Amandine David


Crossing parallels
Weaving code
Latex & ochre
Hors Pistes

2.Process (coming soon)

Drawing circles
Mapping design practices

bio @amandine__david
Weaving Code
Proposal for V2_ residency program

CV Amandine David

Starting from observing technical know-hows, my practice aims to reveal similarities and connections in between fields we would consider non-related or even opposed at first glance. It is the case for hand weaving and computer programmation, which actually both are based on a binary language. By revealing those common points and building common languages, collaborative fabrication methods and hybrid aesthetics, my goal is to invite people to reconsider their perception of technologies and tools. There is mathematical thinking behind hand weaving and embodied knowledge in coding and 3D printing practices.

Millennial crafts contains knowledges that are valuable to contribute to the evolution of our relations to new technologies. Rather than seeing them as universal and already-made solutions, we could consider them for what they are: tools that needs to be shaped, questioned, transformed to serve a political vision.

Weaving Code
In 2019 I started developing the project Weaving Code that is located at the crossroad of hand weaving, programming and 3D printing. The basic computer language made of 0s and 1s originated in the automation of looms. Weaving code connects hand-weaving to 3D printing. While a piece of textile is produced on the loom, an object is generated on a computer using the same binary code.

How does it work?
I collaborated with an engineer to hack a regular loom that now acts like an interface for digital fabrication. An Arduino based installation detects what pattern is woven on the loom. This pattern is transmitted to a computer and to the 3D modelling software Rhino. From this data, Rhino generates a piece that is then 3D printed and assembled with the woven textile.
Thanks to this hybrid tool, I can make samples that are assemblies of woven textile parts and 3D printed plastic pieces that perfectly fit together. The samples are made of woven textile (cotton or linen) and 3D-printed pieces (PLA or ceramic). The combination is interesting as the 3D printed parts allow to give a structure to the textile and shape it.

What are the next steps?
The project Weaving Code first experiments are based on the binary language of woven patterns.
This language is currently used to collect structural information from the loom and share it with a 3D modelling software.
During the V2_ residency, I want to use this language to connect weavers from different part of the world. Doing so, my goal is both to reveal the mathematical structure that is common to the work of every weavers and also to reveal the diversity of applications of this binary code in term if physical outcomes and cultural meanings.
The goal of the project is to show that the practice of weavers and programmers are not that different. The network will take shape in the form of an installation (live?) that both reveal the usually invisible coding process and invites us to rethink our relationship to tools and technology.

Theoretical references (to be nourished further)
On Weaving. Annie Albers, 1965.
Simple Thoughts. Peter Beyls, 2014.
African Fractals: Modern Computing and Indigenous Design. Ron Eglash, 1999.
Introduction à une poètique du divers. Édouard Glissant, 1995.
Lines, a brief history. Tim Ingold, 2007.
The book of pattern weaving. Nellie Annie Reed, 1937.
The technique of weaving. John Tovey, 1975.