We as humans consume and generate data constantly, seeking patterns to navigate living. Every culture has encoded its environment into textiles. I continue this tradition computationally, translating sound, gesture, landscape, and cultural observation into permanent pattern structures.
Before weaving, I observe. These generative studies explore how nature creates pattern spirals emerge from Fibonacci sequences found in plant phyllotaxis, branches grow through recursive tree structures and river deltas, waves capture rhythmic oscillations and temporal flows, particles swarm with collective intelligence. Each mode documents a different natural algorithm that later translates into textile structure. These algorithmic studies become source material for weaving pattern translation understanding how nature generates complexity before encoding it into warp and weft.
Your movement becomes a woven structure. This experimental interface translates gestural data into authentic drawdown notation, the language weavers use to record thread interlacement. Each interaction mode generates patterns that respect warp/weft constraints, float limits, and material physics. Not decoration, but structurally feasible textiles born from embodied data. Move your cursor or click to generate weave structures using Issey Miyake's bold, structural color palette.
Natural dye simulation exploring color archaeology and textile chemistry. Watch Indigo, Madder, Weld, and Cochineal diffuse across different fiber structures in real-time. Click to drop dye and observe how natural pigments spread, blend, and saturate through silk, cotton, ramie, wool, and linen each with unique absorption properties. Silk absorbs quickly with bright colors, cotton moderates with muted tones, ramie spreads slowly with crisp edges, wool saturates deeply with fuzzy diffusion. Understanding material behavior through computational simulation, where fiber type determines dye uptake just as in traditional textile dyeing.
Data structures reimagined as living organisms. Visualizing relationships and temporal flows through particle systems that breathe and evolve. What happens when we treat information as matter with weight, momentum, and attraction?
Cultural field recordings become textile patterns. Sound frequency maps to warp color, amplitude determines weft density, rhythm creates structural variations. A Taiwanese night market recording might generate dense twill with vibrant warps; ocean waves create flowing satin structures. This tool translates intangible sonic heritage into tangible material patterns preserving cultural soundscapes through computational weaving. Click play to hear the pattern generate in real time as audio translates to structure.
Textiles have a syntax. This animation visualizes drawdown notation, the binary grid that weavers use to encode warp and weft. Each square in the matrix is a decision point where threads pass over or under each other. The pattern reveals how plain weave, twill, and satin structures emerge as visual sentences written in thread logic rather than surface decoration.
Computational textile platform inspired by Issey Miyake's structural approach to fabric. Drawdown notation powers a system where warp and weft structures, color blocks, and pleat like diagonals can be explored in real time before ever touching the loom.
Users can manipulate pattern parameters, palettes, and structural presets, treating the browser as a testing loom. The platform operates as both archive and laboratory for contemporary computational weaving practice.
Your presence generates a pattern. Draw your gesture, watch it transform into computational textile through three algorithmic interpretations. Each signature becomes part of a living archive a collective weaving of encounters, preserved as both data and textile structure.
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I work at the intersection of computation and craft, using code as a tool for pattern-making and memory preservation. My practice questions how digital systems can embody the tactility and cultural weight traditionally held by textiles.
Drawing from textile history and generative algorithms, I create platforms that transform ephemeral data into permanent patterns. Each project explores ownership, authorship, and the stories embedded in structure.
Long before computers, textile patterns encoded information through binary logic: warp over weft, weft over warp. A weave draft is code. A pattern is an algorithm with material constraints.
My code doesn't just generate pretty pictures. It encodes the knowledge of weavers who understand that thread has tension limits, that certain fibers demand certain structures, that a pattern must work on an actual loom or it's just decoration.
Vibeweaving emerged from a simple question: What if computational patterns could respect material intelligence the way traditional weavers do?
I believe in systems that invite participation without requiring expertise. My interfaces are designed to feel intuitive yet reveal complexity over time, allowing both casual exploration and deep engagement.
Every interaction leaves a trace. Every trace becomes pattern. Every pattern carries memory. This cyclical relationship between input and output, between creator and creation, drives my work.
Building Vibeweaving, a platform for audio-reactive pattern generation. Exploring ways to archive cultural soundscapes as visual textiles before they disappear. Investigating provenance systems for computational art.
Interested in commissioning work, collaborating on projects, or discussing computational textiles and generative systems? I'm open to conversations about interactive installations, platform development, and experimental interfaces.