The continuous production of textile muscle fibres made by continuous electropolymerisation of polypyrrole (PPy) onto multifilaments coated with poly(3,4-ethylenedioxythiophene) (PEDOT) and of surface ionofibres made by UV coating ionogels on commercial multifilaments enables the manufacturing of textile muscles. Here, plain woven fabrics combining textile muscle fibres as warp threads and ionofibres as weft threads are investigated. This study aims to understand the translation of the contractile properties of textile muscle fibres in aqueous sodium dodecylbenzenesulphonate (NaDBS) to the behaviour of the fibres in such woven fabrics. Indeed, in a plain weave, the contact of the textile muscle fibres with an ion source/sink is only done at the interlacings with the ionofibres. Compared to crude fabric coatings, this contribution opens up to a new generation of textile muscles.

This paper aims to discuss methods for reviving a craft – horsehair weaving – inspired by the concept of a moving searchlight approach and a forensic perspective. Isolated artefacts, tools, tools with ongoing processes and photographs, together with preserved documentation, have been analysed. Ongoing documentation on social media and a webpage were used during this process. Social media aimed to get people interested in the subject, test thoughts and maintain a dialogue. The webpage aimed to gather documentation demonstrating the horsehair weaving process and how the sievewright was made. The public documentation also aimed to inspire and engage other crafters. The public display of the ongoing project has been a positive learning experience. Different methods of documentation have different advantages.

Flax is a traditional plant used to make textiles. Flax, like all natural fibres, is a material with variations. Knowledge of a crafting process can be obtained by studying artefacts and all available documentation and by being present in a craft tradition and society of spinning. A craftsperson will make many small decisions during their work. How do we gain knowledge about handling materials, and how do we preserve the intangible skills relevant to a craft? This performance article aims to make visible specific knowledge of material, tools and working methods for re-hackling flax. The text and performance illustrate the perspective of a reflecting craftsperson. By asking questions about the work process, critical decisions regarding crafts will be highlighted. This approach will help preserve and transmit craft skills within flax processing.