Designing Machines for Human-Wind Collaboration

An exploration into new mechanisms for jacquard weaving, as well as an ongoing interest in asking how non-human materials or forces can be engaged as collaborators resulted in the prototype of the wind loom—a modified tapestry loom that with every 4th warp connected to a sail that moves the warp position in and out. The fabrication of the loom was led by Jen Mah and Rachel Bork, who iterated between several prototypes for laser-cut heddle/hooks that can be attached to the yarn, arms are connected to umbrellas that can move when the wind blows, easily attachable and detachable components to support easy travel, and so on. The prototyping process was complex and frustrating, as the summer in which we prototyped was not very windy and it was hard to test in its specific working conditions we imagined for the loom. Local weaver, and friend, Julie Rodriguez, took the prototype out for a test and captured the photo above. Her approach was to wait for a gust, and then weave into the wind-produced shed with alternating colors that she chose.
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How to Weave a Sensing and Color Changing Fabric

This is a first prototype of a vision of a force-fabric. When integrated into a garment, this textile could capture and replay how your body made contact with other bodies in the world. Those bodies may be human, created through the experiences of hugs or holding children, but they may also be of nonhuman forces – heavy winds or couches pressed upon ones back. The concept is to think of ways technology can make us aware of how we are physically supporting and supported by other objects and environmental forces. It sees garments as a interesting surfaces of intersection between self and other.

 

We created this first textile by double weaving sections of color changing yarn (resistive heating wire painted with a mixture of thermochromic pigments that change at different temperatures) on the front face and then integrating conductive pads on the back or under layer of the fabric. We used a tapestry technique to integrate a second piece of conductive yarn along a segment of the warp above the touchpad such that when it is pressed it completes the circuit. The double weaving structure makes the connective “guts” invisible from the front. Thus, the textile does not invite you to touch and poke it (how would you know where to touch), it simply captures a “picture” of the different press regions.

Laura Devendorf wove the fabric on an Schacht 8-shaft Baby Wolf loom, warped at 20 ends per inch

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