Privileging of words


 ocularscentrism of western cultures


can mask some of sensibilities


conveyed through material








as they inform




                                                                                                      as gesture and utterance


About language production through physical medium: utterance and gesture. / D. Mc Neil, ‘So You think gestures are nonverbal’, Psychological Review 92, 1985, p.351. Cited by David Armstrong, William Stokoe, Sherman Wilcox, Gesture and the Nature of Language, Cambridge: Cambridge University Press, 1995, p. 7—8.

Also, about conjunction of words of language, logic articulation and body, sensual perception, existence and expression of emotions: / Merleau-Ponty, Phannomenologie and Wahnehmung, Berlin, 1996, p. 224.

making begins with the production of raw material


we are taking it for grant


 / Peter Dormer, The Meanings of Modern Design, London: Thames and Hudson, 1970, p.15.

instinct from cognition

as a natural form from the culture

takes to

 historical, cultural contexts


their separation

or division

not conjunction


Matching the idea of material and mind division through crafts history. Historically, language and writing have acquired an extremely high, even revered, status. According to French historian anthropologist Jean-Pierre Vernant (1914 - 2007), who developed a structuralist approach to Greek myth, about tragedy and society, the separation or distribution of the arts took place in the Greek pole, when the public pole was separated from the private but, also, the public one was separated from masters, women and slavery. Then mastery was pushed out from the public intellectual context and began to develop in isolation. Those who were not in the pole, did not write, did not participate in the public space of the agora, were marginalized both visually physically and verbally. From this context crafts were developing as a separate system of life from the intellectual.  And still, probably, does. / Jean Pierre Vernant, Myth and Thought Among Greeks, London: Routledge & Kegan Paul, 1983 (1st 1965 in French), p. 256, 324.





superior kind of thought without autonomy of mind

with Annie Albers 


Edward Johnson works into words

and perception of crafts is so limited


 Annie Albers works and talks about how making through materials could be justified as almost a superior kind of thought. / Annie Albers, On Designing, New Haven: Pelango Press, 1959, p. 1959, p. 32.

Victoria Mitchel tells that for Annie the articulation of threads as formation from and within and through interaction with the material gives a specific way to reading in which the threads are represented by the words which are used to describe them. / Victoria Mitchel, “Textiles, Text and Techne”, in: Textile Reader, ed. Jessica Hemmings, London: Bloomsbury Academic, p.  5-13.

 Edward Johnson talks about how we can give a partial translation of our Work into Words which will assist understanding. / Edward Johnson, Four Papers, The Arts and Crafts Exhibition Society, 1935, p.5—8.

give a partial translation

making Word

arrangements by which we exchange ideas

enable to communicate through words 


with material

by Focault:

interweaving between things and words

use politics of translation


/ Edward Johnson, Four Papers, The Arts and Crafts Exhibition Society, 1935, p.5—8.

Michel Foucault, The Order Of Things, Routledge, 1989, p. 160.

/ Gayatri Chakravorty Spivak ‘Politics of Translation’, in Michele Barret & Anne Philips, eds., Destabilizing Theory, Polity Press, Cambridge, 1992.

layer after layer

civilized life


directness of seeing 

problematic crafts when they are hybrids of art and usefulness



/ Annie Albers, On Designing, New Haven: Pelango Press, 1959, p. 5, p. 50.

Zukofsky (not without Shakespeare)

Kuorinki with Holmqvist

 cover poetry with


The objective poetry by Louis Zukofsky (1904–1978) an recorded concrete poetry by Mikko Kuorinki (1977), also, specific performances by Karl Holmqvist's (1964) reading action, overlapped in the exhibition Footnotes 2013 curated by Valentinas Klimašauskas, CAC, Vilnius / [interactive], [viewed 2021-02-01]: . There Zukofsky used the poem Julia’s Wild (1960) from the collection of Selected Poems by Shakespeare’s (1564–1616), the play Two gentlemen of Verona (1589–1593), and recorded on the seven-inch concrete record.

Kien burns the library

madly in love with her


About the Peter Kien, main character from the novel Die Blendung (The Blindness) written by the Jewish-Italian-Spanish-Bulgarian writer Elijah Canetti (1905-1994) in 1931 and published in 1935. Canetti was awarded by the Nobel Prize in 1981. Die Blendung is a very engaging story about power and weaknesses of people living around texts

never give up

never give ap

nevere giv up

never give up

From the tattoo of the famous person. Available to the public.




effect on culture

is thought with making so intimate?

 D. Mc Neil: “We tend to consider “linguistic” that we can write down, and “non-linguistic” everything else, but this division is a cultural artefact, an arbitrary limitations derives from historical evolution”. / D. Mc Neil, ‘So You think gestures are nonverbal’, Psychological Review 92, 1985, p. 351.

making speaking




can mask

or contradict the action


On / Victoria Mitchel, “Textiles, Text and Techne”, in: Textile Reader, ed. Jessica Hemmings, London: Bloomsbury Academic, p. 5.

expanding knowledge

through limitations of range



quadruple weaves

as comments


Albers mentions while working on her works Ancient Writing (1936), Memo (1958), Jotting (1959), Haiku (1961) and Code (1962) through which she explores potential in text and textiles and response to material. Works were reproduced in: The Woven and Graphic Art of Anni Albers, by Anni Albers (Author), Lloyd E. Herman (Introduction), Washington: Smithsonian Press, 1985.

Also, Annie says: If highly intelligent people with nor written language no graph paper, no pencils could manage such invention, we should be able – easily I hope – to repeat these structures. / Annie Albers, On Weaving, Middletown: Wesleyan University Press, p. 59.


the videograph was hidden

the cover letter sank

the scripture sighs


Examples of the images and development processes under the influence of the post-conceptualist trend in Lithuania were analyzed by Neringa Černiauskaitė in the article “Word and Image in Lithuanian Contemporary Art” in 2012. A videograph, according to William John Thomas Mitchel (1942) is when word and image are equivalent and inseparable, "because texts are not beyond the word, ... especially ..., when invisible." Cover letters that appeared abundantly next to the works of artists in the late 20th – 21st centuries tested their powers and disabilities. / William John Thomas Mitchell, Picture Theory: Essays on Verbal and Visual Representation, Chicago: U of Chicago Press, 1995, p.113.

loss of tactility keeps flat

immaterial unreal structures

but the eye of skin

still open


/ Judith Duffey Harding, “Textile Thinking, Continuity and Craft”, Art Textiles, Bury St Edmunds Art Gallery, 1996, p. 13.

About texture and senses / Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, 3rd Edition, Wiley, 2012.



technopaignia struggles

with linguistic turn,

although of no use


 It is too late

Hrabanus Maurus

is playing sudoku

while others run cross race

the Middle Ages are catching with networks of words


The Middle Ages, stereotyped with an age of uninvention and darkness, are surprising with discovering and creation of grid poems. The rows of the network are highly sophisticated mosaics of letters. Texts are composed of letters in such a way that the sentences are recognizable by color or another criterion devised by the writer and form various shapes (crosses, geometric patterns, tree shapes, other capital letters, etc.). Ussually two texts appear in one text: formal verses and image-text. Pubblilius Optianus Porfyrius, dated 325, composed a manuscript from letters arranged next to each other, when the reader needs to select the meaningful lines according to the color code. After more and more such examples emerged, and over time, puzzles from began to become more complex. For example, Hrabanus Maurus (780-856), a multidisciplinary historical figure monk-theologian-poet-writer-encyclopedist-thinker, etc., depicting the Latin text De laudibus sanctae crucis (In Praise of the Holy Cross, 826) where words can be read in a variety of directions, forming increasingly complex (example is kept: Oesterreichische Nationalbibliothek, Vienna, Austria.) Also, Medieval passages from the New Testament in Hebrew were formed in the forms of a cross (Byzantine Cruciform Lectionary, manuscripts, 12th century, middle, preserved in The Pierpont Morgan Library MS M. 692, folio 6r., New York).


with mimicry

personally repeats

It is about the rhetorical figure used by Virginia Woolf (1882–1941) who writes about the works of her sister, the painter and interior designer Vanessa Bell (1879-1961), a member of the Bloomsbury Group. Personalization is used as an opportunity and method to get closely to the situation, feel it and present as a real one. / Lorraine Sim, Virginia Woolf: The Patterns of Ordinary Experience,
Routledge, 2010.

tic tac tuc

in the silence


 It is about XX a. images of middle rows in the trap of conceptualism by concrete poetry. The most memorable is Eugen Gombringer (b. 1925) Silencio (1963), where silence is visually depicted between words in the absence of a word.