maandag 16 januari 2012

Zarina Bhimji

And suddenly I came across the work of Zarina Bhimji this past weekend. Never heard of her before I must admit, although she as nominated for the Turner Prize in 2007. There will be an exhibition in the White Chapel gallery in London till late March. She descends from an Asian family in Uganda who fled to Britain in the seventies. Her work consists of films, photo's and installations. The sense of material is wonderful, as well as her colours. In her series 'She Loves to Breathe|Pure Silence her photo's are printed on muslin and framed in plexiglas. The topic is what Asian/African women had to bear when coming into the UK.
A film called 'waiting' is about a factory where sisal is made. The processfilmed very close and is abstracted so that tactility, sound and colour take over from the actual work. So beautiful!


donderdag 12 januari 2012

Textiles as a metaphor for life

In Beverly Gordon's book "Textiles - the whole story" she writes with depth about the meaning of textiles throughout history and through all cultures. Techniques, meaning as well as uses.
The meaning of cloth regarding life is an interesting topic. She describes 5 elements.

Thread as a pathway, a line to follow is the first. In mythology, fairytales and religion there are many examples in the text.  Ariadne's ball of thread to get out of the maze. Also, the word cloth is rooted in Greek mythology. Clotho was one of the three goddesses who controlled human life. Clotho was the spinner 'who spun the thread of life'.

Second is the idea of thread and cloth symbolizing connection, wholeness and strength. Plying threads make them so strong we can trust it to be strong enough to hold body weight for example.  The fragility of life is often connected to the fragility of cloth. An old piece of cloth is not just worn, but also delicate and it has a history.

Third is the symbol of birth and growth. Life grows day by day, textile grows stitch by stitch. The meaning of quilts in (native) American society is an example. But also the child's baptism dress often made of the mother's wedding dress.

The fourth element is that cloth serves as a wrapper, container or framer. Textiles protect us, comfort us and keep things together, take us to another world after we've passed away, hide us.

The fifth and last one is the 'living quality' of textile. It absorbs, both literally and metaphorically. Sweat, sound, energy.

Looking at these elements as Gordon describes them they do play a role in all cultures. My question is: are we still able to see these symbols? With the mass production of clothes, we hardly think of them  as being part of our culture. If we could get back to connect textiles with culture, we can revalue the making of garments and fabric. Thus a more sustainable approach. It can make us think of re-using and old garment instead of throwing it away. Think before you buy as well.





woensdag 11 januari 2012

New Renaissance

In this month's Items, besides many interesting articles, an interview with Stefano Marzano; the former CEO of Philips Design. Talking about the development of design in society he has some interesting things to say.
Here's a quote:
"The current economic crisis could actualize the attention for immaterial values. There has been a period in history in which our scientific knowledge was rather poor and senses were more developed and important. In the Middle Ages cathedrals were built to be closer to God. The mystical had a great value at that time and we have completely lost that. In our current time we should connect immaterial values with our knowledge to get to a more complete system. You could call it humanism, or a New Renaissance."
That is an interesting thought. Thinking like this could reset economic structures which are completely rusted, could change habits, consider developments in a more holistic approach and make space for other ways of thinking. By doing so we can make a real move towards sustainability and a fair outlook on what's really needed. In that sense the economic crisis is a chance.


dinsdag 10 januari 2012

John Lorne Campbell & Margaret Fay Shaw

When I was on Canna I came across this wonderful shed, hidden in the trees and overlooking the bay towards Rhum.


I hopped over the fence, had a peek inside and made some photo's. A small haven. It turned out that it belonged to the house where Campbell and Fay Shaw had lived together. They were both scholars and folklorists, him being born in 1906 in Scotland, she originally from the USA. He emphasized on history and spoken language, she on songs and traditions. Together they have done a lot for passing on the Hebridian history; they dedicated their whole life to it. They lived on many islands, but later moved to Canna, the island that became their property. They were a very ambitious couple. The house they lived in is now being turned into a museum by The National Trust for Scotland, with all their archives. It's still as how they've left it at the end of their lives around 1996.  At that time Canna was more populated than nowadays, but still, a very quiet island. I imagine the little shed was to escape sometimes. To be away from the other. To concentrate on non-scholary matters maybe, or rest. In a lovely environment, that's for sure. The shed looks and feels as if someone just left for a walk. I hope the Trust is taking good care for conservation, for it reflects their style and attitude perfectly.





vrijdag 6 januari 2012

Grey


A gale nearby at Canna, Scotland. The subtle tones of grey are stunning! Grey is one of my favourites, and in the Western Isles of Scotland grey is a colour to live with.
As Seton Gordon wrote in 'The Immortal Isles' in 1926:
The grey wind is a wind of sadness, of mystery. 
A sadness that uplifts rather than depresses.

donderdag 5 januari 2012

Plastic and how to cope with it _ Guardian Weekly


Global hunger for plastic packaging leaves waste solution a long way off

Despite measures to increase recycling, discarded plastic packaging continues to blight Earth
Slovenian artist Artnak's Plastic Bag Monster in Brussels
The "Plastic Bag Monster", a creation by Slovenian artist Miha Artnak, is displayed outside the European Commission headquarters in Brussels May 24, 2011. Photograph: Francois Lenoir/Reuters
Five hundred tonnes of Christmas tree lights and at least 25m bags of plastic sweet wrappers, turkey coverings, drinks bottles and broken toys will be thrown away by UK homes this Christmas and new year. But only a tiny proportion of this waste will be recycled.
Even at other times of year, only a little under a quarter of the UK's plastic waste is recycled, but over the festive period still less escapes the tip according to a survey by home drinks maker SodaStream. Globally, recycling of plastics is even smaller.
The outcome is a belief that the Earth is being slowly strangled by a gaudy coat of impermeable plastic waste that collects in great floating islands in the world's oceans; clogs up canals and rivers; and is swallowed by animals, birds and sea creatures.
In many parts of the developing world it acts as a near ubiquitous outdoor decoration, along roads in India, around villages in Africa and fluttering off fences across Latin America. And when it is not piling up, it is often burned in the open, releasing noxious smoke.
There are no global figures on the true scale of the problem but, according toPlasticsEurope, the European trade association for plastics manufacturers, 265m tonnes of plastic are produced globally each year. In the UK, about two thirds of this is for packaging; globally, this would translate to 170m tonnes of plastic largely created to be disposed of after one use.
Even at the almost unmatched EU recycling rate of 33%, two thirds of that – or more than 113m tonnes – would end up in landfill, being burned or cluttering up the environment. Such a figure, almost certainly a huge underestimate, would be enough to cover the 48 contiguous states of the US in plastic food wrapping. If the world recycled packaging at the rate the US does, 15%, it would generate more than enough plastic to cover China in plastic wrap. Every year.
A few years ago the UK was seized with worry about plastic bags: communities went "plastic-bag free" and the then prime minister, Gordon Brown, announced he would talk to retailers about phasing them out. In the absence of much change, his successor, David Cameron, recently re-raised the idea of a national levy. In response, the plastics industry argues that the alternatives would be even more wasteful in terms of greenhouse gas emissions.
What would a world without plastic look like? Earlier this year, Austria-based environmental consultancy Denkstatt imagined such a world, where farmers, retailers and consumers use wood, tins, glass bottles and jars, and cardboard to cover their goods. It found the mass of packaging would increase by 3.6 times, it would take more than double the energy to make and the greenhouse gases generated would be 2.7 times higher.
To understand this, consider the properties of plastic that make it so attractive: it is durable, flexible, it does not shatter, it can breathe (or not) and it is extremely lightweight. As a result, food and drink are protected from damage and kept for lengths of time previously unimaginable.
The European Packaging and Films Association (Pafa) says average spoilage of food between harvest and table is 3% in the developed world, compared with 50% in developing countries, where plastic pallets, crates, trays, film and bags are not so widespread. Once the food reaches people's homes, its lifespan is also increased – for a shrinkwrapped cucumber, from two to 14 days.
A less obvious benefit is that, by being much lighter than alternatives, plastic packaging greatly reduces the fuel needed for transport. Because of the huge carbon content of our diets, it is estimated that for every tonne of carbon produced by making plastic, five tonnes is saved, says Barry Turner from Pafa.
A more surprising point is made by Friends of the Earth's waste campaigner Julian Kirby, who points out that because it is inert in landfill, plastic waste buried in the ground is a counterintuitive way of "sequestering" carbon and so avoiding it adding to global warming and climate change.
This focus on carbon and climate change, however, ignores the very reasons plastic bags and plastic packaging generally first gripped the public imagination – namely that it is such a highly visible result of our throwaway society.
Wales, Ireland and other countries have opted to levy a tax on plastic bags to deter their use but making deeper cuts to plastic waste will need other options too.
Many "ethical" products – from sandwiches to nappy bags – have switched to biodegradable plastics, made either from natural products such as cornstarch or by using an additive that helps break down the plastic. However, Turner suggests this will remain a niche, because the process is expensive and – in his words – is "destroying" a resource that could be recycled.
Recycling plastic is particularly hard because there are so many types and because it is difficult to remove contamination. Increasing recycling is, though, one of the two areas focused on by the plastics industry. It estimates that if every council in the UK operated at the rates achieved by the best local authority for each type of plastic – PET bottles, cartons, trays, bags and so on – the country could raise total plastic recycling from 23% to 45%. "On-the-go" recycling – currently almost nonexistent – also needs to be dramatically improved, said Turner.
To meet its self-imposed target of zero plastic waste to landfill by 2020, however, the industry is largely looking to incineration, which is highly controversial with environment groups and communities, who worry about how waste ash is disposed ofand breathing in emissions from the plants – despite assurances from the Health Protection Agency that modern plants are not damaging to health.
Greenhouse gas emissions from such plants are also high: equivalent to 540g of carbon dioxide (CO²e) per kilowatt hourmore than gas power and more than 100 times that for nuclear.
Instead, environment campaigners want more attention paid to the "waste hierarchy" – reduce, reuse, recycle. To drive this change, the government this month proposed increasing all recycling targets, raising plastics to 50%.
If enforced, that should encourage innovations, such as more food recycling (which research suggests reduces over-purchasing and so the need for packaging), and the recent development of a new dye for black plastic bags which, unlike the traditional compound, can be detected by the automatic sorting machines.
Globally, 47 industry groups have united to fund research to stop plastic getting into the seas. On land, countries could adopt a system used in several European nations where manufacturers are responsible for recovering a percentage of the plastic they make. "The idea of producer responsibility is one that people are most agreed on, but no one's sure how," said Kirby.

woensdag 4 januari 2012

Eco Village

In the small magazine from India Motherland, I read an article about a village called Mawlynnong. This village is known to be 'the cleanest village in Asia'. That sounds eutopia! But it's clear that all inhabitants add to make it happen. They seem to live like an extended family anyway, how special is that! Tourist taxes are used to pay village cleaners, schools pay so much attention to the importance of ecology that all children also find it normal to keep their village clean and every grassroot initiative is welcomed by the local government. And the village is built among the huge trees with even using those trees:
"Working with nature and building with the smallest possible footprint has a history in Mawlynnong, something that you can see in the living-root bridge that is the oldest man-made structure in the area."

dinsdag 3 januari 2012

Aran Islands III


And then the knitting and other textile crafts. Synge observes in 1903 'The simplicity and unity of the woman's dress increases in another way the local air of beauty. The women wear red petticoats and jackets of the island wool stained with madder, to which they usually add a plaid shawl twisted round their chests and tied at the back.........The men wear three colours: the natural wool, indigo, and a grey flannel that is woven of alternate threads of indigo and the natural wool. Many of the younger men have adopted the usual fisherman's jersey, but I have only seen one adopted on Inishmaan.'
The so-called Aran knitting, usually in an off-white wool, emerged around the nineteen twenties. Knitting was mainly done for family purposes, but with some of the fishermen now going around the British isles, seeing other jerseys, and the first tourists appearing on the islands, women started to knit and sell. They became very creative in creating new types of stitches- such as diamonds, zigzags- and designing patterns.
Today the tradition is still alive. Although many of the jerseys seen in shops are machine made. It's easy to distinguish whether it's hand- or machine made. An Aran pattern is centered and similar towards both ends of the front and back. If the vertical cable pattern is mirrored seen from the centre, it's handmade. If the cables are turning in the same direction, it's machine made.
It was hard to learn, but once I managed to do it, my skills improved quickly. It's very time consuming, but also here: making takes time and that teaches us to value it!
(further reading: The Aran Sweater by Deidre McQuillan)