.gitlab-ci.yml

-image: python:alpine
+image: python:3.8-slim
 
 before_script:
   - pip install -r requirements.txt

docs/assignments/week01.md

@@ -27,6 +27,12 @@ Also Fiore's tutorial has been very helpful here:
 
 \* *I notice I'm becoming one of those people who writes documentation but doesn't explain the steps that already feel "normal" to me. Hmmm. I'll have a think to think what I think about that.* 
 
+## OR: push via http and access tokens
+
+Later on I started using my Github Desktop app for a bunch of other stuff and my connection stopped working. I couldn't figure it out so I deleted the repository and cloned it anew over http. This [tutorial](https://itnext.io/how-to-use-github-desktop-with-gitlab-cd4d2de3d104) by Shedrack Akintayo explains how to use access tokens push without having to re-enter your password when pushing over http. Amazeballs, thank you Shedrack!
+
+
+
 ## Customizing text, fonts, colors in the mkdoc
 
 I customized some basic stuff to change the look of the page. I love the font Karla, we use it for everything where I work, so I'm using it here too. I think you can basically look up any Google Font and use it. I liked the idea of having a special font for code, so I specified one for that as well. 
@@ -106,5 +112,108 @@ Then you keep the code you want to keep, delete the conflicting code and the mar
 ![](../images/wk1_solved.jpg)*conflicts resolved!*
 
 
+##State of the art & inspiration
+
+## Inspiration
+
+### Fabricademy graduates
+
+![](https://gitlab.fabcloud.org/academany/fabricademy/2019/students/jessica.stanley/raw/master/docs/images/finalproject/stitchsyth2.gif)*Jessica Stanley's Stitch Synth project, 2019*
+
+**Jessica Stanley's Stitch Synth**
+I saw [Jessica's work](https://class.textile-academy.org/2019/jessica.stanley/projects/00final-project/) at the last Fabricademy expo in Amsterdam. Super nicely done. 
+
+I also really liked her experiments with tesselation in the Textile as Scaffold week. The slow movements the textile creates are really nice to watch. 
+
+And also her voronoi for [computational couture](https://class.textile-academy.org/2019/jessica.stanley/assignments/week07/) are so cool. She printed these shapes on stretchy fabric, making the textile pull itself into a 3D shape. 
+
+And the pleat switch and this sensor below. OMG Jessica  stop it nowwww I'm totally fangirling your fabricademy page. This makes me think I will really enjoy the electronics work in the next few months.
+
+![](https://media.giphy.com/media/5k0rrSdjXmmQ68mABP/giphy.gif)*Jessica Stanley, 2019*
+
+**Teresa van Twuijver's analog soft sensor**
+[Teresa](https://class.textile-academy.org/2019/teresa.vantwuijver/assignments/week05/) made this nice soft sensor using smock embroidery. I'd seen a similar thing on kobakant once, wow it's soooooo nice. 
+
+![](https://gitlab.fabcloud.org/academany/fabricademy/2019/students/teresa.vantwuijver/raw/master/docs/images/week5_softsensorproto2.gif)*Teresa van Twuijver, 2019*
+
+Her [circular fashion designs](https://class.textile-academy.org/2019/teresa.vantwuijver/assignments/week03/) are also quite cool! 
+
+**Barbara's Kombucher!**
+Really cool idea to make a tool like this [kombucha fiber printer](https://class.textile-academy.org/2019/barbara.arteaga/projects/final-project/)
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/cuHtJgnv2qU" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+And many many more...
+
+### Go big or go home: drag performers and other style queens
+This is something I've been obsessed with for a long time. I think the innovative ways of thinking about the malleability and unstable nature of the body and gender is super interesting and made me fall in love with this art form. I do it myself sometimes too :) No RuPaul quote is lost on me (we're all born naked and the rest is...you know the rest). I'd love to take as many assignments as possible closer toward something that might be applicable in the context of the art of drag to develop into a larger project later. I imagine eco-aware drag could be a very interesting avenue to explore. In the meantime, I'll summarize as: go big, or go home.
+
+**House of Holographic Hoes and Milk X Hana Quist**
+
+A local house who did an amazing show at last year's superball, with over the top LED powered gowns. I mean, I don't really like LED strips so much, especially not in clothing but context IS everything.
+
+Or drag performer Milk in this knitted number by Hana Quist. Oh yes. 
+
+![](../images/wk0_drag.jpg)*Left: House of Holographic Hoes at Paradiso's Superball, 2019. Right: Drag performer Milk in a knitted garment by Hana Quist*
+
+**Other fabulous drag performers and style queens**
+
+Such as Aynouk Tan - you can worry about the clothing mountain - or just dress up as one. I think [her thinking and personal style](https://www.aynouktan.com/) are really out there.
+
+![Aynouk Tan](https://aynouktan.com/____impro/1/onewebmedia/10827970_10153943396384659_1941713512951619825_o-2.jpg?etag=%22464ea-58ef9af9%22&sourceContentType=image%2Fjpeg&ignoreAspectRatio&resize=700,467)*Aynouk Tan with a mic and smiling lady in black*
+
+**I bow to Valeska Jasso Collado for her graduation collection**
+
+These theatrical garments have an amazing genderclowning vibe about them, they remind me of [1920s Bauhaus costumes](https://cdn.vox-cdn.com/thumbor/U4wEGXhe1duKVyacjE6z3KsIFZg=/0x0:1000x645/1200x800/filters:focal(420x243:580x403)/cdn.vox-cdn.com/uploads/chorus_image/image/57322995/escola_bauhaus.0.0.jpg)and I love it! She folded latex-covered foam into [geometric garments](https://www.dezeen.com/2014/06/09/valeska-jasso-collado-westminster-fashion-collection/). 
+
+![](https://i.pinimg.com/originals/3f/fd/40/3ffd409a341499881843557a29ac5b6f.jpg)*image by Valeska Jasso Colado*
+
+### Textile artists/designers/upcyclists/hackers
+
+![](../images/wk0_designinspiration.jpg)
+
+*Images: Golden Joinery (image by Droog) in the background, Justyna Wolodkiewicz' embellishments  (left) and Anya Hindmarch's embellished skirt (image by Stuart C. Wilson/Getty Images Europe)*
+
+**[Golden Joinery](http://goldenjoinery.com/#about) or kintsugi for clothing, by Painted Series** is a really nice example of repair as a design strategy that adds value to used things.
+
+I really enjoy the hectic **embellishments by Justyna Wolodkiewicz** and the one on the **pink skirt by Anya Hindmarch** There's loads out there. One reason why I like this is because I imagine picking cleverly from waste materials will allow for a lot of cool designs. They can also be combined with electronics perhaps? I really like the 3D textures you can add with this.
+
+**Coral Love Stories by Kasia Molga (and Erik Overmeire)** below is such a beautiful combination of fashion and electronics and thermochromic pigments. It's very subtle, unlike some other sources of inspiration but I just think this is beautifully done and tells an important story about shringking coral reefs.  
+
+<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/211299558?color=00d554&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>*Coral Love Story by Kasia Molga (with Erik Overmeire and Ricardo O'Nascimento)*
+
+And let's not forget the amazing experiments and documentation done by **[Plusea on the Kobakant How to Get What You Want page](https://www.kobakant.at/DIY/)**, such as this beardy sway sensor....*bows*.
+
+![](https://live.staticflickr.com/65535/47790755952_9b33dd38fa.jpg)
+
+Last but not least, a shop! **[Mooizooi in Haarlem](https://mooizooi.org/)!** This is a social enterprise that collects waste materials from industry, sort it by color, and sell it for almost nothing. I'd love to stop by there and use only this leftover material, for example to make the embellishments like the ones below. 
+
+**My own students who have inspired me!** 
+
+The students I get to know during the minor Makers Lab continue to inspire, teach and challenge(!) me loads. Some of their experiments were really great!
+
+![](../images/wk0_studentwork.jpg)
+
+Top left is Geert Lens' textile touchscreen entirely made from scratch (2018). He developed a ropemaker to insulate conductive thread, a loom to make the textile, and of course programmed the sensor himself.
+
+Geert also made this glove (bottom left) that vibrates when it senses peaks in electromagnetic fields, such as when a subway train pulls out of a station (together with Anton Westin and Jaap Spruitenburg 2018). The wanted to explore invisible signals in the city and found that some people are extremely sensitive to EMFs, whereas most of us aren't even aware of them.
+
+Melissa de Bie and Elisa van der Burg's and bioplastics experiments to research how they could make the gorgeous tote bag in 2019 (middle).
+
+Kristin Jakubek & Frida Eriksson's skin sensor (with some help of Geert) from 2018 (top right).
+
+Geert's coils that pick up some residue energy from RFID scanners, just enough to light up an LED (bottom right). 
+
+### Books
+* Radical Matter: Rethinking Materials for a Sustainable Future by Kate Franklin
+* Zeroes and Ones by Sadie Plant
+* Fray by Julia Bryan-Wilson
+*  Folding Techniques for Designers From Sheet to Form by Paul Jackson
+* Supersurfaces" Folding as Method of Generating Forms for Architecture, Products and Fashion by Sophia Vyzoviti
+
+That's it for now!
+
+
+
 
 

docs/assignments/week03.md

 # 3. Circular fashion
 
-![]()<br>
-*Image of the final result of the week*
+![](../images/wk3final1.jpg)<br>
+*One of the final designs made with the modules, Loes Bogers, 2019*
 
 
 ##Assignment must-haves
@@ -195,14 +195,51 @@ Not entirely, because of the fact that I have 7 pieces. I cannot nest them seaml
 ![](../images/wk03_cutfile.jpg)<br>
 *Cutfile for the six modules, Loes Bogers*
 
+![](../images/wk3basket.jpg) Round and round we go, tinkering with the modules, Loes Bogers, 2019. 
+
 ## Assembling
 
+In the end I tinkered a lot with the modules to see how I could combine them to create various shapes. I made big sheets combining different modules, by going bigger or smaller per row to understand what kind of shapes it would create. I didn't quite realize how long it was going to take me to create a big surface, and I ran out of material so I settled on a garment I could make with the amount of modules I'd cut. 
+
+**The mad hatter**
+I quite liked the crazy crowns and hats that came out but thought they were really a bit to straight, considering the work I'd put in to try make curves and 3D shapes. 
+
+![](https://media.giphy.com/media/S8O6BQcPNN0I9LEkGj/giphy.gif)<br>*Mad hatter experiments with the modules, Loes Bogers, 2020*
+
+**Shoulder piece/choker/headpiece in one**
+I thought that the curvy shape it was making could work really nicely as a sort of necklace/choker/harness that follows the curves of my neck and shoulders. And it turned out it also works as a headpiece. Very maleficents. 
+
+![](https://media.giphy.com/media/Lnbx3LU39qhjw68tcE/giphy.gif) <br> *Option 3: a maleficent inspired headpiece, Loes Bogers, 2019*
+
+
 ## The not-so-ultimate ikea guide to DIY this
 
 ### Design files
+
+To make this piece you need to cut these amounts of modules 3-6 (modules 1-2 are too small and fragile, module 7 is a bit too big for this), or more/less depending on your size. I'm a size UK10, EUR38. 
+
+| Row    |  Amount    |  Module |
+|-----|-----------------|---------|
+| 1 | 21x | module 3 |
+| 2 | 21x | module 3 |
+| 3 | 21x | module 4 |
+| 4 | 21x | module 4 (turned 90 degrees counter clockwise) |
+| 5 | 21x | module 5 (orientation like row 4) |
+| 6 | 21x | module 6 (orientation like row 5) |
+| 7 | 21x | module 6 (orientation like row 5) |
+
+Find the .ai design files [here](../files/wk03_modules.ai). These were cut with the settings speed 150, power 25.
+
+![](https://media.giphy.com/media/WtVPTtZZzHF7xLk7tx/giphy.gif)<br>*option 1 and 2: a shoulder piece or a choker, Loes Bogers, 2020*
+
 ### How-to
 
-## Room for improvement?
+The design for the choker, the shoulder piece and the head piece are all the same. Starting from the left ear, you want to start with a row of 21 x module 3, and then to that line start attaching the other modules following the table above. 
+
+For a headpiece you might want to mount it on a plastic head band/tiara, or secure it to your hair or wig with bobby pins. 
+
+![](../images/wk3howto.jpg)
+
 
 ## Tutorial by Cecilia
 

docs/assignments/week04.md

@@ -5,27 +5,28 @@
 
 ## Results
 
-**Dyes**<br>
-The students in the Amsterdam lab collaborated to make a shared repository of dyed fibres (yarns and swatches). We individually made an overview of dying with a particular material: I worked with CABBAGE and we all died several cottons, hemp, sugar cane, algae, silk, mohair, linen, felt, and cheesecloth.
+**Bio-based dyes**<br>
+The students in the Amsterdam lab collaborated to make a shared repository of dyed fibres (yarns and swatches). We individually made an overview of dyeing with a particular material: I worked with CABBAGE and we all died several cottons, hemp, sugar cane, algae, silk, mohair, linen, felt, and cheesecloth.
 
-![]()*A love affair with red cabbage, Loes Bogers 2019*
+![](../images/wk04_collage.jpg)*A love affair with cabbage, Loes Bogers 2019*
+
+**Dying silk with bacteria**<br>
+And lastly, dyed a piece of silk using Serratia marcenscens grown and nurtured by Cecilia and her collaborators at the Biolab. We cooked the growing medium together, sterilized together and each dyed our own piece of silk: 
+
+![](../images/wk04_bacteriasilk2.jpg)*Silk died with Serratia marcenscens, Loes Bogers 2019*
 
 **Inks**<br>
 We made a range of inks based on the dye recipes (some modified, others not) and experimented with it on paper, using several modifiers. 
 
 ![](../images/wk04_stains1.jpg)*Paper stains with homemade inks, Loes Bogers 2019*
 
-**Dying with bacteria**<br>
-And lastly, dyed a piece of silk using Serratia Marcensis grown and nurtured by Cecilia and her collaborators at the Biolab. We cooked the growing medium together, sterilized together and each dyed our own piece of silk: 
-
-![]()*Silk died with Serratia Marcensis, Loes Bogers 2019*
 
 ## Dye, ink, pigment: a basic lexicon
 
 **What's what?**<br>
 Here's what I picked up from [Cecilia's lectureand slides](https://class.textile-academy.org/classes/week04/), and her lab tutorial. 
 
-* *Dye* is basically a liquid bath, its soluble in water, and goes into the fiber (which you pen up first by *scouring* them if you're dying plant fibres).
+* *Dye* is basically a liquid bath, its soluble in water, and goes into the fiber (which you pen up first by *scouring* them if you're dyeing plant fibres).
 * *Ink* is a more dense liquid, also soluble in water, also goes into the material.
 * *Pigment* is a powder, it's not soluble (in water) and goes onto the material
 
@@ -33,28 +34,28 @@ Here's what I picked up from [Cecilia's lectureand slides](https://class.textile
 
 * *Vehicle/solvent*: the thing that gets the color out of your dye stuff! If only you could squeeze color out of everything you see, but no. If you want to dye textile, you're probably better off soaking your dye material in something it can release its color into. For example in water or ethanol (high percentage alcohol) - which we used for dyeing - or oil or gel.  
 
-* *Binder*: in some cases, the color might need a bit of extra help to merge with the vehicle and prevent it from separating. A binder helps, such as arabic gum. For dying, more often referred to as *mordant*. 
+* *Binder*: in some cases, the color might need a bit of extra help to merge with the vehicle and prevent it from separating. A binder helps, such as arabic gum. For dyeing, more often referred to as *mordant*. 
 
 * *Additive*: with salt, vinegar or minerals you can do extra bonus stuff! Like stabilize or even out the distribution of dye in the water and fibres (salt), intensify the color (mordants like alum, copper, iron), preserving, thickening, or modifying the color (magic!). You can modify for example PH sensitive dyes by adding more acidic modifiers (citric acid, vinegar), or more alkaline liquids (like soda ash dissolved in water, and sometimes tap water itself cam be alkaline, as I discovered. 
 
-* *Mordants (or dye fixatives)*: are used as a bridge between the color you extract from the dye matter and the fibre. It's like the glue you need to keep them together. You can use iron liqueur, copper liqueur, alum powder (dissolved in hot water). Mordants can effect the shade of the dye too (soda for example is alkali). So keep this in mind. Mordants can be used before dying (pre-mordanting), it can be added to the dye bath itself (meta-mordanting, like Bela did with her Lichens), of after the bath (post-mordanting)x§
+* *Mordants (or dye fixatives)*: are used as a bridge between the color you extract from the dye matter and the fibre. It's like the glue you need to keep them together. You can use iron liqueur, copper liqueur, alum powder (dissolved in hot water). Mordants can effect the shade of the dye too (soda for example is alkali). So keep this in mind. Mordants can be used before dyeing (pre-mordanting), it can be added to the dye bath itself (meta-mordanting, like Bela did with her Lichens), of after the bath (post-mordanting)x§
 
 * *Recipes*: will give you starting points for ratios between all of the above, and the do's and don'ts. Start with a recipe, deviate widely and systematically! <3
 
 * *Unbleached fibres*: are so hard to get! It's a pity because bleach is bad...
 
-* *Animal fibres*: get your protein! Like silk, wool, mohair, camel, alpaca, angora. These don't need to be scoured before dying, they tend to dye well in bright, deep colors. The protein binds well with mordant - which then bonds with the dye -  and responds to acid and alkaline modifiers. Do not boil animal fibres! Keep them simmering at 80 degrees celcius. Do not shock them in cold water when rinsing. 
+* *Animal fibres*: get your protein! Like silk, wool, mohair, camel, alpaca, angora. These don't need to be scoured before dyeing, they tend to dye well in bright, deep colors. The protein binds well with mordant - which then bonds with the dye -  and responds to acid and alkaline modifiers. Do not boil animal fibres! Keep them simmering at 80 degrees celcius. Do not shock them in cold water when rinsing. 
 
 * *Vegetable fibres*: get your cellulose! Cotton, jute, hemp, algae, linen, sugar cane etc. These need to be scoured to open up the fibres before dyeing. You can boil and shock these, they won't be bothered. Not all veg fibre is sustainable! e.g. viscose is a plant, but the processes used to create it are highly chemical. 
 
-* *Scouring*: is done with scouring agents such as sodium ash (sodium carbonate/natrium carbonate). These are used to prepare vegetable fibres for dying, basically to clean them by removing all the waxes, pectins to makes the textile material hydrophilic or water absorbent.
+* *Scouring*: is done with scouring agents such as sodium ash (sodium carbonate/natrium carbonate). These are used to prepare vegetable fibres for dyeing, basically to clean them by removing all the waxes, pectins to makes the textile material hydrophilic or water absorbent.
 
 * *Stabilizers*: like salt, helps color distribute evenly in the water, and in the fibres you dye in it. 
 
 * *Modifiers:* substances that change the hue of the dye. *PH modifiers* change color by changing the PH toward more acidic (vinegar, citric acid, alum), or more alkaline (sodium carbonate). *Metal modifiers* can also alter color: copper makes the hues more blue/green, whereas iron makes them duller/darker in tone. 
 
 
-##Dying process in steps
+##Dyeing process in steps
 
 ### 0. Make skeins
 
@@ -105,7 +106,9 @@ We separated the fibres so everyone had 2-3 skeins of each fabric. We all picked
 
 ### 6. Documenting and archiving
 
-THis is the basic info to document my colors. I created 5 colors with my dye.
+This is the basic info to document my colors. I created 5 colors with my dye.
+
+![](../images/wk04_overview.jpg)*Cabbage dye overview, Loes Bogers 2019*
 
 **Dye stuff**
 
@@ -125,15 +128,6 @@ THis is the basic info to document my colors. I created 5 colors with my dye.
 * Modifier 3: Alkaline PH modifier, sodium carbonate (soda ash) dissolved in water (2 pinches on 300 ml hot water)
 * Thickener: - 
 
-**Catologueing**
-
-* By color (the designer's brain)
-* By dying material (the dyer's brain)
-* Think of a logic
-* A visual system
-* Expressive, or systematic, or both
-* Research different analytical models, besides mapping
-
 ##My love affair with cabbage
 
 ###1 hour dye
@@ -173,9 +167,6 @@ Cecilia mentioned that cabbage is known to lose its color. There's definitely no
 
 Waking up on Friday, I came down to see the beauties to notice that the unmodified dye and the alkaline modification (pink) had both changed, and were now very close to one another in color. So I thought I'd try a little something, and dipped a piece in vinegar (maybe a bit harsh, I forgot to dilute). It immediately turned bright fuchsia pink! Before it had stayed a little in the lilac/purple hues. I thought this was nice, another modification. So I chopped the earlier alkaline modification in half and dunked it in a vinegar solution, adding a nice pink set to the collection. Let's see if it stays!
 
-![](../images/wk04_pinkcollage.jpg)*After the second vinegar dip, loes bogers, 2019*
-
-
 
 ##Inks 
 
@@ -251,10 +242,10 @@ Once you start working with the bacteria themselves: close doors and windows to
 
 Sign in and out and clean up your dishes. Through away the water after. 
 
-###Meeting Serratia Marcensis
-We met Serratia Marcensis! A red/orange beauty that gives us pink (in acidic solutions) if you treat her well and feed her peanut butter. They used to keep a purple one too but sadly it died when the freezer broke over summer. You have to keep her alive by giving her new food every few days (replating). 
+###Meeting Serratia marcenscens
+We met Serratia marcenscens! A red/orange beauty that gives us pink (in acidic solutions) if you treat her well and feed her peanut butter. They used to keep a purple one too but sadly it died when the freezer broke over summer. You have to keep her alive by giving her new food every few days (replating). 
 
-![](../images/wk04_thebacteria.jpg)*Serratia Marcensis at the biolab, Loes Bogers, 2019*
+![](../images/wk04_thebacteria.jpg)*Serratia marcenscens at the biolab, Loes Bogers, 2019*
 
 ###Growing media, or: what to feed Serratia
 Plate some growing media mixed with crunchy(!) peanut butter. Nuts and seeds can do wonders with some bacteria. We prepared these growing media: 
@@ -276,8 +267,8 @@ We measure the ingredients with a precision scale (stabilize before using), by p
 
 Then we sterilized the food bottles. The lid should be loose! Otherwise it can explode in the pressure cooker. You close them after sterilizing. 
 
-*Autokleeftape!*
-Stick a bit of autokleeftape to the top. It has diagonal lines that turn dark if you sterilized correctly. Handy....
+*Autoclave tape!*
+Stick a bit of autoclave tape to the top. It has diagonal lines that turn dark if you sterilized correctly. Handy....
 
 *Handling the pressure cooker*
 Close the lid, seal the lid (locking it), and turn the knob to position 2. When the little pin firmly comes *all the way out*, the cooker is under pressure and you can start the timer for 15 mins.
@@ -286,11 +277,11 @@ Bring the water in the pressure cooker to the boil and let them steam *under pre
 
 ###Folding and sterilizing the fabric
 
-We each got a piece of silk that we folded or crumpled up to create patterns/symmetry in the dying pattern SM will create for us. Add a couple of stitches to keep it all together. We sterilize the substrate because otherwise you might be growing just about any bacteria that ever touched your silk. We want to constrain the growing to Serratia. Silk dyes really well, it's protein-based because it's an animal fibre. 
+We each got a piece of silk that we folded or crumpled up to create patterns/symmetry in the dyeing pattern SM will create for us. Add a couple of stitches to keep it all together. We sterilize the substrate because otherwise you might be growing just about any bacteria that ever touched your silk. We want to constrain the growing to Serratia. Silk dyes really well, it's protein-based because it's an animal fibre. 
 
 ![](../images/wk04_folding.gif)<br>*My folding improvisation, Loes Bogers, 2019*
 
-Put the fabrics in **glass petri dishes**, or in a heat-resistant **autoplate bag**. Again, stick some autokleeftape on to assess whether it sterilized correctly. Sterilize for at least 15 mins under pressure in the pressure cooker. 
+Put the fabrics in **glass petri dishes**, or in a heat-resistant **autoclave bag**. Again, stick some autokleeftape on to assess whether it sterilized correctly. Sterilize for at least 15 mins under pressure in the pressure cooker. 
 
 ###Plating
 
@@ -325,10 +316,12 @@ Steps:
 **Two techniques to dye with bacteria:**
 
 * Grow bacteria directly on the fabric (what we're doing)
-* Extract the color and dying with that (will learn later)
+* Extract the color and dyeing with that (will learn later)
 
 When growing directly on the fabric, you first soak the silk with a liquid growing medium - we used LB broth. Work in a sterile matter within the sterile bubble, similar to how we did the plating. No moving, no talking! Then you inoculate, or: add the bacteria to your sterile plates/fabrics. 
 
+![](../images/wk04_inoculating.jpg)*Incoculating: putting the bacteria on their food plates, Loes Bogers, 2019*
+
 **The steps:**
 
 1. Keep the *inoculation loop* in the flame until it turns red to sterilize it. If the bacteria is grown in a liquid growth medium, like water, you can dilute it with sterile water and use a sterile spray or pipet.
@@ -338,17 +331,24 @@ When growing directly on the fabric, you first soak the silk with a liquid growi
 1. Label the dishes if you haven't done so already
 1. Seal the plates with *parafilm* stretch it all around until it overlaps by holding one end with one thumb and pulling the rest around, letting go of the paper bit by bit. 
 1. Let the incubate for 3 days. 
-1. TBA
-1. TBA
-1. TBA
+1. Kill the bacteria by sterilizing it using the same process with the pressure cooker (add new autoclave tape!) 
+1. Harvest the bacteria. I missed this step so looked at Bea's [wonderful documentation](https://class.textile-academy.org/2020/beatriz.sandini/assignments/week04/#7-checiking-the-results) to look up how she did it: 
 
-![](../images/wk04_inoculating.jpg)*Incoculating: putting the bacteria on their food plates, Loes Bogers, 2019*
+>Grab some lab glass tubes, very thin ones, that can easily fold when heated up. Then do a L shape tip.
 
-###Keeping our bacteria alive
+>Then add etanol to your bacteria dishes and gently scrape the surface. The colorant will come out with the etanol and you can save that for using either as a dye bath or as a ink. 
+>
+>–  Bea's documentation
 
-TBA
+It's Christmas time! 
 
-### Letting our bacteria dye and die
+![](../images/wk04_bacteriasilk3.jpg) *Unpacking my bundle..., Loes Bogers, 2019*
+
+![](../images/wk04_bacteriasilk2.jpg) *Whoa!, Loes Bogers, 2019*
+
+![](../images/wk04_bacteriasilk1.jpg) *Detail of the bacteria pattern! Loes Bogers, 2019*
+
+###Keeping our bacteria alive
 
 TBA
 

docs/assignments/week11.md

 # 11. Implications and applications
 
-This week I worked on defining my final project idea and started to getting used to the documentation process.
+>Our lives are henged round with systems of classification, limned by standard formats, prescriptions, and objects. Enter a modern home an you are surrounded by standards and categories spanning the color of paint on the walls and in the fabric of the furniture, the types of wires strung to appliances, the codes in the building permits allowing the kitchen sink to be properly plumbed and the walls to be adequately fireproofed. Ignore these forms at your peril – as a building owner, be sued by irate tenants; as an inspector, risk malpractice suits denying your proper application of the ideal to the case at hand; as a parent, risk toxic paint threatening your children. To classify is human.
+>
+> – Bowker & Star, *Sorting Things Out: Clasification and its Consequences*, 2000: p. 1
 
-## Research
+## Lost in Material Archives
 
-"Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
+<iframe src="https://docs.google.com/presentation/d/e/2PACX-1vSkdPoDWi5P-JfrYTUDtJelboAx5EKclvjIxfGMPSLR_QhpJwobThQY6XcrvoG9nlWe-opwY5jTLvgZ/embed?start=false&loop=false&delayms=15000" frameborder="0" width="960" height="749" allowfullscreen="true" mozallowfullscreen="true" webkitallowfullscreen="true"></iframe>
 
-> "Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
 
-## Useful links
+## References
 
-- [Jekyll](http://jekyll.org)
-- [Google](http://google.com)
-- [Markdown](https://en.wikipedia.org/wiki/Markdown)
+Bowker, G. and Star, S. L., *Sorting Things Out: Classification and Its Consequences*, Cambridge/London, MIT Press: 2000 (1999).
 
+Dekker, A. (ed.) *Lost and Living (in) Archives: Collectively Shaping New Memories*, Amsterdam, Valiz: 2017.
 
-## Code Example
+Derrida, J. *Archive Fever: A Freudian Impression*. Chicago: University of Chicago Press, 1996 (1995). 
 
-Use the three backticks to separate code.
-
-```
-// the setup function runs once when you press reset or power the board
-void setup() {
-  // initialize digital pin LED_BUILTIN as an output.
-  pinMode(LED_BUILTIN, OUTPUT);
-}
-
-// the loop function runs over and over again forever
-void loop() {
-  digitalWrite(LED_BUILTIN, HIGH);   // turn the LED on (HIGH is the voltage level)
-  delay(1000);                       // wait for a second
-  digitalWrite(LED_BUILTIN, LOW);    // turn the LED off by making the voltage LOW
-  delay(1000);                       // wait for a second
-}
-```
-
-
-## Gallery
-
-![](../images/sample-photo.jpg)
-
-## Video
-
-### From Vimeo
-
-<iframe src="https://player.vimeo.com/video/10048961" width="640" height="480" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
-<p><a href="https://vimeo.com/10048961">Sound Waves</a> from <a href="https://vimeo.com/radarboy">George Gally (Radarboy)</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
-
-### From Youtube
-
-<iframe width="560" height="315" src="https://www.youtube.com/embed/jjNgJFemlC4" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>
-
-## 3D Models
-
-<div class="sketchfab-embed-wrapper"><iframe width="640" height="480" src="https://sketchfab.com/models/658c8f8a2f3042c3ad7bdedd83f1c915/embed" frameborder="0" allow="autoplay; fullscreen; vr" mozallowfullscreen="true" webkitallowfullscreen="true"></iframe>
-
-<p style="font-size: 13px; font-weight: normal; margin: 5px; color: #4A4A4A;">
-    <a href="https://sketchfab.com/models/658c8f8a2f3042c3ad7bdedd83f1c915?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Dita&#39;s Gown</a>
-    by <a href="https://sketchfab.com/francisbitontistudio?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Francis Bitonti Studio</a>
-    on <a href="https://sketchfab.com?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Sketchfab</a>
-</p>
-</div>
\ No newline at end of file
+Lévi-Strauss, C. *The Raw and the Cooked* [Le Cru et le Cuit, 1964]. Chicago: Chicago University press, 1969.
\ No newline at end of file