Braid: Wikis


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From Wikipedia, the free encyclopedia

"The braid" (1887) by Auguste Renoir
..with more than three yarns

A braid (also called plait) is a complex structure or pattern formed by intertwining three or more strands of flexible material such as textile fibres, wire, or human hair. Compared to the process of weaving a wide sheet of cloth from two separate, perpendicular groups of strands (warp and weft), a braid is usually long and narrow, with each component strand functionally equivalent in zigzagging forward through the overlapping mass of the others.

The simplest possible braid is a flat, solid, three-strand structure. More complex braids can be constructed from an arbitrary (but usually odd) number of strands to create a wider range of structures: wider ribbon-like bands, hollow or solid cylindrical cords, or broad mats which resemble a rudimentary perpendicular weave.

Braids are commonly used to make rope, decorative objects, and hairstyles (also see pigtails, French braid). Complex braids have been used to create hanging fibre artworks.

Braiding is also used to prepare horses' manes and tails for showing, polo and polocrosse.[1]


Ropes and cables

A step by step creation of a basic braid using three strings.

Braiding creates a composite rope that is thicker and stronger than the non-interlaced strands of yarn. Braided ropes are preferred by arborists, rock climbers and in sport sailing because they do not twist under load, as does an ordinary twisted-strand rope. These ropes consist of one or more concentric tubular braided jackets surrounding either several small twisted fibre cords, or a single untwisted yarn of straight fibres, and are known as Kernmantle ropes.

In electrical and electronic cables, braid is a tubular sheath made of braided strands of metal placed around a central cable for shielding against electromagnetic interference. The braid is grounded while the central conductor(s) carry the signal.

Another use is for litz wire which uses braids of thin insulated wires to carry high frequency signals with much lower losses from skin effect or to minimise proximity effect in transformers.

Flat braids made of many copper wires are also sometimes used for flexible electrical connections between large components. The numerous smaller wires comprising the braid are much more resistant to breaking under repeated motion and vibration than is a cable of larger wires.

Similar braiding is used on pressurized rubber hoses, such as in plumbing and hydraulic brake systems in automobiles. Braiding is also used for fibres for composite reinforcements.

A property of the basic braid is that removing one strand unlinks the other two, as they are not twisted around each other. Mathematically, a braid with that property is called a Brunnian braid.

Australian plaiting

Plaiting (or braiding) with kangaroo leather has been widely practised tradition in rural Australia since pioneering times. It is used in the production of fine leather belts, hatbands, bridles, dog leads, bullwhips and stockwhips etc. Other leathers are used for the plaiting of heavier products suitable for everyday use.[2]

Other braids

Gold braids and silver braids are components or trims of many kinds of formal dress, including military uniform (in epaulettes, aiguillettes, on headgear).


The braided streams of the Tanana River.

Braids are often used figuratively to represent interweaving or combination, such as in "He braided many different ideas into a new whole."

Braiding happens when a river is carrying vast amounts of eroded sediment. Sediment is deposited as islands in the channel causing the river to split up into many winding channels.

In some river and stream systems, small streams join together and redivide in many places. Such stream systems are said to be braided. These are often found in alluvial fans at the outlet of canyons. This is a result of heavy sediment deposition at high flows followed by re-erosion at low flows. See also river delta.


See also


  1. ^ Braiding and Plaiting Your Horse Retrieved 2010-2-20
  2. ^ Grant, Bruce, Encyclopedia of Rawhide and Leather Braiding, Cornell Maritime Press, Cambridge, Maryland, 1972. ISBN 0-87033-161-2


Up to date as of January 14, 2010

From Wikiquote

The following quotes are from the Xbox Live game Braid


World 2: Time and Forgiveness

"Tim is off on a search to rescue the Princess. She has been snatched by a horrible and evil monster. This happened because Tim made a mistake."

"Not just one. He made many mistakes during the time they spent together, all those years ago. Memories of their relationship have become muddled, replaced wholesale, but one remains clear: the princess turning sharply away, her braid lashing at him with contempt."

"He knows she tried to be forgiving, but who can just shrug away a guilty lie, a stab in the back? Such a mistake will change a relationship irreversibly, even if we have learned from the mistake and would never repeat it. The princess's eyes grew narrower. She became more distant."

"Our world, with its rules of causality, has trained us to be miserly with forgiveness. By forgiving them too readily, we can be badly hurt. But if we've learned from a mistake and became better for it, shouldn't we be rewarded for the learning, rather than punished for the mistake?"

"What if our world worked differently? Suppose we could tell her: 'I didn't mean what I just said,' and she would say: 'It's okay, I understand,' and she would not turn away, and life would really proceed as though we had never said that thing? We could remove the damage but still be wiser for the experience."

"Tim and the Princess lounge in the castle garden, laughing together, giving names to the colorful birds. Their mistakes are hidden from each other, tucked away between the folds of time, safe."

World 3: Time and Mystery

"For a long time, he thought they had been cultivating the perfect relationship. He had been fiercely protective, reversing all his mistakes so they would not touch her. Likewise, keeping a tight rein on her own mistakes, she always pleased him."

"But to be fully couched within the comfort of a friend is a mode of existence with severe implications. To please you perfectly, she must understand you perfectly. Thus you cannot defy her expectations or escape her reach. Her benevolence has circumscribed you, and your life's achievements will not reach beyond the map she has drawn."

"Tim needed to be non-manipulable. He needed a hope of transcendence. He needed, sometimes, to be immune to the Princess's caring touch."

"Off in the distance, Tim saw a castle where the flags flutter even when the wind has expired, and the bread in the kitchen is always warm. A little bit of magic."

World 4: Time and Place

"Visiting his home for a holiday meal, Tim felt as though he had regressed to those long-ago years when he lived under their roof, oppressed by their insistence on upholding strange values which, to him, were meaningless. Back then, bickering would erupt over drops of gravy spilt onto the tablecloth."

"Escaping, Tim walked in the cool air toward the university he'd attended after moving out of his parent's home. As he distanced himself from that troubling house, he felt the embarrassment of childhood fading into the past. But now he stepped into all the insecurities he'd felt at the university, all the panic of walking a social tightrope."

"Tim only felt relieved after the whole visit was over, sitting back home in the present, steeped in contrast he saw how he'd improved so much from those old days. This improvement, day by day, takes him ever-closer to finding the Princess. If she exists - she must! - she will transform him, and everyone."

"He felt on his trip that every place stirs up an emotion, and every emotion invokes a memory: a time and location. So couldn't he find the Princess now, tonight, just by wandering from place to place and noticing how he feels? A trail of feelings, of awe and inspiration, should lead him to that castle in the future, her arms enclosing him, her scent fills him with excitement, creates a moment so strong he can remember it in the past."

"Immediately Tim walked out his door, the next morning, toward whatever the new day held. He felt something like optimism."

World 5: Time and Decision

"She never understood the impulses that drove him, never quite felt the intensity that, over time, chiseled lines into his face. She never quite felt close enough to him - but he held her as though she were, whispered into her ear words that only a soul mate should receive."

"Over the remnants of dinner, they both knew the time had come. He would have said: 'I have to go find the Princess,' but he didn't need to. Giving a final kiss, hoisting a travel bag to his shoulder, he walked out the door. Through all the nights that followed, she still loved him as though he stayed, to comfort her and protect her, Princess be damned."

World 6: Hesitance

"Perhaps in a perfect world, the ring would be a symbol of happiness. It's a sign of ceaselessness devotion: even if he will never find the Princess, he will always be trying. He still will wear the ring."

"But the thing makes its presence known. It shines out to others like a beacon of warning. It makes people slow to approach. Suspicion, distrust. Interactions are torpedoed before Tim can open his mouth."

"In time he learns to deal with the others carefully. He matches their hesitant pace, tracing a soft path through their defenses. But this exhausts him, and it only works to a limited degree. It doesn't get him what he needs."

"Tim begins to hide the ring in his pocket. But he can hardly bear it - too long tucked away, that part of him might suffocate."


The following quotes may contain spoilers to the ending of Braid.

World 1.

"That night at the cinema, fictitious adventurers lunge implausibly across the screen. The audience here is mixed. Some are patrons of the cafe, now sitting excitedly in the plush chairs, eager for another new flavor, for distraction from the boredom of their easy lives. Other seats hold fisherman and farm workers, hoping to forget their toils and rest their hands."

"Tim is here too, but he is scrutinizing the gloss on the lips on the screen, measuring the angle of the plume of a distant helicopter crash. He thinks he discerns a message, when the cinema closes and most of the audience strolls down the plaza to the south, Tim goes north."

"People like Tim seem to live oppositely from the other residents of the city. Tide and riptide, flowing against each other."

"Tim wants, like nothing else, to find the Princess, to know her at last. For Tim this would be momentous, sparking an intense light that embraces the world, a light that reveals the secrets long kept from us, that illuminates - or materializes! - a final palace where we can exist in peace."

"But how would this be perceived by the other residents of the city, in the world that flows contrariwise? The light would be intense and warm at the beginning, but then flicker down to nothing, taking the castle with it; it would be like burning down the place we've always called home, where we played so innocently as children. Destroying all hope of safety, forever."


Warning: epilogue contains hidden texts. They are written in Italic

"The boy called for the girl to follow him, and he took her hand. He would protect her; they would make their way through this oppressive castle, fighting off the creatures made of smoke and doubt, escaping to a life of freedom. The boy wanted to protect the girl. He held her hand, or put his arm around her shoulders in a walking embrace, to help her feel supported and close to him amid the impersonal throngs of Manhattan. They turned and made their way toward the Canal St. subway station, and he picked a path through the jostling crowd."

His arm weighed upon her shoulders, felt constrictive around her neck. "You're burdening me with your ridiculous need," she said. Or, she said: "You're going the wrong way and you're pulling me with you." In another time, another place, she said: "Stop yanking on my arm; you're hurting me!"

"He worked his ruler and his compass. He inferred. He deduced. He scrutinized the fall of an apple, the twisting of metal orbs hanging from a thread. He was searching for the Princess, and he would not stop until he found her, for he was hungry. He cut rats into pieces to examine their brains, implanted tungsten posts into the skulls of water-starved monkeys."

Ghostly, she stood in front of him and looked into his eyes. "I am here," she said. "I am here. I want to touch you." She pleaded: "Look at me!" But he would not see her; he only knew how to look at the outside of things.

"He scrutinized the fall of an apple, the twisting of metal orbs hanging from a thread. Through these clues he would find the Princess, see her face. After an especially fervent night of tinkering, he kneeled behind a bunker in the desert; he held a piece of welder's glass up to his eyes and waited."

"On that moment hung eternity. Time stood still. Space contracted to a pinpoint. It was as though the earth had opened and the skies split. One felt as though he had been privileged to witness the Birth of the World...¹"

"Someone near him said: 'It worked.'"

"Someone else said: 'Now we are all sons of bitches.'"

"She stood tall and majestic. She radiated fury. She shouted: "Who has disturbed me?" But then, anger expelled, she felt the sadness beneath; she let her breath fall softly, like a sigh, like ashes floating gently on the wind."

"She couldn't understand why he chose to flirt so closely with the death of the world."

"The candy store. Everything he wanted was on the opposite side of that pane of glass. The store was decorated in bright colors, and the scents wafting out drove him crazy. He tried to rush for the door, or just get closer to the glass, but he couldn't. She held him back with great strength. Why would she hold him back? How might he break free of her grasp? He considered violence."

"They had been here before on their daily walks. She didn't mind his screams and his shrieks, to the way he yanked painfully on her braid to make her stop. He was too little to know better."

"She picked him up and hugged him: "No, baby," she said. He was shaking. She followed his gaze toward treats sitting on pillows behind the glass: the chocolate bar and the magnetic monopole, the It-From-Bit and the Ethical Calculus; and so many other things, deeper inside. "Maybe when you're older, baby," she whispered, setting him back on his feet and leading him home, "Maybe when you're older."

"Every day thereafter, as before, she always walked him on a route that passed in front of the candy store."

"He cannot say he understood all of this. Possibly he's more confused now than ever. But all these moments he's contemplated — something has occurred. The moments feel substantial in his mind, like stones. Kneeling, reaching down toward the closest one, running his hand across it, he finds it smooth, and slightly cold."

"He tests the stone's weight; he finds he can lift it, and the others too. He can fit them together to create a foundation, and embankment, a castle."

"To build a castle of appropriate size, he will need a great many stones. But what he's got, now, feels like an acceptable start."

1911 encyclopedia

Up to date as of January 14, 2010

From LoveToKnow 1911

BRAID (from the O. Eng. bregdan, to move quickly to and fro, hence to weave), a plait, especially a plait of hair, also a plaited tape woven of wool, silk, gold thread, &c., used for trimming or binding. A particular use is for the narrow bands, bordered with open work, used in making point lace.

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Up to date as of February 01, 2010

From Wikia Gaming, your source for walkthroughs, games, guides, and more!


Developer(s) Number None
Publisher(s) Microsoft Game Studios
Designer(s) Jonathan Blow
Release date Xbox Live Arcade:
August 6, 2008 (NA)
Genre 2D platformer
Mode(s) Single player
Age rating(s) ESRB: E10+
Xbox Live Arcade
Platform(s) Xbox Live Arcade
Media 144 Megabyte Download
Xbox Live Arcade
Input Xbox 360 Controller
Credits | Soundtrack | Codes | Walkthrough

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