Inhoudsopgave Episode 2:

Simulacrum 2

Hilarius Hofstede

Early Works

Aardig Onderweg

hannah perner-wilson

Otaku 2

Ted Joans

Past in the present 2


Travel Diary excerpt

Swatch Exchange Rituals

Ido van Blijdesteijn, Recht In De Ogen

Evelien de Jong

Textile publication 2

Fashion Tech Farm

Simulacrum 2, Manhole

Editor Leonor Faber-Jonker

Contribution by Hilarius Hofstede

Early Works

Early unseen works by well-known artists.

Episode 2, Barbara Helmer

Barbara Helmer, Zonder Titel, 1992, 

olieverf en lakverf op doek, 150 x 170  cm 

Barbara Helmer, Zonder Titel (Legoplaat afdrukken), 1982, 

gouache op papier, A4 en 65,5  x 36,5  cm 

Editor Woody van Amen

Aardig onderweg

Contribution by hannah perner-wilson

Editor Contrechoc

Bezoekers aan het exquise restaurant. Tekening Otaku.

Otaku bezoekt geen tentoonstelling

Otaku maakt zelf. Kijken naar wat anderen gemaakt 

hebben kost tijd die Otaku niet zelf kan besteden 

aan maken. Tentoonstelling bezoeken is dus

consumeren. Consumeren doet Otaku als Otaku 

geen zin heeft om iets te doen. Dat is nooit het 

geval. Er kan intellectueel over 

tentoonstellingsbezoek gedaan worden, noem het 

de competentie omgevingsgerichtheid. Dat is 

volkomen onzin. Alleen het maken zelf vertelt de

maker over het maken. Niet wat anderen al 

gemaakt hebben. Wat anderen maakten is af. 

Maken is een proces, een doen. De influisteringen 

van het maaksel tijdens het maken kunnen niet 

door consumptie van wat af is worden doorgrond.

Otaku 2 – met tekeningen van Otaku

Otaku disclaimer

Otaku bestaat niet. Otaku is fictie. Otaku is woord. 

Als iets van Otaku lijkt op de werkelijkheid is dat

puur toeval.

Otaku maakt zelf. Tekening van Otaku.

Bezoekers van het museum in karakteristieke pose, getekend door Otaku.

Otaku begrijpt dat allemaal niet.

Een tentoonstelling is bovendien als tentoonstelling ontworpen. Dat wil zeggen ingericht om indruk te 

maken als tentoonstelling. Het ego van de 

conservator is datgene wat wordt tentoongesteld. Maar het ego van de curator is ook bijzaak. Het 

museum gebouw is ontworpen voor het ego van

een sterarchitect. Maar het ego van deze godheid 

architect is ook bijzaak. Alle design en kunst is

 bijzaak maar net nodig om het gebouw "museum" 

te laten zijn - wat ook bijzaak is. Alleen het 

restaurant van het museum is de hoofdzaak. De 

doelgroep is niet de kunstliefhebber maar de 

espresso toerist. Toeristen willen namelijk drinken 

en eten en vooral naar het toilet. Toeristen 

consumeren voordat zij een sanitaire stop 

uitvoeren en vormen een deel van de economie 

van een stad. Industrie ook, maar die drinkt geen 

cappuccino. Het doel van de stad is winst maken, 

het is een onderneming, het land moet ervan 


Otaku werkt in het atelier.

(wordt vervolgd)

Editor Woody van Amen

Past in the present 2

Found cookbook with recipes. Who remembers the taste of this apple pie? 

Editor Leonor Faber-Jonker

Trade-Plough Headquarters in Rotterdam.

Finger Eating Plant spotted in Schiebroek.                                                                                                                                                                                                                                                                                                                   

Editor: Beam Contrechoc  

Travel diary excerpt, 27 August 2018


Big blocks of bricks of houses long gone


-    ‘We are now 4,5 hours late.’

-    ‘Why?’

-    ‘Signals.’

Matjiesfontein, nursery & herb garden



Passing a freight train, standing still

Running horses in the veld, rainbow over 

mountains in the distance (dark clouds but 


Touwsrivier. Bright orange flowers along the

tracks and in the veld. The station building is a 

ruin without roof. The only sign intact says ‘No 


Editor Leonor Faber-Jonker

All e-textile Swatch Exchange books from 2013 to 2020

This “e-textile swatch book exchange” has been 

repeated 7 times now, resulting in 6 books full of e-

textiles samples, and one cover without any 

samples. The documentation is 

Editor Beam Contrechoc

Swatch Exchange Rituals

As from the summer of 2013 e-textile

designers came together in the small

village of Poncé sur le Loir in the middle ofFrance

in “Les Moulins de Paillard”.

After Episode one of this series, we are now inside 

the e-textile summercamp.

E-textile designer-artistscame from all over the 

world, Scotland, the USA, Taiwan, India, Italy, Spain, 

Japan, Germany, the Netherlands, Belgium, 

Hungary, France and other countries.They came 

from home, school, universities or companies. 

These designers all occupy themselves with the 

hybrid field of textiles, new materials and 

interactivity. They are makers, they experiment, 

they try out. In those days they were very few, for 

example, there was only one single  e-textile 

designer living in the whole of Taiwan and he came 

to the summercamp in France! Compare that with

the number of artists living everywhere… in 

Rotterdam alone, around 2000. We were so happy 

to meet other persons talking in this e-textile 


One of the highly specialized activities during the sunmmercamp was the so called “Swatch Book 


Hannah Perner-Wilson from Berlin came up with 

the idea of an “exchange” between the 

participating designers of physical e-textiles in the 

form of a “book”.


How does this exchange work?

Practically, the participants had to bring 25 copies 

of one of their experiments.

So first a call for ideas. Select one of the many ideas 

you have lying around. Criticize. Then an 

experiment. Criticize again. Then a first 

documentation. Submit your idea. Then the stress 

that your experiment might not be selected by the 

angry e-textile swatch exchange critics. 

Imagine one of the “swatches” is like this:

Exobag - e-textile swatch 2013 – with 

microcontroller and light sensor.

Having an idea and a working swatch is not enough. 

You have to make 25. Production!

Making 25 or so copies always turned out to be 

harder then imagined. Some kind of a production 

line or system had to be set up, ordering materials 

and components, some strategy to multiply the 

experiment, the electronics, the textiles and in the 

end testing the 25 swatch copies for the swatch 


Transport the copies by car, plane, train to this 

remote spot in France…

There was a hard deadline: the beginning of the summercamp. No excuses for being late!

Testing 25 copies of the exobag.

During the week together in France these pages 

brought by every participant were collected and 

distributed so that every participant received a 

copy of the page of every other participant.

The making of the swatch exchange book - gathering the pages. (Picture Hannah Perner- Wilson)

The way this swatch ended up in the 2013 Swatch 


After making the actual book we had to sit down 

together and present the swatches. Explain the 

idea to the others. Show that it really works.

The gathering of the participants of the Swatch 

Exchange Ritual: Explanations (picture Tincuta Heinzel)

The whole process was a strange sensation. 

Enormous amounts of work. But then “a real piece 

of work’. A totally different experience  compared 

to the “online” version.

Online, you can perform tricks, hide the corners, 

“as if”…no way for the real thing to hide anything!

In 2017, all the swatches up til then were shown 

side by many!


Why did everybody do all this work, spending 

weeks on the swatches?

Was everybody satisfied with the “exchange”, in 

other words was the effort of making the swatches 

returned by the other swatches?

Who is the owner of a swatchbook, containing the 

work of others?

Is this swatchbook for sale?

What is the relation with some ideas of Baudrillard 

on “the gift exchange” in relation to the internal 

structures of a community?

Are the ideas of Marcel Mauss on “The gift” 

applicable to the Swatch exchange?

The fact that these questions can even be asked, 

means that mysterious deep hidden layers are 


To be continued….

Recht In De Ogen

Contribution by Ido van Blijdesteijn

to be continued…

Contribution by Evelien de Jong

Episode 2: textile publication

The folding Cube

Editor Beam Contrechoc

These contributions are following an artistic-designer exploration, investigation in publication on textiles "in real time" as far as possible. The next step after some experiments on flat textiles was using "a cube". But where did that cube come from? And what is a textile cube?

From where the cube? This is an years long history, starting in a summer camp like this:

I discovered then, that this fabric cube could be folded over the diagonals, and as the upper side is turned the cube flips flat.

This idea “folding cube” was used in the 2020 e-textile swatch exchange for a textile switch:

Interactive cube garment of course inspired by the famous Pattern Magic of Tomoko Nakamichi - I like that last name which means "in the middel of the road", because I am always "on the road", never reaching anything, not even wanting to...

This idea “folding cube” was used in the 2020 e-textile swatch exchange for a textile switch:

It was like the invasion of the textile cubes in my room…

One of the variations was a cube upon a cube, both with the same rotating folding.

Mother and daughter, Father and son, Cube on Cube

And for the experiment with textiles and publication not the simple cube, but this 

cube family was used. Looking back – I should have started with the simple cube, 

as can be found out in Episode 3….

To be continued....

Editor Marina Toeters



Fashion Tech Farm is een werkplaats, 

bedrijfsverzamelgebouw en kleinschalige productie 

faciliteit voor innovatieve kleding, In Eindhoven.

Over de Fashion Tech Farm:
De huidige tijd vraagt om nieuwe ontwikkeling in 

textiel, interactiviteit, productiemethoden, 

verbeelding en business modellen.
In de Fashion Tech Farm wordt hieraan gewerkt door 

ontwerpers, ondernemers, wetenschappers en 

Er zijn vinden kleine kleding producties, 

experimenten en samenwerking tussen gebieden 

die ooit ver uit elkaar lagen plaats.
Alles wat er aangepakt wordt in de Fashion Tech 

Farm is altijd met veel energie, de nodige humor en 



6: Hoe komt het fashion model over die stalen brug 

met haar magnetic socks?

7: Op dit very moment hebben mijn smart umbrella 

en intelligent clutch een petit relatieprobleem.

8: Heb jij nog een fashionable mutual NDA te sharen?

9: Ik heb laatst een stuk of 10 shirts met Siri in het 

milieupark gedumped: het onderlinge gechat was 

niet meer chill.

10: Mijn op afstand bedienbare brassier reageert 

niet: het geeft aan zich op dit moment liever te 

verdiepen in de teksten van Baudrillard, met name

"La mode ou la féerie du code", uit Traverses /3, 

1976, dat alleen nog antiquarisch te verkrijgen is.

The well known problem of the non interactivity of 


E-textile experiment.

Mission Statement Bilihome

Bilihome is a start-up supporting young families 

during the beginning of new life, while having 

jaundice therapy. Besides the development of this 

wearable Margret wants to create access to care in 

Asia and Africa. For this Margret uses especially 

fashion tech which makes it more miniaturized and 

easier to handle. It will transfer care from the 

hospital to the home. This means cost reduction and 

it makes the treatment of babies affordable

About designers working in the Fashion tech Farm: 

Margret Huenerbein.

Margret Huenerbein is working in the Fashion Tech 

Farm. She manages Bilihome.

Bilihome aims to support jaundiced newborns and 

their parents, naturally. The wearable solution allows 

optimal blue light therapy and helps babies

to recover in the right environment. By making the 

next steps towards a phototherapy wearable, 

Bilihome received the concept Red Dot: Best of the