Bike print, Editor Leonor Faber-Jonker

Early unseen works by well-known artists.

Episode 9, Rien Jansen, a work from 1980, 26 x 25 cm and a recent work from 2021, 32 x 25

Essentials (1/2)

Between Henties Bay and Outjo, Namibia

Contribution by Hilarius Hofstede

Editor Leonor Faber-Jonker

Past in the present 9

The ear that slipped through the cracks of history

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 

koffie automaat?

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 


Two angry e-textile critics about:

Le privilège de la mode…Baudrillard.

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

Mijn diabetesdoosje, 40 x 31 cm., olieverf en caseinetempera op karton, 1986

Early unseen works by well-known artists

Eric Jan van de Geer

Portret van mijn vader, 28 x 24 cm., olieverf en caseinetempera op paneel, 1985

Swatch Exchange Rituals 9: The Drama of Critique

Difficult questions

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

Contributor Ojisan

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:

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:

Some screenshots:

Simulacrum 9, Snake                          Editor Leonor Faber-Jonker

Sony Girl

Contribution by Rowan van As

Contribution by Dr. Niehoff


Textiles 9: 

Editor: Contrechoc

Circularity: an 




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:

Publication Trousers

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 Autonomous Web

Photo by user anonymous612 of, 2010

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:

Recht in de Ogen, Contribution by Ido van Blijdesteijn

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