Speculation on the future of Etextiles and its potential for mysticism.
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Once a year a ceremony occurred during which the shaman gave enigmatic predictions for the coming year. Who wished to hear them was required to offer three etextiles elements:
• his/her best work produced during the past year
• a piece of production waste
• a broken tool
The shaman had to be approached from behind and to be given the offering from one hand while the other hand passed over a mysterious tattoo in its back, without touching it.
This promiscuity created inner vibrations that the shaman interpreted in order to say the oracle.
The story was explained by anthropologists who discovered this incredible tribe and their rituals. A large part of the shaman´s secrets are still to unveil, but we learned that during the year its acolytes created soulful elements using the waste generated and offered during the ceremony. We also know that within the tribe the tools were sacred as we found some of perfect quality made of exquisite and rare materials. These are witnesses of the high sophistication of the tribe´s technologies. Indeed it seems that the shaman used magnetic vibrations and laser print on - what we can only call today - a magic ink, to add to its predictions…
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The idea of Wicked Futures and Wicked Fabrics relates to the expression “wicked problems” that as designers and artists we are facing in nowadays settings and realities. Whereas a discussion that took place during Summercamp investigated the aspect of sustainability as the “wickest problem” of etextiles practice, we, during our focused group work, decided to relate to Rituals of the future.
Inquiring about the potential of mysticism of new technologies, beyond human intelligence and automatised production systems, coming back to expressions of rituals and spiritual communities, we imagined a fictional tribe where etextiles was celebrated as a mean for oracles.
This project done collectively during the ETextile Summercamp 2017 features:
the Shaman > Giulia Tomasello
costumed by Mika Satomi, Giulia Tomasello, James Porter and myself
the ethnographic researcher > Audrey Briot
supported by Adrian Freed and Martin de Bie
the tools > Irene Posch, Melissa Coleman and Kristi Kuusk
the magnetic and vibrating installation made by Claire Williams
that reflects the laser from Wei Chieh Shih
on the print from Esteban de la Torre and Judit Ester Karpati
the matrix sound control interface from Maurin Donneaud