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<p>Jung-Ah: /* Introduction */</p> <hr /> <div>__NOTOC__<br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> '''Jung-Ah Kim'''<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> &lt;div class=&quot;page-break&quot;&gt;&lt;/div&gt;<br /> <br /> [[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]]<br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to consider what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BCE – 668 CE) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BCE have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> [[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]]<br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=3035 2023-07-18T05:09:04Z

<p>Jung-Ah: /* Introduction */</p> <hr /> <div>__NOTOC__<br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> '''Jung-Ah Kim'''<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> &lt;div class=&quot;page-break&quot;&gt;&lt;/div&gt;<br /> <br /> [[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]]<br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to consider what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BCE – 668 CE) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BCE have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> [[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]]<br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2668 2023-06-21T23:58:41Z

<p>Jung-Ah: /* Introduction */</p> <hr /> <div><br /> <br /> = Jung-Ah Kim =<br /> <br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> [[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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to consider what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BCE – 668 CE) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BCE have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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]]<br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2530 2023-06-19T14:23:52Z

<p>Jung-Ah: /* What could Modam teach us? */</p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> = Jung-Ah Kim =<br /> <br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to consider what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BCE – 668 CE) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BCE have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2527 2023-06-19T14:11:07Z

<p>Jung-Ah: /* Production method */</p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> = Jung-Ah Kim =<br /> <br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to consider what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BCE – 668 CE) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BCE have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2525 2023-06-19T14:10:45Z

<p>Jung-Ah: /* Modam, traditional Korean woolen carpet */</p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> = Jung-Ah Kim =<br /> <br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to consider what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BCE – 668 CE) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2523 2023-06-19T14:06:28Z

<p>Jung-Ah: /* Introduction */</p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> = Jung-Ah Kim =<br /> <br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to consider what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2522 2023-06-19T14:02:31Z

<p>Jung-Ah: /* Introduction */</p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> = Jung-Ah Kim =<br /> <br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> == Introduction ==<br /> 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to find what we could learn from the traditional Korean weaving. <br /> <br /> == Punched cards system in Analytical Engine &amp; Tabulating machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital nature of weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', traditional Korean woolen carpet ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its production method ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What could ''Modam'' teach us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis University Press, 2021. <br /> <br /> Ceruzzi, Paul E. ''Computing: A Concise History''. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2446 2023-06-19T07:22:17Z

<p>Jung-Ah: </p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> = Jung-Ah Kim =<br /> <br /> = Weaving and Computation: Can Traditional Korean Craft Teach Us Something? =<br /> <br /> == Abstract ==<br /> 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. <br /> <br /> == Introduction ==<br /> Recently, I visited the museum’s opening of Gathering, an 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to find what we could learn from the traditional Korean weaving. <br /> <br /> == Punched Cards System in Analytical Engine &amp; Tabulating Machine ==<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> == Jacquard Loom, Before the Analytical Engine &amp; Tabulating machine ==<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> == Digital Nature of Weaving ==<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> == Beyond the Digital ==<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> == ''Modam'', Traditional Korean Woolen Carpet   ==<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> == Classification of ''Modam'' by its Production Method. ==<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> == Production Method ==<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> == From ''Modam'' to Carpets from the West   ==<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> == What Could ''Modam'' Teach Us? ==<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> == Conclusion ==<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> == Works cited ==<br /> Broudy, Eric. ''The Book of Looms: A History of the Handloom from Ancient Times to the Present''. Brandeis university Press, 2021. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Davis, Martin and Virginia Davis. “Mistaking Ancestry: The Jacquard and the Computer.” ''Textile: Cloth and Culture'', Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva; Martin Jonsson, and Jakob Tholander. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” ''Conference on Human Factors in Computing Systems – Proceedings'', 2012, pp. 1593-1602. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” ''Weaving Codes – Coding Weaves'', Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” ''Textile: Cloth and Culture'', Volume 15, Issue 2, 2017, pp. 176-197.   <br /> <br /> Hayles, N. Katherine. ''My Mother was a computer: Digital subjects and Literary Texts''. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. ''A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art''. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation, 2019. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” ''Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology''. Verso, 2019, pp. 119-144. <br /> <br /> ''Paintings in Thread MODAM, The Carpets of Joseon Dynasty''. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” ''Body &amp; Society'', Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Poague, Susan Aileen. ''Computer Design in the Handweaving Process''. 1987. Iowa State University, MA dissertation.   <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” ''Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems'', 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” ''The Technical Image: A History of Styles in Scientific Imagery'', edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156.<br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” ''American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45'', 1976, pp. 15-20.<br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:APRJA-Contributors&diff=2443 2023-06-19T07:08:23Z

<p>Jung-Ah: /* Contributors */</p> <hr /> <div><br /> = Contributors =<br /> <br /> '''Camille Crichlow''' is a PhD Researcher at the Sarah Parker Remond Centre for the Study of Racism and Racialisation (University College London). Her research interrogates how the historical and socio-cultural narrative of race manifests in contemporary algorithmic technologies.<br /> <br /> '''Teodora Sinziana Fartan''' is a researcher, computational artist and writer based in London, UK. Her research-artistic practice explores the new spaces of possibility opened up by collaborations between software and storytelling, with a particular focus on the new modes of relational and affective experience rendered into being by the networked data exchanges scripted into interfaces. Driven by speculative fiction, Teodora’s practice explores the immersive, interactive and intelligent more-than-human entanglements that can take shape within algorithmically-mediated spaces. Teodora is currently a PhD Researcher at the Centre for the Study of the Networked Image at London South Bank University and a Lecturer at the University of the Arts London. <br /> <br /> '''Susanne Förster''' is a PhD candidate and research associate in the project “Agentic Media: Formations of Semi-Autonomy” at the University of Siegen. Her work deals with imaginaries and infrastructures of conversational artificial agents. Previously, she coordinated exhibitions at Haus der Kulturen der Welt (HKW), Berlin. <br /> <br /> '''Inte Gloerich''' (PhD researcher at Utrecht University and Institute of Network Cultures) explores sociotechnical imaginaries around blockchain technology. Her work involves the politics, artistic imagination, and (counter)cultures surrounding digital technology. She co-edited MoneyLab Reader 2: Overcoming the Hype, State Machines: Reflections and Actions at the Edge of Digital Citizenship, and Feminist Finance Zine &amp; Syllabus. <br /> <br /> '''Mara Karagianni''' is an artist, software developer and system administrator. Their work involves computational and analogue media for publishing, python programming, making technical user manuals &amp; drawings, and writing about the internet, FOSS and feminism.<br /> <br /> '''Freja Kir''' is researching across intersections of artistic methods, spatial publishing and digital media environments. Creatively directing fanfare – collective for visual communication. Contributing to stanza – studio for critical publishing. PhD researcher, University of West London. <br /> <br /> '''Jung-Ah Kim''' is a PhD researcher in Screen Cultures and Curatorial Studies at Queen’s University. She explores various aspects of traditional Korean textiles, including their technology, production, cultural heritage, diaspora, and more. <br /> <br /> '''Inga Luchs''' is a PhD candidate in Media Studies at the University of Groningen. Inga has obtained her B.A. and M.A. in cultural studies and digital culture at Leuphana University, Lüneburg. Departing from the problem of algorithmic discrimination, she seeks to investigate the key technical principles of machine learning to uncover underlying assumptions and beliefs. ORCID ID: 0000-0002-2731-0549 <br /> <br /> '''Alasdair Milne''' is a PhD researcher with Serpentine Galleries’ Creative AI Lab and King’s College London. His work focuses on the collaborative systems that emerge around new technologies. <br /> <br /> '''Shusha Niederberger''' is a PhD student at Zurich University of the Arts / Hamburg University of Fine Arts and working on user subject positions in datafied environments ([http://latentspaces.zhdk.ch/ https://latentspaces.zhdk.ch]). She has a background in media art practice and art education, and has been researching on digital artistic practices and the commons ([http://creatingcommons.zhdk.ch/ http://creatingcommons.zhdk.ch]) before. <br /> <br /> '''nate wessalowski''' ...<br /> <br /> '''Jack Wilson''' is a PhD researcher at the University of Warwick’s Centre for Interdisciplinary Methodologies. He is not a conspiracy theorist.<br /> <br /> '''xenodata co-operative''' investigates image politics, algorithmic culture and technological conditions of knowledge production and governance through art and media practices. The collective is run by curator Yasemin Keskintepe and artist-researcher Alexandra (Sasha) Anikina.<br /> <br /> '''Sandy Di Yu''' is a PhD researcher at the University of Sussex and co-managing editor of DiSCo Journal ([https://discojournal.com/ www.discojournal.com]), using digital artist critique to examine shifting experiences of time.</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2439 2023-06-19T06:52:16Z

<p>Jung-Ah: </p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada, Image Credit: Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Image Credit: Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> == Weaving and Computation: Can Traditional Korean Craft Teach Us Something? ==<br /> <br /> === Abstract ===<br /> 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. <br /> <br /> === Keywords ===<br /> weaving; computation; traditional craft; ''modam''; ancient practice of weaving; roots of computation; human labor; historical role of women in computing; (gendered) body and machine <br /> <br /> === Introduction ===<br /> Recently, I visited the museum’s opening of Gathering, an 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to find what we could learn from the traditional Korean weaving. <br /> <br /> === Punched Cards System in Analytical Engine &amp; Tabulating Machine ===<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> === Jacquard Loom, Before the Analytical Engine &amp; Tabulating machine ===<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> === Digital Nature of Weaving ===<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79).  <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> === Beyond the Digital ===<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> === ''Modam'', Traditional Korean Woolen Carpet   ===<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> === Classification of ''Modam'' by its Production Method. ===<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> === Production Method ===<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> === From ''Modam'' to Carpets from the West   ===<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> === What Could ''Modam'' Teach Us? ===<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> === Conclusion ===<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> === Works Cited ===<br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology. Verso, 2019, pp. 119-144. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Davis, Martin &amp; Davis, Virginia. “Mistaking Ancestry: The Jacquard and the Computer.” Textile: Cloth and Culture, Volume 3, Issue 1, 2005, pp. 76-87.   Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation.   <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197.  <br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45, 1976, pp. 15-20. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” The Technical Image: A History of Styles in Scientific Imagery, edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” Weaving Codes – Coding Weaves, Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems, 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” Body &amp; Society, Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Hayles, N. Katherine. My Mother was a computer: Digital subjects and Literary Texts. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art. 2019. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation. <br /> <br /> Paintings in Thread MODAM, The Carpets of Joseon Dynasty. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Broudy, Eric. The Book of Looms: A History of the Handloom from Ancient Times to the Present. Brandeis university Press, 2021. <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2438 2023-06-19T06:49:04Z

<p>Jung-Ah: </p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada]]<br /> [[File:Fine Ramie Weaving of Hansan Cultural Heritage Administration of the Republic of Korea.jpg|thumb|Fine Ramie Weaving of ''Hansan'', Cultural Heritage Administration of the Republic of Korea]]<br /> <br /> == Weaving and Computation: Can Traditional Korean Craft Teach Us Something? ==<br /> <br /> === Abstract ===<br /> 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. <br /> <br /> === Keywords ===<br /> weaving; computation; traditional craft; ''modam''; ancient practice of weaving; roots of computation; human labor; historical role of women in computing; (gendered) body and machine <br /> <br /> === Introduction ===<br /> Recently, I visited the museum’s opening of Gathering, an 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to find what we could learn from the traditional Korean weaving. <br /> <br /> === Punched Cards System in Analytical Engine &amp; Tabulating Machine ===<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> === Jacquard Loom, Before the Analytical Engine &amp; Tabulating machine ===<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> === Digital Nature of Weaving ===<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79).  <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> === Beyond the Digital ===<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> === ''Modam'', Traditional Korean Woolen Carpet   ===<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> === Classification of ''Modam'' by its Production Method. ===<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> === Production Method ===<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> === From ''Modam'' to Carpets from the West   ===<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> === What Could ''Modam'' Teach Us? ===<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> === Conclusion ===<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> === Works Cited ===<br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology. Verso, 2019, pp. 119-144. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Davis, Martin &amp; Davis, Virginia. “Mistaking Ancestry: The Jacquard and the Computer.” Textile: Cloth and Culture, Volume 3, Issue 1, 2005, pp. 76-87.   Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation.   <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197.  <br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45, 1976, pp. 15-20. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” The Technical Image: A History of Styles in Scientific Imagery, edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” Weaving Codes – Coding Weaves, Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems, 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” Body &amp; Society, Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Hayles, N. Katherine. My Mother was a computer: Digital subjects and Literary Texts. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art. 2019. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation. <br /> <br /> Paintings in Thread MODAM, The Carpets of Joseon Dynasty. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Broudy, Eric. The Book of Looms: A History of the Handloom from Ancient Times to the Present. Brandeis university Press, 2021. <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=File:Fine_Ramie_Weaving_of_Hansan_Cultural_Heritage_Administration_of_the_Republic_of_Korea.jpg&diff=2437 2023-06-19T06:47:08Z

<p>Jung-Ah: </p> <hr /> <div>Fine Ramie Weaving of Hansan_Cultural Heritage Administration of the Republic of Korea</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2436 2023-06-19T06:34:44Z

<p>Jung-Ah: </p> <hr /> <div>[[File:I1987 0355 i1 Front.jpg|thumb|Kilim (''modam'') Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada]]<br /> <br /> == Weaving and Computation: Can Traditional Korean Craft Teach Us Something? ==<br /> <br /> === Abstract ===<br /> 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. <br /> <br /> === Keywords ===<br /> weaving; computation; traditional craft; ''modam''; ancient practice of weaving; roots of computation; human labor; historical role of women in computing; (gendered) body and machine <br /> <br /> === Introduction ===<br /> Recently, I visited the museum’s opening of Gathering, an 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to find what we could learn from the traditional Korean weaving. <br /> <br /> === Punched Cards System in Analytical Engine &amp; Tabulating Machine ===<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> === Jacquard Loom, Before the Analytical Engine &amp; Tabulating machine ===<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> === Digital Nature of Weaving ===<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79).  <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> === Beyond the Digital ===<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> === ''Modam'', Traditional Korean Woolen Carpet   ===<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> === Classification of ''Modam'' by its Production Method. ===<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> === Production Method ===<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> === From ''Modam'' to Carpets from the West   ===<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> === What Could ''Modam'' Teach Us? ===<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> === Conclusion ===<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> === Works Cited ===<br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology. Verso, 2019, pp. 119-144. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Davis, Martin &amp; Davis, Virginia. “Mistaking Ancestry: The Jacquard and the Computer.” Textile: Cloth and Culture, Volume 3, Issue 1, 2005, pp. 76-87.   Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation.   <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197.  <br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45, 1976, pp. 15-20. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” The Technical Image: A History of Styles in Scientific Imagery, edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” Weaving Codes – Coding Weaves, Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems, 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” Body &amp; Society, Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Hayles, N. Katherine. My Mother was a computer: Digital subjects and Literary Texts. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art. 2019. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation. <br /> <br /> Paintings in Thread MODAM, The Carpets of Joseon Dynasty. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Broudy, Eric. The Book of Looms: A History of the Handloom from Ancient Times to the Present. Brandeis university Press, 2021. <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=File:I1987_0355_i1_Front.jpg&diff=2435 2023-06-19T06:23:41Z

<p>Jung-Ah: </p> <hr /> <div>Kilim (modam) Korea 1870 - 1930 Gift of Fred Braida to the Textile Museum of Canada</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2434 2023-06-19T06:03:05Z

<p>Jung-Ah: </p> <hr /> <div>== Weaving and Computation: Can Traditional Korean Craft Teach Us Something? ==<br /> <br /> === Abstract ===<br /> 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. <br /> <br /> === Keywords ===<br /> weaving; computation; traditional craft; ''modam''; ancient practice of weaving; roots of computation; human labor; historical role of women in computing; (gendered) body and machine <br /> <br /> === Introduction ===<br /> Recently, I visited the museum’s opening of Gathering, an 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> 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. <br /> <br /> 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''.  <br /> <br /> This essay begins with the familiar narrative surrounding the Jacquard loom and its significant impact on the history of computing through the use of punched cards. Then it discusses how weaving has been a binary art form since its beginning and highlights recent discussions that emphasize the broader scope of weaving beyond these specific devices and binary logic. I introduce different aspects of ''modam'', the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore approaches to incorporate these aspects to find what we could learn from the traditional Korean weaving. <br /> <br /> === Punched Cards System in Analytical Engine &amp; Tabulating Machine ===<br /> Whether we start the history of computing with Charles Babbage’s Analytical Machine or Herman Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. These cards, made of paper and featuring a grid-like structure, allowed data to be encoded by punching holes in specific locations. For instance, marital status could be represented by a series of holes on the card. When a person marked as married punched out the corresponding spot, the card would be inserted into Hollerith's machine. Metal pins would descend over the card, passing through the punched holes and into small vials of mercury, thus completing the circuit. This completed circuit would then power an electric motor, causing a gear to increment the 'married' count by one. The concept of using hole or a non-hole to represent and store data on paper cards, such as distinguishing between married and unmarried, anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination in envisioning the potential of Babbage's Analytical Engine. She explored the idea of the machine being capable of performing various tasks beyond mere calculations. (O’Shea 121) <br /> <br /> === Jacquard Loom, Before the Analytical Engine &amp; Tabulating machine ===<br /> Babbage’s invention was based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was patented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The principle of weaving revolves around the movement and positioning of two essential groups of threads: the warp and the weft. The warp refers to the set of vertical threads that are held taut on a loom. These threads can be in one of two positions: up or down, also referred to as front or back. The position of the warp determines the path the weft will take during the weaving process. The weft, on the other hand, represents the horizontal threads that interlace with the warp to create the fabric. The weft thread travels either over or under the warp threads, depending on their respective positions. When the warp is up, the weft will go over it, and when the warp is down, the weft will go under it. The Jacquard loom incorporated a system of punched cards to effectively control the positioning of the warp threads. The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> === Digital Nature of Weaving ===<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. Punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79).  <br /> <br /> Weaving and digital computers process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as also stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When referring to the prehistory of processing information, Zemanek states that each crossing of two threads means a digital point (Zemanek 16; Harlizius-Klück 183). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised.  <br /> <br /> Ellen Harlizius-Klück intends to widen the view that seems to be fixed upon the Jacquard mechanism. Her article sheds light on the algebraical patterns and codes of weaving that were already present before the Jacquard loom. The punched cards made the pattern algebra of weaving perceivable to someone interested in the construction of calculation engines based on binary logic, like Charles Babbage. (Harlizius-Klück 179) She argues that a sort of algebra is already involved in operating shafts (movable frames or sets of heddles that control the position of warp threads) or heddles (cords or wires attached to a loom's shafts that hold and control the individual warp threads) in ordinary looms. This algebra was executed as a tacit inference until the first weaving notations were developed, and these weaving-notations resemble the respective loom parts and make the tacit visual algebra of patterns recognizable to non-weavers and in particular, inventors and engineers. (Harlizius-Klück 179) For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, facilitating the understanding of the interaction between pattern drafting and loom parts for non-weavers. This enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Birgit Schneider, in her article, “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-century Weaving” overviews weaving as technical image processing. She questions whether the first printed weaving notation could be used as data fed into a control mechanism on the loom. She identifies a precursor for technical image processing in the notations written and published in 1677 by Marx Ziegler, a weaver from Ulm, Southern Germany. These notations encoded images through the arrangement of threads and the tie-ups, which represented the geometric properties of the pattern. (Schneider 143) She is interested in weaving notations from the viewpoint of the prehistory of technical image processing and image coding. (Harlizius-Klück 191) The close connection of code or design and loom construction was also stressed by Hilts: “Loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated.” (Harlizius-Klück 191)  <br /> <br /> The true significance and emphasis reside in the ancient practice of weaving and its profound connection to mathematics, emphasizing its inherently digital nature, rather than solely focusing on the Jacquard loom. It is essential to recognize and appreciate the inventive and skillful work performed by weavers on a daily basis, which should not be overshadowed by new tools and inventions. Heinz Zemanek supports this notion, highlighting that various folkloristic weaving devices found across Europe, Africa, and Asia are, in fact, implementations or tools for programmed processes (Zemanek 16; Harlizius-Klück 183). This perspective helps open the door to exploring traditional weaving techniques in non-western regions. It underscores the notion that people, with their expertise and methodical actions, acted as pattern-processors long before the introduction of punch-cards. The roots of computation lie not in some specific device but rather in the disciplined labor of human beings. In this context, I am particularly intrigued by how the production of ''modam'' could also serve as a technology that enables us to gain a deeper understanding of this connection. <br /> <br /> === Beyond the Digital ===<br /> However, in their article &quot;Weaving Beyond the Binary,&quot; John Paul Morabito explores weaving in a way that goes beyond its disciplinary boundaries and the strict technical aspects it is often associated with. While it is acknowledged that weaving on a loom involves binary logic, the digital aspect is just one of many paradigms encompassed by the practice (Morabito 4). Narrow definitions that reduce weaving to binary overlook the multitude of factors involved. The author seeks to unlock the potential found in the materiality, embodiment, and imagination inherent in weaving. Factors such as scale, length, and width introduce considerations that go beyond binary choices. Variables like color, fiber composition, and texture further expand the possibilities, not constrained by a binary framework. Even the interlacing of threads can be expanded beyond the binary when we shift our focus to the movements within the cloth itself, going beyond the movements dictated solely by the loom (Morabito 5). The author explores multi-layered weaves, such as double, triple, or quadruple weaves, where the cloth offers far more options than a binary system allows. Creating multilayered cloths requires a weaver to consider both the binary movement of the loom and the intricate movements of threads within and between the different layers (Morabito 5). This highlights that weaving is polynary, not binary, referring to phenomena composed of more than two parts. While binary thinking presents an either-or battleground, polynary thinking presents a playground (Morabito 4). Polynary thinking becomes evident when we look beyond the Jacquard loom and emergent technologies, instead focusing on ancient looms where one action sets the conditions for a new set of activities. Ancient and embodied weaving technologies offer a more expansive understanding of weaving that surpasses the categorization of weaving as a rigid space (Morabito 5). The exploration of warp-weighted weaving and the backstrap loom, contributed by Emma Cocker and Jenni Sorkin, is particularly intriguing in this context. In warp-weighted weaving, the process begins with a tablet-woven band that is then rotated to initiate a new weaving. The elongated wefts extend outward to eventually become the warp, and the tablet loom serves as the scaffold for the next weaving, allowing the textile to grow in any direction, defying the linear progression of modern weaving techniques (Cocker 130; Morabito 5). This article is significant as it offers a comprehensive perspective on weaving that transcends the limitations of binary logic. By challenging binary thinking, it has the potential to prompt a re-evaluation of computation itself. <br /> <br /> These sources offer compelling insights into why delving into ''modam'' and its traditional weaving method and practice may deepen our understanding of its potential connection to computation, irrespective of whether it is connected to binary logic or not. There is a potential to bring forth a traditional perspective and explore alternative modes of computation that go beyond the conventional device-oriented binary paradigm. While some historical facts and production elements of ''modam'' have been explored to some extent, there is still much more to uncover and reveal about this subject. Further research and exploration can unlock its potential as a unique and culturally significant approach to computation and enrich our understanding of technological innovation from a more inclusive and diverse perspective. <br /> <br /> === ''Modam'', Traditional Korean Woolen Carpet   ===<br /> From fragments of woolen fabric found in ancient relics of the ''Gojoseon'' period (? – 108 BCE), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the ''Gojoseon'' period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in ''Pyeongyang''. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘''mosuk''’ or ‘''moyok''’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the ''Joseon'' period (1392-1910). (Moon 18) ‘''Modam''’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. ''Modam'' was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the ''Joseon'' Dynasty. Furthermore, it is evidenced by archival photographs that ''modam'' was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 100 pieces of ''modam'' artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, ''Sookmyung'' Women's University Museum, ''Onyang'' Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘''Joseonchul''’ exist in ''Kyoto Gion'' Foundation and private collections. (Moon 19) <br /> <br /> === Classification of ''Modam'' by its Production Method. ===<br /> The ''modam'' artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these ''modams'' are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of ''Joseon'' period’s ''modam'' is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) ''Modam'' artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> === Production Method ===<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce ''modam''. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of ''modam'' is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the ''Boseong'' area of Korea is called &quot;''jariteul'',&quot; which is a vertical form of weaving machine. ''Jariteul'' has a similar operating principle to the traditional ''beopteul'', such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> === From ''Modam'' to Carpets from the West   ===<br /> The early Joseon period author ''Seo Geojeong'' (1420~1488) described the interiors of houses on winter days of ''Joseon'' in his book. “Colorful ''modams'' are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called ''Hanok'' with an ''ondol'' heating system. ''Ondol'' is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ''ondol'', there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a ''hanok'' house with an ''ondol'' system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ''ondol'' brought drastic changes to the living culture of ''Joseon'', especially in housing and cooking. It is believed to be one of the reasons as to why the production of ''modam'' decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early ''Joseon'' period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from ''Ganghwa'' Island, known as ''hwamunseok''. The next known appearance of a carpet in a portrait comes in the depiction of ''Yi Haeung'' (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late ''Joseon'' period. Recent discoveries of pieces of ''modam'' from ''Changdeokgung'' Palace’s ''Seongjeonggak'' Hall provide clues about the uses and types of ''modam'' used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of ''modam'' among the public. In a photo taken by Father Nobert in 1911, ''modam'' used in weddings of ordinary people is shown. In the book, ''Viewing the Joseon Dynasty through the Eyes'' published in 1986, there are also depictions of women drawing pictures sitting on ''modam''. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. In the June 19th, 1879 issue of ''Dongnip Sinmun'' (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, ''modam'' was referred to as ''yungjeon'', ''dantong'', ''mopo'', and ''yangtanja'' in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of ''Dongnip Sinmun'' it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell ''dantong''. This suggests that ''dantong'' and ''yungjeon'' were domestically produced and were ''modam'' that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> === What Could ''Modam'' Teach Us? ===<br /> Despite the existing knowledge revealed about ''modam'', there is still much more that is unknown. Questions arise regarding the people and labour involved in the production process, and the culture surrounding ''modam'' that could unveil a deeper understanding of the social context in which it existed. The detailed production procedure, including the tools and materials, can shed light on the craftsmanship and techniques employed by the makers of ''modam''. Examining the correlation between the decline of ''modam'' and the widespread use of ''ondol'', the underfloor heating system raises relevant questions regarding technology. This may uncover intriguing connections between objects and space, namely the architectural infrastructure. Exploring the historical export of ''modam'' to China and Japan during trade exchanges can offer insight into the cross-cultural significance of this craft. Particularly noteworthy are the carpets transported to Japan during the ''Joseon Tongsinsa'', the Korean Mission to Japan, during the 17th century after the two countries restored diplomatic relations following the Japanese Invasion of Korea in 1592. These carpets decorated the ''yamaboko'' carriages used in the celebrated ''Gion Matsuri'' festival in Kyoto, which could reveal another intriguing dimension into the production and distribution processes of ''modam''.   <br /> <br /> 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, &quot;Collaborative Work is Liberating and Effective,&quot; 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.  <br /> <br /> 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, &quot;The Future Looms: Weaving Women and Cybernetics.&quot; 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 &quot;computers,&quot; 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 &quot;Little Old Ladies.&quot; (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 &quot;LOL memory&quot; 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) <br /> <br /> 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.  <br /> <br /> === Conclusion ===<br /> In this essay, I explore the correlation between traditional crafts such as weaving and computation. More specifically, I draw attention to ''modam'', the traditional Korean woolen carpet. The ancient form of weaving and its technologies hold untapped potential for revealing a deeper understanding of its connection with computation, beyond the familiar narrative surrounding the Jacquard loom. Traditional craftwork has taught me more valuable lessons about technology than I expected. My experience of working on a weaving loom informed me a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. In my continuous research, I hope to explore deeper into the historical, cultural, and technological intricacies of ''modam'' production. I anticipate that this will uncover surprising insights into our present-day technology and our relationship with it.   <br /> <br /> === Works Cited ===<br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology. Verso, 2019, pp. 119-144. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Davis, Martin &amp; Davis, Virginia. “Mistaking Ancestry: The Jacquard and the Computer.” Textile: Cloth and Culture, Volume 3, Issue 1, 2005, pp. 76-87.   Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation.   <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197.  <br /> <br /> Zemanek, Heinz. “Computer Prehistory and History in Central Europe.” American Federation of Information Processing Societies (AFIPS) Conference Proceedings 45, 1976, pp. 15-20. <br /> <br /> Schneider, Birgit. “Programmed Images: Systems of Notation in Seventeenth- and Eighteenth-Century Weaving.” The Technical Image: A History of Styles in Scientific Imagery, edited by Horst Bredekamp, Vera Dünkel, Birgit Schneider, The University of Chicago Press, 2015, pp. 142-156. <br /> <br /> Morabito, John Paul. “Weaving Beyond the Binary.” Textile: Cloth and Culture, Volume 0, Issue 0, 2022, pp. 1–15 <br /> <br /> Cocker, Emma. “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver Coder’s Kairos.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 124-141. <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” Weaving Codes – Coding Weaves, Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems, 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Plant, Sadie. “The Future Looms: Weaving Women and Cybernetics.” Body &amp; Society, Volume 1 (3-4):20, 1995, pp. 45-64. <br /> <br /> Hayles, N. Katherine. My Mother was a computer: Digital subjects and Literary Texts. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art. 2019. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation. <br /> <br /> Paintings in Thread MODAM, The Carpets of Joseon Dynasty. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Broudy, Eric. The Book of Looms: A History of the Handloom from Ancient Times to the Present. Brandeis university Press, 2021. <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=2203 2023-06-12T16:50:40Z

<p>Jung-Ah: </p> <hr /> <div>== (Editing in Progress) Weaving and Computing: Exploring the Parallels and Digital Nature of Traditional Craft ==<br /> <br /> === Abstract ===<br /> This essay explores the parallels between digital computing and traditional craft, specifically weaving and the Korean traditional woolen carpet, modam. The history of computing can be traced back to the nineteenth century with Charles Babbage’s Analytical Engine and Herman Hollerith’s tabulating machine that used punched cards for information storage and/or automatic control which was based on the punched card system of the Jacquard loom, which was invented in 1804 by Joseph-Marie Jacquard. However, weaving and computers both process data in binary terms, and the development of weaving notations allowed for attempts at automated looms. This essay emphasizes the ancient practice of weaving for its digital nature than the Jacqauard loom. The significance of this approach lies in the exploration of traditional weaving techniques in non-western areas. The article draws parallels between modam (a type of traditional Korean weaving) and computing. It discusses how tapestry weaving can be seen as a form of computation, as the pattern of the design is essentially an algorithm that dictates which color of thread should be woven and where. It also mentions the historical role of women in weaving and computing, and how the relationship between weavers and weaving machines is similar to the (gendered) body as a component of the machine in the information processing in the early days of computation. The article concludes by discussing the idea of a Computational Universe and the importance of finding ways to combine traditional and computational perspectives in a mutually beneficial way. <br /> <br /> === Keywords ===<br /> weaving; digital computing; traditional craft; modam; ancient practice of weaving; historical role of women in computing <br /> <br /> === Introduction ===<br /> Last Sunday, 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, an 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 it 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> Korean tapestry is not a well-known practice, being unfamiliar even to a lot of Koreans. Had I not found the carpet in the Textile Museum of Canada, I would have not known about it either. 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) However, production of modam decreased in the 17th century arguably because, by then, ondol, the traditional Korean underfloor heating system was 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 only 70 remaining from the late Joseon period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an ongoing effort to introduce modam to the public and research them in a few Korean museums. <br /> <br /> This essay aims to draw parallels between digital computing and traditional craft such as weaving, with a specific focus on the Korean traditional carpet, modam and its practice. My research focuses on exploring the history and significance of the modam, utilizing auto theory as a methodology. I am particularly interested in this topic due to the trajectory of how I discovered and became acquainted with it. It opens many questions about technology, the disappearance of cultural heritage, its diaspora, etc. The joint history of weaving and computing has led to many discussions and creative projects between the two disparate disciplines. How can older ways of pattern creation embodied in traditional craft relate to and inform computational technologies? What might we learn from the historical and cultural modalities of modam and its different layers of image composition This essay begins with the more well-known history about the application of punched cards in early computing informed by the Jacquard weaving loom. Then it discusses the digital nature of weaving and how it has been a binary art form since its beginning regardless of the punched card. I introduce different aspects of modam, the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore ways to consider these aspects into finding ways for traditional and computational perspectives to work together. <br /> <br /> === Beginning of Computing History ===<br /> Many histories of computing begin with the Analytical Engine that Charles Babbage attempted to build in the nineteenth century. Babbage developed his first idea for a computing machine between 1820-21 called a Difference Engine. This machine could calculate mathematical tables by the method of constant differences, print the tables, and run by steam. His next plan was to build the Analytical Engine that would solve any mathematical problems, not just those problems based on constant differences and numerical progressions. Starting in 1836, h worked with the plans until his death in 1871. (Poague 16) Babbage never completed the machine because the state of engineering at the time could not support the machine. When Babbage was sketching out ideas for such an engine in the 1830s, neither he nor anyone else could draw on electrical technology to implement his ideas and everything had to be done mechanically. Given the necessary level of complexity that a computer must have, a mechanical computer of decent power was not practical then, and not today either (Ceruzzi 6). <br /> <br /> For that reason, one might begin the history of “actual” universal computing machines in the late nineteenth century, when the American inventor Herman Hollerith developed a tabulating machine to process the 1890 US Census. Hollerith developed a suite of machines that not only tabulated the Census information but that also sorted information according to different kinds of data which could then be analyzed by the machine (Poague 17). The use of electricity gave this machine the flexibility to perform even more complex operations. (Ceruzzi 7) Hollerith’s tabulation system led to many applications beyond that of the US Census. He founded the Tabulation Machine Company to market his inventions, which was later combined with other companies to form the Computing-Tabulating-Recording Company (C-T-R). In 1924, the new head of C-T-R, Thomas Watson, changed the name to the International Business Machines Corporation, which is well known as today’s IBM. (Ceruzzi 7) <br /> <br /> === Punched cards system in Analytical Engine &amp; Tabulating machine ===<br /> Whether we start the history of computing with Babbage’s Analytical Machine or Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. Punched cards are paper cards with a grid of locations that can be punched out to represent data. For example, there was a series of holes for marital status. If you were married, you would punch out the married stop, then when the card was inserted into the Hollerith’s machine, little metal pins would come down over the card. If a spot was punched out, the pin would pass through the hole in the paper and into a little vial of mercury, which completed the circuit. The completed circuit powered an electric motor, which turned the gear to add one, in this case, to the ‘married’ total. A hole or a non-hole to represent and store data on paper cards (married or not married) anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination to the plans for the Analytical Engine and Babbage's vision of its potential. She sketched out the possibility of using the machine to perform all sorts of tasks beyond number crunching. Sydney Padua describes Lovelace’s original contribution as one that is foundational to the field of computer science: “By manipulating symbols according to rules, any kind of information, not only numbers, can be operated on by automatic processes.” Lovelace had made the leap from calculation to computation. (O’Shea 121) <br /> <br /> === Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ===<br /> It is well known that Babbage’s invention is based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was invented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8). <br /> <br /> The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> === Digital nature of weaving ===<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers in their article. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. They argue that punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). Weaving and digital computers naturally process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised. If the binary nature of weaving information is already an essential element that links looms and computers, there is no reason to prefer Jacquard’s mechanism even if Babbage preferred it (Harlizius-Klück 182). When referring to the prehistory of processing information, Heinz Zemanek not only states that each crossing of two threads means a natural digital point but goes even further to say that weaving gives more ideas than we think about parallel processing. According to him, weaving, in contrast to mathematics, is a naturally parallel process (Harlizius-Klück 183).<br /> <br /> Ellen Harlizius-Klück also suggests the development of weaving notations found in the 17th and 18th centuries, before the line of drawloom improvement efforts as another reason to not become fixated on the Jacquard mechanism and the punched cards for their contribution to computers. For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, which enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Therefore, the weaving notations already serve as a precursor for technical image processing that could be used as data fed into a control mechanism on the loom (Harlizius-Klück 183). From this we can understand easily what Patricia Hilts stated; “loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated” (Harlizius-Klück 191). The significance and emphasis lie on the ancient practice of weaving and mathematics for its digital nature rather than the Jacquard loom. This approach allows for the exploration of traditional weaving techniques in non-western areas as well. Heinz Zemanek states that many folkloristic weaving devices – in Europe, but also in Africa and Asia – are implementations of or tools for programmed processes. (Harlizius-Klück 183) <br /> <br /> === Modam, traditional Korean woolen carpet ===<br /> From fragments of woolen fabric found in ancient relics of the Gojoseon period (? – 108 BC), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the Gojoseon period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in Pyeongyang. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘mosuk’ or ‘moyok’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the Joseon period (1392-1910). (Moon 18) ‘Modam’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. Modam was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the Joseon Dynasty. Furthermore, it is evidenced by archival photographs that modam was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 70 pieces of modam artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, Sookmyung Women's University Museum, Onyang Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘Joseonchul’ exist in Kyoto Gion Foundation and private collections. (Moon 19) <br /> <br /> === Classification of modam by its production method. ===<br /> The modam artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these modams are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of Joseon period’s modam is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) Modam artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> === Production method ===<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce modam. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of modam is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the Boseong area of Korea is called &quot;jariteul,&quot; which is a vertical form of weaving machine. Jariteul has a similar operating principle to the traditional beopteul, such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> === From modam to carpets from the West ===<br /> The early Joseon period author Seo Geojeong (1420~1488) described the interiors of houses on winter days of Joseon in his book. “Colorful modams are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called Hanok with an ondol heating system. Ondol is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ondol, there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a hanok house with an ondol system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ondol brought drastic changes to the living culture of Josen, especially in housing and cooking. It is believed to be one of the reasons as to why the production of modam decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early Joseon period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from Ganghwa Island, known as hwamunseok. The next known appearance of a carpet in a portrait comes in the depiction of Yi Haeung (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late Joseon period. Recent discoveries of pieces of modam from Changdeokgung Palace’s Sungjeongjeon Hall provide clues about the uses and types of modam used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of modam among the public. In a photo taken by Father Nobert in 1911, modam used in weddings of ordinary people is shown. In the book, “Viewing the Joseon Dynasty through the Eyes” published in 1986, there are also depictions of women drawing pictures sitting on modam. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. It seems that it began at least in the early 19th century based on the following advertisements. In the June 19th, 1879 issue of Dongnip Sinmun (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, modam was refered to as yungjeon, dantong, mopo, and yangtanja in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of Dongnip Sinmun it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell dantong. This suggests that dantong and yungjeon were domestically produced and were modam that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> === Exploring pathways for integrating modam with computing ===<br /> Based on these aspects of modam, we can draw a few parallels between modam and computing. Firstly, conceptual connections can be made between modam’s tapestry weaving and computation. One example of this is the way in which tapestry weaving can be seen as a form of computation in and of itself. In tapestry weaving, the pattern of the design is essentially an algorithm that dictates which color of thread should be woven and where. It involves arranging individual elements to create a larger whole such as selecting the colors and textures of their yarn, planning out the structure of the tapestry in advance, and most importantly, setting up the loom that will eventually correspond to the pattern generated on the fabric. The relationship between setting up the loom structure instead of defining the pattern directly to create pattern in weaving is what makes weaving similar to computing. Algorithms in computing describe and dictate the series of instructions that must be executed in a specific order to achieve a specific outcome. Setting up the loom and seeing the pattern emerge from abstract set of rules is not unlike graphics programming in computer. Dave Griffiths from Weaving Codes &amp; Coding Weaves project states that set up of a 4-shaft loom can be thought of like 4-bit opcodes with different ordering resulting in indirect pattern shifts. (Griffiths, “Coding With Threads: Frame Loom”) <br /> <br /> 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. In many traditional societies, weaving was considered a woman’s craft, passed down from mother to daughters. From preparing and spinning the fibers to designing and creating the finished product, women have been responsible for every aspect of the process. 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 &quot;computers,&quot; and the majority of this work was carried out by women. (Hayles 1) Anne Balsamo, in her book Technologies of Gendered Body, references this terminology 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) It also reflects the historical shift from human to machine labor and raises an array of issues about the relationship between humans and machines such as figure of the (gendered) body as a component of the machine. The (gendered) body as a component of the machine is also reflected 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.<br /> <br /> Scientists believe in the idea of a Computational Universe, which suggests that the universe is created through a computational process and that everything within it is a part of a massive computational mechanism. (Hayles 3) Although this idea may seem to disregard the materiality of human creation and the meaning that humans give to things around them, it proposes that the Universal Computer could be seen as the new &quot;Mother Nature,&quot; as mentioned in the book &quot;My Mother Was a Computer.&quot; (Hayles 3) This suggests that in addition to focusing on the conflict between traditional and computational perspectives, there is also a focus on finding ways to combine and integrate these perspectives in a way that enhances their strengths and creates new insights. The aim is to create a mutually beneficial and collaborative relationship between the two perspectives. (Hayles 4) <br /> <br /> === Conclusion ===<br /> In this essay, I explore the correlation between the traditional craft such as weaving and digital computing, and specifically look at aspects of modam production in traditional Korean weaving to gain insights into what it can inform us about computing, especially our relationship to technology. Traditional craftwork is not separated from digital technologies. My experience of working on a weaving loom informed a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. Making Core Memory project reflects on the invisible work that went into assembling core memory, an early form of computer information storage initially woven by hands of “Little Old Ladies.” (Rosner et al. 1) Through my investigation, I aim to delve into the historical, cultural, and technological intricacies of modam production, in order to explore its implications in relation to digital technology. <br /> <br /> === Works Cited ===<br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology. Verso, 2019, pp. 119-144. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Davis, Martin &amp; Davis, Virginia. “Mistaking Ancestry: The Jacquard and the Computer.” Textile: Cloth and Culture, Volume 3, Issue 1, 2005, pp. 76-87. <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197.<br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” Weaving Codes – Coding Weaves, Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems, 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Hayles, N. Katherine. My Mother was a computer: Digital subjects and Literary Texts. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art. 2019. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation. <br /> <br /> Paintings in Thread MODAM, The Carpets of Joseon Dynasty. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Broudy, Eric. The Book of Looms: A History of the Handloom from Ancient Times to the Present. Brandeis university Press, 2021.<br /> <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=1676 2023-04-23T04:33:57Z

<p>Jung-Ah: </p> <hr /> <div><br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]<br /> <br /> == Weaving and Computing: Exploring the Parallels and Digital Nature of Traditional Craft ==<br /> <br /> ==== Abstract ====<br /> This essay explores the parallels between digital computing and traditional craft, specifically weaving and the Korean traditional woolen carpet, modam. The history of computing can be traced back to the nineteenth century with Charles Babbage’s Analytical Engine and Herman Hollerith’s tabulating machine that used punched cards for information storage and/or automatic control which was based on the punched card system of the Jacquard loom, which was invented in 1804 by Joseph-Marie Jacquard. However, weaving and computers both process data in binary terms, and the development of weaving notations allowed for attempts at automated looms. This essay emphasizes the ancient practice of weaving for its digital nature than the Jacqauard loom. The significance of this approach lies in the exploration of traditional weaving techniques in non-western areas. The article draws parallels between modam (a type of traditional Korean weaving) and computing. It discusses how tapestry weaving can be seen as a form of computation, as the pattern of the design is essentially an algorithm that dictates which color of thread should be woven and where. It also mentions the historical role of women in weaving and computing, and how the relationship between weavers and weaving machines is similar to the (gendered) body as a component of the machine in the information processing in the early days of computation. The article concludes by discussing the idea of a Computational Universe and the importance of finding ways to combine traditional and computational perspectives in a mutually beneficial way. <br /> <br /> ==== Keywords ====<br /> weaving; digital computing; traditional craft; modam; ancient practice of weaving; historical role of women in computing <br /> <br /> ==== Introduction   ====<br /> Last Sunday, 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, an 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 it 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: &quot;What was the purpose behind creating such a large carpet?&quot; <br /> <br /> Korean tapestry is not a well-known practice, being unfamiliar even to a lot of Koreans. Had I not found the carpet in the Textile Museum of Canada, I would have not known about it either. 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) However, production of modam decreased in the 17th century arguably because, by then, ondol, the traditional Korean underfloor heating system was 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 only 70 remaining from the late Joseon period (16th-19th century) in the world. (Paintings in Thread MODAM 29) Recently, there has been an ongoing effort to introduce modam to the public and research them in a few Korean museums. <br /> <br /> This essay aims to draw parallels between digital computing and traditional craft such as weaving, with a specific focus on the Korean traditional carpet, modam and its practice. My research focuses on exploring the history and significance of the modam, utilizing auto theory as a methodology. I am particularly interested in this topic due to the trajectory of how I discovered and became acquainted with it. It opens many questions about technology, the disappearance of cultural heritage, its diaspora, etc. The joint history of weaving and computing has led to many discussions and creative projects between the two disparate disciplines. How can older ways of pattern creation embodied in traditional craft relate to and inform computational technologies? What might we learn from the historical and cultural modalities of modam and its different layers of image composition?  This essay begins with the more well-known history about the application of punched cards in early computing informed by the Jacquard weaving loom. Then it discusses the digital nature of weaving and how it has been a binary art form since its beginning regardless of the punched card. I introduce different aspects of modam, the Korean traditional woolen carpet about its history, disappearance, production method etc. Lastly, I explore ways to consider these aspects into finding ways for traditional and computational perspectives to work together. <br /> <br /> ==== Beginning of Computing History ====<br /> Many histories of computing begin with the Analytical Engine that Charles Babbage attempted to build in the nineteenth century. Babbage developed his first idea for a computing machine between 1820-21 called a Difference Engine. This machine could calculate mathematical tables by the method of constant differences, print the tables, and run by steam. His next plan was to build the Analytical Engine that would solve any mathematical problems, not just those problems based on constant differences and numerical progressions. Starting in 1836, h worked with the plans until his death in 1871. (Poague 16) Babbage never completed the machine because the state of engineering at the time could not support the machine. When Babbage was sketching out ideas for such an engine in the 1830s, neither he nor anyone else could draw on electrical technology to implement his ideas and everything had to be done mechanically. Given the necessary level of complexity that a computer must have, a mechanical computer of decent power was not practical then, and not today either (Ceruzzi 6).   <br /> <br /> For that reason, one might begin the history of “actual” universal computing machines in the late nineteenth century, when the American inventor Herman Hollerith developed a tabulating machine to process the 1890 US Census. Hollerith developed a suite of machines that not only tabulated the Census information but that also sorted information according to different kinds of data which could then be analyzed by the machine (Poague 17). The use of electricity gave this machine the flexibility to perform even more complex operations. (Ceruzzi 7) Hollerith’s tabulation system led to many applications beyond that of the US Census. He founded the Tabulation Machine Company to market his inventions, which was later combined with other companies to form the Computing-Tabulating-Recording Company (C-T-R). In 1924, the new head of C-T-R, Thomas Watson, changed the name to the International Business Machines Corporation, which is well known as today’s IBM. (Ceruzzi 7)   <br /> <br /> ==== Punched cards system in Analytical Engine &amp; Tabulating machine ====<br /> Whether we start the history of computing with Babbage’s Analytical Machine or Hollerith’s Tabulating machine, it is important to note that both machines used punched cards as a form of information storage and/or automatic control. Punched cards played an important role in computing history and were regularly used to program computers until the 1960s. <br /> <br /> Hollerith’s tabulating machine used a method of storing information coded as holes punched onto card stock. Punched cards are paper cards with a grid of locations that can be punched out to represent data. For example, there was a series of holes for marital status. If you were married, you would punch out the married stop, then when the card was inserted into the Hollerith’s machine, little metal pins would come down over the card. If a spot was punched out, the pin would pass through the hole in the paper and into a little vial of mercury, which completed the circuit. The completed circuit powered an electric motor, which turned the gear to add one, in this case, to the ‘married’ total. A hole or a non-hole to represent and store data on paper cards (married or not married) anticipated information stored in digital form. <br /> <br /> Babbage’s Analytical Engine used punched cards as a control function. The concept of automatic control, the ancestor of what we now call software, is as important as the information storage to make up a computer. Mechanical control can be traced back to antiquity, to a device that had been used to control machinery for centuries: a cylinder on which were mounted pegs, which tripped levers as it rotated. (Ceruzzi 8) Babbage’s Analytical Engine was to contain a number of such cylinders to carry more detailed sequences of operations that are directed by the punched cards. Today we might call it the computer’s microprogramming, or read-only memory (ROM) (Ceruzzi 9). Analytical Engine used punched cards for programming the machine by providing three types of cards. His operation cards held instructions for the engine. The variable cards carried symbols and values of variables in equations as well as constants. And his number cards supplied numbers for tables and logs. Like a modern-day computer, the Analytical Engine could make decisions based on its own calculated results; it could do branching, loops or subroutines (Poague 17). Although never fully constructed, Analytical Engine was an ‘automatic computer’ that could guide itself through a series of operations automatically, which foreshadowed computer programs. English mathematician Ada Lovelace wrote hypothetical programs for the Analytical Engine. For this work, she is considered the world’s first programmer.  Ada Lovelace was the main collaborator of Babbage’s Analytical Engine who is also known for her famous quote, “It will weave algebraic equations the way a Jacquard loom weaves flowers.” (Poague 16) Lovelace applied her mathematical imagination to the plans for the Analytical Engine and Babbage's vision of its potential. She sketched out the possibility of using the machine to perform all sorts of tasks beyond number crunching. Sydney Padua describes Lovelace’s original contribution as one that is foundational to the field of computer science: “By manipulating symbols according to rules, any kind of information, not only numbers, can be operated on by automatic processes.” Lovelace had made the leap from calculation to computation. (O’Shea 121) <br /> <br /> ==== Jacquard Loom, before the Analytical Engine &amp; Tabulating machine ====<br /> It is well known that Babbage’s invention is based on the punched card system and the formal mechanics of the Jacquard’s loom, an automated weaving loom that used a series of punched cards to create complex patterns more economically. The Jacquard loom was invented in 1804 by the Frenchman Joseph-Marie Jacquard, who implemented punched cards to control the weaving of cloth by selectively lifting threads according to a predetermined pattern (Ceruzzi 8).   <br /> <br /> The process of making a fabric on a Jacquard loom involves a number of steps, including the making of the pattern by hand and transferring it on a checkered point paper (which becomes the “pixel resolution” of the final image), translating the design onto the punched cards, threading the loom (passing each warp thread through the heddles), and the actual weaving process (Fernaeus, et al. 1596). The key feature of this process and the invention of Jacquard loom is again the use of punched cards where fabric patterns are represented in the form of holes and the absence of holes in a long chain of punched cards stitched together (Fernaeus, et al. 1597). When the stitched cards are fed into the loom in a continuous belt, each card comes in contact with the needle board and is pressed against it. The needles that pass through the holes remain in the same position whereas all other needles would be pushed back. In turn, particular heddles that correspond to the needles that stayed in place would be raised, while other heddles would not. In short, the punched holes in each card control which warp threads to be raised per shed, thus creating the weaving pattern. The mechanics of the punched cards could be regarded as the binary representation, making it possible to ‘digitize’ material objects, creating a form of ‘code’ only possible to interpret by running it through a mechanical device. It is in this sense the Jacquard loom is often discussed as being a predecessor of the modern-day computer (Fernaeus, et al. 1597). <br /> <br /> From the standpoint of loom technology, Jacquard loom completed and perfected the mechanism that automated the loom using punched cards. However, the binary control using holes and non-holes already existed in previous efforts such as Basil Bouchon’s invention in 1725 that used a band of perforated paper tape, Jean Baptiste Falcon’s invention in in 1728 that introduced a loop of punched cards, and Jacques de Vaucanson’s invention in 1745 which was the first automated loom. Jacquard did not invent the binary structure of weaving, let alone the punched card system. What he did was construct the first feasible and widely used mechanism that replaced the human being (so-called drawboy lifting the warp threads on behalf of the weaver thus controlling the weave pattern) with the punched cards to feed in the pattern information. <br /> <br /> ==== Digital nature of weaving ====<br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. As a computer scientist and a weaver, Martin Davis and Virginia Davis aim to correct the misconception of the Jacquard loom as the ancestor of computers in their article. They argue that the Jacquard loom is no more like a computer than a player piano is, which also operates on punched holes as an input device. They argue that punched cards are only the peripheral device that brings data into or out of the machine which should not be taken for the computer itself (Davis and Davis, 79). Weaving and digital computers naturally process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). When we speak of representing data in weaving as 1s and 0s, or in binary terms, we’re speaking of the interlacements that occur when a warp thread is raised, thus covering the weft thread, or not raised, thus covered by the weft thread. The holes on the punched card merely represent which warp threads to be raised. If the binary nature of weaving information is already an essential element that links looms and computers, there is no reason to prefer Jacquard’s mechanism even if Babbage preferred it (Harlizius-Klück 182). When referring to the prehistory of processing information, Heinz Zemanek not only states that each crossing of two threads means a natural digital point but goes even further to say that weaving gives more ideas than we think about parallel processing. According to him, weaving, in contrast to mathematics, is a naturally parallel process (Harlizius-Klück 183).  <br /> <br /> Ellen Harlizius-Klück also suggests the development of weaving notations found in the 17th and 18th centuries, before the line of drawloom improvement efforts as another reason to not become fixated on the Jacquard mechanism and the punched cards for their contribution to computers. For millennia, pattern weaving was done without notation. Skilled weavers did not make plans in advance, developing each and every step of the process and documenting these single steps in writing. The loom parts, like heddles or shafts, store most of the necessary information and skilled weavers can read bindings and patterns directly from fabric. In this sense, fabric samples were the best and most commonly used memory or storage of patterns (Harlizius-Klück 183). However, the development of pattern notation printed and published made recognizable the tacit algebraic thinking that was already involved in operating shafts and heddles in ordinary looms (Harlizius-Klück 179). Weaving notations revealed algebraic ways to organize threads in groups and subgroups, and how to code the pattern using the loom setup, which enabled engineers and inventors to play around with the mechanisms and make attempts at the automated loom (Harlizius-Klück 192). Therefore, the weaving notations already serve as a precursor for technical image processing that could be used as data fed into a control mechanism on the loom (Harlizius-Klück 183). From this we can understand easily what Patricia Hilts stated; “loom-controlled pattern weaving is a distinct branch of design in which art and technology are closely interrelated” (Harlizius-Klück 191). The significance and emphasis lie on the ancient practice of weaving and mathematics for its digital nature rather than the Jacquard loom. This approach allows for the exploration of traditional weaving techniques in non-western areas as well. Heinz Zemanek states that many folkloristic weaving devices – in Europe, but also in Africa and Asia – are implementations of or tools for programmed processes. (Harlizius-Klück 183) <br /> <br /> ==== Modam, traditional Korean woolen carpet   ====<br /> From fragments of woolen fabric found in ancient relics of the Gojoseon period (? – 108 BC), we can tell that Korea has a long history of woolen textile practice. The earliest known example of woolen fabric is a face veil that was woven with a mixture of sheep wool and dog hair, dating back to the Gojoseon period. Fragments of woolen fabrics from the 1st to 2nd century have also been discovered in Pyeongyang. Therefore, it is confirmed that ancient Koreans had the technology to spin animal fur and weave woolen fabric. Records show that woolen textiles to spread on the floor such as ‘mosuk’ or ‘moyok’ have been produced from the Three Kingdoms Period (57 BC – 668 AD) to the Joseon period (1392-1910). (Moon 18) ‘Modam’ in various records have different names, however, it is generally made from animal hair and was used not only to spread on the floor but also to hang as canopy. It appears that it was decorated with dyed threads or painted with patterns. Modam was considered a valuable and luxurious item, and it was traded as a commodity with China and Japan from the Three Kingdoms period to the Joseon Dynasty. Furthermore, it is evidenced by archival photographs that modam was also used by the general public in later periods. (Moon 18) It has been confirmed that there exist more than 70 pieces of modam artifacts domestically and abroad. Some of them are housed in the Seoul Craft Museum, Sookmyung Women's University Museum, Onyang Folk Museum, etc. in Korea. Others that transmitted to Japan as ‘Joseonchul’ exist in Kyoto Gion Foundation and private collections. (Moon 19) <br /> <br /> ==== Classification of modam by its production method. ====<br /> The modam artifacts date back to the 16th to 19th centuries and can be classified into three types such as tapestry, plain weave, and felt, according to their weaving style. However, as time progressed, tapestry techniques decreased in popularity, giving way to a greater prevalence of painted patterns. The combination of weaving style and design techniques includes tapestry alone, tapestry + painting + printing, plain weave + painting, and felt + painting. As the weave structure became less complex, the patterns were more likely to be painted onto the fabric. (Moon 19) 66% of these modams are composed of tapestry with patterns created using the painting or printing techniques. Patterns were created using painting or printing techniques on different textile surfaces. The composition of the design typically consists of a central pattern and a border pattern. The central pattern is usually composed of animals such as phoenixes, lions, tigers, and magpies, as well as flowers such as orchids and plum blossoms, butterflies, and Mountain Hydrangea. The border decoration can be classified into two types: geometric patterns such as diamond stripes, color stripes, palindrome, and Swastika that decorate the top and bottom, and animal and plant patterns such as butterflies, flowers, and birds that decorate the edges. (Moon 20) The tapestry weave structure that takes up the highest percentage of Joseon period’s modam is based on plain weave. However, instead of weft thread passing through the entire width of the fabric, it is partially woven according to the pattern. Fabrics woven in this way have the characteristic of small gaps created in the warp direction because the weft is not continuous. This weave structure is called tapestry in north America, and in countries such as Turkey and Iran, it is called Kilim. (Moon 20) Modam artifacts exhibit more simplified weave structure as time went on, which represents the stylistic changes over time. (Moon 21) The tapestry technique is being phased out in favor of simpler plain weaving, and the pattern creation also shifted from being woven to drawn on the surface. This indicates a gradual progression towards a more convenient environment for production. (Moon 23) <br /> <br /> ==== Production method ====<br /> To weave fabric, the three basic processes of raising the warp, passing the weft through, and beating down the weft are essential. The principles of weaving machines can be accomplished by these three basic processes. This can create a plain weave which is the most basic weave. Primitive weaving involved manually raising some of the warp with hands or using tree branches or bone needles. It is assumed that a weaving machine that embodies these basic weaving principles such as the warp-weighted loom would have been used to produce modam. Weights of Warp-weighted looms made of soil dating back to 2000 BC have been found in the Korean peninsula. (Moon 71) Warp-weighted looms are ancient forms of looms used to weave woolen fabrics and were especially used in weaving tapestries that are based on the plain weave technique. Warp-weighted loom uses weights to hold the threads tight and parallel, and we have evidence of this type of loom from ancient pottery. (Broudy 23) The loom uses a rod to separate the threads and weights to keep them taut. The weaver creates a shed, or opening, in the threads by using heddles and rests the heddle rod on supports. The weaver then inserts the weft, or horizontal, threads and uses a sword beater to keep them in place. As the weaving progresses, the woven portion can be rolled up on the top beam, allowing for longer fabrics to be made. Heavier weights were used for tighter weaving, while lighter weights resulted in looser weaving. Weavers could also adjust the tension by attaching more threads to the heavier weights and fewer to the lighter ones. The history of the warp-weighted loom is long, and it has been found in many ancient civilizations, including in Anatolia, Palestine, Crete, and Europe. (Broudy 25) The plain weave structure of modam is also found in Korean traditional baskets and mats. The loom utilized to make those baskets and mats has a basic design that primarily functions to hold and tension the warp, with minimal additional components. (Moon 72) The weaving machine for mats currently produced in the Boseong area of Korea is called &quot;jariteul,&quot; which is a vertical form of weaving machine. Jariteul has a similar operating principle to the traditional beopteul, such as having a device on the top of the loom for adjusting the tension of the warp. (Moon 72) <br /> <br /> ==== From modam to carpets from the West   ====<br /> The early Joseon period author Seo Geojeong (1420~1488) described the interiors of houses on winter days of Joseon in his book. “Colorful modams are spread on the floor and embroidered curtains are draped around. Charcaol in the furnace blooms red like spring flowers.” (Paintings in Thread MODAM 29) This scene is quite different from the common perception of the living style of a traditional Korean house called Hanok with an ondol heating system. Ondol is traditional Korean underfloor heating system widely supplied by the 17th century. If the interior of a house is heated using ondol, there is little need to spread a thick carpet to spread on the floor. Also, curtains are unnecessary as the air inside the house is kept relatively warm. That is why the interior of a hanok house with an ondol system consists of papered windows and a floor coated with oil paper. (Paintings in Thread MODAM 29) Researchers believe that ondol brought drastic changes to the living culture of Josen, especially in housing and cooking. It is believed to be one of the reasons as to why the production of modam decreased along with many other factors. (Paintings in Thread MODAM 33) No carpets from the early Joseon period have survived, but their images can be found in portraits of figures in official attire from the seventeenth century. Carpets were no longer depicted in portraits after the 17th century and were replaced by figured rush mats from Ganghwa Island, known as hwamunseok. The next known appearance of a carpet in a portrait comes in the depiction of Yi Haeung (1820-1898) from 1880. (Paintings in Thread MODAM 29) There remain a few extant carpets from the late Joseon period. Recent discoveries of pieces of modam from Changdeokgung Palace’s Sungjeongjeon Hall provide clues about the uses and types of modam used in the 20th century royal court. (Paintings in Thread MODAM 37) Additionally, there is evidence that shows the use of modam among the public. In a photo taken by Father Nobert in 1911, modam used in weddings of ordinary people is shown. In the book, “Viewing the Joseon Dynasty through the Eyes” published in 1986, there are also depictions of women drawing pictures sitting on modam. (Paintings in Thread MODAM 37) <br /> <br /> Carpets imported from Europe are found in portraits from the early twentieth century. It seems that it began at least in the early 19th century based on the following advertisements. In the June 19th, 1879 issue of Dongnip Sinmun (Independence Newspaper), an advertisement appeared selling imported carpets by a foreigner named F.Kalitzky who lived in Korea at that time. This marked the introduction of Western style carpets to Korea. (Paintings in Thread MODAM 38) In the late 19th to early 20th century, modam was refered to as yungjeon, dantong, mopo, and yangtanja in newspaper articles and advertisements. These articles and advertisements were about domestically produced carpets and in the 1899 issue of Dongnip Sinmun it was encouraged as a national industry. (Paintings in Thread MODAM 37) In the 1920s and 1930s, there was a noticeable increase in advertisements of workshops that taught women how to make, maintain and sell dantong. This suggests that dantong and yungjeon were domestically produced and were modam that ordinary people used. (Paintings in Thread MODAM 37) <br /> <br /> ==== Exploring pathways for integrating modam with computing   ====<br /> Based on these aspects of modam, we can draw a few parallels between modam and computing. Firstly, conceptual connections can be made between modam’s tapestry weaving and computation. One example of this is the way in which tapestry weaving can be seen as a form of computation in and of itself. In tapestry weaving, the pattern of the design is essentially an algorithm that dictates which color of thread should be woven and where. It involves arranging individual elements to create a larger whole such as selecting the colors and textures of their yarn, planning out the structure of the tapestry in advance, and most importantly, setting up the loom that will eventually correspond to the pattern generated on the fabric. The relationship between setting up the loom structure instead of defining the pattern directly to create pattern in weaving is what makes weaving similar to computing. Algorithms in computing describe and dictate the series of instructions that must be executed in a specific order to achieve a specific outcome. Setting up the loom and seeing the pattern emerge from abstract set of rules is not unlike graphics programming in computer. Dave Griffiths from Weaving Codes &amp; Coding Weaves project states that set up of a 4-shaft loom can be thought of like 4-bit opcodes with different ordering resulting in indirect pattern shifts. (Griffiths, “Coding With Threads: Frame Loom”) <br /> <br /> 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. In many traditional societies, weaving was considered a woman’s craft, passed down from mother to daughters. From preparing and spinning the fibers to designing and creating the finished product, women have been responsible for every aspect of the process. 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 &quot;computers,&quot; and the majority of this work was carried out by women. (Hayles 1) Anne Balsamo, in her book Technologies of Gendered Body, references this terminology 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) It also reflects the historical shift from human to machine labor and raises an array of issues about the relationship between humans and machines such as figure of the (gendered) body as a component of the machine. The (gendered) body as a component of the machine is also reflected 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.  <br /> <br /> Scientists believe in the idea of a Computational Universe, which suggests that the universe is created through a computational process and that everything within it is a part of a massive computational mechanism. (Hayles 3) Although this idea may seem to disregard the materiality of human creation and the meaning that humans give to things around them, it proposes that the Universal Computer could be seen as the new &quot;Mother Nature,&quot; as mentioned in the book &quot;My Mother Was a Computer.&quot; (Hayles 3) This suggests that in addition to focusing on the conflict between traditional and computational perspectives, there is also a focus on finding ways to combine and integrate these perspectives in a way that enhances their strengths and creates new insights. The aim is to create a mutually beneficial and collaborative relationship between the two perspectives. (Hayles 4) <br /> <br /> ==== Conclusion ====<br /> In this essay, I explore the correlation between the traditional craft such as weaving and digital computing, and specifically look at aspects of modam production in traditional Korean weaving to gain insights into what it can inform us about computing, especially our relationship to technology. Traditional craftwork is not separated from digital technologies. My experience of working on a weaving loom informed a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles made me feel connected to the machine in an unexpected way. The whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gave me a sense of control that I’m working with the machine, not dependent on it. Weavers can be comparable to early human labor as computers in the realm of information processing, as both were integral components of the mechanized workforce. Making Core Memory project reflects on the invisible work that went into assembling core memory, an early form of computer information storage initially woven by hands of “Little Old Ladies.” (Rosner et al. 1) Through my investigation, I aim to delve into the historical, cultural, and technological intricacies of modam production, in order to explore its implications in relation to digital technology. <br /> <br /> ==== Work Cited   ====<br /> O’Shea, Lizzie. “Collaborative Work Is Liberating and Effective: Poetical Philosophy, from Lovelace to Linux.” Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Can Teach Us about Digital Technology. Verso, 2019, pp. 119-144. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Davis, Martin &amp; Davis, Virginia. “Mistaking Ancestry: The Jacquard and the Computer.” Textile: Cloth and Culture, Volume 3, Issue 1, 2005, pp. 76-87.   <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation.   <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197.  <br /> <br /> Griffiths, Dave. “Coding With Threads: Frame Loom.” Weaving Codes – Coding Weaves, Dec. 2014, &lt;nowiki&gt;https://kairotic.org/2014/12/22/coding-with-threads-frame-loom/#more-120&lt;/nowiki&gt; <br /> <br /> Rosner, Daniela K., et al. “Making Core Memory.” Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems, 2018, &lt;nowiki&gt;https://doi.org/10.1145/3173574.3174105&lt;/nowiki&gt;. <br /> <br /> Hayles, N. Katherine. My Mother was a computer: Digital subjects and Literary Texts. Universtiy of Chicago Press, 2005. <br /> <br /> Moon, Hee Won. A study of manufacturing technique for reproduction of ‘Mo-dam' owned by Seoul Museum of Craft Art. 2019. Graduate School of Convergence Cultural Heritage, Korea National University of Cultural Heritage, MA dissertation. <br /> <br /> Paintings in Thread MODAM, The Carpets of Joseon Dynasty. Daegu National Museum, Dec. 17. 2021. Pamphlet. <br /> <br /> Broudy, Eric. The Book of Looms: A History of the Handloom from Ancient Times to the Present. Brandeis university Press, 2021.</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim5000&diff=1643 2023-04-13T04:40:29Z

<p>Jung-Ah: Created page with &quot; Category:Toward a Minor Tech Category:5000 words It is coming soon! Sorry!!!&quot;</p> <hr /> <div><br /> [[Category:Toward a Minor Tech]]<br /> [[Category:5000 words]]<br /> It is coming soon! Sorry!!!</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim_500&diff=1080 2023-01-20T15:15:30Z

<p>Jung-Ah: </p> <hr /> <div><br /> [[Category:Toward a Minor Tech]]<br /> [[Category:500 words]]<br /> <br /> == What Weaving Can Teach Us ==<br /> '''Jung-Ah Kim'''<br /> <br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. The black boxing of the devices, despite its merits, prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Traditional crafts such as weaving may seem peripheral, and minor compared to advanced technology nowadays that entertain us and increase our productivity. However, hands-on engagement with old devices such as weaving handlooms could be pedagogical, shedding new light on our understanding of technology, offering an alternative relationship. I would like to share my experience of working on a weaving handloom that gave me new access to the technological things around me.<br /> <br /> Weaving looms share a common history with computers. Many histories of computing begin with Analytical Engine, a calculating machine that Charles Babbage attempted to build in the nineteenth century. It is widely known that Babbage conceived this machine based on the punched card system and the formal mechanics of Jacquard’s loom, the first automated loom invented in 1804. The Jacquard loom used a long series of interconnected punched cards to encode more complex patterns while enhancing the production speed.  <br /> <br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. Weaving and computers naturally process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). A 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect patterns (Griffiths, “Coding With Threads: Frame Loom”).   <br /> <br /> Working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles make you feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gives you a sense of control that you’re working with the machine, not dependent on it. <br /> <br /> This consequently offered me a new perspective and appreciation of the world full of handy and useful technical things that relate together and I’m part of, not separated from it or merely dependent on it. The smaller and older ways of engaging with traditional crafts and old devices made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.  </div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim_500&diff=1073 2023-01-20T15:08:42Z

<p>Jung-Ah: </p> <hr /> <div><br /> [[Category:Toward a Minor Tech]]<br /> [[Category:500 words]]<br /> <br /> == What Weaving Can Teach Us ==<br /> '''Jung-Ah Kim'''<br /> <br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. The black boxing of the devices, despite its merits, prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Traditional crafts such as weaving may seem peripheral, and minor compared to advanced technology nowadays that entertain us and increase our productivity. However, hands-on engagement with old devices such as weaving handlooms could be pedagogical, shedding new light on our understanding of technology, offering an alternative relationship. I would like to share my experience of working on a weaving handloom that gave me new access to the technological things around me.<br /> <br /> Weaving looms share a common history with computers. Many histories of computing begin with Analytical Engine, a calculating machine that Charles Babbage attempted to build in the nineteenth century. It is widely known that Babbage conceived this machine based on the punched card system and the formal mechanics of Jacquard’s loom, the first automated loom invented in 1804. The Jacquard loom used a long series of interconnected punched cards to encode more complex patterns while enhancing the production speed.  <br /> <br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. Weaving and computers naturally process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). A 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect patterns (Griffiths, “Coding With Threads: Frame Loom”).   <br /> <br /> Working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles make you feel connected to the machine in an unexpected way. And your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gives you a sense of control that you’re working with the machine, not dependent on it.  <br /> <br /> This consequently offered me a new perspective and appreciation of the world full of handy and useful technical things that relate together and I’m part of, not separated from it or merely dependent on it. The smaller and older ways of engaging with traditional crafts and old devices made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.  </div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Contributors&diff=1028 2023-01-20T14:44:04Z

<p>Jung-Ah: </p> <hr /> <div>List of contributors here<br /> <br /> '''Inga Luchs''' is a PhD candidate at the University of Groningen. In her research, she deals with questions of data classification and discrimination from a cultural and technical perspective.<br /> <br /> '''Søren Bro Pold''' Digital Aesthetics Research Center, Aarhus University, works with the arts of the interface and interface criticism.<br /> <br /> '''xenodata co-operative''' investigates image politics, algorithmic culture and technological conditions of knowledge production and governance through art and media practices. The collective was established by curator Yasemin Keskintepe and artist-researcher Sasha Anikina.<br /> <br /> '''Jack Wilson''' is a PhD researcher at the University of Warwick’s Centre for Interdisciplinary Methodologies. He is not a conspiracy theorist. <br /> <br /> '''Winnie Soon''' is a Hong Kong-born artist coder and researcher, engaging with themes such as Free and Open Source Culture, Coding Otherwise, artistic/technical manuals and digital censorship.<br /> <br /> '''Christian Ulrik Andersen''', Digital Aesthetics Research Center, Aarhus University, is attempting to bring the knowledge and practices of digital culture and art to the fore.<br /> <br /> From a network of '''Feminist Servers''' the following authors contributed: mara karagianni - artist, software, sysadmin, ooooo - Transuniversal constellation, nate wessalowski - PhD student at Münster University, vo ezn - sound &amp;&amp; infrastructure artist.<br /> <br /> '''Shusha Niederberger''' is a PhD researcher based at Zurich University of the Arts and working on user subject positions in datafied environments and aesthetic strategies of using otherwise.<br /> <br /> '''Inte Gloerich''' (Utrecht University &amp; Institute of Network Cultures) researches sociotechnical imaginaries around blockchain technology as they appear in for instance memes, startup culture, and art.<br /> <br /> '''Gabriel Menotti''' is Associate Professor in Film &amp; Media at Queen's University and an independent curator.<br /> <br /> '''Sandy Di Yu''' is a PhD researcher at the University of Sussex and co-managing editor of DiSCo Journal (www.discojournal.com), using digital artist critique to examine shifting experiences of time.<br /> <br /> '''Magdalena Tyżlik-Carver''' ferments data and investigates Critical Data and related practices through curating. She is Associate Professor in Digital Design and Information Studies at Aarhus University.<br /> <br /> '''Geoff Cox''' should probably decalre to be Professor of Art and Computational Culture at London South Bank University, and co-director of Centre for the Study of the Networked Image (CSNI) but thinks this sounds a bit pompous.<br /> <br /> '''Susanne Förster''' is a PhD candidate and research associate at the University of Siegen. Her work deals with imaginaries and infrastructures of conversational artificial agents.<br /> <br /> '''Anna Mladentseva''' is a PhD researcher at University College London whose project focuses on the conservation of software-based works of art and design from the Victoria &amp; Albert museum.<br /> <br /> '''Jung-Ah Kim''' is a PhD researcher in Screen Cultures and Curatorial Studies at Queen’s University. She studies the relationship between weaving and computing and traditional Korean textiles.  </div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim_500&diff=974 2023-01-20T14:21:58Z

<p>Jung-Ah: /* What Weaving Can Teach Us */</p> <hr /> <div><br /> [[Category:Toward a Minor Tech]]<br /> [[Category:500 words]]<br /> <br /> == What Weaving Can Teach Us ==<br /> '''Jung-Ah Kim'''<br /> <br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. The black boxing of the devices, despite its merits, prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Traditional crafts such as weaving may seem peripheral, and minor compared to advanced technology nowadays that entertain us and increase our productivity. However, hands-on engagement with old devices such as weaving handlooms could be pedagogical, shedding new light on our understanding of technology, offering an alternative relationship. I would like to share my experience of working on a weaving handloom that gave me new access to the technological things around me.<br /> <br /> Weaving looms share a common history with computers. Many histories of computing begin with Analytical Engine, a calculating machine that Charles Babbage attempted to build in the nineteenth century. It is widely known that Babbage conceived this machine based on the punched card system and the formal mechanics of Jacquard’s loom, the first automated loom invented in 1804. The Jacquard loom used a long series of interconnected punched cards to encode more complex patterns while enhancing the production speed.  <br /> <br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. Weaving and computers naturally process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). A 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect patterns.   <br /> <br /> Working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles make you feel connected to the machine in an unexpected way. And your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gives you a sense of control that you’re working with the machine, not dependent on it.  <br /> <br /> This consequently offered me a new perspective and appreciation of the world full of handy and useful technical things that relate together and I’m part of, not separated from it or merely dependent on it. The smaller and older ways of engaging with traditional crafts and old devices made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.  </div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim_500&diff=970 2023-01-20T14:14:38Z

<p>Jung-Ah: </p> <hr /> <div><br /> [[Category:Toward a Minor Tech]]<br /> [[Category:500 words]]<br /> <br /> == What Weaving Can Teach Us ==<br /> Jung-Ah Kim <br /> <br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. The black boxing of the devices, despite its merits, prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Traditional crafts such as weaving may seem peripheral, and minor compared to advanced technology nowadays that entertain us and increase our productivity. However, hands-on engagement with old devices such as weaving handlooms could be pedagogical, shedding new light on our understanding of technology, offering an alternative relationship. I would like to share my experience of working on a weaving handloom that gave me new access to the technological things around me.<br /> <br /> Weaving looms share a common history with computers. Many histories of computing begin with Analytical Engine, a calculating machine that Charles Babbage attempted to build in the nineteenth century. It is widely known that Babbage conceived this machine based on the punched card system and the formal mechanics of Jacquard’s loom, the first automated loom invented in 1804. The Jacquard loom used a long series of interconnected punched cards to encode more complex patterns while enhancing the production speed.  <br /> <br /> However, the connection between weaving and computers cannot be reduced to the role of punched cards. Weaving and computers naturally process data in similar ways regardless of the punched cards because to weave means to decide whether a warp thread is to be picked up or not. Therefore, weaving has been a binary art from its very beginning as stated by the computer pioneer Heinz Zemanek (Harlizius-Klück 179). A 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect patterns.   <br /> <br /> Working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Spending hours manually setting up the loom, passing each thread into the heddles make you feel connected to the machine in an unexpected way. And your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles to see your pattern emerge on the fabric gives you a sense of control that you’re working with the machine, not dependent on it.  <br /> <br /> This consequently offered me a new perspective and appreciation of the world full of handy and useful technical things that relate together and I’m part of, not separated from it or merely dependent on it. The smaller and older ways of engaging with traditional crafts and devices made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.  </div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim_500&diff=720 2023-01-19T16:18:04Z

<p>Jung-Ah: Created page with &quot; Category:Toward a Minor Tech Category:500 words&quot;</p> <hr /> <div><br /> [[Category:Toward a Minor Tech]]<br /> [[Category:500 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Toward_a_Minor_Tech:_Kim&diff=506 2023-01-07T10:30:48Z

<p>Jung-Ah: Jung-Ah moved page Toward a Minor Tech:Toward a Minor Tech: Kim to Toward a Minor Tech:Kim</p> <hr /> <div>#REDIRECT [[Toward a Minor Tech:Kim]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=505 2023-01-07T10:30:48Z

<p>Jung-Ah: Jung-Ah moved page Toward a Minor Tech:Toward a Minor Tech: Kim to Toward a Minor Tech:Kim</p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;jungah1&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered (working title) ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=486 2022-12-22T03:36:51Z

<p>Jung-Ah: </p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;jungah1&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered (working title) ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=485 2022-12-22T03:35:39Z

<p>Jung-Ah: </p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;jungah&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered (working title) ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=484 2022-12-22T03:31:35Z

<p>Jung-Ah: Undo revision 483 by Jung-Ah (talk)</p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;jungah&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=483 2022-12-22T03:23:53Z

<p>Jung-Ah: </p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;jungah&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered (tentative) ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=480 2022-12-22T00:29:40Z

<p>Jung-Ah: </p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;jungah&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=479 2022-12-22T00:25:37Z

<p>Jung-Ah: /* Traditional crafts that seem minor can make you empowered */</p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;CHANGEME&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=478 2022-12-22T00:21:18Z

<p>Jung-Ah: </p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;CHANGEME&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;<br /> <br /> == Traditional crafts that seem minor can make you empowered ==<br /> Technology nowadays is characterized by a number of computer devices that we depend on, such as laptops, tablets, smartphones, smartwatches, etc. As the level of dependence that we have on these devices increases over time, it’s difficult to not think that we lose our agency over them. New designs are made to draw consumers to the latest technologies, making us overlook the risks of planned obsolescence. The black boxing of the devices prevents us from connecting and understanding them even when they apparently exhibit ‘user-friendly’ interface designs. <br /> <br /> Working on a weaving handloom gives me an alternative engagement to our superficial, often elusive relation with the technology described above. Interestingly, the many hours of labour and energy required for me to finish a project on a loom is what makes me feel close and connected to the machine. The process is transparent to your eyes, and it makes you feel like you’re working together with the machine, not dependent on it. Traditional crafts and old devices such as weaving, and handlooms may seem peripheral, and minor compared to advanced devices and technological improvements made to increase our productivity and efficiency. However, hands-on engagement with crafts and old devices could be pedagogical, shedding a new light to our understanding of technology, offering an alternative relationship. In this essay, I reflect on my experience of working on a handloom and how it challenged my status quo relationship with technology.  <br /> <br /> But first, I recognize that much of the conversation around weaving looms in the history of technology is focused on how it informed the development of computers. Thus, I would like to start with a brief introduction to this history.  <br /> <br /> It is the Jacquard weaving loom that is referred to as one of the precursors of computing machinery. Invented in 1804, Jacquard loom dramatically simplified the complexity of the weaving activity, making it possible to make more complicated designs while also enhancing production speed. The core invention of the Jacquard loom was a mechanism that automated the use of a long series of interconnected punched cards which made it possible to encode more complex patterns into the operation of a loom. Although there was no actual computation performed using the cards, the invention is still considered an important step in the history of computer hardware. The idea of punched cards was later used by Charles Babbage in constructing the first mechanical computing device, the difference engine which was later developed into the analytical engine (Fernaeus, et al. 1594). Analytical engine embodied the basic elements that were finally realized in the computers built during World War II (Ceruzzi 4).  <br /> <br /> However, binary, computational logic has always been part of weaving before the invention of the Jacquard loom and its punched cards because to weave is to basically decide whether a warp thread is to be picked up or not. The Jacquard loom was simply an advanced loom technology from its precedents that replaced the human with mechanized punched cards to control the pattern information. (Harlizius-Klück 179) Computers and looms already process information in similar ways, and data in weaving can be represented in binary terms. Therefore, a 4-shaft loom can be thought of as 4-bit opcodes with different orderings, resulting in indirect pattern shifts.  <br /> <br /> Although the emphasis is mostly placed on aspects of computation and logic when referring to the loom, working on a weaving loom can also inform us a lot about physical, tangible forms of interaction with technology. Much of the discussion of interactions with technology, especially in the area of tangible interaction has turned towards phenomenology and incorporated concepts such as ready-at-hand and present-at-hand, the two ways of approaching the world, according to Heidegger (Fernaeus, et al. 1598). Present-at-hand refers to our theoretical apprehension of a world made up of objects where science begins. Ready-to-hand describes our practical relation to things that are handy or useful. Heidegger asserts that practice precedes theory, hence the ready-to-hand is prior to the present-at-hand. My primary encounter with the world is not theoretical, rather, I first apprehend the world practically as a world of things that are useful and handy (Critchley, “Being and Time, part 3; Being-in-the-world”). These concepts provide ways of understanding the use and perception of technological devices around us, let alone common physical objects such as a table, hammer, etc.  <br /> <br /> While I don’t argue that the physical properties of a loom or the tangible interaction with it immediately make it more conceptually graspable and comprehensible, working with more traditional, smaller-scale handlooms offered me a different experience that challenged my view on technological objects around me. Interacting with a handloom is not only about looking and manipulating the materials with hands and fingers, but also feeling the texture of materials in the hands, understanding and working with unique characters of different fibre. A handloom requires manually setting it up which can take hours if you’re a beginner and the design and engineering principles of the loom may not make sense immediately. You may also find passing each thread into the headles and then into the reed a bit tedious and time-consuming. However, when you finally see your pattern emerge and woven into the fabric within the structure you’ve set up for your loom, you will feel rewarded and even feel connected to the machine in an unexpected way. Your whole body interacting with the loom, throwing the shuttle across the warp, and controlling treadles and levers while seeing it all happening before your eyes gives you a sense of control and that you’re working with the machine, not dependent on it. This sparked a change in my view on how I engage with the technological environment around me. I’m constantly surrounded by and using multiple devices that fill my every day, but they would barely even emerge as ‘extended things’ that spark scientific inquiry in my mind. I believe this is because of multiple reasons; I am too accustomed to their presence, they’re tightly sealed in the black box that prevents me from having access to their inner workings and becoming curious about it, and/or I’m already overwhelmed or discouraged to get to know them because they look too complicated. Whatever the reason, I believe my detachment wouldn’t suffice either the present-at-hand or the ready-at-hand relationship with them.  <br /> <br /> My hands-on engagement with weaving looms brought me back into what Heidegger describes as Umwelt (environment), the world full of handy and useful things that relate together and that I’m part of, not cut off from it in some sort of ‘mind’ floating in distance (Critchley, “Being and Time, part 3; Being-in-the-world”). Gaining a new perspective and appreciation of the things around me through the older and smaller ways of knowing how things work made me feel empowered, rather than a minor being weighed down by big, complex tech knowledge. Many crafts and their technologies have a long history and as a result embody a great deal of knowledge and expertise, including cultural and historical knowledge as well as information about materials, tools and techniques. They invite you to the world of the common, average everyday experience of things full of surprises and wonder.   <br /> <br /> <br /> '''Work Cited''' <br /> <br /> Fernaeus, Ylva &amp; Jonsson, Martin &amp; Tholander, Jakob. “Revisiting the Jacquard loom: Threads of history and current patterns in HCI.” Conference on Human Factors in Computing Systems – Proceedings, 2012, pp. 1593-1602. <br /> <br /> Poague, Susan Aileen. Computer Design in the Handweaving Process. 1987. Iowa State University, MA dissertation. <br /> <br /> Ceruzzi, Paul E. Computing: A Concise History. The MIT Press, 2012. <br /> <br /> Harlizius-Klück, Ellen. “Weaving as Binary Art and the Algebra of Patterns.” Textile: Cloth and Culture, Volume 15, Issue 2, 2017, pp. 176-197. <br /> <br /> Critchley, Simon. “Being and Time, part 3; Being-in-the-world.” The Guardian, 22 Jun. 2009,  <br /> <br /> &lt;nowiki&gt;https://www.theguardian.com/commentisfree/belief/2009/jun/22/heidegger-religion-philosophy&lt;/nowiki&gt; <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=470 2022-12-21T02:53:20Z

<p>Jung-Ah: </p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;CHANGEME&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;On Way!! <br /> <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]<br /> {{DEFAULTSORT:Toward_a_Minor_Tech: Kim}}</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=469 2022-12-21T02:51:52Z

<p>Jung-Ah: </p> <hr /> <div>{{DISPLAYTITLE:Toward a Minor Tech: Kim}}&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;CHANGEME&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;On Way!! <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]</div>

Jung-Ah http://cc.practices.tools/wiki/index.php?title=Toward_a_Minor_Tech:Kim&diff=468 2022-12-21T02:37:53Z

<p>Jung-Ah: Created the page</p> <hr /> <div>&lt;!-- -------------------------------------------------------------------<br /> --------------------------peer-annotations------------------------------<br /> <br /> To allow others to comment on the 1000 words version of your text, <br /> we will work with embedded etherpads in the pages here on the wiki.<br /> <br /> To embed an etherpad in your page and allow peer-annotations:<br /> <br /> 1. Change the id=&quot;&quot; value from CHANGEME into an etherpad name of choice. <br /> 2. Scroll down and click &quot;Save page&quot; to save the page. <br /> 3. The etherpad should appear on the right side of the screen.<br /> <br /> NOTE: You cannot use spaces in the id=&quot;&quot; value.<br /> <br /> ------------------------------------------------------------------------<br /> -------------------------------------------------------------------- --&gt;<br /> &lt;div class=&quot;pad&quot;&gt;&lt;eplite id=&quot;CHANGEME&quot; show-chat=&quot;false&quot; /&gt;&lt;/div&gt;On Way!! <br /> [[Category:Toward a Minor Tech]]<br /> [[Category:1000 words]]</div>

Jung-Ah