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Malin Bobeck Tadaa is a textile artist and designer working with smart textiles, combining traditional textile materials with optical fiber, LEDs and new technology. With her revolutionary textiles she creates spatial installations that invites the audience to interact with the art.

She is fascinated by the worlds that is hidden to us. Worlds in the deep sea, outer space or inside our imagination. By creating spaces with inspiration from these worlds she gives the viewer an experience of shifted perspectives.

Malin has been studying and working in the textile field for the last 12 years and is educated at Tillskärarakademin, Uppsala University and latest The Swedish School of Textiles in Borås, graduating in spring 2014 earning a Bachelor in fine arts, Textile Design.

Since 2014 she has been running her own company, creating textiles with optical fiber and she has been awarded several art grants for her innovative work.

In December 2015 she was awarded the "Encouragement of research" from the Sten A Olsson foundation, with the motivation:

"For those who are accustomed to thinking of the woven fabric as something quiet and controlled, the encounter with Malin Bobeck Tadaa's work will be bewildering. Her textiles careen, sparkle and switch between different moods. They arouse curiosity and invite us to be tactile. In her still young artistic practice, Malin Bobeck aims to create changing spatial structures in which the latest lighting and interactive technology is combined with handicraft. She is part of a broad movement in craft and design that combines traditional methods with contemporary technology, in an inquiring and inclusive way. Her approach rejuvenates the craft and also creates a new and exciting context for the achievements of engineering science."
Hi-Resolution Photographs:
Those who affected me:
www.malinbobeck.se/gallery

All projects:
http://flickr.com/photos/malinbobeck

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Malin Bobeck Tadaa is a textile artist and designer working with smart textiles, combining traditional textile materials with optical fiber, LEDs and new technology. With her revolutionary textiles she creates spatial installations that invites the audience to interact with the art. She is fascinated by the worlds that is hidden to us.

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How To - Handweave with Conductive Thread and LEDs

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Every once in a while you run into something that sounds too good to be true but isn't ... like terrariums.

Terrariums are indoor tropical gardens anyone can create. Total plant nerds, casual gardeners or parents who just want to create a simple and inexpensive science project that the family can enjoy. The bonus is that once you put in the last plant, terrariums are maintenance-free - which is the heart and soul of the too-good-to-be-true part.

Erica Doud, a floraphile auto mechanic - a plant lover who also happens to know her way around the inside of an automobile engine - teaches a terrarium-building class. The class was held at GardenHood, an independent Atlanta retail nursery.

Here are Doud's guidelines to creating and maintaining a terrarium, in five easy steps:

Step 1: Collect the materials

Gathering all the materials for your terrariums is almost as exciting as making the terrarium itself. (Photo: amy gizienski/flickr)

Items you'll need include:

A clear glass vessel. This can be almost any type of container that appeals to you, from a simple, large Mason jar to something of artistic or architectural interest such as an interestingly shaped apothecary jar you might find at a flea market or antique mall. The vessel can be open or have a lid. Unless you have a special interest in miniatures, taller vessels tend to work better than shorter ones.

Small rocks. These can range from bagged pea gravel sold at plant nurseries or the nursery section of box stores to expanded shale such as permatil available at some nurseries.

Activated charcoal. Horticultural charcoal is readily available at nurseries and box stores.

Peat or sphagnum moss. This is also available at nurseries and box stores.

Potting soil. Don't scrimp! Use a good quality soil developed especially for containers. Fafard's Ultra Container Mix with Extended Feed is an excellent choice.

A small spade

A mist bottle

Moisture-tolerant plants. There aren't many hard and fast rules in creating a container garden, but the selection of the type of plant materials is one. You'll want to use the type of plants that grow naturally in tropical conditions. Some excellent choices include, but aren't limited to, a small palm such as Neanthe Bella, Fittonias, Peperomias, almost any small-growing fern, prayer plants, mother-in-law tongues and even small-growing Phalaenopsis orchids often seen for sale at groceries and box stores. Don't use succulents. That's the one hard and fast rule. These plants are from arid regions and even an open terrarium will trap too much moisture for them to survive long term.

Step 2: Preparation

One of the goals is to create an environment as free of bacteria as possible. To do that, wash the vessel either by hand or in the dishwasher and, after assembling your materials, wash your hands with soap and hot water. You're now ready to start creating a tropical indoor garden!

Step 3: Planting

There's a process to building the layers of your terrarium. (Photo: Rawpixel.com/Shutterstock)

First, create a layer of substrates and soil.

Start with rocks. Depending on the size of your vessel, the rocks should be 1/2 to 2 inches deep. This is important to the health of the terrarium because this is where overflow water will collect.

Add a thin layer of charcoal. This is a little messy, so use a small spade to add the charcoal to the container. You won't need much. Just a thin layer. Horticultural charcoal is a "sweetener," meaning that it will help keep bacteria and mold from growing in the terrarium. This is why you sterilized the container and washed your hands before starting.

Add the moss. Create a firmly packed layer 1/2 to 1-inch deep. If you are using Sphagnum, it will be matted and bone dry. Break it up, place it on top of the charcoal and moisten the moss by spraying it with a mist bottle. Once the moss is damp, pack it down to form the 1/2 to 1-inch layer making sure you have no gaps in the moss. Using distilled water is best, though not necessary. You can "distill" tap water by filling mist bottles 24 to 48 hours before planting your terrarium and just letting the bottles sit. The moss layer serves two purposes. One, it acts as a second filter to the charcoal and, two, it helps the soil absorb water.

Add the soil. This will be the thickest layer. Make the thickness equal to the depth of the root ball of your largest plant. Here, again, it's easiest to add the soil using your small spade.

Next, the fun part: adding the plants!

Insert your plants. Once again, there are no rules, just a few guidelines. Choose a mix of plants with different heights, colors and textures that appeal to you and place them in a manner that you find aesthetically pleasing. Tall plants, for example, don't have to go in the middle. You can even divide the plants as you pull them from the pots, but don't break them into more than thirds. One thing to think about is that underplanting is better than overplanting. Remember, the plants will grow! When adding the plants, massage the root mass a little to break up the roots, which will help stimulate new root growth. Then nestle the plants into the soil, keeping the soil even with the top of the root ball.

Water in the plants. Use a mister to avoid creating a stream of water like you would get from a watering can or cup. The mist will help settle the soil. A stream of water, on the other hand, will dislodge the loose soil, form puddles and cause some soil particles to splatter up onto the sides of the terrarium, essentially creating a mess! If you can, avoid misting the foliage, though this may not be possible. In any case, be patient. This will require repeat mistings. This is also a great time to "rinse" the sides of the terrarium with the mister to remove any soil or other potting medium residue you may have gotten onto the interior of the glass. If you feel like you should add more water that the mister is providing, you can take the top off the mister, hold your thumb over the opening and gently sprinkle water into the terrarium.

How much water should you add? The goal is to evenly saturate the soil. The color of the Sphagnum moss (if you used that instead of peat) will give you a clue about whether you are achieving this. As the water seeps through the soil and into the Sphagnum the moss will turn from a light tan color to caramel. The idea is to moisten the soil and the moss, but not form a "pond" in the rocks. When the soil and moss are dampened, the terrarium will create its own self-sustaining environment. Put the top on if you've made a closed terrarium, and you're finished making the terrarium. But you're not quite done.

Step 4: Placing the terrarium

Terrariums like a certain amount of light. (Photo: Mr Nai/Shutterstock)

Now, if you haven't already, you need to find a spot in your home for your terrarium. Even with low-light plants, finding a good place where the plants will thrive may present a challenge. That's because many people tend to overestimate how much sunlight comes into their homes. Choose a location where the terrarium will receive good, indirect light.

Locations near an east-facing window tend to be the best choices for optimum growing. Morning light offers sufficient light without being too strong. In addition, plant metabolism is more active in the morning than in other parts of the day. Your plants will get good light at a time when they will benefit from it the most. South-facing windows offer the next best light; then west-facing windows, but be sure not to place the terrarium too close to the window where the strong afternoon light might be too bright. North-facing windows generally offer poor light for growing even low-light plants. Remember, "low light" doesn't mean "no light."

Two other considerations for placing your terrarium are:

1. Avoid placing them near air vents.
2. Think about height. Place the terrarium at eye level or higher to avoid looking down onto the top of the terrarium, especially if it is sealed.

Step 5: Maintaining the terrarium

You can add little flourishes to your terrarium, like small stone animals. (Photo: tarapong srichaiyos/Shutterstock)

Give the terrarium a couple of weeks to see if it is too dry and needs more water or if water is pooling in the bottom, rock layer. If too dry, add more water following the method described previously. If too wet, just unseal the container for a day or so and let some water evaporate. An indication you may have too much water is if the interior of the terrarium becomes foggy. Condensation on the interior of the glass is normal and desirable. As the plants transpire through photosynthesis in the enclosed, moist environment they will create a sort of rain cycle in which trapped moisture will condensate on the interior of the terrarium and drip down the inside of the glass. When this happens, it indicates you have created an enclosed rainforest tropical plants should love. Too foggy probably means too much water has accumulated in the terrarium.

The only other thing you need to do is rotate the terrarium a quarter turn every few weeks. Plant foliage will orient toward a light source. Rotating the terrarium will keep the plants from all "leaning" in one direction. Other than that, your little science experiment should not require any maintenance. The record for plants growing in an unsealed terrarium, for example, is said to be 50 years!

Don't worry if you lose a plant or two. Simply replace ones that don't make it with another of the same type or a similar variety. And don't feel guilty. "After all," said Doud, "no one kills more plants than the experts."

Editor's note: This story was originally published January 2015 and has been updated with new information.

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How to start a terrarium in 5 easy steps

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Every once in a while you run into something that sounds too good to be true but isn't ... like terrariums. Terrariums are indoor tropical gardens anyone can create. Total plant nerds, casual gardeners or parents who just want to create a simple and inexpensive science project that the family can enjoy.

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Desnatureza by Henrique Oliveira on Curiator, the world's biggest collaborative art collection.

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Gorgeous wooden rings hold tiny fantasy worlds within them

No matter how much jewelry you own, chances are that you don't own anything quite like this. "What's so special about these rings?" I hear you cry. Well, the answer is simple. These rings aren't normal rings. These rings contain secret worlds.

These otherworldly rings are the creation of Canadian jewelry maker Secret Wood. They're all handmade using fresh wood, jewelry resin, and beeswax, and no two rings are the same which means that the little world you'll carry on your finger is unique only to you.

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Miniature Fantasy Worlds Within Wooden Rings By Secret Wood

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Gorgeous wooden rings hold tiny fantasy worlds within them No matter how much jewelry you own, chances are that you don't own anything quite like this. "What's so special about these rings?" I hear you cry. Well, the answer is simple. These rings aren't normal rings. These rings contain secret worlds.

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New Beautiful Backlit Paper Light Boxes By Hari & Deepti

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In their new series “Oh, The Places You Will Go,“ artist couple Deepti Nair and Harikrishnan Panickeer, aka Hari & Deepti, depict curious mythology- and sci-fi-inspired scenes in their captivating hand-cut paper art boxes.

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mini light art installation - Google Search

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Last time we caught up with miniaturist Slinkachu, the UK-based artist had placed his little people on the streets of Paris, and now he's brought his signature blink-and-you'll-miss-them scenes to the United Arab Emirates. Tailoring each tiny tableau to the setting, Slinkachu has captured a series of humorous moments full of ostentatious wealth, surveillance, camels, tourists doing stupid things and other elements that are quintessentially Dubai.

The new series of 10 miniature installations appeared on the streets as part of Dubai Walls, the first outdoor urban art show in the UAE. Slinkachu, "abandoning little people in the streets since 2006," is one of sixteen artists participating in the event, which also features Etam Cru, ROA and Eine.

Slinkachu customizes miniature figurines, hand-paints them and then creates little scenes in public places, often right on the sidewalk in plain view of passersby. They end up becoming temporary art, often swept up almost immediately and thrown away, or taken by people who want to keep them for themselves. Since these were created specifically for an art fair, they likely had a longer run in the streets than usual.

"The 'Little People Project' started in 2006," says the artist. "It involves the remodeling and painting of miniature model train set characters, which I then place, photograph and leave on the street. It is both a street art installation project and a photography project. The street-based side of my work plays with the notion of surprise and I am to encourage city-dwellers to be more aware of their surroundings."

"The scenes I set up, more evident through the photography and the titles I give these scenes, aim to reflect the loneliness and melancholy of living in a big city, almost being lost and overwhelmed. But underneath this, there is always some humor. I want people to be able to sympathize with the tiny people in my works."

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Tiny in Dubai: New Miniature Art Installations by Slinkachu

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Last time we caught up with miniaturist Slinkachu, the UK-based artist had placed his little people on the streets of Paris, and now he's brought his signature blink-and-you'll-miss-them scenes to the United Arab Emirates. Tailoring each tiny tableau to the setting, Slinkachu has captured a series of humorous moments full of ostentatious wealth, surveillance, camels, tourists doing stupid things and other elements that are quintessentially Dubai.

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The conflation of the collections of timber household items and furnishings, purses, mirrored compacts and pipes, all yielding botanical specimens with miniature figurative scenes, propose the process of collection as a way to re-experience a time past as a dreamlike experience.

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Charles Simonds Official Website Growth House

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Marit Fujiwara graduated from Chelsea College of Art and Design in 2009 and then set up her company Tanana Takite. Specialising in mixed media and constructive textiles, she creates some really unique pieces that push the boundaries between Art, Craft and Design. She adopts an experimental attitude towards materials, combining traditional printing techniques with embroidery and fabric manipulation. As a keen illustrator, she bases her work on drawing allowing fluidity to her garments projecting the idea of movement and time. You can see some really beautiful pieces on her Flickr page including some amazing one off wedding dresses. We'd love to know what she is creating now.

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Marit Fujiwara - Sculptured Contours | Patternbank

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Marit Fujiwara graduated from Chelsea College of Art and Design in 2009 and then set up her company Tanana Takite. Specialising in mixed media and constructive textiles, she creates some really unique pieces that push the boundaries between Art, Craft and Design. She adopts an experimental attitude towards materials,

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Freya Art Deco wall light

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Search the world's information, including webpages, images, videos and more. Google has many special features to help you find exactly what you're looking for.

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Leonardo Da'Vinci's-Vitruvian man- modern female form-Freya infusion?

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Wall Relief Sculptures Gallery ⋆ Andrew DeVries ⋆ Figurative Bronze Sculpture & Pastels

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Art gallery of BonitumART. Buy Digital Art, Paintings & Prints, Photography, Sculptures & Carvings.

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Freya ( Old Norse Freyja, "Lady") is one of the preeminent goddesses in Norse mythology. She's a member of the Vanir tribe of deities, but became an honorary member of the Aesir gods after the Aesir-Vanir War. Her father is Njord. Her mother is unknown, but could be Nerthus. Freyr is her brother. Her husband, named Odr in late Old Norse literature, is certainly none other than Odin, and, accordingly, Freya is ultimately identical with Odin's wife Frigg (see below for a discussion of this).

Freya is famous for her fondness of love, fertility, beauty, and fine material possessions - and, because of these predilections, she's considered to be something of the "party girl" of the Aesir. In one of the Eddic poems, for example, Loki accuses Freya (probably accurately) of having slept with all of the gods and elves, including her brother.[1] She's certainly a passionate seeker after pleasures and thrills, but she's a lot more than only that. Freya is the archetype of the völva, a professional or semiprofessional practitioner of seidr, the most organized form of Norse magic. It was she who first brought this art to the gods,[2] and, by extension, to humans as well. Given her expertise in controlling and manipulating the desires, health, and prosperity of others, she's a being whose knowledge and power are almost without equal.

Freya presides over the afterlife realm Folkvang. According to one Old Norse poem, she chooses half of the warriors slain in battle to dwell there. (See Death and the Afterlife.)
Freya the Völva
Seidr is a form of pre-Christian Norse magic and shamanism that involved discerning the course of fate and working within its structure to bring about change, often by symbolically weaving new events into being.[3] This power could potentially be put to any use imaginable, and examples that cover virtually the entire range of the human condition can be found in Old Norse literature.

In the Viking Age, the völva was an itinerant seeress and sorceress who traveled from town to town performing commissioned acts of seidr in exchange for lodging, food, and often other forms of compensation as well. Like other northern Eurasian shamans, her social status was highly ambiguous - she was by turns exalted, feared, longed for, propitiated, celebrated, and scorned.[4]

Freya's occupying this role amongst the gods is stated directly in the Ynglinga Saga, and indirect hints are dropped elsewhere in the Eddas and sagas. For example, in one tale, we're informed that Freya possesses falcon plumes that allow their bearer to shift his or her shape into that of a falcon.[6]

During the so-called Völkerwanderung or "Migration Period" - roughly 400-800 CE, and thus the period that immediately preceded the Viking Age - the figure who would later become the völva held a much more institutionally necessary and universally acclaimed role among the Germanic tribes. One of the core societal institutions of the period was the warband, a tightly organized military society presided over by a chieftain and his wife. The wife of the warband's leader, according to the Roman historian Tacitus, held the title of veleda, and her role in the warband was to foretell the outcome of a suggested plan of action by means of divination and to influence that outcome by means of more active magic, as well as to serve a special cup of liquor that was a powerful symbol of both temporal and spiritual power in the warband's periodic ritual feasts.[7][8]

One literary portrait of such a woman comes to us from the medieval Old English epic poem Beowulf, which recounts the deeds of King Hroðgar and his warband in the land that we today know as Denmark. The name of Hroðgar's queen, Wealhþeow, is almost certainly the Old English equivalent of the Proto-Germanic title that Tacitus latinised as "veleda."[9] Wealhþeow's "domestic" actions in the poem - which are, properly understood, enactments of the liquor ritual described above - are indispensable for the upkeep of the unity of the warband and its power structures. The poem, despite its Christian veneer, "hint[s] at the queen's oracular powers... The Hrothgar/Wealhtheow association as presented in the poem is an echo of an earlier more robust and vigorous politico-theological conception."[10]

This "politico-theological conception" was based on the mythological model provided by the divine pair Frija and Woðanaz, deities who later evolved into, respectively, Freya/Frigg and Odin. Woðanaz is the warband's chieftain, and Frija is its veleda. In addition to the structural congruencies outlined above, Wealhþeow and Freya even own a piece of jewelry with the same name: Old English Brosinga mene and Old Norse Brísingamen (both meaning something like "fiery/glowing necklace"). That both figures refer to the same ancient archetype, whether on the human or the divine plane, is certain.
Freya and Frigg
While the late Old Norse literary sources that form the basis of our current knowledge of pre-Christian Germanic religion present Freya and Frigg as being at least nominally distinct goddesses, the similarities between them run deep. Their differences, however, are superficial and can be satisfactorily explained by consulting the history and evolution of the common Germanic goddess whom the Norse were in the process of splitting into Freya and Frigg sometime shortly before the conversion of Scandinavia and Iceland to Christianity (around the year 1000 CE).

As we've noted above, the Migration Period goddess who later became Freya was the wife of the god who later became Odin. While somewhat veiled, this is ultimately still the case in Old Norse literature. Freya's husband is named Óðr, a name which is virtually identical to that of Óðinn (the Old Norse form of "Odin"). Óðr means "ecstasy, inspiration, furor." Óðinn is simply the word óðr with the masculine definite article (- inn) added onto the end. The two names come from the same word and have the same meaning. Óðr is an obscure and seldom-mentioned character in Old Norse literature. The one passage that tells us anything about his personality or deeds - anything beyond merely listing his name in connection with Freya - comes from the Prose Edda, which states that Óðr is often away on long journeys, and that Freya can often be found weeping tears of red gold over his absence.[11] Many of the surviving tales involving Odin have him traveling far and wide throughout the Nine Worlds, to the point that he's probably more often away from Asgard than within it. Many of Odin's numerous bynames allude to his wanderings or are names he assumed to disguise his identity while abroad. Thus, it's hard to see Freya's husband as anything but an only nominally distinct extension of Odin.

Freyja and Frigg are similarly accused of infidelity to their (apparently common) husband. Alongside the several mentions of Freya's loose sexual practices can be placed the words of the medieval Danish historian Saxo Grammaticus, who relates that Frigg slept with a slave on at least one occasion.[12] In Lokasenna and the Ynglinga Saga, Odin was once exiled from Asgard, leaving his brothers Vili and Ve in command. In addition to presiding over the realm, they also regularly slept with Frigg until Odin's return.[13][14] Many scholars have tried to differentiate between Freya and Frigg by asserting that the former is more promiscuous and less steadfast than the latter,[15] but these tales suggest otherwise.

Frigg is depicted as a völva herself. Once again in Lokasenna, after Loki slanders Frigg for her infidelity, Freya warns him that Frigg knows the fate of all beings, an intimation of her ability to perform seidr.[16] Frigg's weaving activities are likely an allusion to this role as well. And, as it turns out, Freya is not the only goddess to own a set of bird-of-prey feathers for shapeshifting - Frigg is also in possession of one.[17]

The word for "Friday" in Germanic languages (including English) is named after Frija,[18] the Proto-Germanic goddess who is the foremother of Freya and Frigg. None of the other Germanic peoples seem to have spoken of Frija as if she were two goddesses; this approach is unique to the Norse sources. It should come as no surprise, therefore, that in the Norse sources we find a confusion as to which goddess this day should have as its namesake. Both Freyjudagr (from Freyja) and Frjádagr (from Frigg) are used.

The names of the two goddesses are also particularly interesting in this regard. Freyja, "Lady," is a title rather than a true name. It's a cognate of the modern German word Frau, which is used in much the same way as the English title "Mrs." In the Viking Age, Scandinavian and Icelandic aristocratic women were sometimes called freyjur, the plural of freyja.[19] "Frigg," meanwhile, comes from an ancient root that means "beloved."[20] Frigg's name therefore links her to love and desire, precisely the areas of life over which Freya presides. Here again we can discern the ultimate reducibility of both goddesses to one another: one's name is identical to the other's attributes, and the other name is a generic title rather than a unique name.

Clearly, then, the two are ultimately the same goddess. Why, then, are they presented as nominally distinct in the late Old Norse sources? Unfortunately, no one really knows.

Looking for more great information on Norse mythology and religion? While this site provides the ultimate online introduction to the topic, my book The Viking Spirit provides the ultimate introduction to Norse mythology and religion period. I've also written a popular list of The 10 Best Norse Mythology Books, which you'll probably find helpful in your pursuit.
References:
[1] The Poetic Edda. Lokasenna, stanzas 30, 32.

[2] Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.

[3] Heide, Eldar. 2006. Spinning Seiðr. In Old Norse Religion in Long-Term Perspectives: Origins, Changes and Interactions. Edited by Anders Andrén, Kristina Jennbert, and Catharina Raudvere. p. 166.

[4] Price, Neil S. 2002. The Viking Way: Religion and War in Late Iron Age Scandinavia. p. 279-328.

[5] Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.

[6] Ellis-Davidson, Hilda Roderick. 1964. Gods and Myths of Northern Europe. p. 117.

[7] Tacitus, Cornelius. Germania 8.

[8] Enright, Michael J. 1996. Lady with a Mead Cup: Ritual, Prophecy and Lordship in the European Warband from La Tène to the Viking Age.

[11] Snorri Sturluson. The Prose Edda. Gylfaginning 35.

[12] Saxo Grammaticus. The History of the Danes.

[13] The Poetic Edda. Lokasenna, verse 26.

[14] Snorri Sturluson. Ynglinga Saga 3. In Heimskringla: eða Sögur Noregs Konunga.

[15] See, for example: Grimm, Jacob. 1882. Teutonic Mythology, Volume 1. Translated by James Steven Stallybrass. p. 302.

[16] The Poetic Edda. Lokasenna, verse 29.

[17] Snorri Sturluson. The Prose Edda. Skáldskaparmál 18-19.

[18] Ellis-Davidson, Hilda Roderick. 1964. Gods and Myths of Northern Europe. p. 111.

[19] Grimm, Jacob. 1882. Teutonic Mythology, Volume 1. Translated by James Steven Stallybrass. p. 300.

[20] Orel, Vladimir. 2003. A Handbook of Germanic Etymology. p. 114.

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Freya - Norse Mythology for Smart People

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Freya (Old Norse Freyja, "Lady") is one of the preeminent goddesses in Norse mythology. She's a member of the Vanir tribe of deities, but became an honorary member of the Aesir gods after the Aesir-Vanir War. Her father is Njord. Her mother is unknown, but could be Nerthus. Freyr is her brother.

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Contemporary/Abstract-Drawing from art history

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Buy unique sheet metal art, rusted wall decorations and welded wall sculptures commission-free from metal artist. Unique artworks for sale.