Digital crafts-machine-ship: creative collaborations with machines
Digital crafts-machine-ship: creative collaborations with machines
复制标题
数字工艺-机器-船舶：与机器的创造性合作
DOI：
10.1145/3373644
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发表时间：
2019
期刊：
影响因子：
--
通讯作者：
McLean, Alex
中科院分区：
文献类型：
--
作者：
Andersen, Kristina;Wakkary, Ron;Devendorf, Laura;McLean, Alex
通过参与创造物体和事物的共享自主权，我们看到了音乐，艺术，计算，政治和纤维工艺品之间的相关性。所有的图案都是由代码组成的，无论是通过符号、正式语言、法律体系、编织草图还是编织图案。这些代码引发了重复和组合的模式，干扰和故障，总是会带来惊喜。对材料的反应意味着我们的工作超出了我们的想象。当我们与机器和软件一起工作时，尤其如此，它们可以说有自己的想象力来为这个过程做出贡献，增加了我们和物质结果之间的层次。这让我们远离了结果，因为它可以把我们从过程中拉回来，观察同样制造东西的机械或软件系统。在这种近与远的对话中，我们仍然在制造和制造纺织机，纺织机是一种早期的机器，一种明显的人类建筑;它被视为自动化和工业化的开端，被视为用抽象和机械运动取代人手。但是，正如我们从哈拉维、拉图尔或伊德那里所知道的那样，编织者仍然存在，无论是以赛博格的形式还是作为一个人在集合中。这台机器是数字和非数字的交叉点;人类的肉体，运动，思想和欲望，它们总是一起产生物质上的新事物，然后改变以前的东西。织布机有一个前后：材料被添加，结果具有改变一切的新品质。这样，机器的抽象就消失了。对织工来说，纱线不是一种观念或隐喻;它以其物质性存在;它有强度和脆弱性，长度和摩擦力。纱线与图案相遇，纬纱与经纱相遇，人类与非人类相遇，形成了共同的结构。
By engaging a shared autonomy of creating objects and things, we see correlations between music, art, computation, politics, and fiber crafts. All are patterned by codes, whether via notations, formal languages, systems of law, weaving drafts, or knitting patterns. These codes invoke patterns of repetition and combination, of interferences and glitches, always turning up surprises. Creating in reaction to material means we work beyond our imaginations. This is especially true when we work with machines and software, which arguably have imaginations of their own to contribute to the process, adding to the layers of enactments between us and the material result. This distances us from the result in that it can pull us back from the process, to watch the mechanical or software systems that also make the things. In this dialogue of closeness and distance, we are still making andThe loom is an early machine, a distinctly human construction; it is seen to be the start of automation and industrialization, seen to replace human hands with abstractions and mechanical movements. But as we know from Haraway, Latour, or Ihde, the weaver is still very much there, whether in cyborgian form or as a human in the assemblage. This machine is an intersection of the digital and non-digital; human flesh, movement, thoughts, and desires that together always produce a materially new thing, which then changes what was there before. The loom-weaver machine has a before and after: Material is added and the outcome has new qualities that transform everything. In this way, the abstractions of the machine melt away. To the weaver, the yarn is not an idea or a metaphor; it is present in its materiality; it has strength and fragility, length and friction. The yarn meets the pattern, the weft meets the warp, the human meets the nonhuman, and together structures are formed.