GMU:Principia Textilica/Felicitas Höbelt: Difference between revisions

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We see crafting usually as a process of creation, building, fixing and making. But most crafting techniques have destructive aspects in between: we cut fabric into pieces before sewing and we remove excess threads when knitting. I started with an artificial, minimal life form, that moves, gives birth and dies and interacts with the other life forms in a complex way, based on a set of simple rules. I explored variations of the rules and observed changes in the complex behaviour of the life forms, developping both expected and surprising features as outcome. Then I turned its heritage into a destructive textile piece, where I consciously nullified the effort of making a thread from several fibres, by feazing and dissecting it.

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	We see crafting usually as a process of creation, building, fixing and making. But most crafting techniques have destructive aspects in between: we cut fabric into pieces before sewing and we remove excess threads when knitting. I started with an artificial, minimal life form, that moves, gives birth and dies and interacts with the other life forms in a complex way, based on a set of simple rules. I explored variations of the rules and observed changes in the complex behaviour of the life forms, developping both expected and surprising features as outcome. Then I turned its heritage into a destructive textile piece, where I consciously nullified the effort of making a thread from several fibres, by feazing and dissecting it.		We see crafting usually as a process of creation, building, fixing and making. But most crafting techniques have destructive aspects in between: we cut fabric into pieces before sewing and we remove excess threads when knitting. I started with an artificial, minimal life form, that moves, gives birth and dies and interacts with the other life forms in a complex way, based on a set of simple rules. I explored variations of the rules and observed changes in the complex behaviour of the life forms, developping both expected and surprising features as outcome. Then I turned its heritage into a destructive textile piece, where I consciously nullified the effort of making a thread from several fibres, by feazing and dissecting it.




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