References
- Allegra, I. 2020. Accessed 7 March 2020. https://www.indiraallegra.com.
- Antoni, J. 2020. Accessed 8 March 2020. http://www.janineantoni.net/#/slumber/.
- Bergman suitcaseloom. 2020. Accessed 10 March 2020. https://nordicmuseum.pastperfectonline.com/webobject/58D37B09-3F66-4B9D-9ED3-152170762542
- Bishop, C. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso. Ebook.
- Clausen, R. T. 2020. “Having Visits: Considerations on the Researcher-as-Host in Participatory Projects.” Journal of Arts & Communities 10 (1&2): 109–127. doi:10.1386/jaac_00009_1.
- Darlaston, K. 2011. “The Loom as a Stage for Performing the Social and Cultural Meanings of Craft and Making.” PhD diss., University of South Australia.
- Hastrup, K. 1992. “Out of Anthropology: The Anthropologist as an Object of Dramatic Representation.” Cultural Anthropology 7 (3): 327–345. doi:10.1525/can.1992.7.3.02a00030.
- Hemmings, J. 2012. Warp & Weft: Woven Textiles in Fashion, Art and Interiors. London: Bloomsbury.
- Illich, I. 1973. Tools for Conviviality. London: Open forum series.
- Jungnickel, K. 2018. Bikes and Bloomers: Victorian Women Inventors and Their Extraordinary Cycle Wear. London: Goldsmiths Press.
- Kouhia, A. 2016. “Unravelling the Meanings of Textile Hobby Crafts.” Ph.D., University of Helsinki.
- Kvadrat. 2020. Accessed 16 March 2020. http://kvadratinterwoven.com/interlace.
- “Meg McMahon.” 2017. Meg McMahon, August 10. Accessed 10 March 2020. https://sohe.wisc.edu/announcement/1900-1909/
- Meinolf, T. 2019. Accessed 30 September 2019. https://actionweavings.tumblr.com/
- Meinolf, T. 2020. Skype interview with Jessica Hemmings March 12.
- Mirra, H. 2020. Accessed 31 July 2020. https://www.gf.org/fellows/all-fellows/helen-mirra/
- Moeran, B. 2007. “From Participant Observation to Observant Participation: Anthropology, Fieldwork and Organizational Ethnography.” Creative Encounters Working Papers #2, Copenhagen Business School, July 2007. Accessed 7 February 2020. https://openarchive.cbs.dk/handle/10398/7038.
- Molinski, C. 2011. “Notes on an Exhibition.” In Anne Wilson Wind/Rewind/Weave, edited by Susan Snodgrass. Knoxville, TN: Knoxville Museum of Art and Whitewalls, Inc.
- Oyama, Y. 2017. “The Stubborn Life of Objects.” The Norwegian Artistic Research Fellowship Programme Diss., Oslo National Academy of the Arts and The Norwegian Artistic Research Fellowship Programme.
- Robertson, K., and L. Vinebaum. 2016. “Crafting Community.” Textile 14 (1): 2–13. doi:10.1080/14759756.2016.1084794.
- Salomon, O. 2010. “Introductory Remarks’, from the Teacher’s Handbook of Slöjd.” In The Craft Reader, edited by Glenn Admason, 11–15. Oxford: Berg.
- Saori Global Official Website. 2020. Accessed 7 December 2020. https://www.saoriglobal.com/home
- Snodgrass, S., ed. 2011. Anne Wilson Wind/Rewind/Weave. Knoxville, TN: Knoxville Museum of Art and Whitewalls, Inc.
- Star, S. L. 2007. “Living Grounded Theory Cognitive and Emotional Forms of Pragmatism.” In The SAGE Handbook of Grounded Theory, edited by Antony Bryant and Kathy Charmaz, 75–93. London: Sage. doi: https://dx-doi-org.ezproxy.ub.gu.se/10.4135/9781848607941.
- Vinebaum, L. 2016. “Performing Globalization in the Textile Industry: Anne Wilson and Mandy Cano Villalobos.” In The Handbook of Textile Culture, edited by Janis Jefferies, Diana Wood Conroy and Hazel Clark, 169–185. London: Bloomsbury Visual Arts.
- Vinebaum, L. 2019. “Weaving Lab: Social + Science.” Surface Design Journal Summer: 30–35.
- Waldén, L. 1994. Handen Och Anden: de Textila Studiecirklarnas Hemligheter. Stockholm: Carlsson.
- Wilson, A. 2019. Accessed 30 September 2019. https://www.annewilsonartist.com/local-industry-overview.html.