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    <title>The radical reasons why you dream of making things by hand | Aeon Essays</title>
    <dc:date>2026-07-06T10:56:02+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Is all the beekeeping, baking and leatherwork just escapist fantasy or the start of a radically human approach to work?"
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    <title>Around North America, Community Members Are Stitching Nearly 11,000 Birds — Colossal</title>
    <dc:date>2026-05-22T10:32:16+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/05/holly-greenberg-bird-collisions-in-the-anthropocene-community-art/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every year, there are two major migration events. Birds, insects, fish, and other mammals head north in the spring to nest and breed and return south in the winter to feed and raise their young. Using BirdCast, a tool that’s active seasonally and allows anyone to see bird migration “heat maps” around the U.S., ornithologists tracked a record-breaking one billion birds migrating on a single October night in 2023 (last year, that number reached 1.2 billion). But on the night spanning October 4 to 5, something else really big happened: nearly 1,000 birds died in Chicago after hitting a single building.

McCormick Place Lakeside Center is situated along the Lake Michigan shoreline, set apart from many other buildings in a park-like space, and it has roughly enough windows to cover two football fields. As birds cruise along the shore, flitting over greenery, they sometimes mistake the reflections of nature in glass for the real thing. On the morning of October 5, hundreds of birds fell victim to architecture.

[image: "a hand holds a handmade fabric bird that has been tagged with the species name it's modeled after"]

When artist and educator Holly Greenberg heard this news, she was stunned. No stranger to nature and long interested in sustainability and the environment, she was nevertheless totally unaware of the scale of bird collisions in the U.S. During a day out in a Chicagoland arboretum, during a sabbatical from her role as assistant professor at Syracuse University, she worked with a group to remove invasive buckthorn and make room for native trees. A fellow volunteer rued the sad irony of planting new bird habitat when the feathered creatures try to fly into their reflections in glass instead.

“That was the first time that I’d heard that these birds were crashing into windows in Chicago,” Greenberg says. When she later read about the mass collision at McCormick Place, she thought, “Oh man, something needs to be done.” That’s when the multi-year project Bird Collisions in the Anthropocene was born.

Greenberg launched the initiative in 2024 to not only raise awareness of the problem but also to educate people about preventing incidents. Using data from the Chicago Field Museum and with the help of its lead ornithologist Dave Willard, Greenberg landed on a specific number: 10,863. That’s how many were found dead after hitting Chicago buildings in 2023 alone.

It’s estimated that around one billion birds die in window collisions annually throughout North America. One of the organizations working to collect this data and—just as importantly—to protect, rescue, and advocate for avians is the Chicago Bird Collision Monitors (CBCM) program. Every morning, volunteers walk the streets of the city to count and collect fallen individuals, taking them to wildlife sanctuaries for treatment or rehabilitation where possible. Most, however, don’t survive the impact.

[images: "a museum storage drawer at the Field Museum in Chicago with dozens of birds that have been collected after dying from window collisions" / "Bird specimens at the Field Museum"]

Paul Groleau, president of a company called Feather Friendly that makes bird-safe window treatments, suggests that many more die from window impacts than we realize. Greenberg hears people at her workshops say things like, “I heard a bird hit my window, but it flew off, so it’s fine.” Groleau, however, posits that about 60 percent of birds that are stunned do not survive. Their skulls are paper-thin, and if they don’t hemorrhage, they may sit under some shrubbery as they try to recover, which makes them more vulnerable as prey.

When the CBCM volunteers find dead specimens, they take them to the Field Museum, where the bodies become part of an archive Willard has overseen for decades. Many are preserved in the museum collection, each tagged and identified. At the very least, they are added to a carefully tended data set, which lists thousands upon thousands specifically killed by impacting windows at speed.

10,863 is the number Willard had recorded in 2023. Of course, the actual number of birds that collided with windows that year is exponentially higher, but the figure reflects the number that Willard and the CBCM volunteers found. And it’s the exact number that Greenberg is getting thousands of people to help recreate from fabric and glue. At the same time, she’s sharing knowledge about collisions with others through craft, science, advocacy, and social practice.

Starting with a small grant and a group of interns at Syracuse University, Bird Collisions in the Anthropocene began with the list of avians from the Field Museum, some basic crafting supplies, and photographs of individual birds so that makers could replicate the actual species. Eventually, Greenberg relocated to Evanston, Illinois, a suburb of Chicago, and opened a studio where she hosts workshops and processes birds that are sent in from all over North America.

[image: "people work around a table making birds from fabric and glue"]

Workshops are facilitated across the U.S. and Canada, and so far, a total of more than 140 have been held. Materials can be downloaded from the website, and anyone can host a workshop. Popular locations include public libraries and schools. Cornell Lab of Ornithology, which is behind the BirdCast tool, has even launched a pilot program to send hundreds of sew-a-bird kits to biology teachers in New York State in order to complete a core education requirement.

The hands-on, participatory, and very communal aspect of the bird workshops is fundamental to the project’s success. Greenberg opens her studio to the public on the first Saturday of every month as part of the Evanston Made program, and private gatherings can be organized, too. “People get into the flow, no one is touching their phone, and everyone is super concentrated,” Greenberg says. “They’re working with awkward materials, and it’s a mess, but it’s a good creative mindset.”

Studies have shown that hands-on or experiential learning is linked to greater knowledge retention, attentiveness, experimentation, and more. As people create their house sparrows, dark-eyed juncos, golden-crowned kinglets, and many more—and one’s level of technical skill is no matter—a sense of camaraderie builds around a common pursuit. Greenberg then provides resources about how to help prevent bird collisions, such as information about remediation technologies.

Businesses like Feather Friendly make products that can be applied directly to any window, most commonly in the form of small vinyl dots. It also offers Bird Divert, which uses clear dots that are actually hard for us to see, but due to the way birds’ vision works, the application helps them to differentiate between architecture and nature. Fritted glass is another method, which involves ceramic details baked right onto the surface of the glass.

[image: "artist Taro Takizawa stands on a ladder in front of his window painting on the top of artist Holly Greenberg's studio in Evanston, Illinois" / "Artist Taro Takizawa in front of the ‘Bird Collisions in the Anthropocene’ studio in Evanston"

Greenberg sees the artistic potential in the remedial window coverings, and she has previously invited artist Taro Takizawa to apply beautiful organic lines made of hand-cut vinyl on the top windows of her Evanston studio. For a forthcoming social project this summer, Greenberg plans to install different types of remediation dots on the large storefront windows of the space, plus an installation by artist Alice Hargrave, who creates abstract works using the sound waves of bird calls.

While the official number of finished birds is currently at 3,451, Greenberg estimates there are at least 1,000 more awaiting tagging and entry into the project’s handwritten ledger, which is reminiscent of museum catalogues before computerized records came into widespread use. With the help of a team of interns, she labels each bird individually with its species name, its artist, and where it “flew” in from. And installation opportunities abound.

Eventually, the birds will create one giant “carpet” to illustrate not only the poignant and urgent reality of bird collision deaths, but the power of collective action. In the meantime, groups of the fabric critters go on view occasionally in other exhibitions. One of these is Chicago Architecture Center’s forthcoming show, Flyway City, which “aims to catalyze positive change on making cities safer and more welcoming for birds and diverse wildlife” by focusing on how architecture can help to protect avians from the get-go.

The exhibition is organized by Studio Gang, whose lead architect, Jeanne Gang, has also encouraged the city of Chicago to enact building codes that are more bird-friendly. While Evanston has an ordinance that requires bird-friendly building design, Chicago does not yet, although it’s been on the table many times. Greenberg hopes that continued advocacy and information-sharing empowers others to speak up, too, so that these types of changes will be seen in more communities all over North America.

Flyway City runs from June 11 to January 3, 2027, in Chicago. Keep updated about workshops and other ways to get involved by following Greenberg’s Instagram.

[additional photos]"]]></description>
<dc:subject>birds sewing art 2026 studiogange jeannegang architecture multimedia morethanhuman nature wildlife mmigration animals insects fish mammals birdcast hollygreenberg paulgroleau windows cbcm tarotakizawa human-animalrelations human-animalrelationships birddivert</dc:subject>
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    <title>how one company broke sewing for EVERYONE - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["0:00 Meet Joann
03:12 Chapter 1: How Sewing Evolved
16:27 Chapter 2: How Joann Rose
28:51 Chapter 3: Material Literacy
35:28 Chapter 4: Playing Dress-Up 
43:08 Chapter 5: The Real Villain
57:04 Chapter 6: How Joann Fell
1:22:29 Chapter 7: What’s Left Behind
1:45:56 Chapter 8: The Next Chapter"]]></description>
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    <title>The Surprising Genius of Sewing Machines - YouTube</title>
    <dc:date>2026-01-02T01:27:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=RQYuyHNLPTQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do sewing machines actually work? Get your first month of KiwiCo FREE at https://www.kiwico.com/veritasium

If you’re looking for a molecular modeling kit, head to https://ve42.co/SnatomsV to try Snatoms – a kit I invented where the atoms snap together magnetically.

▀▀▀
A huge thanks to Prof. Andy Ruina for suggesting this video topic, guiding us in the research, and giving deeply insightful notes.

Massive thanks to Noah Johnson and Tina Vines for teaching Derek how to chain-stitch, and letting us shoot with your embroidery machine! Please check out   / stitchrite   and   / tina_vines   if you're interested in seeing more of their gorgeous chain stitch embroidery. 

Thanks to Denny Stanley and the whole crew at Las Vegas Props for building the large replica model of the sewing machine. https://www.vegasprops.net

▀▀▀
References:
Parton, J. (1870). History of the Sewing-machine. Howe Machine Company, No. 38, N. Charles St.. -- https://ve42.co/Patron1870

Gregory, J. M. (2006). A History of the Sewing Machine to 1880. Transactions of the Newcomen Society, 76(1), 127-144. -- https://ve42.co/Gregory2006

How America Spends Money: 100 Years In the Life of the Family Budget, The Atlantic -- https://ve42.co/Budget1

Buckman, J. (2016). Unraveling the Threads: The Life, Death and Resurrection of the Singer Sewing Machine Company, America’s First Multi-National Corporation. Dog Ear Publishing.

Lewton, F. L. (1930). The servant in the house: a brief history of the sewing machine (Vol. 3056). US Government Printing Office. -- https://ve42.co/Lewton1930 "]]></description>
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    <title>La historia del costurero que vende banderas hechas a mano en la feria de Bajos de Mena - YouTube</title>
    <dc:date>2025-09-18T19:14:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IgXDaOFKn_4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En la feria de Bajos de Mena, uno de los barrios más estigmatizados de Chile, Carlos Cordero vende las banderas que cose en su casa desde hace años. Lee su historia en nuestro sitio web."]]></description>
<dc:subject>chile flags sewing 2025</dc:subject>
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<item rdf:about="https://www.bestmadeco.com/">
    <title>Best Made Co. – Best Made Company</title>
    <dc:date>2025-08-22T20:45:07+00:00</dc:date>
    <link>https://www.bestmadeco.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["OUR PHILOSOPHY

Deep satisfaction can come from making a quality product: honing your craft, obsessing over every detail, and transforming a raw material into a functional, beautiful object. 

Likewise, satisfaction can come from using a quality product: cutting with a well-balanced knife, writing in your favorite notebook, or wearing a jacket that fits just right. These objects make you feel better – you just look forward to using them. And as you use them, you become familiar with how they work, you learn about their materials and how to repair and maintain them. Over time, you make these objects your own.

Making, buying, using, and owning quality products should uplift everyone at every stage of a product’s life. In the disposable age of planned obsolescence, prioritizing quality is a responsible and optimistic path forward.

WHO WE ARE

Since 2009, we’ve made quality apparel and tools – products integral to work  and adventure. We source the highest quality materials and partner with some of the finest makers to create fewer products, better.

We have always been obsessed with quality. But quality is elusive, so much depends on the beholder. Through our eye, and for a product to be branded “Best Made”, it has to check a few boxes:

1. Utility: a product should function and serve a valuable purpose (big or small).

2. Durability: a product should stand the test of time; it should be both physically durable, and emotionally durable (i.e., desirable). 

3. Relevance: a product should meet real world needs in a meaningful way.

4. Responsibility: a product should benefit the people who make it and their communities, and have as little impact on the environment as possible.

5. Wonder: a product should have intangible qualities that defy expectations.

There is no formula here. So often it just boils down to holding one of our axes, or wearing one of our jackets– at which point you’ll know what we mean by “Best”.

WHERE WE COME FROM

I grew up on a small farm in Canada. I spent my early career as a designer living in New York City. In 2009, I founded Best Made. Our first product was an axe: an evocative artifact of my past, the oldest tool known to humankind, the paragon of utility.

With the axe as our perch, we went on to develop many products, including first-aid kits, hand-spliced ditty bags, a bomb-proof waxed jacket, cloth extension cords, and a base layer made in the USA from American wool.

Like clockwork, every Wednesday at noon we’d send an email announcing our latest new product. Who knew what would be released next week? Sometimes I didn’t even know. This was the early days of e-commerce. Back then our business model was in service to this wonderfully eclectic assortment, united by our obsession with quality. 

Soon enough we opened stores in New York City and Los Angeles, and we were sending our catalog the world over. Our product assortment and our business model got bigger and more refined, and I got more ambitious. I brought in investors, and together we set our sights to be the next great American outfitter. And so, we grew – and eventually our business grew apart from what once made us so special. 

I couldn’t reconcile what we’d become, and I made the tough decision to leave. Soon after the company was disbanded and sold. I went on to write a book, which felt like my farewell ode to the axe, and to Best Made. I moved to the country and built a new workshop. I taught myself to sew and slowly but surely, I reconnected with craft and working with my hands.

And then, in July 2023, I received a phone call.

The call was an offer to buy Best Made back. I was intrigued, but as reality set in, I panicked: how could I start all over? How could I do this without my team? It would never be the same again. It would never be the same again indeed. And that’s exactly why it was worth doing. Times have changed, but the values my team and I worked so hard to instill — this quality-driven mission — is more relevant than ever. 

In October 2023, I got my company back. Soon after, I put out a call to my old team, and we met at Tom & Jerry’s, my favorite bar in New York City. Together we raised a few glasses to Best Made. And then it was time to get back to work.

– Peter Buchanan-Smith, Founder

WHERE WE'RE GOING

As we rebuild, we’re doing so from the ground up. The joy, the reward, and the meaning of our work are more wrapped up in the process of making, and less in the outcomes. Rebuilding Best Made is itself a process of making, and that will take some time. 

In many ways, we’re a brand-new company, and in many ways, we’re not. We get to be both at once. We have fifteen years under our belts, but we plan to take Best Made to places we’ve never been before. As we forge ahead, we do so with certain goals:

1. Our Product. We’re relaunching with an axe, but there is a steady stream of new products on their way, including classic Best Made favorites, iterations and improvements on past products, and brand-new developments. There will be more emphasis on apparel, particularly outerwear and workwear, as well as on the materials that go into making our apparel. We hope to expand into new product categories. 

The Best Made constellation of products will be united not just by quality, but also by environmental and ethical standards. We’re more committed than ever to sourcing locally grown materials and/or materials manufactured in the USA. This gives us close access to our product’s development and the labor conditions under which they’re made. We also work locally because we believe that the act of making quality products uplifts communities close to home.

We take pride in our materials and manufacturing partnerships – the most critical components of our success. As we grow, we’re committed to the implementation of accountability protocols and certifications. We will find every opportunity we can to optimize our supply chain, lower our waste, and minimize our carbon footprint. We also plan to offer our customers an internal resource for the repair, restoration and maintenance of their purchases.

2. Our community. Best Made has always been grounded in human experiences. Our first product – the axe – was designed to inspire our customers to spend more time around the campfire. Our products are designed to be used, maintained, and repaired by human hands. Likewise, our products are made by human hands. Going forward we will build community around craft, and through the use, knowledge, and making of our products. Our future hinges on dialogue with our customers, and we’re excited to pick back up with them: the makers, adventurers, tinkerers, and curiosity seekers. We’ll forge this new chapter together. 

3. Our channels. We are committed to a holistic and deliberate approach to retail, and this includes the introduction of our short– and long-supply assortment strategy. A notebook or a pair of socks can be manufactured on a larger scale. A hand-forged axe – not so easy. By offering our products in short-supply, in limited editions, or on a prerelease basis, we minimize waste, we virtually eliminate the burden of unwanted inventory, and we uphold quality. 

Our products are designed to last. They are meant to be used – not upgraded or replaced every other year. By organizing and publishing our past products in our online product Archive, we hope to empower our customers with information about what they own – where the product came from, the materials used to make it, and how to care for that belonging – and in doing so we extend our product’s life even further. 

We have plans for a robust repair program, and we hope to bring our famous workshop and restoration series back. We want Best Made to be experienced in a more tactile form, and that will also include print publications, and eventually a return to brick-and-mortar stores.

4. Our company: The quality of our products and our customers' experience will always be our main priorities: both come before the scale of our company or the pace at which we grow. We are independently owned and operated. We are committed to slow and deliberate growth that does not jeopardize our philosophy or our goals. 

Best Made has been given an unparalleled opportunity to grow from our mistakes and forge ahead in new, unchartered directions. We’re just getting started. We’re in this fertile process of starting over, and that process could last months, even years – hopefully a lifetime."]]></description>
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[archived:
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    <dc:date>2023-11-16T05:20:59+00:00</dc:date>
    <link>https://syllabusproject.org/again-again/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>rachelmeadesmith reuse recycling unproduct nonproduct consumption consumerism textiles clothing sewing glvo quilts quilting mending repair images text language poetry collecting collections</dc:subject>
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<item rdf:about="https://futuress.org/magazine/my-grandma-is-not-a-cyborg/">
    <title>My Grandma is Not a Cyborg</title>
    <dc:date>2022-05-14T22:06:31+00:00</dc:date>
    <link>https://futuress.org/magazine/my-grandma-is-not-a-cyborg/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the oppression of everyday objects, and hacking the design gap."

...

"My grandma was a 150 cm human being.
An 80-year-old Muslim Turkish woman from Southeast Anatolia.
She spent her whole life in environments that oppressed her.
She spent her whole life in environments designed for human beings other than her.
She spent her whole life in environments designed with standardized measurements.
Standardized measurements for white, able-bodied Western men.
Standardized measurements that see living organisms as non-evolving, fixed entities."

...

"As a high-schooler who was a little taller than peers my age, I always had issues with desks and chairs. Boys of a similar height would just spread their legs all the way open to sit comfortably, but the compulsory school uniform skirts didn’t allow me to do so. Other tall girls could cross their legs and balance their body weight easily, but my legs were ticker than “average,” and when I put one on top of the other, they hit the bottom of the desk. So, I would turn 90 degrees and cross my legs outside the desk, which then caused me backaches, and forced me to change sides frequently.

This solution worked for me, but not for the teachers. I would often be warned to put my legs back under the desk and sit “properly.” The scene repeated itself in almost every lesson, making me the center of attention. Once, one teacher got so mad that he screamed: “If I take a photo of you right now and show it to 100 people, 99 of them would say it is not proper, especially as a young girl!” At the time, I couldn’t name what rattled me so much about his words, but I know today that this was a clear display of harassment. More than 10 years have passed, and I still do not forget how harshly I was treated because I couldn’t fit into a desk which wasn’t designed for me and that continuously oppressed my body for 35 hours a week for three full years.

The following year, I started studying architecture. During studio reviews, a professor asked me why my stair steps were 19 cm high, instead of the standard 17 cm. I replied, saying that I had tried climbing before drawing, and figured the best measurement for my body. Now, it was my turn to center my own experience into the design process and claim it as the default.

That day, I was encouraged to read Architects’ Data by Ernst Neufert, the man who in 1936 attempted to standardize and rationalize the entire environment for the Nazi government. Women rarely appear in his book, except in some domestic spaces like kitchens and laundry rooms. It is also not clear whose bodily data make up the few women figures that appear in his standards.

Almost nine decades after Neufert’s Architects’ Data, in an era when we are capable of storing more data than ever, environments and products are still designed for standardized, “universal bodies” that historically have always been male. Such universalist standardization operates through erasure and exclusion of whoever is deemed “different”—even if that “difference” is the majority of the world population."

...

"All of my childhood, my grandma complained about her back.

She cooks, her back hurts.
She sits, her back hurts.
She walks, her back hurts.

It took me so many years to figure out the source of her pain.

She spent her whole life cooking in a kitchen where the counter was the same height as her chest.
She spent her whole life sitting on sofas that didn’t allow her feet to touch the ground.
She spent her whole life walking on pavements that offered no support.


A world designed for the the white, able-bodied Western men. (Illustration by Sinem Görücü)
My grandma was a 150 cm human being.
An 80-year-old Muslim Turkish woman from Southeast Anatolia.
She spent her whole life in environments that oppressed her.
She spent her whole life in environments designed for human beings other than her.
She spent her whole life in environments designed with standardized measurements.
Standardized measurements for white, able-bodied Western men.
Standardized measurements that see living organisms as non-evolving, fixed entities.

But my grandma evolved.
Due to osteoporosis, over the last 15 years she became even smaller.
And she gets smaller each day.
But the environments remain the same.
Oppressing her ever more.

My grandma is not the only one

As a high-schooler who was a little taller than peers my age, I always had issues with desks and chairs. Boys of a similar height would just spread their legs all the way open to sit comfortably, but the compulsory school uniform skirts didn’t allow me to do so. Other tall girls could cross their legs and balance their body weight easily, but my legs were ticker than “average,” and when I put one on top of the other, they hit the bottom of the desk. So, I would turn 90 degrees and cross my legs outside the desk, which then caused me backaches, and forced me to change sides frequently.

“I still do not forget how harshly I was treated because I couldn’t fit into a desk which wasn’t designed for me and that continuously oppressed my body for 35 hours a week for three full years.”
This solution worked for me, but not for the teachers. I would often be warned to put my legs back under the desk and sit “properly.” The scene repeated itself in almost every lesson, making me the center of attention. Once, one teacher got so mad that he screamed: “If I take a photo of you right now and show it to 100 people, 99 of them would say it is not proper, especially as a young girl!” At the time, I couldn’t name what rattled me so much about his words, but I know today that this was a clear display of harassment. More than 10 years have passed, and I still do not forget how harshly I was treated because I couldn’t fit into a desk which wasn’t designed for me and that continuously oppressed my body for 35 hours a week for three full years.

The following year, I started studying architecture. During studio reviews, a professor asked me why my stair steps were 19 cm high, instead of the standard 17 cm. I replied, saying that I had tried climbing before drawing, and figured the best measurement for my body. Now, it was my turn to center my own experience into the design process and claim it as the default.

“In an era when we are capable of storing more data than ever, environments and products are still designed for standardized, ‘universal bodies’ that historically have always been male.”
That day, I was encouraged to read Architects’ Data by Ernst Neufert, the man who in 1936 attempted to standardize and rationalize the entire environment for the Nazi government. Women rarely appear in his book, except in some domestic spaces like kitchens and laundry rooms. It is also not clear whose bodily data make up the few women figures that appear in his standards.

Almost nine decades after Neufert’s Architects’ Data, in an era when we are capable of storing more data than ever, environments and products are still designed for standardized, “universal bodies” that historically have always been male. Such universalist standardization operates through erasure and exclusion of whoever is deemed “different”—even if that “difference” is the majority of the world population.

A broken phone, a banned cap, and a biased emoji

I started using smartphones in 2017, and since then I have problems with the sub-sector of objects they’ve created: phone accessories. Today, buying a phone means also buying a screen protector, a phone case, and also an additional grip, which became necessary after I dropped and broke my one-week-old phone while texting on the bus. The next day, I got one of those rings to stick to the back of the phone case and help me hold it in my hands. After a while, I noticed that most men were not using those rings, but most women were. It was an additional layer to the “pink tax”—the gender-based pricing premium that is often baked into women’s products. We buy these accessories not because we love rings, but because phones were designed—likely, by men—for big hands. In a controversial real-life example of this phenomenon, sociologist Zeynep Tufekci explained how she could not document the tear gas misuse during Gezi Park protests in 2013 because her phone was not designed to be used one-handed by her, but by average men. But design-led oppression is not only a matter of anthropometry or ergonomics. A few years ago, I was sitting in a room with a colleague discussing a project. I told him that I had a hard time imagining Muslim women comfortably using our architectural design. “They would struggle,” I said. “How many Muslim women are there, anyway?” he replied.” There I was, a Muslim women, sitting right in front of him, being asked: “How many Muslim women are there, anyway?”

One year before that conversation, I saw for the first time a hijab with ear-holes. At first I thought it was for earbuds, but it was for something much more important: stethoscopes. The innovative design made it easier for hijabi medical workers to perform their jobs. The product was innovated, designed, and was being sold by a hijabi MD. It sparked a light in my head. I had never thought of this before, although I was raised in a Muslim-majority country. If it wasn’t her, who else would notice and address such a design gap? Even if it was invented by a hijabi MD, wouldn’t the market say, as my colleague did, “How many hijabi medical workers are there anyway?”

Sometimes, even when the market sees the need and potential in a product for marginalized groups, those groups don’t always get to use it. During last year’s Olympics, the International Swimming Federation banned the use of swimming caps designed for the thick, curly, voluminous natural hair. Their claim was that “the athletes competing at the international events have never used, neither require […] caps of such size and configuration,” and that the caps did not fit in “the natural form of the head”—assuming, of course, that all the swimmers have default white features. Essentially, they might as well have said: “How many Black Olympic swimmers are there anyway?”

The story made me think of when, after long discussions on how racist and discriminatory emojis were, Unicode finally decided to acknowledge people of color, by changing the skin color of already existing emojis, and not making any further adjustments, including hair! Only in 2020 were Black emojis with natural Afro hairstyles introduced, thanks to the efforts of two Black women designers, just like how the hijabi MD filled the design gap herself."

...

"In 2021, I co-organized Feminist Futures Hackathon with product designer Andra Bria. We wanted to critique the male-dominated innovation spaces and ignite communal action against the oppressive practices of tech powerholders through design and intersectional feminism. The night before the event, I was searching Google to find a paper I’d read on feminist hackathons. Unexpectedly, I came across our very own hackathon being described as “an event for powerful women” by one of the very male-dominated innovation spaces we were trying to criticize. They removed it upon our request, but the incongruous experience still lingered with me.

Who are deemed “powerful women”?  When Kimberlee Crenshaw coined the term “intersectionality,” she aimed to examine “where power comes and collides, where it interlocks and intersects.” Similarly, Patricia Hill Collins theorized the “matrix of domination” to acknowledge the ways systems of power are being constructed and experienced through a non-static multi-axis identity domination and their complex interconnections. Following intersectional feminist theory, power is all about where one is located in the matrix of domination of the structural privilege and oppression. The axes of race, class, gender, or any other identity might differ from place to place, community to community, context to context and also throughout time.

So who were those “powerful women” that all the corporate bodies, tech and innovation spaces love talking about? This question made me think of my grandma again, the 80-year old Muslim Turkish women from southeast Anatolia in Turkey. She never attended school, and taught herself to read and write. She would try to read small sections of newspapers from time to time, but her eyesight often gave her unbearable headaches after a few lines. She spent her whole life at home, undertaking the never-ever-paid domestic work. She never worked for money or earned her own money, and all she owns came from either her parents or my grandpa.

Still, she is the best tailor I know. Whenever a professional tailor cannot figure out my design, or a ready-made cloth that I bought does not fit me, I bring it to her. She is hardly able to properly sew now, but she always has a solution to make things work. She knows how to use the sewing machine better than any other thing, almost like it is part of her arm. She knows how to solve problems with that machine, and she does. She is a problem-solver. A maker. A designer. Although, of course, she wouldn’t call herself any of those.

While trying to reach a spice jar on the counter, she sometimes says: “I wish the counter was lower.” She was not allowed to interfere with the carpenter who designed and built it. Architects’ Data is not part of her vocabulary; she has no idea who Neufert is. She notices that the new phones are too big, but she has no option but to buy the smallest design available: the older non-smart phones.

Like the hijabi MD, or the Asian women who needed to “fix” face masks, we all keep innovating and hacking through all our lives to be able to fit in the designed environment or make it fit us. Some of us need to innovate more, some of us less. But some of us are given the opportunity to innovate, while many of us aren’t. Depending on where we are on the matrix of domination, on how well we fit in the white-universalist-able-bodied-male standard, or on how promising we are in the scale-economy of mass profit, we get to be problem-solvers, makers, designers.

My grandma is a problem-solver. She sometimes designs and sometimes hacks. But she can only do certain things, and smartphones are clearly not one of those. But if she was allowed to, how would she hack the products that turned her life into a lifelong struggle? How would she design for her continuously changing body? What data would she use? What knowledge? What tools?

A cyborg and a hacker enter a Volkswagen

“I would rather be a cyborg than a goddess,” says Donna Haraway in her oft-cited 1985 Cyborg Manifesto. Her cyborg is a mythical hybrid being that exists beyond-genders, beyond-races, beyond-classes, who is free from androcentric, capitalistic and humanist domination. Haraway sees the cyborg as an escape from traditional identity politics. It sounds very convincing. When I first read it, I remember thinking: “Aren’t we all cyborgs today?” But no, we aren’t.

As pointed out by social justice researcher Julia DeCook in a 2020 paper, the cyborg was a clear reflection of Haraway’s white, Western environment and techno-utopian perspective. Haraway saw technology as a tool for emancipation rather than oppression, and used it to “fix” the long-rooted history of oppression. However, the dilemma is there; tech itself is white, Western, and male. It comes from the Ivy league and lives in Silicon Valley. It is everything that forms the matrix of domination, and keeps reifying the oppression it causes.

As Audre Lorde rightfully said: “The master’s tools will never dismantle the master’s house.” In other words, by adopting the oppressors’ tech that is built to serve the oppressors’ desires and profits, the oppressed won’t dismantle the oppressors’ house. According to artist Maari Sugawara, “Technology and the desire to create and control machines is a realm dominated by Man, and thus technology itself may inherently be patriarchal.” As a Middle Eastern woman, I can’t say I am the most privileged, but I am privileged compared to many others. However, my relationship with and ease of access to tech is still not enough to make me a cyborg in a world where the tech is not created with my data and needs. But can I create my own tech?

I actually love playing around with technology and scrap-making things. While I was living in Ankara, Turkey, I loved strolling through the hardware stores in the narrow downtown streets. Yet, I would wear my biggest, thickest, and worst-looking clothes to go there. Not because walking was a dirty task, but because I wanted to be taken seriously by the mostly male sellers, while being careful not to draw too much attention to myself and get cat-called, or seem too weak so as to get my wallet stolen. And in order to do that, you need to look as “less womanly” as possible.

When I talk about hacking, I do not necessarily mean computers. Hacking for me is finding a disadvantageous gap in a product, setting, event, or regulation and turning that into an advantage. Hacking is a form of resistance. When I talk of hacking, the first image that comes to my mind is women photoshopping men’s nipples to their nipples to not be censored by the Instagram algorithm. When I talk of hacking, I’m talking of a counterattack to the oppressive power systems. If you asked me in high school, I would say that I was a hacker. Having a piece of purple postiche was my form of hacking—when I noticed that the students’ dress code rules were only banning dyeing your own hair, but did not mention anything about dyeing someone else’s hair and wearing that piece yourself. I was counterattacking the misogyny by hacking dress code oppression.

My grandma is a hacker too. She is a designer, a problem-solver, reclaiming the man-made world. She got her 4th COVID vaccine last month. I booked her appointment online, because she couldn’t. We drove her to the hospital, because she couldn’t. While leaving the hospital, she fell down; tripping over a pavement level difference, while I wasn’t paying attention to her steps and was trying to see where we could cross the road without getting her to walk too much.

For days, I couldn’t stop myself swearing to whoever built that pavement that way. I sent complaint mails around and called places. But my grandmother didn’t say or complain much. She then decided to start using a baston. She decided to solve the problem herself, and reclaim the man-made pavement. My grandma is a 80-year old Muslim Turkish women from southeast Anatolia. And she is not a cyborg."]]></description>
<dc:subject>design technology 2022 hacking making donnaharaway cyborgs resistance sinemgörücü architecture furniture cyborgmanifesto systems oppression patriarchy intervention audrelorde juliadecook maarisugawara covid-19 coronavirus pandemic medicine clothing sewing glvo hardware software photoshop domination identitypolitics standardization audiencesofone humanism futuress hijab</dc:subject>
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<item rdf:about="https://en.wikipedia.org/wiki/Four_Big_Things">
    <title>Four Big Things - Wikipedia</title>
    <dc:date>2022-02-13T06:27:19+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Four_Big_Things</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Four Big Things (Chinese: 四大件; pinyin: sì dà jiàn) is a term originally applied to the four symbols of material success in China from the 1950s until the 1970s, and is now used to refer to any visible marker of newfound affluence.[1] The original list was:

A sewing machine
A bicycle
A wristwatch, generally from Shanghai Watch Company
A radio receiver, usually Red Star or Red Lantern brand
More recently, the "Four Big Things" could include televisions, refrigerators, cameras, cell phones, computers, apartments, cars, etc.[2]"

[See also:

"Before the economic reforms, these simple ‘Made in China’ products were considered luxury items in the mainland"
https://luxurylaunches.com/other_stuff/before-the-economic-reforms-these-simple-made-in-china-products-were-considered-luxury-items-in-the-mainland.php 

"The Bicycle as Symbol of China's Transformation"
https://www.theatlantic.com/international/archive/2012/06/the-bicycle-as-symbol-of-chinas-transformation/259177/

"Chinese Terminology: Four Big Items"
https://news.cgtn.com/news/3d3d514d3555444f30457a6333566d54/index.html

"Chinese Terminology: Four Big Items"
https://www.youtube.com/watch?v=Ln4J4IECYnE

"The Four Big Items For My Chinese In-laws’ Marriage"
https://www.speakingofchina.com/china-articles/si-da-jian/ ]

[via:
https://www.merkurwatch.com/Merkur-3rd-Anniversary-Red-Army-Chinese-Watch-The-Wuxing-Homage-Handwinding-Mechanical-Retro-Dress-Watch-Seagull-1963-Style-Mineral-Glass-Stainless-Steel-Band-p1895739.html

https://www.merkurwatch.com/Red-Army-First-Chinese-Watch-The-Wuxing-Homage-Handwinding-Mechanical-Retro-Dress-Watch-Seagull-1963-Style-Mineral-Glass-Stainless-Steel-Band-in-stock-Jan-2022-p1810675.html

https://grmontrewatches.com/products/red-army-first-chinese-watch-the-wuxing-homage-handwinding-mechanical-retro-dress-watch-seagull-1963-style-mineral-glass-steel

https://www.merkurwatchgroup.com/Red-Army-First-Chinese-Watch-The-Wuxing-Homage-Handwinding-Mechanical-Retro-Dress-Watch-Seagull-1963-Style-Mineral-Glass-Stainless-Steel-Band-p1810675.html

https://www.chrono24.com/all/tianjin-seagull-merkur-salmon-dial-limited-seagull-handwinding--movement-mechnical--vintage-retro-style-1963-for-mens-watch--id22579708.htm ]]]></description>
<dc:subject>china history watches bikes bicycles sewingmachines radios radio sewing affluence 1950s 1960s 1970s modernization fourbigthings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:65565b0accd8/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=2OxrTZJb1a0">
    <title>BonneGueule x Norwegian Rain : le vêtement de pluie le plus élégant. Travaillé jusqu’à l’obsession. - YouTube</title>
    <dc:date>2021-09-27T02:16:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2OxrTZJb1a0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://norwegianrain.com/
https://www.instagram.com/norwegianrain/
https://www.t-michael.com/ ]]]></description>
<dc:subject>clothing norway bergen norwegianrain sewing fashion 2018 t-michael uniform apparel uniforms</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c1c49d1003d5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bergen"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:t-michael"/>
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<item rdf:about="https://www.kickstarter.com/projects/shing/a-mending">
    <title>A Mending by Shing Yin Khor — Kickstarter</title>
    <dc:date>2021-03-19T09:32:23+00:00</dc:date>
    <link>https://www.kickstarter.com/projects/shing/a-mending</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A solo keepsake game about a journey to visit a dear and distant friend, using sewing, map-annotating, and story-building mechanics.

A Mending is a solo story-building and keepsake game about two friends who have been parted for some time, using sewing, embroidery, and map-marking mechanics. 

This game is a reflection of my desire to make games that create physical gameplay artifacts and beautiful keepsakes, my love of maps, a deep respect of handiwork often categorized as “women’s work,” and many years of missing dear - and distant - friends.

ABOUT THE GAME

You have been parted from a dear friend for a long time. Now, they have called for you. You are going to visit your friend, and the path is long and it will take many days. As you plan and trace your route on a cloth map(or paper), using needle and thread(or pen), you will use and answer story prompt cards to discover the stories and primary incidents behind your friendship, find strange and wonderful objects and people on your path, and build your own narrative of this particular journey and friendship.

A Mending is a keepsake game, a term that I use to describe the kind of game I make - games that produce beautiful, memorable physical artifacts through the gameplay process. These keepsakes are a collaboration between me, as a designer, and the players, who all create their own unique objects. This honors my lifetime love of tinkering and making, and reduces waste by producing something worth keeping. Jeeyon Shim and I began using this term while making our keepsake game, Field Guide to Memory, to describe the work we do. 

[image: “Progress on a map, mid-game.”]

Above is an example of part of a map in progress. The orange running stitch here is the path taken to visit a friend. The beads and other stitches denote the times where an object was discovered, or where a story element important to the relationship was revealed. The finished gameplay artifact can be used as a decorative or functional object; I personally wear and use my test maps as bandanas, altar cloths, patches, and handkerchiefs.

[image: “A finished cloth map, worn as a bandana or scarf.”]

For players who like to plan before sewing, two blank paper maps, printed on a beautiful textured felt weave paper stock, are provided - you can play the game while hand-drawing your route(and annotating the story you make), for later reference. Of course, this means that you can also play the game in its entirety using paper and pen.

The story-building elements of the game are in the long story-building tradition of indie RPG games, inspired by games such as For the Queen(Alex Roberts),  Dialect(Thorny Games), The Quiet Year(Avery Alder), and Field Guide to Memory(Jeeyon Shim and myself). The story itself is set up as a series of randomized prompt cards that take the player through a reflective and gentle journey of interesting characters, thoughtful questions about your friendship, and a few strange occurrences. 

GAMEPLAY AND MATERIALS

You will play the game by planning your route, marking the map, and building a story by answering prompt cards. The prompt cards will ask you to consider your relationship with your friend, mark your map with beads or written notes, introduce you to delightful characters(including at least one dog), and will sometimes affect the path you have chosen. The gameplay time can vary between one hour(solo, paper and pen only) to two hours or more(collaborative gameplay, with hand-sewing). The game is designed to be played solo, but the game booklet will also include suggestions on how to play this as a 2 person game(using a single game kit), or communally in a larger group. A Mending can be also played as a system-agnostic storytelling module for other roleplaying games.

[image: “Example of the prompt cards in A Mending.”]

The embroidery and sewing elements of this game are meant to be simple and intuitive. My own approach towards embroidery and sewing is haphazard, but I appreciate its versatility and style, and am interested in its use in creating narrative keepsake work. If you choose to play the sewing version of the game, it is designed at a “can you do a basic running stitch, and can you sew a button/bead on?” level, but if you are an experienced sewist or embroiderer, you can feel free to embellish the game to your heart’s content! There will be resources listed in the game booklet that teach introductory sewing skills and basic stitches, but the goal is to embrace experimentation and instinctive use of thread and needle. 

[image: “The 48 card story-building deck, paper maps, and game booklet are included in every physical reward. (Mockup; design not final)”]

All versions of the game include two identical paper maps(for simultaneous gameplay, or plotting your map before you embroider a cloth map), a 48-card deck of story-building prompts, and an instruction booklet. There is also a paper-only option for people who are quite sure they do not want to sew anything.

[image: “a preview of gameplay, using the paper map only”]
.
The centerpiece of the game is the cloth map, which also serves as the game board, and is screen-printed in two colors on natural 100% cotton fabric. The screenprinted art is 17”x17”, with the entire piece of cloth measuring 22”x22”, leaving a comfortable border for other things you may want to do with the finished map, such as framing or using it as a quilt piece. 

[image: “A close up of the map’s screenprinting, showing the main outlines in dark brown, and the gridlines in a beautiful metallic gold.”]

Most physical versions of the game(JOURNEYMAN and above) also include a zippered carrying case, because this is a game that can include many fiddly small elements like beads and needles, and because I love designing cute and beautiful elements that also keep all your things in one place.

For sewists and embroiderers(even just dabblers and dilettantes!) the JOURNEYMAN level includes only the custom made and custom printed elements necessary to play the game. This is a great choice if you want to pick your own thread colors and beads, which I think is part of the fun.

The cloth maps are printed on 100% natural cotton bandanas. They can be machine washed and dyed with fabric dyes.”]]></description>
<dc:subject>games shingyinkhor maps mapping annotation textiles 2021 glvo sewing jeeyonsim classideas storytelling keepsakes averyalder thonygames alexroberts cardgames boardgames</dc:subject>
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</item>
<item rdf:about="http://celiapym.com/">
    <title>Celia Pym | Knitting, darning &amp; textiles by artist Celia Pym</title>
    <dc:date>2018-10-21T04:14:15+00:00</dc:date>
    <link>http://celiapym.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://celiapym.com/work/norwegian-sweater/ ]

[See also:
https://www.studiointernational.com/index.php/celia-pym-interview
https://www.rca.ac.uk/students/celia-pym/
https://visiblemending.com/products/artist-celia-pym-way-more-than-a-mend
https://deskgram.net/explore/tags/celiapym ]]]></description>
<dc:subject>celiapym knitting darning textiles glvo mending repair clothing beausage embroidery sewing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fce48ade07f9/</dc:identifier>
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</item>
<item rdf:about="https://www.kickstarter.com/projects/1206849453/turtlestitch">
    <title>TurtleStitch by Andrea Mayr-Stalder — Kickstarter</title>
    <dc:date>2018-08-08T22:19:28+00:00</dc:date>
    <link>https://www.kickstarter.com/projects/1206849453/turtlestitch</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>scratch sewing textiles making 2018 embroidery glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cc9de724fe4e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
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</item>
<item rdf:about="http://www.craftysewer.com/acatalog/London_Sewing_Machine_Museum.html">
    <title>London Sewing Machine Museum</title>
    <dc:date>2017-08-02T06:20:09+00:00</dc:date>
    <link>http://www.craftysewer.com/acatalog/London_Sewing_Machine_Museum.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sewing sewingmachines london museums</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:adf54423361b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewingmachines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:london"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museums"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.instagram.com/p/BWtE2SzlMqa/">
    <title>Courtney Danforth en Instagram: “I have this @singersewingcompany #sewing machine whose interface runs on a @nintendo #GameBoy. I need a Greek (pref. ancient) or Hebrew…”</title>
    <dc:date>2017-07-18T22:35:00+00:00</dc:date>
    <link>https://www.instagram.com/p/BWtE2SzlMqa/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have this @singersewingcompany #sewing machine whose interface runs on a @nintendo #GameBoy. I need a Greek (pref. ancient) or Hebrew font. Can anyone help? #sabbatical #sabbaticalproblems"

[via: https://twitter.com/ekstasis/status/887438758139883522
https://twitter.com/csdanforth/status/887435629453352963 ]]]></description>
<dc:subject>courneydanforth sewing ewingmachines nintendo 2017 interface fonts glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c72684919be6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nintendo"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.cooperhewitt.org/2016/09/18/a-textile-collage/">
    <title>A Textile Collage | Cooper Hewitt, Smithsonian Design Museum</title>
    <dc:date>2016-09-21T15:55:26+00:00</dc:date>
    <link>http://www.cooperhewitt.org/2016/09/18/a-textile-collage/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tsugihagi was designed by Reiko Sudo (b. 1953), one of Japan’s most important contemporary textile designers. Educated at Musashino Art University, she is currently managing director of the Japanese company and store NUNO where she has been since 1984. NUNO produces textiles of extraordinary ingenuity and beauty. Sudo and the other designers at NUNO combine tradition and advanced technologies with remarkable creativity, which led them to the forefront of textile design field.

In 1996, NUNO began working with various kinds of embroidery techniques to create new effects. Tsugihagi, designed in 1997, is a delicate combination of embroidery and collage techniques made with remnants of NUNO fabrics that are laid out to cover the surface of a base fabric. The remnants are stitched down by sewing machine, and the base fabric is dissolved away leaving a lacy and net-like patchwork of different fabrics. Each piece is unique and twenty years later they continue to produce these textiles. Tsugihagi can be used as a window covering or for other interior purposes. This type of embroidery technique, in which the ground fabric is destroyed, began in the early 1880s when protein fibers like silk or wool were more than likely used because they could be dissolved by a solution of caustic soda or potash, leaving the embroidery thread of cellulose fibers like cotton or linen intact."]]></description>
<dc:subject>reikosudo japan textiles glvo cooper-hewitt matildamcquaid design art fabrics embroidery collage nuno sewing remnants reuse sustainability fabric cooperhewitt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nuno"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:remnants"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cooperhewitt"/>
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</item>
<item rdf:about="http://turtlestitch.org/">
    <title>TurtleStitch</title>
    <dc:date>2016-08-04T19:38:01+00:00</dc:date>
    <link>http://turtlestitch.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Turtlestitch

is based on a browser-based educational programming language (Snap!) to generate patterns for embroidery machines. It is easy to use, requiring no prior knowledge in programming, yet powerful in creating nowels patterns for embroidery. It is useful for designers to experiment with generative aesthetics and precision embroidery as well as tool for innovative workshops combining an introduction to programing with haptic output.

Turtlestitch uses Snap!s "pen module" which it interprets as a needle and transforms its output into widely-used embroidery file formats.

About Snap!

Snap! is a visual, drag-and-drop programming language that allows students to create interactive stories, animations, games, and more, while learning about mathematical and computational ideas. Snap! was inspired by Scratch, but also targets both novice and more advanced students by including and expanding Scratch's features.

Snap! is developed by the University of California, Berkeley with the support from the National Science Foundation, MioSoft, and the CommunicationDesign Group at SAP Labs.

The design of Snap! is influenced and inspired by Scratch, from Lifelong Kindergarten group at the MIT Media Lab. For more information see
http://snap.berkeley.edu and http://scratch.mit.edu "]]></description>
<dc:subject>turtlestitch snap! embroidery sewing scratch</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5bba7f04dfb3/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/138671443">
    <title>Inclusive on Vimeo</title>
    <dc:date>2016-06-07T05:02:00+00:00</dc:date>
    <link>https://vimeo.com/138671443</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Learn how human-led design makes a deep and connecting impact, leading to innovative and inclusive solutions.

Learn more at inclusivethefilm.com

Participants:
Catharine Blaine K-8 School
Susan Goltsman - MIG, Inc
Will Lewis and Ted Hart - Skype Translator
TJ Parker - Pillpack
Graham Pullin - University of Dundee
The High School Affiliated to Renmin University Of China (RDFZ) Beijing
Jutta Treviranus - OCAD University
Mike Vanis - Interaction Designer"]]></description>
<dc:subject>inclusion inclusivity microsoft via:ablerism 2015 design catharineblaine susangoltsman willlewis tedhart tjparker grahampullin juttatreviranus mikevanis video documentary audiencesofone sewing aging retirement work ambientintimacy memory nostalgia presence telepresence inclusivedesign technology translation healthcare prescriptions playgrounds seattle sanfrancisco captioning literacy communication hearing deaf deafness skype</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:149f6ec068ad/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:microsoft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:ablerism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:catharineblaine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susangoltsman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:willlewis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tedhart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tjparker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:grahampullin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:juttatreviranus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mikevanis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:documentary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audiencesofone"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retirement"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ambientintimacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nostalgia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:presence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:telepresence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inclusivedesign"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:prescriptions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playgrounds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seattle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:captioning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hearing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deaf"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deafness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:skype"/>
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</item>
<item rdf:about="https://methodtwomadness.wordpress.com/tag/anni-albers/">
    <title>Anni Albers | method two madness</title>
    <dc:date>2016-04-11T02:21:37+00:00</dc:date>
    <link>https://methodtwomadness.wordpress.com/tag/anni-albers/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>annialbers embroidery fiberarts textiles glvo sewing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:956c6878c7a9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annialbers"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fiberarts"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.gamasutra.com/view/news/266886/AltCtrlGDC_Showcase_Threadsteading.php">
    <title>Gamasutra - Alt.Ctrl.GDC Showcase: Threadsteading</title>
    <dc:date>2016-03-19T04:26:15+00:00</dc:date>
    <link>http://www.gamasutra.com/view/news/266886/AltCtrlGDC_Showcase_Threadsteading.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The 2016 Game Developer's Conference will feature an exhibition called alt.ctrl.GDC dedicated to games that use alternative control schemes and interactions. Gamasutra will be talking to the developers of each of the games that have been selected for the showcase. You can find all of the interviews here.

Threadsteading turns sewing into a territory-control board game. In it, players deliver commands to the quilting machine to take control of a hexagonal space, stitching a permanent mark on the fabric. In the end, the players will have created a quilt for themselves - a tangible reminder of the game they played together. 

By using a hexagonal grid, keeping an unbroken thread line, and encouraging evenly distributing lines across the game space with little backtracking, developer Gillian Smith, along with team members April Grow, Chenxi Liu, Lea Albaugh, Jen Mankoff, and Jim McCann, have taken the rules of quilting and turned them into a game. 

This repurposing of a large, practical machine into something fun that creates a permanent, useful, physical memory of the time spent in play is set to appear at GDC's Alt Ctrl GDC exhibit. Smith answered some questions about the game for Gamasutra."]]></description>
<dc:subject>sewing sewingmachines textiles 2016 games gaming videogames gilliansmith aprilgrow chenxiliu leaalbaugh jenmankoff jimmccann</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ccabf5e9c303/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewingmachines"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gilliansmith"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aprilgrow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chenxiliu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leaalbaugh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jenmankoff"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jimmccann"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/LorenSchmidt/status/684246347768201216">
    <title>Loren Schmidt on Twitter: &quot;one of the things i love about embroidery is the back of the cloth. the back tells such a rich story about process. https://t.co/PIHNkQFbOH&quot;</title>
    <dc:date>2016-01-05T06:49:55+00:00</dc:date>
    <link>https://twitter.com/LorenSchmidt/status/684246347768201216</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["one of the things i love about embroidery is the back of the cloth. the back tells such a rich story about process."
https://twitter.com/LorenSchmidt/status/684246347768201216

"every program has a back side like this. people hide them from you, but they're always there."
https://twitter.com/LorenSchmidt/status/684246535408754690]]></description>
<dc:subject>embroidery programming coding process lorenschmidt 2016 sewing making</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d5a591aeb108/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:programming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lorenschmidt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:making"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hillaryfayle.wordpress.com/">
    <title>hillary fayle</title>
    <dc:date>2015-12-10T06:19:13+00:00</dc:date>
    <link>https://hillaryfayle.wordpress.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I use found botanical material such as leaves, seedpods, and branches to explore human connection to the physical world. By combining these organic objects with the rich traditions of needlecraft, I bind nature and the human touch. Both tender and ruthless, this intricate stitch work communicates the idea that our relationship with the natural world is both tenuously fragile and infinitely complex.

The way I think about and make art mirrors the way I think about my life and how I walk through the world. What I do is about elevating details. It is about noticing cycles and connections. It is about regarding a familiar object in a new way. It’s about seeing things and considering their connection to you, their potential futures and possible pasts. There is a depth and an importance to what is present, and what is absent. Invisible narratives are woven into and around each piece, each interaction. As I gather materials with which to work, I consider what connections might exist between us, or how each object might be related to another. I am a cartographer, drawing and plotting an imaginary map, from one object to the next, intervening with each. These objects naturally fit into categories, which relate to my own experiences, but also to their origins and how they came into my hands. The vertices of experience and the actual life trajectory of an object are what interest me the most; the points at which the object and I intersect.

I grew up in Western NY, and earned a BFA from Buffalo State College, and an MFA from Virginia Commonwealth University."

[See also: http://www.hillarywfayle.com/ ]]]></description>
<dc:subject>embroidery sewing leaves plants glvo hillaryfayle art trees</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31e1352db98b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leaves"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hillaryfayle"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trees"/>
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</item>
<item rdf:about="http://www.joshblackwell.com/">
    <title>JOSH BLACKWELL</title>
    <dc:date>2015-12-06T22:52:43+00:00</dc:date>
    <link>http://www.joshblackwell.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See:
http://www.joshblackwell.com/index.php?/ongoing/never-uses-kate-macgarry-london/
http://www.joshblackwell.com/index.php?/ongoing/total-styrene-true-believer-/
http://www.joshblackwell.com/index.php?/ongoing/recent-works/
http://www.joshblackwell.com/index.php?/projects/plastic-baskets/
http://www.joshblackwell.com/index.php?/projects/artists-book-plastic-bag-as-humble-present/
http://www.joshblackwell.com/index.php?/projects/other-installations/
http://www.joshblackwell.com/index.php?/projects/archive/
http://www.joshblackwell.com/index.php?/projects/street-bags/ ]]]></description>
<dc:subject>joshblackwell art artists plastic textile glvo sewing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:85fa4fbe0919/</dc:identifier>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thedenimdoctor.co.uk/">
    <title>Denim Repairs &amp; Alterations For Jeans Manchester London England</title>
    <dc:date>2015-09-08T07:12:56+00:00</dc:date>
    <link>http://www.thedenimdoctor.co.uk/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>denim mending repair glvo denimdoctor sewing repairing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c9959fb4ec3f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mending"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:repair"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:denimdoctor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:repairing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://secondstreet.ru/blog/o_stile/yaponskie-zaplatki-chast-3-street-style-trafik.html">
    <title>[untitled]</title>
    <dc:date>2015-06-30T06:05:12+00:00</dc:date>
    <link>http://secondstreet.ru/blog/o_stile/yaponskie-zaplatki-chast-3-street-style-trafik.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>mending patchwork via:lizette sewing clothing glvo cv personaluniforms</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:019fc62e54d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mending"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patchwork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:lizette"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clothing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:personaluniforms"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://io9.com/why-needle-and-thread-is-still-some-of-the-worlds-most-1710439835">
    <title>Why Needle And Thread Is Still Some Of The World's Most Incredible Tech</title>
    <dc:date>2015-06-11T04:48:07+00:00</dc:date>
    <link>http://io9.com/why-needle-and-thread-is-still-some-of-the-worlds-most-1710439835</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you’re compiling a list of the most important technologies of our age, you may start with the personal computer, phones, maybe a nod towards the highway system. But, hey, how about a needle and thread? Should that be in there, too? Yes, it should. Here’s why.

io9’s comment of the day comes from commenter gigglesticks who shared this argument for why sewing technologies are incredibly underrated:

<blockquote>I don’t consider fire a technology so much as a natural resource. Shaping rocks to hit and scrape stuff with is the oldest, but boring, and also how often do humans use rocks as hand tools nowadays? But long before the wheel, came the needle and thread. For tens of thousands of years (possibly up to 60,000), humans have been sewing up people and things, not to mention using them for tattooing and other decoration. Later on, they were used for weaving, knitting and acupuncture. Yesterday, I hand-sewed a bag I’m working on and fixed a hole in my jacket, and the only difference is I’m working with steel and cotton, not bone and deer sinew.</blockquote>

Give it enough time, and any technological advance starts to seem like just the building blocks of other technologies, instead of an advance in and of itself. But, while the technique has remained essentially unchanged through history, new applications — whether for sewing clothes, stitches, book-bindings, and more — just keep coming."]]></description>
<dc:subject>glvo sewing history technology 2015 needles thread</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d89d204a0545/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:needles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thread"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://textilecuisine.blogspot.com/">
    <title>The Textile Cuisine</title>
    <dc:date>2015-06-03T18:00:55+00:00</dc:date>
    <link>http://textilecuisine.blogspot.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Living in an old city of textile industry in Poland, I create subtle pieces of art in every form possible. From small ornaments to great wallhangings, everything I create starts from a scrap of textile.

It is a contemporary way to involve art in our everyday life, to let it into our houses, on the tables. My creations are mostly inspired by the charm of small things and are made to give the same feeling of beauty. See my works to see inspiration coming from nature, food, kitchen or... old stories!"]]></description>
<dc:subject>glvo textiles sewing bozenawojtaszek blogs quilts quilting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:be0128ef3364/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:textiles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bozenawojtaszek"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quilts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quilting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.kickstarter.com/blog/the-process-bloom-blanket">
    <title>The Process: Bloom Blanket » The Kickstarter Blog — Kickstarter</title>
    <dc:date>2015-03-24T19:21:22+00:00</dc:date>
    <link>https://www.kickstarter.com/blog/the-process-bloom-blanket</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One thing was clear: my friends at the tiny Barcelona factory would never be able to sew so many blankets so quickly. My intention was to make 40 beautifully handmade blankets but after being backed by 947 people the entire production process had to be revisited."]]></description>
<dc:subject>manufacturing sewing process 2015 biancachengcostanzo production glvo quilting bloomblanket kickstarter logistics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:08462055f33a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manufacturing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:biancachengcostanzo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:production"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quilting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bloomblanket"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kickstarter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:logistics"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=7jcwLSy0QQY">
    <title>Guide to the Masters: the Science of Art Behind Nancy Graves - YouTube</title>
    <dc:date>2015-03-19T19:50:21+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7jcwLSy0QQY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this edition of Guide to the Masters, Christina Hunter, director of the Nancy Graves Foundation, sat with ArtInfo to talk about the illustrious, Massachusetts native her organization is named after."

[via: "natural history as a way of extending how artists see the world
#womeninscience #YesAllWomen
https://www.youtube.com/watch?v=7jcwLSy0QQY "
https://twitter.com/FSologists_AK/status/578402006890467328 ]]]></description>
<dc:subject>art science nancygraves naturalhistory 2015 sewing taxidermy arthistory christinahunter artscience space glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:beb59686d530/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nancygraves"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taxidermy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arthistory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christinahunter"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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</item>
<item rdf:about="http://mds.isseymiyake.com/mds/en/collection/">
    <title>MIYAKE DESIGN STUDIO official site</title>
    <dc:date>2015-02-26T05:17:37+00:00</dc:date>
    <link>http://mds.isseymiyake.com/mds/en/collection/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“A-POC” is an acronym for “A Piece of Cloth” and refers too, to the idea of “epoch.” It is a manufacturing method that uses computer technology to create clothing from a single piece of thread in a single process. Development began in 1997 as a project led by Issey Miyake and engineering designer Dai Fujiwara. The first results included ‘A-POC King & Queen, A-POC Le Feu’ and were presented in the Spring/Summer 1999 ISSEY MIYAKE Paris Collection. Following that, PLEATS PLEASE ISSEY MIYAKE and other collections began to develop items based upon the A-POC method (called “+A-POC”) starting in 2003. After 2007, the collection introduced design solutions under the subtext of "A-POC INSIDE" and has continued to refine its vision for making clothing."]]></description>
<dc:subject>a-poc isseymiyake 1997 1999 fashion fabric textiles sewing fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bf3ad823eaf0/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1997"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
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</item>
<item rdf:about="http://tokyotelephone.com/issey-miyake-a-piece-of-cloth/">
    <title>Issey Miyake – A Piece of Cloth | Tokyo Telephone - Your Direct Line to Real Japanese Fashion</title>
    <dc:date>2015-02-26T05:16:54+00:00</dc:date>
    <link>http://tokyotelephone.com/issey-miyake-a-piece-of-cloth/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A wee while ago now, my dear friend and I hotfooted it to the Barbican gallery in London to see their exhibition “Future Beauty: 30 Years of Japanese Fashion” – both being huge fans of Japanese fashion,  street and couture, we felt the need to check it out! I won’t spoil the exhibition for those planning to see it too, but I will say that we left feeling slightly stuffed full after gorging our eyes and brains on the clothing & video installations; totally worth it. Being the shopper & book fiend that I am, I was very happy to note the excellent selection of Japanese fashion books on offer in the gift shop – quick, update your Christmas wish lists now!

I think I know what I’d like Father Christmas to bring me this year: a piece of cloth. Preferably from Issey Miyake!

[images]

Usually here at Tokyo Telephone we strive to bring you the most up-to-date goings on in the wonderful melting pot of Japanese fashion, but I really felt that Dai Fujiwara’s A-POC (A Piece of Cloth) collection for Issey Miyake at the turn of the millennium was well worth a mention despite being a decade old, ancient history in  fashion terms.

Traditionally Japanese fashion , particularly that of the 1980s when the Miyake brand began to take hold, was monochromatic – black being the favoured colour of everyone from sombre suited salary men to the young fashion elite on the Tokyo streets. So when we turned a corner at the Barbican exhibition, it was literally and figuratively: confronted with mannequins locked inside bright red material stretching up to the ceiling and back again. At once elegant and uncomfortable (a combination that Japanese design does best!) it was a visual spectacle at the very least.

The concept is an unusual  one, as all the clothes in the A-POC collection are cut from a single long roll of fabric. A video installation of the catwalk premier showed the Issey Miyake team cutting a vast swath of cloth, and as if by the wonder of their magic scissors, all sort of garments appeared: socks, hats, tops, dresses… sort of like paper dolls for post-yuppie generation.

[image]

I did mention that the concept was unusual, maybe not entirely original: of course I have to mention kimono. Made in the age-old way from a single piece of cloth, perhaps beautifully dyed silk, the kimono requires no real tailoring and fits everyone no matter their weight or height. However, despite the inherent similarities to the fundamental construction of kimono, A-POC feels futuristic nonetheless. With bright primary colours and aching minimalism, there’s the sense that this collection could have been dreamed by a sci-fi writer in the 1960s, clothes and humans alike produced on huge rolls; cut to fit your taste.

[image]

The genius of Issey Miyake doesn’t stop at A-POC either: with another nod to Japanese traditions, consider the origami-like intricate folds of the Pleats Please collection. Anyone who can turn the above tightly folded material into the dress below is well deserving of praise! Like all the best magic tricks, my brain hurts just trying to work out how it’s done…

[image]

Issey Miyake: genius, visionary, traditionalist, magician, architect, and more.

[video]

Love this animation showing the attention paid to movement and line – a bit mesmerising."]]></description>
<dc:subject>a-poc isseymiyake 1999 fashion fabric textiles sewing 2010 fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c86d9e21747b/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/29500990">
    <title>ISSEY MIYAKE - APOC Galaxy on Vimeo</title>
    <dc:date>2015-02-26T05:14:45+00:00</dc:date>
    <link>https://vimeo.com/29500990</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This project began as a still photograph for an exhibition by Miyake Design Studio at the Museu de Arte Moderna in Sao Paulo, Brazil. Designers Issey Miyake and Dai Fujiwara, asked us to create a photograph that would illustrate their concept of A-POC (A Piece of Cloth) wherein the finished fashion garment is woven into the bolt of cloth. When they saw the photograph they asked us if we could animate it.
isseymiyake.com

Produced by Trillium Studios (trilliumstudios.com)"]]></description>
<dc:subject>a-poc isseymiyake 1999 fashion fabric textiles sewing 2003 daifujiwara video fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8125c8f62c1d/</dc:identifier>
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</item>
<item rdf:about="http://archive.wired.com/wired/archive/12.04/miyake_pr.html">
    <title>Wired 12.04: Seamless</title>
    <dc:date>2015-02-26T05:13:40+00:00</dc:date>
    <link>http://archive.wired.com/wired/archive/12.04/miyake_pr.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Issey Miyake saw the future of fashion. So he gave up haute couture to become a softwear engineer."]]></description>
<dc:subject>a-poc isseymiyake 1999 fashion fabric textiles sewing 2003 fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6f506ff080f0/</dc:identifier>
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</item>
<item rdf:about="http://mds.isseymiyake.com/im/en/work/">
    <title>ISSEY MIYAKE Official Site</title>
    <dc:date>2015-02-26T05:12:59+00:00</dc:date>
    <link>http://mds.isseymiyake.com/im/en/work/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1998, Miyake began to develop A-POC (A Piece Of Cloth) with Dai Fujiwara. A-POC was not only able to create clothing with a high degree of variation, but was also able to control the amount created through the process of casting, where each thread receives computerized instructions. A-POC was revolutionary in that it began with a single thread and resulted in fabric, texture and a fully finished set of clothing in a single process. It led the way, along with the concept of engineering design, to a new methodology of clothing design. The Museum of Modern Art (MoMA) in New York added this project to its permanent collection in 2006. In 1998, soon after Miyake started research on A-POC, he presented the ISSEY MIYAKE MAKING THINGS exhibition in Paris. (This later traveled to both New York and Tokyo.) The exhibition presented his work from Pleats (1988) onward and was widely acclaimed. “His work is grounded in that stretch of history called the present and draws meaning from fashion’s immediate context. ‘Making Things’ presents that context with immense glamour and wit.” (By Herbert Muschamp, December 27, 1998 The New York Times)"

[image]

"From the exhibition ISSEY MIYAKE MAKING THINGS, Museum of contemporary Art Tokyo, 2000.Just Before [black], A-POC King & Queen[red]
Photo : Yasuaki Yoshinaga"

[image]

"NATIONAL GEOGRAPHIC, Jan. 2003
P.72-73 “Weaving the Future” A-POC Quatro Cotton, 2001
Photo : Cary Wolinsky and Barbara Emmel Wolinsky
Shown by Alvin Ailey Dancer Dwana Adiaha Smallwood"

[image]

"The New York Times
Sunday, December 27, 1998"
]]></description>
<dc:subject>a-poc isseymiyake 1999 fashion fabric textiles sewing 1998 2003 2000 2001 fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:393dc32a625d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fashion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fabric"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1998"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2000"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2001"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://lurvemag.com/post/561465076/what-is-a-poc-overlength-sweaters-dresses-off">
    <title>Lurve - Home</title>
    <dc:date>2015-02-26T05:11:19+00:00</dc:date>
    <link>http://lurvemag.com/post/561465076/what-is-a-poc-overlength-sweaters-dresses-off</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is A-POC ?
Overlength sweaters, dresses off the roll, A-POCis based upon Miyake’s first design concept, a piece of cloth, is a new and unique suggestion for everyday life, which goes far beyond the boundaries of fashion.
It is made using an industrial knitting or weaving machine programed by a computer.
This process creates continuous tubes of fabric within which lie both shape and pattern. The customer cuts sleeves and skirts exactly to the length he wants. It is an idea that totally overthrows the existing standards for making clothes.
A-POC is made in a sequence in which thread literally goes into a machine and re-emerges as a piece of clothing, an accessory, or even a chair. This interactive new method not only reduces leftover fabric but also permits the wearers to participate in the final step of the design of their clothing: they determine the final shape of the product.
Mass production and custom-made clothing, seemingly opposing ideas, become compatible with each other through the wizardry of technology and the fire of imagination. 

Images from A-POC MAKING
ISSEY MIYAKE & DAI FUJIWARA
Vitra Design Museum
1999
Alien
Eskimo
They were among the Issey Miyake Autumn-Winter 1999 Collection held on March 10 at la Grande Halle de la Villette, Salle Charlie Parker, Paris.
” Alien” was made of double layers of airy knitted mesh to add interest and depth.
” Eskimo”, with padded geometric patterns, had three-dimentional interest."]]></description>
<dc:subject>a-poc isseymiyake 1999 fashion fabric textiles sewing fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c44876122abe/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:a-poc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:isseymiyake"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1999"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fashion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fabric"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:textiles"/>
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</item>
<item rdf:about="http://milenabonilla.info/project-128-Transitory_Map.html">
    <title>Transitory Map .:. Milena Bonilla</title>
    <dc:date>2015-02-16T05:10:53+00:00</dc:date>
    <link>http://milenabonilla.info/project-128-Transitory_Map.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I randomly took several bus rides in Bogotá and sew the torn fabric of some of the buses seats. The size of the holes defined the time invested in repairing them while traveling along the city. After each journey, I highlighted the bus's itinerary by sewing it on a map of the city, using the same thread color as the one used to sew the seat. Twenty-five tours were completed in the project and sixteen are documented."

[via: https://twitter.com/ablerism/status/566767100556247041 ]]]></description>
<dc:subject>milenabonilla art bogotá colombia repair sewing glvo mending buses publictransit publictransportation repairing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:608382e30b70/</dc:identifier>
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</item>
<item rdf:about="http://putthison.com/post/106520737133/a-little-diy-wabi-sabi-whereas-most-of-us-value">
    <title>Put This On • A Little DIY Wabi Sabi Whereas most of us value...</title>
    <dc:date>2015-01-07T05:12:54+00:00</dc:date>
    <link>http://putthison.com/post/106520737133/a-little-diy-wabi-sabi-whereas-most-of-us-value</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/mattthomas/status/552690009028198402 ]

"A Little DIY Wabi Sabi

Whereas most of us value things that are perfect and enduring, wabi sabi is the Japanese worldview that sees beauty in imperfection, impermanence, and incompleteness. Things such as a slightly lopsided vase, a shirt that’s missing a button, or an old, wooden desk that’s a little too dry. It’s believed that by recognizing the beauty in such things, we can better appreciate the natural cycle of life — from growth to decay to eventually death. 

Jonathan Lukacek — the very talented blogger behind Bandanna Almanac — is certainly familiar with the concept. He’s an American living in Japan, having stayed there after studying abroad for college. He’s also an inveterate thrifter who likes to collect garments with a lot character (rather than things that happen to be rare or hold value). In other words, “things that tell a story,” as he put it to me. 

Seen above are some of the creative ways he’s repaired his vintage finds. There’s a pair of jeans with pocket bags made from cut-up bandannas; a dirty collar of a denim shirt made new again through some more bandanna cloth; an old Five Brothers flannel with a slightly askew internal pocket (made with just the right amount of pattern matching); a denim jacket with blanket lining on the outside of the coat; and finally, some decorative sashiko stitching on the collar of an old chambray shirt. 

Everything was done with fabrics that Jonathan has either thrifted or found over the years. Some repairs he did himself; others he did in collaboration with his good friend Narita at Brown Tabby (a vintage repair shop in Japan). All of it is awesome — especially if you’ve ever appreciated anything at a thrift store or flea market, or even the designer lines that are inspired by such things (e.g. Blue Blue Japan, Kapital, and Visvim). 

You can see more of Jonathan’s work at his Instagram account. He also occasionally sells things at Etsy and eBay."]]></description>
<dc:subject>fixing mending repair repairing clothing denim jeans sashiko jonathanlukacek japan sewing clothes wabi-sabi</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fdd1af1c60d6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jonathanlukacek"/>
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<item rdf:about="http://submittedforyourperusal.com/2012/11/03/repair-your-own-jeans/">
    <title>Repair Your Own Jeans | Submitted For Your Perusal</title>
    <dc:date>2015-01-07T05:04:40+00:00</dc:date>
    <link>http://submittedforyourperusal.com/2012/11/03/repair-your-own-jeans/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/mattthomas/status/552690009028198402 ]

"[video embedded: https://www.youtube.com/watch?v=NXL0X193HDw ]

The white patch thing is one of Vlieseline’s many iron-on interfacings but I’m not sure which one.  More information — including a link to order a free repair kit — can be found at the Nudie Jeans website.

Jeans, like leaves in the fall, are at their most beautiful just before they disintegrate. This guy’s got the right idea: [image]"]]></description>
<dc:subject>matthomas jeans denim mending 2012 sewing beausage repair slothes clothing fixing repairing</dc:subject>
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<item rdf:about="http://www.jeanneworks.net/#/projects/freehouse_-_radicalizing_the_local/">
    <title>Freehouse - Radicalizing the Local</title>
    <dc:date>2014-10-20T03:18:37+00:00</dc:date>
    <link>http://www.jeanneworks.net/#/projects/freehouse_-_radicalizing_the_local/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Afrikaanderwijk in the south of Rotterdam is currently going through a process of transformation. By focussing on its small scaled multicultural character the neighbourhood could distinct itself from the new to develop suburbs that will surround it. One of the strongest and most recognized points of the area is the Afrikaander market. With over 300 stalls it is one of the biggest markets in the Netherlands. Twice a week it brought for years the most exotic products of the city. But it is also a run down market in need of attention.

Visual artist Jeanne van Heeswijk and architect Dennis Kaspori developed, with Freehouse a project that is based on cultural production as means for economical growth, a plan for an innovative programmatic design of the market. Together with market salesmen, local entrepreneurs, people form the neighbourhood, designers and artists they developed new products and services. This in order for the market to become again a site of cultural production and a meeting place for the neighbourhood. Tomorrows Market is a sparkling urban market with new products from the neighbourhood, new services, fashion shows, performances, special mobile vending carts, unique market stalls and much more.

http://www.freehouse.nl "

[See also: https://vimeo.com/32154833 ]]]></description>
<dc:subject>lcproject openstudioproject art jeannevanheeswijk community design sewing glvo rotterdam netherlands production food clothing vending</dc:subject>
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<item rdf:about="http://www.dezeen.com/2014/05/08/3d-printers-have-a-lot-to-learn-from-the-sewing-machine/">
    <title>Alexandra Lange on 3D printers versus the sewing machine</title>
    <dc:date>2014-05-13T18:18:02+00:00</dc:date>
    <link>http://www.dezeen.com/2014/05/08/3d-printers-have-a-lot-to-learn-from-the-sewing-machine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In March, Slate Magazine's Seth Stevenson provided a public service when he borrowed a Solidoodle 4, pitched as the "accessible", "affordable" 3D printer, and attempted to print a bottle opener from Thingiverse. [http://www.slate.com/articles/technology/technology/2014/03/solidoodle_4_testing_the_home_3_d_printer.html ] Results, as they say, vary, but he ended up, after a series of phone calls and false starts, with "a functionless, semi-decorative piece of plastic."

The bumbling encounter with technology is a popular stratagem for Slate, but here it pointed directly to the reason we're not seeing a 3D printer in every den. I've seen those rhino heads, those dinosaur skulls. They do not fill me with delight, but remind me instead of the cheap toys my kids bring home from birthday parties and I throw away in the night. Why bother? How is printing your Triceratops at home more creative, more making, than buying one from a store? In either case, step one is scrolling through pages of online options, pointing and clicking in 2D.

Stevenson concluded that 3D printing was no place for amateurs, but for tinkerers. Those able to work under the hood of the printer: to understand the terms in the manual, to customise or create their own products for Thingiverse. For such tinkerers, neighbourhood printing hubs like Techshop, where subscribers can go to use physical or digital tools, make more sense. Designers taking advantage of 3D printers' capabilities for rapid prototyping and small-batch production have already started farming out the actual printing to places like Shapeways. When we stopped having to fax even weekly, we all got rid of those machines.

But then Stevenson took a turn toward the larger question of craft. He wrote, "Once upon a time, people purchased sewing patterns (like a program from Thingiverse) and yards of fabric (like filament) and they made their own clothes. I wasn't alive back then, but I'm pretty sure the process sucked."

I must be older than Stevenson, because my mother and grandmother sewed clothes for me. My mother, aunt and I have all sewed clothes and quilts for my children. They are not amateurishly constructed. We managed to make them while also holding down full time jobs. And judging from the extremely active online sewing community, the active trade in old machines and patterns on Ebay, and the ease with which one can locate a scan of a thirty-year-old sewing machine manual, the digital age has not turned sewing into a novelty, but spawned a revival of interest. In fact, if 3D printers are truly going to become a consumer good, they have a lot to learn from the sewing machine.

Because Stevenson snidely generalised from his own limited experience, he missed the instructive dialogue between craft and the machine age. Post-industrial sewing is not a freak but a respite. In Evgeny Morozov's recent New Yorker essay on the new makers, he quotes historian Jackson Lears' critique of the Arts & Crafts movement as "a revivifying hobby for the affluent." I'd say middle-class: (mostly) women who aren't seeing what they want, at a price they can afford, in the marketplace.

There’s an appetite for the "refashion," recycling an old dress or an adult T-shirt, and turning it into something new. Once upon a time, the use of flour sacks as fabric prompted grain-sellers to start offering their wares in flowered cotton bags. If some boutique grain company began doing that again, there would be a run on their product. Under the technology radar, there's a community of people sharing free patterns, knowledge and results, without the interpolation of brands, constantly obsolescent machinery, or the self-serving and myth-making rhetoric Morozov finds in Chris Anderson's Makers. There are the answers to the questions "Why bother?" and "How creative?" Rather than sewing being a cautionary tale, 3D printing can't become a consumer good until it learns a few lessons from why we sew now.

Number one: what's not available on the market. If you have a girl child in America, it is often difficult to find reasonably-priced, 100 per cent cotton clothing for her without ruffles, pink or purple, butterflies and hearts. If you go to the boy section, you run into an equally limiting set of colors, navy and army green, and an abundance of sports insignia. A full-skirted dress, a petite skirt, prints for the plus-sized – there are plenty of styles that are not novelties but, when not in fashion, disappear from stores. Online you can find patterns to make any of the above for less than $10, and fabric at the same price per yard. Online you can find step-by-step explanations, with photos, of how to make that pattern. That world of patterns is vast, constantly updated, and historically rich. Yes, sewing your own garment will take some time, but then you will have exactly what you want. That's why women bother.

…

Second lesson: recycling. Say my mother did actually sew something amateurishly. That's not the end of the story. A mis-printed jet-pack bunny is so much trash (unless I buy a second machine like a Filabot to remelt my filament). A mis-sewn seam can be ripped out and redone. An old dress can be refashioned into a new one. A favorite vintage piece can be copied. Sewing does not create more waste but, potentially, less, and the process of sewing is filled with opportunities for increasing one's skills and doing it over as well as doing it yourself. What are quilts, after all, but a clever way to use every last scrap of precious fabric?

So far, 3D printing's DIY aspects seem more akin to the "magic" of an ant farm, watching growth behind glass. Sewing lets the maker find their own materials, and get involved with every aspect of the process. 3D printing could do this, and there are classes, but even at the Makerbot showroom the primary interaction seemed to be ordering from Thingiverse. My local sewing shop has to teach more women to sew to survive; I don't see the printer makers coming to the same conclusion.

In addition, the machines themselves are constantly becoming junk. It's not unusual for new technology to change quickly. That's the fourth Solidoodle since 2011. Makerbot is on its fifth generation. It is early days for 3D printing, and the machines may eventually stabilise. But the rapid obsolescence suggests a lifecycle closer to that of a mobile phone than of a washing machine, which might also turn consumers off. The sewing machine was considered a lifetime purchase.

Last but not least, sharing. This is the one consumer area where 3D printing approaches sewing's success. From the Free Universal Construction Kit to full-body scans, the idea of open-source, free, and social-media enabled printing has been built-in to the 3D process. Showing off what you made is better when you created it, rather than printed it out. On the sewing blogs, the process pictures are half the fun, and most of the interest. What does it really teach your children when you can get doll house furniture on demand, except a desire for ever-more-instant gratification? For me to believe in 3D printers as a home machine, I'd have to see the digital file equivalent of women in their off-hours, making up patterns as they go along, sharing mistakes, dreaming better dreams. 3D printing feels bottled up, professionalised, too expensive for the experimentation of cut and sew and rip and sew again.

Stevenson wrote, "most people would much rather just get their clothes from a store — already assembled by people employing industrial-level efficiency and a wide variety of materials," and that's true. What Solidoodle and Makerbot and the rest should be looking at is the people who have seen everything in the store and found it wanting."]]></description>
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<item rdf:about="http://www.nytimes.com/2013/12/27/arts/design/folk-art-museum-quilts-show-has-new-perspective-on-form.html">
    <title>Folk Art Museum Quilts Show Has New Perspective on Form - NYTimes.com</title>
    <dc:date>2013-12-30T17:22:33+00:00</dc:date>
    <link>http://www.nytimes.com/2013/12/27/arts/design/folk-art-museum-quilts-show-has-new-perspective-on-form.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://www.folkartmuseum.org/altquilts ]]]></description>
<dc:subject>quilts quilting art craft glvo 2013 sewing textiles</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.designboom.com/art/eliza-bennett-embroiders-a-self-inflicted-sculpture-into-her-flesh-12-27-2013/">
    <title>eliza bennett embroiders a self-inflicted sculpture into her flesh</title>
    <dc:date>2013-12-28T19:25:04+00:00</dc:date>
    <link>http://www.designboom.com/art/eliza-bennett-embroiders-a-self-inflicted-sculpture-into-her-flesh-12-27-2013/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["using her own skin as a canvas, british artist eliza bennett has realized a self-inflicted sculpture, woven into the palm of her hand. considering the flesh as a base material, bennett carefully stitches patterns and lines into the epidermis of her body using colored thread; ‘a woman’s work is never done’ results as an incredibly worn-looking hand, overworked and fatigued. by using intricate embroidery techniques — traditionally used to symbolize femininity — and applying it to a context of its opposite, bennett challenges the pre-conceived notion that ‘women’s work’ is light and easy. ‘through a personally charged perception, I explore a range of issues relating to the formlessness of both individual and social reality’, the artist says of her ephemeral sculpture’s significance. the administered piece on the surface of her skin aims to chronicle the effects of labor intensive work, while drawing attention to low paid jobs such as cleaning, caring, and catering, all of which are traditionally considered to be gender specific towards women."]]></description>
<dc:subject>elizabennett embroidery body bodies art skin sculpture flesh glvo sewing 2013</dc:subject>
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<item rdf:about="http://chezskud.com/2013/11/17/why-is-it-so-difficult-and-expensive-to-make-your-own-clothes-or-have-them-made/">
    <title>Why is it so difficult and expensive to make your own clothes (or have them made)? | Chez Skud</title>
    <dc:date>2013-11-20T15:51:25+00:00</dc:date>
    <link>http://chezskud.com/2013/11/17/why-is-it-so-difficult-and-expensive-to-make-your-own-clothes-or-have-them-made/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve gone on for a long time already, but you can see that modern home-made clothing has most of the disadvantages of industrial clothing (poor durability, fiddly to make, externalities) and few of its benefits (capital-intensive economies of scale).

Home-made clothing may never be able to compete with industrial clothing based on cost alone, however if you aren’t able to wear industrial clothing, perhaps because you don’t fit their mass-produced sizes, or you want to opt out of the industrial clothing system for whatever reason, there are ways to make your own clothing (or have it made) that are more cost effective than the modern, quasi-industrial methods that are promoted through mainstream craft publications and retailers (Australia: Spotlight and Lincraft; USA: JoAnn’s and similar). Best of all, these are a mix-and-match set of skills, materials, and practices that you can do at whatever scale or level of investment works for you. You don’t actually have to dress like an 18th century peasant to take advantage of them. (Of course, if you want to, I fully support your life choices.)

This is quite enough rambling for one post, though, so I’ll put them in a followup. Stay tuned."]]></description>
<dc:subject>clothes sewing fabrics glvo 2013 via:debcha materials cotton capitalism cost economics environment industry industrialization polyester slavery viscose clothing fabric</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slavery"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clothing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fabric"/>
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</item>
<item rdf:about="http://www.floornijdeken.nl/">
    <title>Floor Nijdeken / Crossover Collective</title>
    <dc:date>2013-11-02T20:37:59+00:00</dc:date>
    <link>http://www.floornijdeken.nl/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Floor finished his bachelor of build environment in 2005 and worked as a spatial planner at one of Hollands ten biggest architecture agencies. In 2009 he started his second bachelor degree: Product Design at ArtEZ institute of Arts, Arnhem. From July to December 2012, he was an intern at the Bas Kosters Studio in Amsterdam.

'My design projects intend to redress social relationships. My main focus lies in activating and mobilising people. I design the conditions in which social structures can grow and bloom, and the initiative of users is stimulated. People working and living together can develop undesirable habits and routines resulting in indifference, anger, resentment and aversion. With myself as an intermediary and my projects as a medium, I let participants find out that working together can stimulate or create mutual trust, understanding and positive energy, things that are vital to the wellbeing of families, organisations and businesses.'"]]></description>
<dc:subject>art collective sewing textiles social glvo trust understanding relationships via:lizettegreco</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8d8fe261d567/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collective"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trust"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relationships"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:lizettegreco"/>
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</item>
<item rdf:about="http://www.kickstarter.com/projects/haptician/constellation-quilt">
    <title>Constellation Quilt by Emily Fischer — Kickstarter</title>
    <dc:date>2013-05-16T22:20:39+00:00</dc:date>
    <link>http://www.kickstarter.com/projects/haptician/constellation-quilt</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Touch the stars and celebrate your place in the universe with a handmade quilt of the constellations by Haptic Lab."

[See also: http://www.hapticlab.com/ ]]]></description>
<dc:subject>quilts quilting space astronomy sewing kickstarter 2013 hapticlab emilyfischer</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:04702f078cd0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quilts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quilting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:astronomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kickstarter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hapticlab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emilyfischer"/>
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</item>
<item rdf:about="http://www.logoremovalservice.com/take-a-look/">
    <title>Take a Look // Logo Removal Service :: Never Any Repeats / Transform + Renew</title>
    <dc:date>2013-04-30T22:59:06+00:00</dc:date>
    <link>http://www.logoremovalservice.com/take-a-look/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Logo Removal Service offers customized Removals, Replacements and Transformations.

Please get in touch and let me know how we can help.

One day, we may get some kind of fancy form (see below) to assist with this process. For now, we ask that you to communicate with usin a somewhat old fashioned way.

What you can get:

Logos on any garment, of any material, removed and replaced. L.R.S. can happen for many items—your leftover shirts from this year’s conference—or single ones. Every item, however, will be a little or a lot different than the others. L.R.S. can also happen on other things, such as umbrellas, automobiles, strollers, and more. I’ll work with you to find a solution."

[via: https://twitter.com/feKaylius/status/329368805581127680 ]]]></description>
<dc:subject>nologo sewing consumerism branding antibranding glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0af584cde68b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consumerism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:branding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:antibranding"/>
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</item>
<item rdf:about="http://blog.makezine.com/2012/08/30/in-the-makeshop-informal-learning-and-making-at-the-childrens-museum-of-pittsburgh/">
    <title>MAKE | In the MAKESHOP – Informal Learning and Making at the Children’s Museum of Pittsburgh</title>
    <dc:date>2013-04-08T22:46:50+00:00</dc:date>
    <link>http://blog.makezine.com/2012/08/30/in-the-makeshop-informal-learning-and-making-at-the-childrens-museum-of-pittsburgh/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["MAKE sat down for an interview with Lisa Brahms (Director of Learning and Research) and Adam Nye (MAKESHOP Manager) from the Children’s Museum of Pittsburgh. The Q&A mostly swirled around the museum’s MAKESHOP, both a program and a space inside the museum where kids and adults alike make things and learn about real stuff, from electricity and electronics to woodworking and sewing."

[Makeshop website: http://makeshoppgh.com/ ]

[See also: http://www.hfrp.org/publications-resources/browse-our-publications/makeshop-family-engagement-in-exploration-creativity-and-innovation
http://makered.org/2012/09/makeshop-at-the-childrens-museum-of-pittsburgh/
https://pittsburghkids.org/exhibits/makeshop ]]]></description>
<dc:subject>openstudioproject makerspaces pittsburg lcproject 2012 makeshop children'smuseumofpittsburgh museums learning electronics sewing glvo lisabrahms adamnye children'smuseums pittsburgh</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8dbe659aef91/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pittsburg"/>
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</item>
<item rdf:about="http://craftcouncil.americancraftmag.org/post/jimmy-mcbrides-interstellar-quilts">
    <title>Jimmy McBride's Interstellar Quilts | American Craft Council</title>
    <dc:date>2013-04-02T18:00:34+00:00</dc:date>
    <link>http://craftcouncil.americancraftmag.org/post/jimmy-mcbrides-interstellar-quilts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jimmy McBride's art quilts are really out of this world. Made from salvaged textiles (collected while working for a salt and vinegar shipping company called Intergalactic Transport), the quilts are hand-stitched and hand-quilted. As McBride puts it: "There's no log cabins or poinsettias around, so I just stare out the window until something catches my eye."

Back on Earth, McBride is based in Brooklyn, and also recently launched a line of Roycroft Quilts. If you'd like to see him talk more about his intergalactic travels, make sure to check out this video."

[See also: http://jimmymcbride.com/home.html
http://intergalactictransport.blogspot.co.nz/search/label/quilt
http://www.etsy.com/blog/en/2011/handmade-portraits-stellarquilts/ 
https://vimeo.com/18669372 ]

[Related: "1876 Ellen Harding Baker's "Solar System" Quilt" http://americanhistory.si.edu/collections/search/object/nmah_556183 ]]]></description>
<dc:subject>via:annegalloway 2013 quilts quilting sewing glvo astronomy space art textiles brooklyn sciencefiction video</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3a2574af7cca/</dc:identifier>
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</item>
<item rdf:about="http://www.scpr.org/culture/about-town/2010/12/05/hands-3rd/">
    <title>Storefront workshop pushes DIY craft-making for the holidays | 89.3 KPCC</title>
    <dc:date>2012-02-12T07:12:29+00:00</dc:date>
    <link>http://www.scpr.org/culture/about-town/2010/12/05/hands-3rd/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brainchild of artists Kyle Hollingsworth and Renee Ridgeley, Hand on 3rd is a workshop and creative space where people could come together and create. The shop offers hands-on training for crafts and arts of all sorts -- from sewing to mosaics -- and a place for like-minded aspiring craftspeople can meet and hash out new projects."

[Video also here: https://vimeo.com/17460475 ]]]></description>
<dc:subject>2010 diy making reneeridgeley kylehollingsworth workshops losangeles sewing crafts handson glvo</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3b943b658c23/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reneeridgeley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kylehollingsworth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:workshops"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:losangeles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:handson"/>
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</item>
<item rdf:about="http://www.instanthutong.com/34930/336955/works/urban-carpet">
    <title>URBAN CARPET</title>
    <dc:date>2012-01-09T19:33:26+00:00</dc:date>
    <link>http://www.instanthutong.com/34930/336955/works/urban-carpet</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Series of 8 maps embroidered on canvas with the same technique of the propaganda slogans realized on large fabric and used by the communist party during the seventies, which have been lately filled with white thread wool insertions. The 8 maps depict different Hutong areas in downtown Beijing, with a size of approximately one square kilometre each and a population of 30000; these areas have been isolated as autonomous towns within the big city. Since 2009 the carpets have been shown to the Hutong dwellers trough street public temporary events, hanging them up on ropes, wires and threads commonly used by local Beijing residents for their clothes to dry. "]]></description>
<dc:subject>2009 carpets sewing textiles urbanism urban art glvo beijing china mapping maps</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:518df0a583d6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:textiles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beijing"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.salon.com/entertainment/tv/feature/2011/05/31/treme_season_two_episode">
    <title>Musicians and cooks talk shop on &quot;Treme&quot; - Treme - Salon.com</title>
    <dc:date>2011-07-10T22:02:13+00:00</dc:date>
    <link>http://www.salon.com/entertainment/tv/feature/2011/05/31/treme_season_two_episode</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["David Simon's New Orleans drama "Treme" is very good at many different things, but it has a special knack for showing how artists make art, and what it actually means to make a living from creative work. It's not easy; in fact it's often infuriating, because society at large tends to see creative work as somehow "easier" than other kinds, and because artists themselves tend to be somewhat more eccentric or even volatile than other kinds of people, and more likely to be disconnected from mundane reality.

To say that "Treme" gets all this would be an understatement. In fact, the creative process is often the glue holding the show's other disparate elements together."]]></description>
<dc:subject>treme creativity thecreativeprocess howwework howwecreate davidsimon 2011 jazz music craft food cooking sewing glvo artists art</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0f3fd6331a52/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thecreativeprocess"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwework"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwecreate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidsimon"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jazz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
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</item>
<item rdf:about="http://blog.art21.org/2008/10/29/hallowgreen/">
    <title>Hallowgreen | Art21 Blog</title>
    <dc:date>2011-05-15T23:28:33+00:00</dc:date>
    <link>http://blog.art21.org/2008/10/29/hallowgreen/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While we often think of contemporary art and how our older students might respond to it, we are always pleased that our very youngest students are so enthusiastic about it, too. Nick Cave is one reason why.

Cave, chair of the Department of Fashion Design at the School of the Art Institute of Chicago, brings together his interests in fashion, performance and sculpture while making reference to African ceremonial costumes. Watch a video of Nick Cave, produced by United States Artists:"]]></description>
<dc:subject>nickcave performance performanceart sewing costumes classideas tcsnmy art fashion interdisciplinary multidisciplinary design glvo wearable textiles sound dance sculpture soundsuits fabric crossdisciplinary wearables fabrics</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:08884678e1ef/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fashion"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sound"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wearables"/>
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</item>
<item rdf:about="http://vimeo.com/8872289">
    <title>Nick Cave Lecture at Fowler Museum, Jan. 9, 2010 on Vimeo</title>
    <dc:date>2011-05-15T23:24:51+00:00</dc:date>
    <link>http://vimeo.com/8872289</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lecture presentation by Nick Cave about his signature Soundsuits is followed by a conversation between Nick Cave and the Fowler Museum's director Marla C. Berns about the global resonances in the artist's work.

This event was organized in conjunction with the exhibition "Nick Cave: Meet Me At The Center Of The Earth" which is on view at the Fowler Museum at UCLA January 10 - May 30, 2010."]]></description>
<dc:subject>costumes music masks nickcave art performance fowlermuseum ucla lectures conversations 2010 textiles wearable performanceart sewing sound soundsuits glvo classideas tcsnmy artists expression design dance sculpture fabric interdisciplinary multidisciplinary crossdisciplinary wearables fabrics</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:51fdbde85524/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:masks"/>
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</item>
<item rdf:about="http://www.saic.edu/gallery/saic_profile_faculty.php?type=Faculty&amp;alpha=C&amp;album=461">
    <title>The School of the Art Institute of Chicago: Profiles: Nick Cave</title>
    <dc:date>2011-05-15T23:22:24+00:00</dc:date>
    <link>http://www.saic.edu/gallery/saic_profile_faculty.php?type=Faculty&amp;alpha=C&amp;album=461</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My work, clothing & fiber-based sculptures, collages, installations, & performances, explore use of textiles & clothing as conceptual modes of expression & pose fundamental questions about human condition in social & political realm…

I believe that what happens in my studio & living life as an artist are the single most important things I bring to the classroom. Artists must design their own pathways, work through plateaus in their work & understand that they will find themselves humbled by the very process of art-making.

I encourage my students to build their work w/ conviction, come face-to-face w/ truth of what they are attempting to create, & be open to experimentation.

I have been lucky to have been mentored by talented artists who taught me to challenge myself & build level of confidence & trust in my creative judgment…I hope to provide my students w/ knowledge that their art making holds the possibility for acting as a vehicle for change on a larger, global scale."]]></description>
<dc:subject>nickcave art performance textiles classideas performanceart design collage assemblage life living teaching education learning artists glvo cv sound interactive sculpture installation expression humancondition society politics sensemaking experimentation doing making understanding self confidence trust wearable fabric sewing change costumes dance soundsuits tcsnmy interdisciplinary multidisciplinary crossdisciplinary pedagogy howwework wearables fabrics makingsense</dc:subject>
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</item>
<item rdf:about="http://www.nytimes.com/2009/04/05/arts/design/05fink.html?pagewanted=all">
    <title>Art - Nick Cave, Dreaming the Clothing Electric, at the Yerba Buena Center - NYTimes.com</title>
    <dc:date>2011-05-15T23:18:25+00:00</dc:date>
    <link>http://www.nytimes.com/2009/04/05/arts/design/05fink.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over the last decade Mr. Cave has become known for making colorful, extravagant sculptures with this kind of double life: they can stand alone in galleries as visually compelling art objects, or they can be worn by dancers as vehicles for sound and movement. He calls them Soundsuits.

Some Soundsuits, like a bouquet of metal toys and tops perched on top of a bodysuit made of crocheted hot pads, make a clanking commotion. Others, like the Soundsuits made of human hair (bought already dyed from a wholesaler in New York), tend to fall in the quiet, whispery range. All come to life in performance.

Yerba Buena’s director, Kenneth Foster, who described his institution as “deeply multidisciplinary,” called Mr. Cave a natural choice for the center for that reason. “So many visual artists cross over in a way that the performance world would be aghast at,” he said. “Nick is one of the rare artists as strong in his secondary field as he is in his home art form.”"]]></description>
<dc:subject>nickcave design performanceart performance dance art glvo classideas tcsnmy costumes sound soundsuits 2009 interdisciplinary multidisciplinary crossdisciplinary fabric sewing textiles wearable sculpture wearables fabrics</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:594ea8a1f2cc/</dc:identifier>
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</item>
<item rdf:about="http://www.jackshainman.com/artist-images9.html">
    <title>Nick Cave :: JACK SHAINMAN GALLERY</title>
    <dc:date>2011-05-15T23:17:06+00:00</dc:date>
    <link>http://www.jackshainman.com/artist-images9.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>art fashion performance nickcave costumes classideas tcsnmy glvo design sound soundsuits textiles wearable sewing fabric assemblage dance sculpture interdisciplinary multidisciplinary crossdisciplinary performanceart wearables fabrics</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ce369844cea6/</dc:identifier>
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</item>
<item rdf:about="http://badatsports.com/2009/the-soundsuits-of-nick-cave-contemporary-art-or-material-culture/">
    <title>The Soundsuits of Nick Cave: Contemporary Art or Material Culture? : Bad at Sports</title>
    <dc:date>2011-05-15T23:16:05+00:00</dc:date>
    <link>http://badatsports.com/2009/the-soundsuits-of-nick-cave-contemporary-art-or-material-culture/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My own lack of familiarity  with Cave’s work makes me wonder, though: Why is Cave’s show traveling to the Fowler Museum, which is a museum of cultural history, and not an art museum that has an equally strong ability to support and exhibit interdisciplinary art of this nature, like, say, the Los Angeles County Museum of Art (LACMA) or even UCLA’s “other” arts institution, the white-hot Hammer Museum*?"]]></description>
<dc:subject>art fashion costumes design sound nickcave fowlermuseum ucla 2009 classification interdisciplinary multidisciplinary crossdisciplinary glvo classideas tcsnmy wearable performanceart performance sewing soundsuits dance sculpture fabric wearables fabrics</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:64c41b32f632/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:performanceart"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sewing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:soundsuits"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wearables"/>
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</item>
<item rdf:about="http://www.vam.ac.uk/microsites/quilts/patchwork">
    <title>Victoria and Albert Museum - Patchwork: Pattern Maker</title>
    <dc:date>2011-04-23T03:17:19+00:00</dc:date>
    <link>http://www.vam.ac.uk/microsites/quilts/patchwork</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to the Victoria and Albert Museum Patchwork Pattern Maker. Using these pages, you will be able to upload any image and convert it instantly into your own, personalised quilt pattern. Let creativity be your guide."]]></description>
<dc:subject>sewing quilting design crafts patterns quiltmaking glvo projectideas software patternmaking images</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3c4d4fbcdbb9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crafts"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:software"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patternmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:images"/>
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</item>
<item rdf:about="http://www.maria-fischer.com/en/traumgedanken_en.html">
    <title>Maria Fischer · Portfolio · Traumgedanken [Related: http://jeweledplatypus.org/pixels/hypertextbook/]</title>
    <dc:date>2011-02-18T06:24:16+00:00</dc:date>
    <link>http://www.maria-fischer.com/en/traumgedanken_en.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Traumgedanken" contains a collection of literary, philosophical, psychological & scientifical texts which provide an insight into different dream theories.<br />
To ease the access to the elusive topic, the book is designed as a model of a dream about dreaming. Analogue to a dream, where pieces of reality are assembled to build a story, it brings different text excerpts together. They are connected by threads which tie in with certain key words. The threads visualise the confusion & fragileness of dreams.<br />
On 5 pages there are illustrations made out of thread. Their shape & color relies on the key words on the opposite page. This way an abstract image of the dream about dreaming is generated.<br />
In addition there are 5 pages where a significant excerpt from a text of the opposite page is stitched into the paper. It is not legible because the type’s actual surface is inside the folded page. This expresses the mysteriousness of dreams & the aspect of dream interpretation."]]></description>
<dc:subject>design books art glvo sewing thread mariafischer via:britta</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2d6346fddba4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Haberdasher">
    <title>Haberdasher - Wikipedia [New word… to me. Probably because I have little interest in clothes shopping (American variation). But I do like the first meaning]</title>
    <dc:date>2010-11-30T19:49:49+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Haberdasher</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A haberdasher is a person who sells small articles for sewing, such as buttons, ribbons, zippers, and other notions. In American English, haberdasher is another term for a men's outfitter. A haberdasher's shop or the items sold therein are called haberdashery."]]></description>
<dc:subject>words english vocabulary sewing glvo ribbons zippers buttons</dc:subject>
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    <title>Leah Evans Textiles</title>
    <dc:date>2009-10-12T06:33:43+00:00</dc:date>
    <link>http://leahevanstextiles.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[via: http://www.purselipsquarejaw.org/2009/10/soft-maps-lived-spaces.php
]]></description>
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<item rdf:about="http://www.hapticlab.com/index.php?/quilts/blanket-maps/">
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    <link>http://www.hapticlab.com/index.php?/quilts/blanket-maps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Soft-Maps (c) are quilted maps of neighborhoods and parks that represent someone's unique place in the city. Each map is meant to be used: wrap your children in them, have a picnic, pull them close during the next Nor'easter. Not only beautiful, these blankets can be used as a mnemonic tool. As your child grows up with a Soft Map, they learn to read their neighborhood and its landmarks in a tactile, easily remembered way."

[via: http://www.purselipsquarejaw.org/2009/10/soft-maps-lived-spaces.php ]]]></description>
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    <title>File:Lockstitch.gif - Wikipedia, the free encyclopedia</title>
    <dc:date>2009-10-02T05:08:15+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/File:Lockstitch.gif</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[How a sewing machine lockstitch works - ""most common mechanical stitch" on home machines; factory machines produce overlock stitch"
]]></description>
<dc:subject>via:britta sewing sewingmachines textiles mechanics kinetic machines movement animation glvo srg edg tcsnmy filetype:gif media:image</dc:subject>
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<item rdf:about="http://www.burdastyle.com/">
    <title>Sewing Patterns, Tutorials, Skills, Projects – For People Who Sew | BurdaStyle.com</title>
    <dc:date>2009-06-27T22:29:52+00:00</dc:date>
    <link>http://www.burdastyle.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["destination for do-it-yourself style...a virtual sewing circle, an open-source hub of ideas, expertise, and amazing patterns you can download & sew at home. We want you to learn something new every time you visit BurdaStyle. We want this website to inspire you...we want you to get involved: We're offering our ideas, expertise and downloadable patterns to the BurdaStyle community, and we hope that you'll contribute, too. There are many ways to be a part of BurdaStyle. Discuss sewing tricks and fixes with members of the BurdaStyle community. Add your sewing term definitions to the ones in our Sewpedia, or check out tips in our user-generated photo and video How Tos. Explore other users' creations in the Gallery, and upload photos of your own. You can even barter or sell what you make through BurdaStyle: Burda is the first established pattern publisher to release its designs without copyrights, allowing members of the public to market their BurdaStyle creations in limited editions."
]]></description>
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