Toward a Minor Tech:Kim5000 - Revision history

Simoon: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-21T20:11:40Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 20:11, 21 July 2023
Line 1:		Line 1:
	__NOTOC__		__NOTOC__
	~~= Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =~~
	'''Jung-Ah Kim'''		'''Jung-Ah Kim'''
			= Weaving and Computation:<br>Can Traditional Korean Craft Teach Us Something? =

			<span class="running-header">Weaving and Computation: Can Traditional Korean Craft Teach Us Something?</span>

	== Abstract ==		== Abstract ==

Manetta: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-21T18:34:29Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 18:34, 21 July 2023
Line 76:		Line 76:

	== Works cited ==		== Works cited ==
			<div class="workscited">
	Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021.		Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021.

Line 109:		Line 110:

	Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.		Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.
			</div>

	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:5000 words]]		[[Category:5000 words]]

Jung-Ah: /* Introduction */

2023-07-18T05:18:42Z

Introduction

← Older revision		Revision as of 05:18, 18 July 2023
Line 11:		Line 11:

	== Introduction ==		== Introduction ==
	Recently, I ~~visited~~ the Textile Museum of ~~Canada’s~~ opening of Gathering, a new exhibition that features 40 pieces from the ~~Museum’s~~ permanent collection of over 15,000 objects from around the world. There were open calls for artists to make digital responses to their collection which led me to find ''modam'' in their collection and make a small video about its history, and how the practice slowly disappeared. Not only was I happy to see my work displaying side by side with the ''modam'', but I was also taken by the beauty and the magnitude of the object itself. I had only seen it in digital scans and not in reality, so I was at first astonished by the sheer size of the tapestry. Due to its length being greater than the height of the gallery wall, only 2/3 of the tapestry was visible as it was hung on the wall. Therefore, the visual elements of the tapestry were much larger than I expected, in which the central crane was the size of a large rabbit or a medium-sized dog that gave me the illusion of flying right into my face. While I already have numerous questions and curiosities regarding various aspects of the carpet and its arrival in Canada, its size has sparked another significant question in my mind: "What was the purpose behind creating such a large carpet?"		Recently, I encountered ''modam'', a Korean traditional woolen carpet, for the first time in my life at the Textile Museum of Canada. I visited the museum’s opening of Gathering, a new exhibition that features 40 pieces from the museum’s permanent collection of over 15,000 objects from around the world. There were open calls for artists to make digital responses to their collection which led me to find ''modam'' in their collection and make a small video about its history, and how the practice slowly disappeared. Not only was I happy to see my work displaying side by side with the ''modam'', but I was also taken by the beauty and the magnitude of the object itself. I had only seen it in digital scans and not in reality, so I was at first astonished by the sheer size of the tapestry. Due to its length being greater than the height of the gallery wall, only 2/3 of the tapestry was visible as it was hung on the wall. Therefore, the visual elements of the tapestry were much larger than I expected, in which the central crane was the size of a large rabbit or a medium-sized dog that gave me the illusion of flying right into my face. While I already have numerous questions and curiosities regarding various aspects of the carpet and its arrival in Canada, its size has sparked another significant question in my mind: "What was the purpose behind creating such a large carpet?"

	The practice of Korean tapestry remains relatively unknown, even among many Koreans themselves. In fact, there is a common misconception among Koreans that carpets were solely imported from the West, without realizing that traditional carpets were once crafted within our own culture. This is presumably because the rapid industrialization of textile production has led to cultural amnesia and the marginalization of traditional crafts in Korea. As a result, many of the traditional ways of textile production have been forgotten and have fallen out of practice. I’m not an exception to this cultural amnesia and had I not come across the carpet in the Textile Museum of Canada, I would have remained unaware of this fascinating tradition as well. However, records show that patterned wool carpets have existed in Korea since the Three Kingdom Period (57 BCE – 668 CE) and were actively produced during the ''Joseon'' dynasty (1392-1910). (Paintings in Thread MODAM 30) The production of ''modam'' decreased in the 17th century arguably because, by then, ''ondol'', the traditional Korean underfloor heating system started to be widely supplied in households and people no longer needed carpets to insulate the floor. (Paintings in Thread MODAM 32) No carpets from the early ''Joseon'' period have survived, and there are more than 100 remaining from the late ''Joseon'' period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an effort to introduce ''modam'' to the public and research them in a few Korean museums such as the ''Kyungwoon'' Museum and ''Daegu'' National Museum. They held exhibitions of ''modam'' in 2016 – 2017 and 2021 respectively.		The practice of Korean tapestry remains relatively unknown, even among many Koreans themselves. In fact, there is a common misconception among Koreans that carpets were solely imported from the West, without realizing that traditional carpets were once crafted within our own culture. This is presumably because the rapid industrialization of textile production has led to cultural amnesia and the marginalization of traditional crafts in Korea. As a result, many of the traditional ways of textile production have been forgotten and have fallen out of practice. I’m not an exception to this cultural amnesia and had I not come across the carpet in the Textile Museum of Canada, I would have remained unaware of this fascinating tradition as well. However, records show that patterned wool carpets have existed in Korea since the Three Kingdom Period (57 BCE – 668 CE) and were actively produced during the ''Joseon'' dynasty (1392-1910). (Paintings in Thread MODAM 30) The production of ''modam'' decreased in the 17th century arguably because, by then, ''ondol'', the traditional Korean underfloor heating system started to be widely supplied in households and people no longer needed carpets to insulate the floor. (Paintings in Thread MODAM 32) No carpets from the early ''Joseon'' period have survived, and there are more than 100 remaining from the late ''Joseon'' period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an effort to introduce ''modam'' to the public and research them in a few Korean museums such as the ''Kyungwoon'' Museum and ''Daegu'' National Museum. They held exhibitions of ''modam'' in 2016 – 2017 and 2021 respectively.

Jung-Ah: /* Introduction */

2023-07-18T05:09:04Z

Introduction

← Older revision		Revision as of 05:09, 18 July 2023
Line 13:		Line 13:
	Recently, I visited the Textile Museum of Canada’s opening of Gathering, a new exhibition that features 40 pieces from the Museum’s permanent collection of over 15,000 objects from around the world. There were open calls for artists to make digital responses to their collection which led me to find ''modam'' in their collection and make a small video about its history, and how the practice slowly disappeared. Not only was I happy to see my work displaying side by side with the ''modam'', but I was also taken by the beauty and the magnitude of the object itself. I had only seen it in digital scans and not in reality, so I was at first astonished by the sheer size of the tapestry. Due to its length being greater than the height of the gallery wall, only 2/3 of the tapestry was visible as it was hung on the wall. Therefore, the visual elements of the tapestry were much larger than I expected, in which the central crane was the size of a large rabbit or a medium-sized dog that gave me the illusion of flying right into my face. While I already have numerous questions and curiosities regarding various aspects of the carpet and its arrival in Canada, its size has sparked another significant question in my mind: "What was the purpose behind creating such a large carpet?"		Recently, I visited the Textile Museum of Canada’s opening of Gathering, a new exhibition that features 40 pieces from the Museum’s permanent collection of over 15,000 objects from around the world. There were open calls for artists to make digital responses to their collection which led me to find ''modam'' in their collection and make a small video about its history, and how the practice slowly disappeared. Not only was I happy to see my work displaying side by side with the ''modam'', but I was also taken by the beauty and the magnitude of the object itself. I had only seen it in digital scans and not in reality, so I was at first astonished by the sheer size of the tapestry. Due to its length being greater than the height of the gallery wall, only 2/3 of the tapestry was visible as it was hung on the wall. Therefore, the visual elements of the tapestry were much larger than I expected, in which the central crane was the size of a large rabbit or a medium-sized dog that gave me the illusion of flying right into my face. While I already have numerous questions and curiosities regarding various aspects of the carpet and its arrival in Canada, its size has sparked another significant question in my mind: "What was the purpose behind creating such a large carpet?"

	The practice of Korean tapestry remains relatively unknown, even among many Koreans themselves. In fact, there is a common misconception among Koreans that carpets were solely imported from the West, without realizing that traditional carpets were once crafted within our own culture. This is presumably because the rapid industrialization of textile production has led to cultural amnesia and the marginalization of traditional crafts in Korea. As a result, many of the traditional ways of textile production have been forgotten and have fallen out of practice. I’m not an exception to this cultural amnesia and had I not come across the carpet in the Textile Museum of Canada, I would have remained unaware of this fascinating tradition as well. However, records show that patterned wool carpets have existed in Korea since the Three Kingdom Period (57 BC – 668 AD) and were actively produced during the ''Joseon'' dynasty (1392-1910). (Paintings in Thread MODAM 30) The production of ''modam'' decreased in the 17th century arguably because, by then, ''ondol'', the traditional Korean underfloor heating system started to be widely supplied in households and people no longer needed carpets to insulate the floor. (Paintings in Thread MODAM 32) No carpets from the early ''Joseon'' period have survived, and there are more than 100 remaining from the late ''Joseon'' period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an effort to introduce ''modam'' to the public and research them in a few Korean museums such as the ''Kyungwoon'' Museum and ''Daegu'' National Museum. They held exhibitions of ''modam'' in 2016 – 2017 and 2021 respectively.		The practice of Korean tapestry remains relatively unknown, even among many Koreans themselves. In fact, there is a common misconception among Koreans that carpets were solely imported from the West, without realizing that traditional carpets were once crafted within our own culture. This is presumably because the rapid industrialization of textile production has led to cultural amnesia and the marginalization of traditional crafts in Korea. As a result, many of the traditional ways of textile production have been forgotten and have fallen out of practice. I’m not an exception to this cultural amnesia and had I not come across the carpet in the Textile Museum of Canada, I would have remained unaware of this fascinating tradition as well. However, records show that patterned wool carpets have existed in Korea since the Three Kingdom Period (57 BCE – 668 CE) and were actively produced during the ''Joseon'' dynasty (1392-1910). (Paintings in Thread MODAM 30) The production of ''modam'' decreased in the 17th century arguably because, by then, ''ondol'', the traditional Korean underfloor heating system started to be widely supplied in households and people no longer needed carpets to insulate the floor. (Paintings in Thread MODAM 32) No carpets from the early ''Joseon'' period have survived, and there are more than 100 remaining from the late ''Joseon'' period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an effort to introduce ''modam'' to the public and research them in a few Korean museums such as the ''Kyungwoon'' Museum and ''Daegu'' National Museum. They held exhibitions of ''modam'' in 2016 – 2017 and 2021 respectively.

	Weaving, the process of interlacing threads to create fabric, has a rich history that traces back to ancient civilizations such as Egypt, Mesopotamia, and China. While weaving is often associated with textiles and fashion, its contributions to the history of technology are significant. From the development of ancient looms to the modern advancements in textile machinery, weaving has played a crucial role in shaping technological progress and societal development. A significant contribution of weaving to computation technology was the introduction of the punched card-controlled Jacquard loom in the early 19th century. Therefore, the discussion surrounding the involvement of weaving in the advancement of computation has predominantly centred on the importance of the Jacquard loom and the use of punched cards. However, I would like to explore a broader perspective, examining how weaving's influence on computation extends beyond the Jacquard loom. I am particularly intrigued by the involvement of traditional weaving and human labor in the development of computation, with a specific emphasis on exploring the potential contributions of Korean traditional weaving practices and devices that produced objects such as ''modam''.		Weaving, the process of interlacing threads to create fabric, has a rich history that traces back to ancient civilizations such as Egypt, Mesopotamia, and China. While weaving is often associated with textiles and fashion, its contributions to the history of technology are significant. From the development of ancient looms to the modern advancements in textile machinery, weaving has played a crucial role in shaping technological progress and societal development. A significant contribution of weaving to computation technology was the introduction of the punched card-controlled Jacquard loom in the early 19th century. Therefore, the discussion surrounding the involvement of weaving in the advancement of computation has predominantly centred on the importance of the Jacquard loom and the use of punched cards. However, I would like to explore a broader perspective, examining how weaving's influence on computation extends beyond the Jacquard loom. I am particularly intrigued by the involvement of traditional weaving and human labor in the development of computation, with a specific emphasis on exploring the potential contributions of Korean traditional weaving practices and devices that produced objects such as ''modam''.

Simoon: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-17T14:30:29Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 14:30, 17 July 2023
Line 5:		Line 5:
	== Abstract ==		== Abstract ==
	This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.		This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.

			<div class="page-break"></div>

	[[File:I1987 0355 i1 Front.jpg\|thumb\|284px\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]		[[File:I1987 0355 i1 Front.jpg\|thumb\|284px\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]

Simoon: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-07T13:20:51Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 13:20, 7 July 2023
Line 6:		Line 6:
	This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.		This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.

	[[File:I1987 0355 i1 Front.jpg\|thumb\|~~360px~~\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]		[[File:I1987 0355 i1 Front.jpg\|thumb\|284px\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]

	== Introduction ==		== Introduction ==
Line 66:		Line 66:
	The main contributors to the production of ''modam'' are not entirely known but given the advertising of workshops during the 1920s and 1930s aimed at teaching women how to create, manage and market ''modam'', it can be inferred that women played a role in its manufacture. By exploring the production of ''modam'' and its associated cultural context, could we uncover insights about gendered labor hidden in technological advancements and/or our relationship with technology and machines? The role of women in the history of weaving and computing has been thoroughly explored in Sadie Plant's work, "The Future Looms: Weaving Women and Cybernetics." In this paper, she delves into the traditional perception of weaving as women's work and highlights the significant contributions women made to the early development of computing technologies. This coincides with the early days of information processing in computation when women were predominantly employed to do calculations. Back in the 1930s and 1940s, people who performed calculations were called "computers," and the majority of this work was carried out by women. (Hayles 1) Anne Balsamo, Hayles writes, references this terminology in her book ''Technologies of Gendered Body'', when she begins one of the chapters with the line “My mother was a computer,” which reflects her mother’s actual work as a computer. Balsamo uses this family history to reflect on the gender implications of information technologies. (Hayles 1) An illustration of this idea can be seen in the ''Making Core Memory'' project, a collaborative project from the University of Washington's Tactile and Tactical Design Lab. The project aimed to recognize the hidden labor involved in assembling core memory—a primitive form of computer storage initially woven by hand by individuals known as "Little Old Ladies." (Rosner et al. 1) The project involved the creation of an electronic quilt and a series of interactive workshops that materialized the efforts of the core memory weavers. Core memory played a pivotal role in computer systems during the early Cold War era, including the Apollo mission computers, where information was stored using threaded wires around magnetized rings. NASA engineers referred to this hardware as "LOL memory" for the “Little Old Ladies” who carefully wove wires around small electro-magnetic ferrite cores by hand. The project highlights the gendered craftsmanship that underlies digital production and acknowledges the often-overlooked contributions made to engineering advancements. (Rosner et al. 1)		The main contributors to the production of ''modam'' are not entirely known but given the advertising of workshops during the 1920s and 1930s aimed at teaching women how to create, manage and market ''modam'', it can be inferred that women played a role in its manufacture. By exploring the production of ''modam'' and its associated cultural context, could we uncover insights about gendered labor hidden in technological advancements and/or our relationship with technology and machines? The role of women in the history of weaving and computing has been thoroughly explored in Sadie Plant's work, "The Future Looms: Weaving Women and Cybernetics." In this paper, she delves into the traditional perception of weaving as women's work and highlights the significant contributions women made to the early development of computing technologies. This coincides with the early days of information processing in computation when women were predominantly employed to do calculations. Back in the 1930s and 1940s, people who performed calculations were called "computers," and the majority of this work was carried out by women. (Hayles 1) Anne Balsamo, Hayles writes, references this terminology in her book ''Technologies of Gendered Body'', when she begins one of the chapters with the line “My mother was a computer,” which reflects her mother’s actual work as a computer. Balsamo uses this family history to reflect on the gender implications of information technologies. (Hayles 1) An illustration of this idea can be seen in the ''Making Core Memory'' project, a collaborative project from the University of Washington's Tactile and Tactical Design Lab. The project aimed to recognize the hidden labor involved in assembling core memory—a primitive form of computer storage initially woven by hand by individuals known as "Little Old Ladies." (Rosner et al. 1) The project involved the creation of an electronic quilt and a series of interactive workshops that materialized the efforts of the core memory weavers. Core memory played a pivotal role in computer systems during the early Cold War era, including the Apollo mission computers, where information was stored using threaded wires around magnetized rings. NASA engineers referred to this hardware as "LOL memory" for the “Little Old Ladies” who carefully wove wires around small electro-magnetic ferrite cores by hand. The project highlights the gendered craftsmanship that underlies digital production and acknowledges the often-overlooked contributions made to engineering advancements. (Rosner et al. 1)

	[[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg\|thumb\|Figure 2: Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]		[[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg\|thumb\|480px\|Figure 2: Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]

	The historical shift from human to machine labor raises an array of issues about the relationship between humans and machines such as the figure of the (gendered) body as a component of the machine. This idea is also present in the relationship between weavers and weaving machines, as the weavers interact closely with the weaving looms, treating them as integral components of the weaving process. This is especially exemplified in back strap looms, one of the oldest weaving technologies where one end of the loom is harnessed around the waist of the weaver with a backstrap. Traditional Korean clothing materials for summer such as ramie and hemp fabrics were woven on back strap looms and the technique of weaving ramie fabric produced in ''Hansan'', ''Seocheon-gun'', ''Chungcheongnam-do'' is registered as a UNESCO Intangible Cultural Heritage and is passed down to this day. Directing our attention to ancient looms and embodied weaving techniques such as the back strap loom has the potential to provide us a broader understanding of our connection with technology and computation.		The historical shift from human to machine labor raises an array of issues about the relationship between humans and machines such as the figure of the (gendered) body as a component of the machine. This idea is also present in the relationship between weavers and weaving machines, as the weavers interact closely with the weaving looms, treating them as integral components of the weaving process. This is especially exemplified in back strap looms, one of the oldest weaving technologies where one end of the loom is harnessed around the waist of the weaver with a backstrap. Traditional Korean clothing materials for summer such as ramie and hemp fabrics were woven on back strap looms and the technique of weaving ramie fabric produced in ''Hansan'', ''Seocheon-gun'', ''Chungcheongnam-do'' is registered as a UNESCO Intangible Cultural Heritage and is passed down to this day. Directing our attention to ancient looms and embodied weaving techniques such as the back strap loom has the potential to provide us a broader understanding of our connection with technology and computation.

Simoon: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-07T13:17:52Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 13:17, 7 July 2023
Line 6:		Line 6:
	This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.		This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.

	[[File:I1987 0355 i1 Front.jpg\|thumb\|~~560px~~\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]		[[File:I1987 0355 i1 Front.jpg\|thumb\|360px\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]

	== Introduction ==		== Introduction ==

Simoon: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-07T13:16:23Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 13:16, 7 July 2023
Line 6:		Line 6:
	This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.		This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.

	[[File:I1987 0355 i1 Front.jpg\|thumb\|~~480px~~\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]		[[File:I1987 0355 i1 Front.jpg\|thumb\|560px\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]

	== Introduction ==		== Introduction ==

Simoon: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-07T13:15:06Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 13:15, 7 July 2023
Line 5:		Line 5:
	== Abstract ==		== Abstract ==
	This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.		This essay explores the intersection of computation and traditional craft, focusing specifically on weaving and the Korean traditional woolen carpet, ''modam''. While both weaving and computers operate in binary terms, the essay acknowledges that weaving encompasses more than just binary logic, considering factors such as materiality, embodiment, and imagination. It seeks to explore the deeper connection between weaving and computation, beyond specific devices like punched cards, and how ''modam'' and its cultural context can shed light on this relationship. The essay also highlights the historical role of women in both weaving and computing, drawing parallels between weavers and the (gendered) body as components of early computational processes. By examining the historical, cultural, and technological nuances of ''modam'' production, this exploration aims to reveal insights into our present technology and our interaction with it.

			[[File:I1987 0355 i1 Front.jpg\|thumb\|480px\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]

	== Introduction ==		== Introduction ==
	Recently, I visited the Textile Museum of Canada’s opening of Gathering, a new exhibition that features 40 pieces from the Museum’s permanent collection of over 15,000 objects from around the world. There were open calls for artists to make digital responses to their collection which led me to find ''modam'' in their collection and make a small video about its history, and how the practice slowly disappeared. Not only was I happy to see my work displaying side by side with the ''modam'', but I was also taken by the beauty and the magnitude of the object itself. I had only seen it in digital scans and not in reality, so I was at first astonished by the sheer size of the tapestry. Due to its length being greater than the height of the gallery wall, only 2/3 of the tapestry was visible as it was hung on the wall. Therefore, the visual elements of the tapestry were much larger than I expected, in which the central crane was the size of a large rabbit or a medium-sized dog that gave me the illusion of flying right into my face. While I already have numerous questions and curiosities regarding various aspects of the carpet and its arrival in Canada, its size has sparked another significant question in my mind: "What was the purpose behind creating such a large carpet?"		Recently, I visited the Textile Museum of Canada’s opening of Gathering, a new exhibition that features 40 pieces from the Museum’s permanent collection of over 15,000 objects from around the world. There were open calls for artists to make digital responses to their collection which led me to find ''modam'' in their collection and make a small video about its history, and how the practice slowly disappeared. Not only was I happy to see my work displaying side by side with the ''modam'', but I was also taken by the beauty and the magnitude of the object itself. I had only seen it in digital scans and not in reality, so I was at first astonished by the sheer size of the tapestry. Due to its length being greater than the height of the gallery wall, only 2/3 of the tapestry was visible as it was hung on the wall. Therefore, the visual elements of the tapestry were much larger than I expected, in which the central crane was the size of a large rabbit or a medium-sized dog that gave me the illusion of flying right into my face. While I already have numerous questions and curiosities regarding various aspects of the carpet and its arrival in Canada, its size has sparked another significant question in my mind: "What was the purpose behind creating such a large carpet?"

	~~[[File:I1987 0355 i1 Front.jpg\|thumb\|Figure 1: Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]~~

	The practice of Korean tapestry remains relatively unknown, even among many Koreans themselves. In fact, there is a common misconception among Koreans that carpets were solely imported from the West, without realizing that traditional carpets were once crafted within our own culture. This is presumably because the rapid industrialization of textile production has led to cultural amnesia and the marginalization of traditional crafts in Korea. As a result, many of the traditional ways of textile production have been forgotten and have fallen out of practice. I’m not an exception to this cultural amnesia and had I not come across the carpet in the Textile Museum of Canada, I would have remained unaware of this fascinating tradition as well. However, records show that patterned wool carpets have existed in Korea since the Three Kingdom Period (57 BC – 668 AD) and were actively produced during the ''Joseon'' dynasty (1392-1910). (Paintings in Thread MODAM 30) The production of ''modam'' decreased in the 17th century arguably because, by then, ''ondol'', the traditional Korean underfloor heating system started to be widely supplied in households and people no longer needed carpets to insulate the floor. (Paintings in Thread MODAM 32) No carpets from the early ''Joseon'' period have survived, and there are more than 100 remaining from the late ''Joseon'' period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an effort to introduce ''modam'' to the public and research them in a few Korean museums such as the ''Kyungwoon'' Museum and ''Daegu'' National Museum. They held exhibitions of ''modam'' in 2016 – 2017 and 2021 respectively.		The practice of Korean tapestry remains relatively unknown, even among many Koreans themselves. In fact, there is a common misconception among Koreans that carpets were solely imported from the West, without realizing that traditional carpets were once crafted within our own culture. This is presumably because the rapid industrialization of textile production has led to cultural amnesia and the marginalization of traditional crafts in Korea. As a result, many of the traditional ways of textile production have been forgotten and have fallen out of practice. I’m not an exception to this cultural amnesia and had I not come across the carpet in the Textile Museum of Canada, I would have remained unaware of this fascinating tradition as well. However, records show that patterned wool carpets have existed in Korea since the Three Kingdom Period (57 BC – 668 AD) and were actively produced during the ''Joseon'' dynasty (1392-1910). (Paintings in Thread MODAM 30) The production of ''modam'' decreased in the 17th century arguably because, by then, ''ondol'', the traditional Korean underfloor heating system started to be widely supplied in households and people no longer needed carpets to insulate the floor. (Paintings in Thread MODAM 32) No carpets from the early ''Joseon'' period have survived, and there are more than 100 remaining from the late ''Joseon'' period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an effort to introduce ''modam'' to the public and research them in a few Korean museums such as the ''Kyungwoon'' Museum and ''Daegu'' National Museum. They held exhibitions of ''modam'' in 2016 – 2017 and 2021 respectively.

Simoon: /* Weaving and Computation: Can Traditional Korean Craft Teach Us Something? */

2023-07-04T16:07:32Z

Weaving and Computation: Can Traditional Korean Craft Teach Us Something?

← Older revision		Revision as of 16:07, 4 July 2023
Line 64:		Line 64:
	What striked me the most about the specific ''modam'' housed at the Textile Museum of Canada when I first encountered the object was its sheer size. It is 1.22 meter wide and 3.06 meter long. This calls attention and raises intriguing questions about its purpose and the individuals involved in its creation. Such a substantial carpet would certainly have required collaborative labour, engaging the skills and expertise of numerous individuals. Who were the skilled artisans involved? What was the intended use or significance of this expansive carpet? The production process of ''modam'' could tell us something about collaborative craftsmanship that may inform us something about the roots of computation that lie in disciplined and cooperative human labour, rather than solely relying on devices such as punched cards. Lizzie O'Shea’s article, "Collaborative Work is Liberating and Effective," gives some valuable insights to this this notion by delving into the intersections of labor culture in the realms of textiles and computing. She explores the historical context of collaborative work through examples such as Ada Lovelace and Charles Babbage's collaboration on the design of the Analytical Engine and the resistance of Luddites against the separation of craftsmanship and care in favor of labor and wages. O'Shea then delves into the evolution of collective and open software development, tracing its roots in the early hacker culture and its transformation with the rise of proprietary software driven by profit motives. She writes, “Some of our most radical new technological developments were a result of teamwork, drawing on multiple people’s varied skill sets.” (O’shea 131) “Computing began as a small pocket of sophisticated craft labor practiced in a relatively unalienate manner, while the world of capitalist enterprise carried on all around.” (O’shea 131) Drawing on the case studies like the hacker culture in the MIT lab and the Linux community, the article examines the relationship between labor, craftsmanship, collaboration, and capitalist modes of production.		What striked me the most about the specific ''modam'' housed at the Textile Museum of Canada when I first encountered the object was its sheer size. It is 1.22 meter wide and 3.06 meter long. This calls attention and raises intriguing questions about its purpose and the individuals involved in its creation. Such a substantial carpet would certainly have required collaborative labour, engaging the skills and expertise of numerous individuals. Who were the skilled artisans involved? What was the intended use or significance of this expansive carpet? The production process of ''modam'' could tell us something about collaborative craftsmanship that may inform us something about the roots of computation that lie in disciplined and cooperative human labour, rather than solely relying on devices such as punched cards. Lizzie O'Shea’s article, "Collaborative Work is Liberating and Effective," gives some valuable insights to this this notion by delving into the intersections of labor culture in the realms of textiles and computing. She explores the historical context of collaborative work through examples such as Ada Lovelace and Charles Babbage's collaboration on the design of the Analytical Engine and the resistance of Luddites against the separation of craftsmanship and care in favor of labor and wages. O'Shea then delves into the evolution of collective and open software development, tracing its roots in the early hacker culture and its transformation with the rise of proprietary software driven by profit motives. She writes, “Some of our most radical new technological developments were a result of teamwork, drawing on multiple people’s varied skill sets.” (O’shea 131) “Computing began as a small pocket of sophisticated craft labor practiced in a relatively unalienate manner, while the world of capitalist enterprise carried on all around.” (O’shea 131) Drawing on the case studies like the hacker culture in the MIT lab and the Linux community, the article examines the relationship between labor, craftsmanship, collaboration, and capitalist modes of production.

	The main contributors to the production of ''modam'' are not entirely known but given the advertising of workshops during the 1920s and 1930s aimed at teaching women how to create, manage and market ''modam'', it can be inferred that women played a role in its manufacture. By exploring the production of ''modam'' and its associated cultural context, could we uncover insights about gendered labor hidden in technological advancements and/or our relationship with technology and machines? The role of women in the history of weaving and computing has been thoroughly explored in Sadie Plant's work, "The Future Looms: Weaving Women and Cybernetics." In this paper, she delves into the traditional perception of weaving as women's work and highlights the significant contributions women made to the early development of computing technologies. This coincides with the early days of information processing in computation when women were predominantly employed to do calculations. Back in the 1930s and 1940s, people who performed calculations were called "computers," and the majority of this work was carried out by women. (Hayles 1) Anne Balsamo, Hayles writes, references this terminology in her book ''Technologies of Gendered Body'', when she begins one of the chapters with the line “My mother was a computer,” which reflects her mother’s actual work as a computer. Balsamo uses this family history to reflect on the gender implications of information technologies. (Hayles 1) An illustration of this idea can be seen in the ''Making Core Memory'' project, a collaborative project from the University of Washington's Tactile and Tactical Design Lab. The project aimed to recognize the hidden labor involved in assembling core memory—a primitive form of computer storage initially woven by hand by individuals known as "Little Old Ladies." (Rosner et al. 1) The project involved the creation of an electronic quilt and a series of interactive workshops that materialized the efforts of the core memory weavers. Core memory played a pivotal role in computer systems during the early Cold War era, including the Apollo mission computers, where information was stored using threaded wires around magnetized rings. NASA engineers referred to this hardware as "LOL memory" for the “Little Old Ladies” who carefully wove wires around small electro-magnetic ferrite cores by hand. The project highlights the gendered craftsmanship that underlies digital production and acknowledges the often-overlooked contributions made to engineering advancements. (Rosner et al. 1) [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg\|thumb\|Figure 2: Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]		The main contributors to the production of ''modam'' are not entirely known but given the advertising of workshops during the 1920s and 1930s aimed at teaching women how to create, manage and market ''modam'', it can be inferred that women played a role in its manufacture. By exploring the production of ''modam'' and its associated cultural context, could we uncover insights about gendered labor hidden in technological advancements and/or our relationship with technology and machines? The role of women in the history of weaving and computing has been thoroughly explored in Sadie Plant's work, "The Future Looms: Weaving Women and Cybernetics." In this paper, she delves into the traditional perception of weaving as women's work and highlights the significant contributions women made to the early development of computing technologies. This coincides with the early days of information processing in computation when women were predominantly employed to do calculations. Back in the 1930s and 1940s, people who performed calculations were called "computers," and the majority of this work was carried out by women. (Hayles 1) Anne Balsamo, Hayles writes, references this terminology in her book ''Technologies of Gendered Body'', when she begins one of the chapters with the line “My mother was a computer,” which reflects her mother’s actual work as a computer. Balsamo uses this family history to reflect on the gender implications of information technologies. (Hayles 1) An illustration of this idea can be seen in the ''Making Core Memory'' project, a collaborative project from the University of Washington's Tactile and Tactical Design Lab. The project aimed to recognize the hidden labor involved in assembling core memory—a primitive form of computer storage initially woven by hand by individuals known as "Little Old Ladies." (Rosner et al. 1) The project involved the creation of an electronic quilt and a series of interactive workshops that materialized the efforts of the core memory weavers. Core memory played a pivotal role in computer systems during the early Cold War era, including the Apollo mission computers, where information was stored using threaded wires around magnetized rings. NASA engineers referred to this hardware as "LOL memory" for the “Little Old Ladies” who carefully wove wires around small electro-magnetic ferrite cores by hand. The project highlights the gendered craftsmanship that underlies digital production and acknowledges the often-overlooked contributions made to engineering advancements. (Rosner et al. 1)

			[[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg\|thumb\|Figure 2: Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]

	The historical shift from human to machine labor raises an array of issues about the relationship between humans and machines such as the figure of the (gendered) body as a component of the machine. This idea is also present in the relationship between weavers and weaving machines, as the weavers interact closely with the weaving looms, treating them as integral components of the weaving process. This is especially exemplified in back strap looms, one of the oldest weaving technologies where one end of the loom is harnessed around the waist of the weaver with a backstrap. Traditional Korean clothing materials for summer such as ramie and hemp fabrics were woven on back strap looms and the technique of weaving ramie fabric produced in ''Hansan'', ''Seocheon-gun'', ''Chungcheongnam-do'' is registered as a UNESCO Intangible Cultural Heritage and is passed down to this day. Directing our attention to ancient looms and embodied weaving techniques such as the back strap loom has the potential to provide us a broader understanding of our connection with technology and computation.		The historical shift from human to machine labor raises an array of issues about the relationship between humans and machines such as the figure of the (gendered) body as a component of the machine. This idea is also present in the relationship between weavers and weaving machines, as the weavers interact closely with the weaving looms, treating them as integral components of the weaving process. This is especially exemplified in back strap looms, one of the oldest weaving technologies where one end of the loom is harnessed around the waist of the weaver with a backstrap. Traditional Korean clothing materials for summer such as ramie and hemp fabrics were woven on back strap looms and the technique of weaving ramie fabric produced in ''Hansan'', ''Seocheon-gun'', ''Chungcheongnam-do'' is registered as a UNESCO Intangible Cultural Heritage and is passed down to this day. Directing our attention to ancient looms and embodied weaving techniques such as the back strap loom has the potential to provide us a broader understanding of our connection with technology and computation.