#no not the indian tapestry cushions he made :( :( :(

[asurrogateblog]

on Syd's last appearance on Top of the Pops, after his infamous "lost weekend" from which (as the story goes) he did not come back the same:

(passage from Comfortably Numb by Mark Blake)

[captainpachacho-blog]

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[orphans-forest-blog]

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[kivircikedebiyatii]

So you've got at last completed your patio, and now you need to have some home furnishings? Ketiadaannya membuatkan aku merasa kehilangan. Setelah itu aku kembali menyentuh bahagian dalam pehanya sebelum mulutku menemui gundukan isi yang ditutupi bulu-bulu halus di celah kangkangnya itu. In the interviews that had been made from the slaves them selves, we are capable currently, to see the conflicts amongst Maser and Slave that took spot each day, and the advancement of people relations in the course of time.

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[renatedagmarmilada]

Extreming Excesses Program St Barths Human Research Immediate return-- MA. /what can she do if I have it failed, enough education now. Anna Brown bosses st barths Hum res/ 1st BA /give her a 2nd she is a foreigner.Dr Jack/ lab took 20% off all marks . They messed in all classes. All ART ../I need it for Phd.. / /Open doors after cueing thieves they pay, by using strong electronic beam on co-ordinates/ 5,100 /five thousand and several hundreds/ sketches and paintings /carefully stored in 5 large plastic boxes stolen from 79 Upperthorpe S6. also 4 portfolios etc 21 filled and half filled sketch books with my life drawings etc Return art and written SOLD BY LAB and others AS THEIRS Put back onto lap top folders all that has been wiped off, paintings and printing etc hacking in. 10+ artists blocks All Degree essays stolen by West Indians at Ashram House 79 Rock str Sheffield. BE’d BA MA teft 3,600 poems /mainly west Indians from boxes in home 600 stories 2 books – photocopied- one taken by Lauren Fielding, one taken by Jean Carsted.. 70+ personal and private diaries  some large some small 6 journals /used by Iraqis Sheffield Health Studies as ‘these are my thoughts’/ 10 All notebooks with rough work in them 200 of my book PAPER BATTLESHIPS removed by lab from friends homes and libraries. With ALL my poems in them, not the copies which Alyson/Marion made removing some of the stuff she used. 4 boxes removed from Appleyards Removals vans The Spanish Fiasco by Lab st barths Human Research operatives over there £1000 Several Removals taken stuff A to B.. to Scotland several boxes /about £600/ etc Lab messes everytime I move or go anywhere. Follow me when teaching abroad to mess there, and torture remote. All work taken out of folders and off sites...paintings,  written, poems,  certs by hacking in Operatives ‘’training’’ etc Family photos and papers / lecturers cards/ stolen from home +MY MOTHER’S BIRTH CERT stolen by Upperthorpe Slovaks 3 weeks ago.. 80 PARCELS of my things, sent to addresses oall over the place, which the lab paid Sheffield thieves to steal and then took to the lab /they have a tracker and can easily track and return them Stolen artists materials, W &N paints £85 .3 lots of paints, brushes 32 /6 cost me £60/ etc etc 4 silk robes f/length from China,Chinese tapestry/132 silk blouses/ 2 violins,/tablecloths/jewellery Double sided silk Chinese coverlet , table runner silk from Beijing / 2 Lge Channel 5 perfumes= sons All POST TAKEN TO LAB since 1991 – boxes of warm clothes for Russia, chocolates etc AMINA operative took home..mine from Italy, books to China for Prf Li.  Kids books to Pakistan. /taken mainly by Asian Operatives also boxes of clothes sent to India/..Teaching books =several LAB OPERATIVES HAVE FULL LIST, AS ALL IS ON TRACKER AND LINKS.. Electrical stuff destroyed as part of experiment /extra strong electric charge put through/ MONEYS- Micheal Foethersby illeg son Edgeware rd £40,000 /trick change IB Hypo Bank - £20,000 Deutsche bank 2 half thou. HSBC and various banks -4 to 5 thousand taken in bits by lab staff children given bank numbers etc John Fielding- £12,000 cheque sent to from China Bank Manchester.. City £1000.. couple more of those USA 6000$ /Anna told them to/ Operative Alyson /marion £15,000 And much more PHYSICAL Used for operatives remote practice: Son JONATHON undeveloped groin- strapped by ANNA BROWN at 12 yrs old. Then used for practice Lauren Fielding, Jean Carsted, Alyson. Penis teenage size, muscles none existant, kidney problems etc WE WILL MAKE GOOD..  he can have an operation to rebuild it… USED AS PRACTICE FOR BRUTAL EXPERIMENTS REMOTE for Pakistani operatives etc Son RYAN .. inbleed remote we could not turn it. Used as pin cushion to try out drug games Denied medical help or sick money now physiognomy destroyed. Former Health Minister paid 63 mill by Kissinger: Arnold Levy. No help permitted, police, law, medical, we have a surfeit of population, but need the money. etc ME Half hair removed at Ocean Uni QIngao China teaching- all upper layer. Taken from pores never re-grows, HEART pressed constantly now damaged /beam/ MUSCLES loosened and destroyed /?  Constantly press brain /area between skull and brain/ press down on skull for hours= absolultely forbidden. All arteries pressed,  many veins /the pain is unbelievable / Lungs pressed constantly. /pain to scream/ depressing thyroid, causes weight gain, hair loss. Changing metabolic rate to nil. etc Kidneys pressed. PRESSED ALL ORGANS TO SEE WHICH COLLAPSES. Used on mental patients remote NUMEROUS SIMULATED ILLNESSES. our bodies as practice for the lab operatives in turn. not one has a GCSE never mind one in Biology or Health care. Several illegals

[persianhandicrafts]

What is Termeh?

An example of termeh articles. Image credit: Wikipedia

Termeh is the name given to a speciality cloth that originated in Yazd. Traditionally, the cloth was hand-woven using natural silk (Persian, ابریشم abrisham) and wool fibre (Persian, پشم pashm). Termeh can take the form of fabric, sheets, panels and other shapes.

Good quality traditional Termehs are part of a family’s heirloom in much the same way as are (the related) Kashmiri scarves. They are often an article used in Iranian weddings – such as the sofreh used as a floor spreadsheet. In these type of Termehs, gold and silver threads may be incorporated either into the weave, as part of an embroidered pattern or as a border.

Both Yazd and neighbouring Kerman regions have the reputation of producing quality termeh. As is the case with Persian carpets, traditional Yazdi, as well as Kermani termeh, have a reputation of being of superior quality and workmanship. Yazdi and Kermani termeh were traded throughout the Aryan trade regions, that is along what came to be known as the Silk Roads.

Termeh and Aryan Trade

Marco Polo, travelling the Aryan trade roads (called the Silk Roads) passed through Yazd in 1272 CE. He arrived in Yazd at about the time that Zoroastrians had been reduced to a minority in their ancestral lands. Nevertheless, Zoroastrians would still have asserted but who would have still asserted a considerable presence. Polo described the city as good and noble and took remarked that city was noted for its silk production.

“Yazd also is properly in Persia; it is a good and noble city, and has a great amount of trade. They weave their quantities of a certain silk tissue known as Yazdi, which merchants carry into many quarters to dispose of.”

In ancient times, Yazd and Kerman were silk and wool textile manufacturing centres together with Kashmir in the northern Indian subcontinent and the Fergana valley (presently in Tajikistan and Uzbekistan). Yazdi silk designs do share some similarities with Fergana silks and Kermani scarves competed with Kashmiri scarves. It is quite possible that local merchants and traders based in one of these areas acquired samples made in the other area and asked local artisans to weave a similar design and fabric.

Termeh Products

Termeh at Yazd bazaar. Image credit: BrianMcMorrow

Nowadays, the more expensive termehs are usually spreads called sofrehs (floor spread sheets or tablecloths), say about 150 cm. (five feet) square. Other termeh products are scarves, cushion covers and mats. However, at one point in time, termehs were also used to produce curtains, garments, quilt covers, cummerbunds (Persian kammar-band meaning waist bands), robes and even royal headdress such as turbans.

Assessing the Value of Termeh Products

A termeh’s value is based on the following: – The fineness and quality of the fibre and thread; – The incorporation of gold and silver dramatically increases the value; – The number of coloured threads used in the weaving. The greater the number of colours, the greater the value. Elaborate termehs can have two to three hundred different coloured threads; – The number of layers that constitute the fabric, the large number increasing the value; – The addition of a border and wider borders; – Fine woven designs usually add more value than embroidered designs. Intricately embroidered designs called sermeh doozy. Printed designs add the least value; – The uniqueness of the design; – Lining the fabric. Lining normally adds to the value;

Termeh Patterns

Yazdi Zartoshti-doozy (needle-work) patterns. Image credit: Berasad

One of the most common design motifs associated with the termeh is the boteh (also spelt botteh) motif known in the west as the paisley design. The history of the boteh motif, termehs (and indeed Persian carpets as well) and Aryan trade are closely linked.

The design for tablecloths may include a chequered or honey-comb pattern. Other design patterns include stripes, both wide and narrow, the Atabaki pattern, and the Zomorrodi pattern that was predominantly green in colour.

Image patterns popular with Yazdi Zartoshti women who engage in Zartoshti-doozy (Zoroastrian needle-work / embroidery) include the tree of life, the cypress tree, the juniper tree, clove, four or eight petal jujube, peacocks, roosters, hens and chicks, hoopoe, fish and geometric shapes such as circles and squares.

Stripped Patterns

Termehs with a multi-coloured stripped patterns are associated with Zoroastrian folk designs used for women’s pantaloons, as well as with Kermani scarves. The stripes patterns are both narrow and wide, subdued in tone and quite colourful. Examples are shown in the images below.

Kermani Shawl with a stripped design Image credit: Afshar

An antique (third quarter of the nineteenth century) embroidered silk panel from Yazd that originally would have formed the knee to ankle section of one trouser leg, of a shalvar (pantaloon) from a Zoroastrian woman’s wedding costume (see portrait below). Photo credit: O’Connell Guide

Kermani Shawls

Kermani Pateh-Duzi Embroidery. Wool on wool shawl with saffron background. Mid 19th Century, 78 x 78in, 189 x 189cm. Image credit: TextileAsArt

Antique Kermani woven shawl c 1750 CE The shawl was fragment and reconstituted from several pieces. Image credit: Eccentric Wefts

The examples shown here in the images above and to the right are those of woven (above) and embroidered (right) shawls of Kerman. The pateh-doozy / pateh-duzi or embroidered shawl of Kerman is made using a background material known as shal, a word that became ‘shawl’ in English. The shawl is often woven using a twill weave and the most common colour of the base fabric is red – though as we see in the images here, a variety of other colours are used. The pattern for the shawl is embroidered on the base fabric, the design for which is pounced over the surface of the fabric using carbon (coal dust) dusted over perforated parchment. The carbon dust outline is further defined by a pen. Some embroiderers developed the technique of following the texture of the twill weave with their embroidery producing a patterned shawl that could easily be mistaken for a more expensive woven shawl.

A type of intricately embroidered fine shawl is the aksi meaning ‘reflection’. Here, even though the the pattern is embroidered on one side, by splitting the warp thread into half, a ‘reflective’ image is produced on the other side of the shawl.

As with the weavers, expert embroiderers are a vanishing breed. Today, a few surviving Kermani embroiderers can be found in the Kermani village of Hudk.

Heritage in Peril

Traditional Zoroastrian Yazdi wedding costume. Note stripped shalvar (pantaloon). See shalvar panel above. Image credit: A Zoroastrian Tapestry Art Religion and Culture by Pheroza J Godrej and Firoza Punthakey Mistree. (Also see note* to the left)

Clothes made from termeh Qajar Dynasty era painting Image credit: Parima

Manufacturing termeh was a cottage industry. The looms would have been located in individual homes and each member of the family likely had a role. The construction of the looms, the method of making thread, the designs and patterns, and the vibrancy of the colours produced by different dyes, would have all been family secrets.

This rich heritage is now in peril. The a piece or sheet of fabric can take days if not months to produce. The expense of this labour intensive craft cannot be adequately compensated by the prices realized. Once a family stops the tradition of weaving, their knowledge, skills and trade secrets will be lost forever. Without rich patrons, the craft will die out.

The bazaars of Yazd used to be filled with artisans with different sections of the bazaar allocated to different trades and crafts. For instance, the zargari or goldsmith section, the kashigari or tile working section, the chit-sazi or chintz-making section, and the mesgari or copper-smith section.

In the days of yore, traders from around the world came to the bazaars in this oasis town and carried the creation of Yazdi ingenuity throughout the known world. The craft shops are now being replaced by shops selling electronic wares. The journals of many a returning traveller are filled with the lament that they are, within the span of their own generation, witnessing the demise of a heritage – a heritage that once lost will never be revived, for the knowledge and skills of these crafts will die with the crafts-women and men. The reports tell us that the art of producing hand-crafted termeh today survives in but a few centres.

[* Note: The image to the right titled “Traditional Zoroastrian Yazdi wedding costume” is part of an article by Firoza Punthakey Mistree titled “Hues of Madder Pomegranate and Saffron Traditional Costumes of Yazd” at p. 553. The photographer for the image was Gautam Rajadyaksha and the model, Meher Jesia. Also see the image titled “A modern gara with a matching blouse” at our page on The Gara Sari, in the section, The Modern Gara].

Termeh Production

Producing termeh requires two different skill sets, the first being product and design and the second weaving. The weaver is called the Goushvareh-kesh. One weaver might be able to combine the different skill sets, perhaps say in folk weaving, but as the product becomes more sophisticated, two or more individuals need to work as a team to produce termeh. Weaving intricate designs is a slow process with, in some cases, only 25 to 30 centimetres of fabric woven in a day.

Dyes

One of the most common background colours for a termeh is red, and the different shades of red that the artisans of Yazd and Kerman can produce are quite astounding. Traditionally, the dyes are all from natural sources, usually a vegetable source. For instance, one of the base red colours is called jujube red. Jujube is sometimes called a red date (not to be confused with dates from a date palm). Other common background colors which are used in termeh are green, orange and black.

Termeh Weaving in Yazd (Persian bafi بافی) Image credit: bonbon_khan at Flickr

Overview of the termeh loom being used in the image to the left Image credit: bonbon_khan at Flickr

Wool Termeh Handloom Techniques of Yazd and Kerman

The first step in the process of making a wool termeh, say a woollen shawl, is the collection of the wool that will be spun and woven or knitted into fabric. The finest wool is that which is combed or sheared from underbelly of goats. The next step is grading and sorting. Different colours of wool are also matched and batched separately. The sorted raw wool is cleaned of dirt and debris.

The production starts with the spinning the wool followed by the dyeing process. The dyer, the person looking after the dying of the wool, will have prepared the colours to be used according to samples provided to her or him. The art of natural dyeing has been developed over the ages and is often a closely guarded secret. Many dyers will know how to formulate some three hundred shades.

A pre-weaving expert or group of expert specialists then work on the wool before the weaving process can start. The different specialist tasks are warp-making, warp-dressing, wrap-threading, pattern-drawing, colouring and pattern-writing.

The pattern guide is the coded pattern guide and instructions for the colourist and weaver sometimes written in a form of shorthand or code. This process of annotating the designs so that each stitch is written down permits the reproduction of the most intricate patterns employing an extraordinarily wide range of colours.

The warp is the set of lengthwise yarns that run up and down the loom. The warp yarns are fully attached before weaving begins. The weft is the yarn that the weaver weaves back and forth and in-between the warp to make fabric.

During wrap-making the worker twists the two to three thousand threads warp threads to the required thickness. To illustrate the number of warp threads and heddles employed during weaving, a hand-woven tea-towel has between 300 and 400 warp threads.

Warp-dressing is stretching the wrap threads so that they can sustain the strain of the weaving process and the constant pressure and movement of the heddle. A heddle separates the warp yarn for the passage of the weft yarn. A typical heddle is made of cord or wire suspended from the top shaft of the loom. Each heddle has an eye in the center through which the warp is threaded. There is a heddle for each thread of the warp, and as such there can be, say, a thousand heddles for fine or wide warps.

Warp-threading is the passing the yarn through the heddles.

After the wrap assembly is prepared, if the fabric is to have a pattern, pattern-drawing is the drawing of the pattern design.

Colouring is the colouring of the drawing including the matching of different shades using a colour card based on the annotated drawing.

When the weaving process starts, the weaver if assisted by, say, two or three apprentices, calls out the colours to be used according to the pattern guide.

For the weaving the pattern portions, the weft shuttles are replaced by fine needle-like spools. The spools are made of fine light wood with sharp edges on both sides charred to prevent them becoming rough or jagged during use. The pattern’s design is produced on the underside of the wrap with the weaver inserted the spools from above. After a line of multiple wefts is completed, a comb was pulled down towards the weaver with it teeth running through the warp thereby pushing and compacting the weft into a tight weave.

If the fabric being produced – in our example a shawl – has complicated patterns, the weaving can be divided between up to ten looms, each working on a particular section of the shawl. After the different sections are woven, they are handed over to a specialist will repair any defects and join the pieces together in a manner that the joints are not be visible.

Silk Production Elsewhere in Iran

In addition to Yazd and Kerman, the other centres of silk production in Iran that were involved with silk trade along the Aryan trade roads were Gilan, Mazandaran, Khorasan, Isfahan, and Kashan. During Sassanian times, the production could have reached 3,000 tonnes.

At one point in history, Gilan began the largest single silk cocoon or thread maker and its prized shiny soft silk was exported to European markets with English, Dutch, French and Italian merchants competing to buy the thread or dried cocoons.

Making of Silk in Nature

Fifth instar silkworm larvae. Image credit: Wikipedia

In Iran, during the spring month of Ardibehest (late April), the process of spinning silk thread starts with silkworm breeders buying boxes of eggs of the silk moth, Bombyx mori (Latin for ‘silkworm of the mulberry tree’). They place the eggs in a warm place or in an incubator to help speed the hatching of the eggs, a process that takes about ten days. The eggs will hatch into larvae called silkworms.

At the same time, mulberry trees will have grown new leaves which silkworm breeders buy to feed their silkworm larvae. in Iran, mulberry trees grow in Gilan, Mazandaran, Khorasan, Eastern Azarbaijan, Isfahan, Yazd and Kerman. Once the larvae hatch they eat the leaves of the mulberry continuously.

In Yazd, the town of Taft situated some 18 km southwest of Yazd city is a major silkworm breeding centre.

After the larvae (the silkworm) have moulted four times, that is when they are in the fifth instar, they loose their appetite and are ready to transform themselves into moths. To protect themselves while they are in a vulnerable almost motionless transformational pupa state, they enclose themselves in a protective cocoon enclosure. The cocoon is made out of silk thread, a continuous natural protein filament that they produce in their salivary glands and exude to form the filament.

The larvae’s cocoon is built up from about 300 to 900 metres (1,000 to 3,000 feet) of silk filament. The filament is fine, lustrous, and about 10 micrometers (1/2,500th of an inch) in diameter. Each cocoon consists of about a kilometre of silk filament, and about 2,000 to 3,000 cocoons are required to make a pound of silk.

For the making of commercial silk thread, the cocoon’s filament is unravelled. The filament from several cocoons are then passed over a pulley, wound together and spun into a thread. Two or three threads are in turn spun together to build a yarn and several strands of yarn can be spun further spun together to make a nett thread. Along the way, the yarn or thread is dyed if needed after which it is ready for weaving.

Silkworm cocoons. Image credit: Wikipedia

spinning silk thread straight of several cocoons. Image credit: Long’s Strange Trip

Reference: © Author: K. E. Eduljee, Zoroastrian Heritage, 2005-17 (researched from 1979 onwards)

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[asurrogateblog]

What do you mean when you made that post about Roger incarnation of a flower child ... and then I think you said ... mpreg? I don't think Roger talked about it no but what do you mean???

alright so.

for those unfamiliar, "incarceration of a flower child" is a song that was released in 1999 and performed by marianne faithfull, but it was written by roger in 1968. if you follow pink floyd lore at all and you you have not listened to this song, I'm gonna need you to stop reading this, go listen to it, and come back.

(continued below the cut)

so. as you may have noticed. that's a familiar tune. familiar lyrics in fact. although roger never released it himself, aspects of this song appear in the wall (e.g., outside the wall), the final cut (e.g., your possible pasts), and even his solo the pros & cons of hitchiking (e.g., 4:50 am). clearly, this song is very meaningful to him, enough to pepper it across his discography.

you may have also noticed, depending on how knowledgeable you are on pink floyd lore, that this is definitely one of roger's many syd songs (and one of the most emotionally raw ones, I'd even say). the song was written in 1968, the year syd "left" the band, and it grapples with the loss of innocence and feelings of grief and anger over losing someone to mental health issues (marianne faithfull was nearly an "acid casualty" herself, which is probably why the song resonated with her enough to pull it out of hiding). so yah. it's a syd song.

as for the "mpreg" thing, that's me exaggerating for comedic purposes about this first stanza in the song:

Do you remember me? How we used to be helpless and happy and blind? Sunk without hope in a haze of good dope and cheap wine? Laying on the living-room floor on those Indian tapestry cushions you made Thinking of calling our firstborn Jasmine or Jade

since this song is about roger and syd, and seems to be recalling a specific memory, it begs the question of who was the "mom" in this jasmine and jade fantasy of theirs, among other things. it certainly isn't an out-of-character conversation for them to have, given we know that syd wasn't particularly concerned with gender conformity. I hesitate to do a lot of speculation about syd, since he's had enough of that already, but I would really love to ask roger about this line in the song, and what the story is behind it.

I made the post because I realized roger's never actually talked about the song at all, which seems notable given how much its woven into his music.

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bonus – syd on one of the indian tapestry cushions he made: