Complexity and duality, balance and reciprocity shaped the cosmology of a people who faced severe environmental challenges – in the Atacama desert, driest in the world; the Andes mountains, second only to the Himalayas in height; and the Amazon jungle. Perhaps less well-known is the extent to which this primitivist discourse shaped the thinking of the Bauhaus at Weimar, in, for instance, Johannes Itten’s pedagogical exercises meant to foster or recover an instinctual creativity in his students, as well as contemporaneous debates over the reconciliation of art and craft. WARPING Wind single warps for the borders. In another essay penned by Larsen regarding Tawney and artistic inspiration, he remarked that, “Travel, to her, means perspective, and a reorientation of values necessary as an antidote to some of the culturally deadening aspects of American life.”32 This is reflected in Tawney’s own writing, in which she expresses a longing for an alternative way of being in the world reflective of broader countercultural desires for a reconnection to nature associated with indigenous cultures, wherein creative practice is seamlessly integrated into life. "21, In the same passage, she also mentions Raoul d’Harcourt’s study as an important influence: “This book by d’Harcourt encouraged me to try my hand very freely at intertwining my threads, giving me permission, as it were, to follow in the footsteps of those artisans to explore my own games and the creation of a universal language.”22 Hicks took Kubler’s course in 1954. The vast majority of Andean weaving is warp-faced, in which the weft yarns are completely hidden by the warp during the weaving process. → more, Paul Klee’s Carpet, 1927, creates a conundrum for scholars as it does not neatly fit the existing theoretical models concerning how European artists engage with non-Western art and culture, while at the same time opening up exciting new avenues for inquiry. The passage also highlights how Albers used the Andean example to rewrite the prevailing historical narrative surrounding weaving, including the value of European tapestry, which in 1965 when On Weaving was published, was in the midst of a major revival in Western Europe, one that privileged the French medieval tapestry tradition.6 Here, however, against the