dcterms:type><![CDATA[Organisation]]></dcterms:type>
    <dcterms:identifier><![CDATA[75]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/86">
    <dcterms:title><![CDATA[Alan Miller]]></dcterms:title>
    <dcterms:source><![CDATA[people]]></dcterms:source>
    <dcterms:date><![CDATA[21/08/1964]]></dcterms:date>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:type><![CDATA[Organisation]]></dcterms:type>
    <dcterms:identifier><![CDATA[61]]></dcterms:identifier>
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</rdf:Description></rdf:RDF>