The northern Mexican Ralámuli people consider plants to be their kin. First‐ and secondhand ethnographies bring forth fundamental issues that convey the possibility of communicating with plants. For example, the notion of an interconnected world has to do with roots, with threads, and with thought or nátali (consciousness, remembrance, ancestral memory), all of which embrace the life path. This path also refers to that used by healers, who in their dreams and through their chants communicate with sacred plants. This article (...) also deepens the understanding of textiles—originally made from vegetal fibers and considering that in Ralámuli origin stories the Earth was woven—and their iconography, which also appears in healing contexts, to see if there is a relationship between specific motifs and the information that, via dreams and chants, the plants are delivering. (shrink)

Since early-Christian time an iconography has developed around the Haemorrhoïssa which is related to the conventions of Christ's miracles of healing. In the transition from word into image, an intense energy is released with regards to touching, the gaze and space. These iconographical characteristics become sensors of a far broader range of topics, for in the Middle Ages the Haemorrhoïssa was also the bearer of patterns of sensitivity for uterine taboos which were connected to magic, textile and types (...) of stones. (shrink)

The received translation and interpretation of many of the technical terms current in the textile industry of the Roman Empire are inaccurate, because lexicographers have either fought shy of being precise, or have thought that they recognized in the ancient world technical processes which originated at a much later date. The evidence is often equivocal or insufficient, but may still yield details that have been overlooked. The textile expression scutulatus, to take an example, deserves more attention than Blümner (...) has devoted to it. When it refers to the appearance of a garment, Lewis and Short, s.v. scutulatus, translate ‘diamond or lozenge-shaped, checkered’. It seems worth while to attempt a more precise translation, and, if possible, to estimate the significance in context of the goods so designated. (shrink)

Different home textile patterns have different emotional expressions. Emotion evaluation of home textile patterns can effectively improve the retrieval performance of home textile patterns based on semantics. It can not only help designers make full use of existing designs and stimulate creative inspiration but also help users select designs and products that are more in line with their needs. In this study, we develop a three-stage framework for home textile pattern emotion labeling based on artificial intelligence. (...) To be specific, first of all, three kinds of aesthetic features, i.e., shape, texture, and salient region, are extracted from the original home textile patterns. Then, a CNN -based deep feature extractor is constructed to extract deep features from the aesthetic features acquired in the previous stage. Finally, a novel multi-view classifier is designed to label home textile patterns that can automatically learn the weight of each view. The three-stage framework is evaluated by our data and the experimental results show its promising performance in home textile patterns labeling. (shrink)

Luigi Sacco (1769–1863) was the main protagonist of early vaccination campaign in Italy. He found a native source of vaccine lymph: with that, he personally vaccinated more than 500,000 people and furnished all Italy and some Middle East countries too. Starting from the pictures of his books, Sacco proposed to create wax models of real and spurious smallpox pustules in human, cow, sheep and horse; just to permit, not only to doctors, but also to all other health operators, the identification (...) of the right pustules from where to extract active lymph for vaccination. In the Museum of Pathological Anatomy of the Padua University Medical School, we have four anatomical waxes which corresponded exactly to the explicative pictures in 1809 Sacco’s treatise on Vaccine. We have found the same models also at the University of Milan, Pavia and Bologna—the main cities of Cisalpine Republic , the state of North Italy formed at the epoch of Sacco following the Napoleon conquest. The history of the diffusion of these models presented in this text will be a starting point to develop wider questions. In particular, this history could be useful to improve our understanding of the birth of scientific and experimental medicine through XIX and XX Century. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

In his speech to an assembly of « corporate citizens » at the conference « Fibers and Textiles for the Future » at the University of Tampere in Finland, Hank Hardy Unruh of the WTO explains all the advantages of freedom and remote labor: After all, the American South, a great producer of textiles in its time, gained nothing from its localization of slavery. But remote labor demands close-up forms of surveillance and therefore creates a new market, for which the (...) WTO proposes a « textile solution » ... By passing themselves off as the representatives of an unbearable new world order to which businessmen and technocrats have not ceased to assent, the Yes Men create au extremely effective form of invisible theater, intervening’ in real situations and using various media to deliver their parodic and precise critique of neoliberal ideology. (shrink)

The received translation and interpretation of many of the technical terms current in the textile industry of the Roman Empire are inaccurate, because lexicographers have either fought shy of being precise, or have thought that they recognized in the ancient world technical processes which originated at a much later date. The evidence is often equivocal or insufficient, but may still yield details that have been overlooked. The textile expression scutulatus, to take an example, deserves more attention than Blümner (...) has devoted to it. When it refers to the appearance of a garment, Lewis and Short, s.v. scutulatus, translate ‘diamond or lozenge-shaped, checkered’. It seems worth while to attempt a more precise translation, and, if possible, to estimate the significance in context of the goods so designated. (shrink)

En la Biblia de Ávila se encuentra el ciclo pictórico de la vida y la pasión de Cristo más completo del Románico español. Cada escena viene acompañada por una inscripción en latín añadida poco después de que se completaran las imágenes. Sin embargo, no todas las inscripciones identifican los personajes o las escenas correctamente. Uno de los errores se encuentra en el último folio del ciclo que, habiendo sido identificado como Pentecostés o la bajada del Espíritu Santo, no presenta ninguna (...) de las características iconográficas típicas de este tema. Este artículo investiga otras alternativas iconográficas que puedan explicar la peculiaridad de la imagen y la posición final del folio. (shrink)

During the last years competition in the textile sector has increased, putting financial returns under considerable pressure. As a result, production has shifted to low wage countries in the third world. This has raised the relevance of ethical procedures. This paper analyses how C&A, as one of the largest Western apparel companies, organises its sourcing ethics, notwithstanding the financial pressure in the market. Based on interviews with Asian suppliers of C&A during the second half of 2000, we review the (...) opinions of external stakeholders about the sourcing ethics of C&A. Finally, we evaluate C&A’s sourcing ethics from a theoretical perspective. (shrink)

The surviving portion of the tenth-century Egyptian Muḥammad b. Aḥmad al-Tamīmī’s recently edited Ṭīb al-ʿarūs has several formulas relating to the dying and perfuming of textiles. Some refer to the use of carved molds to impress designs upon textiles. Tamīmī’s formulas treat in particular the application of gold leaf and perfumed dye pastes with blocks, but presuppose the technology of using blocks to apply designs to textiles and include a vocabulary of technical terms for the process. This textual evidence provides (...) additional context for surviving early medieval Islamic block-printed gilded textiles. The attestation of the use of blocks to decorate textiles is contemporary with the use of blocks to print Arabic amulet texts, known by the tenth century from extant specimens and some literary evidence. (shrink)

During the last years competition in the textile sector has increased, putting financial returns under considerable pressure. As a result, production has shifted to low wage countries in the third world. This has raised the relevance of ethical procedures. This paper analyses how C&A, as one of the largest Western apparel companies, organises its sourcing ethics, notwithstanding the financial pressure in the market. Based on interviews with Asian suppliers of C&A during the second half of 2000, we review the (...) opinions of external stakeholders about the sourcing ethics of C&A. Finally, we evaluate C&A’s sourcing ethics from a theoretical perspective. (shrink)

The achievements of the textile industry in Roman Britain are often underestimated as a result of the meagreness of our available evidence. The Edict on maximum prices issued by Diocletian in A.D. 301 shows that British capes commanded high prices on the markets of the Empire, and that in the late third century A.D. British rugs were the best in the world. In view of the competition from the traditional centres of rug manufacture in the East, this is an (...) astonishing achievement. (shrink)

For Viennese artist Florian Pumhösl »abstraction is a method«, not a category. Or rather, if abstraction is the defining category of modernism, the objective is to reproduce modernism's problems and limits and exploit relationships among its parts. Considering what Pumhösl calls the »textile complex« of modernism, this essay examines the artist's work in parallel with Charles Sanders Peirce's diagram concept and Gottfried Semper's use of textile diagrams throughout Style in the Technical and Tectonic Arts. _German_ »Abstraktion« ist für (...) den Wiener Künstler Florian Pumhösl eine »Methode«, keine Kategorie. Oder vielmehr, wenn Abstraktion die bestimmende Kategorie der Moderne ist, dann ist das Ziel, die Probleme und Beschränkungen der Moderne zu reproduzieren und die Beziehungen zwischen ihren Elementen auszunutzen. Vor dem Hintergrund dessen, was Pumhösl den »Gewebekomplex« der Moderne nennt, untersucht dieser Bei trag das Werk des Künstlers und führt es mit Charles Sanders Peirces Diagramm Konzept und Gottfried Sempers Einsatz von »textilen« Diagrammen in seinem Werk Der Stil in den technischen und tektonischen Künsten eng. (shrink)

For Viennese artist Florian Pumhösl »abstraction is a method«, not a category. Or rather, if abstraction is the defining category of modernism, the objective is to reproduce modernism's problems and limits and exploit relationships among its parts. Considering what Pumhösl calls the »textile complex« of modernism, this essay examines the artist's work in parallel with Charles Sanders Peirce's diagram concept and Gottfried Semper's use of textile diagrams throughout Style in the Technical and Tectonic Arts.

It has become banal to say that the object of the art of theatre, its artifact, is particularly fragile, that a theatrical performance— necessarily limited in time and not reproducible—is an ephemeral phenomenon. And yet it is a fact that the evanescence of the theatre arts explains better than any other circumstance the universality and the importance of iconography in this area. What could be more natural than the forever manifested desire to prolong the length of the theatrical phenomenon, (...) to immortalize it in a certain sense. (shrink)

La représentation de la Crucifixion dans de grandes compositions aux tympans des églises est un phénomène tardif dans l’Occident médiéval : elle pose le problème de l’intégration de l’iconographie monumentale dans le contexte religieux et homilétique. Les premiers exemples de la fin du XIe siècle étaient liés aux hérésies cathare et petrobrusienne du sud de la France1. Au XIVee siècle, la diffusion du thème rend plus difficile une approche globale de la question. Dans le contexte précis et bi...

Through the prism of iconography, we may be able to better understand Vecchietta's stylistic choices towards the end of his career. His last known bronze sculpture, a gaunt and pathetic Christ, executed in 1476, is widely agreed to represent the Risen Christ. Today, the sculpture stands atop the high altar of the Santissima Annunziata, the Hospital Church in Siena, but this was neither its original nor intended location. In fact, the figure was meant to be part of a larger (...) ensemble which, together, constituted Vecchietta's funerary chapel. This article demonstrates unequivocally that the present setting of the statue has fostered an iconographical misunderstanding: naturally, the subject of the statue is Christ; but he represents the Man of Sorrows, not the Risen Christ. An exploration of the significance of the iconography of the Man of Sorrows in mid-fifteenth-century Siena, and its possible antecedents, reveals connections especially with Northern European artefacts circulating in central Italy at the time. The result of these findings is to set Vecchietta's sculpture free from previous preconceptions, shedding new light on a famous artwork and triggering new questions about the artist who made it. (shrink)

Textile Terminologies in the Ancient Near East and Mediterranean from the Third to the First Millennia BC. Edited by C. Michel and M.-L. Nosch. Ancient Textile Studies, vol. 8. Oxford UK and Oakville, CT: Oxbow Books, 2010. Pp. xix + 444, illus. $70.

t. 1. Essai de définition d'un champ de recherche.

O mais divulgado modelo iconográfico mariano da época contemporânea, presente em quase todos os templos católicos do mundo, nasceu em Portugal na sequência das Aparições de Fátima de 1917. Não teria o conhecido desenvolvimento sem que no processo cultual interviesse a disciplina escultórica que logo em 1920 faria cristalizar, através do escopro de um santeiro, a imagem de Nossa Senhora do Rosário de Fátima. O estudo do tipo, do arquétipo e dos subtipos da Virgem de Fátima, primeiramente produzidos em oficinais (...) trabalhos de santeiros e, em fase posterior, interpretados por artistas, permite entender os contornos do nascimento de uma realidade imagética, isto é, de uma iconografia ex nihilo e o seu, necessariamente, tardio desenvolvimento estético. (shrink)