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          <name>Contact</name>
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              <text>moranarqueologo@gmail.com</text>
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          <name>Author</name>
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              <text>iain</text>
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          <name>Email</name>
          <description>The email address of the museum.</description>
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              <text>moranarqueologo@gmail.com</text>
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          <name>Prim Media</name>
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              <text>678</text>
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          <name>Biographical Text</name>
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              <text>He earned a degree in Geography and History from the University of Oviedo in 2001. He began his professional career as a researcher at the Universidad Autónoma de Madrid before transitioning to professional archaeology, where he participated as a technician in various research projects. Simultaneously, he trained in pottery at the last and oldest pottery workshop in Asturias, located in Faro, Oviedo/Uviéu, with the goal of preserving this traditional craft from extinction. Currently a PhD student at the University of Oviedo, his research focuses on the ethnographic and archaeological study of medieval pottery. He is a member of the Social Landscapes (LANDS) research group and the Llaboratoriu Rural del Paisaxe, Hestoria y Patrimoniu (LLABOR) at the University of Oviedo. He currently teaches ceramics at the Factoría Cultural de Avilés, a multidisciplinary arts center.</text>
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          <name>External ID</name>
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          <name>Knowledge Acquisition</name>
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              <text>He began learning at the ceramics school in Avilés and then acquired his knowledge in the workshop of José Manuel Vega "Selito," where he worked as an apprentice for years.</text>
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          <name>Knowledge Transfer</name>
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              <text>He teaches some of the techniques used in the tradition of Faro ceramics in his classes at the Cultural Factory of Avilés</text>
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          <name>Field Worker</name>
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              <text>Carmen Pérez Maestro</text>
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          <name>Gender</name>
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              <text>male</text>
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          <name>Area Relation</name>
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              <text>incomer</text>
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          <name>Area Reason</name>
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              <text>Orlando was born in Gijón, which is about 30 km from Faro</text>
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          <name>Occupation</name>
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              <text>ceramics</text>
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          <name>Involvment</name>
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              <text>full-time paid job</text>
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              <text>he knowledge involved in the preparation and processing of clay, the potter's wheel for creating ceramic pieces, surface treatments and glazes, and the use of the kiln for firing the ceramics.</text>
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          <name>material1</name>
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              <text>Clays are extracted from the village of Faro itself, where there are two main types: black clay for unglazed pieces and red clay for glazed ceramics. The fuel used in the past was firewood, but now it is gas.</text>
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              <text>Clays are extracted from the village of Faro itself</text>
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              <text>In pottery, no waste is generated.</text>
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          <name>production1</name>
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              <text>The most important technique is the creation of the ceramic piece using a foot-powered potter's wheel.</text>
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              <text>A metal knife or plate to shape the ceramic piece, a wire for cutting, a punch, small wooden tools, and the "trapadoriu," which is a leather pad used to shape the edges of the ceramic piece. He uses a foot-powered potter's wheel and a gas kiln.</text>
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          <name>production3</name>
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              <text>The "trapadoiru" is a tool that gives a unique identity to the ceramic pieces of Faro. This name even appears in traditional Asturian ballads and songs.</text>
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              <text>Gas</text>
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          <description/>
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              <text>In pottery, no waste is generated. All the leftover raw material is recycled into a new ceramic piece.</text>
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          <name>workshop</name>
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              <text>For the creation of traditional Faro pottery, Orlando works in the workshop of his teacher, Selito. For pottery classes, he has his own classroom at the Cultural Factory of Avilés.</text>
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              <text>From black ceramics, he manufactures pieces for domestic use. That is, containers for liquids and food, and for cooking: the barbón (a three-handled pitcher), the penada (a ceramic vessel with a very narrow mouth to allow the drink to pour out slowly), the cider jug (a traditional Asturian drink made from apples), the cheese container (quesera), and the cooking pot (cazuela). In glazed ceramics, he makes cider jugs, plates, deep bowls (escudillas), and water pitchers (botijos).</text>
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          <name>products2</name>
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              <text>Orlando has always created ceramic pieces as a personal satisfaction and to preserve the tradition.</text>
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          <name>products3</name>
          <description/>
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              <text>Selling them is challenging because many pieces are very large, and transporting them is difficult for tourists. Some of the pieces that are made are sold at fairs or online. In the past, the government had stores called "Arte España," which were even located in airports, and a lot was sold there, but this has since disappeared.</text>
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          <name>products4</name>
          <description/>
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              <text>He has a paid job as a ceramics teacher at a municipal vocational school. Apart from that, he does not offer any services related to the profession of ceramics.</text>
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          <name>products5</name>
          <description/>
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              <text>No</text>
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          <name>products6</name>
          <description/>
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              <text>Orlando does not have regular clients.</text>
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          <name>products7</name>
          <description/>
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              <text>The traditional ceramics of Faro do not have any official certification. It also does not have any geographical protection status. The area where it is produced does have a level of heritage protection under the Asturias Heritage Law, including the kilns, Selito's workshop, and the archaeological evidence related to this tradition.</text>
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        <element elementId="268">
          <name>tourism1</name>
          <description/>
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              <text>Orlando has no connection with tourist activities.</text>
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        <element elementId="270">
          <name>partnership</name>
          <description/>
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              <text>He is a member of the "Xunta por la defensa de la alfarería de Faro," an association dedicated to defending and promoting Faro pottery, ensuring it maintains its traditional characteristics.</text>
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        <element elementId="271">
          <name>challenges1</name>
          <description/>
          <elementTextContainer>
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              <text>It is difficult to survive economically from traditional ceramics because direct sales are very limited, and artisans have to take on other jobs, which leaves them with little time for online marketing.</text>
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          <name>challenges2</name>
          <description/>
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            <elementText elementTextId="8565">
              <text>Es necesario de una administración pública haga una escuela de oficios tradicionales, es fundamental que haya tanto un archivo donde se recoja la mayor documentación posible…un sitio que recoja todos los conocimientos y enseñanzas y que las trasmita…Puede ser en una zona rural que ademas dinamizara la zona, creara puestos de trabajo para los artesanos que con la docencia y la artesania se podrian sustentar</text>
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          <name>references</name>
          <description/>
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            <elementText elementTextId="8566">
              <text>https://www.nortes.me/2022/06/04/faro-la-alquimia-del-barro/ https://www.youtube.com/watch?v=I_FpkQ5c6jM</text>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
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            <elementText elementTextId="8568">
              <text>https://culturality.museum/wiki/index.php/Morán_Fernandez,_Orlando</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Orlando Morán Fernandez</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Artisan</text>
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            <name>Date</name>
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                <text>1970s</text>
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            <name>Language</name>
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                <text>Spanish</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>iain</text>
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            <name>Identifier</name>
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                <text>398</text>
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                <text>current,43.355833,-5.794167;</text>
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                <text>artisans,asturiasmap,people</text>
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                <text>Morán Fernandez, Orlando</text>
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              <text>Maria Pérez en su taller de Villaviciosa</text>
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                <text>Maria Pérez en su taller de Villaviciosa</text>
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            <name>Date</name>
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                <text>2025-02-07</text>
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                <text>IMAGE</text>
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                <text>Carmen Pérez Maestro</text>
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      <name>Artisan</name>
      <description>An artisan</description>
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          <name>Contact</name>
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            <elementText elementTextId="8588">
              <text>mariaperezazabache@hotmail.es</text>
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          <name>Author</name>
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              <text>iain</text>
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          <name>Email</name>
          <description>The email address of the museum.</description>
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            <elementText elementTextId="8593">
              <text>mariaperezazabache@hotmail.es</text>
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          <name>Phone</name>
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              <text>605 01 27 70</text>
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              <text>Maria has been a master jet artisan for 30 years. She started as a jeweler, but nowadays, working with jet is more important.</text>
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          <name>Knowledge Acquisition</name>
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              <text>Jet came into the artisan’s life by chance. She was starting out in jewelry making, and after settling in the village, Néstor Costales (the last master artisan of Argüeru) gave her a small raw jet stone. From that moment on, she began to get her hands dirty with it, and jewelry took a back seat. She taught herself how to work with the mineral, and after many years of practice, she has ended up teaching others</text>
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          <name>Knowledge Transfer</name>
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              <text>Yes, she conducts jet carving workshops in her museum-shop in Villanueva</text>
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              <text>"El azabache esta relacionado con el turismo por que es un bien cultural y es de la zona y la conjunción que hay en el local de Villaviciosa con tienda exposición y talleres de la asociación es lo que utilizamos para difundir y dar a conocer el azabache"</text>
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                <text>Elisabeth Rosa Brusin</text>
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              <text>Ragnhild Lie grew up in Gudbrandsdalen and Lillehammer and has knitted, chrochet, braided, sewn and woven since she was little. Ragnhild is educated as textile artisan and holds a MA in Textiles from Bergen school of Art took in 1997. Her broad range of textile-based experience includes fine art, theater and education. She has worked at Sjølingstad Wool Mill, studied tapestry at Oslo University College of Art and Design, taught at Lofoten School of Arts for kids and led courses from kindergarten to university level. She works as lecturer and textile artist within the textile field in Norway. She now lives and works on the farm in Stamsund where she manages and develop the business Lofoten Wool established in 2014. On the farm of Lofoten Wool business, Ragnhild has a herd of 30 sheep which provide the company with wool and meat. The meat is sold to a local slaughterhouse (located in Leknes, about 7 km from Lofoten Wool), while the wool is processed in order to create the woolen products sold in the Lofoten Wool shops, online and to third party resellers. Environmental sustainability is the key principle of Ragnhild's corporate and production philosophy.</text>
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              <text>She learnt to craft with threads since she was a child from her mother and grandmother, specifically knitting and hand made rugs. She learnt crochet tapestry in middle school, and later many different weaving techniques, e.g. card weaving (brikkevev), grindvev, warp-weighted loom and . In 1997 she acquired a MA in Textiles. In the present, she keeps on increasing her knowledge through her own research in books and talking to museum conservators.</text>
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              <text>The practitioner moved to Lofoten before 2013 but not specified when, almost casually. According to Ragnhild, Lofoten is an Eldorado for wool and lamb/sheep meat that wasn't developed. Most of the wool produced in Lofoten was and still is exported to England to never come back to Norway. Ragnhild realised she should have taken action to reverse this trend and to give new prominence to the wool produced by Lofoten sheep at a more local level.</text>
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              <text>Much of the wool production comes from local farmers that respect animal wellfare. Besides this, her own sheep are also The silk and some of the dyes are not local, and have to be inmported.</text>
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              <text>They are sold in businesses of the area interested in selling handcrafts to tourists, such as Lofotr Viking Museum. The yarn is sold in yarn stores throughout the country. Besides this, some exclusive businesses order textiles for interiors (Hotels and tourist business). There is also a shop in the farm and they have an online shop in their website.</text>
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              <text>They have some tourist-oriented selling points (Ie. Lofotr Viking Museum). Many people going to the museum and buying products there also go to visit the farm afterwards. They also buy directly in the farm shop. A popular product loved by the America tourists are the Norwegian sweaters. Workshops and visits to the farm are also offered under request. Tourists come from the whole world to Lofoten, where the workshop is located. The greater bulk of tourists is European, with a majority of Germans. Local national tourists are also generously represented.</text>
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              <text>Ullturisme er da jo veldig stor i veldig mange andre land. Du kan dra til Scotland, Island, Farøyene og Ytre Hebridene og overalt så er det mye fokus på ull og sau, og hvor viktig sauen har vært for mennesker her i nord. Men det gjør vi veldig lite her i Norge. Når jeg får tid, vil jeg får gjort det.</text>
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              <text>The collaborate with the local farmers that bring wool for them, wool shearers, the husflidlaget, knitting festivals,the slaugtherhouse, and other artisans of the area. They are members of creative associations such as the Norske Kunsthandverkerer and Norske Billedkunstnerer as well as farmer associations such as Småbrukerlaget, Bondelaget and education groups such as Utdanningsforbundet. With Norske Kunsthandverkerer they actively collaborate in artistic exchanges and exhibition projects. They also collaborate with academia in a project in Tingvall with the Norwegian Institute of Bioeconomic Research called "Amazing Grazing". It researchs sheep farming as a sustainable industry for Norway, analysing the impacts in the landscape, climate and economy of the processes involved in farming, and the long-lasting life of derivates such as wool textile.</text>
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              <text>One of the challenges is to get the wool and prepare it for selling. There are no local wool preparation plants, so she has to send the locally sourced raw material and send it to a cleaning plant. After that, the wool is send to the workshop and crafted into yarn and the other products. The combination of the farm managing and modern life is also challenging, specially in the areas where people have their holyday houses (hytte), and carry on with modern lifestyles, while the sheep need the space to graze unfenced. There are also economic challenges since the sheep farming does not generate a lot of money.</text>
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              <text>Det er jo veldig få som klarer å lage penge på å jobbe med sau i Norge nå. Så det er en stor spørsmål: hva gjør vi mellon brukerer videre? hvordan... hvor får vi maten fra? hvor får vi klærne våres fra? Hva er viktigst? Skal vi bygge ut og bygge ned oss natur eller skal vi letter etter forbinde her og levelige kår?</text>
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              <text>https://lofoten-wool.no/en https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/, https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie https://husflid.no/ https://www.utdanningsforbundet.no/ https://www.bondelaget.no/ Esther Haukeland, Innføring til plantefarging. Cappellen, 1982. Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/ Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010. Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010. Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018. Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013. Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015. Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016. Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996. Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006. https://www.norskebilledkunstnere.no/</text>
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              <text>facebook,https://www.facebook.com/lofotenwoolranch?locale=nb_NO;instagram,https://www.instagram.com/lofotenwool?igsh=MXQxcTNxZjBmZDM2Mw==;</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="8722">
                <text>iain</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="8724">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="8725">
                <text>Creative Commons Attribution-ShareAlike License</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="8723">
                <text>IMAGE</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="689" public="1" featured="1">
    <itemType itemTypeId="65">
      <name>Artisan</name>
      <description>An artisan</description>
      <elementContainer>
        <element elementId="178">
          <name>Contact</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8734">
              <text>tor-vegard@smedenisund.no</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="175">
          <name>Author</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8736">
              <text>iain</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="152">
          <name>Email</name>
          <description>The email address of the museum.</description>
          <elementTextContainer>
            <elementText elementTextId="8739">
              <text>tor-vegard@smedenisund.no</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="153">
          <name>Phone</name>
          <description>The phone number</description>
          <elementTextContainer>
            <elementText elementTextId="8740">
              <text>+47 76 09 36 29</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8744">
              <text>688</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="35">
          <name>Biographical Text</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8745">
              <text>Tor-Vegard Mørkved, art blacksmith, The Blacksmith in Sund (Smeden i Sund), with his world: "the only Cormorant-maker blacksmith in the World" (Verdens eneste skar. His emblematic artwork is a sculpture of a native seabird, cormorant (skarv). Tor-Vegard was born in 1965 and is a local and a native to Flakstad Island in Lofoten. He is the successor of Hans Gjertsen, the first Smeden i Sund, or as he was later called "Gammelsmeden"/"The Old Balcksmith". Tor-Vegard learned his crafts and knowledge regardindg the practice from Hans Gjertsen between 1987 and 1989 as a trainee. He took over the forge in 1989 from Hans and delevolped new versions of the previously created cormorants, and introduced new products. Tor-Vegard is also the head of the Sund Fishery Museum. The museum displays boat motors and life in a fishing village. The forge is a part of the museum. The practitoner is also known for his local engadgements. He created the light boat for the local church in Flakstad, a nordland type boat, forged from steel, to hold candles and lights in the chuch as remeberance. Tor-Vegrad is married and is a father to 6 children. He has been working as a backsmith for 38 years.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8746">
              <text>MN_PR_02</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="229">
          <name>Knowledge Acquisition</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8747">
              <text>Tor-Vegard learned his skills from the previous blacksmith in Sund, Hans Gjertsen as a trainee 1987-1989. Gjetrsen was the "first" Smeden i Sund, (blacksmith in Sund) and he created the emblematic cormorant design. The hand forged bird figure, that stands on a piece of stone from Lofoten became a known art piece after King Olav V., King of Norway got an example from Hans Gjertsen. The king visited Lofoten to åpen a the newly completed Lofoten road, E10 in 1963. The opening ceremonies took place Tor-Vegard took over the smithy and developed the desing to its form today.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8748">
              <text>The practitioner accepts trainees. He recently had his son as a trainee in the fogre. Hans Mørkved just got his cerification as a blacksmith, he is also practicing in the workshop, working towards to become the successor of Tor-Vegard.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8749">
              <text>Agnes Csenki</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="247">
          <name>Gender</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8750">
              <text>male</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="248">
          <name>Area Relation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8751">
              <text>native</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="249">
          <name>Area Reason</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8752">
              <text>Sundveien 118, 8384 Sund, Flakstad Municipality, Lofoten Islands, Nordland County, Norway</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="34">
          <name>Occupation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8753">
              <text>metalwork</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="250">
          <name>Involvment</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8754">
              <text>full-time paid job</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="251">
          <name>knowledge1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8755">
              <text>The practitioner must have both practical and theoretical knowledge, connected to the metals and tools, and a basic knowledge in metallurgy. Forging is a hard physical work, that requires physical strength knowledge of the properties of the material in use, and the tools one needs. Knowing the tools he is using is essential to get the right results. Good safety routines, applied to both the person working and the visitors is also very important. Planing, design, cretive material use, reasonable materila use. The practitoner also uses obersvation of nature and humans, as inspiration in his crafts.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="252">
          <name>material1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8756">
              <text>Metal, steel, brass, natural stone, harvested from the sea.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="253">
          <name>material2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8757">
              <text>He previously could buy metal locally, from local distributors (f. eks. from Ballstad), but the suppliing became more centralised. Recently he buys metal from Harstad, from a supplier. The practitiones prefers to buy his tools, machines and materials locally, if it is possible. It is important for him to support the local businesses. Since Sund is a small fishing village with low population, in a remote island, it requires planning to get all the supplies that are neccessary for the poduction.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="254">
          <name>material3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8758">
              <text>There are little leftovers, Tor-Vegard has an effective, reasonable and material-saving practice at material use. Metal is a a vesatile material and leftovers can often be used up in different projects. The practitioner has a reasonable practice in leftover management, and he keeps a limited amount of leftovers, that can be used in diferent new prodjects in a creative way. Metal can be recycled, Tor-Vegard uses the recylcling services of the closest enviromental station.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="255">
          <name>production1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8759">
              <text>Tor-Vegard works with steel and froms warm metal into shapes. He practices traditional forging in his workshop and uses hot forging by hand and hot forging by mechanical hammer. He attaches different pieces together by welding. The practitioner finishes his products by brushig and polishing. Different finishing techniques give different results. Burning oil onto the surface provides a black finish, brushing brass onto the hot surface results a golden shine. Tor-Vegard uses epoxy glue to attach the metal figures onto the stones.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="256">
          <name>production2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8760">
              <text>Tor-Vegards is using his own tools. Pliers in different sizes and forms, anvils, hammers also in different sizes and forms, mechanical hammers, coal forge with a fan, welding machine, grinders, and brushes. These equipment he knows well, and are adapted to his needs and ways to work.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="257">
          <name>production3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8761">
              <text>Tor-Vegard uses his own tools, whitch are customised and adapted for his needs. Some of the tools and machinary he inherited from the previous blacksmith, Hans Gjertsen, others he bought, or created himself. He says that he is not connected emotionally to his tools, but as a matter of course he can work best with his own tools, can rely on them and in that sense he is connected to them. He doesnt find it difficult to replace his old tools if its needed.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="258">
          <name>production4</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8762">
              <text>Tor-Vegard uses a mix of energy sources in his workshop: electricity, coal burning to warm up the metals, and gas burning also to warm up metal. Electricity is used to warm up the workshop in the winter time, to operate the fan that provides oxigen to the burning in the forge. Electricity also operates the heavy, mechanical hammers, the welding machine and other small electric tools (f.e. brushes). The coal (coke, cola, rarely charcoal) he burns in the forge to warm up the metal.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="259">
          <name>production5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8763">
              <text>During the process, a limited amount of waste generates. The waste that cannot be reused or recycled by the practitioner, are the ashes after burning coal, grinding dust and smaller metal pieces. He delivers the waste to the local enviromatal station (Mijløstasjon-Fjøsdalen) for further waste management.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="260">
          <name>workshop</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8764">
              <text>Yes, the practicioner has his own workshop, that functions both as workshop and as a "showroom" to showcase his products and practice-how the products are made. He interacts with the visotors as a host. That hybrid setup offers a great opportunity by catching the interest of the visitors, creating a multi-sensory, personal experience and a will to purchase.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="261">
          <name>products1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8765">
              <text>The practitioner produces metal sculptures, mostly inspired by nature, humans, and animals in Lofoten; sea birds such as cormorant, sea eagle, penguin. He enjoys dinamics and aerodynamica, and, dynamic human figures.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="262">
          <name>products2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8766">
              <text>Tor-Vegard produces his products for sale. He accepts special orders on products, that are slo for sale. Tor Vegard creates works occasionaly for the community, for example he forged the "lysbåt"/"light boat" for the church og Flakstad. A traditional nordlandsboat, made of steel, where the church members can lit candles and tea lights as remeberance.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="263">
          <name>products3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8767">
              <text>The items are sold in the workshop, in the Cafe, driven by Tor-Vegars family in the Museum area, and on Tor-Vegards webshop (https://smedenisund.no/nettbutikk/).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="264">
          <name>products4</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8768">
              <text>Orders, reparations, forging services</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="265">
          <name>products5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8769">
              <text>Yes, he offers repairs and connected sercices to the products he sells. Mostly locals use these services, since a huge percentage of the customers (tourists from differernt countires) live abroad, and geographical challanges occure by delivering the objects to the workshop. Services: polishing and treating rusted objects, reattaching objects to the "footstone".</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="266">
          <name>products6</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8770">
              <text>At the highest number the customers are international tourists who visit Lofoten, at a lower number of domestic tourists. Locals also buy products from the practitioner and give orders on special projects.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="267">
          <name>products7</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8771">
              <text>Tor-Vegard has his own mark, iron stemple, that is officially registered. He is using that mark on the products he creates.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="268">
          <name>tourism1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8772">
              <text>Yes, Tor-Vegard lives almost entirely off the tourism in Lofoten. He is the Blacksmith in Sund with a living and working forge/workshop, and the head of the Sund Fishery Museum. Most of the tourists come from different countires in Europe, and</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="270">
          <name>partnership</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8773">
              <text>No.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="271">
          <name>challenges1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8774">
              <text>Most of the recent challenges circle around supplies, logistics, weather conditions and road conditions, reaching the area, travelling connections. Sund in Lofoten has limited access to raw materials, the suppliers are centralised, and the practitioner needs to travel to Harstad to buy raw materials and supplies for the production. The rapidly changing weather and storms can cause, that bridges and roads close for shorter periods, also mountain avalanches can cause a stop in traffic. Travel connections stopping or getting worse could also challenge the business. Another challenge would be if, for some reason, visitors would stop arriving to Lofoten and the public who are the market for the products (tourists) would disappear.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="273">
          <name>references</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8775">
              <text>https://www.smedenisund.no/museet.html https://www.smedenisund.no/hva_skjer.html SMEDEN I SUND - SUND FISKERIMUSEUM - Smia og museets historie https://www.barnasnorge.no/aktiviteter/sund-fiskerimuseum-og-smeden-i-sund https://arkivinordland.no/fylkesleksikon/innhold/hendelser-og-historie/smeden-i-sund.37737.aspx https://www.visitnorway.com/listings/the-blacksmith-of-sund-sund-fisherymuseum-entrance/208940/ https://visitlofoten.com/aktivitet/museum/smeden-i-sund-sund-fiskerimuseum-inngang/ https://www.lofoten-info.no/sund-mus.htm https://paulsplanetblog.blogspot.com/2012/09/smeden-i-sund.html https://www.abcnyheter.no/reise/inspirasjon/2019/06/25/195588680/da-kong-olav-v-fikk-skarv https://no.tripadvisor.com/Attraction_Review-g612446-d4660290-Reviews-Smeden_i_Sund_Sund_Fiskerimuseum-Flakstadoy_Flakstad_Municipality_Lofoten_Islands.html https://eng.handverksinstituttet.no/ Bergland, Håvar: The art of traditional blackmithing The Norwegian perspective Bergland, Håvar: Norwegian knife making. Ancient tecniques and tradition https://norsksmedforening.wordpress.com/ Pehrson, Sjur Axel: Smedarbeid - vg2 og vg3, Yrkeslitteratur, 2009. Wefring, Christoffer-Gørrissen, Johan : Konstruksjons- og Verktøystål. Anvendelse og varmebehandling. Oslo, 1971 Norén, Karl-Gunnar-Enander, Lars: Nya järnsmidesboken. Nielsen Norén Förlag, 2008. Lofotposten, lørdag 25. november 1989 Lofot-Tidende, torsdag 16. november 1989 Dagen (Bergen), mandag 18. juli 2011 https://www.nb.no/items/2fc35b54f25090e229b415a0f5fab3ee?page=23&amp;amp;searchText=%22tor-vegard%20m%C3%B8rkved%22 https://nordnorge.com/en/aktiviteter/the-blacksmith-of-sund-offers-an-iron-souvenir-you-wont-be-finding-elsewhere/</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="109">
          <name>Social Media</name>
          <description>The social media links.</description>
          <elementTextContainer>
            <elementText elementTextId="8777">
              <text>facebook,https://www.facebook.com/SmedeniSund;instagram,https://www.instagram.com/smeden_i_sund/ (@smeden_i_sund);</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="8778">
              <text>https://culturality.museum/wiki/index.php/Tor-Vegard_Mørkved</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="320">
          <name>Shop</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="28725">
              <text>https://smedenisund.no/nettbutikk/</text>
            </elementText>
          </elementTextContainer>
        </element>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Tor-Vegard Mørkved</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="8728">
                <text>Artisan</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="8730">
                <text>1965</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="8733">
                <text>English,Norwegian</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="8735">
                <text>iain</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
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                <text>401</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="8743">
                <text>artisans,people</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>current,68.004948,13.207371;</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="8731">
                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
            <elementTextContainer>
              <elementText elementTextId="8732">
                <text>Norway</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Europeana Data Provider</name>
            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
            <elementTextContainer>
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                <text>Tor-Vegard Mørkved</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="97">
            <name>Object</name>
            <description>The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy.</description>
            <elementTextContainer>
              <elementText elementTextId="8741">
                <text>https://www.smedenisund.no/kontakt.html</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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      <elementContainer>
        <element elementId="110">
          <name>DescriptionEN</name>
          <description>English Description</description>
          <elementTextContainer>
            <elementText elementTextId="8783">
              <text>Interview with Tor-Vegard Mørkved</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
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              <text>It's of course not possible to knit these products without using tools. Inez tells stories of how the metal needles have changed throughout the years and these days are coated as to not colour the yarn. The needles of metal are heavier and slippery, but the ones of wood or bamboo are lighter and will not as easily slip out of the knit. The material is also the original patterns which she has inherited from her materal great grandmother.</text>
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              <text>She has a room in her house where she keeps all her artefacts in plastic boxes.</text>
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              <text>(When asked about wish to be invoved with tourism activities): Yes, really interested in this, Finn forest and well, Lekvattnet (note: a village in Finn forest), that museum here and this Finn culture. Because it's so close to my home where I was born and therefor it would be so exciting to, well, get a bit further in the tourism context./ Ja det är de verkligen inresserade utav, Finnskogs ja i Lekvatten det här museet här och ja den här Finnkulturen. För att det ligger så nära mina hemtrakter där jag är född och så därför tycker jag det skulle vara väldigt roligt å ja komma lite längre i det här turistsammanhanget. (21:16 minutes into the interview)</text>
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              <text>I believe we can make it more popular. But it's not an easy technique, one has say, the way [entrelac] is knitted / Jag tror nog vi kan få upp det lite ännu mer så att det blir populär. Men det är ingen lätt teknik det får en lov å säga innan de vet, ja, sättet hur man stickar (41:10 into the interview)</text>
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              <text>Marias vantar. En bok om näverstickning - vantar, mössor, småslöjd. Inez Assk ISBN9789186699659 Kontstrikk. Ruth Gullbekk Bolstad. ISBN9788291195353</text>
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                <text>Assk, Inez</text>
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                <text>Ulrika Jäger</text>
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              <text>interview with Carina Haglund</text>
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            <name>Title</name>
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                <text>interview with Carina Haglund</text>
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                <text>Ulrika Jäger, Kajsa Stinnerbom</text>
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          <name>Contact</name>
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              <text>iain</text>
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          <name>Email</name>
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              <text>ullting@hotmail.com</text>
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              <text>Carina Haglund felts artefacts that she sells and shows at exhibitions. She arranges workshops and courses for children and adults. She's also doing lectures about her craft. Haglund is member and participating in the event "Fårfesten" in the town of Kil, a large annual event focusing on all things related to sheep - wool, husbandry, leather and meat. Prior to the even she's been teaching all children in the town of Kil in class four (ages 10) in felting. haglund lives ruraly with her husband and she has a studio on the farm where she makes her wool craft. She's also working part time at a pre-school 30%.</text>
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              <text>Haglund attended several educations and courses. She can't remember all of them, but mentions: Marianne Andersson (Kil, Sweden), Fiona Duthie Canada (Canada), Yvonne Habbe (Gotland, Sweden). Schools: Kyrkeruds Folkhögskola (Årjäng, Sweden), Handarbetets vänner (Stockholm, Sweden).</text>
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              <text>Haglund has courses and workshops in felting on her farm currently. She's also prior been teaching felting for all children in year 4 (ages 10) in the town of Kil.</text>
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          <name>Field Worker</name>
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              <text>Ulrika Jäger, Kajsa Stinnerbom</text>
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              <text>incomer</text>
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              <text>She moved from Karlstad with her husband to try living in the countryside</text>
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          <name>Occupation</name>
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              <text>Haglund's got knowledge of how to prepare wool all the way leading up to felting. She is knowledgable of the different qualities of wool and how to practice crafts related to felting.</text>
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          <name>material1</name>
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              <text>Carded wool in natural colour and coloured. Primarily wool from Gotlandsheep, Finnsheep and Leichester sheep</text>
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              <text>Åddebo ull: addeboull.com; Filtmakeriet: filtmakeriet.se; Bibbis textil: bibbistextil.se; Korps: korps.se; IKEA: ikea.com. Second hand and inherited craft supplies</text>
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              <text>Carina saves and sorts her leftover needle felt which she then uses in other craft projects.</text>
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              <text>Wet felting by hand. Wet felting by machine (see video) when making carpets. Sewing by hand and machine.</text>
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          <name>production2</name>
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              <text>Bubbelplast, yes diskmedel, olivvål, vatten, rundstav. stänkflaska, tovträ, nål, sax, rullkniv, symaskin, maskin för tovning.</text>
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              <text>Carina's relationship to her tools is practical in nature.</text>
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          <elementTextContainer>
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              <text>Electricity supplier, air source heat pump, solar cells</text>
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          <name>production5</name>
          <description/>
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              <text>Water which is just pour out on the farm. The leftover wool is used for new projects.</text>
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              <text>Carina has her studio in the same location as the farm where she lives. They have a farm building on the site which was remade into a studio.</text>
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          <description/>
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              <text>Pillows, bags, decorations (e.g. holiday decorations), cushions, carpets, pots, lamp shades, mittens, and more.</text>
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          <name>products2</name>
          <description/>
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              <text>For everyday use in the home. The products are both made to be warming and for decorations.</text>
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              <text>She sells her products at her home, but also as a guest at the cooperatives Konsthantverkarna i Karlstad: konsthantverkarnakarlstad.se; Konsthantverkarna i Arvika: arvikakonsthantverk.se (both online and on site stores), and at events.</text>
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              <text>Courses, lecturers and workshops in felting.</text>
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              <text>She's never been asked</text>
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          <name>products6</name>
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              <text>Haglund says it's everyone</text>
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          <description/>
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              <text>Her own label with the laser engraved leather tag: "Ullting" (loosely translated to "wool stuff"). A paper tag is also fastened to the products with her name and contact info.</text>
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              <text>Vi hyr ju ut till turister men det är ju inte på det sättet men vi kanske i och med vårat skogs....mitt...vårat andra företag...företaget att...att...det blir mer naturturism.....och kombo kanske med nån tovning kanske, vem vet.</text>
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          <name>partnership</name>
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              <text>Guest member of Karlstad konsthantverkare, member of Arvika konsthantverkare, previous member of Åmåls konsthantverkare (all cooperatives), member of Fåreningen (local wool association). She's been teaching felting at the municipalities schools. Held exibitions at G:a Kraftstationen (Deje, Sweden), Karby Gård (Täby, Sweden), Galleri Borgenhad Holmqvist (Eskilstuna, Sweden) and at craft events. Is in collaboration with a crafter and friend in Stockholm, with whom she's also teaching felting.</text>
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          <name>challenges1</name>
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              <text>There's challanges with reaching out with what she's doing - with PR. She finds it's difficult to write the texts for scholarships and funding. Crafting is very often overlooked and easily "falls through the cracks", since it's not art. It's important to think ahead, since it's not profitable as of now. She would not be able to manage if she didn't have her husband. It's a struggle to have economic sustainability.</text>
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              <text>Men nu gör jag ju en kombo här i vår med att gå tillbaka och jobba lite som förskolelärare men jag har ju många projekt på gång också, så jag ska inte jobba för mycket som förskolelärare eftersom jag har som vi pratat om här preciss två stora utställningar ochj ja fårfesten som är årets grej. Men jag behöver ju också det här eld i baken så att det blir gjort.</text>
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          <name>references</name>
          <description/>
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            <elementText elementTextId="8984">
              <text>Tova- gammal teknik på nytt sätt. Gunilla Paetau Sjöberg Att välja färg- Berit Bergström Får boken- Anders Jansson, Nina Östman Felt passion- Ellen Bakker, RIchard Assman</text>
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        <element elementId="109">
          <name>Social Media</name>
          <description>The social media links.</description>
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            <elementText elementTextId="8986">
              <text>facebook,https://www.facebook.com/UllTing/;instagram,https://www.instagram.com/ullting;</text>
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          <description>A link to a wiki entry about this item.</description>
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            <elementText elementTextId="8987">
              <text>https://culturality.museum/wiki/index.php/Haglund,_Carina</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Carina Haglund</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Artisan</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <description>A language of the resource</description>
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                <text>Swedish</text>
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            <description>An entity responsible for making contributions to the resource</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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                <text>Ulrika Jäger, Sara Olsson</text>
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              <text>Therese works part-time with her own company Sirli Textil och part-time at Klässbols linneväveri (linen weaving). In her company she primarily works with different weaving techniques. She's also plant dyes and eco-print. She makes primarily everyday textile artefacts. She holds lectures, courses and exhibitions within her field. Her studio is at Gammelvala (open air folk museum) in Brunskog. Therese works with traditional weaving techniques such as tapestry and pick-up techniques such as rölakan, rya, HV-technique/woven transparency and pulled warp. Shuttled weaving techniques and traditional patterns that are of frequent use in her woven expression in rosepath, monk’s belt, dukagång and overshot weave. She has a genuine interest of sustainable practices, cultural heritage and questions regarding nature.</text>
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              <text>Henner’s paternal grandmother taught her to crochet when Henner was a child, and her mother taught her to sew when Henner was around 10-11 years old. She’s studied two year of textile and two years of textile and arts education at University of South-Eastern Norway and holds a bachelors of Arts and crafts (textile). Then she received a scholarship for further studies of weaving 2019-2020 at Ritwa Lingrot (traditional weaving) and Gunilla Brander-Smedberg (tapestry and plant dying).</text>
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              <text>Her studio is situated at (above all at summertime) well-visited open-air museum in Värmland. The association which runs the place also arranges events such as markets throughout the year, which are popular. Each summer the the week-long event “Gammelvala” is arranged (in dialect translated to old world), during which all the area is filled with activities connected to cultural heritage. Tourists visiting can see Henner’s studio during this week too, but Henner has no activities of her own connected to tourists.</text>
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              <text>Jag ställer inte ut på marknader förutom här på hembygdsgårn eller som dom marknader som vi har här och evenemangen som Gammelvala och så och då har jag ju öppen atelje med försäljning härifrån så och inget stånd nere på området och det är ju både positivt och negativt. För naturligtvis hade ju fler folk sett mig om jag hade haft en plats som var mer öppen och tillgänglig, samtidigt så är det kan det vara svårt fortfarande med konsthantverk på det sättet jämte utbudet på såna marknader och det är prismässigt naturligtvis för det blir en ganska stor skillnad. En tanke med det att jag inte vill stå därnere är ju att jag vill visa och sälja mitt hantverk liksom nära där jag också producerar eller skapar det för det ger ett mervärde till kunden och en förhoppningsvis en förståelse för tiden som är lagt på produkten. När man ser ateljen och verktygen och så.</text>
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              <text>Konsten att väva. En praktisk handbok. Av Åsa Pärson och Amica Sundström. ISBN: 9978-91-7887-085-1 Handbok i vävning. Bindningslära med konstvävnader. Av Ulla Cyrus- Zetterström. ISBN: 91-36-00445-6 A handweavers patterns book, by Marguerite Proter Davison ISBN: 9781626548428 Tapestry with pulled warp. Inspiration, Technique and the Creative Process. Av Susan Iversen. ISBN: 987-0-7643-5933</text>
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                <text>Llara Fuente Corripio, Santiago Rodríguez Pérez</text>
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              <text>Javier Ortiz del Peño was born in 1963, in the village of Beyo (Aller, Asturias, Spain). In the 2000s he moved to La Castañal, in the municipality of Bimenes (Asturias), where his wife is from and where he established his workshop. Javier is a wood craftsman but it is not his main occupation, although his profession is linked to it. He is a foundry model maker and works with wooden molds. Within the woodworking trades, he works in woodturning, cabinetmaking and carving. Woodworking is a personal vocation. He considers wood to be one of the best materials in existence. Historically, it has been used extensively in technology, tools, art and sculpture, musical instruments, means of transportation such as ships and airplanes, etc. He believes that wood craftsmanship has been fundamental in human development up to modern technology. He studied furniture restoration at a school in Oviedo (Asturias). His first contract was in the same school where he was trained, as a workshop teacher and teacher of Biology and Pathology of wood. The school closed and he continued his teaching work in another school that closed shortly after, so he joined a carpentry workshop, where he worked as a carpenter. He went back to work in a furniture restoration workshop, and from there he went to work in the industry, in a workshop of foundry molds made of wood. Since 1996 he began his activity as a wood craftsman, although he had done some work before. Today, he works with wood on a daily basis. He works with it in his professional occupation, and once the working day is over, he continues in his personal workshop making other wooden objects. He dedicates a good part of his free time to it because he considers it a pleasure and a hobby, in addition to his work.</text>
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              <text>In his work he mainly uses locally sourced wood. He uses a lot of fruit wood, especially for small pieces. For larger pieces, he opts for chestnut or walnut. He discards the use of exotic woods, as he considers that they may have some degree of toxicity. But for small pieces, he prefers to use dark woods rather than dyeing. To obtain wood, he goes to nearby forests in search of fallen trees. Occasionally, some friends offer him pieces of wood. He likes to analyse the pieces, select them, see their properties, assess the type of objects he can create with them, and think about how to work them. He collects dry pieces from nature. However, some types of wood are difficult to obtain, such as yew and holly, which are protected species and cannot be cut, and are not easy to find dried. Still, he prefers to work with wood from a fallen tree near his workshop rather than buying it. Commercial wood offers fewer possibilities, as it tends to be much more uniform, and it is also expensive. Sometimes it is not possible to know its exact origin. However, he sometimes buys some pieces at trade fairs. The materials for the finishes (varnishes, dyes, etc.) are obtained from shops in Barcelona and he buys in bulk with other artisans to reduce costs. He also goes to local fairs and shops, but he uses natural oils, so he has to go to very specific shops. He does not use synthetic resins.</text>
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              <text>The leftover wood scraps, if they are of a certain size, he uses them for the chimney and the heating of his house. He also reuses wood to make other things. Some of his colleagues use the shavings to make pellets and briquettes for domestic heating.</text>
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              <text>In the preliminary preparation of the pieces for the lathe, he uses the chainsaw, the axe and the electric planer to produce small square blocks. The compass is another important tool, as it is used for measuring and marking, and he also has specific, larger compasses for the interior of the bowls. He uses a continuous electric wood lathe to make the pieces, which incorporates a series of gripping plates to hold them. He uses different types of gouges to work the wood. There are specific gouges for hollowing out the inside of the bowls, with different angles of sharpening. He also uses texturisers to make decorations on the surface of the wood, or sandpaper for finishing.</text>
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              <text>In Javier's case, his tools have not been inherited from his ancestors. Over the years, he has been buying new and second-hand tools. He has an interesting collection of old woodworking tools acquired in flea markets and antique shops, as he appreciates the work of old carpentry craftsmen. Some of them have been repaired and he uses them in his work. The tools are stored in his workshop, organised according to their use. The gouges require a great deal of maintenance and sharpening, and each of them has a specific use in the creative process. It would be possible to modernise many aspects of his work, but he still works with many traditional tools. One of his favourite tools is the oblique chisels, because they allow a surface finish on the wooden pieces comparable to the best sanding, despite the limitations.</text>
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              <text>The main source of energy in the workshop is electricity, which is used in some machines and for lighting. It comes from the general grid connection, it has no renewable energy sources for self-consumption, although it would like to incorporate them in the future. The heating comes from the consumption of firewood.</text>
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              <text>The craftsman has a small workshop, located on the ground floor of his house. It has a large window facing south, making it a bright space. In the centre are the large tools such as the wood lathe or the stationary planer, as well as the carpenter's bench. On the walls, the tools are stored on shelves and panels. In the workshop, he keeps part of his handicraft production. He also stores here the wood he uses as raw material. He built the workshop about 7 years ago. Before that he worked in a warehouse in the city where he has his job. It had always been his dream to have his own handicraft workshop.</text>
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              <text>Basically, most of his production is wooden bowls, which is what he sells. But he can make many other things with the wood lathe, which are not necessarily traditional, such as toys, instruments, small sculptures, etc. He also makes experimental pieces to explore the possibilities of a material, pushing the limits of the material and the technique.</text>
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              <text>He produces pieces for himself or as gifts for friends, and sells others. But he does not have enough production to have regular sales and be able to make a living from his artisan work. He understands that his production is not of basic items and he finds it difficult to make a living from it. He prefers to keep his main job, which is more stable and secure, as sales of handicrafts are very variable.</text>
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              <text>He usually sells his pieces at local markets, such as the Mercáu Tradicional La Puente Arriba in Grátila (Nava, Asturias). If someone contacts him, he also sells him a piece.</text>
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              <text>Although he does not hold workshops to teach his craft to others, he does give demonstrations of his work. The association to which he belongs (Les Forgaxes) often gives public demonstrations of woodturning, carpentry and carving at events and fairs, to bring the world of woodworking closer to the people. These meetings are open to the general public, and allow them to share experiences and knowledge with other craftsmen and enthusiasts.</text>
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              <text>It depends on the type of pieces offered. For example, young people rarely buy items such as bowls, which they see no use for. They may buy some items as gifts. Other objects, such as toys or small musical instruments, are usually gifts from parents to children. There is not a very marked customer profile, nor by origin, he sells objects to local people and tourists.</text>
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              <text>No, nor does it have its own brand or logo. He would like his work to be recognised with a quality label. However, as he is not self-employed, he is not officially recognised as a craftsman in the government register, so he cannot have a label as a craftsman of Asturias. There are many others in his situation, who combine craftsmanship with a main activity.</text>
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              <text>He is part of an association of wood craftsmen called the Asociación de amigos de la madera ‘Les Forgaxes’. They hold an annual meeting of wood craftsmen. Here, public demonstrations are held, and leading national and international craftsmen are invited to hold workshops. They are spaces where knowledge is shared. They also talk to other artisans, with whom they share knowledge.</text>
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              <text>He considers that crafts are little publicised and have low visibility in society. There is no public support. In the case of his association, they receive a very small subsidy for annual events and everything is based on their altruistic work. On the other hand, there are many artisans who do very interesting work, but have to combine it with salaried work in other sectors. This prevents them from gaining recognition as artisans and a quality label, which is restricted to self-employed artisans who make a living from their production.</text>
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              <text>"todo el trabajo que hacemos nosotros, en el caso de la madera, no cubre [los costes de los eventos]" "conozco a muchas personas que hacen cosas de artesanía […], pero como artesanos no existen, la exigencia es que tienen que estar dados de alta, pero hay mucha gente que hace"</text>
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              <text>instagram,https://www.instagram.com/picutorneru/;</text>
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                <text>Ortiz del Peño, Javier</text>
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              <text>Jet is the most well-known and widespread gemstone found in Asturias. The area of Villaviciosa and Gijón is the epicenter of both its extraction and its transformation into jewelry pieces.The layers of jet are located in the highest sections of the Upper Jurassic, from the Kimmeridgian age, consisting of alternating sandstones, marls, and dark silty clays. It originated from woody trunks that were carried and deposited between the sandstones of the well-known Lastres Formation, although it is also found in the so-called La Ñora and Vega formations, in a transitional sedimentary environment.There are precedents for the recognition of the existence and quality of Asturias' jet in foreign scientific publications as early as the 19th century.</text>
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                <text>The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry</text>
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                <text>Cultura del azabache</text>
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Scanner Report.
Component 1

Model Data
Poly Report
1.

High Poly Triangle count

2005814

2.

Low Poly Triangle count

4990

Fig. 1 – HP Model and LP Model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Component 2

Model Data
Poly Report
3.

High Poly Triangle count

2377236

4.

Low Poly Triangle count

5000

Fig. 2 – HP Model and LP Model

Component 3

Model Data
Poly Report
5.

High Poly Triangle count

1046038

6.

Low Poly Triangle count

4998

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�E

Fig. 3 – HP Model and LP Model

Component 4

Model Data
Poly Report
7.

High Poly Triangle count

742820

8.

Low Poly Triangle count

14862

Fig. 4 – HP Model and LP Model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Component 5

Model Data
Poly Report
9.

High Poly Triangle count

407564

10. Low Poly Triangle count

14986

Fig. 5 – HP Model and LP Model

Component 6

Model Data
Poly Report
11. High Poly Triangle count

461174

12. Low Poly Triangle count

5000

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�E

Fig. 6 – HP Model and LP Model

Component 7

Model Data
Poly Report
13. High Poly Triangle count

223616

14. Low Poly Triangle count

4990

Fig. 7 – HP Model and LP Model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Metalness

Fig. 8 – Before texturing with SP

Fig. 9 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 1

Fig. 10 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

PBR Textures Component 2

Fig. 11– AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 3

Fig. 12 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

PBR Textures Component 4

Fig. 13 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 5

Fig. 14 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

PBR Textures Component 6

Fig. 15 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 7

Fig. 16 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Model Reconstruction

Fig. 17 – Hypothesis

Fig. 18– Restoration

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Rendering

Fig. 19 – Rendered image of the final model

Fig. 20– Rendered image of the restored model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 21– Process of Restoration

Fig. 22– Render of the Restored Model in a Context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cauldron
Site

Timespan Museum

Origin

Strath of Kildonan

Creator

-

Technique

Casting

Material

Cast Iron

Date

Pre-Clearances Period

Purpose of

Fishing

Production
Size

25x39x24

Description
The broken pieces of a corroded cast cauldron were found in 2013 during an excavation of a preClearances longhouse in the Caen River Valley, in the Strath of Kidonan. The presence of tripod feet and
looped swing handles suggests it was used over an open fire. It typically took the form of a witch's
cauldron. A fragment was retrieved from within the wall next to the house entrance and possibly signifies
a Highland tradition where iron was inserted into the house apertures, including doorways, fireplaces,
and window sills, to prevent evil spirits from entering the home.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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Scanner Report.
Component 1

Model Data
Poly Report
1.

High Poly Triangle count

2005814

2.

Low Poly Triangle count

4990

Fig. 1 – HP Model and LP Model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Component 2

Model Data
Poly Report
3.

High Poly Triangle count

2377236

4.

Low Poly Triangle count

5000

Fig. 2 – HP Model and LP Model

Component 3

Model Data
Poly Report
5.

High Poly Triangle count

1046038

6.

Low Poly Triangle count

4998

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�E

Fig. 3 – HP Model and LP Model

Component 4

Model Data
Poly Report
7.

High Poly Triangle count

742820

8.

Low Poly Triangle count

14862

Fig. 4 – HP Model and LP Model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Component 5

Model Data
Poly Report
9.

High Poly Triangle count

407564

10. Low Poly Triangle count

14986

Fig. 5 – HP Model and LP Model

Component 6

Model Data
Poly Report
11. High Poly Triangle count

461174

12. Low Poly Triangle count

5000

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�E

Fig. 6 – HP Model and LP Model

Component 7

Model Data
Poly Report
13. High Poly Triangle count

223616

14. Low Poly Triangle count

4990

Fig. 7 – HP Model and LP Model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Texturing Report.
Roughness and Metalness

Fig. 8 – Before texturing with SP

Fig. 9 – After texturing with SP

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 1

Fig. 10 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

PBR Textures Component 2

Fig. 11– AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 3

Fig. 12 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

PBR Textures Component 4

Fig. 13 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 5

Fig. 14 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

PBR Textures Component 6

Fig. 15 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�PBR Textures Component 7

Fig. 16 – AO, Diffuse, Normal (top), Metallic and Roughness (bottom)

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Blender Report.
Model Reconstruction

Fig. 17 – Hypothesis

Fig. 18– Restoration

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Rendering

Fig. 19 – Rendered image of the final model

Fig. 20– Rendered image of the restored model

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Fig. 21– Process of Restoration

Fig. 22– Render of the Restored Model in a Context

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

�Data Sheet.
Data

Cauldron
Site

Timespan Museum

Origin

Strath of Kildonan

Creator

-

Technique

Casting

Material

Cast Iron

Date

Pre-Clearances Period

Purpose of

Fishing

Production
Size

25x39x24

Description
The broken pieces of a corroded cast cauldron were found in 2013 during an excavation of a preClearances longhouse in the Caen River Valley, in the Strath of Kidonan. The presence of tripod feet and
looped swing handles suggests it was used over an open fire. It typically took the form of a witch's
cauldron. A fragment was retrieved from within the wall next to the house entrance and possibly signifies
a Highland tradition where iron was inserted into the house apertures, including doorways, fireplaces,
and window sills, to prevent evil spirits from entering the home.

CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under
Grant Agreement No. 101132628

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