sprang

20 years of an eagle's flight

In principle, sprang may be regarded as a practical application of the fiber manipulation techniques used in the children's game known as cat's cradle.^[1] Sprang is made by preparing a set of warp threads either on a rectangular frame or between a pair of beams. The craftsperson then generates a fabric by interlinking the warp threads. Unlike most textile production techniques that add new rows at the end of completed rows, sprang works upon the center of a group of fibers and the material grows inward from both ends with symmetrical top and bottom halves. The craftsperson must maintain control of the center area or the structure unravels: most sprang worked upon has too many fibers to keep in hand, so rods or sticks maintain the appropriate fiber positions. The fiber manipulation itself is done by the craftsperson's fingers. Decorative patterns may be generated by regular variations in the fiber crossings. As crossings accumulate the craftsperson beats the material flat with a stick.^[2][3] Work continues with the material growing from both edges toward the middle until the center band becomes too tight to continue work.^[4] The completed fabric is either separated into two identical items or permanently secured at the middle to stabilize the contrary twists.^[3] In traditions where two halves of sprang are not severed by cutting, this center seam is a telltale sign of sprang manufacture.<sup>[3]

https://regia.org/research/life/sprang.htm</sup>

http://www.weavershand.com/

<sup>http://www.stringpage.com/sprang/sprang1.html 

https://earthguild.com/products/riff/rcdweave.htm

http://www.shelaghlewins.com/tablet_weaving/TW01/TW01.htm</sup>

tablet weaving

Airmedh's cloak

 the hand of Nuada cut off in battle

Credne Cerd, the smith, made a silver hand so skilfully that all the joints moved

Argentlam // silverhand

 No maimed person might rule.

Miach and Airmedh, son and daughter of Dian Cecht  arrive

They replace the eye of the half-blind doorkeeper with that of a cat

Gain access

Nuanda is tormented by an infection at the join of the silverhand and the flesh.

Miach has Nuanda's long-buried hand dug up

He chants a charm enjoining each sinew, nerve, vein and bone to reunite

In three days the hand and arm have feeling, deftness and touch

 Dian Cecht is furious that his son is a superior physician

He attacks and Miach heals himself until

his father cleft his brain in two.

out of Miach's grave there grew 365 herbs, each specific for healing the part of the body from which it had sprung.

365 herbs picked and laid out on Airmedh's  cloak according to the part of the body where it had grown to aid remembering its healing property


Dian Cecht shook up the mantle and muddled it

Coltsfoot // Coughwort

LUNGS

Viola Odorata 
HEART
< 3

<3heartsease br="">

 anti-neoplastic, antiseptic, soothing

Brigid's cloak // brat

She said to the king that the place where she was standing was the perfect spot. It was good fertile land, with access to water from a nearby lake and beside a forest where they could keep pigs, collect firewood and forage for foods like nuts and berries. The king refused. She smiled at the king and said “Will you give me as much land as my cloak will cover?” The king was intrigued, how could that be enough land to build a convent? The king agreed, interested to see what would happen. He knew Brigid was a very resourceful woman but he couldn’t see how this could work in her favour. Brigid spread her brat on the ground, she then asked her four companions to hold a corner of the brat and walk in opposite directions. The four friends walked north, south, east and west. The brat immediately grew and began to cover many acres of land. The king kept his promise. 

 

3D filament print containing mugwort, viola odorata, coltsfoot, rosemary

 

once upon your tears

trolls against computation

flows and desolation

what you a doll which the eyes, alone?

 

no big deal you still incomplete psycho social corpse

we re going to acquire edge

those who desire entertainment have contributed by their shit, 

and telling ourselves to sadness 

not to play in the virtual 

 acts is the objects, stirring 

my moment in the first public space

mine only answers if you get 

when power establishes its so called right 

where control monitoring .com

passive resistance to full stop talking bot

some underground region of subjectivities,  a field of homeland security?

folklore is the advent of the supermarket 

psychiatrist laden army

in deepest ways opposed, alone?

hypnotic grimaces

where there's happiness that put on prozac

 

chaos will make them to others practice terrorism, people may move about freely within a wizard

how to work 

urban furniture,

 practices anonymity like some others practice 

terrorism, discotheques and the war

old folks

 in 

its grand project of possibilities

misery or multitudes

regeneration chic //dakimakura

http://www.glamour.com/story/bernie-sanders-inspired-balenciaga-collection

Hyperface textile pattern.

http://www.hyphen-labs.com/index.html
https://www.theguardian.com/technology/2017/jan/04/anti-surveillance-clothing-facial-recognition-hyperface

jacket 2 // super nature for claudia

i am your hatred of others

bomber jacket

Human self

-

actualization from now on is the manipul

a

tion of new immaterial information, or what is known as

―software processing.‖

In this co

n

text, ―soft‖ unquestionably

refers to mollusks.

A hair receiver

A hair receiver is a small pot, with a hole in the lid, kept on the dressing table in the Victorian era to store hair removed from brushes and combs. The hair was recycled in a number of ways—notably for stuffing small bags, about 8–10 centimetres (3–4 in) across, called ratts, used to bulk out women's hairstyles. Human hair was also used for stuffing pincushions and small furnishing cushions.
It was often paired with a matching trinket box or a powder jar or as part of a dressing table set, made mainly from porcelain, though glass, metal, and celluloid were also used. 

wikipedia

Explaining pictures to a dead hare / hair

 Dead Original // Five Years // 2012

Image: Lanis Levy
(thanks Lanis!)

folkton drums / binding

‘Verwisch die Spuren!’

But as well as supporting Surrealism’s analyses of kitsch and clutter and all their utopian and dystopian investments, Benjamin and friends are compelled to propagandize for the opposite, more conventionally Modernist strategy of wipe-out, emancipation from clutter. In 1931 Benjamin invents the persona of the ‘destructive character’ - enemy of the comfort-seeking ‘etui-person’:

The etui-person seeks comfort, and the case is its epitome. The inside of the case is a velvet-lined trace that he has imprinted on the world.

The destructive character is a type opposed to repression in its political and psychic senses, who - causing havoc by cutting ways through - removes the traces which sentimentally bind us to the status quo.

The destructive character knows only one slogan: make space; only one activity: clearing away. His need for fresh air and open space is stronger than any hatred. The destructive character is young and cheerful, for destroying rejuvenates by clearing away traces of our own age... .

The destructive character wants to make possible the formulation of experience according to revised and appropriate tenets.

 

...

‘Verwisch die Spuren!’, ‘Efface the traces!’, Brecht insisted in one poem in his 1926 lyric cycle ‘Handbook for City-dwellers’. For those traces, the monograms, screens, knickknacks on mantlepieces secreted like sprays of dog-piss, are also tied up with possession; and so signal class society. Brecht’s poetic sentiment details the issue of autonomy at stake: Efface the traces, rather than have someone else efface them. ‘Efface the traces’ - screeched Benjamin in February 1933 in ‘Live Without Traces’, a tiny fragment which presented a horror-vision of the cluttered bourgeois parlour, and detailed the new, potential, lives to be led within shiny, translucent steel and glass. In his 1939 commentary on Brecht’s poem, Benjamin noted that the phrase ‘efface the traces’ now seems to have been a secret indication of the strategy of crypto-emigration by communist activists. By 1939 it had long been obvious to Benjamin and others that it was ‘Jewish trash’, plus other bits of social refuse, which power decreed must be swept out. 

esther leslie

bunny girl robert morris

temari balls

http://www.flickr.com/photos/nanaakua/tags/temari/

how to

wikipedia/// Historically, temari were constructed from the remnants of old kimonos. Pieces of silk fabric would be wadded up to form a ball, and then the wad would be wrapped with strips of fabric. As time passed, traditional temari became an art, with the functional stitching becoming more decorative and detailed, until the balls displayed intricate embroidery. With the introduction of rubber to Japan, the balls went from play toys to art objects, although mothers still make them for their children. Temari became an art and craft of the Japanese upper class and aristocracy, and noble women competed in creating increasingly beautiful and intricate objects.

Temari are highly valued and cherished gifts, symbolizing deep friendship and loyalty. Also, the brilliant colors and threads used are symbolic of wishing the recipient a brilliant and happy life. Traditionally, becoming a craftsman in Japan was a tedious process. Becoming a temari artist in Japan today requires specific training, and one must be tested on one's skills and technique before being acknowledged as a crafter of temari.
Traditionally, temari were often given to children from their parents on New Year's Day. Inside the tightly wrapped layers of each ball, the mother would have placed a small piece of paper with a goodwill wish for her child. The child would never be told what wish his or her mother had made while making the ball.
Alternately, some balls contained "noisemakers" consisting of rice grains or bells to add to the play value. It is said that traditional temari were wrapped so tightly they would bounce.

i-borg / e-borg/ we-borg ...explaining pictures...

-->

'wie man dem toten Hasen die Bilder erklärt’

http://www.youtube.com/watch?v=P4ZkR1X6s7E

Meyer, Ursula. “How to Explain Pictures to a Dead Hare,” Art News, January, 1970. Based on conversations with Joseph Beuys:

In How to Explain Pictures to a Dead Hare, Beuys covered his head with honey and gold-leaf, transforming himself into a sculpture. He cradled the dead hare in his arms and took it “to the pictures and I explained to him everything that was to be seen. I let him touch the pictures with his paws and meanwhile talked to him about them… I explained them to him because I do not really like explaining them to people. Of course there is a shadow of truth in this. A hare comprehends more than many human beings with their stubborn rationalism… I told him that he needed only to scan the picture to understand what is really important about it. The hare probably knows better than man that directions are important. You know the hare can turn on a dime. And actually nothing else is involved.”

At the beginning of the performance Beuys locked the gallery doors from the inside, leaving the gallery-goers outside. They could observe the scene within only through the windows. With his head entirely coated in honey and gold leaf, he began to explain pictures to a dead hare. Whispering to the dead animal on his arm in an apparent dialog, he processed through the exhibit from artwork to artwork. Occasionally he would stop and return to the center of the gallery, where he stepped over a dead fir tree that lay on the floor.^[2] After three hours the public was let into the room. Beuys sat upon a stool in the entrance area with the hare on his arm and his back to the onlookers.

“For me the Hare is a symbol of incarnation, which the hare really enacts- something a human can only do in imagination. It burrows, building itself a home in the earth. Thus it incarnates itself in the earth: that alone is important. So it seems to me. Honey on my head of course has to do with thought. While humans do not have the ability to produce honey, they do have the ability to think, to produce ideas. Therefore the stale and morbid nature of thought is once again made living. Honey is an undoubtedly living substance- human thoughts can also become alive. On the other hand intellectualizing can be deadly to thought: one can talk one's mind to death in politics or in academia.”

Rough Ruff

folds and pleats … surplus surface
after Jane Arnold

prone

Woman, for too long diverted into morals and prejudices, go back to your sublime instinct, to violence, to cruelty.

The Manifesto of Futurist Woman (Response to F. T. Marinetti)”(1912)

by Valentine de Saint Point

Futurist Manifesto of Lust 11th January 1913

artefact/ the cactus tree motel

folding changes the memory of paper

pillow pop 2/ sandnes (Instrumental solo)