From 24 - 29 October I am working at FoAM Kernow in Cornwall with Alex Mclean, Ellen Harlizius-Klück and Dave Griffiths as part of the AHRC Digital Transformations Amplification research project, 'Weaving Codes – Coding Weaves’. This project asks: “What are the historical and theoretical points at which the practice of weaving and computer programming connect? What insights can be gained if we bring these activities together, through live shared experience? How do digital technologies influence our ways of making, and what new digital technologies can we create to explore their social use in creative collaboration? The research residency included a public performance exploration of weaving and live coding (see documentation below) as well as discussions about a forthcoming special issue of Textile: Journal of Cloth and Culture focusing on insights and findings from this project. My role in this project is as a critical witness/interlocutor; reflections from my observations on the project will form part of a research article for the special issue of Textile, elaborating ideas developing within a series of conference presentations around the title 'Live Coding | Weaving : Penelopean Mêtis and the Weaver-Coder's Kairos.
- emma cocker
- Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, Cocker's research enquiry focuses on the process of artistic endeavour, alongside models of (art) practice and subjectivity that resist the pressure of a single, stable position by remaining wilfully unresolved. Her mode of working unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches to producing texts parallel to and as art practice. Cocker's recent writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; Reading/Feeling (Affect), 2013; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection entitled The Yes of the No, 2016.