< a song for bela >

i’ve been documenting
all my life in dark black ink

you’ve been capturing me
all this while in your fiberous means

we’ve been collaborating
for so long that i failed to see

now we’re discussing
how to continue this beautiful thing

all the things that we make
we make in order to communicate
stories we want to tell
the ones that he doesn’t know so well

he’s been struggling
fifteen years to manage his team

they’re developing
a tool for us to make beautiful things

soon they’re releasing
the version that includes 3D things

all the things that they make
they make in order to communicate
stories they want to tell
the ones that she does not know so well

she’s been crocheting
late at night that her eyes are dim

surrounded by things that she likes
her hands love playing with fibers and spikes

all the things that she makes
she makes in order to communicate
stories she wants to tell
the ones that you don’t know so well

you’ve been jumping
up and and up and up and down

with every leap that you take
you transport us to a super soft space

all the things that you make
you make in order to communicate
stories you want to tell
the ones that i don’t know so well

S01E01 steel and wool fibers

S01E02 metal wrapped threads

see also our post on Meet the Mateirals of Electronic Textiles >> https://www.kobakant.at/DIY/?p=8012

see also:
LEVEL1_THE REMAKE >> https://www.plusea.at/?p=6605
under the influence >> https://www.plusea.at/?p=6887
this level was designed as part of Authren

general documentation photos >> https://www.flickr.com/photos/plusea/albums/72157717095909521

DOWNLOADS_

instruction booklet >>
gameboard for print >> http://plusea.at/downloads/games/MaterialAdventures/MaterialAdventures_L2/_MAboard_L2_v2_printA4.pdf
gameboard full >>

THE GAMEBOARD VERSIONS_

PLAYS_

28.1.2021 in Authren
“kennst du das wenn der raum so authred?”
“do you know that when the room goes so authred?”>> https://www.flickr.com/photos/plusea/albums/72157717095909521

Born out of the social distancing restrictions we are practicing to delay the spread of the corona virus, this hands-on workshop-turned board-game, is an attempt to teach via a minimum of video-call screen-time and a maximum of working “alone” with the materials of electronics. Kits are distributed to all participants and a game board leads through the week. But, not only is the tool-set of this workshop shaped by the current situation, the workshop content itself is looking to explore different ways of creating social connections and experiences over distance.

LINKS

The Boardgame as Remote Teaching Tool?
I wrote about my process of turning a workshop about networked spaces, titled “From Space to Space”, into a boardgame.

Workshop page:
>> https://www.kobakant.at/DIY/?p=8182

Code:
>>https://github.com/plusea

NO screens:
>> http://hyperdramatik.net/mediawiki/index.php?title=From_Space_to_Space

Photos:
>> https://www.flickr.com/photos/plusea/albums/72157714020698126

We will use network technology to SEND MESSAGES over the internet. On either end of this digital connection we are going to imagine and prototype devices that TRANSLATE these electrically encoded messages into analog/physical/material INTERACTIONS and ACTIONS.

Basically we will use SENSORS to capture and translate our physical bodily interactions with the world into electronic signals. Use arduino to translate these analog signals into digital messages. Encode these messages in the MQTT PROTOCOL and make use of the amazing network infrastructure that is THE INTERNET to PUBLISH these messages to a BROKER so others can SUBSCRIBE to them, translate them back into into physical actions by means of electronic ACTUATORS.

What is it that we will sense&&send and then receive&do with this technical setup?
This will be the most fun, experimental and challenging part of the workshop. In order to explore, we will prototype our ideas so that we can observe first-hand the kinds of social experiences we have through the network.

#noscreens is a provocation to get us thinking beyond the visual ways we so readily communicate over networks these days.

The following is an attempt to turn this experience and interest into an overview of ways of capturing process…

>>>>>> WORK IN PROGRESS >>>>>

READINGS
Lists draw things together and allow us to forge connections between divergent items, placing them under a logic that is all our own. This seemed to be what so fascinated Sontag about the form. By making lists, she wrote, ‘I perceive value, I confervalue, I create value, I even create—or guarantee—existence.’4 This is strong language from someone not prone to exaggeration. — List Cultures
>> https://assets.ctfassets.net/4wrp2um278k7/1gro2K2Ya4uK4Ys4Ac0aog/ef412a19c441847ee2adb660131922c0/9789048530670_-_Look_Inside.pdf

You are working on a project and want not only to document the outcome of your process, but also capture the journey of the process itself?
This post is an attempt at collecting ideas for how to go about doing
this.

A process journal can take many forms, most important is to start
collecting things as soon as possible and to simply do so continuously.
The act of capturing your process should not necessarily be much extra
work, though in the beginning it can take effort to make it routine.

DECISIONS

Some decisions you will need to make before getting started:

A NAME

The name of your process journal need not be the same as your project
title or your working title. But it can be.

If your project is called ‘’’From Dirt to Control’’’ then you could call
your process:
Making-of: From Dirt to Control
From Dirt to Control (behind the scenes)
Process-journal: From Dirt to Control
You could also choose something generic like:
Process #001
Process 2020/04/15
Or:
Exploring Dirt and Control
A Research into Dirt and Control
Your options are limitless…

It can be very motivating to pick a title that you like, so do take some
time to think about something. But also don’t take too long. You can
always change it later…

FORMAT(S)

What kind of *stuff* will you be doing, making, thinking? Will you be
sketching, writing, making physical models, 3D models, collecting links,
bibliographies, taking pictures, videos, audio recordings…… You can
choose one or many formats, and you can change/adjust to what works best
for the process as the project develops.

PLATFORM(S)

If you choose to make your process public, then you should find a
platform, or platforms for publishing your format to. These days, The
Internet is the place all things end up…. and there are many platforms
to use, ranging from making your own blog or website or using a photo or
video service.

Here are a list of tools that you could consider: >>
http://hyperdramatik.net/mediawiki/index.php?title=Websites

PRIVATE <————> PUBLIC

How private or public do you want it to be? At least for the start,
since you can change this later.

Advantages of keeping it private

– if you are not used to sharing so much of yourself and your process,
then this might make it easier for you *to be yourself not judge
what you share and what not.

Advantages of making it public

– other people will see your process as it is unfolding and have a
change to comment and exchange ideas with you.
– knowing that other people will see what you are doing might motivate
you to post regular content and become more and more diligent about
capturing more and more detail.
– knowing that other people are looking, might also force you to parse
things before you share them, this being a moment for you to see and
reflect on what you are doing.

FINDING ROUTINE?

Finding/making a routine of capturing your process is not easy and
should not be underestimated. In the beginning you have to
manage/balance try different FORMATS and PLATFORMS while also forcing
yourself to stick to something for at least a while to see the results.
For some it works to simply capture and document live (in real-time)
along the way.
Others like to set aside some time each day to write-up, photograph or
record a video.
And others prefer to do it once a week.

HOW CREATIVE CAN I BE?

Definitely BE CREATIVE and experimental about capturing your process!
It depends on how important the process documentation is, and what you
want to get out of it. Is it simply to show others your journey from
start to end? Is it a reflective tool for yourself to observe your
process and learn how you work. Is it a creative act in itself to be
investigating your creative process in order to turn it into a process
of its own? Think about these things in order to weigh and decide how
much you think you should be spending on this part of your process.

EXAMPLES

Stream of Consciousness

Simply writing or collecting notes together into a long chunk of text in
order to capture the development of thoughts.
https://live.staticflickr.com/65535/48280073071_0da5d60e2d.jpg

Writing Letters

And publishing them on twitter with a hashtag #dearFutureKobaCustomer:
>> https://twitter.com/hashtag/dearFutureKobaCustomer?src=hashtag_click
>> https://www.flickr.com/photos/plusea/albums/72157703356103685
https://live.staticflickr.com/7877/32496146177_ed6008eef1_c.jpg

Collecting Samples & Taking Notes

Collecting samples and taking notes and then, at various points in the
process, arranging them on a large surface in various orderings in order
to look back on what one has made.
https://farm8.staticflickr.com/7895/47438075691_a6d72ffbdc_b.jpg
Using stop-motion animation to show the unfolding of the process:
video >> https://www.youtube.com/watch?v=Tu36vtVU6FA&feature=emb_logo

Mind-maps

Use pen&paper or a software tool to arrange your thinking in a mind-map.

Diagramming

Taking the time to illustrate your ideas as diagrams. These can be
updated/remade over time to show a progression in thought.
https://farm6.staticflickr.com/5087/5283342391_9a6daa35e5_z.jpg
https://c1.staticflickr.com/3/2854/33432374485_22fe63aa40.jpg

KNOLLING

>> https://en.wikipedia.org/wiki/Tom_Sachs_(artist)#Knolling
>>
https://theultralinx.com/2013/09/50-amazing-examples-knolling-photography/
https://theultralinx.com/.image/c_limit%2Ccs_srgb%2Cq_auto:good%2Cw_500/MTI5MDI2MzE0NTkzMzY1OTg2/tumblr_mn9b2esdjo1qzcumdo1_500.webp

https://live.staticflickr.com/7826/46452827405_7ed954f73d_c.jpg

Using markings to indicate extra information:
https://live.staticflickr.com/7700/17205041347_a4838f61b5_c.jpg

EXPLOSION

Todd Mclellan – Things come apart
>> https://www.toddmclellan.com

Their sequence depends on a bewildering number of factors (2016)

>> http://www.plusea.at/?p=5744
Anatomy of a Pin (2016) >> http://www.plusea.at/?p=5774

Hacking the Wild (2016)

>> http://www.plusea.at/?p=5373
>> https://www.flickr.com/photos/plusea/albums/72157650592167875

How To Make (almost) Anything (2009)

http://fab.cba.mit.edu/classes/863.09/people/hannah/index.html

Tilt Sensing Quilt (2010)

>> http://www.plusea.at/?p=430

Eight Steps (2010)

>> http://www.kobakant.at/?p=36

A Kit-of-No-Parts (2010/11)

website >> http://kit-of-no-parts.at/?category_name=recipes
thesis >> http://hlt.media.mit.edu/publications/hannahMSthesis.pdf

Lulu (2017-2019)

Lulu is a solution for couppling e-textiles with optic-fibers and the development of this solution is captured in this display case:
>> http://www.kobakant.at/KOBA/category/lulu/

KOBA E-Textile Tailor Shop (2017-2019)

Closing Exhibition
>> http://www.kobakant.at/KOBA/

Dear Potential Future Customer, …
>> https://www.flickr.com/photos/plusea/albums/72157703356103685

Library of Missing Parts (2018)

Library of Missing Parts

“Making” Music (2018)
http://www.plusea.at/?p=6369

---

Mandalas

Documentation Tools (2017)

Three days with Adrian Freed in his Berkeley studio/lab experimenting with documentation for capturing different aspects of a making process in different ways.

Adrian and Hannah:

Adrian introduces some of his first sensor demos and Hannah asks questions:

Hannah’s flickr set >> https://www.flickr.com/photos/plusea/albums/72157683860719106

Equipment

Hannah’s Stuff

Sony camera
Notebook
Pen and pencil

Adrian’s Documentation Station

usb microscope
photo corner
lighting
tripod
camera
microphone
contact mic
amp

Making Discussion (2016)

>> http://www.plusea.at/?p=6059

MADA collective map

A Wearable Studio Performance (2017)

>> http://www.plusea.at/?p=6147

Bitlace (2014)

Bitlace

LeatherSynths (2013)

LeatherSynths

http://www.plusea.at/?cat=107

Liberated Circuits (2012)

>> http://www.plusea.at/?p=3433

Process Blogs / Making-ofs…

rSkin – Open Source Robot Skin (2011)
>> http://www.plusea.at/?cat=97

Penguin Interface (2011)
>> http://www.plusea.at/?cat=98

It works! (2011)

>> http://www.plusea.at/?p=1950

HOW TO GET WHAT YOU WANT (2009)

>> http://howtogetwhatyouwant.at/

Joyslippers (2008)

http://www.joyslippers.plusea.at/

Massage me (2007)

http://www.kobakant.at/massage-me/?menu=2
https://www.instructables.com/id/Massage-me-Jacket/

Process Imagry

References

Build in Progress

Infolio

Barrel maker illustrations

Julie Kumar – Cutting things in half
>> https://www.instructables.com/id/Cutting-Things-in-Half/
>> https://www.autodesk.com/artist-in-residence/artists/julie-kumar
>> https://www.youtube.com/channel/UCGJILG_rcnS9MpVBTpcDh4Q

KNOLLING
>> https://en.wikipedia.org/wiki/Tom_Sachs_(artist)#Knolling
>> https://theultralinx.com/2013/09/50-amazing-examples-knolling-photography/

Todd Mclellan – Things come apart
https://www.toddmclellan.com/thingscomeapar
https://www.toddmclellan.com/

Social distancing as an opportunity for material intimacy? As somebody who leads crafty hands-on material workshops (mostly on e-textiles and physical computing), I’ve been trying to find interesting ways of communicating these experiences remotely, without relying on a setup in which participants spend the majority of their time in front of devices. The social distancing measures that we are currently taking to slow the spread of covid-19, bar us from gathering physically with other humans, but nothing is stopping us from getting intimate with other (inanimate) beings. Maybe, all alone with other materials, we are able to get even more materially intimate with them!

see also:
LEVEL2_THE REMIX >> https://www.plusea.at/?p=7032
this level was designed as part of my teaching at Spiel und Objekt

general documentation photos >> https://www.flickr.com/photos/plusea/albums/72157713698549692

THE GAMEBOARD V3_

GAMEBOARD PDF for print (4xA4):
http://plusea.at/downloads/games/MaterialAdventures/MaterialAdventures_L1/V3/MaterialAdventures_L1_V3_board_A4print.pdf

GAMEBOARD JPG full (30x70cm):
>> https://www.flickr.com/photos/plusea/50986939232/sizes/l/

THE GAMEBOARD V2_

GAMEBOARD JPG full (30x70cm):
>> https://live.staticflickr.com/65535/50010943853_60ea873e69_b.jpg

THE GAMEBOARD V1_

INSTRUCTION_BOOKLET PDF (A6):
http://plusea.at/downloads/games/MaterialAdventures/MaterialAdventures_L1/MaterialAdventures_L1_V1_instructions.pdf
GAMEBOARD PDF for print (4xA4):
http://plusea.at/downloads/games/MaterialAdventures/MaterialAdventures_L1/MaterialAdventures_L1_V1_board_A4print.pdf
GAMEBOARD JPG full (30x70cm):
https://live.staticflickr.com/65535/49726356018_d5c5e3de6b_b.jpg

PLAYS_

play1 (S&&O 1jhg SS2020) >> https://www.flickr.com/photos/plusea/albums/72157713698011278
play2 (f&n 2020) >> …
play3 (S&&O 2jhg WS20/21) >> https://www.flickr.com/photos/plusea/sets/72157717394399738/
stickers >> https://www.flickr.com/photos/plusea/albums/72157713903023941

Course website >> https://gtt.ufg.at/fff2019/
Course summary >> https://gtt.ufg.at/projekt-faser-faden-fiction/

Photos >> https://www.flickr.com/photos/plusea/albums/72157710869132172

Koh Lon, 6/7/2018

The Second Best Thing about Dinacon
Sitting on the porch
crochetting plarn
listening to friends talk
about why we’re all here
and why we’ll all come back
together again.

Koh Lon, 7/7/2018

The Third Best Thing about Dinacon
Is more important than the first
we’re in love
but still in the early stages of this relationship
learning to make meaningful connections
between zeros and cocoanuts
between dinaflagulance and ones

as love-affairs go
we worry about making this one last
our fear of rejection
growing every day we don’t act

but let us not expect
too much too soon
let us become great listeners
observers, smellers, touchers and feelers,
“amazing” organs
of a loving -ism.

Bangkok, 20/7/2018

The Least Best Thing about Dinacon
Were we just flirting with nature?
making believe
that it is on par with our art science technology mix
the cocktail that keeps us going
producing knowledge
and plastic.

Berlin, 30/8/2019

Originals:

>> https://www.dinacon.org/2018/08/03/ode-to-dinacon/

My plans for Dinacon were to develop An Underwater Studio Practice, but when I arrived and began going underwater to crochet and (thanks to Kitty) discovered plarn (plastic yarn), this practice lead me to write a story about ocean plastic as the result of our human ability to make.

>> https://www.dinacon.org/2018/07/24/crochetteering-a-tale-of-fishy-innovation/
>> https://www.dinacon.org/2018/06/02/an-underwater-studio-practice/
Flickr set >> https://www.flickr.com/photos/plusea/albums/72157696220704072

Chapter 1: The FPEA

One day all the fish in all the oceans complained to all the humans on all the lands about all the plastic in all the oceans. The humans were upset by this complaint be- cause although they had been suspecting for some time that all their plastic ending up in all the oceans was not a good thing, they had not done anything about it. The humans told the fish their complaint was unwarranted and continued to ignore a fact. The fish told the humans that they would result to drastic measures and threatened with bio-terrorism. Their equivalent of suicide bombing would mean swarms of fish would swim to highly toxic water to intoxicate themselves with pollution that would travel all the way up the food-chain to kill “innocent” humans.

This posed a serious thread that the humans could not choose to ignore. A committee was voted into action. This committee met for several week to come up with a very creative solution. And this was their conclusion:

Plastic is in fact a valuable resource and the fish have not been able to recognise this. Humans must educate fish on how they can use this resource to their own benefit.

As part of this Fish Plastics Education Act, makers and plastics technologists were recruited to go underwater and teach the fish how to make useful things from the plastics in their oceans.
After only a few months of running this programme it was deemed a huge success. This fish were thrilled by all the possibilities available to them and had many ideas for “up-cycling” the plastics in their oceans. But there was a problem, the fish were not able to make the things the humans were showing them themselves. Without hand and big enough brains, they could not man the machines or manipulate the materials. The human answer to this dilemma was to hire a fill-time crew of professional makers to spend their days underwater making whatever the fish told them to out of plastic.

Chapter 2: Plarn
Implementing the Fish Plastic Education Act was a huge undertaking that required all the humans in all the lands to cooperate. Although lands in which little or no fish were part of the traditional diet were reluctant to make as much effort.
Shortly after signing the Act, the trans-national Fish Plastic Education Association was founded and began recruiting maker all over the world. These makers put together a catalog of designs that could be made from the plastic in the oceans. The catalog was printed on recycled ocean plastic paper and posted in every body of water.
The orders division of the FPEA began taking orders right away and makers all over the world were put to work to fulfil these orders.
While the first edition of the order catalog contained designs for custom 3D printed prosthesis, sports equipment and educational games, it was soon updated with designs based on what the fish were actually ordering. More than 90% of all orders were for fashion items – clothing and accessories.
Among the first most popular rends were stripy tank tops and cuttlefish skirts crochet from plarn – a yarn made from discarded plastic bags. Especially in coastal regions with high fish populations the FPEA began recruiting large numbers of crochetteers to fulfil these orders.
Crochetteers, as they called themselves, established a whole new profession around the craft of crochet plarn fashion. Quickly moving on from stripy vests to high-tech wearables and PE-Textiles (Plastic Electronic Textiles).

Chapter 3: Crochetteering

Fish, it turned out, were much more tech-savvy than humans, within only a few years every fish in the ocean was a digital native. As a collective super-organism, fish were the first to adopt ocean-wide wearable technology which they used primarily for data collection. Just like everything else that they depended on in their lives, the data they collected, belonged to The Ocean. The Ocean accumulated this data and every fish had unrestricted access so that they could know the effects of their behaviour on their ecosystem.
Crochetteers were at the forefront of developing these underwater wearable technologies and the first makers to fully comply with the fish’s demand for a zero waste, fully circular innovation process. “Crochetteering” because the term used to describe this holistic techno-craft invention process that only considers solutions that solve for the Whole Earth Equation (WEE) with a time-factor of <5 years. This means that every design in the Ocean Plastic Design Catalog has it’s full life-cycle planned in ahead. Resources remain resources. Waste becomes obsolete.

Chapter 4: Fishy Factors

Crochetteering’s success relied on some fishy factors. These became more apparent, the harder humans tried (and failed) to replicate crochetteering’s success for themselves.
Most notable of these factors was the fish’s concept of “The Ocean” – their inability to perceive themselves as individual entities, separate from their habitat, and their inability to to comprehend the concept of waste – proved impossible for humans to replicate.
In attempts to attain such fish states of mind, humans tried many things. Some modified their genes, few went to live among them, many studid them intensely. But to this date human have not been successful in evolving their individuality back into a super-organismic state of mind.
With over 1/3 of the world’s human population now employed by the FPEA, global production of plastics has decreased by more than half, simply because makers are so busy making and remaking ocean plastic designs for fish that they don’t have time to make for humans.
While the majority of makers employed by the FPEA state they are happy living out their lives in service of the fish, there has recently been an increase in makers asking “What Next?” – must humans remain sub-servant to other life-forms in order to fulfil their role in the Whole Earth Equation?

Crochetteering – a tale of fishy innovation
A good-night story for Dinaconnaisseurs

europe is at peace here
i’m going to need to add wine to the stew
we should have our own ali express and sell our sinuses to china

we are sensors
squeeze, we need to squeeze
maybe there was another civilization before…

do you want to solder one?
yeah, yeah, yeah

i’m in love with machines but i’m fighting with it,
because what does it have to do with people

whatever is bitter is calming

you exhale all your breath and then we go in the water
the cold water helps the oxygen to go into every cell
every lazy cell

3D printing is all about making fast objects
ephimeral sculptures that grow

i’m not talking about the global dumpling
planetairy dumpings, every culture has their own fillings
food, a medium for understanding how we make sense of the world

sedimentation, fermentations, destillation
i thought they were green last night

observe what is happening right now
on the toilet, the seat keeps falling down
common sense

there’s an elegance to a circuit having minmal components
maybe the stop button can be added afterwards, this is just reset
i really like that machines run on electricity

psychoactive plants of the northern hemosphere are more demanding
i always imagine jumping into the other wall and bouncing off
the effect is more pleasant than the first one

can i have some of your thyme?

while downloading the plan we listen to radioactivity
it was really custom toys in russia, burning plastic bags and dripping
fermenting knowledge, to preserve it and make it more digestable

where does the abuse start?
power in the hands of a giant company
it’s nice to be important, but it’s more important to be nice

knowledge is value
i just want to enjoy
YOLO

soca souvenier
made by an artisan 3D printer
we created something that will be here for at least 100 000 years

tina, tina, what’s up?
we have a plan
next year we will sell out sinuses to china

i still have to shave

A performative process in 4 acts.

As soon as you begin to read these words, the performance will begin to unfold in front of your eyes and your ears. Pay attention to all that is happening around you: people are selecting components, picking plants, unscrewing things, soldering resistors, cutting nails, threading needles, taking notes, stirring soup, measuring voltage, probing continuity, making mistakes, slicing bread, turning knobs, pushing keys, making music, sipping drinks and flushing toilets.

As you become aware of all that is happening around you, you are bearing witness to the performance that is MAKING.

Take a moment to examine your own hands. These fleshy machines that do exactly what you think. What would life be like without them?

This performance is about appreciating our human ability to make, in which our hands play a leading role. In order to shine a spotlight on them in action, participants will build sensors to sense their hands making, and feed this information back to themselves as sound.

Listen closely throughout the whole week for the sounds of our hands making and manipulating our world.

Sense Yourself Making at PIFcamp 2018 >> http://wsp.plusea.at/pifcamp-2018/
Outcome “Making Sense Together” >> http://wsp.plusea.at/?p=335&preview=true
Flickr set >> https://www.flickr.com/photos/plusea/albums/72157671889414358
Download PDF of zine >> https://drive.google.com/file/d/1JUQGoGI1wLxcl5Rl-txEI4sneHXTJPT8/view?usp=sharing
PIFpron >> http://wsp.plusea.at/pifpron/
Maker’s Mask of Anonymity >> http://wsp.plusea.at/makers-mask-of-anonymity/
Pincushion Bracelet Probe >> http://wsp.plusea.at/pincushion-bracelet-probe/

While running KOBAKANT’s KOBA ETextile Tailorshop, I attempted to capture a behind-the-scenes window into my expectations for the project and how they changed over time as we interacted with our customers and continued to dream about potential future customers.

I used my typewriter and twitter to write and publish these letters on an irregular, but sometimes weekly basis.

Links:
#dearFutureKobaCustomer >> https://twitter.com/hashtag/dearFutureKobaCustomer?src=hashtag_click
KOBA >> http://www.kobakant.at/KOBA/
Photos >> https://www.flickr.com/photos/plusea/sets/72157703356103685/

stars bright, threads alight
the tools we use are not all right.

the shuttle of progress wove traces that now control us
these powerful structures must come undone.

copper of thread, carbon of fiber, pigment of change
react to our heated resistance!

standing on common ground,
our bodies clad in textile sensors/electronic textiles,
we are shocked,
we are grounded.
glad to have founded
this wicked community.

our fabrics have power,
yet they resist
their capacity
to exploit.

when ends fray
there is cross-talk between traces.

the disconnected pin listens to noise
of angels dancing.

+ – + – + – + – + – + – + – + – + – + – + – + – + – + – + – + – + – +

the studio provides
infrastructure
shelter
space

outside these walls there are different materials
challenges
new places
improvised spaces
packing to leave should not be hard

as much as the act of making-is a form of creative expression
it’s also a means | of experiencing the world

shrinking tube, ripping seams, sewing circuits, planning projects
with my tools at hand i pay attention to things i’ve never seen before
my tools translate what i can not explain
i learn

my studio provides
infrastructure
shelter
space
and a means of experiencing the world

Making of >> https://www.kobakant.at/DIY/?p=5712

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