I'm very much looking forward to Sunday - which is when I will do the first online version of my workshop about medieval seams and stitches. It is an intro workshop resulting in a nice little sampler cloth, showing the most usual stitches and some seam and hem variations. It can serve, later, as a help to decide which seam to use, or which kind of hem or neatening will work best.

In the previous courses, I always brought along a few write-on-cloth pens and some extra linen fabric or bands for labels with the stitch names. But since that is not an option for an online class, there's been an upgrade:



Properly woven, nice neat labels for the stitch types.

These were done in a German manufacture on band looms, and they are in organic cotton. If you are looking for labels for something - maybe "handmade by ..." or with your name woven in, or with whatever other text, I can absolutely recommend Bandetikettenweberei Max Windrath, with their absolutely fabulous customer service. (Some of my labels got lost in the post, and the replacement arrived here lightning-fast.)

Today was prep for the online workshop on medieval seams and stitches - cutting pieces of cloth for the material kits. Of course I was supervised by Madam the Cat while doing this, before she hopped up onto the sofa, there to nap, followed by some light snoozing and some dozing. Ah, the life of a cat...

I have tweaked the place where the individual bits will go in comparison to my first sampler, which was made just to show the different stitches to people, and got some additions over time.



So it's more orderly now, and a bit better structured, and covers the usual suspects regarding stitches and seams and hems.

The kit will also include labels with the stitch names, which are currently being woven - to my great delight, I was able to find a small bandweaving company who does offer bands in organic cotton in addition to the regular ones. Since I vowed years ago to not support the conventional cotton industry, with its enormous use of water and pesticides, with the accompanying harm to the environment and the workers, that made me very happy.

As soon as the labels arrive, the kits will be finished, packed up and sent off to the workshop participants. And then I'm really looking forward to teaching the seams and stitches again, it's been way too long!

Reconstructions of textile finds are always including a bit of interpretation - the more fragmented the finds, the more interpretation is necessary. That is just normal, but something that is not always mentioned straight out in exhibitions.

So I'm always quite delighted when this is made clear - as is the case in this article about "Fashioning the Viking Age", which shows dress reconstructions based on two spectacular finds. There's also an instagram account with a lot more pretty pictures. Absolutely worth a look!

This year looks much better for in-person, on-site conferences than last year - though there's nothing really secure still at the moment. However, not only the Textile Forum is betting on everything being good enough, EXAR is also planning a conference this year.

It will take place in Perl-Borg, in a Roman villa museum; I've been there several times for Reenactment fairs, and it's a really beautiful place with lovely people running it. The EXARC conference is scheduled for September 23-26, and the topic is "Experimental Archaeology in Science and Education 2021". The Call for Papers is open until July 31, and registration for the conference is open as well. You can find out more about the conference here, and also register for it.

Talks will be in English and German, with a yet unknown ratio of the two languages. The board asks that slides for the presentations should be bilingual or in the other language than the one used for speaking so that everyone can follow along somehow.

I'm absolutely delighted that EXAR is using this as their current solution to the language dilemma - the society has developed into a larger, more international one from a purely German start, and a lot of the older members struggle with English as a conference and conversation language. Mind you, some of that struggle is probably due to the fact that Germans often underestimate their abilities in speaking and understanding English, and are a bit shy to use a foreign language because they feel self-conscious for all their mistakes.

I'm a proper German in that regard as well, by the way. I like to get everything right, and I do have to tell myself all the time that making mistakes is not bad, not speaking or writing to practise the other language is bad - and if that means making mistakes, that's good. It has gotten better recently with my wholesale slaughtering of the poor Finnish language, and the medieval French lessons where I also enthusiastically threw around interpretations that turned out to be, um... not quite matching the original content of the text. There was lots of learning that way, though.

It did help that the others in the study group also ventured forth with things they were not sure about, too. So offering up tentative solutions, or trying to talk about something where you might be a bit creative with vocabulary or pronounciation does not only help yourself to learn - it also helps others to maybe be more courageous. Good things all around!

There's a conference about early archaeological textiles this weekend, hosted by the Institute for Christian Archaeology of the Uni Bonn - the timespan goes from Neolithic to Early Medieval textile finds, with a wide range of topics and geographical areas.

If that sounds interesting to you, you can find more information, including the programme, on the Institute's website. Because of the pandemic, the conference is mostly online - which means you can join in and attend via Zoom. If you wish to do so, email Petra Linscheid (her email address is on the conference programme pdf).

 

So... here's the solution to the camera question:

One is, yes, above the screen on my laptop, as would be expected - marked with a yellow circle. One is outside the shot, on a tripod and looking over the upper edge of the extra monitor. The third one is also marked with a yellow circle, and it's fixed to a cap.

Which I wear. Well, not in that picture, there it's just hanging out on the table. When I do wear it, it looks slightly odd:



However... it means I can show my workshop participants exactly what I am seeing when I am doing things. Which is exactly what they should be seeing when they are doing the same things. And I am really amazed at the difference it makes to explain stuff! Well worth looking a little daft, with a cap with a long USB cable dangling from it...

You can tell that I've had a full day if the blog post comes up after 8 in the evening... like today, which included doing some of the usual daily emailing and shop work, then attending the CTR anniversary conference, then going to donate blood, and then...



...then my computer moved into the other room, and some spindles did too, and there were three screens in total and three cameras, and a mouse, and a hot drink, and some water.

And there were people joining me on Zoom, and soon they were all spinning medieval style with spindle and distaff. I'm still amazed on how well this online teaching works - not least, actually, due to the three cameras (and the third screen, which is essential for the use of one of the cameras).

So - here's a challenge for you.

I'm using three cameras in total, one of which I could do without. Two of the three cameras are on this photo, including the one that I'm most happy with, and that makes the course work so well. Can you spot it?