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MASTHEAD

TITLE Corrupted File.?

AUTHORS Miles Klee, Mathias Janson, Fashion Spyder
REVISION, PAGINATION Clara Agustí Junqueira
DESIGN Clara Agustí Junqueira
PHOTOGRAPHY Clara Agustí Junqueira, Teresa Teixeira
GLITCHING Clara Agustí Junqueira

TIPOGRAPHY Laborate, Calling Code

PRINTING Norcópia Casulo d’Imagens
DATE OF PRINTING June 2018
 by Miles
the long, twisted Klee for
The Kernel,
history of glitch art
March 2015
 Pre-Internet
Pre-Internet
Pre-Internet
Begginings
Pre-Internet
Pre-Internet
Miles Klee was born in
Brooklyn. He studied at Begginings
Pre-Internet
Begginings

PHOTOGRAPHY: CLARA AGUSTÍ

Pre-Internet
Begginings

GLITCHING: CLARA AGUSTÍ

Williams College under
writers Jim Shepard,
Andrea Barrett and Paul Begginings
Begginings
Park. His debut novel,
Ivyland (OR Books 2012),
drew glowing reviews
and was likened to
Begginings
“J.G. Ballard zapped
with a thousand volts
of electricity” by the
Wall Street Journal.
Klee reports for
web culture site the
Daily Dot; his essays,
satire, and fiction have
appeared in Lapham’s If you’ve spent any
Quarterly, Vanity Fair, time on Tumblr — or
3:AM, The Awl, The taken deep dives into
New York Observer, The Flickr or Pinterest—you
Millions and elsewhere. know what glitch art
looks like. There are
devoted Facebook pages
and subreddits, too.
YouTube is overflowing
with tutorials on how
to make your own.
Nick Briz, a Chicago-
Glitches are headaches: based New Media artist,
technology coming educator, and organizer,
apart at the seams. expanded on Glenn’s
The term, which may definition of “glitch”
derive from Yiddish in an email to the
words conveying Kernel: “an unexpected
“Another term we adopted to describe moment in a system
slippage, was
some of our problems was ‘glitch’,” that calls attention
fittingly popularized
he explained. “Literally, a glitch is to that system, and
by NASA engineers
a spike or change in voltage in an perhaps even leads us
and astronauts. Into
electrical current,” an occurrence to notice aspects of
Orbit, a 1962 account
with extreme, unpredictable, and that system that might
of Project Mercury,
potentially fatal results. otherwise go unnoticed.”
provides one of its
earliest usages, In other words, it’s where
courtesy of John Glenn, the art happens.
the first American to
circumnavigate the globe
outside its atmosphere.

6 7
 “Glitch art, then”, he wrote, “is
anytime an artist intentionally
leverages that moment, by
either recontextualizing or
provoking glitches.”
It draws back the curtain on our
sleekest devices and virtual
constructs to reveal raw pixels
and code, a surreal landscape
of unformed possibilities.
The medium, however,
actually dates back
to Web 1.0 and well
beyond. Dutch artist and
theorist Rosa Menkman,
in 2011’s Glitch Studies
Manifesto, traces the
aesthetic of decay and
disruption back to “the
magnetic distortion
and scanning lines of

PHOTOGRAPHY: CLARA AGUSTÍ

GLITCHING: CLARA AGUSTÍ
8 9
the cathode ray tube”,
explored by Nam June
Paik in 1965’s MagnetTV,
PHOTOGRAPHY: TERESA TEIXEIRA
and experiments GLITCHING: CLARA AGUSTÍ
involving “the
scratching and burning
of celluloid,” as in
Len Lye’s 1937 abstract
short A Colour Box,
which involved painting
directly onto film stock.
Briz goes back earlier
still in search of
primordial ancestors, to
the Dada art scene that
flourished at the outset
of the 20th century. In
his paper Glitch Art
Historie[s], he writes:

10 11
These and other
disparate examples
corroborate a few
truths. One is that
without the Industrial
Revolution, there the naïve victims of
is no glitch – or, a persistent upgrade
rather, only those culture” based on
resulting from flaws planned obsolescence.
of our own senses, “It is now normal that
à la hallucination. in the future the
A wheelbarrow may consumer will pay less
break, but such an for a device that can Another idea explored
event doesn’t give do more, but at the at glitch art’s origin
us an intuition same time will reach a point was beatified
of reality itself state of obsolescence violence. There’s an
imploding. The fact faster… The user has to undeniably sacred aura
of increasingly swift realize that improvement around glitch works.
mechanical evolution is nothing more than a There’s untitled-game
is a crucial aspect proprietary protocol, by the art collective
of glitch’s effect. a deluded consumer Jodi, a dissolution of
myth of progression the bloody first-person-
As Menkman, the Glitch
towards a holy grail shooter Quake, one in
Studies Manifesto
of perfection. Every a series of video game
author, puts it in her
(future) technology first-person shooters
somewhat polemical
possesses its own that began with titles
fashion, glitch art
fingerprints of like Wolfenstein 3D
is “the product of an
imperfection.” in the late 1990s. In
elitist discourse and
dogma widely pursued by employing a technique
akin to décollage
(English: “to come
unglued”), slicing and
shredding the source
material until nothing
is left but amorphous
line and movement, they
make gamer gore submit
to its own brutality.
In Quake, you’re meant
to kill everything. The
artists opt to break

12 13
 The Virtual
the artificial world
The
The Virtual
Gallery
Virtual
The Virtual
apart instead, and they

Gallery
take their destruction

Gallery
seriously. Consider what
Jodi’s two members,
Joan Heemskerk and Dirk
Paesmans, said in their
The Virtual
Gallery
five-word acceptance
The
The Virtual
Gallery
Virtual
The Virtual
speech for a 1999 “net
art” Webby Award,
directly attacking the
Gallery
Gallery
The
The Virtual
Gallery
annual event itself:

Virtual
“Ugly commercial
sons of bitches.”
In that moment, the
political nature of
glitch art crystallized.
Gallery
Gallery
For the next 15 years,
the genre would manifest
as an anarchic,
destabilizing force.
Artists flayed brands
and logos till they
were unrecognizable.
They revealed the In the 1990s, online
digital quicksand art—not unlike the
beneath seemingly solid Internet itself—was
foundations. They forced frequently seen as
us to wonder what, a passing fad. “Net
art,” as it was then not only wouldn’t exist were it not
if anything, was not
called, struck most for the Web but may be impossible
a clever illusion.
as garbled, tiny, and to represent outside of it. And, as
meaningless imitations with so many other cultural arenas,
of the overwhelming from politics to literature, the
masterpieces on Internet has opened doors for those
display in museums and the old establishment might otherwise
galleries. It lacked exclude, obstruct, or ridicule.
a raison d’être. “The Internet itself is both a medium
It’s true you don’t hear and a platform for media — a very
the phrase “net art” accessible and flexible one,” Ben
too much anymore, but Baker-Smith, a glitch artist whose
that’s because there’s latest project combines “synaesthetic
so much of it. It’s audio-video systems” with real-
no longer a novelty. life choreography, wrote in an email
Every day we wake up, to the Kernel. “So in one sense it
PHOTOGRAPHY: CLARA AGUSTÍ log on, and look at
GLITCHING: CLARA AGUSTÍ visual artefacts that

14 15
functions like other Glitch, of course, is but a subset “A glitch, even when
mediums, providing a of the vast and eclectic oeuvre it is intentionally
range of documented and achieved by Internet artists in the provoked, always
undocumented material last quarter century, so it’s worth maintains a level
potentials that can be asking what its practitioners want of chance, at least
manipulated to artistic to say. They doubtlessly share with from a human point of
ends. And in another the wider community an interest in view, because of the
sense, it functions as impermanence, fluidity, and process. computer’s seemingly
a sort of kingmaker for random and chaotic way
Dimitry Morozov built a handheld
other media formats.” of breaking down,” Briz,
device he calls the Digioxide,
the Chicago-based new
Curation dies out which “sniffs” local air and
media artist, said. It
when everyone curates senses toxic gases, then renders
has a way of making
themselves. the spectrum of pollutants as
the viewer aware of
colorful, pixelated patterns.
It happened quickly. their wave-particle
From the pioneering “The more pollution I get, the PHOTOGRAPHY: TERESA TEIXEIRA nature. We’re all just
forays into more beautiful the images are,” GLITCHING: CLARA AGUSTÍ masses colliding in
telecommunications-based he told Wired. “It’s a little bit space, but possessed of
(or telematic) art—such ironic.” Surely it isn’t that. fluctuating thought.
as Kit Galloway and Glitch is predicated on exploiting
Or, if you prefer, we’re
Sherrie Rabinowitz’s wrongness to catch the sublime.
nothing but bits of
Satellite Arts Project
streaming data – fragile
of 1977, a NASA-
and corruptible.
supported experiment
that allowed dancers
separated by oceans and
time zones to “perform
together in the same
live image” — it was a
short leap to thriving
online hubs for creative
collaboration.

16 17
 PHOTOGRAPHY: CLARA AGUSTÍ
Today, the GIF is the dominant Has reminiscence then

Revisiting
GLITCHING: CLARA AGUSTÍ

Revisiting
glitch end product. And while become glitch’s driving

Revisiting
artists including Baker-Smith shy force? Is the past what
away from allusions to “nostalgia,” pushes it forward? Or is

Revisiting
roots,
roots,
visiting pressing
pressing
it’s a strong pull for his peers. this retreat into cheap
sentiment, as with many

roots, pressing
“Aesthetically, the GIF worked for
us because it was a glitchy 8-bit other media, the death

roots,
ots, pressing
onward
pressing
reminder of the excitement we had
when we first began using the Web
knell of the genre?

onward
onward
as children”, Pamela Reed, half of
the design duo Reed + Rader, said.

ward
18 19
 that churns them
out automatically.
According to Menkman,
“designations such as
databending, datamoshing
and circuitbending have
While plenty of blogs come into existence
compile warped or to name and bracket
“broken” GIFs, artists varieties of glitch
have also gone after practices, but all
glitches that predate in fact refer to
or dispense with the similar practices of
Internet altogether. breaking flows within
There’s a fascinating different technologies
archive of the weird or platforms.”
tracking lines and
He envisioned a bright
static grain that
future for glitch,
characterized degraded
a time when all the
VHS tapes. Glitch We can say for sure that glitch is at
backslapping is
has made the leap to its best when in evolutionary motion,
mitigated by harsher
the fashion runway adapting to every strange nook and
curation and fiercer
with plaids that cranny of the Web. It doesn’t concede
competition for
misalign and appear to a changing landscape. It may
mainstream exposure —
to disintegrate. Scan explode, it may collapse, it may
those exact conditions
Rejects hosts an array bleed out. But it always survives.
glitch once sought to
of images stretched by
challenge. Then again,
photo scanners. Another
stagnation may be worse
blogger identifies tricky
than compromising any
techniques and hiccups
founding tenets.
in classic animation,
usually “smears”
and “multiples.”
Glitches don’t require
coders these days.
There’s a script

20 21
the fine art of
glitches, cheats
by Mathias
Janson for
and errors Digicult
 GLITCHING: CLARA AGUSTÍ
PHOTOGRAPHY: TERESA TEIXEIRA
Mathias Jansson is a Swedish art
critic, poet, cultural journalist
and web editor. He is a member
of AICA (The International
Association of Art Critics) and
uses to write art critic and
articles about culture in magazines
and blogs, such as Konsten.net,
Konstperspektiv,Tidningen Kulturen,
DigiMag, Furtherfield, HZ-Journal,
Art 21 Blog and Gamescenens.org.

When a new generation Not even in the most

of artists looks at advanced futuristic
Marcel Duchamp’s famous illusion is the
painting Nude Descending technology perfect. In
a Staircase, No. 2 from a well-known scene from
1912 will they then the movie The Matrix Glitches could be described as
say: “Whoa, look an descending person, in the main character Neo secrets doors to the system,
early example of glitch the same way Eadweard experience what he it’s like when Neo in The Matrix
art!” When Duchamp made Muybridge previously describes as a déjà sees behind the interface and
his painting, he left had taken series of vu, a cat walking discovers that it’s built of
the traces from the photos with moving twice over the floor. 0 and 1 and he realize that
person going down the animals and people (for Trinity explains the it can be manipulated and
stairs on the canvas. A example a nude woman experience to Neo. “A modified. In the same way glitch
similar visual effect descending a staircase). déjà vu is usually a artist are trying to manipulate
could be experienced The futurist movement, glitch in the Matrix. It the system or looking for
when you have a corrupt with its fascinating happens when they change weaknesses in the system to go
graphic card which for new technology, something.” Glitches beyond the perfect interface.
is not erasing the continued to explore the in computer systems We asked Iman Moradi all
traces from the moving aesthetic of speed in creates unexpected the important questions
object on the screen. their paintings of fast events and for us common about what glitch art is.
cars, locomotives and user malfunction or
For Duchamp it was a way
aeroplanes. Since then failure in software
to capture the movement
technology has continued or hardware often MATHIAS JANSSON: WHEN
and the speed of the
to fascinate artists, creates frustration and DID GLITCH ART START?
but there is always a anger, but for a new
backside of the coin. generation of artists Iman Moradi: Tricky to ask this
these bugs, errors and question about when Glitch Art
glitches are source for was started or indeed arrive
artistic expression. at a clever all-encompassing

24 25
definition of Glitch Iman Moradi, senior in performance contexts. humanises technology AS JUAN GRIS, GERHARD
Art itself. I think Lecturer at University The glitch is also and somehow makes it RICHTER ETC. COULD
at the point where of Huddersfield, is one for me inextricably more human and flawed, YOU SAY THAT CUBIST,
an artist called the of the leading theorist linked with a sense of like ourselves. CONSTRUCTIVISM ETC ARE
“unexpected” the result of Glitch Art and the nostalgia and longing RESULT OF ERRORS OR
of a mistranslation, or editor of one of the for how things used to MISTAKES DURING THE
indeed the provocation first books about glitch be, in that they were MATHIAS JANSSON: IN PAINTING PROCESS?
of a medium, to produce art Glitch: Designing imperfect! There’s a YOUR THESIS ABOUT
Iman Moradi: I wouldn’t
unexpected results, Imperfection (2009). lot of character and GLITCH AESTHETICS YOU
say errors at all. I
art became Glitch art. interest in things COMPARED GLITCH ART WITH
think initially I was
For me it was when I that are imperfect; it MODERNIST PAINTINGS
discovered Ant Scott
(Beflix) work back in
the summer of 2001. For
me he legitimised what
I thought was pretty
cool to begin with and
called it Glitch Art.
He basically curated MATHIAS JANSSON: WHY
found and generated ARE SO MANY GLITCH
examples of visual ARTISTS INTERESTED
glitches on his blog. IN WORKING WITH OLD
They were very tasteful SOFT- AND HARDWARE?
and had an air of humour Iman Moradi: Technology
and emotion about them. of old used to be more
I personally started susceptible to being in
to explore it within a state of glitch, and
an academic context the trend in consumer
at the first available electronics is for
opportunity that I had things to NOT glitch
in 2003 – 2004 and at all, the future is
got in touch with Ant always going to be
Scott. The ‘Oslo Glitch higher fidelity and
Symposium in 2002 was I higher signal clarity
believe, the first formal where possible to
point where glitch art eliminate all glitches,
was being discussed. which is kind of
uninteresting. So, as

GLITCHING: CLARA AGUSTÍ

PHOTOGRAPHY: CLARA AGUSTÍ
far as old technology
and glitches go, I think
they two go hand in
hand. You have people
like Jeff Donaldson, of
Notendo fame who modify
hardware for the specific
purpose of generating
glitch visuals for use

26 27
 purely looking at finding
parallels in the visual
qualities, linearity,
fragmentation and
perhaps complexity and
of course aspects of
style and composition Jon Satrom, Evan Meaney, Jon Cates,
that were similar. I Rosa Menkman, Nick Briz, and other
was basically saying organisers and presenters of of Gli.
that our appreciation tc/h Event (symposium, conference,
of the visual forms festival, about noise & new media)
and sometimes the to see that the glitch is here to
conceptual forms, are stay and firmly embedded in the new
rooted in our prior media artscene. I think the book
willingness to accept Glitch: Designing Imperfection,
and our appreciation I jointly edited and which was
of those established published by MBP New York in 2009
styles and movements. also shows that the glitch has
entered a level of recognition
that goes beyond enthusiasts or
MATHIAS JANSSON: WHAT mere hobbyists, its firmly rooted
ABOUT GLITCH ART AND in academia, popular culture and
THE CONTEMPORARY ART contemporary artistic endeavour.
SCENE? DOES IT HAVE
A POSITION IN THE NEW
MEDIA ART LANDSCAPE?
Iman Moradi: You only
GLITCHING: CLARA AGUSTÍ

need to look at the

fantastic efforts of

28 29
 Max Capacity is well circuit bend them a little. But the
represented on Flickr NES is so accessible. Besides the
with his work. He is availability of old NES hardware,
mostly working with the there’s also lots of great technical
old classic computers info homebrew hardware and emulators
as NES, Atari, C64 and on the internet. I definitely lean
ZX Spectrum. So we towards NES games attached to movie
asked him why glitches franchises, or ports of arcade games.
and circuit bending are
so fascinating to work
with as an artist. MATHIAS JANSSON: HOW DO YOU
EXPERIENCE GLITCH ART ON THE
One of the artists CONTEMPORARY ART SCENE?
working with glitch Max Capacity: I don’t really
art is Max Capacity experience glitch art in the world
currently living in much at all except what I see on
Santa Cruz, California. Flickr or Tumblr. I mostly stay at
home and play with my electronics
and computers. Like I was saying
MATHIAS JANSSON: earlier, I didn’t even know glitch
WHEN DID YOU REALISE art was popular with anyone besides
THAT YOU COULD USE me. I think glitch art fits in under
GLITCHES IN VIDEOGAMES the umbrella of avant-garde. And
AS A CREATIVE AND already posted across game. Now that I don’t probably similar to lots of historical
AESTHETIC EXPRESSION? Flickr. I had no idea. care so much, I can just movements like cubism. I try not to
I’ve been doing this appreciate the beauty. I think about that too much. I love
Max Capacity: I only
stuff at home in my think there’s a certain looking at all the glitch art on
realized earlier this
garage or bedroom for sort of nihilism and the internet, that always gets me
year that people cared
a while, but I didn’t entropy present in excited. I get a lot of inspiration
about glitches as
think anyone else cared. glitch art that I think from video art from the 70’s and 80’s.
much as I do. I was
is relevant these days. But I think it was the scrambled
on Flickr and I had
Decay can be beautiful pornography and glitched Nintendo
uploaded some glitches
MATHIAS JANSSON: in its own way.
I captured and I found cartridges that really make me do it.
WHAT ARE YOU LOOKING
there were a bunch of
FOR WHEN YOU CREATE
glitch-related groups
YOUR GLITCH ART? MATHIAS JANSSON: IS
and lots of glitch art
THERE ANY PARTICULAR
Max Capacity: I really
CATEGORY OF GAMES
appreciate hardware

GLITCHING: CLARA AGUSTÍ

PHOTOGRAPHY: TERESA TEIXEIRA
OR PROGRAMS THAT IS
glitches. I remember
MORE INTERESTING
trying to watch
FOR YOU TO USE?
scrambled pornography
on cable TV when I was Max Capacity: I’ll
young. And I remember glitch almost any game
my frustration with these days, but I always
my NES system when a come back to the NES.
cartridge would glitch I’d love to get into
out and I’d lose my some arcade games and

30 31
 by Fashion
Spyder for
the Fashion
Journal,
textile technology: Nov 2017

season of the glitch

 GLITCHING: CLARA AGUSTÍ
PHOTOGRAPHY: TERESA TEIXEIRA
It’s the season for
wrapping up in warm
knitwear but what
progressive designers
have been creating away
from the catwalk trends
might inspire you to
upgrade from classic
chunky knits and hack
your sweater. Glitch
Knitting is a fairly
recent development
from Glitch Art, an Ever since technology became readily
art movement that accessible we have been tinkering
began circa 2002 with the nuts and bolts of our
with a philosophy of personal machines with a curiosity
finding the aesthetic that comes naturally to the creative
in digital code errors mind and leads us to discover new
and is also known as visual languages that we can use
data-bending and “The to express ourselves. Glitches in
Art of the Error”. computer data can create incredible
fractals of pixels and colour that
we may not in all sobriety have
conceived for ourselves. These
beautiful new patterns and colour
fusions are of particular interest and
excitement to artists and designers
whose colour wheels may have spun
dry and seek a new aesthetic

34 35
 GLITCHING: CLARA AGUSTÍ
PHOTOGRAPHY: CLARA AGUSTÍ
The main technique fashion design for three
for Glitch Knitting years. Nukeme is now
involves the hacking of a multi-disciplinary
computerised knitting glitch artist and has
machines to create created projects of
intentionally broken glitch knitting in
code that causes the collaboration with
knitting machine to Software engineer So
read the damaged data, Kanno and Hardware
knit the errors and engineer Tomofumi
produce interesting Yoshida using a
and often improbable hacked Brother
patterns and stitches. from the “open-source knitting machine. attended a Glitch Workshop in Tokyo
The hacking part may community”. In general, Nukeme was introduced to National University of Fine Arts and
seem challenging to hacking a computerised glitch art by programmer Music. They have since collaborated on
designers who are new knitting machine UCNV and together they many projects including a lab coat,
to experimentation in involves wiring an digitally printed with a glitch design
computer environments Arduino – a single board onto a cotton lab coat designed by
but if you are microcontroller – to Nukeme. The coat was showcased at a
interested in trying the motherboard of the glitch fashion event “Glitch @ Tokyo
this new technique knitting machine so you Kaihouku” in Isetan Shinjuku, Tokyo
for yourself you’ll can interact with it. in July this year. Nukeme has also
find plenty of help created a project of Glitch Embroidery
One of the first to
where he distorts widely recognisable
experiment with hacking
company logos into glitched forms
knitting machines is
and was selected by the jury of the
designer and and artist
16th Japan Media Arts Festival.
Nukeme from Osaka,
Japan who studied

36 37
 GLITCHING: CLARA AGUSTÍ
PHOTOGRAPHY: TERESA TEIXEIRA
In 2009, artists and
textile designers
Varvara Guljajeva
and Mar Canet began
collaborating together
on art and technology
projects and later came
to develop “Knitic”; Physiological Computing.
their Glitch Knitting Using a non-invasive EEG
project and open headset they recorded
hardware. Instead of the brainwave patterns
hacking the knitting of people listening to
machine’s computer they the music of Bach’s
have developed their own “Goldberg Variations”
PCB – Printed Circuit and translated them
Board, that creates, into visual data that
what they call, a new they were then able
brain for the Brother to use as a knitting
930 and 940 knitting pattern for their hacked
machines and allows knitting machines. The
you direct control result was a pattern
over the needles to where every programmed
the extent that you stitch was created by
can make changes to a unique brain state
the code as you knit. that came from the
In the Knitic project listener’s response
“Neuro Knitting” the to the music and was
duo collaborated with materialised in the
Music Technology knitted garment pattern.
Researcher Sebastián In 2011, Brooklyn
Mealla C. whose work based artist Phillip
focuses on Human- Stearns started a
Computer Interaction and project called Glitch
Textiles to explore
digital textile art
with the idea of using
the cold hard logic of
digital code to create
soft warm textiles. To
achieve this he worked
with a range of digital
techniques including

38 39
cameras that had short circuited
tools that had been developed for
digital forensics to visualise data.
In May last year, Phillip completed
a triptych of woven tapestries
titled Fragmented Memory which he
digital codes that
developed at the Audax Textielmuseum’s
make up contemporary
Textiellab in The Netherlands.
life so that we could
Phillip’s idea was to bring to
literally feel the
a physical reality the everyday
fabric of the data.
MRRK is the brand name
of print designer Mark
van Gennip who creates a
variant of glitch in his
textile prints. Based in
Amsterdam Mark’s process
of creating his designs
for his “Ink Storm”
collection involves
interrupting the digital
printing process by hand
causing the application
of ink from the printer
to disperse into how he
describes “Storms of
ink that rage through
each print leaving
spontaneous colour
GLITCHING: CLARA AGUSTÍ
PHOTOGRAPHY: TERESA TEIXEIRA

40 41
 «Our imagination
nuances and unique keeps changing with
shapes”. The fabric
used is 100% silk
technology; computers
double georgette which
has a flowing movement
have different ideas
that compliments the than we do.»
swirls or colour.
- Nukeme
Margo Wolowiec is a
textile designer working
from San Francisco whose
process of creating
her glitch textiles is
vastly different from
GLITCHING: CLARA AGUSTÍ
PHOTOGRAPHY: TERESA TEIXEIRA

the hacked computer

approach. Taking her
inspiration from Bauhaus
weavers and Navajo
rugmaking, Margo weaves
glitched images taken
from social networks;
Facebook, Instagram
Tumbler etc., and
creates the images by
As many of these are
hand-dying the thread
artists and designers
at the loom as she
who are coming from
weaves the textile.
diverse disciplines
their projects may not
have intended to be a
work of fashion design
but by understanding
their work and
broadening your field
of research, you will
be more aware of the
technological advances
in textile design that
will serve not only to
inspire your own work
but also to keep you
ahead of the game.

42 43