Fur

Ownership of wild animal furs in Renaissance Italy was a sign of wealth and elevated status. Contrary to modern expectations of conspicuous display, these valuable skins were used as linings for clothing, that is, with the fur on the inside, in contact with the body. Wearing fur on the outside of the garment raised a series of moral issues concerned with the animal basis of fur and its wearer’s relationship to the animal world. For a society that portrayed creatures at the mercy of the basest carnal instincts, such as satyrs, wild men, and the devil, with their bodies covered in hair, the sight of a man wearing fur on his exterior would have triggered analogous mental images. This paper will investigate the complex meanings attributed to fur: its status as a luxury good as well as the visual and symbolic associations to eroticism that inhibited its open display.

explores the implications of the domestic cat's skin hanging from the  back-basket carried by Bosch's (Rotterdam) "Pedlar" and the practice of skinning domestic cats for their -- low-grade -- fur in late medieval Europe, including the onomastic evidence

A final version of this text was published in the Skin Special Issue (editor: Caryn Simonson) of Textile: the Journal of Cloth and Culture 6:3, Autumn 2008, pp.300‐314.An earlier, shorter version of the paper was published in selvedge magazine (2005), and a paper based on it was presented at the 11th International foundation of Fashion and Technology Institutes (IFFTI) conference,London College of Fashion, April 2009. This essay has been developed as a chapter for Catherine Harper’s second solo-authored book, Fabrics of Design (in progress, Bloomsbury: 2014). Catherine Harper was a founder member of the Animal Rights Movement of Northern Ireland in 1983.

Fur is the ultimate “fabric of desire.“ Humans covet the gorgeousness of the stuff on the backs of the wild and the caged, and from that desire to those enacted in the orgasmic moment of death, the climactic moment of consumption, the ecstatic moment of the performic enactment of fur through wearing it, fur is synonymous with desire. In this article, the author examines fur as both a fetish-fabric that disavows its bodily origin, a material fabric tied to seduction, sensuality, and somatic sensation, and a sadist-fabric that cannot be decoupled from the pornographic “snuff“ violence of its manufacture.

Ownership of wild animal furs in Renaissance Italy was a sign of prosperity and social status. In addition to the explicit aspect of wealth, owning wild animal furs also meant that the wearer came from good lineage and could dress as befitting a noble station thanks to the exemption from the restrictions imposed by sumptuary laws. Contrary to modern expectations of conspicuous display these valuable skins were used as linings for clothing with the fur in contact with the body. Wearing fur on the outside of the garment raised a series of moral issues concerned with the animal origin of fur and the wearer's relationship to the animal world. Renaissance eroticism was mainly associated with the baser, sensual faculties and sexual appetites, that is, animal behaviour. Because it was linked to the emotions, it had the power to disturb the mind and the soul, and to disrupt order by posing a threat to a rational, civilized community. For that reason, the suspicions surrounding animal skins have to be taken into account when considering the rage for using valuable pelts in Europe. This paper will delve into the complex meanings attributed to fur: its status as a luxury good as well as the visual and symbolic associations to eroticism that inhibited its open display.

Sokolov I.A. “Will not disappoint – not to sell”: falsification and fraud in Russian-Chinese tea trade 18-early 19 century // Coffee & Tea in Russia: business magazine, no. 6 (109) for 2013. – PP. 42 – 45.
Соколов И.А. «Не обманешь – не продашь»: фальсификация и мошенничество в русско-китайской чайной торговле 18 – начала 19 века // Кофе & Чай в России: деловой журнал, №6 (109) за 2013 г. – С. 42 – 45.

I. Einleitung und Aufgabestellung LORENZ ordnete 1935 in seiner Arbeit,, Der Kumpan in der Umwelt des Vogels" eine groi3e Anzahl von Einzelbeobachtungen unter dem Gesichtspunkt der phylogenetischen Anpassung und entwickelte dabei sein Konzept yon der Wechselbeziehung zwischen,, Ausloser" und,, Angeborenem ausliisendem Schema". Durch diese Gedankengange wurde nicht nur die Entstehung bisher unerklarbarer Diff erenzierungen von Organen und Verhaltensweisen verstandlich, sie regten auch zu ...

We advocate the use of point sets to represent shapes. We provide a definition of a smooth manifold surface from a set of points close to the original surface. The definition is based on local maps from differential geometry, which are approximated by the method of moving least squares (MLS). The computation of points on the surface is local, which results in an out-of-core technique that can handle any point set. We show that the approximation error is bounded and present tools to increase or decrease the density of the points, thus allowing an adjustment of the spacing among the points to control the error. To display the point set surface, we introduce a novel point rendering technique. The idea is to evaluate the local maps according to the image resolution. This results in high quality shading effects and smooth silhouettes at interactive frame rates.

This paper examines the value of design in business seen through the example of the Danish company Kopenhagen Fur. Design School Kolding (DK) has during 2014 and 2015 conducted a design research project and study with focus on sustainability as a key parameter in the company's future use of design on different levels. In order to propose a new frame for understanding the company's value creation we draw upon Heskett's models (2003) and his explanation of the relationship between economic theories and design (2008). To explain the relationship between design and sustainability we further elaborate towards theories connected to the transformation economy (Gardien 2014) and explain how Kopenhagen Fur's potential for including design and sustainability throughout their entire value chain aligns with the present understanding in the fashion and textile industry.

This paper examines the value of design in business seen through the example of the Danish company Kopenhagen Fur. Design School Kolding (DK) has during 2014 and 2015 conducted a design research project and study with focus on sustainability as a key parameter in the company's future use of design on different levels. In order to propose a new frame for understanding the company's value creation we draw upon Heskett's models (2003) and his explanation of the relationship between economic theories and design (2008). To explain the relationship between design and sustainability we further elaborate towards theories connected to the transformation economy (Gardien 2014) and explain how Kopenhagen Fur's potential for including design and sustainability throughout their entire value chain aligns with the present understanding in the fashion and textile industry.

... belonged' (Turner to Truchot, 28 April 1950). ... Malcolm Osman, Julia Nicholson, Birgitte Speake and other staff at the Pitt Rivers Museum have also facilitated my research on the 'S BLACK' bag, Page 13. 300 Laura Peers as has my partner Drew Davey. ...

The use of body-gripping traps and snares for commercial and recreational trapping is banned on public lands in California, Colorado, Massachusetts, and Arizona, but most states still allow trapping for profit and pleasure, including Montana (Reed, “Trapping”).  Montana’s Furbearer Trapping Program (MFTP), administered by the Montana Department of Fish Wildlife and Parks (MDFWP), offers an apt example of U.S. trapping regulations and methods—and of the problems and moral issues that arise wherever trapping is legal.

A commercially available mercury (Hg) analyzer based on sample combustion, gold amalgamation, and atomic absorption spectrometry (AAS) was evaluated for the direct determination of Hg in composites of human hair and individual samples of horse fur. Results for human hair reference material (NIES No. 13) were within the certified range. Analyses of "blind" samples from an international interlaboratory (n>16) comparison study produced results within 1S.D. of the consensus means. Precision (%R.S.D.) was found to be <5% and total analyses time per sample was <10min. This study demonstrated that analyzers based on combustion-AAS are suitable for wide-scale monitoring of Hg in human hair and animal fur.

A convenient, high yield “dry” method of synthesis of monomeric N-methyleneanilines (6a—i) and the characterization of the products by m.s., 1H- and 13C-n.m.r. and i.r. are reported, improving previous procedures and describing new compounds. It appeared that the existence of monomeric N-methyleneanilines is strictly related to the presence of enough steric hindrance to oligomerization by substituents in ortho positions. Moreover, some addition products of formaldehyde to an amine and its corresponding imines are tentatively identified on the basis of the observed mass spectrum of the whole reaction mixture.The reaction products of formaldehyde with 2,6-dimethylaniline (1a) provided an example of a mobile equilibrium between monomeric and trimeric imine.