Kadans 2.0

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	<title>Kadans 2.0 </title>
	<link>https://kadanskadans.com</link>
	<description>Kadans 2.0 </description>
	<pubDate>Wed, 11 Jan 2023 16:31:52 +0000</pubDate>
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		<title>PINK INTRO DESK </title>
				
		<link>https://kadanskadans.com/PINK-INTRO-DESK</link>

		<pubDate>Fri, 16 Oct 2020 14:14:15 +0000</pubDate>

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	&#60;img width="262" height="38" width_o="262" height_o="38" data-src="https://freight.cargo.site/t/original/i/ab37deefce46060139c4464f5c916bf57c6b507c737c8daa5cb76ffe531e5729/KADANS-2.0-WHITE.svg" data-mid="85786971" border="0" data-scale="27" src="https://freight.cargo.site/w/262/i/ab37deefce46060139c4464f5c916bf57c6b507c737c8daa5cb76ffe531e5729/KADANS-2.0-WHITE.svg" /&#62;
by Aliki van der Kruijs
  
&#38;amp;&#38;nbsp; &#38;nbsp;Jos Klarenbeek&#38;nbsp; 
︎︎︎


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		<title>TEXTILES QUESTION SLIDE</title>
				
		<link>https://kadanskadans.com/TEXTILES-QUESTION-SLIDE</link>

		<pubDate>Tue, 13 Oct 2020 09:47:54 +0000</pubDate>

		<dc:creator>Kadans 2.0 </dc:creator>

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		<description>HOW CAN THE MOTION OF THE SEA
BE A DIRECT 
SOURCE
FOR AN EVER-CHANGING 
WEAVING PATTERN?
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		<title>INTRO TEXT</title>
				
		<link>https://kadanskadans.com/INTRO-TEXT</link>

		<pubDate>Tue, 13 Oct 2020 09:47:54 +0000</pubDate>

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THE SEA AS DATA SOURCE


Kadans 2.0 is a research project by Dutch designers Aliki van der Kruijs and Jos Klarenbeek. It examines how the motion of the sea can be a direct source for an ever-changing weaving pattern.&#38;nbsp;The ongoing project sprouts from a shared curiosity for invisible natural processes and using these as a source of information for the development of patterns and materials. Textile production is combined with sciences including oceanography and mathematics, constructing a soft output of hard data generated by the motions of waves at sea.The Dutch government, through its Rijkswaterstaat, uses offshore buoys and platforms to monitor the wind, wave and acidity conditions along the coastline of the Netherlands. This real time information is open source accessible, and is a direct data input for Kadans 2.0. Together with RNDR a weaving software is developed for both shaft and jacquard weaving. This tool enables the translation of sea data into a weaving pattern. In this way each part of a resulting piece is directly linked to a moment in time, making each roll of fabric a unique timeline. 
Kadans 2.0 was developed alongside a team of oceanographers from TU Delft and interactive media firm RNDR. Sampling on a jacquard loom was made possible by participating in Weavers Werkstatt, a residency organised by Hella Jongerius’ Jongeriuslab and further developed in the TextielLab / Textielmuseum in Tilburg.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;</description>
		
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		<title>VIDEO MILLK</title>
				
		<link>https://kadanskadans.com/VIDEO-MILLK</link>

		<pubDate>Wed, 11 Jan 2023 16:31:52 +0000</pubDate>

		<dc:creator>Kadans 2.0 </dc:creator>

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		<title>TEXTILES 1.1</title>
				
		<link>https://kadanskadans.com/TEXTILES-1-1</link>

		<pubDate>Wed, 14 Oct 2020 12:24:04 +0000</pubDate>

		<dc:creator>Kadans 2.0 </dc:creator>

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		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp;
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;WEAVING WATER


Kadans 2.0 is a sample research in both shaft and jacquard weaving. To translate the data of Rijkswaterstaat into a set of tangible features, Aliki and Jos designed nearly a dozen patterns that explore how this data can generate ever-changing textiles. By weaving in shafts, they are forced to think in a more geometric representation, as if the fabric were a large graph. Jacquard, in turn, allows them to represent the irregularity of ocean patterns.
The first samples were handwoven on a sampler shaft loom with 24 shafts. Afterwards, they experimented on an industrial dobby loom at Lanificio Leo, a textile manufacturer that has been operating in Calabria (Italy) since 1873. During the Weavers Werkstatt they could work on a jacquard TC2 loom. That process enabled them to experiment directly with the yarns and receive immediate feedback on how the data informs the weave code. The high-speed weaving and spin possibilities at TextielLab in Tilburg allowed for the samples that were born out of the TC2 loom to become far more precise.  


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		<title>TEXTILES IMAGES </title>
				
		<link>https://kadanskadans.com/TEXTILES-IMAGES</link>

		<pubDate>Wed, 14 Oct 2020 12:23:41 +0000</pubDate>

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		<title>SOFTWARE</title>
				
		<link>https://kadanskadans.com/SOFTWARE</link>

		<pubDate>Tue, 13 Oct 2020 09:47:55 +0000</pubDate>

		<dc:creator>Kadans 2.0 </dc:creator>

		<guid isPermaLink="true">https://kadanskadans.com/SOFTWARE</guid>

		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	

THE SOFTWARE


In order to automate the process of translating open source data of Rijkswaterstaat into weavebindings, two softwares are developed together with RNDR. The key to the custom Weaver software is its mapping function, a proprietary design: it’s a mechanism that has a set of values —open-source buoy data collected by an algorithm— as input and weaving code as output. Once sent to the chosen loom, this results in fabric with a defined look, yet with ever-changing nuances determined by sea behaviour. The first version, Weaver1, was developed for shaft weaving —and will be violable as open-source software in the future. Its follow-up, Weaver2, was conceived for jacquard weaving.


The mapping works differently for each of the 10 programmed designs, giving each piece of fabric its own visual and tactile identity. The jacquard weaving is produced via the same algorithm that oceanographers use to create 3D models of the sea. But the Weaver2 software takes that a step further: with merely a few parameters from a buoy —wave height, mean wave period and mean wave direction—, it translates the height values of that model into certain bindings, creating a jacquard pattern with a top-down view. In other words: it resembles the way a satellite sees water on Earth.


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		<title>ABOUT</title>
				
		<link>https://kadanskadans.com/ABOUT</link>

		<pubDate>Tue, 13 Oct 2020 09:47:55 +0000</pubDate>

		<dc:creator>Kadans 2.0 </dc:creator>

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		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="5319" height="7447" width_o="5319" height_o="7447" data-src="https://freight.cargo.site/t/original/i/80df22d817578a2daef60696a7b1044eada440705239fd84e7086462ac9d527b/LONNEKEVANDERPALEN_KADANS_2.0_0N0A9153.jpg" data-mid="85538762" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/80df22d817578a2daef60696a7b1044eada440705239fd84e7086462ac9d527b/LONNEKEVANDERPALEN_KADANS_2.0_0N0A9153.jpg" /&#62;

	
For more information or
collaboration requests please contact:&#38;nbsp; wave[at]kadanskadans[dot]com&#38;nbsp;

ALIKI VAN DER KRUIJS &#38;amp; JOS KLARENBEEK

In their own ways, Aliki and Jos had been compiling environmental and
textile data for years before meeting each other. 
Aliki developed an archive of textiles&#38;nbsp;Made by Rain featuring patterns produced with the
help of pluvial conditions.&#38;nbsp;More often she fabricated a series of textiles using the atmosphere and contextual research as input for colour and material collections. During a residency
at Arita, in Japan, she used the Made by Rain approach to stabilise the collection of
live raindrops in order to shape the glazing of porcelain plates. 


 A mathematician with a multidisciplinary approach to creating objects, Jos had been gathering planetary data sets from NASA and the European Space Agency as a way to make custom maps for his research projects —from the dairy production chain to global temperature charts. As he was looking into ways of making the data tangible and more accessible to a non-specialised audience, he saw potential in the black-and-white diagrams of weaving codes: a piece of fabric was, in his eyes, a physical matrix of zeroes and ones.


More info on Aliki van der Kruijs&#38;nbsp; ︎︎︎


More info on Jos Klarenbeek &#38;nbsp; ︎︎︎

	
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	<item>
		<title>INTERVIEWS</title>
				
		<link>https://kadanskadans.com/INTERVIEWS</link>

		<pubDate>Tue, 13 Oct 2020 09:47:56 +0000</pubDate>

		<dc:creator>Kadans 2.0 </dc:creator>

		<guid isPermaLink="true">https://kadanskadans.com/INTERVIEWS</guid>

		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	INTERVIEWS— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS&#38;nbsp;— VOICES OF COLLABORATORS


	&#38;nbsp;JACQUELINE HEEREMA


Co-founder and curator of Satellietgroep, an artist collective that explores the sea as a repository for human intervention. Its Climate as Artifact exhibition, which opened on October 2018, marked the first public display of the Kadans project. 


In the Netherlands, there’s this historical obsession with water: the Dutch have never accepted the sea as what it is, but as what it could be. Does that play a part here and now, particularly with the threat of climate change?


In the Netherlands we tend to see the sea as something dangerous but manageable. Of course, we have a huge tradition of engineering and there have been grand ideas about conquering the North Sea by building dikes there —these have been going around in circles for decades and it seems that every generation has the same idea. At a certain point people thought about creating artificial islands that would protect us in the same way a barrier reef does. 


But we in the Netherlands don’t just have an engineering tradition —there’s also an artistic perspective present. And in all of the large masterplans for the North Sea there was a lack of involvement of the arts and heritage in general. Satellietgroep was born 15 years ago because of that: as an artist collective, we were trying to relate to the sea in other ways. Our first iteration was a project where we conceptually appropriated one of those proposed islands, and it has kept evolving —along with the national conversations about how to manage the sea. We were used to seeing discussions around building against nature, using dikes and such, and now people float the possibility of building with nature —which is what the Zandmotor became.


Manageable is an interesting word to use when it comes to the North Sea, because the Kadans 2.0 project is trying to channel that wild force into visually comprehensible data.


What I really like about Kadans is how they turn that conversation into such a tangible experience. They express that beauty in a way different to what 17th-century painters did. There’s a lot of data collected but you can actually make that visible —at one point they said “maybe we can make an endless weaving out of that, so you can feel what is happening on the sea.” &#38;nbsp;&#38;nbsp; 


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    - ( read more )
    
      
And on top of that, it’s a painstakingly accurate representation, data-wise, of the whims of the sea at any particular time. 


Late last year I was invited to TU Delft as a speaker for a transitional sea territory project, so I brought along Aliki and Jos. The presentation came first, but there was a secret box on the table. When out came the fabrics, the eagerness of the students to actually relate to them was amazing, gathering around the table trying to touch the fabrics. 


I often ask oceanographers: “What triggered you to start this profession?” Most of the time they say that as a child, they picked up a stone and that led to a whole world of research and curiosity. It’s the same thing here: it’s something tangible.


The sea means different things to different people —to many who live on islands, during coronatimes ripe with travel restrictions, it feels like a trap. Do you think visualising it in another way, such as the Kadans proposal, could help people see it not as a villainous entity, but as a purely mathematical one?


I grew up in The Hague, so as a child I was always on the beach. I then went to an art academy and I would meet my peers there to have long philosophical discussions. Then my daughter went to school and the parents would also meet on the beach and have philosophical discussions. So, for me, the sea has always had a deep meaning. When I started relating to it I learned that, for instance, people go to the beach to experience a sense of emptiness, of freedom, of openness —because there’s nothing there on the horizon. But at a certain moment I discovered a chart that actually depicts every utilisation of that particular part of North Sea, and I was completely flabbergasted: underneath it are all these pipes for oil, gas, communications, the data connections of Google, platforms for radioactive material. The biggest shipping line in the world is right in front of the shore where I always go! 


We tend to take the sea for granted. It’s a body of its own. If you go to the shore, whether it’s a touristic destination of somewhere off the beaten path, you need to check the weather forecast and the tidal tables, because it might be dangerous. People tend to think it’s just this nice blue surface in front of you. 


In Scheveningen, near a very busy beach resort, I once saw a Hindu family making an offering to the sea. They told me it was that water was connected to their holy Ganesh river. It completely shifted my perspective. It’s a beautiful gesture in itself: that you give something to the sea, instead of expecting it to give you all kinds of things. 


EDWIN JAKOBS


A computer scientist and creative coder, Edwin is a partner at Studio RNDR, a The Hague-based team whose work focuses on interactive media and data visualisation. He helped develop Weaver1 and Weaver2, the iterations of the Kadans software that turns sea data into loom patterns.


At the studio you provide visual translations for large amounts of raw data. What have you learned about the type of responses people have to different types of visual proposals, from the known, such as maps or cars, to the unknown, such as abstract graphics?


We call a lot of these works “experiential data visualisations.” We want to show process —how a thing works. Reflector, for example, is an installation that makes edits for a documentary, allowing users to change three sliders for things such as pacing and the type of shots. We try to show this in a way that’s not just numbers; instead we try to create something that works with the senses, that people can relate to with their entire bodies. 


But I do think people enjoy being able to visualise things in a different way —the “I hadn’t seen it that way before” or “I didn’t realise this is how it works” response. With more abstract proposals, the intention isn’t necessarily to visualise but to provide a visual expression —the “it looks interesting but I don’t know what’s behind it” response. In our studio there’s always so much talk about what a thing is and how we do show it, so we experiment a lot with that.


Why, do you find, is it important (or not) to provide 1:1 accuracy on visualisations?


f things are based on data, you have a way of judging them through validation. Now, this validation isn’t absolutely necessary, but sometimes it’s great to be able to do research on something and this ends up providing its context —something that in turn generates so many additional tools for work. 


Between the development of Weaver1 and Weaver 2, the Kadans software versions, you were working once more with the North Sea, through the Saricon project —a list of spots holding unexploded WWII bombs. It was unsettling to visualise this seemingly inert mass of water as the theatre for so much destruction. Did working with Kadans and Saricon in such close succession reshape your views of it?


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I didn’t realise we were taking so many measurements of the sea. I do tend to forget how a seemingly simple thing as the water that we go to in the summer to cool down, carries so much history in it. That project was commissioned by a company that provides consultancies for third parties that want to build in the North Sea and they are able to tell you how likely it is that you will find a bomb on the bottom of the sea. The interesting thing is that the person who wanted this visualisation is a historian, and it turns out they are able to build these maps by way of WWII log files from both sides. It’s really fascinating to read the stories that each person who wrote those logs has with the sea. There’s so much data. 


And it’s funny, because I never saw the link between Saricon and Kadans. In the Weaver project, my biggest concern was thinking of ways of designing textile. And I now have an understanding of how weaving works… but only from the screen. I have very limited experience with looms. 


So true to your craft, you’re far more intimate with the digital visualisation than with the real thing.


It’s funny, because I only know it through an abstraction. Aliki and Jos are the ones who come back with feedback on how the textile behaves. 


What problem did they bring to you to eventually solve with the Weaver software?


It was a twofold problem: they had data from the sea and they had an idea on how to translate that into a pattern. So they wanted a tool that could do that. On the other hand, we created a tool that made it easy to design patterns for weaving, because the existing software is made with very different intentions in mind —they’re usually industrial tools that solve a different set of problems. With the one we made, you can try things out very quickly. 


Was working with jacquard more freeing, as it was more complex than the traditional looms of the first iteration?


In a way, it’s much more complex but there is something in the basic principles of it… and it’s not entirely different than the first one, but it just immediately clicked. It’s more complicated… but strangely, in my head it all makes sense. 


You’re used to working with electronic media to present your work —screens, LED lights. Has this project made you think of more traditionally sensorial and primal ways to connect with end users?


Yes and no. I do realise that all of the work that we’ve shown is digital, and I don’t think we can rule out a non-electronic manifestation —but there will always be some sort of software component behind it. What I do see, particularly with the outcome of the first Kadans project, is how intriguing the quality of the textile is. People think with their entire bodies and textile is something worn as a second skin. It’s a super expressive thing that comes from programmed instructions.&#38;nbsp; So I would not rule it out.


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	<item>
		<title>CALENDAR</title>
				
		<link>https://kadanskadans.com/CALENDAR</link>

		<pubDate>Tue, 13 Oct 2020 09:47:56 +0000</pubDate>

		<dc:creator>Kadans 2.0 </dc:creator>

		<guid isPermaLink="true">https://kadanskadans.com/CALENDAR</guid>

		<description>
	CALENDAR
	

EXHIBITIONS &#38;amp; RESIDENCIES


20207-10 /25-10
Launch website
Dutch Design Week 2020
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2019
Residency
Weavers Werkstatt&#38;nbsp;→Organised by Jongeriuslab


&#60;img width="1547" height="1119" width_o="1547" height_o="1119" data-src="https://freight.cargo.site/t/original/i/1c76c4dc9a06789ca0031848afb9b4afca56f0d5e1ddb2a73b142ce6b692185f/Kadans_AlikivdK_JosK_Weaverswerkstatt.png" data-mid="85680730" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/1c76c4dc9a06789ca0031848afb9b4afca56f0d5e1ddb2a73b142ce6b692185f/Kadans_AlikivdK_JosK_Weaverswerkstatt.png" /&#62;a

	202214/04 - 9/11Dutch PavilionFloriade, The Netherlands

&#60;img width="2214" height="1562" width_o="2214" height_o="1562" data-src="https://freight.cargo.site/t/original/i/8292827d291fd5d41413bed60577e0881e6d6c0f80bddc8b1177850a1a47522c/Kadans-floriade.png" data-mid="164366748" border="0"  src="https://freight.cargo.site/w/1000/i/8292827d291fd5d41413bed60577e0881e6d6c0f80bddc8b1177850a1a47522c/Kadans-floriade.png" /&#62;


2019

29/11
Lecture TU Delft

Faculty bouwkunde


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	201818/10 - 18/11
Climate as ArtifactExhibition by SatellietgroepThe Hague, The Netherlands


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