The EU funded HAPTEX project aimed to create a virtual reality system that allowed a user to explore and manipulate a suspended virtual textile with the thumb and index finger. This was achieved through a combination of a tactile renderer on the fingertips for surface textures and a force feedback system for deformation of the virtual material. This project focuses on the tactile rendering component of this system, which uses a tactile display developed at the University of Exeter. The 24 pin display is driven by piezoelectric bimorphs. Each of the pins can be driven independently, allowing for a variety of different sensations to be transmitted to the fingertip. The display is driven by rendering software that uses a spatial spectrum of the intended surface, in combination with the frequency response of touch receptors in the skin, position on the surface, and exploration velocity to produce a signal that is intended to recreate the sensation of exploring the surface texture. The output signal on each of the 24 contactors is a combination of high (320 Hz) and low (40 Hz) frequency sine waves. In this project, the tactile renderer is initially evaluated based on its ability to recreate the sensations of exploring particular textured surfaces. The users were asked to rank virtual textures in order of similarity to a real target texture. The results of the initial test were disappointingly low, with a 38.1±3.1% correct identification rate. However, feedback from this initial test was used to make improvements to the rendering strategy. These improvements did not give a significant improvement in identification (41.3±1.6%). Finally, the tests were repeated with a target virtual texture instead of the real one used in previous tests. This test yielded a higher identification rate (64.1±5.5%). This increase in identification suggests that the virtual textures are distinguishable but that they not always accurate recreations of the real textures they are mimicking.

The work presented in this thesis investigates through practice a new field of textile design exploring the visual effects of moving light as a continuous time-based medium. Thereby, the textile design pattern reveals its composition, not in one moment of time any more, but in fact over time. The thesis consist of four parts: a solo exhibition at the Textile Museum in Borås from 17th February- 28th March 2015, five posters, an interactive thesis including 48 films (download file) and present thesis book. The artefacts displayed in the thesis show a varying range of examples which explore aesthetical possibilities of how light can be integrated as an active part into textile structures, ranging from weaving to braiding techniques, both hand crafted, as well as industrial produced. Thereby three main groups of experiments: colour flow, rhythm exercise, sound_light experiment explore and discuss a range of different time-based expressions. Thus define and establish relevant new design variables and notions, whilst working with time-based design processes. In the following descriptions of these experiments two forms of writing have been used to describe the experiments. One is purely descriptive, neutral form to describe the experiments as such, whereas text titled Research Diary Notes includes reflections and personal comments on the experiences during work on the experiments. The interactive thesis and the exhibited artefacts are an invitation to view new textiles expressions and are an initial guide on the road toward future time-based design works, particularly in the area of light emitting textiles. / <p>Disputationen sker den 17:e mars 2015, kl. 10-12 i Textilmuséet, Textilhögskolan, Skaraborgsvägen 3, Borås. Opponent: Dr Nithikul Nimkulrat, Professor i textildesign, Head of Department of Textile Design, Estonian Academy of Arts.</p><p></p><p>Disputationen genomförs på engelska.</p>

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Clothing and textiles are an important means of communication, providing nuanced signals of economic and social status, occupation, and political affiliation. Consequently the study of clothing and textiles is a valuable approach to the investigation of a past society. Building on current methodological approaches associated with clothing and textile history and the study of material culture, this thesis will investigate how the clothing and textiles of the Scottish population in the long eighteenth century can be interpreted as symbols of wider cultural, social and economic practices. Studies of tartan and Highland dress have dominated the literature on historical Scottish dress and textiles, a result of these items’ intimate connection with modern Scottish identity. This thesis seeks to redress the balance by examining clothing and textiles in both the Highland and Lowland regions, in rural and urban areas, and in the experiences of the elite and non-elite sections of the population. This will be done using multiple and varied sources, including surviving artefacts, portraits, inventories, and contemporary literature. By incorporating quantifiable analysis and qualitative interpretation, this approach complements and adds to existing knowledge of Scottish clothing and textiles. The thesis begins with an examination of the clothing culture, looking at everyday clothing and its use in national, occupational, and political identities. Examination of the textile culture scrutinizes the use of textiles in literature, the economic and ideological approaches to the textile industry, and the practical motivations behind tartan manufacture. The role of ‘fashion’ in Scottish clothing and textile cultures is studied, looking at how outside fashions were received within Scotland, and how Scotland in turn influenced wider fashions. The thesis provides an overview of Scottish dress and textiles in the long eighteenth century demonstrating the importance such investigation can have on the comprehension of the wider social and economic practices of a nation.

To investigate the integration of a textile antenna into a woven substrate at the point of production. The antenna was to have the characteristics of a conventional fabric interms of the handle and drape.

The purpose of this studio was to investigate materiality in the scales of human habitation and to expand traditional notions of architecture through narrative-based design. Narrative-based design is the culmination of studies in the phenomenology of built forms and spatial constructions. It is an experience oriented, democratizing process rather than an image-based, hierarchical process. Using narrative-based design and research on theoretical stances of product manufacturing and interior design we created a domestic space that is an installation. We will built upon Lois Weinthall’s insights regarding the scalar difference between the body, interior design and architecture, and Anni Albers’ theory that the technology of craft should be revealed in the work especially in expressing the nature of the materials used. / text

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This research seeks to create new woven artefacts by integrating elements of traditional weaving from western Saudi Arabia and different kinds of materials for the warp, thus offering a new dimension to the field of hand weaving in Saudi society, and contributing to its development. For the researcher’s MA study, she was interested in western modern weaving and textiles in terms of its new weave techniques, methods, forms, design and function. But, with the commencement of her PhD study, she thought more about Saudi traditional weaving as a key reference. Her interest developed when she worked as a weaver and teacher of the art. Through work experience, the researcher has observed that the field of hand weaving in Saudi Arabia, particularly the traditional Bedouin approach, is rich in aesthetic values and techniques, but is not widespread. Some effort is required to find ways to develop this kind of weaving and to introduce the new forms, appearance and techniques to Saudi Arabian society. At the same time, this might be considered an invitation to Saudi weavers to join the researcher in reclaiming our past to suit the needs of the present time.