Woven Textiles

From the Parochial to the Universal: Comparing Cloth Cultures in the Bronze Age.

by Susanna Harris

Published in the European Journal of Archaeology 15 (1) 2012, 61–97

The aim of this research is to compare the cloth cultures of Europe and Egypt in the Bronze Age and New Kingdom. The... more The aim of this research is to compare the cloth cultures of Europe and Egypt in the Bronze Age and New Kingdom. The comparison focuses on the fourteenth century cal BC and includes four geographically separate areas, including the oak coffin burials of southern Scandinavia, the Hallstatt salt mines of central Europe, Late Minoan Crete, and the tombs and towns of the later Eighteenth Dynasty of Egypt. The comparative approach can bring insights even when applied to unconnected cultures or regions. However, in this study I concentrate on a restricted chronological period and areas that were connected, directly or indirectly, by widespread networks of trade or exchange. The concept of cloth cultures is used to include both textiles and animal skins as these were closely related materials in the prehistoric past. Information was gathered according to the following categories: raw materials, including textile fibre, and species of skins; fabric structure and thread count (only for textiles); decoration and finish; and use and context. From this study, it is possible to recognize the universally shared principles of cloth cultures and the great versatility and creativity in the regional cloth cultures of the Bronze Age.

Inner worlds and the event of a thread in Isluga, northern Chile

by Penny Dransart

Dransart, Penny 1995 Inner worlds and the event of a thread in Isluga, northern Chile. In P. Dransart (ed.) Andean art: visual expression and its relation to Andean beliefs and values: 228-242. Aldershot: Avebury.

Development of Models to Predict Tensile Strength of Cotton Woven Fabrics

by Tanveer Hussain

Paramento Pontificial / Pontifical Vestment

by Cátia Mourão

PORTUGUESE VERSION published in http://www.isabelbordaleiro.com/isabelbordaleiro.html – Galeria – Peças de Referência – Paramento para o Papa Bento XVI

ENGLISH VERSION published in http://www.isabelbordaleiro.com/ingles/isabelbordaleiro.html – Gallery – Most Significant Works – Pontifical Vestment

Apresentação da Casula concebida pela artesã portuguesa Isabel Bordaleiro para o Papa Bento XVI, em 2011, nas... more Apresentação da Casula concebida pela artesã portuguesa Isabel Bordaleiro para o Papa Bento XVI, em 2011, nas colecções do Vaticano.

Presentation of the Chasuble conceived by the portuguese artisan Isabel Bordaleiro to the Pope Benedict XVI, in 2011, in the Vatican collections.

Woven emotions: Visual representations of emotions in medieval English textiles

by Javier E. Díaz-Vera

In: Review of Cognitive Linguistics 11/1 (2013)

Following Forceville (1999, 2005), in this paper I show that the same conceptual metaphors (Lakoff and Johnson 1980,... more Following Forceville (1999, 2005), in this paper I show that the same conceptual metaphors (Lakoff and Johnson 1980, Lakoff 1987) underlie the expression of Old English emotions in both the language and the visual modes.

Kövecses (2000, 2005) and Stefanowitsch (2004, 2006) have shown that verbal expressions and idioms used to describe emotions can be traced back to a limited number of conceptual metaphors. In the light of these findings, I will analyze here the pictorial manifestations of emotion metaphors in the Bayeux Tapestry (Foys 2003), an 11th century embroidered cloth that narrates and depicts the events that led up to the Norman Conquest of England and the invasion itself. The tapestry, which has been described as an example of early narrative art (McCloud 1993: 12-14), shows hundreds of human figures in an astounding range of poses and circumstances.

My analysis of the set of visual devices (known as ‘pictorial runes’; Kennedy 1982; Forceville 2011) used in the Bayeux Tapestry to represent emotion types such as 'anger', 'grief', 'fear' and 'happiness' shows that (1) Anglo-Norman artists used a well-organized set of visual stimuli to convey emotion-related meanings in a patterned way, that (2) the same conceptual metaphors are shared by verbal and visual modalities, and that (3) the HOT FLUID metaphor, frequently presented as the most dominant emotion metaphor, has a peripheral position within the entire range of expressions used in the tapestry. This is highly congruent with recent research on the expression of anger (Gevaert 2002, 2005; Geeraerts and Gevaert 2008) and fear (Díaz Vera 2011) in Old English, where the existence of a universal basis for the conceptualization of basic emotions is questioned on the grounds of diachronic onomasiology.

Embodied emotions in medieval English language and visual arts

by Javier E. Díaz-Vera

In this paper I will show to what extent the same embodied expressions underlie the expression of Old English emotions... more In this paper I will show to what extent the same embodied expressions underlie the expression of Old English emotions in both the language and the visual modes. Recent studies have shown that verbal expressions and idioms used to describe emotions can be traced back to a limited number of conceptual metaphors and metonymies which represent our embodied experience of these emotions. Things being so, the behavioural reactions and the physiological effects of an emotion will frequently stand for that emotion, implying a universal form of embodiment. In the light of these findings, I analyze here a set of Old English embodied expressions for FEAR and their pictorial manifestations in the Bayeux Tapestry, an 11th century embroidered cloth that narrates and depicts the events that led up to the Norman Conquest of England and the invasion itself. My analysis of the set of visual devices (known as ‘pictorial runes’) used in the Bayeux Tapestry to represent fear shows that (1) Anglo-Norman artists used a well-organized set of visual stimuli to convey fear-related meanings in a patterned way, that (2) the same figurative expressions for fear are shared by verbal and visual modalities, and that (3) whereas verbal expressions of fear regularly draw on non-embodied, behavioural concepts, visual representations of fear show a clear preference for embodied container concepts.

Why Do Ladies Sing the Blues? Indigo, Cloth Production, and Gender in Kodi

by Janet Hoskins

NEURAL NETWORKS IN TEXTILE ENGINEERING

by Milin Patel

Published in
TEXTILE REVIEW,
V3,I5,MAY 2008

Neural network is a computational structure. A neural network is a massively parallel distributed processor made up of... more Neural network is a computational structure. A neural network is a massively parallel distributed processor made up of simple processing units, which has a neural propensity for storing experiential knowledge and making it available for use. It has capability to organize its structural constituents, known as “Neurons”. It can perform certain computations (e.g. fabric pattern, fabric defects, fabric wrinkle, etc.) many times faster than the fastest computer. Artificial Neural Network (ANN) is a field of computer science that seeks to understand and implement computer based technology. The Neural Network is understood on the basis of their properties, construction, classification - based on application, advantages of neural computing.
Fabric engineering needs a thorough understanding of the functional properties and their construction parameters. When the relationship between a set of interrelated properties goes beyond the complete comprehension of the human brain, neural networks (NNs) could be used to find the unknown function. Neural network describes the method, for the prediction of both construction and performance parameters of fabrics. Accordingly, constructional parameters are used as input for predicting the performance parameter in forward engineering, and the parameters are reversed for the reverse engineering prediction. Comparison between actual results and predicted results is made. An expert system with an embedded artificial neural network (ANN) is also used, with its functionality toward engineered fabric manufacturing.

Prediction of Tensile Strength of Polyester/Cotton Blended Woven Fabrics

by Tanveer Hussain

Predicting Tensile Strength of Yarns Required for Producing PET/Cotton Blended Woven Fabrics of a Pre-Defined Tensile Strength

by Tanveer Hussain

EFFECT OF FABRIC COUNT ON THE TENSILE STRENGTH OF BLENDED WOVEN FABRICS

by Tanveer Hussain

Characterization of mechanical behavior of woven fabrics: Experimental methods and benchmark results

by Emmanuel DE LUYCKER

published in Composites Part A: Applied Science and Manufacturing
authors: J. Cao and R. Akkerman and P. Boisse and J. Chen and H.S. Cheng and E.F. de Graaf and J.L. Gorczyca and P. Harrison and G. Hivet and J. Launay and W. Lee and L. Liu and S.V. Lomov and A. Long and E. de Luycker and F. Morestin and J. Padvoiskis and X.Q. Peng and J. Sherwood and Tz. Stoilova and X.M. Tao and I. Verpoest and A. Willems and J. Wiggers and T.X. Yu and B. Zhu

Textile composites made of woven fabrics have demonstrated excellent mechanical properties for the production of high... more Textile composites made of woven fabrics have demonstrated excellent mechanical properties for the production of high specific-strength products. Research efforts in the woven fabric sheet forming are currently at a point where benchmarking will lead to major advances in understanding both the strengths and the limitations of existing experimental and modeling approaches. Test results can provide valuable information for the material characterization and forming process design of woven composites if researchers know how to interpret the results obtained from varying test methods appropriately. An international group of academic and industry researchers has gathered to design and conduct benchmarking tests of interest to the composite sheet forming community. Shear deformation is the dominative deformation mode for woven fabrics in forming; therefore, trellis-frame (picture-frame) and bias-extension tests for both balanced and unbalanced fabrics have been conducted and compared through this collaborative effort. Tests were conducted by seven international research institutions on three identical woven fabrics. Both the variations in the setup of each research laboratory and the normalization methods used to compare the test results are presented and discussed. With an understanding of the effects of testing variations on the results and the normalization methods, numerical modeling efforts can commence and new testing methods can be developed to advance the field.