WEAVING SCRIPTING WRITING Introduction It can be argued that - - PDF document

WEAVING SCRIPTING WRITING

It can be argued that along with cave paintings, textiles are the fjrst expressive artform. It is no coincidence that societies with no tradition of written language, have produced some of the fjnnest and most sophisticated textiles in history. Oral myths, as well as cosmological and religious believes were all recorded with threads; stories woven from yarn into

• cloth. According to Seth Siegelaub, textiles provide

key information into the society in which they were produced–from its territory to its social specrum. To weave is therefore to write. Thus the act of weaving is essential to the culture in which it is formed, materialising the collective mindset of a society. This new series of seminar weeks explores our physical and emotional connection with the world around us. Focusing on different materials and actions we will investigate the process by which things are made at both the scale of the factory and the craftsman. Literature, fjlm, and technology will guide and frame the way we look at these processes of making and we will use our own hands and bodies to delve into each theme. Weaving, scripting and writing share similar structural methodologies; threads, codes and words carefully entwine to become something much greater than the sum of their parts. They manifest a desire to grasp and describe our understanding of the world. Based in Zürich, we will make day trips to visit weavers, scriptures and writers. Along the week, we will investigate the art of the loom from the smallest to the largest of its incarnations, familiarise ourselves with the secrets of coding, as well as craft our own piece of individual writing. Readings and discussions will take place every evening over drinks and dinner in Zürich. I sit before a moor of tweed: a narrow gorge and fading folds. Two ends must be fjnished now I see neither, only my fathom’s reach of arms. Though I seem to choose this task there is a tyranny in the needed eveness of the weave Ian Stephen

Studio Tom Emerson, eth Zurich Seminar Week, 18th - 22th March 2019

Introduction

Nazca mantle, medium: cotton, camelid fjber, South Coast, Peru, 0-100 CE

Sunday 17 Meet at Dreieck Genossenschaft Kantine, Zürich 1630-1800 Irénée Scalbert : on essay writing 1900-2200 Amy and Guillaume cook, dinner and discussion Monday 18 S5 Train to Bauma at 7.24 from Zürich HB 0830-1230 Heimatwerk, Zürcher Oberland : learning to use a hand loom S26 – EC Train to St Gallen at 12:37 from Bauma 1430-1700 St Gallen Textile Museum with Ákos Moravánszky Free evening Tuesday 19 Rote Fabric, Zürich 0900-1200 Scripting workshop with Max Frischknecht from Début Début Historical tour of the Rote Fabrik with Hans X. Hagen 1400-1700 Individual work on texts and scripts Free evening Wednesday 20 S25 Train at 7.43 from Zürich HB to Niederunnen 0900-1100 Jenny Fabrics Factory visit Train to Galerie Ruf 3hr 1430-1700 Visit: Private textile and costume collection of Wolfgang Ruf Free evening Thursday 21 ITA, ETH 0900-1200 Mariana Popescu (Block Research Group): 3d digital kniting 1300-1600 Francisco Moura Veiga (Cartha Magazine & a-forschung): on editing Dinner at Dreieck Genossenschaft, Zürich 1700-2200 students cook, dinner and discussion Friday 22 Train to Wattwil 0830-1620 production on digital Jacquard looms with STF in Wattwil Dinner at Luegislandstrasse 105 1700-2200 Students cook, dinner and discussion Presentation of texts, codes and fabrics

Programme

Studio Tom Emerson, eth Zurich Seminar Week, 18th - 22th March 2019 0-1-Black-White-On-Off-Dead-Alive, Max Frischknecht, 2018

Makers Weavers Scripters Writers

Max Frischknecht, Début Début, Basel Hans X. Hagen, Rote Fabrik, Zürich Cortina Löwer, Jenny Fabrics, Niederunnen Ákos Moravánszky, eth, Zurich Francisco Moura Veiga, A Forschung, Basel Holger Neubauer, stf, Zurich Sabine Nicoli, stf Zurich Katharina Osterwalder, Heimatwerk, Bauma Mariana Popescu, eth, Zurich Wolfgang Ruf, Galerie Ruf, Stansstad Irénée Scalbert, London

Tools

Pens, paper and laptops should be brought with you every day. Please d o w n l o a d the following programmes for the scripting workshop on Tuesday.

Food

In order to keep the cost of the seminar week to a minimum we will cook for each other and our guests

• ver the course of the week. Seminar week students

will be responsible for dinner during the seminar week. Studio Tom Emerson will be making dinner on the fjrst night.

Travel

Tickets will be provided for all excursions and trips. Please bring your Swiss Pass with you on all days.

Insurance

Each traveller must insure that they have the appropriate insurance for the Seminar Week. The eth is not responsible for any insurance during the trip and is not responsible for checking that each student has the

• bligatory health and accident insurance.

Please check with your individual insurance provider that you have the appropriate cover.

Studio Tom Emerson, eth Zurich Seminar Week, 18th - 22th March 2019

Francesco Battaini +41798727080 Alessia Bertini +393801969734 Diego Bettinaglio +41793042034 Seraina Bollinger +41763379381 Zoe Börmann +41774070180 Gabriel Fiette +447922918692 Fabiana Frisullo +41798005126 Damien Greder +41774131283 Boris Gusic +41792874360 Renèe Lou Jungo +49797638541 Christoph Junk +41763267463 Dominik Keller +41793811724 Ann-Sophia Kirchhofer +4917699995895 Juliette Martin +41788188834 Friederike Merkel +41798493690 Larissa Mülner +41767658115 Guillaume Othenin-Girard +41787324552 Amy Perkins +41774226756 Marino Weber +41796738496 Jana von Wyl +41786746842 Nemanja Zimonjic +41799018587

Plate 11. Method of draft notation, from Anni Albers, On Weaving, 1965

Reading List Bibliography

Studio Tom Emerson, eth Zurich Seminar Week, 18th - 22th March 2019

Anni Albers, On Weaving, New York: Dover Publications Inc, 2003. Peta Carlin, On Surface and Place; Between Architecture, Textiles and Photography, New York: Routledge, 2017. Megan Cavell, Weaving Words and Binding Bodies; The Poetics of Human Experience in Old English Literature, Toronto: University of Toront Press, 2016. Paul E. Ceruzzi, Computing; A Concise History, Cambridge, Massachusetts: The MIT Press, 2012. Tim Ingold, Lines; A Brief History, London: Routledge, 2016. Tim Ingold, The Life of Lines, London: Routledge, 2015. Tim Ingold, The Perception of the Environement, Essays on Livelihood, Dwelling and Skill, London: Routledge, 2000. Victoria Mitchell, The Textile Reader, London: Bloomsbury, 2012, p. 5-13. Helena de Preester, Not A Day Without A Line; Understanding Artists’ Writings, Gent: Academia Press, 2013. Gottfried Semper, The Four Elements of Architecture and Other Writings, translated by Harry Francis Mallgrave & Wolfgang Herrmann, Cambridge: Cambridge University Press, 1989. T’ai Smith, Bauhaus Weaving Theory; From Feminine Craft to Mode of Design, Minesota: University of Minesota Press, 2014. Writing Ep 17: Irénée Scalbert, Scaffold Podcast, 30.01.19. Irénée Scalbert, A Real Living Contact with the Things Themselves. In: A Real Living Contact with the Things Themselves: Essays on Architecture, Zürich: Park Books, 2018, p. 94-135. Weaving Victoria Mitchell, Textiles, text and techne. In: Jessica Hemmings, ed., The Textile Reader, London: Bloomsbury, 2012, p. 5-13. Anni Albers, Tactile Sensibility. In: Anni Albers, On Weaving, Middletown: Wesleyan University Press, 1965, p. 62-65. Scripting Download / Install Processing and read trough the folllowing introduction text under: 0/1 – Black/White – On/Off – Dead/Alive Editing Thomas Weaver, Writing not Typing. Lecture at Escuela de Arquitectura UNAV, Navarra, 27.04.18. Matthew Arnold, Introduction. In: Culture and Anarchy, ed. by Jane Garnett, Oxford: Oxford University Press, 2009, p.vii-xxviii. Various, Monsieur Gainsbourg Revisited, Paris: Barclay Records, 2006. The Pointer Sisters, Send Him Back (Pilooski Edit), The Originals Series, Berlin: Deutsche Grammophon, 2003. DJ Shadow, Endtroducing....., The Glue Factory (San Francisco, California), London: Island Records, 1996.

Edited manuscript page of Barry Hannah’s Ray, Gordon Lish, 1980