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    <title>The Oaxacan Town Racing to Revive Ancient Indigo | POV Shorts - YouTube</title>
    <dc:date>2026-05-22T08:35:20+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Residents of all ages from Oaxacan town Niltepec alchemize blue indigo pigment from the jiquilite plant (Indigofera suffruticosa). Revisiting the ancient practice of their Zapotec and Zoque ancestors, despite the increasing challenges of climate change and lack of governmental subsidies, in what they hope turns out to be “The New Indigo Wave.”

A New Indigo Wave | POV Shorts"]]></description>
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    <title>How One Cooperative Champions the Quechua Weavers of Peru's Sacred Valley — Colossal</title>
    <dc:date>2026-04-22T02:52:58+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The economy of Peru’s Sacred Valley has long been entwined with the seasons. Rural communities typically grow crops and raise livestock to sustain themselves and to barter with others, a process that necessitates an attunement with nature, its cycles, and how these patterns influence self-sufficiency.

This is particularly true for the Quechua communities, Indigenous peoples who have long worked for subsistence rather than state currencies. In recent years, health clinics, schools, markets, and transportation requiring residents to use cash have slowly eroded this way of life. Today, many Quechua men leave their communities to work in tourism, which offers an income and the opportunity to learn Spanish. Conversely, women often remain at home to care for children and farms, making them dependent on support from their partners and family members.

[embed: https://vimeo.com/228854621 (info below) ]

In 2009, the nonprofit Awamaki formed to aid communities around Ollantaytambo, Cusco, as they navigated this change. U.S.-based Kennedy Leavens and Miguel Galdo, of Peru, had worked together previously at a similar organization supporting 10 women weavers from Patacancha. When that project shuddered, the two decided to found Awamaki to maintain their support.

The nonprofit grew quickly, and today, it assists nine cooperatives, comprising 174 artisans and community members who work across craft and tourism. With collaboration at its core, Awamaki prides itself on sustainability and focuses on broadening its partners’ access to a diverse array of markets and economic opportunities.

In addition to financial changes, the climate crisis is rapidly transforming the ways of the Sacred Valley, which faces disproportionate impacts as glaciers melt and the water supply dwindles. “The shift towards having personal income, for our artisan partners, is not about replacing traditional livelihoods, but about widening the economic ground beneath them so they can move their families towards prosperity and build resiliency to the effects of climate change, all without leaving the community or traditional ways of life,” the nonprofit tells us.

Partnering with Awamaki allows cooperative members to focus on traditional spinning, dyeing, and weaving traditions, while the nonprofit offers structural support in selling their goods and coordinating tourism. Carving through the terrain north of Cusco, the Andean highlands were once home to the Incans and still hold traces of the ancient empire, like the historic city of Machu Picchu, which continues to attract around one million people from around the globe each year. For many years, the organization says, visitors would arrive in villages without prior notice, and the women would halt their work to meet tourists and hopefully, sell a piece.

[image]

And of course, this way of making is demanding, as women not only weave, but also raise alpacas, shear their wool, and spin and dye the soft fibers into yarn. “Before weaving, I have to wash my hands carefully so the wool doesn’t get damaged. It requires attention and care,” Ricardina, an Awamaki member from the Cusci Qoyllur cooperative, tells us. “Sometimes I can weave more, sometimes less. It depends on time, on my children, on everything else I have to do.”

Today, Awamaki helps to coordinate tourism and provide compensation for visits. This includes programs like Murmur Ring’s immersion, which will bring a group of creatives to the region this June. “Our role is to create opportunities that can be compatible with cultural continuity, if that is what communities themselves want,” they say, adding:

<blockquote>For women, without personal income, everyday decisions can feel distant. Paying for school supplies, buying medicine, covering transportation costs, buying food to supplement the limited traditional crops that grow at high altitude–all of these depend on uncertain flows of money and shifting household dynamics. As climate patterns grow more erratic, with harsher frosts, longer dry spells, and thinning pasture, even the agricultural base families rely on has become less predictable, deepening that sense of financial fragility.</blockquote>

This regular support has simultaneously buoyed many women to greater financial independence and helped retain their way of life. “When new artisans join a cooperative, they are typically mentored by other women in their own community. Cultural knowledge remains community-held and community-led,” the nonprofit shares.

[image: "two people's hands holding raw and spun wool"]

“In my family, we make decisions together—about how to earn and how to move forward,” Daniela, a weaver from the Puskariy Tika cooperative, says. “Through this work, we are able to keep going and improve our lives little by little.”

Nadia, of the Rumia cooperative, echoes this sentiment. “Being part of Awamaki changed things for us. Now we have a steady income, and that allows us to keep weaving,” she says. “In our community, it’s not always easy. Some people say, ‘Why do you weave?’ But they don’t understand this work… We also teach our children to care for the environment, to grow things, to respect the land. That’s part of our work, too.”

To learn more about the women and support their work, visit Awamaki’s website [https://www.awamaki.org/ ]."

[Direct link to video:

"Land and Looms | Awamaki"
https://vimeo.com/228854621

"“This land gave them what in turn shaped them as individuals, as a community, as a people. Because they have lived in this physical space of land for so many years without influence from globalized information, their culture is very unique and very special.” - Juan Camilo Saavedra

Director/DP - Micah Fairchild

Producer - Bernie Baskin

Local Producer - Juan Camilo Saavedra

BTS Vlog: http://www.fairchildvisuals.com/journal/2017/8/7/awamaki-bts-vlog

#Quechua
#Weaving
#Cusco
#Peru"]]]></description>
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    <title>Cecilia Vicuña DENUNCIA que el mundo vota por quienes niegan la destrucción del planeta</title>
    <dc:date>2026-03-27T04:17:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7HOTKjV_82o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["👍 Dale like si crees que el arte puede ser una forma de resistencia ante la crisis climática

💬 Comenta: ¿Qué significa para ti que la humanidad destruya lo que la sustenta?

Desde el Museo Nacional de Bellas Artes, Cecilia Vicuña —Premio Nacional de Artes Visuales, León de Oro en la Bienal de Venecia 2023— nos abre su pensamiento en una conversación sobre arte, ecología, colonización y el futuro de la humanidad. Una entrevista que cruza seis décadas de obra para llegar al presente más urgente.

🔴 EN ESTA ENTREVISTA DE EL DESCONCIERTO:

→ Cecilia Vicuña explica el origen del arte precario en 1966 en Concón y por qué desaparecer puede ser un acto de vida
→ Advierte que la humanidad se convertirá en una especie suicida si no reconecta con lo que la sustenta
→ Denuncia que en la mayoría de los países la gente vota por quienes niegan la crisis climática
→ Revela que la cultura destructora tiene menos de 10.000 años frente a 300.000 años de memoria humana
→ Explica cómo las palabras contienen sistemas de conocimiento construidos durante milenios (verdad, mentira, solidaridad)
→ Habla del quipu andino como campo de conocimiento de 5.000 años quemado por los colonizadores y recuperado como resistencia poética
→ Reflexiona sobre la metacognición como única vía para evitar el colapso civilizatorio, según la neurociencia actual
→ Recuerda su retrospectiva 2023 en el MNBA —su primera exposición individual aquí desde 1971— y lo que ese silencio de décadas dice sobre Chile
→ Dialoga sobre el Diario Estúpido (1966, reeditado 2023 por Ediciones UDP) y la liberación del lenguaje femenino
→ Reivindica el pensamiento indígena de todo el planeta como la médula del sentipensar que hemos cortado

📊 CONTEXTO

Cecilia Vicuña (Santiago, 1948) es una de las artistas visuales y poetas chilenas más reconocidas internacionalmente. En 2023 recibió el Premio Nacional de Artes Visuales de Chile y el León de Oro en la Bienal de Venecia, además de inaugurar su primera retrospectiva en el Museo Nacional de Bellas Artes desde 1971. Su obra pionera del arte precario —iniciada a los 17 años en Concón— anticipa en décadas los debates actuales sobre ecología, descolonización y crisis climática. Ha instalado quipus monumentales en Shanghai, Atenas y museos de todo el mundo.

#CeciliaVicuña #ElDesconcierto #ArteChileno #ArtePrecario #Quipu #CrisisClimática #BienalDeVenecia #PremioNacionalDeArtes #MuseoNacionalDeBellasArtes #Descolonización #PueblosIndígenas #PoesíaChilena #ArteYEcología #DiarioEstúpido #Metacognición #ColapsoCivilizatorio #CulturaChilena #EntrevistaChile #ArteContemporáneo #MedioAmbiente"]]></description>
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    <title>Revelados - Cecilia Vicuña - YouTube</title>
    <dc:date>2026-01-06T04:47:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jepS4jWX0II</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En Revelados abrimos una conversación imperdible con Cecilia Vicuña, artista visual, poeta, cineasta y activista, considerada una de las voces más auténticas y polifacéticas de la poesía contemporánea.

No te pierdas esta conversación emocionante, llena de arte, junto a Sofía Tupper."]]></description>
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<item rdf:about="https://www.youtube.com/watch?app=desktop&amp;v=4VJxJesgF8Y">
    <title>how one company broke sewing for EVERYONE - YouTube</title>
    <dc:date>2026-01-05T06:26:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?app=desktop&amp;v=4VJxJesgF8Y</link>
    <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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</item>
<item rdf:about="https://vogue.ph/lifestyle/art/artist-sheila-hicks-textiles/">
    <title>Artist Sheila Hicks on a Life Wrapped in Textiles</title>
    <dc:date>2025-12-20T03:25:41+00:00</dc:date>
    <link>https://vogue.ph/lifestyle/art/artist-sheila-hicks-textiles/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Having lived a life surrounded by textiles and tactility, Sheila Hicks has always led with curiosity and confidence."]]></description>
<dc:subject>2025 sheilahicks art artmaking textiles</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:202cf54fc08a/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=WNv_24tFM5s">
    <title>Artist Sheila Hicks: &quot;We're all yearning for something that is warm.&quot; - YouTube</title>
    <dc:date>2025-12-20T03:23:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WNv_24tFM5s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Art is a big word.”  We visited Sheila Hicks, one of the most fascinating artists of our time, who, in her 90s, continues to work and surprise herself every day. 

”I don't remember when I got interested in art. I don't remember when it began. It wasn't a conscious decision. I'm still not sure what it means. I know what I like to do, and I am trying to figure out how to do it.” 

”Sitting in the back of a car as a child, you're a hostage. You look out the window. What's going on out there sparks your imagination. You wonder if you could be a participant. If you climbed out of the car, you could become part of another existence. I'm still thinking the same way. For me, moving around, working, looking out the window causes me to imagine different existences simultaneously.” 

In this personal interview, Sheila Hicks reflects upon her life, her accidental but formative meeting with Josef Albers at Yale University, and her discovery of the world of textiles. 

“I am very alert to how people package themselves. What they choose to live with on their own bodies. So, while painting and drawing, I always had textiles. I was surrounded by them, anywhere I went. Textiles appealed to me, and I was trying to figure out how they were made. I was fascinated like a crossword puzzle. How is this? Is this a single thread? Or is it two networks of threads that interlace in different positions and become a weaving, a textile, or a tapestry? I have always been sensitive to textiles.” 

“In the world we live in with so many hard things that we touch, we're crying for softness. We're all yearning for something that is warm, welcoming, and soft in the hard, hard world. What better than textiles and fiber? I've often repeated this: everybody knows that from the time you're born until you die, you're enveloped in textiles. So why not the best? And why not the ones you like the best and the ones you feel the best in?” 

 Sheila Hicks was born in Hastings, Nebraska, and received her BFA and MFA degrees from Yale University. She received a Fulbright scholarship in 1957-58 to paint and teach in Chile. While in South America, she developed her interest in working with fibres. After founding workshops in Mexico, Chile, and South Africa and working in Morocco and India, she now divides her time between her Paris studio and New York. ​ 
 
Hicks has exhibited internationally in both solo and group exhibitions. She was included in the 2017 Venice Biennale, the 2014 Whitney Biennial in New York, and the 2012 São Paulo Biennial in Brazil. Recent solo presentations include Lignes de Vie at the Centre Pompidou in Paris (2018), Free Threads 1954-2017 at the Museo Amparo, Mexico (2017), and Pêcher dans La Rivière at the Alison Jacques Gallery, London (2013). A major retrospective Sheila Hicks: 50 Years debuted at the Addison Gallery of American Art and travelled to the Institute of Contemporary Art, Philadelphia and the Mint Museum, Charlotte, NC.  
 
Hicks‘ work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art, New York City; Museum of Fine Arts Boston; The Art Institute of Chicago; the Victoria & Albert Museum, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; the Museum of Modern Art, Tokyo; Museo de Bellas Artes, Santiago; solo exhibitions at the Seoul Art Center, Korea; Israel Museum, Jerusalem. 

Sheila Hicks was interviewed by Marc-Christoph Wagner at the Musée d’Art Moderne de la Ville de Paris in November 2021 and in her studio in November 2025. 

Camera: Mark Nickels (2021) and Jarl Therkelsen Kaldan (2025) 
Edit: Roxanne Bagheshirin Lærkesen 
Produced by: Marc-Christoph Wagner 
Copyright: Louisiana Museum of Modern Art, 2025"]]></description>
<dc:subject>sheilahicks art textiles 2025 artmaking chile mexico latinamerica paris josefalbers annialbers</dc:subject>
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<item rdf:about="https://www.koozarch.com/essays/xigagueta-a-vessel-for-contemporary-art-writing-and-thinking">
    <title>Xigagueta: A Vessel for Contemporary Art, Writing and Thinking – KoozArch</title>
    <dc:date>2025-10-26T19:13:13+00:00</dc:date>
    <link>https://www.koozarch.com/essays/xigagueta-a-vessel-for-contemporary-art-writing-and-thinking</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An alternative subtitle for this piece is Diidxa’ rului’ ca neza — translated from the author’s mother tongue, this means ‘the word that shows the way’."]]></description>
<dc:subject>art writing thinking languagae translation 2025 xigagueta howwethink howwewrite embodiment memory imagination creation reflection anthropology life righttolife humanrights evaposas nieuweinstituut nations nationswithoutastate statelessness state states 2018 research bodies objects territory binnizá diidxazá dormancy oaxaca tehuantepec mexico libraries chiapas miguelcovarrubias diegorivera indigeneity indigenous race mestizo society discrimination ikoots chinanteco zoque chontal ayuuk collectives ombeayiüts hegemony poetry narrative sublevation dellalvarado diegomatus anapalacios oraltradition language languages uniónhidalgo sierramadresur lagunasuperior chicapa esteroguié espiritusanto victorfuentes galeríagubidxa globalization local small textiles textilejustice belonging identity land crime extraction extractivism silence loneliness technology emancipation transgression isthmusoftehuentepec wisdom meaning meaningmaking zá fernandomagariño binnigula'sa guendaabiani' gabriellópezchi</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=PmbmS3KwSi8">
    <title>I Tested Merino Wool T-shirts. Are They a Scam? - YouTube</title>
    <dc:date>2025-10-09T22:58:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=PmbmS3KwSi8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Merino wool. Intriguing! Synthetic clothing. Intriguing! Cotton. Wet! Today we are comparing Merino vs. Synthetic vs. Cotton. What is going on in there? We're looking at Patagonia's Capilene Cool, Unbound Merino, Proof 72-Hour t-shirt, and a cotton t-shirt from the brand Pompeii. Testing will look like such:

First, we'll test the anti-stink properties of the three. Is Merino really that good at anti-stink? Is polyester THAT bad (yes). Then we'll swing on over to drying speed before plopping in a nice warm bath of strength testing."]]></description>
<dc:subject>wool merino merinowool theironsnail michaelkristy 2025 clothing t-shirts tees comparsion materials polyester sustainability durability fabric textiles</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:389779cb96ea/</dc:identifier>
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</item>
<item rdf:about="https://anarchive.fo.am/silver/jacquard_mistake/">
    <title>The Jacquard Mistake — anarchive</title>
    <dc:date>2025-09-11T20:30:47+00:00</dc:date>
    <link>https://anarchive.fo.am/silver/jacquard_mistake/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Concerning certain adjustments to the counterweights, and what was lost. Or: a ghost story about looms."

[See also:
https://fo.am/blog/2025/09/10/weave-code-hammer/

""The Jacquard Mistake" haunts a Yorkshire textile museum, where phantom adjustments reveal weaving's lost responsiveness. Chalk marks on beams, counterweights that respond to the weather – a ghost story about the technologies we didn't choose."

https://anarchive.fo.am/silver/backwards_to_the_ground/
https://anarchive.fo.am/silver/from_scratch/ ]]]></description>
<dc:subject>justinpickard 2025 jacquardlooms looms textiles weaving history museums yorkshire technology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8bff266825f2/</dc:identifier>
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<item rdf:about="https://experimenter.in/artists/85-t.-vinoja/overview/">
    <title>T. Vinoja - Overview | Experimenter</title>
    <dc:date>2025-09-06T19:45:27+00:00</dc:date>
    <link>https://experimenter.in/artists/85-t.-vinoja/overview/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["T. Vinoja’s (b. 1991 in Kilinochchi, Sri Lanka) textile-focused practice is based in the landscape—both its physical presence and its emotional weight. Since the Sri Lankan Civil War (1983–2009), which lasted for over three decades, she has carried questions about the land and its people. The war may have ended, but its traces remain embedded in the soil, in memory, and in the everyday lives of people like Vinoja who grew up in the backdrop of unspeakable violence. This particular work is inspired by those wounded landscapes. To her, the land is not just a backdrop—it is a witness, a victim, and a silent bearer of trauma. Vinoja approaches the landscape as something that holds memory, loss, and grief, much like the human body. The work reveals a metaphoric connection between the land and the body through which she explores the ongoing relationship between trauma, memory, and place—emphasising how landscapes can hold wounds, just as people do."

[See also:

https://ocula.com/artists/vinoja-tharmalingam/

https://www.instagram.com/reel/DJ6Kpurzz2r/ ]]]></description>
<dc:subject>tvinoja art textiles memory landcape mourning landscapes traum place grief vinojatharmalingam</dc:subject>
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    <title>What is a Khipu</title>
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<item rdf:about="http://www.pawfal.org/dave/blog/tag/quipu/">
    <title>quipu | dave's blog of art and programming</title>
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    <title>We thought the Incas couldn't write. These knots change everything | New Scientist</title>
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    <title>Evelyn J Lamb – Inka History in Knots (Book Review)</title>
    <dc:date>2025-05-26T22:06:16+00:00</dc:date>
    <link>http://www.evelynjlamb.com/inka-history-in-knots-book-review/</link>
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    <title>The khipu code: the knotty mystery of the Inkas’ 3D records | Aeon Ideas</title>
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    <link>https://aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is tempting to view the march of progress as an uphill climb to the present moment, and the wheel, markets and writing as hurdles cleared in the arduous trek toward advanced civilisation. Modern-day customs are the lens through which we view the past, defining success – our own condition – with a ‘despite’ clause for others who don’t follow our own path."]]></description>
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    <title>Inca Khipu - String and Knot, Theory of Inca Writing</title>
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    <link>http://www.ee.ryerson.ca/~elf/abacus/inca-khipu.html</link>
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    <title>Inka Engineering Symposium 5: Khipu &amp; the Inka Empire - YouTube</title>
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    <title>String, and Knot, Theory of Inca Writing - The New York Times</title>
    <dc:date>2025-05-26T22:02:14+00:00</dc:date>
    <link>https://www.nytimes.com/2003/08/12/science/string-and-knot-theory-of-inca-writing.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2003 inca writing language encoding bronzeage information khipu quipu accounting code narrative recall nonnumerrical reading khipus via:quarry inka knots rope textiles computers computing math mathematics records recordkeeping perú</dc:subject>
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<item rdf:about="https://thentrythis.org/notes/2023/06/20/working-with-khipu-andean-culture/">
    <title>Working with Khipu &amp; Andean Culture</title>
    <dc:date>2025-05-26T22:01:36+00:00</dc:date>
    <link>https://thentrythis.org/notes/2023/06/20/working-with-khipu-andean-culture/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[An article about blending Inca khipu with microtechnology.]]></description>
<dc:subject>khipu khipus technology inca history via:angusm quipu inka knots rope textiles math mathematics records computing recordkeeping</dc:subject>
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<item rdf:about="https://www.khipufieldguide.com/sketchbook/index_imagequilt_by_name.html">
    <title>The Khipu Image Browser</title>
    <dc:date>2025-05-26T22:01:20+00:00</dc:date>
    <link>https://www.khipufieldguide.com/sketchbook/index_imagequilt_by_name.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>khipu khipus textiles via:shannon_mattern quipu inka inca knots rope math mathematics records computing recordkeeping</dc:subject>
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<item rdf:about="https://www.theguardian.com/science/2024/nov/11/did-you-solve-it-the-knotty-problem-of-paddington-in-peru">
    <title>Did you solve it? The knotty problem of Paddington in Peru | Science | The Guardian</title>
    <dc:date>2025-05-26T22:01:03+00:00</dc:date>
    <link>https://www.theguardian.com/science/2024/nov/11/did-you-solve-it-the-knotty-problem-of-paddington-in-peru</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The answer to today’s Inca-nundrum"]]></description>
<dc:subject>inca knots numbers maths khipu number rope khipus via:jonrandy quipu inka textiles math mathematics records computing recordkeeping</dc:subject>
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<item rdf:about="http://www.nytimes.com/2016/01/03/world/americas/untangling-an-accounting-tool-and-an-ancient-incan-mystery.html">
    <title>Untangling an Accounting Tool and an Ancient Incan Mystery - The New York Times</title>
    <dc:date>2025-05-26T22:00:14+00:00</dc:date>
    <link>http://www.nytimes.com/2016/01/03/world/americas/untangling-an-accounting-tool-and-an-ancient-incan-mystery.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At the site called Incahuasi, about 100 miles south of Lima, excavators have found, for the first time, several khipus in the place where they were used — in this case, a storage house for agricultural products where they appear to have been used as accounting books to record the amount of peanuts, chili peppers, beans, corn and other items that went in and out."]]></description>
<dc:subject>khipus notation writing mathematics khipu via:asfaltics quipu inka inca knots rope textiles math records computing recordkeeping</dc:subject>
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<item rdf:about="https://news.harvard.edu/gazette/story/2017/08/a-students-mines-voices-from-the-incan-past/">
    <title>Undergrad deciphers meaning of knots, giving native South American people a chance to speak</title>
    <dc:date>2025-05-26T21:59:58+00:00</dc:date>
    <link>https://news.harvard.edu/gazette/story/2017/08/a-students-mines-voices-from-the-incan-past/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“It’s giving the Incas their own voice,” said Gary Urton, chair of the Anthropology Department and Dumbarton Oaks Professor of Pre-Columbian Studies, who guided Medrano in his research. “I could never figure out the hidden meanings in these devices. Manny figured them out, focusing on their color, and on their recto or verso (right-hand and left-hand) construction. This was the only case we have discovered so far in which one or more (in this case six) khipus and a census record matches.”...

“This constitutes the first instance of ‘reading’ information from khipu attachment knots,” states the paper, titled “Toward the Decipherment of a Set of Mid-Colonial Khipus from the Santa Valley, Coastal Peru.”...

“I have been studying some 600 khipus across North America and Europe — not just their color, but the way the cords are spun to the left or to the right, and other such features. There is a lot of structural variation,” Urton said. “I knew we would have our greatest possibility of deciphering these in a match with one or more with a Spanish document that recorded the same information.”...

Medrano told him, “I have spring break coming up and nothing to do.” He studied the khipus, hypothesizing that the recto or verso knots contained meaningful information about the division of the Recuay people into moieties, or halves. These halves not only divided the village geographically, but also reflected social status.

“We now know not only that there were six clans in the valley, but also what social status each clan and each villager held in Recuay society,” said Medrano, who leveraged his concentration in applied mathematics and fluency in Spanish to connect the khipus with the census names. “I loved the idea that there might be numbers or words encoded in these knotted cords.”]]></description>
<dc:subject>writing records code archives accounting khipus khipu via:shannon_mattern quipu inka inca knots rope textiles math mathematics computing recordkeeping</dc:subject>
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<item rdf:about="https://www.theatlantic.com/culture/archive/2025/05/decoding-ancient-incas-writing-system-khipus/682814/">
    <title>Unraveling the Secrets of the Inca Empire - The Atlantic</title>
    <dc:date>2025-05-26T19:40:04+00:00</dc:date>
    <link>https://www.theatlantic.com/culture/archive/2025/05/decoding-ancient-incas-writing-system-khipus/682814/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For hundreds of years, Andean people recorded information by tying knots into long cords. Will we ever be able to read them?"]]></description>
<dc:subject>inca samkean musuknolte murrayorr knots language information khipus khipu quipu inka rope textiles math mathematics records computing recordkeeping</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=lsdEi_IQO1U">
    <title>The Hirbawi kuffiyeh factory in Hebron, Palestine’s last producer of the traditional scarf - YouTube</title>
    <dc:date>2025-01-14T15:35:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=lsdEi_IQO1U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A family-run business, opened in Hebron in 1961, the Hirbawi textile factory exists as Palestine’s last remaining weavery still producing the traditional Palestinian kuffiyeh. With daily operations handled by brothers Izzat, Abdullah and Jouda – the three sons of founder Hajj Yasser – continuing the kuffiyeh’s production on home soil is a cause of deep significance, motivated by respect for the scarf as a national symbol inextricably linked to the Palestinian people."]]></description>
<dc:subject>hebron westbank palestine textiles weaving fabrication manufacturing 2024 kuffiyeh</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:fb80633317e2/</dc:identifier>
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<item rdf:about="https://aeon.co/essays/when-womens-needlework-becomes-an-act-of-subversive-protest">
    <title>When women’s needlework becomes an act of subversive protest | Aeon Essays</title>
    <dc:date>2025-01-08T23:24:43+00:00</dc:date>
    <link>https://aeon.co/essays/when-womens-needlework-becomes-an-act-of-subversive-protest</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Knitting and embroidery are laden with stereotypes of domestic femininity – and the subversive potential for protest"
]]></description>
<dc:subject>knitting embroidery textiles 2025 femininity resistance gemmamckenzie history art craft gender tapestries crochet subversion quilting quilts sewing stitching chile pinochet dictatorship oppression lorinabulwer tiyamiles clarehunter kirstiemcleod palestine jeniallenby aseel cindyhorst alidajekabson soutafrica veronicamitchell needlework petuladvorak betsygreer orlycogan nataliebaxter sarahleonard annstephens appliqué humanrights justice socialjustice juliewolframfox tanyaaguiñiga patriarchy colonialism colonization decolonization feminism stellaminahan brittafluevog traceyemin robertabacic india egypt hampi cairo iran uk us rozsikaparker</dc:subject>
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<item rdf:about="https://letterformarchive.org/news/threading-letters/">
    <title>For Your Reference: Threading Letters - Letterform Archive</title>
    <dc:date>2024-06-01T21:21:15+00:00</dc:date>
    <link>https://letterformarchive.org/news/threading-letters/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From embroidery to weaving, there is a long history incorporating letterforms into fabric. In this visit to the Archive’s stacks, we’re pulling multiple threads on items that tie text to textiles."

[via:
https://kottke.org/24/05/fabric-letterforms ]
]]></description>
<dc:subject>embroidery textiles fabrics weaving 2024 letterformarchive typography lettering fonts design graphicdesign</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:54eff677d879/</dc:identifier>
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<item rdf:about="https://www.theverge.com/23833322/palestinian-embroidery-digital-archive-tatreez-wafa-ghnaim-tirazain">
    <title>Stitching together an archive of an endangered Palestinian art - The Verge</title>
    <dc:date>2024-05-24T19:31:57+00:00</dc:date>
    <link>https://www.theverge.com/23833322/palestinian-embroidery-digital-archive-tatreez-wafa-ghnaim-tirazain</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Palestinian embroidery is a centuries-old tradition. Can digitizing hard-to-access patterns help preserve it for a new generation?"]]></description>
<dc:subject>palestine miasato 2024 textiles embroidery patterns glvo archives craft archiving zainmasri digitization unesco tirazain wafaghnaim tatreez linabarkawi thobes identity culture art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.smithsonianmag.com/smithsonian-institution/what-happened-to-the-extinct-woolly-dog-180983580/">
    <title>What Happened to the Extinct Woolly Dog? | At the Smithsonian| Smithsonian Magazine</title>
    <dc:date>2024-01-23T18:34:23+00:00</dc:date>
    <link>https://www.smithsonianmag.com/smithsonian-institution/what-happened-to-the-extinct-woolly-dog-180983580/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Researchers studying the 160-year-old fur of a dog named Mutton in the Smithsonian collections found that the Indigenous breed existed for at least 5,000 years before European colonizers eradicated it"]]></description>
<dc:subject>aliciaault dogs 2024 indigenous indigeneity weaving textiles</dc:subject>
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<item rdf:about="https://johanssonprojects.com/artist/susie-taylor/">
    <title>Susie Taylor - Johansson Projects</title>
    <dc:date>2023-12-29T07:28:26+00:00</dc:date>
    <link>https://johanssonprojects.com/artist/susie-taylor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My work explores geometric abstraction through the tradition of weaving, a process that requires a creative and technical mindset to solve visual and structural puzzles. Imagery, rendered by the interlacing of warp and weft, is embedded in the very structure of the cloth. The interplay of yarns produces discernible color tones and textures that support a deeper exploration of translucency, opacity, saturation and dimension.

Inspired by Formalism and the Bauhaus, my compositions include basic shapes like blocks and stripes to address pattern, symmetry and color interaction, and the notion that ordered systems can still flirt with chance, interruption, and improvisation.

Sophia Kinell writes: “I love textile and I love a grid — works that are inherently precise, ordered, and meticulous in their construction. I immediately think of Annie Albers here who said, ‘simplicity is not simpleness but clarified vision.’ Susie Taylor is a Bay Area-based artist, and looks not only to Albers but also Sol Lewitt, Agnes Martin, Frank Stella and Ellsworth Kelly. Her work was recently included in Material Meaning: A Living Legacy of Anni Albers at Craft in America Center in Los Angeles.” – Phillips.com, May 20, 2022"

...

"Susie Taylor weaves abstract and dimensional textiles. She has exhibited her work in the U.S. and in international fiber art and contemporary textile biennials in China and Ukraine. Solo and group exhibitions include Origin Stories at Johansson Projects (Oakland); Altered Perceptions, at ICA San Jose, Poetic Geometry, at Textile Center Minneapolis; MATERIAL MEANING: A Living Legacy of Anni Albers at Craft in America Center (Los Angeles); and FIBER ART: 100 YEARS OF BAUHAUS at Art Ventures Gallery (Menlo Park, CA). Taylor is the recipient of a Handweavers Guild of America, Certificate of Excellence in Handweaving Level 1 and received an HGA Award for Beautiful Struggle at the National Fiber Direction 2015 at the Wichita Center for the Arts. She was awarded an HGA Award and the Innovation Award at Focus: Fiber 2014 at the Erie Art Museum. Other notable exhibitions include: Materials Hard and Soft, Greater Denton Arts Center, Fiber Arts VII, Sebastopol Center for the Arts, Eastern Michigan University Gallery, and New Voices in Weaving, Contemporary Crafts Gallery (Portland). She is in the forthcoming exhibition “Weaving At Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students” at Black Mountain College in North Carolina, curated by Michael Beggs and Julie Thomson. Her work was recently acquired into the de Young Museum’s permanent collection (San Francisco) and has been published in The LA Times, American Craft, Fiberarts, FiberArt Now, The Textile Eye, Complex Weavers Journal, Shuttle Spindle & Dyepot, Handwoven, Journal of Weavers Spinners & Dyers and The Bulletin (Guild of Canadian Weavers) magazines."]]></description>
<dc:subject>susietaylor art weaving textiles fibreart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:877425b2d7fd/</dc:identifier>
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<item rdf:about="https://johanssonprojects.com/exhibition/dance-doyle-terri-friedman-susie-taylor-hardcore-threadlore/">
    <title>Dance Doyle, Terri Friedman, Susie Taylor // Hardcore Threadlore - Johansson Projects</title>
    <dc:date>2023-12-29T07:22:34+00:00</dc:date>
    <link>https://johanssonprojects.com/exhibition/dance-doyle-terri-friedman-susie-taylor-hardcore-threadlore/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Three game-changing contemporary artists are joining up for an explosive show, Hardcore Threadlore, at Johansson Projects, opening November 3, 2023. The artists, Terri Friedman, Dance Doyle, and Susie Taylor create contemporary art through woven structures, dyed fibers and sometimes a bold use of mixed media. Their work shares a language with abstract and figurative painting, and is composed of bright, iconic colors that evoke nostalgia, pulling you into the scenes that are woven.

With the intersection unification of warp and weft, Terri Friedman’s work attempts to weave new neural pathways on her loom and in her brain to combat a climate of anxiety and instability. Neuroplasticity and the brain’s ability to repair neural pathways have informed Friedman’s work, encouraging viewers to consider “What could go right?” instead of asking what will go wrong.

Dance Doyle is also a master weaver with a second foundation in sculpture, who uses the woven structure of tapestry to tell shaped, vibrant narratives of people in over-populated city environments. Using mixed media and dyed fiber, Dance’s work is packed with atmosphere, nostalgia, movement, and urban mysticism. 

Susie Taylor’s woven works explore color interaction and the perception of dimension & volume. Using high-contrast and multi-colored yarns, she is finding connections between weaving and pointillism where the interlacement of yarns creates discernible tones and textures that mix in the viewer’s eye. Susie works in the lineage of the Bauhaus and Black Mountain College weavers that incorporate art, design, and craft sensibilities."

...

"Dance Doyle is an Oakland-based artist with years of ceramic sculpture and hand-building experience. Doyle completed artist-in-residence programs at the Textile Arts Center in Brooklyn, NY, the Museum of Arts and Design in NYC, and the Bemis Center for Contemporary Arts in Omaha, NE. They have served as vice president of Tapestry Weavers West, and are a member of the American Tapestry Alliance and the Textile Arts Council at the De Young Museum in San Francisco, CA. Their work has been shown at the Legion of Honor Museum, the De Young Museum in San Francisco, Minnesota Street Projects (San Francisco), Johansson Projects (Oakland) and the San Jose Museum of Quilts and Textiles. In 2020, they were published in Textile Fibre Forum Magazine, the American Tapestry Alliance’s CODA Magazine, and featured twice in Fiber Art Now Magazine. In 2021, Doyle was published in Untitled Magazine’s Innovate issue and was a Chenven Foundation Grant recipient. In 2022, they were nominated for the Outstanding Student Award, granted by the Surface Design Association, and awarded the 2022 All-College Honors Scholarship from California College of the Arts in San Francisco, CA. Doyle was awarded both the Jack K. & Gertrude Murphy and an Edwin Anthony & Adalaine Boudreaux Cadogan Award in 2022, and the Barclay Simpson Award in 2023. Doyle was an Open Studio Resident at Haystack in Maine and has started a year-long Graduate Fellowship at the Headlands Center for the Arts in Sausalito, CA. Currently, they are a Meantime Artist in Residence at the Institute for Contemporary Arts in San Francisco, CA.

Terri Friedman lives and works in El Cerrito, California. She is Associate Professor at the California College of the Arts where she has taught both undergraduate and graduate students for the past two decades. Born in Colorado, Friedman received her BA with Honors from Brown University and MFA from Claremont Graduate School. She has exhibited nationally and internationally at venues including the Museum of Contemporary Art, Los Angeles; The Contemporary Jewish Museum, San Francisco; CODA Museum, Netherlands; Berkeley Art Museum and Pacific Film Archive, Berkeley; the San Jose Museum of Art; Yerba Buena Center for the Arts, San Francisco; John Michael Kohler Arts Center, Sheboygan, Wisconsin; and Orange County Museum of Art, Costa Mesa, California. Friedman has received numerous awards including The San Francisco 2021 Artadia Award, Facebook Artist in Residence, Cue Art Foundation Grant, Santa Barbara Arts Fund Grant, Wallace Alexander Gerbode Foundation Grant, Albin Polesak Award. In 2022 the De Young Museum acquired her seminal work ‘ENOUGH’ (2021).

Susie Taylor weaves abstract and dimensional textiles. She has exhibited her work in the U.S. and in international fiber art and contemporary textile biennials in China and Ukraine. Solo and group exhibitions include Origin Stories at Johansson Projects (Oakland); Altered Perceptions, at ICA San Jose, Poetic Geometry, at Textile Center Minneapolis; MATERIAL MEANING: A Living Legacy of Anni Albers at Craft in America Center (Los Angeles); and FIBER ART: 100 YEARS OF BAUHAUS at Art Ventures Gallery (Menlo Park, CA). Taylor is the recipient of a Handweavers Guild of America, Certificate of Excellence in Handweaving Level 1 and received an HGA Award for Beautiful Struggle at the National Fiber Direction 2015 at the Wichita Center for the Arts. She was awarded an HGA Award and the Innovation Award at Focus: Fiber 2014 at the Erie Art Museum. Other notable exhibitions include: Materials Hard and Soft, Greater Denton Arts Center, Fiber Arts VII, Sebastopol Center for the Arts, Eastern Michigan University Gallery, and New Voices in Weaving, Contemporary Crafts Gallery (Portland). She is in the forthcoming exhibition “Weaving At Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students” at Black Mountain College in North Carolina, curated by Michael Beggs and Julie Thomson. Her work was recently acquired into the de Young Museum’s permanent collection (San Francisco) and has been published in The LA Times, American Craft, Fiberarts, FiberArt Now, The Textile Eye, Complex Weavers Journal, Shuttle Spindle & Dyepot, Handwoven, Journal of Weavers Spinners & Dyers and The Bulletin (Guild of Canadian Weavers) magazines."]]></description>
<dc:subject>dancedoyle terrifriedman susietaylor textiles fiberart weaving 2023</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:651e6bfe6047/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=8fLsVPegwqM">
    <title>Perspectives: Susie Taylor - YouTube</title>
    <dc:date>2023-12-29T06:52:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8fLsVPegwqM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black Mountain College Museum + Arts Center presents a conversation with Susie Taylor. Taylor is a contemporary textile artist featured in the exhibition Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students. In this conversation, Taylor discusses her practice, including her origami weavings, the relationship between her work and abstraction, and her philosophy of structural innovation.

About the artist:

Susie Taylor is a weaver and textile designer based in San Jose, California. A constant and prolific experimenter, Taylor takes an iterative approach to making her work, which she develops in series. By limiting her material palette, Taylor makes structure her primary tool for pictorial expression. Taylor’s process recalls the work of the Black Mountain College weavers in her rigorous approach to experimentation, play, and iterative development. Her work in low relief and three dimensions, inspired in part by origami, also relates to the extended BMC legacy of weaving as practiced by Kay Sekimachi and Trude Guermonprez.

Taylor received her B.F.A. from Kansas City Art Institute and M.F.A. from UCLA and then later earned a Certificate of Excellence (Level 1 Handweaving) from The Handweavers Guild of America. Recent exhibitions include Hardcore Threadlore: Dance Doyle, Terri Friedman and Susie Taylor at Johansson Projects in Oakland, Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students at Black Mountain College Museum, and Altered Perceptions: Sarah Hotchkiss, Lordy Rodriguez and Susie Taylor at Institute of Contemporary Art, San José. She has exhibited her work in the US and in international fiberart and contemporary textile biennials in China and Ukraine.

Her work has been seen on Colossal Art and in New American Paintings, The LA Times, American Craft, Fiberarts, Fiber Art Now, The Textile Eye, Complex Weavers Journal, Shuttle Spindle and Dyepot, Handwoven, Journal of Weavers Spinners and Dyers and The Bulletin (Guild of Canadian Weavers), and Weven magazines. She has taught at Penland School of Arts and Crafts, Arrowmont School of Arts and Crafts and Tyler School of Art."]]></description>
<dc:subject>weaving origami textiles susietaylor sanjose 2023 kaysekimachi trudeguermonprez art fiberart arts craft process looms innovation invention creativity problemsolving bmcm+ac cloth experimentation johanssonprojects artists bauhaus blackmountaincollege bmc</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=9CaofPMfzA4">
    <title>A Conversation with Porfirio Gutierrez - YouTube</title>
    <dc:date>2023-12-18T08:14:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9CaofPMfzA4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black Mountain College Museum + Arts Center presents a conversation with Porfirio Gutierrez. Gutierrez is a contemporary textile artist featured in the exhibition "Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students."

About the artist:

Porfirio Gutierrez is a California-based Zapotec textile artist and natural dyer, born and raised in the richly historic Zapotec textile community of Teotitlán del Valle in Oaxaca, Mexico. He grew up immersed in color and surrounded by the wildness of Oaxaca’s mountains, and by the knowledge of plants for healing and for color. His life’s work has been revitalizing and preserving traditional Zapotec natural dye techniques with a focus on reinterpreting traditional textiles and materials to reflect his distinct creative vision.  

Working in both Ventura, California, and Oaxaca, Gutíerrez’s art practice maintains his ancestor’s spiritual belief in nature as a living being, sacred and divine. His grounding in Zapotec traditional knowledge manifests in his textiles, reinterpreting the traditional weaving language, subverting and re-imagining the symbols and forms, morphing his textile designs toward the fractal forms and spaces of architecture and the movement he sees in cities and urban environments. 

Gutíerrez is a truly American artist, moving freely across the imposed borders between his two countries, as his ancestors and many other Indigenous peoples have done for thousands of years. His designs draw deeply on his experiences of two cultures, moving between the traditional and the modern, but always reliant on the deep knowledge and spiritual dimensions of his work. 

The story of his art has been told in The New York Times, PBS, and the BBC World Service, London. Gutíerrez has been featured in Vogue Magazine and the Smithsonian’s American Indian Magazine. In 2015, he received the Smithsonian Institution’s Artist in Leadership fellowship award. His work is in the collection of the Museo Nacional de Culturas Populares, Fomento Cultural Banamex, and the Smithsonian’s National Museum of American Indian. A selection of Gutiérrez dye materials was also documented and added to Harvard Art Museums’ Forbes Pigment Collection, the world-renowned archive of artist materials."

[See also:

"ReVIEWING 14: The Weavers of BMC - Featured Presentation with Julie J. Thomson and Michael Beggs"
https://www.youtube.com/watch?v=GGU2WjvnfRw

"Weaving at Black Mountain College:
Anni Albers, Trude Guermonprez, and Their Students
Black Mountain College Museum + Arts Center
September 29, 2023 – January 6, 2024"
https://www.blackmountaincollege.org/weaving/ ]]]></description>
<dc:subject>porfiriogutierrez weaving 2023 textiles zapoteca zapotec mexico oaxaca ventura bmcm+ac</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=_e2eOMSzHMk">
    <title>Metaheaven, designers (The Netherlands) - YouTube</title>
    <dc:date>2023-12-03T07:06:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_e2eOMSzHMk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Metaheaven (The Netherlands)
Online lecture
22 November 2023

The work of Metahaven encompasses filmmaking, writing, and design. Their films include Capture (2022), Chaos Theory (2021), Hometown (2018) and Information Skies (2016), nominated for the European Film Awards 2017.
Recent publications include Digital Tarkovsky (2018), a book-length essay about cinema. In 2010, they published Uncorporate Identity, co-edited with Marina Vishmidt.

Their forthcoming book on art and cognition is scheduled to appear in Spring 2025 with Verso. They write the “Cognitions” blog with Zora Zine, and are regular contributors to e-flux Journal and Harvard Design Magazine.

Metahaven have presented solo exhibitions at MoMA PS1, New York, Yerba Buena Center for the Arts, San Francisco, Izolyatsia, Kyiv, ICA London, e-flux, New York, State of Concept Athens, and Stedelijk Museum Amsterdam, among others, as well as participated in group exhibitions at Artists Space, New York, the Museum of Modern Art Warsaw, M HKA, Antwerp, the Gwangju Biennale, and the Sharjah Biennial, Ghost:2561, Bangkok, and many others. Their work is featured in collections of the Sharjah Art Foundation, the National Gallery of Victoria, M HKA, the Victoria & Albert Museum, and the Stedelijk Museum Amsterdam, among others.

Metahaven are heads of department at the Geo-Design MA at the Design Academy Eindhoven since September 2023, a programme in which they previously taught since its start in 2020. They are artistic advisors at Rijksakademie, Amsterdam, and affiliate researchers at Antikythera, Los Angeles.

Metahaven‘s lecture is part of Fabrica’s “Co-ecologies” residency program curated by Carlos Casas."]]></description>
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<item rdf:about="https://syllabusproject.org/again-again/">
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    <dc:date>2023-11-16T05:20:59+00:00</dc:date>
    <link>https://syllabusproject.org/again-again/</link>
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<item rdf:about="https://www.techwontsave.us/episode/187_the_real_history_of_the_luddites_w_brian_merchant">
    <title>The Real History of the Luddites w/ Brian Merchant - Episodes - Tech Won’t Save Us</title>
    <dc:date>2023-10-02T15:34:10+00:00</dc:date>
    <link>https://www.techwontsave.us/episode/187_the_real_history_of_the_luddites_w_brian_merchant</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paris Marx is joined by Brian Merchant to discuss the history of the Luddites, why we have their story all wrong, and what we can learn from them today.

Guest
Brian Merchant is the technology columnist at the LA Times and the author of Blood in the Machine: The Origins of the Rebellion Against Big Tech. You can follow Eric’s newsletter on Substack."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["What the Luddites can teach us about resisting an automated future."]]></description>
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    <title>Self-taught Designer Marguerita Mergentime Literally Brought Modernism to the Table in America – Eye on Design</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["People once flocked to see her typographic textiles and bought her work by the armload—so why don’t you know who she is?"]]></description>
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<item rdf:about="https://www.lionnevandeursen.com/fabric">
    <title>BIOTIC | Lionne van Deursen</title>
    <dc:date>2021-04-13T17:08:21+00:00</dc:date>
    <link>https://www.lionnevandeursen.com/fabric</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“BIOTIC is an ongoing research project to the possibilities of a biologically grown material. In this material research microbes are used to grow a biological material. This material is made of bacterial cellulose. Bacterial cellulose is made using yeast and bacteria in a fermentation process. Each bacterial cellulose sheet has a different translucency, which affects the applied colour. After the growing process Studio Lionne van Deursen experimented with different natural plant dyes and dyes made from fruitwaste. This material archive results in a collection of fabrics with different colours, translucency and textures.”

[See also:
https://www.instagram.com/lionnevandeursen/ ]

[via:
https://www.instagram.com/p/CEGnP_VDe93/
https://www.instagram.com/p/CEq2yzUD35p/

via:
https://www.are.na/block/8723406
https://www.are.na/block/8723399 ]]]></description>
<dc:subject>lionnevandeursen dyes glvo materials fruitwaste fabrics fabric textiles translucency biology biotic cellulose</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:885410df39dd/</dc:identifier>
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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 rdf:about="https://sites.saic.edu/mfa2017/artist/nuria-montiel/">
    <title>Nuria Montiel – SAIC MFA Show 2017</title>
    <dc:date>2021-03-10T19:56:02+00:00</dc:date>
    <link>https://sites.saic.edu/mfa2017/artist/nuria-montiel/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nuria Montiel (b 1982, Mexico City) generates participatory and collaborative spaces that foster encounters to expand our experience and understanding of the world. Urban drifts and traveling across territories are recurrent methodologies in her practice to engage with a place and its communities. For her MFA project, she looked at Oaxaca textiles’ traditions, Anni Albers and the Bauhaus School to trace the influence of Mesoamerican culture in Western Art. Stencils of soil, weavings, typography and codes, body and movement are elements to meditate about possible echoes, resonances, fragmentation and change in knowledge through different cultures in time. Nuria obtained a BFA at Facultad de Artes y Diseño (FAD-UNAM) and continued her studies at Soma in Mexico City. Her most recent work was been presented at Cuarto de Máquinas and Museo Nacional de la Estampa in Mexico City, Hyde Park Art Center in Chicago and Project Row Houses in Houston."]]></description>
<dc:subject>nuriamontiel art textiles place community 2017 typography bodies movement knowledge culture</dc:subject>
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    <title>Indigo: The story of India’s ‘blue gold’ | Business and Economy News | Al Jazeera</title>
    <dc:date>2020-12-19T09:39:23+00:00</dc:date>
    <link>https://www.aljazeera.com/features/2020/12/13/indigo-and-the-story-of-indias-blue-gold</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“For generations, family-run farms in South India have grown and produced the natural dye that was once colonial capital.”]]></description>
<dc:subject>india 2020 indigo blue color process textiles dyes via:justinpickard cotton plants agriculture glvo</dc:subject>
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<item rdf:about="https://www.kilim.com/types/overdyed-rugs?cl=5">
    <title>Overdyed Rugs</title>
    <dc:date>2019-05-30T05:51:52+00:00</dc:date>
    <link>https://www.kilim.com/types/overdyed-rugs?cl=5</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The journey of over-dyed rugs began in Istanbul, Turkey during efforts to revitalize old hand-woven rugs. Vintage rugs were first decolorized and then over-dyed. The mix of traditional designs with a contemporary effect became the celebration of chromatic compositions. Kilim.com became part of this exciting process and now has one of the largest collections of hand-woven over-dyed Turkish vintage area rugs and patchworks and we are delighted to share them with you. Please read our article about over-dyed rugs for more info."

[See also:
"Overdyed Vintage Rugs: Get The ‘Lived On’ Look"
https://www.kilim.com/kilim-wiki/overdyed-rugs ]]]></description>
<dc:subject>blue rugs textiles</dc:subject>
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<item rdf:about="https://medium.com/fathominfo/generative-knitting-93839d1fd5c9">
    <title>Generative Knitting – fathominfo – Medium</title>
    <dc:date>2019-04-26T19:06:58+00:00</dc:date>
    <link>https://medium.com/fathominfo/generative-knitting-93839d1fd5c9</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[loaded with images]

"I personally have long been fascinated by textile arts, and as a studio we are always looking for ways to explore data-driven designs beyond the computer screen. The 1:1 comparison of pixels to stitches has been widely explored, but it wasn’t until recently that our studio had the means to explore it ourselves.

Coding and textile arts share a close bond. Some of the earliest programmable machines were Jacquard looms — weavers used a series of punch cards to make more complex patterns and produce textiles more quickly.

Since a full Jacquard loom was a little out of scope for a side project, we started looking into other machines. An embroidery machine was promising, but was unsuited for a project of a larger scale.

Then I stumbled upon Claire Williams‘s data knits work. I was so intrigued by the complexity of patterns she was able to knit using a hacked 90‘s electronic knitting machine that I started looking into how it was done. Turns out, she has instructions on how to get started with connecting these kinds of machines to a computer. While Anisha looked into the parts we would need for the electronics, I began my search for a knitting machine. I ended up finding a woman in western Massachusetts who works with these machines and had a nicely refurbished one that we were able to purchase. She even came to the studio and gave us a full tutorial on how to the machine works.

While we waited for the electronic interface to get up and running, Martha and I tested different techniques and patterns with the machine.

During that time, we also went to the Bauhaus exhibit at the Harvard Art Museums, and I was completely blown away by Anni Albers’s and Gunta Stölzl’s work. That led me to pick up Albers’s book On Weaving.

In particular, Albers’s piece “Pasture” stuck with me, and I began thinking about using photographs of places and objects to generate palettes for textiles. That led to an exploration using various software sketches to generate palettes and patterns and build assistive knitting tools.

Generating palettes
First, I was interested in seeing what you could pull from just a photo. I began with photos that had a great balance of colors, hoping that reapplying those same ratios in different orientations could create new works with a similar mood.

In making mistakes, I also got some cool results.

Generating patterns

I then started to think more about the limitations of our machine (with an eye towards actually knitting something). In theory, our machine can use as many colors as you want, but only 2 can be loaded in at a time. Some accessories allow four colors at a time, so I set my sights on four-color patterns.

I didn’t have any knitting patterns handy, so I drew a few “pattern pieces” in Photoshop, and used those as the blueprints onto which I could map new colors. I wrote a few sketches in Processing to map the photo colors onto these pieces, and also generate different combinations of the pieces to create different patterns.

The program also worked by passing in a set palette, and having it randomly select four colors to apply to a pattern.

Moving into Knitting
With those patterns in place, it was time to see if I could actually produce them with the machine.

I printed out a small sample of all my generated palettes to bring to the store and see which colors were available.

From far away, this also started to look like its own giant pattern…

It only took five hours…but I did knit one pattern I had generated, and I am really excited by the results. My knitting and finishing techniques need some work, but the colors and texture that resulted are lovely.

I struggle to keep track of where I’m at in a pattern, so I threw together a little Processing sketch to help me. One thing I didn’t realize while making this tool is that the machine knits patterns upside down! Oh well: I’ve been told there are no mistakes in knitting.

With more of the automation in place (and more practice!), we‘ll be able to explore the more irregular, glitchy, and tapestry-like patterns.

There’s also so much more to experiment with on the physical side that moves beyond color and its arrangement — like the different textures and sheen of the yarn (maybe we could use four different black yarns with different textures!), or different types of stitches. I’m also looking forward to exploring more meaningful data relationships between the data generating the colors and the patterns themselves."]]></description>
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<item rdf:about="https://byborre.com/">
    <title>BYBORRE - Mastering Knit</title>
    <dc:date>2019-04-24T23:16:08+00:00</dc:date>
    <link>https://byborre.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Byborre is an Amsterdam based textile innovation studio working on the frontiers of material development, functionality and aesthetics through engineered knits.

Signature to Byborre are the innovative hand-rendered techniques that, through direct interaction with their circular knitting machines, give the studio full creative freedom to play with patterns, colours, and textures within their fabrics. Designing from the yarn up allows Byborre to discover new possibilities both within their own collections and for leading brands.

Over the past six years Byborre has worked with clients such as Nike, wings+horns, The North Face, and Daniel Arsham. Through consultation and collaboration with other brands, Byborre pushes knit innovation to find creative ways to achieve the project’s goal. The archetypical clothing pieces in the studio’s own label tell an important story about the relationship between material and machine, along with introducing a new approach to fashion where process and product are equally important.

Over the past six years Byborre has worked with clients such as Nike, wings+horns, The North Face, and Daniel Arsham. Through consultation and collaboration with other brands, Byborre pushes knit innovation to find creative ways to achieve the project’s goal. The archetypical clothing pieces in the studio’s own label tell an important story about the relationship between material and machine, along with introducing a new approach to fashion where process and product are equally important."]]></description>
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<item rdf:about="https://www.kenyonreview.org/kr-online-issue/2017-marapr/selections/miho-nokana-656342/">
    <title>An Essay by Miho Nonaka | Kenyon Review Online</title>
    <dc:date>2019-02-14T20:43:44+00:00</dc:date>
    <link>https://www.kenyonreview.org/kr-online-issue/2017-marapr/selections/miho-nokana-656342/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[So good. There's really no good way to quote this one, so here are just a few sections.]

"Heavenly Worm

Mrs. Itō, our fourth-grade teacher, drew a new kanji character on the board: 蚕. “Worm from heaven,” she announced, “as you can see.” Heaven splits open like a curtain (天) and inside it dwells the worm (虫). For each student, she took out five worms from her basket and put them in a small paper box to take home. Having just hatched from their eggs, these worms were still covered in little black hairs. That’s why at this stage they are called kego (hairy baby), Mrs. Itō told us. To feed these dark babies, julienne your mulberry leaves first."

…

"Platinum Boy, 2006

After decades of research, Japanese silkworm breeders discovered a reliable method of hatching exclusively male silkworms. Female silkworms eat more, sleep more, take up more space, and are measurably less efficient in transforming mulberry leaves into silk. The verdict was clear: female silkworms are inferior for silk production.

Silk spinners and kimono weavers are unanimous in their praise of male silk: their thread is consistently finer, sturdier, glossier, whiter, and their cocoons are easier to harvest when boiled.

The birth site of Platinum Boy is literally black and white. When you look at a piece of paper where silkworm eggs are laid, white eggs are the empty shells from which male larvae have already hatched. They will thrive on the diet of tender mulberry shoot which, combined with their spit, will eventually turn into raw silk, translucent like frosted glass. The dark eggs contain female larvae that will never hatch and only keep darkening."

…

"Ten Thousand Leaves I

Compiled in the mideighth century, Man’yōshū (Collection of Ten Thousand Leaves) is the oldest Japanese anthology: more than forty-five hundred poems in twenty books. In the sweltering heat of the attic, I wasn’t looking for any particular motif when I happened on poem No. 2495, composed by Kakinomoto no Hitomaro, a low rank courtier and one of the “Saints of Japanese Poetry”:

<blockquote>like my mother’s
silkworms confined
inside cocoons,
how can I see my love
who lives secluded at home?</blockquote>

Poem No. 2991 is almost the same poem by another poet, simply tagged “unknown”:

<blockquote>like my mother’s
silkworms confined
inside cocoons,
sadness clouds my heart
when I cannot see her</blockquote>

The motif of a silk cocoon as the inaccessible, lyrical interior goes back to the dawn of Japanese poetics. The cocoon encases the image of the beloved, the poet’s longing that keeps building inside, and in my poem it holds the mother as a mythical seamstress, stitching blue in each wrist of her unborn daughter."

…

"職人 I

I used to blame my grandmother on my father’s side, who was described to me as fierce, frantic, funny, a destructive visionary and unsuccessful business entrepreneur during the critical times of the Second World War. When I felt defeated by the radical pull of my own emotion, I would attach them to the face of the woman I had never met in person, only in a fading picture where she stands next to my young father without glasses, still a student with surprisingly gentle eyes.

My father recently told me during one of our late-night international calls from Tokyo: “Your grandfathers were both shokunin (craftsman), remember? It’s in your DNA, too.” His father had come from a large family of silk farmers. After he left home, adopting the newly introduced Singer sewing machines, he began manufacturing Japanese cloven-toed socks, the traditional kind that used to be hand-sewn, and during the war, he took the assignment to sew parachutes for the Imperial Japanese Army Air Force. While he worked under dimmed light, my young father put up his primitive drawing of warplanes on the wall, covered in fine grains of sand."

…

"Small Things

They say (I love the convenience, but who are “they”?) that attention to detail is a characteristic of the Japanese. I am drawn to small things: tadpoles, silica beads, star sands in a vial, a notebook the size of a thumbnail, fish scales, a nativity scene inside half a walnut shell. I am terribly myopic like my father, and I like things that are near. Large things loom over and terrify: airports, Costco, churches in Texas, the Tokyo Skytree, Mount Rushmore (those granite faces I once believed had surfaced in response to the historic atomic bombing), and that elusive word “global.”"

…

"Komako

It didn’t occur to me until I tried translating a few passages from Snow Country that the young geisha’s name Komako (駒子) means Pony Child. What inspired the author Kawabata to portray his heroine as a woman of equine grace? We don’t know her family name. On the other hand, we don’t know the first name of Shimamura, who is referred to only by his last name.

I imagine if your family name is a gate to the house, your first name must be its interior. In the days when the first book of Man’yōshū was composed, asking a maiden’s first name was synonymous with proposing to her. Knowing it meant possessing the person.

Komako’s body is translucent like a silkworm, and an unearthly room encloses her fruitless passion like a white cocoon. While writing Snow Country, Kawabata says he distanced himself from Shimamura, who serves merely as a foil to Komako. “As an author, I entered deep inside the character of Komako, but casually turned my back to Shimamura,” he writes in the afterward. “Especially in terms of emotion—Komako’s sadness is nothing other than my own sadness. . . .” And so it is; his heart has become subsumed into her heart."

…

"Body

I find it impossible to talk about the body (mine and everyone else’s) without sounding embarrassed or oddly distant. I don’t mean to self-deprecate, but it has been almost too fashionable, too charged a topic for me to feel safe around. (A cowardly thing to say—the truth is, no one is safe.)

I won’t pretend my body is a plain blockhouse, or a slab of flesh aching with desire or lack thereof. Who could have taught me to stay at home in my own body all the while I traveled from one country to another, turning from the spontaneous, if careless, music of my mother tongue to the cautious economy of English, reaching out, in the hope of actually reaching and being reached?

For the subjects most critical to me, I find no teachers. Perhaps there is not enough demand? I believe I am badly behind everyone and that I missed an opportunity to ask questions long ago. People my age in this country sound fluent in the body, discussing it with just the right amount of sarcasm and laughter without revealing much, like they have been on intimate terms with it since they learned to speak. I suppose I should have listened to the body harder, without ulterior motives."]]></description>
<dc:subject>mihononaka silk essays canon howwewrite 2017 silkworms multispecies japan japanese language gender via:ayjay poetry writing fabric textiles srg glvo insects history cocoons craft translation languages childhood change materials process form details weaving texture morethanhuman shinto bodies body small slow fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<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 rdf:about="https://aeon.co/videos/sublime-colours-brought-back-from-oblivion-the-exquisite-effects-of-natural-dyes">
    <title>Sublime colours brought back from oblivion – the exquisite effects of natural dyes | Aeon Videos</title>
    <dc:date>2018-08-15T18:35:30+00:00</dc:date>
    <link>https://aeon.co/videos/sublime-colours-brought-back-from-oblivion-the-exquisite-effects-of-natural-dyes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[https://www.youtube.com/watch?v=7OiG-WjbCQA ]]]></description>
<dc:subject>dyes textiles color 2018</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9c1fcadb1cd1/</dc:identifier>
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<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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<item rdf:about="http://zohraopoku.com/">
    <title>Zohra Opoku</title>
    <dc:date>2018-02-21T00:42:01+00:00</dc:date>
    <link>http://zohraopoku.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Zohra Opoku is a German/Ghanaian multidisciplinary artist living and working in Accra. 

With a keen and disciplined eye for textile and design, Opoku employees installation, sculpture, and photography at the helm of her practice. She conceptualizes West African traditions, spirituality, the thread of family lineage as they relate to self authorship and the politics of her hybrid identity. A globalized social consumption and the commodification of all things African are a driving force in what she sees as the nemesis of her thesis, and the relevance of cultural credentials within this state of being.

Opoku has exhibited her work in association with Gallery Commune1 Capetown, CCA Lagos, ANO Ghana/ DAK´ART 11th Biennial, Nubuke Foundation Accra, Kunsthaus Hamburg, Gallery Peter Herrmann Berlin, Musée de l´Ethnographie  Bourdeaux, Guggenheim Bilbao, Broad Art Museum Michigan, Kruger Gallery Chicago and 1.54 NY. Her residencies include Art OMI Ghent(NY), Iwalewa Haus Bayreuth(DE), Jan van Eyck Institute Maastricht(NL), Kala Institute Berkeley(CA) and Institute Sacatar Salvador Da Bahia(BR).

Opoku is represented by MARIANE IBRAHIM Seattle."]]></description>
<dc:subject>zohraopoku art artists textiles ghana design photography</dc:subject>
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<item rdf:about="https://www.instagram.com/p/BfEilJUhXP0/">
    <title>marian april glebes en Instagram: “Work in progress. Thinking about materials that, through their relationship to the maintenance and minor catastrophes of daily life, inform…”</title>
    <dc:date>2018-02-11T22:23:18+00:00</dc:date>
    <link>https://www.instagram.com/p/BfEilJUhXP0/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Work in progress. Thinking about materials that, through their relationship to the maintenance and minor catastrophes of daily life, inform on how and why a place is made, a home is made, and for whom/how/what makes a place or home.
This was a dirty towel. It's use was important, vital. It's material history is embedded in it. How do our routines teach us about what we value, and what we waste? Can a rag, or dust, or a tissue be portraiture?"]]></description>
<dc:subject>materials maintenance everyday place homes history time waste routines dust rags textiles marianglebes 2018</dc:subject>
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<item rdf:about="https://twitter.com/RespectableLaw/status/907360800326774784">
    <title>RespectableLawyer on Twitter: &quot;9/11 THREAD: Afghan War Rugs and the Lossy Compression of Cultural Coding https://t.co/mSdLO62XEL&quot;</title>
    <dc:date>2017-09-12T05:30:16+00:00</dc:date>
    <link>https://twitter.com/RespectableLaw/status/907360800326774784</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Open this link for the many images in the thread.]

"9/11 THREAD: Afghan War Rugs and the Lossy Compression of Cultural Coding

1) The “war rug” tradition of Afghanistan has its origins in the decade of Soviet occupation of Afghanistan from 1979 - 1989.

2) Afghan rug-makers began incorporating war equipment into their designs almost immediately after the Soviet Union invaded their country.

3) War rugs had a resurgence when the U.S invaded Afghanistan in 2002. The most famous example is shown below.

4) In the modern version of the war rug, the image was created on something like MS Paint, and then a template provided to a weaver.

5) The weaver then worked by hand, pixel by pixel as it were, meaning that every war rug is unique.

6) For example, here are two other versions with subtle differences. These rugs were sold as souvenirs to American military personnel.

7) Icons in these war rugs are lifted directly from US psy-op leaflets. For example, the flag/dove symbol comes from this leaflet:

8) The iconography does not always translate well. Some Afghans believed the symbol to be some type of chicken.

9) They assumed that the leaflet could be used as a coupon that entitled them to a free bird or meal provided by the Coalition.

10) Manual reproduction of rugs means they are copied from another, over and over. Images change, are simplified, and morph into new forms.

11) For example, weavers still target Russian customers, such as this example which is not a depiction of the Avengers on a tank.

12) The rug depicts a well-known Russian monument.

13) But did you notice that weird design in the bottom panel?

14) It’s actually a reworked version of the aircraft carrier deck in this 9/11 rug.

15) The carrier super-structure has morphed into some kind of weird bird design.

16) Images morph not just from rug to rug, but even in a single rug design.

17) The weavers (often children) who make the 20th (or 100th) copy have no idea of the meaning of the iconography they are reproducing.

18) As a result, the original 9/11 rug has slowly turned into rugs like this:

19) Generations of reproduction produced by copying from previous copies results in an almost incomprehensible outcome.

20) Like a jpeg that has been repeatedly compressed, the image lost its original coherence.

21) War rugs straddle a weird line between fine art and souvenir curio.

22) To me, the gulf between their iconography’s meaning and the production of the art is its most intriguing feature.

23) And strangely enough, it has more artistic gravity than the kinds of art Americans made for themselves to mark 9/11.

24) If you’re interested in learning about these bizarre artifacts, go check out https://rugsofwar.wordpress.com/ "]]></description>
<dc:subject>textiles rugs afghanistan war copying degadation 2017 iconography</dc:subject>
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<item rdf:about="http://www.gardnercampbell.net/blog1/?p=2170">
    <title>Doug Engelbart, transcontextualist | Gardner Writes</title>
    <dc:date>2017-07-19T22:23:35+00:00</dc:date>
    <link>http://www.gardnercampbell.net/blog1/?p=2170</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve been mulling over this next post for far too long, and the results will be brief and rushed (such bad food, and such small portions!). You have been warned.

The three strands, or claims I’m engaging with (EDIT: I’ve tried to make things clearer and more parallel in the list below):

1. The computer is  “just a tool.” This part’s in partial response to the comments on my previous post. [http://www.gardnercampbell.net/blog1/?p=2158 ]

2. Doug Engelbart’s “Augmenting Human Intellect: A Conceptual Framework” [http://www.dougengelbart.org/pubs/augment-3906.html ] is “difficult to understand” or “poorly written.” This one’s a perpetual reply. 🙂 It was most recently triggered by an especially perplexing Twitter exchange shared with me by Jon Becker.

3. Engelbart’s ideas regarding the augmentation of human intellect aim for an inhuman and inhumane parsing of thought and imagination, an “efficiency expert” reduction of the richness of human cognition. This one tries to think about some points raised in the VCU New Media Seminar this fall.

These are the strands. The weave will be loose. (Food, textiles, textures, text.)

1. There is no such thing as “just a tool.” McLuhan wisely notes that tools are not inert things to be used by human beings, but extensions of human capabilities that redefine both the tool and the user. A “tooler” results, or perhaps a “tuser” (pronounced “TOO-zer”). I believe those two words are neologisms but I’ll leave the googling as an exercise for the tuser. The way I used to explain this is my new media classes was to ask students to imagine a hammer lying on the ground and a person standing above the hammer. The person picks up the hammer. What results? The usual answers are something like “a person with a hammer in his or her hand.” I don’t hold much with the elicit-a-wrong-answer-then-spring-the-right-one-on-them school of “Socratic” instruction, but in this case it was irresistible and I tried to make a game of it so folks would feel excited, not tricked. “No!” I would cry. “The result is a HammerHand!” This answer was particularly easy to imagine inside Second Life, where metaphors become real within the irreality of a virtual landscape. In fact, I first came up with the game while leading a class in Second Life–but that’s for another time.

So no “just a tool,” since a HammerHand is something quite different from a hammer or a hand, or a hammer in a hand. It’s one of those small but powerful points that can make one see the designed built world, a world full of builders and designers (i.e., human beings), as something much less inert and “external” than it might otherwise appear. It can also make one feel slightly deranged, perhaps usefully so, when one proceeds through the quotidian details (so-called) of a life full of tasks and taskings.

To complicate matters further, the computer is an unusual tool, a meta-tool, a machine that simulates any other machine, a universal machine with properties unlike any other machine. Earlier in the seminar this semester a sentence popped out of my mouth as we talked about one of the essays–“As We May Think”? I can’t remember now: “This is your brain on brain.” What Papert and Turkle refer to as computers’ “holding power” is not just the addictive cat videos (not that there’s anything wrong with that, I imagine), but something weirdly mindlike and reflective about the computer-human symbiosis. One of my goals continues to be to raise that uncanny holding power into a fuller (and freer) (and more metaphorical) (and more practical in the sense of able-to-be-practiced) mode of awareness so that we can be more mindful of the environment’s potential for good and, yes, for ill. (Some days, it seems to me that the “for ill” part is almost as poorly understood as the “for good” part, pace Morozov.)

George Dyson writes, “The stored-program computer, as conceived by Alan Turing and delivered by John von Neumann, broke the distinction between numbers that mean things and numbers that do things. Our universe would never be the same” (Turing’s Cathedral: The Origins of the Digital Universe). This is a very bold statement. I’ve connected it with everything from the myth of Orpheus to synaesthetic environments like the one @rovinglibrarian shared with me in which one can listen to, and visualize, Wikipedia being edited. Thought vectors in concept space, indeed. The closest analogies I can find are with language itself, particularly the phonetic alphabet.

The larger point is now at the ready: in fullest practice and perhaps even for best results, particularly when it comes to deeper learning, it may well be that nothing is just anything. Bateson describes the moment in which “just a” thing becomes far more than “just a” thing as a “double take.” For Bateson, the double take bears a thrilling and uneasy relationship to the double bind, as well as to some kinds of derangement that are not at all beneficial. (This is the double-edged sword of human intellect, a sword that sometimes has ten edges or more–but I digress.) This double take (the kids call it, or used to call it, “wait what?”) indicates a moment of what Bateson calls “transcontextualism,” a paradoxical level-crossing moment (micro to macro, instance to meta, territory to map, or vice-versa) that initiates or indicates (hard to tell) deeper learning.

<blockquote>It seems that both those whose life is enriched by transcontextual gifts and those who are impoverished by transcontextual confusions are alike in one respect: for them there is always or often a “double take.” A falling leaf, the greeting of a friend, or a “primrose by the river’s brim” is not “just that and nothing more.” Exogenous experience may be framed in the contexts of dream, and internal thought may be projected into the contexts of the external world. And so on. For all this, we seek a partial explanation in learning and experience. (“Double Bind, 1969,” in Steps to an Ecology of Mind, U Chicago Press, 2000, p. 272). (EDIT: I had originally typed “eternal world,” but Bateson writes “external.” It’s an interesting typo, though, so I remember it here.)</blockquote>

It does seem to me, very often, that we do our best to purge our learning environments of opportunities for transcontextual gifts to emerge. This is understandable, given how bad and indeed “unproductive” (by certain lights) the transcontextual confusions can be. No one enjoys the feeling of falling, unless there are environments and guides that can make the falling feel like flying–more matter for another conversation, and a difficult art indeed, and one that like all art has no guarantees (pace Madame Tussaud).

2. So now the second strand, regarding Engelbart’s “Augmenting Human Intellect: A Conceptual Framework.” Much of this essay, it seems to me, is about identifying and fostering transcontextualism (transcontextualization?) as a networked activity in which both the individual and the networked community recognize the potential for “bootstrapping” themselves into greater learning through the kind of level-crossing Bateson imagines (Douglas Hofstadter explores these ideas too, particularly in I Am A Strange Loop and, it appears, in a book Tom Woodward is exploring and brought to my attention yesterday, Surfaces and Essences: Analogy as the Fuel and Fire of Thinking. That title alone makes the recursive point very neatly). So when Engelbart switches modes from engineering-style-specification to the story of bricks-on-pens to the dialogue with “Joe,” he seems to me not to be willful or even prohibitively difficult (though some of the ideas are undeniably complex). He seems to me to be experimenting with transcontextualism as an expressive device, an analytical strategy, and a kind of self-directed learning, a true essay: an attempt:

And by “complex situations” we include the professional problems of diplomats, executives, social scientists, life scientists, physical scientists, attorneys, designers–whether the problem situation exists for twenty minutes or twenty years.

A list worthy of Walt Whitman, and one that explicitly (and for me, thrillingly) crosses levels and enacts transcontextualism.

Here’s another list, one in which Engelbart tallies the range of “thought kernels” he wants to track in his formulative thinking (one might also say, his “research”):

The “unit records” here, unlike those in the Memex example, are generally scraps of typed or handwritten text on IBM-card-sized edge-notchable cards. These represent little “kernels” of data, thought, fact, consideration, concepts, ideas, worries, etc. That are relevant to a given problem area in my professional life.

Again, the listing enacts a principle: we map a problem space, a sphere of inquiry, along many dimensions–or we should. Those dimensions cross contexts–or they should. To think about this in terms of language for a moment, Engelbart’s idea seems to be that we should track our “kernels” across the indicative, the imperative, the subjunctive, the interrogative. To put it another way, we should be mindful of, and somehow make available for mindful building, many varieties of cognitive activity, including affect (which can be distinguished but not divided from cognition).

3. I don’t think this activity increases efficiency, if efficiency means “getting more done in less time.” (A “cognitive Taylorism,” as one seminarian put it.) More what is always the question. For me, Engelbart’s transcontextual gifts (and I’ll concede that there are likely transcontextual confusions in there too–it’s the price of trancontextualism, clearly) are such that the emphasis lands squarely on effectiveness, which in his essay means more work with positive potential (understanding there’s some disagreement but not total disagreement about what “positive” means).

It’s an attempt to tell more of the the whole truth about experience, and to build a better world out of those double takes. Together.

Is Engelbart’s essay a flawless attempt? Of course not. But for me, Bateson’s idea of transcontextualism helps to explain the character of the attempt, and to indicate how brave and necessary it is, especially within a world we can and must (and do, yet often willy nilly) build together.

Not perfect; just miraculous."]]></description>
<dc:subject>dougengelbart transcontextualism gardnercampbell 2013 gregorybateson marshallmcluhan socraticmethod education teaching howweteach howwelearn learning hammerhand technology computers computing georgedyson food textiles texture text understanding tools secondlife seymourpapert sherryturkle alanturing johnvonneumann doublebind waltwhitman memex taylorism efficiency cognition transcontextualization</dc:subject>
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<item rdf:about="https://www.nytimes.com/2017/07/11/magazine/my-grandmothers-shroud.html">
    <title>My Grandmother’s Shroud - The New York Times</title>
    <dc:date>2017-07-18T20:39:59+00:00</dc:date>
    <link>https://www.nytimes.com/2017/07/11/magazine/my-grandmothers-shroud.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When my grandmother, my mother’s mother, died in late June in Nigeria, I was in Italy, at a conference. I wasn’t with her when she slipped into a coma or, three days later, when she died. When my brother told me the news, I called my mother and other members of my family to commiserate with them. She was buried the day of her death, in keeping with Muslim custom, and I couldn’t attend her funeral. My mother, visiting friends in Houston, would also miss the funeral.

I opened my computer and began to search my folders for pictures of my grandmother. On each yearly trip to Nigeria for the past several years, I went to see her in Sagamu, a town an hour northeast of Lagos, where she was born and where she lived for most of her life. On these visits, she would say: ‘‘Sit next to me. I want to feel your hands in mine. Be close to me. I want your skin touching mine.’’ I was always happy to sit with her and to hold hands with her. Afterward, I took photos. I have photos now of her alone, in selfies with me, in the company of my mother and my aunts. In these photos, she has surprisingly smooth skin, hardly any gray hair and, in most of them, a trace of amusement. In one, especially touching photo, my wife, Karen, applies polish to her nails.

To remain close to our dead, we cherish images of them. We’ve done so for millenniums. Think of the Fayum portraits, which show us the faces of Egyptians during the Imperial Roman era with stunning immediacy. Images — paintings, sculptures, photographs — remind us how our loved ones looked in life. But in most places and at most times, portraiture was available only to society’s elites. Photography changed that. Almost everyone is now captured in photographs — and outlived by them. Photographs are there when people pass away. They serve as reservoirs of memory and as talismans for mourning.

My grandmother was born in 1928. Her given name was Abusatu, but we called her Mama. Mama’s father, Yusuf, was a stern imam in Sagamu, and Yusuf’s father, Salako, was said to have been even more severe. But Mama herself was serene and good-natured, kind and tolerant. She was deeply consoled by her religion but not doctrinaire. Of her five daughters, two (including her firstborn, my mother) married Christians and converted to Christianity. It made no difference to Mama. The family had Muslims, Christians and some, like myself, who drifted away from religion entirely. Mama loved us all. An example of her unobtrusive kindness: While I was a college student in the United States, she sent me a white hand-woven cotton blanket. I never knew why and didn’t ask. But it is to this day the most precious piece of cloth I own.

I was leaving Rome when I received the sad news of Mama’s death. She was approaching 89. The end came swiftly, and she was surrounded by family. You could say it was a good death. But why couldn’t she have lived to 99, or to 109, or forever? Death makes us protest the fact of death. It makes us wish for the impossible. I could objectively understand that it was unusual to have had a grandmother in my 40s, and that my 67-year-old mother was equally fortunate in having had a mother so long. My father was 5 when his mother died, and he has been mourning her for longer than my mother has been alive. But the grieving heart does not care for logic, and it refuses comparisons. I mourned Mama as I left Italy for New York.

I mourned her but did not, or was not able to, weep. I arrived in New York in the late afternoon, perhaps at the very moment Mama was being interred. My mother had forwarded a couple of photos taken by my cousin Adedoyin to my wife’s WhatsApp. Karen reached for her phone and showed me the pictures. They were a shock. One was of Mama, dead on her hospital bed, wearing a flowery nightdress and draped in a second flowery cloth, the oxygen tube still taped to her nostrils. Her right arm was limp at her side, and she was not quite like someone asleep but rather like someone passed out, open and vulnerable. The other photograph, which seemed to have been cropped, showed a figure wrapped in a shroud, tied up with white twine, set out on a bed in front of a framed portrait: a white bundle in vaguely human shape where my grandmother used to be. I burst into sudden hot tears.

What did these photographs open? Imagination can be delicate, imposing a protective decorum. A photograph insists on raw fact and confronts us with what we were perhaps avoiding. There she is, my dear Mama, helpless on the hospital bed, and I cannot help her. Days later, I would find out from my mother that in this first photograph, Mama was still in a coma and not dead yet. But looking at the second photograph, the one in which she is incontrovertibly dead, my thoughts raced through a grim logic. I thought: Why have they wrapped her face up? Then I thought: It must be stifling under that thing, she won’t be able to breathe! Then I thought: She’s dead and will never breathe again. Then my tears flowed.

Mama’s life was hard. An itinerant trader of kola nut and later the owner of a small provisions shop, she was one of my late grandfather’s five wives and by no means the best treated. She never went to school, and the only word she could write was her name, sometimes with the ‘‘s’’ reversed. But when Baba died more than 20 years ago, Mama moved out of his house and lived in the two-story house that my mother built her. She was a women’s leader, a kind of deaconess, at the local mosque. She went to parties, to market and to evening prayers. She lived in the security of her own house, in the company of her widowed second daughter, my aunt. In those later years, life became easier.

‘‘She has a single obsession,’’ my mother used to say, ‘‘and that’s her burial rites.’’ Mama insisted that she be buried the same day she died. ‘‘She’ll say, ‘And I must not be buried at the house,’ ’’ my mother said, ‘‘ ‘Because what’s rotten must be thrown out. And for seven days, food must be cooked and taken to the mosque and served to the poor.’ ’’ And most important, my mother said, Mama would reiterate that in a cupboard in the room next to the meeting room in her house was her robe, the one she must be buried in. It was of utmost importance to her to meet her maker wearing the robe with which she approached the Kaaba, the holiest shrine in Islam.

The hajj, the pilgrimage to Mecca, which she undertook in 1996, when she was 68, transfigured my grandmother. Through that journey, through her accomplishment of one of the central tenets of Islam, she sloughed off her old life and took on a new one, one that put her into a precise relationship with eternity. The year of her journey, thousands of Nigerian pilgrims were turned back, because of meningitis and cholera outbreaks. My grandmother was one of a few hundred who got through. When she returned from Mecca, many of her townspeople took to calling her ‘‘Alhaja Lucky.’’ And as though to fit the name, she wore the serene mien of someone who was under special protection.

My mother, an Anglican Christian, financed the journey, knowing what it would mean to her mother to fulfill this final pillar of the faith. But possibly, she had no idea how much it would mean. She anticipated the social satisfaction Mama would get from it but had not counted on the serious existential confirmation it provided.

In the last few years, I often thought of Mama’s pilgrimage robe. I thought about how fortunate she was to have something in her possession so sacred to her, something of such surpassing worth, that she wished to have it on when she met God. And she had her wish: Beneath the plain white shroud in which she was sheathed after she died was that simple pilgrimage robe.

I look at the various photographs from Alhaja Lucky’s last years on my computer. None of them really satisfy me. Many are blurry, most are banal. I really like only the ones of her hands: They remind me of her wish to have her hands touched by mine. But the photograph I cannot stop thinking about is the one Adedoyin took, of Mama in her funeral shroud. The image reminds me of newspaper photos of funerals in troubled zones in the Middle East: an angry crowd, a shrouded body held aloft. But Mama was not a victim of violence. She died peacefully, well past the age of 88, surrounded by family.

Nevertheless, the custom is connected. It is a reminder that the word ‘‘Muslim’’ — so much a part of current American political argument, and so often meant as a slur — is not and has never been an abstraction, not for me, and certainly not for millions of Americans for whom it is a lived reality or a fact of family. A lead headline in The New York Times just a few days after Mama’s burial read: ‘‘Travel Ban Says Grandparents Don’t Count as ‘Close Family.’ ’’ The headline was about travel restrictions on visitors from six predominantly Muslim countries. Nigeria was not on the list, but the cruelty and absurdity of the policy was vivid. It felt personal.

On the night of Mama’s burial, I lay down to sleep in my apartment in Brooklyn. I couldn’t shake the image of my cousin’s photograph. I went into the closet and took out the white cotton blanket Mama sent me all those years ago. It was a hot night, high summer. I draped the blanket over my body. In the darkness, I pulled the blanket slowly past my shoulders, past my chin, over my face, until I was entirely covered by it, until I was covered by Mama."]]></description>
<dc:subject>2017 tejucole photography death memory nigeria aging relationships hajj islam purpose grief mourning grieving customs objects textiles immigration us policy connection families tolerance religion acceptance mecca eternity belief spirituality burial life living change transformation talismans</dc:subject>
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<item rdf:about="https://kilometre.paris/">
    <title>Kilometre.Paris – Travel by Fashion</title>
    <dc:date>2017-07-02T22:18:35+00:00</dc:date>
    <link>https://kilometre.paris/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Kilometre is a luxury brand like no other.

We believe that the discovering the world is the ultimate luxury. Our clothes are destined for travellers and for those who love life. We combine flavours, destinations, literature, sound, and music to create a community of travellers for whom beauty has no limits or frontiers. Kilometre.Paris surfs the waves of fashion to travel in original and unexpected ways. The brand has launched a series of exclusive designs embroidered onto 19th century white dress shirts from the south of France. The exquisitely detailed embroidery is done by hand in Mexico and India, and each shirt is based on the idea of travel. Company founder Alexandra Senes (former editor of Jalouse magazine, judge on the French version of Project Runway, consultant for luxury brands such as Hermes and Harpers Bazaar), carefully selected over 20 up-and-coming destinations (the St. Tropezs of tomorrow) and teamed up with designers and artisans to transform the shirts into illustrations of our destinations. With each shirt comes a “second skin” and a passport containing a guide to the destination.”

[See also: https://www.instagram.com/kilometre.paris/ ]]]></description>
<dc:subject>glvo embroidery textiles clothing fashion travel geography</dc:subject>
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    <title>This Indestructible Hoodie Is Designed To Outlive You</title>
    <dc:date>2017-06-29T17:02:56+00:00</dc:date>
    <link>https://www.psfk.com/2017/06/this-indestructible-hoodie-is-designed-to-outlive-you.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.vollebak.com/
https://www.vollebak.com/product/100-year-hoodie-granite/
https://www.vollebak.com/product/100-year-hoodie-raw/ ]]]></description>
<dc:subject>via:debcha clothing hoodies materials textiles sweatshirts</dc:subject>
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<item rdf:about="http://taeyoonchoi.com/artofteaching/#/">
    <title>The Art of Teaching</title>
    <dc:date>2017-06-27T05:07:36+00:00</dc:date>
    <link>http://taeyoonchoi.com/artofteaching/#/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "The slide deck for the workshop is superb. Such a great experience, so grateful to @tchoi8 & the other participants." https://twitter.com/dphiffer/status/879465006449909760

referencing also: "How I learn to build things. Something I created for @tchoi8’s Art of Learning workshop at @eyeofestival."
https://twitter.com/dphiffer/status/879366496354488322 ]

[video: "Absence is Presence with Distance"
https://vimeo.com/234330230

"As an artist, I work with technology and narrative – formal and relational projects. As an activist, I examine personal and political – practice and praxis. As an educator, I create feedback between plastic and elastic – learning and unlearning. My talk is set at the dawn. We are waiting for the sun to rise and we are full of questions. What’s the role of an artist as an activist now? How can we critique oppressive systems that create the sense of ‘others’ based on ability and legal status? What’s kind of pedagogy can we experiment through alternative schools? How can we create a community among those who have nothing in common? By creating art, we can give form to our intentions, contribute to making the world we want to live in.

( For a companion posting to this talk visit: 

https://medium.com/@tchoi8/absence-is-presence-with-distance-c0712aada56c )]]]></description>
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