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Buckyball B&W Pattern 7

The above piece, Fuzzyball, has been shipped over to Manchester, UK, for the Futuresonic festival. It's in an exhibit called "Fuzzy Logic," which is a subset of another exhibition called "Low Grade" that is part of the larger festival. The curators are Jackie Passmore and Michael Connor. By the way, the molecule above really is called a "fuzzyball" (a buckyball variant); I didn't title it just for the show. Here's the rundown on "Fuzzy Logic":
"Low Grade" argues that the roots of computing technology are linked to Britain's 19th Century cotton trade, with weaving looms providing inspiration for the design of the first computer. In a city famous for both its textile history - Manchester was once known as "Cottonopolis" - and as the birthplace of the modern computer, "Fuzzy Logic" demonstrates how new media artists are turning back to the loom, combining technology with the knitting needle to create a new wave of fabric-based media arts, mathematical knitting and textile activism.

Artists and works include:
Claire Irving (UK): Mathematical Knitting

Woolly Thoughts (UK): Mathematical Afghans

Cat Mazza (US): KnitPro Software, the LogoKnit knitting machine and examples of knitted work

Mandy McIntosh (UK): Knitting patterns for Atlanta and other cities, plus Radiant Circle

LoVid (US): Soft sound sculpture, sculpting psychedelic soundsssssssssssz

Peter Coffin (US): Wall-based prints bridging ASCII art and knitting patterns

Cory Arcangel (US): Security blanket based on the "infinite fill" patterns used in place of colour on early drawing software Mac Paint

Rebecca Vaughan (US): Conceptual knitted cosies for uncosy environments

Tom Moody (US): Psychedelic and abject works riding the guardrails between the handmade and the digital
My piece doesn't involve knitting but I have always described this type of work as a paper quilt or mosaic. When I started doing these pieces in the mid-90s I was very interested in cyberfeminist Sadie Plant, who is speaking at the festival, and I was somewhat chagrined to discover no one in the NY art world was following this dialogue, or giving any particular thought to bridging the computational and the crafted. Things have gotten better in the last few years with the arrival on the scene of many of the above artists, so I'm not feeling quite as lonely as I did in 1997, when the gallery I was showing with mostly just apologized for the work, as in "Sorry it's not made with a brush or pencil and fabricated of fine, durable art materials, we know how important that is to you, Mrs. Drysdale." As late as 2001, a dealer I was working with was still asking me questions like "Do you ever think of painting these?"

- tom moody 7-16-2005 4:43 am [link]