silk pilot test

Silk pilot

Pure silk, one of the oldest known natural fibres, is still highly fashionable even after thousands of years. This beautiful and elegant fabric fascinates mankind with its precious radiance, gossamer touch and strength. As long ago as antiquity, the incomparable haptic inspired the powerful in this world to such a degree that they even weighed the fibres in gold. Kings, emperors and the clergy wore splendid silken garments, the wealthy ladies and gentlemen of society did not want to forego silk clothes. The history of city of Krefeld, also referred to as the ‘Τown Like Silk and Velvet’, is closely linked to this magical material.

Key silk pilot results

Historical narratives

Explore our collection of curated historical narratives relevant to the silk industry history of Krefeld from the Mingei Online Platform.

Interactive timeline

Explore our interactive streaming gallery of Silk fabulae presenting historical and social events related to the craft of Silk in Krefeld in a timeline format.

3D Reconstructions

View videos of our 3D reconstruction results and explore our interactive ecclesiastical vestment application.

Archives

Learn more about historic patterns of the period.

Craft understanding

How does a pattern become a final product? Learn about the Jacquard weaving process and the hidden arts involved.

Historical narratives – Explore Silk narratives from the Mingei Online Platform

Explore our historical narratives to learn more about Krefeld and its evolution to a major player in the European textile industry. The historic narratives have been produced by curated historic data provided by the museum of Haus der Seidenkultur and authored in the MIngei Online Platform.

Historical narratives – Explore the story of Hubert Gotzes parament workshop narratives from the Mingei Online Platform

In the ‘Town Like Silk and Velvet’ of Krefeld in Germany, you will find a former weaving workshop that stands proudly as a testimony of the rich silk industry of the Rhine region. The workshop has been transformed into a museum, the Haus der Seidenkultur, run by the Friends Association and operated by a number of dedicated volunteers. Learn more about the history of the Hubert Gotzes parament workshop from our collection of historical narratives. The narrative have been produced by curated historic data provided by the museum of Haus der Seidenkultur and authored in the Mingei Online Platform (MOP).

Interactive Timeline application

Visit the silk Interactive Timeline application to view historical and social events related to the craft of Silk in Krefeld in a timeline format.

Features

  • Web-based interactive craft presentation application
  • Supports connectivity to authored fabulae from MOP
  • Built on Unity 3D engine

3D Reconstructions of historic liturgical paraments

The following videos show the results of the 3D reconstruction of five historical liturgical paraments of HdS.

Ecclesiastical Vestment, Haus der Seidenkultur.
Ecclesiastical Vestment, Haus der Seidenkultur, Krefeld, Germany.
Ecclesiastical Vestment, Haus der Seidenkultur.
Little Brother (Brüderchen), Haus der Seidenkultur.

Interactive Ecclesiastical Vestments application

This application exploits digitisation results of historic Silk ecclesiastical vestments from year 1 of the project. The results are presented in an online interactive image gallery carousel.

Features

  • Web-based interactive craft presentation application
  • Exploits digitisation of assets results
  • Built on Unity 3D

Digitisation of textiles, fabric, and paper

Features

  • Low-cost, contactless surface scanner
  • 19.8 Kpp
A low-cost contactless overhead micrometer surface scanner

Historical Patterns

Textile production with Jacquard looms – The Hidden arts

Jacquard loom weaving entails the creation of intricate woven patterns. The process of weaving on Jacquard looms involves the following 5 stages: Pattern design, Point-paper design, Puch-card making, loom preparation, and weaving. Learn more below.

Pattern design

The first step of the process regards the art of pattern designing. The pattern designer develops ideas for patterns which are to be incorporated in the woven textiles. To do this he requires considerable graphic and artistic talent. Depending on the technical options available in the weaving workshop, the specifications set out by the studio, the fashion trend and the designated use, he designs geometric or floral shapes, abstract or graphic representations. Sometimes he also provides various colour options. Explore instances of pattern design examples provided by the Haus der Seidenkultur museum archives.

Point-paper design

Once the pattern designer completes the artistic design, the point paper designer iconverts it into a technical drawing according to the patterning options provided by the weaving machine.
To do this he transfers the design to special paper, the so-called point paper. Each rectangle on the point paper symbolises a crossing of warp and weft threads. Depending on the pattern, colour is used to indicate in the appropriate rectangle which warp threads should be on top at the crossing point (weave). There are many different weaves and the point paper designer has to choose the most appropriate one so that the design in question appears as accurately as possible in the fabric.
Explore instances of point-paper designing examples provided by the Haus der Seidenkultur museum archives.

Punch-card making

The card puncher transforms the technical drawing made by the point paper designer into a punched card.
With his fingers on the keyboard he enters the data into the card punching machine and with his foot he punches the card by activating the pedal. A hole in the card signalises to the Jacquard machine that a warp thread has to be raised. No hole in the card, then the warp thread remains where it is. The space between the lower warp threads and the raised warp threads is referred to as the shed into which the weft thread can be inserted. One card is needed for each weft thread. Once they have been punched, the cards for each pattern are numbered and threaded together and then suspended in the Jacquard machine as an endless card set.

Preparation of the Jackquard looms

Preparation of the Jacquard loom is a complicated and time consuming process that requires specialised skills.

Weaving


Applying the Mingei protocol in the Silk pilot

[NP+Short description of the protocol 3-4 lines]

[NP+Link to the protocol]

[NP+ Relevant publications]

  • Zabulis, X., Meghini, C., Partarakis, N., Kaplanidi, D., Doulgeraki, P., Karuzaki, E.,Stefandi, E., Evdemon, T., Metilli, D., Bartalesi, V.,Fasoula,M., Tasiopoulou, M., and Beisswenger, C.,(2019). What is needed to digitise knowledge on Heritage Crafts?Memoriamedia Review.
  • Zabulis, X., Meghini, C., Partarakis, N., Beisswenger, C., Dubois, A., Fasoula, M.; Nitti, V., Ntoa, S., Adami, I., Chatziantoniou, A., Bartalesi, V., Metilli, D., Stivaktakis, N., Patsiouras, N., Doulgeraki, P., Karuzaki, E., Stefanidi, E., Qammaz, A., Kaplanidi, D., Neumann-Janßen, I., Denter, U., Hauser, H., Petraki, A., Stivaktakis, I., Mantinaki, E., Rigaki, A., Galanakis, G. (2020). Representation and Preservation of Heritage Crafts. Sustainability, 12(4), 1461

STEP 1. Human resources and digital assets

In this step, we collect the documentation that will be eventually transformed into knowledge and history that we will digitally represent.

Human resources are invaluable in the description and explanation of craft practice and context. In this process, digital assets serve a range of purposes, from note-taking to reference practices by an HLT. Moreover, sometimes the contribution of a human resource may be available only through a recording.

Digital assets are carriers of documentation, information, and knowledge that required a comprehensive representation of craft. Moreover, digital assets that are appreciated by human observers (i.e., audio-visual) can encompass an insightful understanding of processes, environments and semiotics.

[Techniques used:]

[NP + Open datasets]

[NP+ Add the following resources]

  • https://zenodo.org/record/5012566#.YURjhn1RVaQ
  • https://zenodo.org/record/4983052#.YURju31RVaQ

[NP+ Add the following video]

  • https://www.youtube.com/watch?v=3rhcAUcekkM&t=217s

[NP+Relevant publications]

 

[NP + content from the living document of WAAG regarding the co-creation process]

[NP+ link to the living document]

Applying the Mingei protocol in the Silk pilot

STEP 2. Knowledge Elements

In this step, basic craft knowledge or otherwise knowledge elements are formed and digitally represented. In plain words, this means that the digitisations are entered in the Mingei repository, properly classified and linked to the other entities in the repository. Collectively, the classifications and links formed in this step form the semantic metadata that have been previously introduced.

Forming a knowledge element requires a comprehensive understanding of the digitally represented asset and is regarded as a digital curation process. Digital assets are represented in the system by knowledge elements associated with the result of a curation process that yields metadata, annotations, and descriptions. In this process, the original meta-data (if any) that accompany the digital asset are useful.

Representation of knowledge on craft processes includes curated material which is also digitally represented. The basic elements of such representations are the events, or actions, that comprise the craft process and the links that relates these events between each other and with the objects that document or contextualized them.

[Techniques used:]

[NP+ MoCap]

  • Armines approach
  • FORTH approach

[NP+Relevant publications]

[NP+ Add mocup video]

  • https://www.youtube.com/watch?v=BZj1LxRmByY

Applying the Mingei protocol in the Silk pilot

STEP 3. Craft Representation

In this step, the individual entities represented in the previous steps are linked to each other into an organic representation of the craft instance. This linkage implements the semantic representation of the craft.

The scope of this representation covers the following craft dimensions:

  • Tangible elements, such as materials, tools, and products
  • Craft actions and processes
  • Contextual knowledge that provides an understanding of
    • Artefact usage
    • The CH of a region and its people embedded in the artefact
    • The historic, geographical, economic, and social dimensions of the associated craft instance.

[Techniques used:]

Mingei Online Platform (MOP) is an authoring platform for the representation of social and historic context encompassing a focal topic of interest.

[NP+Relevant publications]

  • Partarakis, N., E. Karuzaki, V. Doulgeraki, I. Adami, S. Ntoa, D, Metilli, V. Bartalesi, C. Meghini, M. Theodoridou, G. Marketakis (2020, under review). Representation of socio-historical context to support the authoring and presentation of multimodal narratives: The Mingei Online Platform. ACM Journal on Computing and Cultural Heritage.

Narratives

A digital narrative or, simply, a narrative is an abstraction that represents a set of facts that have happened in the world. These facts are connected to each other in a way that makes them a story.

This abstraction includes a narration, which is the way that a certain author has told the story. Individual narratives may be focused at a subject and include a pertinent subset of the events that are represented in the fabula.

The narration tells the story, using a certain medium. In Mingei multiple media are employed, starting from verbal and visual and reaching up to immersive and interactive narrations. A medium, and correspondingly, a media object may be multidimensional; for example the audio and visual components of a mobile phone “video” recording, or the combination of video and 3D MoCap recordings.

A narrator is a person or a program that presents a media object, i.e., verbally, by visual rendering, sonification, VR, etc. Besides multimedia and immersive presentations (discussed in the next step), conventional, verbal and visual, media objects and channels are of fundamental importance. A textual media object can be exported as a narrative for a person or an avatar to read, and a formatted document with illustrations, or an “infographic”, can output channels. In this context, Mingei aspires the export of more imaginative and interactive uses of conventional verbal and visual outputs, including scripts for theatrical re-enactment of stories and role-play on contextual dimensions of craft instance, such as skill, trade, and labour. The choice of narration medium is relevant to the use of the content, the intended audiences, and the experiences to be rendered these are discussed in the next step. In this step, we focus on the narrative representation.

A narrative can include additional information besides the connection of the narration to the facts that are narrated. In particular, a digital narrative consists of three main elements:

  1. A representation of the fabula made of representations of the events that the narration is telling.
  2. One or more media objects, each of which represents a narration.
  3. A digital representation of the reference function that connects the (representations of the) events of a story with a fragment of a media object that describes them and allows to derive the plot.

Each narration of a fabula employs the use of one or more media objects, which have been authored by one or more narrator(s). Through events or event schemas, craft narratives are linked to videos, images, testimonies, and documents that record or exemplify elements of the fabula. Collectively, these media objects are employed in the narrations of the Mingei narratives.  Through the Mingei Online Platform, a tool for authoring and visualising narratives is provided.

[Techniques used:]

  • The proposed representation in MOP is employed in the contextualised presentation of a given topic, through documented narratives that support its presentation to diverse audiences. Using the obtained representation, the documentation and digital preservation of social and historical dimensions of Cultural Heritage (CH) are demonstrated.

[NP+Relevant publications]

  • Partarakis N., Doulgeraki P., Karuzaki E., Adami I., Ntoa S., Metilli D., Bartalesi, V., Meghini, C., Marketakis, Y., Theodoridou, M., Kaplanidi D., Zabulis, X., “Representation of socio-historical context to support the authoring and presentation of multimodal narratives: The Mingei Online Platform”, Journal on Computing and Cultural Heritage, (to appear, JOCCH-20-0216).
  • Meghini, C., Bartalesi, V., & Metilli, D. Representing Narratives in Digital Libraries: The Narrative Ontology.

Information tools

Experiences

Kids