| by Eleonora Giglione | In textile work, repetition is often interpreted as automatism: a sequence of gestures without deviation. Yet, on closer inspection, weaving challenges this reading. The thread does not simply pass back and forth; each gesture introduces a minimal variation, a difference that accumulates over time and reshapes the whole. Repetition does not eliminate complexity, it produces it. In Japanese weaving, for example, techniques such as kasuri, in which threads are dyed before weaving to create intentionally offset patterns, require an extremely controlled repetition that can never coincide with identity. The pattern emerges from a sequence of repeated gestures, yet the slight misalignment of the threads introduces a…

| by Eleonora Giglione | Not everything that sounds asks to be written, and not everything that is written truly holds a sound. The distance between vibration and sign, long shaped by musical notation, begins here to loosen without needing to be denied. It is enough to shift attention, away from what represents, toward what responds. Textile belongs to this second condition. It is not a neutral support, not a surface awaiting inscription, but already a system of forces in unstable balance, a weave of tensions that react. Every stretched fibre contains the possibility of oscillation, not as an image of the sounding string, but as its material variant, less…

At PAV – Parco Arte Vivente in Turin, Binta Diaw presents Where the Vines Intertwine. Resistances, Alliances, Lands (open until March 8, 2026), a project that transforms the exhibition space into an organic, walkable environment. The display unfolds through suspended installations, expanses of soil, and woven structures that alter spatial perception, inviting visitors into an immersive and relational experience. The artist’s research focuses on the intersections of memory, environment, and politics, adopting a diasporic and decolonial perspective that challenges Eurocentric narrative frameworks. The use of materials such as earth and synthetic fibers, particularly artificial hair, generates textures reminiscent of climbing vegetal systems, suggesting connections between bodies, territories, and layered histories.…

| by Eleonora Giglione | From warp to sonic vibrations, an invisible thread connects looms, scores, and contemporary experiments. A frontier still waiting to be woven. The history of textile art is a silent symphony that spans millennia. Behind every nomadic carpet, every medieval tapestry, every Renaissance brocade lies a language of rhythms, pauses, and counterpoints. The warp and weft are like intertwined melodic lines; the loom itself is as much a compositional instrument as a violin or piano. In the 19th century, with the invention of the Jacquard loom, weaving took a leap into mathematical abstraction. The punched cards used to control thread movement were nothing but ancient binary…

| by Eleonora Giglione | There is a silent yet tenacious bond between the art of weaving and the world of computation. An ancient thread that spans centuries and technologies, capable of linking the manual intuition of weavers with the abstraction of the most sophisticated machines. From mechanical looms to punched cards, from visual algorithms to neural bending and quantum computers, thought becomes weave, interlace, variation. In this journey through patterns, logics, and languages, we rediscover the symbolic roots of programming and open up a new space for imagining intelligence as an expanded form of creation. Among the pioneers in the history of computer science, Heinz Zemanek holds a unique…

| by Eleonora Giglione | Writing and weaving have always intertwined in a symbolic dialogue: both construct complex realities by interlacing diverse elements, whether words or threads. However, the textile metaphor is not merely literary; it has deep roots in mythology, history, and philosophy. Knots, nets, and weaves not only define the structure of a text but also connect to worldviews, politics, and the art of deception. Weaving, like writing, contains an element of ambiguity and artifice. A text, much like a woven fabric, is crafted with skill, strategy, and often with the intent to conceal meanings, deceive the eye, or create illusions. Weaving is frequently linked to the revelation…