Bike print, Editor Leonor Faber-Jonker
Editor Leonor Faber-Jonker
Editor Marina Toeters
Fashion Tech Farm 9
The DRAMA episode of 2020
The Fashion Filter: Fight Fashionable!
Citaten uit de Fashion Tech Farm Population:
41: Waarom zou ik zelf nog lachen, nu al
mijn gevoelens zichtbaar zijn op mijn kleding?
Gewoon boos blijven kijken.
42: The future, nowadays, is an integral part
of our garments, even if these are bought
43: Mijn kleding heeft nu ook een
ingebouwde douche. Werkelijk? Ook een
44: Voor mijn hoog emotioneel intelligente
kleding heb ik allang geen geheimen
45: In the 22th century, in order to save the
world, Fast Fashion developed smart
Sensors infected Pants
Drama at the Fashion Tech Farm:
Of course, the Pandemic struck also the happy designer community of the Fashion Tech Farm. The
community made arrangements to deal with this drama.
Imke in full germ reflecting outfit
Micro-controllers protecting against micro-organism
(CMYK 200), 40 x 30 cm.,
Colourpencil on paper, 2018
(CMYK 500), 80 x 55 cm.,
Colourpencil on paper, 2018
(CMYK 220), 110 x 80 cm.,
Colourpencil on paper, 2018
Contribution by Eric Jan van de Geer
Swatch Exchange Rituals 9: The Drama of Critique
One of the questions of the swatch book exchange was:
Is there any critical voice? Can a swatch which is proposed beforehand be
rejected? Why were all swatches always accepted?
• Some swatches are not working, beforehand or after a period of time.
• Some swatches are of less than brilliant design….
• Some swatches are purely make believe…
• Some swatches are not very inspired…
This was not really bothering the community of swatch-book designers.
But then…. Maybe quite the contrary ….the 2019 swatch book is empty.
See the difference. The 2019 is in the middle for comparison:
The method was different this year 2019.
Making the pages was always a large amount of work before the summercamp.
But then, arriving in France, the pages were ready and could be assembled into the cover at the start of the summercamp.
Now in 2019, the idea was to make the pages during the summercamp. Only take all the components needed with you.
The components for making the Joule Thief Swatch
Before the actual making of the 2019 pages, the swatches were to be discussed.
How did this E-textile Swatch exchange DRAMA happen?
The place, or more specific, the table where this drama unfolded:
The critical discussion
For instance, the Joule Thief what was wrong with this swatch?
The Joule Thief had
1. The fabric battery holder
2. The electronic energy harvesting circuit
1. These two functions are educationally interfering
2. The energy harvesting circuit is too advanced
The Joule Thief swatch
The led fabric swatch
The light folding swatch was also having two design components – fabric reflection of led’s and microcontroller/programming. Also, too advanced for educational purposes.
The led diffuser of Zoe was already printed.
The E-textile Reader by Becca was also ready:
Maybe only Hannah’s 2019 folding, describing the creative process could come to the rescue?
hannah perner-wilson, 2019
Disasters 4 – Rocket Science
Ready for launching!!!!
Full Pandemic 4:
Recreation of orbits of stars around galactic super massive blackhole
The last 20 years or so, astronomers have been able to trace the orbits of big stars around the center of our galaxy.
These orbits indicate the existence of a very big mass in a very small space – and …. not visible.
For example: https://www.youtube.com/watch?v=rxJgebvqzXA
In full pandemic time, I tried to recreate orbits of stars in front of my mask by using copper wires and blinking leds:
You have to watch the movie to appreciate the full simulation: https://www.flickr.com/photos/contrechoc/50019916213/in/photostream/
Look at the result:
Contribution by Rowan van As
Contribution by Dr. Niehoff
A text has a beginning and an end. The text could be compared to a straight line. The book, with the text on
the pages publishes the text in a special way. The sentences are started at one end of the page, end on
the right side, and continue again at the left. Then after filling the page, a page is turned, and the text continues in
the same way on the next page. The sentences are thus folded in two ways, by continuing to run from left to
right and by continuing the next page.
On a garment publication there are no pages, the surface is not ordered in pages. But there is a bigger drama
This can be seen by travelling through a sleeve or a pant leg:
Inside the pant leg
Inside the pant leg at the right there is nothing suspicious to be discovered yet. Spirals can be seen. Curved
surfaces. The rectangular grid is gone. But normal logic seems still working.
But look at one of the other publication trousers:
The outside of this publication textile seems to be ordered like a publication.
But the inside here shows lines of text in a circular
What is observed here is the greatest fear of mankind: circular text.
In a circular text not only the beginning and the end are lacking, also the whole grammar can be thrown out, as
can be seen from these few examples:
Take this normal sentence: “The person published a text.” This sentence has a subject and an object.
The moment you publish text on a trouser it reads like this:
….the person published a text describing the person published a text describing…
And so on.
There is no definite subject nor object anymore in this circular sentence, besides it having neither beginning
nor end. This means that publication garments seen from the inside hide a dramatic end to human logic.
Furthermore, It makes publication garments into fine examples of circular reasoning, which can be considered
the downfall of human logic.
That is why publication garments parents teach their children: Never
look at pants from the underside.
How can people self-govern their internet experience? How can they obtain autonomy in and from the internet while still using it according to their needs?
The Autonomous Web is a publication which investigates this issue by reimagining the modern internet as two extreme versions of itself: An oppressive, alienating dystopia where users become enslaved by the web, and its polar opposite, an utopian realm where biological life and an autonomous internet exist in true cybernetic harmony.
The Experimental Handbook for Internet Autonomy is a zine, the physical counterpart to this publication. It takes the experiments and behaviours imagined in The Autonomous Web and turns them into executable ‘human-algorithms’, making them tangible tools for collaborative (re)thinking about our relationship with the network.
This hybrid publication proposes alternative systems to the current lack of autonomy on the internet: Anonymity ensures democratic freedom of speech, albeit at the risk of being exploited; Embodied Browsing frees us from the omnipresence of the internet by rendering navigation physical and collaborative; Bidirectional Linking contextualises information, empowering us to base our beliefs in educated choices; And Decentralisation balances the power structures that govern the web, releasing us from the tight grip of big tech corporations.
However, besides its author’s personal vision of a better internet, it strongly argues that the path to an Autonomous Web should come from all of us, internet users with different needs, backgrounds and expertise. It is an attitude that we must take upon ourselves to cultivate. It involves systems thinking, a pinch of techno-literacy and lots of speculative fabulation. It borrows from ecologies, cybernetics and self-organised communities, as the internet itself is an ecosystem that we must learn how to navigate and take care of.
Contribution by Rodrigo Cardoso, the project itself can be found on: https://rodri-go.net/theautonomousweb/
Contribution by Lynda Deutz, Monkey dress, 2021, collage, 30 x 22 cm.
If you’re gonna wear that dress again you’ll always remember that monkey!
Editor Woody van Amen
Wie een brug legt naar een ander kan altijd heen en terug (Jana Beranova).
Afdrukken Grootste Ets, opening Erasmusbrug 4 september 1996 aangeboden aan hare majesteit koningin Beatrix.
Afdruk ets: 2.25 x 1.96 cm op handgeschept papier van Koninklijke papierfabriek Maasstricht 2.40 x 2.00 cm.
Contribution by Alexx Meidam