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David N.G.Mccallum Glitching the Fabrıc STRATEGIES OF NEW MEDIA ART APPLIED TO THE CODES OF KNITTING AND WEAVING David N.G. McCallum Glitching the Fabrıc STRATEGIES OF NEW MEDIA ART APPLIED TO THE CODES OF KNITTING AND WEAVING David N.G. McCallum Thesis for the degree of Doctor of Philosophy in Digital Representation (digital gestaltning) at Valand Academy, Faculty of Fine, Applied and Performing Arts, University of Gothenburg Published by Göteborgs universitet (Avhandlingar) This doctoral dissertation is No 68 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses, at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg www.konst.gu.se/artmonitor Graphic design & layout: Lucinda Wallace Printed by: Göteborgstryckeriet, Sweden, 2018 © David N.G. McCallum 2018 ISBN: 978-91-7833-139-0 (printed version) ISBN: 978-978-91-7833-140-6 (digital version) Abstract Title: Glitching the Fabric: Strategies of New Media Art Applied to the Codes of Knitting and Weaving Language: English Keywords: Glitch art, New media art, Weaving, Knitting, Textile design, Artistic research ISBN: 978-91-7833-139-0 (printed version) 978-978-91-7833-140-6 (digital version) The purpose of the research has been to explore the creative possibilities in applying strategies derived from the domain of digital media and glitch art to a range of processes in the domain of textiles—specifically weaving, knitting, bobbin lace—with particular attention to the role of notations and coding in both domains. The enquiry presented in this dissertation is based upon the proposi- tion that there are creative possibilities that arise when approaches and strategies from new media and glitch art are transferred to some textile processes, and that this is possible because objects of new media and textile objects share features not limited to the grid. The research focuses on strategies from digital media and glitch art in the domain of computing and applies these strategies directly to the code and structures in the domain of textiles. The textile objects share some features of new media objects: formal representations (making them subject to algo- rithmic manipulation), a separation of content and interface, objects can be easily scaled, and they are open for hacking, which is a repurposing of the code. Strategies employed in this research include developing algorithms to generate structures and behaviour, deliberately inserting error into auton- omous systems and exploring the aesthetic spaces generated by the error systems, exploring the manipulation of coded objects, and understanding aesthetic spaces generated by algorithms as navigable spaces. In this research, these transfers have been tested and conducted through an applied process, creating artefacts of the artistic process, such as artworks, tools for creating artworks, and trial pieces to test techniques and strategies. These artefacts have been produced within the digital domain and the textile domain. The practical works realised in this way demonstrate the viability and the generative potentials for artistic and design practice that this transfer of strategies between domains yields. The work presented in this disserta- tion is thus an initial set of experiments laying the groundwork for future explorations employing this transfer of strategies, based on innovative cross-relations and exchange between the domain of computing and the domain of textile production. Acknowledgements Through the process of doing this work I have managed to tick off all of the things that are supposed to prevent you from completing your PhD: having a child (two), getting married, moving to another city, changing primary supervisors, changing institutions. This work would never have been completed if it had not been for the support of many people. So, thank you. To my primary supervisors, Karin Wagner and Sven Andersson, for trusting me from the beginning. To Birgitta Nordström, for making me a weaver, and for being my family away from home. To Mick Wilson, for getting me over the finish line. To my PhD colleagues in Digital Representation and elsewhere across the university: Lasse Wallsten, Mårten Medbo, Thomas Laurien, Marco Muñoz Tepez, Tina Carlsson, Katarina Karlsson, Lisa Tan, Thommy Eriksson, Josef Wideström, Arne-Kjell Vikhagen, and many more. The best discussions always happened in the sauna. To the Swedish School of Textiles and the Academy of Design and Crafts (HDK) for making me feel at home in your institutions: Linda Worbin, Lars Hallnäs, Tonje Kristensen-Johnstone, Delia Dumitrescu, Rickard Lindqvist, Marjan Kooroshnia, Riikka Talman, Margareta Zetterblom, Katharina Bredies, Anna Persson, Kristina Fridh, Anna Eklind, Sarah Schmidt. To the true heroes of any PhD work, the administrators and tech- nicians: Anna Frisk, Marianne Davidsson, Mia Lockman-Lundgren, Christina Dege, Thomas Schön, Magnus Bernvik, and the knitting and weaving technicians at the Swedish School of Textiles. To Dory Kornfeld, for thinking it was a good idea to knit a game of Go. To my parents for absolutely everything. To my wife, Angella Mackey, for the seemingly endless support. And to my boys, Lo and Auden, for forcing me to learn proper time management. To all I’ve missed, I’m sorry; it’s been a long road and I couldn’t have done it without you. Table of contents 0. Framing the work ����������������������������������������������������������9 0.1 Introduction ..............................................................................13 0.1.1 The origin of the enquiry ...........................................................15 0.1.2 Practice as method ...................................................................20 0.1.3 Terms ........................................................................................26 0.2 Relevant practices and contexts ������������������������������������������������28 0.2.1 New media art ...........................................................................28 0.2.2 Glitch art �����������������������������������������������������������������������������������40 0.2.3 Textiles, origins and choices ......................................................44 0.3 Directly related contemporary work ...........................................52 0.3.1 Glitch textiles ............................................................................52 0.3.2 Feijs and Toeters: Fractal houndstooth ......................................61 0.3.3 Weaving Codes – Coding Weaves .............................................64 0.3.4 Ada Dietz: Algebraic Weaving ....................................................67 0.4 Subjects not addressed in this text ............................................69 1. The grid�������������������������������������������������������������������������� 73 1.1 Introduction ............................................................................119 1.2 Sticks and Stones ...................................................................120 1.3 Go...........................................................................................122 1.4 The role of shape in Go and knitting ........................................125 1.5 The grid is an incomplete metaphor .........................................129 1.6 Front end back end .................................................................132 1.7 The final knell ..........................................................................133 1.8 Conclusion ..............................................................................135 2. Pattern �������������������������������������������������������������������������139 2.1 Introduction ............................................................................169 2.2 Powers of Satin �����������������������������������������������������������������������172 2.2.1 Weaving ����������������������������������������������������������������������������������177 2.2.2 The process of Powers of Satin ...............................................180 2.2.3 Creating Powers of Satin .........................................................188 2.2.4 The mistake in Powers of Satin ...............................................190 2.3 Critters ...................................................................................194 2.3.1 Constructing Critters ���������������������������������������������������������������203 2.3.2 Considering Critters ................................................................204 2.4 Conclusion ..............................................................................207 3. Failure ��������������������������������������������������������������������������209 3.1 Slow Explosion, Bang and Crunch ...........................................210 3.2 Woven error samples ..............................................................213 3.3 Introduction ............................................................................265 3.4 Injecting error ��������������������������������������������������������������������������266 3.5 Reverse-engineering the algorithm .........................................268 3.6 Sculpting noise .......................................................................270 3.7 Recursive error ........................................................................275 3.8 Wrong pedal error ...................................................................276 3.9 Noise error ..............................................................................277 3.10 Sculpting with noise ................................................................278
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