On Weaving

Albers, Anni; Cirauqui, Manuel; Smith, T’ai; Weber, Nicholas Fox

doi:10.1515/9781400889044

Cited by 10 publications

(4 citation statements)

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“…A standard weave consists of an arrangement of perpendicular sets of yarns or ribbons that are interlaced by patterned movements or precise intertwining, forming the fabric. [ 35 ] Generally, the first set of yarns, the warp, is positioned in a loom, evenly distanced, and held under tension. Then, the weft, or filling, is inserted perpendicularly into the warp by either going over and under the warp threads, or the warp threads can be raised and lowered creating a straight open path for the crossing of a shuttle carrying the weft yarn, as illustrated in Figure .…”

Section: Resultsmentioning

confidence: 99%

“…Then, the weft, or filling, is inserted perpendicularly into the warp by either going over and under the warp threads, or the warp threads can be raised and lowered creating a straight open path for the crossing of a shuttle carrying the weft yarn, as illustrated in Figure . [ 35 ] The cycle of the insertion of a line of weft ends with pushing the yarn line against the already formed cloth: the “beat‐up”. The amount of force applied in this step influences the weft density.…”

Section: Resultsmentioning

confidence: 99%

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Active Textile Fabrics from Weaving Liquid Crystalline Elastomer Filaments

et al. 2023

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Active fabrics, responding autonomously to environmental changes, are the “Holy Grail” of the development of smart textiles. Liquid crystal elastomers (LCEs) promise to be the base materials for large‐stroke reversible actuation. The mechanical behavior of LCEs matches almost exactly the human muscle. Yet, it has not been possible to produce filaments from LCEs that will be suitable for standard textile production methods, such as weaving. Based on the recent development of LCE fibers, here, the crafting of active fabrics incorporating LCE yarn, woven on a standard loom, giving control over the weave density and structure, is presented. Two types of LCE yarns (soft and stiff) and their incorporation into several weaving patterns are tested, and the “champions” identified: the twill pattern with stiffer LCE yarn that shows the greatest blocking force of 1–2 N cm−1 , and the weft rib pattern with over 10% reversible actuation strain on repeated heating cycles. Reversible 3D shape changes of active fabric utilize the circular weaving patterns that lead to cone shapes upon heating. The seamless combination of active LCE yarns into the rich portfolio of existing passive yarns can be transformative in creating new stimuli‐responsive actuating textiles.

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Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%

Active Textile Fabrics from Weaving Liquid Crystalline Elastomer Filaments

et al. 2023

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“…These requirements led to the beater-in or batten, which, for its sword-like appearance, is called the "weavers sword" [67]. Weaving is summarized as a repetition of three actions:…”

Section: Understanding Silk Weavingmentioning

confidence: 99%

Multimodal Narratives for the Presentation of Silk Heritage in the Museum

Hauser¹,

Beisswenger²,

Partarakis

et al. 2022

Heritage

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In this paper, a representation based on digital assets and semantic annotations is established for Traditional Craft instances, in a way that captures their socio-historic context and preserves both their tangible and intangible Cultural Heritage dimensions. These meaningful and documented experiential presentations are delivered to the target audience through narratives that address a range of uses, including personalized storytelling, interactive Augmented Reality (AR), augmented physical artifacts, Mixed Reality (MR) exhibitions, and the Web. The provided engaging cultural experiences have the potential to have an impact on interest growth and tourism, which can support Traditional Craft communities and institutions. A secondary impact is the attraction of new apprentices through training and demonstrations that guarantee long-term preservation. The proposed approach is demonstrated in the context of textile manufacturing as practiced by the community of the Haus der Seidenkultur, a former silk factory that was turned into a museum where the traditional craft of Jacquard weaving is still practiced.

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“…Pye's questioning of where human body and experiences end and tools begin [12] and Adamson's encouragement to think through rather than about craft, in both its physical and metaphorical layers [13]. Such sentiments can be traced further back to the writings of the weavers of the Bauhaus, where Albers and Stölz argued the intertwining nature of weaving made it more deeply embodied and substantial than the conventionally-valued mediums of painting and sculpture [14]. This is echoed in Smith's theoretical analysis on the impact of the medium of weaving[15], and within the weaving community itself, as Ligon's short essays reveal the intimacy of her experiences as a weaver [16].…”

Section: Craft Practitioner and Practicementioning

confidence: 99%

Velvet Values

Wood

Algorithmic Pattern Salon

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Velvet Values is an enquiry into how the intangible, emotional patternings that occur during the velvet handweaving process may be identified and externalised. It seeks to merge historic handcraft with contemporary digitisation methods to find new ways of communicating the slow, tactile, intimate knowledge that is intertwined into the woven process. As the project has only recently begun, this paper presents Velvet Values in its current state. This includes a presentation of the project's overarching theme and goals, along with the initial results of wooden bobbin carving and two attempts to visualise the internalised experiences of myself as a weaver during this process: the Hour(less)glass and the Grain Store. It goes on to detail planned further work in the form of developing hand-woven velvet sensor cloth, and reflects on how conductive fibres may be used in conjunction with velvet-weaving to generate textiles which echo back their embedded intangible patterns.

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On Weaving

Cited by 10 publications

References 0 publications

Active Textile Fabrics from Weaving Liquid Crystalline Elastomer Filaments

Active Textile Fabrics from Weaving Liquid Crystalline Elastomer Filaments

Multimodal Narratives for the Presentation of Silk Heritage in the Museum

Velvet Values

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