‘Coded Cloth’: Generative design as a digital process for jacquard weave design, using code to reanimate historical jacquard pattern archives
‘Coded Cloth’ is a collaborative research project with external partners: The Silk Museum and Paradise Mill, Macclesfield. It utilises archival materials to creatively explore and interpret, pattern designs for digital-led jacquard weaving through generative design and programming. A working relationship was established in 2013 with the Mill, to research their extensive silk jacquard archives.
The project positions the researcher as practitioner, exploring the hybrid connections or realms between digital/virtual and hand/real expressions. This practice-led enquiry contributes to the development of programming as a design and production method in woven design.
What is the material agency of digital decay and how is it revealed through curatorial practice?
The concept of decay has been commonly associated with still life in art practice. Since the 1980s, the presence of digital technology in art has grown and notions of matter, the medium and immateriality had to be reconsidered in order to address art practices that deal with new materials. Building on Jussi Parikka’s idea of ‘geology of media’ (2015), the PhD aims at reconsidering the concept of decay and its intrinsic nature of material process, following new parameters of matter and time brought into discussion by digital technology. Considering materiality as materials immersed in an instable flow means to think of both software and hardware obsolescence as crucial elements in defining decay as a form of agency.
The role of curatorial practice in rethinking nature, posthuman and media environments in the Anthropocene
My research engages with critical debates on the Anthropocene focusing on recent discourses of media ecology and materiality creating a trajectory between hidden toxic territories in China and our technocapitalist societies. My work pays particular attention on the 'curatorial' as a mode of theorisation as well as a research methodology. The project will deploy through a series of talks, a conference and a final exhibition at the Centre for Chinese Contemporary Art (CFCCA) based in Manchester.
Pattern Making For New Fabric Joining Technologies
Over recent years, a number of new fabric joining technologies have increasingly been used in fashion and clothing manufacture, replacing or reducing the need for traditional sewing. Does this create a need for re-thinking and re-defining pattern making specifically for their use?
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