now fabric has no form unto itself take
a piece of material and lay it flat on
the floor it’ll lie there quite silent
quite smooth quite dead pull it by one
corner and all of a sudden it comes
alive it’s a system of radiating lines
now the textile and the weave affect the
bulk resilience and stiffness of the
fabric wrinkled systems follow their
flow of action as they manifest flexion
compression friction drag forces tension
lines come from anchor points such as
our limbs our joints our waist as we
extend bends and twist and turn so these
lines are not the distances between
points but points are the intersection
of lines and all of this design all of
these lines represents our past and our
present actions this movement across
space is described by Kosh as a creative
multiplicity and the fold as a model for
that unexpected movement it’s a design
without destiny no center no boundaries
no meaning just a surface of
gravitational vectors highs and lows
it’s also described as a landscape hills
and valleys constantly moving as they
map the wearer’s life space well this is
real clothing clothing as worn but in
our history and in visual culture
there’s also what is called represented
clothing clothing with a focus on design
and display and that brings us to
fashion now fashion is profound in its
superficiality the fashion system knows
no depths
only the play of surfaces as Taylor
describes artificial frivolous fickle
sensuous superfluous in its subversion
of all that is enduring and classical
the anchor points appear and disappear
the tension line slip and slide and the
wearer’s body gets lost under that play
of signifiers it is an ephemeral
narrative written with dots dashes
flowing lines variable curvatures and
hills and valleys now the baroque has
always been synonymous with a fold it is
recognized in the textile model where
the fabric frees itself from its usual
subordination to the body underneath
according to the laws if there is
inherently a baroque costume this is it
bra billowing flaring constantly
multiplying never betraying the body
beneath but the baroque is much more
than just a costume the baroque radiates
in the thousand folds that overwhelm the
wearer’s life space and as in this
portrait of Madame de Pompadour all
those folds make her head look like that
of a swimmer
Bobby atop of a sea of waves those waves
represent rolling motion and when you
have many similar waves
that’s repetition but when the waves
intersect they crest are for me
continually moving impossible to stop so
the question is what does all this mean
reminiscent of Freud’s language of
symbolism there’s often a rupture
between the appearance of things and
their meaning while real clothing is
burdened with practical considerations
covering the body for modesty
detecting the body from the elements and
adorning the body according to socially
constructed fashion dorms clothing also
serves as our indexical relation between
the ego and the outside world between
our inner self and our surface and
between our personhood and external
object hoods so akin to Stafford’s
discussion of 19th century marbleized
paper patterns to straigth rove and
ramble becomes a symbol of revolt
because it leads one away from the
straight line the straight path into
those dark recesses into those deep
voids where sin blunder and mistake
reign but to err is to be human isn’t
life about getting swallowed up over on
by the waves of daily reality
isn’t this the physical metaphysical
nature of our being in the world okay so
we’ll do some Shakespeare everybody
knows Hamlet right
everybody knows Hamlet to be or not to
be that is the question whether tis
nobler in the mind to suffer the slings
and arrows of outrageous fortune or to
take arms against a sea of wrinkles and
by ironing and them so should we get out
the iron should we smoothen out those
wrinkles and starch the fabric do we
prefer the tabula rasa the clean slates
the erasure of all of our past and
present actions when the pure geometry
and finite constructs of Euclid and
Pythagoras fall apart when all of their
isosceles triangles right triangles the
segments of parallelograms the areas all
of those things finally
atomized and disappear all that will be
left in this world will be
irregularities and wrinkles and only
then will we be able to find our own
personal individual geometries and our
own authentic self and use those to
write the narratives on the surfaces of
our bodies let’s do another example
this is Bernini statue of Ludo Vika
Alberto nee she was a Renaissance
noblewoman very well known for her
dedication to the poor she’s also very
well known for her spiritual ecstasy’s
now when VIN c’mon enjoy look at the
sculpture they ask what is that surface
is it fabric is it skin is it emotion a
surface for the inscription of pathos
and then what about the marble the
coloration the veining the lines all of
that visually vibrates together and
depending on where you’re standing and
depending on how the light is falling on
the sculpture coloristic ly sculpturally
it looks like it’s changing it’s moving
the folds are continually varying now we
enter the realm where forms communicate
movements of the mind a basic concept of
vector psychology and it’s not just one
moment one movement it’s multiple
moments multiple movements that very
well represents Ludovico’s interior
spiritual awareness –is her psychic
revelations her impassioned inner being
now in topological field theory tension
systems reveal a lot about our psychic
events our experiences and our behaviors
it is a permissive Liberty diagonal a
dynamic slippery subversive
cascading dialogue that characterizes
our being in the world as perpetually in
a state of evolving involving devolving
enveloping enveloping developing so if
all of this represents our past in our
present is there any meaning here for
our future when the topological field
folds over and unto itself multiple
points of intersection are possible fall
into the Z dimension when de Luz says
that each of us are multiple or plural
he doesn’t mean that we are many things
or that we have many egos but that we
are folded in many irregular and
entangled ways a multiplicity far beyond
what we could ever perceive a
multiplicity far beyond what we could
ever predict so here we have Loie fuller
and Loie fuller is performing her
improvisational serpentine dance of the
scarves the fabric follows the movements
of her body follows the movements of her
mind the fabric functions as her
interface with the world with the
sunlight with the air with the winds
with the environment and as she pulls
and tugs and flips that fabric around
she demonstrates that all is fluid
everything is folding unfolding nothing
is static structured or starched so
consciously or unconsciously we’re
always writing narratives on our body
for the world to see the issue is does
anybody else know how to read your own
authentic vocabulary read between those
lines and read deep within to those
folds and into those recesses so
generally these TEDx talks
with the speaker giving you a bit of
advice so what could I possibly say
throw out the eye or put on the old
shirt move around a lot look at all the
wrinkles folds and creases and wear that
shirt is a badge of honor for a life
fully lived thank you [Applause]
a piece of material and lay it flat on
the floor it’ll lie there quite silent
quite smooth quite dead pull it by one
corner and all of a sudden it comes
alive it’s a system of radiating lines
now the textile and the weave affect the
bulk resilience and stiffness of the
fabric wrinkled systems follow their
flow of action as they manifest flexion
compression friction drag forces tension
lines come from anchor points such as
our limbs our joints our waist as we
extend bends and twist and turn so these
lines are not the distances between
points but points are the intersection
of lines and all of this design all of
these lines represents our past and our
present actions this movement across
space is described by Kosh as a creative
multiplicity and the fold as a model for
that unexpected movement it’s a design
without destiny no center no boundaries
no meaning just a surface of
gravitational vectors highs and lows
it’s also described as a landscape hills
and valleys constantly moving as they
map the wearer’s life space well this is
real clothing clothing as worn but in
our history and in visual culture
there’s also what is called represented
clothing clothing with a focus on design
and display and that brings us to
fashion now fashion is profound in its
superficiality the fashion system knows
no depths
only the play of surfaces as Taylor
describes artificial frivolous fickle
sensuous superfluous in its subversion
of all that is enduring and classical
the anchor points appear and disappear
the tension line slip and slide and the
wearer’s body gets lost under that play
of signifiers it is an ephemeral
narrative written with dots dashes
flowing lines variable curvatures and
hills and valleys now the baroque has
always been synonymous with a fold it is
recognized in the textile model where
the fabric frees itself from its usual
subordination to the body underneath
according to the laws if there is
inherently a baroque costume this is it
bra billowing flaring constantly
multiplying never betraying the body
beneath but the baroque is much more
than just a costume the baroque radiates
in the thousand folds that overwhelm the
wearer’s life space and as in this
portrait of Madame de Pompadour all
those folds make her head look like that
of a swimmer
Bobby atop of a sea of waves those waves
represent rolling motion and when you
have many similar waves
that’s repetition but when the waves
intersect they crest are for me
continually moving impossible to stop so
the question is what does all this mean
reminiscent of Freud’s language of
symbolism there’s often a rupture
between the appearance of things and
their meaning while real clothing is
burdened with practical considerations
covering the body for modesty
detecting the body from the elements and
adorning the body according to socially
constructed fashion dorms clothing also
serves as our indexical relation between
the ego and the outside world between
our inner self and our surface and
between our personhood and external
object hoods so akin to Stafford’s
discussion of 19th century marbleized
paper patterns to straigth rove and
ramble becomes a symbol of revolt
because it leads one away from the
straight line the straight path into
those dark recesses into those deep
voids where sin blunder and mistake
reign but to err is to be human isn’t
life about getting swallowed up over on
by the waves of daily reality
isn’t this the physical metaphysical
nature of our being in the world okay so
we’ll do some Shakespeare everybody
knows Hamlet right
everybody knows Hamlet to be or not to
be that is the question whether tis
nobler in the mind to suffer the slings
and arrows of outrageous fortune or to
take arms against a sea of wrinkles and
by ironing and them so should we get out
the iron should we smoothen out those
wrinkles and starch the fabric do we
prefer the tabula rasa the clean slates
the erasure of all of our past and
present actions when the pure geometry
and finite constructs of Euclid and
Pythagoras fall apart when all of their
isosceles triangles right triangles the
segments of parallelograms the areas all
of those things finally
atomized and disappear all that will be
left in this world will be
irregularities and wrinkles and only
then will we be able to find our own
personal individual geometries and our
own authentic self and use those to
write the narratives on the surfaces of
our bodies let’s do another example
this is Bernini statue of Ludo Vika
Alberto nee she was a Renaissance
noblewoman very well known for her
dedication to the poor she’s also very
well known for her spiritual ecstasy’s
now when VIN c’mon enjoy look at the
sculpture they ask what is that surface
is it fabric is it skin is it emotion a
surface for the inscription of pathos
and then what about the marble the
coloration the veining the lines all of
that visually vibrates together and
depending on where you’re standing and
depending on how the light is falling on
the sculpture coloristic ly sculpturally
it looks like it’s changing it’s moving
the folds are continually varying now we
enter the realm where forms communicate
movements of the mind a basic concept of
vector psychology and it’s not just one
moment one movement it’s multiple
moments multiple movements that very
well represents Ludovico’s interior
spiritual awareness –is her psychic
revelations her impassioned inner being
now in topological field theory tension
systems reveal a lot about our psychic
events our experiences and our behaviors
it is a permissive Liberty diagonal a
dynamic slippery subversive
cascading dialogue that characterizes
our being in the world as perpetually in
a state of evolving involving devolving
enveloping enveloping developing so if
all of this represents our past in our
present is there any meaning here for
our future when the topological field
folds over and unto itself multiple
points of intersection are possible fall
into the Z dimension when de Luz says
that each of us are multiple or plural
he doesn’t mean that we are many things
or that we have many egos but that we
are folded in many irregular and
entangled ways a multiplicity far beyond
what we could ever perceive a
multiplicity far beyond what we could
ever predict so here we have Loie fuller
and Loie fuller is performing her
improvisational serpentine dance of the
scarves the fabric follows the movements
of her body follows the movements of her
mind the fabric functions as her
interface with the world with the
sunlight with the air with the winds
with the environment and as she pulls
and tugs and flips that fabric around
she demonstrates that all is fluid
everything is folding unfolding nothing
is static structured or starched so
consciously or unconsciously we’re
always writing narratives on our body
for the world to see the issue is does
anybody else know how to read your own
authentic vocabulary read between those
lines and read deep within to those
folds and into those recesses so
generally these TEDx talks
with the speaker giving you a bit of
advice so what could I possibly say
throw out the eye or put on the old
shirt move around a lot look at all the
wrinkles folds and creases and wear that
shirt is a badge of honor for a life
fully lived thank you [Applause]
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