Monday, March 23, 2020

Sew Sew Sew for Covid 19 Mask Support Worldwide

Masks can help reduce the spread of covid 19, or at least slow the spread. Masks can flatten the curve. WE NEED YOU to consdier making some if you can. Now is the time.

Dimensions: Once you have a template it can be used again with different materials. LINK.

Materials: Household items that can be used. Tea-towels, cotton T-shirts, antibacterial pillow cases, and vacuum bags. Consider breath-ability vs. comfort. This LINK has more information.

Fixtures: Elastics, ties, elastic bands. Plus possible seals: sports tape, sticky tape. Think comfort.

If you know somebody with a sewing machine and materials who may have a lot of time on their hands, inform them. WE NEED YOU!



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Sunday, January 31, 2016

104 year old yarn bomber.

Grace Brett is a member of a secret band of guerilla Crocheters, who have bedecked their town in artful crochets. Called the Souter Stormers, the group hit various landmarks in Selkirk, Borders, with their yarn work last week, following hours of preparation. Members of the yarn bombing team are mainly over 60, but Grace – the oldest – has lived over a century.

Watch London Kaye Yarn-Bomb the L Train

Threadonism tutorial video: the making of Nancy



One of my needle felted project, this is from the making of Nancy. Music by Morcheeba. For more threadonism dolls, visit www.threadonism.com

Crochet Chaos - Lorenz Manifold


Crochet Chaos - Lorenz Manifold.
Dr Hinke Osinga and Professor Bernd Krauskopf have turned the famous Lorenz equations that describe the nature of chaotic systems into a beautiful real-life object, by crocheting computer-generated instructions. Together all the stitches define a complicated surface, called the Lorenz manifold. 

I made it and if you also want to crochet an artwork, here is all informationhttp://www.enm.bris.ac.uk/staff/hinke...
More of my crafthttp://www.stricktagebuch.de/stb.php?...

Crocheting Hyperbolic Planes: Daina Taimiņa



Published on Jul 13, 2012
Watch re-edited version of this video http://youtu.be/D-AHvZqbMT4

A mathematician, artist and lecturer at the Cornell University, USA, Daina Taimiņa one day picked up a crochet hook, bright crochets and visualied apparently very complicated mathematical concepts that prior to Daina's artwork were only understood by highly experienced mathematicians.

Playing with the crotchets, Daina has created an entirely different understanding of the hyperbolic planes and has created a tangible way for the young scholars to master it. Daina is passionate about art, travelling and the geometry in the ornaments of various cultures.

Full transcript with pictures on author's blog: http://hyperbolic-crochet.blogspot.

Wednesday, January 20, 2016

Threadonism 2016

Take a look at the new work...
make an order today, or perhaps tomorrow.
x

www.threadonism.com


Threadonism Wall Art




Threadonism Shop is Open

Posted by admin - September 10th, 2015

Monday, November 11, 2013

Balls of Light and Columns of Smoke: Surfaces in Hyperbolic Crochet,

Creative Combinations at the Wisconsin Union Galleries

Creative Combinations at the Wisconsin Union Galleries

Interesting forms have taken over the Wisconsin Union Galleries. Beautiful beings seem to twist, turn and grow before you in the Class of 1925 Gallery in the Memorial Union, and in the adjacent room, rebar has transformed into a minimalist landscape in the Porter Butts Gallery.
In Balls of Light and Columns of Smoke: Surfaces in Hyperbolic Crochet, Ayelet Lindenstrauss Larsen and Gabriele Meyer showcase a stunning application of math. The two mathematicians have created large- and small-scale hyperbolic forms out of crochet.
In an exhibition statement, the artists explain that a hyperbolic plane is a type of two-dimensional object in which every point looks like every other point. But in these planes, “if you start looking at concentric circles, their circumferences grow ‘too quickly.’” This “extra” grows exponentially, resulting in wild ruffles and curls.
The forms occur naturally in some shells, algae and leaves, but Larsen and Meyer create theirs by hand, in boldly hued and white yarn. Meyer hangs her larger works from the ceiling, allowing them to turn and interact within the space.
Larsen, in contrast, displays her tiny forms inside miniature room-boxes, a clever way to play with scale. Though her pieces are small, they feel otherwise. She writes: “when I hold them in the palm of my hand they do not feel small. The explosive growth of their boundaries gives them power, and the power reads as big.”
While one might expect an artistic examination of a mathematical form to be carried out in a high-tech, computerized manner, the surprising use of a traditional craft instead is a stirring and deeply satisfying choice.

In the next room, Suzanne Torres explores the dualities of the modern world in De-Constructed Environments.
Her “Solitary Skin” installation spans the gallery floor. The steely rebar material and grid-like form reference cities, construction and urban architecture, yet the organic shape resembles an undulating landscape. Its sleek, almost skeletal shape abstracts and distills the idea of the environment down to its essence.
In a statement about the exhibition, Torres writes: “My intention is to devise an alternative landscape embedded in the dualities that construct our habitats—the natural and artificial, the surreal and intimate, the contrived and happenstance—by manipulating the language of materials most commonly associated with our constructed settings and mundane usage.”

By her hand, the combination of hard, human-made materials and a free-flowing, natural form feels like a most accurate reflection of the modern environment.
Both De-Constructed Environments and Balls of Light and Columns of Smoke run through October 29 at the Memorial Union. For more information, visit union.wisc.edu.

Yarn Bombing: a craft phenomenon that's gone from street art to community activity!

Have you noticed any trees wearing sweaters, or statues with colored covers? Then you've seen yarn bombing, a craft phenomenon that's gone from street art to community activity!

WASHINGTON -- Look closely , and you'll notice something special about the greenery at the Smith Center for Healing and the Arts community center on U Street: It's made entirely of yarn.
"We wanted to play on the contrast and decorate the outside with something that you don't traditionally see in this urban jungle," says Stacy Cantrell, 41, the curator of the Smith Center's knit graffiti.
The nonprofit's display is the latest iteration of the craft trend that's been coloring city streets for about a decade; Yarn bombing, the act of crocheting and knitting unexpected pieces for public display. Leanne Prain, author of Yarn Bombing who may have coined the term, says "bombing" is a word often used in street art to describe "something explosive you do really fast," like "spraypaint subway cars" and now, cover public property in knitting. Hurry and take an iPhone picture, because the pops of woven color go up quickly and have limited life-spans.

"That's kind of the beauty of yarn bombing—it's temporary," says Beth Baldwin, 40, an arts coordinator who adorned a sign-less brown-brick bar in 2011 with knitted pink and red hearts. "Maybe you're noticing things in your neighborhood that you never noticed before, and then it's gone. It leaves a little hole in your artistic heart."

The artwork filling people's hearts, Twitter feeds, Pinterest boards and Instagram accounts, ranges from tube socks on parking meters, to accessorized statues and wrapped city buses.
Magda Sayeg, 39, is widely considered the first yarn bomber. She says she "wanted to add something that was a little more human and soft" to her Houston, Texas clothing store "on a boring, dreary day" in 2005. So, she knit a cover for her doorknob.

"People were walking in to look at it and asking me about it," she says. Later, Sayeg and a group of guerrilla knitters who cheekily called themselves Knitta, please, "wanted to gauge people's reactions" by knitting covers for car antennas and stop signs. Other international knitters have followed suit, leaving few cities safe from surprise attacks of yarn.

Sayeg covered a Mexico City bus in psychedelic colors, yarn bombed part of a Bali statue, wove a message into 250 rods on a Brooklyn bridge and decorated a Sydney stairwell in stripes of yarn. "Even if you're a grumpy person and hate my work, you end up sort of smiling" after seeing it, she says.
Yarn artwork like Sayeg's is more than just pretty colors. Knit installations "can be absolutely subverting authority," says Nicholas Bell, curator of American Craft at the Smithsonian American Art Museum. He says, for example, popular crochet artist Olek showed "underlying criticism of the economic order" when she yarn-bombed the Wall Street bull statue in pink yarn on Christmas three years ago.

In July 2012, Bell featured an Olek work in his 40 Under 40: Craft Futures exhibit at the American Art Museum's Renwick Gallery. "People did a lot of staring in disbelief" at Olek's installation, a yarn-bombed room which "rips the idea of knitting as your grandma's hobby," says Bell.
Lucia deCordre, urban design director at Virginia's Rosslyn Business Improvement District, turned to yarn-bombing when she needed a community-friendly way to highlight the path from the local metro stop to the Artisphere museum in Virginia.
"Yarn bombing could get that job done," while also bringing the community together, said deCordre. This summer, more than 140 volunteers hand-stitched tree covers and crocheted animals for the project, which earned deCordre a Downtown Merit Award.
Back on U Street, the knit cacti are about much more than grabbing attention and directing pedestrians; they're about healing.

Creating the public art brings people together "from all walks of life, ages and skill levels" for therapeutic knit sessions, says Cantrell, who curated both the Rosslyn and U Street yarn displays. The Smith Center, which is yarn-bombing in honor of its Against the Bias craft exhibit, is a non-profit community center for those affected by cancer.

Those that participated will "enter into this community of crocheters and knitters, and make lifelong friendships," says Cantrell.

Meanwhile, passersby can't help but turn their heads and smirk at the wild yarn flowers. Sheetal Patel, 33, stops to take a photo.

"I've never seen a yarn bomb before," she says after the term is explained to her. "It makes me so happy, because it's a drab street. Now, I can peek out my window" to see some "character."

Saturday, April 7, 2012

Love and War: The Essence of Luminosity

When I think of luminosity I think of the brightness of the sun or associate it with technology, light bulbs, light emitting diodes, and of course, the energy sources that make it possible. In many ways, creating light has promoted the “nightlife” or our ability to see, signal, and interact in darkness.  Just a trip to Times Square in NYC can provide us with all the latest and greatest ways to project ideas and propaganda.  There’s no doubt that “artificial light” has profound functional, economic, and scientific applications, and even social meaning, but how do other creatures produce light and particularly why has it evolved in the ocean?  What are they signaling and what can we learn from the meaning of their essence?
 To be or not To be Luminous
Recently I had the pleasure and privilege to visit a new exhibit at the American Museum of Natural History in New York City.  The exhibit is called “Creatures of Light” and it features organisms that produce their own biofluorescence and bioluminescence.  I was given a tour of the exhibit by David Gruber and John Sparks, both National Geographic Society / Waitt Foundation Grant recipients.  David Gruber has been contributing with the development of the coral wall as part of an NSF Communicating Science to Public Audiences grant, and John Sparks is the curator of the exhibit.  The subject is fascinating but there’s still many questions surrounding this ability to glow.  I caught up with David Gruber and John Sparks at the New York exhibit for clarification on some questions regarding their fascinating research.

Q: What is the difference between bioluminescence and biofluorescence?
A: Bioluminescent animals produces their own light, but biofluorescent animals absorb light and re-emit it as a different color. Some animals are both bioluminescent and biofluorescent, such as the palm-sized hydromedusae jellyfish Aequorea victoria. Along the ring of this crystal jellyfish are glowing orbs, known as photocytes, which produce blue bioluminescent light that no one sees. This is because a green biofluorescent compound surrounds the photocyte, immediately capturing the blue light and re-emiting it as an eerie green flash. Corals (relatives of jellyfish) are almost exclusively biofluorescent, and when illuminated with blue or violet light, kick it back out as neon orange, green and red.
 Q: How does bioluminescence evolve in organisms?
A: Love and war seem to be the most compelling reasons for many of the creatures that developed these glowing properties. Of course, there are other reasons such as a cell expelling light to burn off potentially dangerous excess energy, or an anglerfish luring its meal with an hypnotic glowing bait. But, we’re mostly familiar with luminescence used for predator deterrence and mating attraction. For example, the cookiecutter shark (Isistius brasiliensis), a small but vicious species that bites off cookie-sized plugs of flesh from its prey – tuna, dolphins, whales and other sharks. Its belly is covered tiny lights (photophores), except for a small region, that serves as a kind of optical illusion to make this shark appear much smaller to predators swimming underneath, when they attack what appears to be a tiny fish, they get a surprise – a bite taken out of them. Also, there is a polychaete worm called Odontosyllis phosphorea. Right after a full moon, the females ascend from the bottom and secrete a green luminescent slime along with their gametes. This signal attracts the males who, in turn, spill their gametes into the billowing green luminescent cloud.  While ascending from a night dive in the Bahamas I once witnessed this Disco-like mating ritual. While creatures have evolved varied and sophisticated methods to take advantage of luminescence the primary components are two molecules, luciferin and luciferase, bioluminescence’s fuel and sparkplug. Some organisms make their own luciferin, many get it from their diet, and some even form partnerships (symbioses) with bioluminescent bacteria.  Interestingly, the functions we observe today in many groups (e.g., fireflies, ponyfishes) are quite different from what these creatures originally used bioluminescence for.
Q: Where in the Ocean can we find these creatures that glow?
A: Most people usually think of fireflies and jellyfishes when they hear the term bioluminescence, so the perception is that luminescence is a rare occurrence. However, it’s almost everywhere in the ocean as well as more common on land than most people think. Humans have evolved as daytime creatures –our ancestors waking at dawn and sleeping at night for millennia. Conversely, creatures that inhabit the permanently dark depths of the oceans find bioluminescence essential for their survival and communication. When diving at night, when you turn off the lights, its often an underwater lightshow, the ocean’s Las Vegas.
Back at the Creatures of Light Exhibit
I walked into a soothing dark space filled with music, a dreamy melody composed by Tom Phillips specially for the exhibit.  I felt as if I was in a dream and was curious to touch, see, learn and explore the many interactive stations, cool displays, and dimly lit spaces glowing with bioluminescence.  I had flashbacks of being a kid and running around the backyard among the many fireflies.  I began to ponder how does one get interested in this world and what sort of knowledge and equipment are necessary to capture their essence.  David Gruber and John Sparks kindly illuminated my curiosity.
Q: Tell us about the technology that you are creating to capture images of bioluminescence.
A: One of the challenging aspects of capturing bioluminescence is that you cannot use any artificial lighting, and you need to rely solely on the light being produced by the animal. One forgets how incredibly sensitive the dark-adapted eye is and few cameras can achieve that level of sensitivity. But, low-light imaging technology has been revolutionized in the past few years and there are several wildly sensitive science-grade cameras. But, they are big and bulky, and not in color. Working with Prof. Vincent Pieribone, a neuroscientist at The John B. Pierce Lab at Yale University, we are working to transform these lab-based cameras into colorized underwater imaging systems. During our Waitt Expedition in June, we will finally put some of these cutting edge imaging technologies into use.
Q: What’s so cool about studying these creatures?
A: It sure beats a typical desk job. We are constantly looking for clues to explain what the glowing or fluorescent properties of each creature are used for or how these phenomena have evolved. Then there is the challenging process of finding, filming and collecting these creatures. This requires exploration that has taken us to unfamiliar places. We are in the ocean diving for at least two months of the year –and much of the diving is done at night, without the aid of lights. This can be unnerving, to say the least when we occasionally catch a glimpse of a large shark in our lights.
 Beyond the beauty of this dream-like scenario, there must also be some novel applications to understanding a bit more of this new research frontier.  According to Gruber and Sparks “Scientists are now using bioluminescent compounds from marine animals to help track and destroy cancer cells. Cancer cells are notorious for hiding out among healthy cells before they start replicating uncontrollably.  Yet, using luminescent compounds, these hidden cancer cells are easily detected and this can help scientists find cancer-fighting drugs that can effectively target them. In brain research, biofluorescent compounds from corals and jellyfishes are enabling the real-time visualization of neurons firing which is being used in medical research as well as in brain-machine interfacing technology”. In fact, the Nobel Prize in Chemistry in 2008 went to a team of scientists responsible for discovering and developing the green fluorescent protein, GFP.  This discovery has allowed the visualization of processes that were previously invisible, such as the development of nerve cells in the brain or how cancer cells spread.  There’s no doubt that the future applications that stem from this research are bound to have profound effects on humans.

Creatures of Light is a unique exhibit for its focus on the different examples of bioluminescence; from fireflies to glowworms, jellyfish, anglerfish to fluorescent corals.  It is also sophisticated in how it has combined ipads, music, low light, an information that can be fascinating for a five year old or a seasoned scholar.  Personally, I found the entire experience very soothing, I guess because the lights were low, it seemed to be a very relaxing atmosphere and the faint glow that was visible, was organic, natural and alive.  I wonder if perhaps the evolution and ability of these creatures to have developed such complex yet simple life ways are due to the tranquility of their dark world.  Is light associated with stress, darkness with tranquility?  I can think of examples where the opposite could be argued to be true.  Perhaps we as humans should think about exploring the night and develop an ability of seeing in darkness. We may discover the inner glow of life.
 About the Explorers
Dr. David Gruber is a marine biologist who uses extended-range SCUBA and Remote Operated Vehicle technologies to explore the deeper portion of the world’s coral reefs. His research focuses on photosynthesis and biofluorescence and his research team has discovered over 30 novel fluorescent proteins, including the brightest one found to date. He is currently funded by the National Science Foundation to design and engineer a submersible specifically to study bioluminescence and biofluorescence of deep coral reefs. David is committed to communicating science to the general public. His writings have appeared in The New Yorker and The Best American Science Writing and he is the co-author of “Aglow in the Dark: The Revolutionary Science of Biofluorescence” (Harvard University Press, 2006), which he is currently co-producing into a 3-D IMAX film in conjunction with the National Film Board of Canada. David received his PhD in Biological Oceanography in 2007 from Rutgers Institute of Marine and Coastal Sciences. He is a Research Associate in Invertebrate Zoology at AMNH and Assistant Professor of Biology and Environmental Science at Baruch College, City University of New York
Dr. John Sparks is Curator-in-Charge in the Department of Ichthyology at the American Museum of Natural History. He travels the world in search of bioluminescent and biofluorescent organisms, primarily marine fishes. His research is focused on reconstructing the evolution of the bacteria-driven bioluminescent signaling system in ponyfishes—small, laterally compressed fishes that occur in the Indian Ocean and Western Pacific that have light organs surrounding their throats. He is also investigating the evolution of hearing in fishes, the origin and biogeography of Madagascar’s freshwater fishes, and the evolution of bioluminescence across marine fishes. Dr. Sparks’ recent fieldwork includes biotic surveys and inventories of both freshwater and nearshore marine fishes in Madagascar, the Indo-Pacific region, South America, the Caribbean, and the Western Atlantic. He is also a professor in the Richard Gilder Graduate School at the Museum and an adjunct professor in the Department of EEEB at Columbia University. Dr. Sparks received a M. Sc. in biology from the University of Michigan in 1997 and a Ph.D. in ecology and evolutionary biology from the University of Michigan in 2001. He joined the Museum in 2002.

Wednesday, March 28, 2012

FELTED HANDS BY JANNE

Felting Hands



“Felting Hands” is a three dimensional interpretation of Escher’s “Drawing Hands”. It is made entirely of wool. By shaping fluffy wool with your hands and then poking it repeatedly with a felting needle, the air is pressed out and the barbs on the needle lock the fibers together. It’s kinda like sculpting with dry paint. So, these two hands are basically felting each other into excistence.