Anni Albers approached writing in a style remarkably similar to the process of creating a fabric on a loom, says Nicholas Fox Weber in the introduction to this book.
Using her portable machine, she wrote her texts on ordinary sheets of paper, which she then taped together to create a roll. Only in this way could he achieve the flow and continuity of the entire essay. The writing itself invited her to question the relative powers of written and visual language. The whole notion of language was one of her passions: spinning words, tying them together as effectively as possible, putting her belief system and philosophy on the written pages. Located in the chaotic European world after World War I, she had faith in the principles of Bauhaus, that art and design could profoundly affect and even transform life.
In 1922 the Bauhaus provided a refuge for the young artist. The school’s methods proposed an understanding of materials as the basis from which design and the congruence of form and function (or content) would emerge, thus producing a universal, harmonious and ultimately transcendent creation.