Past in the present 3

Car tires turned sandals turned trophies turned collectibles

Editor Leonor Faber-Jonker 

Studio findings 5 and 4, contribution by Lula Valletta

Editor Contrechoc

Otaku 3 – 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.U heeft ook Otaku nooit ontmoet. U bent Otaku niet.

Vrienden hebben Otaku meegesleept naar een opening.

Daarna zijn die vrienden gaan praten met andere vrienden.

Otaku niet. Otaku heeft de werken aandachtig bekeken.

Otaku heeft de werken nogmaals bekeken.

Die pratende vrienden stonden er vaak voor.

Het is gewoon te vol om goed te kijken maar om Otaku heen bevindt zich een soort lege zone.

Vrienden hebben Otaku verteld dat Otaku die zelf veroorzaakt. Iedereen die Otaku ziet staan, die gaat liever een paar meter op zij.

Vooral niet met Otaku praten.

Otaku heeft geen cursus smalltalk gevolgd.

Otaku heeft de werken dan nog maar een keer bekeken.


Otaku alleen. 

Otaku kijkt naar het plafond en dan naar de vloer.


Omdat die vrienden eindeloos doorgaan met praten.

Omdat Otaku de werken inmiddels 5 keer heeft bekeken.

Omdat Otaku ondertussen wel weet dat al weggaan een belediging is.

Otaku gaat zitten en maakt een paar aantekeningen.

Otaku gooit die sombere gedachten in de prullenbak….

Otaku weer terug naar Otaku ’s atelier.

Wordt vervolgd…

Early Works

Early unseen works by well-known artists.

Episode 3, Eva Krause

Editor Bert Frings

Eva Krause, illustratie uit ‘Der Herzausreisser’, 1996, 

potlood en oliekrijt op papier, 34 x 26 cm

Simulacrum 3 Snakeskin, editor Leonor Faber-Jonker

Editor Marina Toeters



Fashion Tech Farm


11: We are not only reshaping the Textiles of 

the future, but also reshaping the Future of 

the textiles.

But not so fast:

Reshaping The Textiles of textiles and the 

Future of the future are also soon available.

12: We always want to be one step ahead, we 

are actually now writing a grant for recycling the recycling 


13: From Women’s Lib to Garments Lib, a 

small step for me, a BIG step for humankind.

14: Aha, daar komt de spreadsheet lady in 

haar start up bubble.

15: My intelligent t-shirt learnt to clean up 

the room itself. Then, accidentally of course, 

it threw itself away.

Two e-textile-angry critics in the Fashion Tech Farm

E-textile experiment.

About designers working in the Fashion tech Farm: 

Matthijs Vertooren

Donktech is the company of Matthijs Vertooren. Matthijs is an independent engineer and innovation manager, specialized in the field of the energy transition, and digital modelling and fabrication.

Mission Statement:

Matthijs concentrates on the Future of the Fashion Tech Farm. In his view this building will become an example of what textiles is aiming to signify in the near future, being inclusive, lightweight, energy neutral, adaptive and circular. Like garments this architecture will become a second and intelligent skin, taking care of your well-being.

Jak Beemsterboer

Falling Playmate

Front- and backside

handmade collage of magazine photos

40,5 x 32,5 cm/ PL001

Editor: Woody van Amen

Editor Beam Contrechoc

Episode 3

Textile publications cubes

In episode 2 of this series the textile object for making into a textile publication was explained:

This object is a bit more than “just a cube”. Comparing it to a book publication, it can be figured out that a book has numbered pages, supposedly read in a way from start to finish.

Not so a cube, neither this family configuration of cubes.

The surface of a cube is not ordered like a book. The reading of this surface is more like looking at an image. There is no prescribed way in reading order. So this structure is not a linear story. It consists of several parts.

Likewise, as is mentioned in the text on the cubes: "In any case, this is a combination of textiles and text. Would it make sense to have a text printed, publicated, on the surfaces of this object, which is not about this object?"

Above is the plan for all the sides of this textile object.

There is a part about the “shape” – self reference, not needed for a “normal” book.

There is a part about an interesting movie about using a word to make “a pig” survive, this is about “words” – self reference again, but then to words.

The text is also referencing another cube, not being a text, but still a publication, in the e-textile swatch exchange:

Besides this reference, on the third side square, there is a word sticking outwards in another direction: "Pig". This is a reference to a text titled "Charlottes Web" from E. B. White, 1952. A movie is made from this book, which can still be viewed here:

The point is that "some pig" is made famous with just “words”, woven in a web by a spider. The fame of the pig is only based on this woven word. The ingenuity of the spider, coming up with the idea of publication and executing the weaving, thus saving the pig, is never perceived by the public.

In this movie, it is “the word” which makes famous, saves lives.

Publication makes famous….

Saving the pigs life by a word is done 3 times, ending in the word "terrific".

This is the sequence of the woven "pig words"

•    some

•    humble

•    terrific

Then, on the textile object, follows the bold statement:

It would make the object more “art”.

Is this bold statement having the same effects in all extensions, of which only a few are mentioned here, as the word "terrific" in "Charlotte's Web"?

This word magic is quite scary. Several typing mistakes are found in the text after printing. But there is one escape: nobody will read the text on the cubes, likewise, nobody will read this text. Simple not terrific enough.

HIStory Past Present and Future HIStory Begins HIStory Continues HIStory Lifestyle HIStory HIStory

editor Bert Frings

Editor Beam Contrechoc

Episode 3: Swatch Exchange Rituals

Poncé sur le Loirin the middle of Francein“Les Moulins de Paillard”.Hannah Pernier Wilson

 from Berlin came up with the idea of an “exchange” of physical e-textiles in the

 form of a “book”.The participants had to bring 25 copies of one of their experiments. 

You can find everything online:

You can find anything online. Aren’t you happy about that? But…there is a stunning fact here: the swatch book is real! That is so different.

Is that “magic”? Is the real so magic that we need rituals to celebrate the real?

We live now in an online time where we have to investigate what it means for something to be “real”.

Objective Facts of the Swatch Ritual 1

•    Happening once a year.

•    Submit your idea.

•    Most swatches are made by one designer, sometimes by more.

•    Produce 25 swatches with this idea, (which is quite a bit of work.)

•    Provide a description which is printed on a A5 format.

•    Bring the swatches to the e-textile summer camp.

•    Mount the swatches on the pages with the description in the felted book cover.

•    Pick up your book with 25 different swatches.

•    Gather in the group of swatch makers.

•    Talk a bit about your swatch in the group, but not too long.

•    Thank everyone for their hard work :-)

In the online world it doesn’t happen that some item is sticking out through the cover, or that a book has irregular and too much thickness:

Regulations for Swatch Ritual participants

•    To participate you have to produce a swatch - that is 25 items.

•    To participate you have to attend the e-textile summer camp.

•    There are some exceptions to this “rule”, revealing structure inside the group.

•    Consequence of these rules: the swatch book is not for sale! You have to do the 

      making, the hard work to obtain a swatch book.

Twenty or thirty years ago, the online world was magic. As fast as possible everything was shifted from the real world, with decay, dust, sweat 

to this online world, which is a clean paradise without bugs, no fire in libraries, no flooding of archives.

E-textile designers are hybrid - highly “electrified”, which means they are practically living inside this paradise, on the other hand, they “make” 

real objects “by hand” – they became shamans.


Somewhere in the swatch ritual there is magic. Something that is more deep than our present time of continuouslyonline sharingandonline liking, more thanonline open sourcingyour ideas on internet. More than hoping for going to beonline virusedwithin technology.

The Real and the Magic 1

1.    The swatch is a “real thing”. The real here means also exclusive, limited, not for 

       sale. (Is this elitism? Still this elitism is not the magic.)

2.    The idea that you have - possess - some bit of the other?

3.    The swatches are “hand made”.

4.    The makers know the makers.

Example Contrechoc 2014 swatch. 

This "swatch" is not made of textile! It represents a tool for textile situations, measuring the static electricity that is sometimes disrupting the functioning of the electronics on a garment.

Interestingly as you can see at the pictures of the swatch book, “real” materials are added to the “real” page, in the “real” book. In the online version, adding real test materials is not really possible.

Besides the page getting a thickness, some swatches are falling from the pages, some objects drop out of the swatchbook.

This real thing all seems really fun and magic!

To be continued….

Ido van Blijdesteijn, Recht in de ogen

Contribution: Alexx Meidam

Contribution by hannah perner-wilson