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Digital Entanglements

: Craft

, Computation

and

Collaboration

in Fine Art Furniture Production

Amy Cheatle

Cornell University

Ithaca, NY

ac2288@cornell.edu

Steven J. Jackson

Information Science, Cornell University

208 Gates Hall, Ithaca, NY 14853

sjj54@corn

ell.edu

ABSTRACT

This paper joins a growing body of CSCW and HCI work

exploring questions of creativity and collaboration a

t the

intersection of digital and material practices of craft.

Drawing on studio visits and interviews with fine art

furniture

maker Wendell Castle

and his team

, we

investigate one studioÕs experience with integrating digital

fabrication tools into their studio practice, and its

implications for the

collective

organization of work and

creativity

. We

explore how

the introduction o

f new

computational and industrial machine objects (here,

Computer Numerical Controllers) re

mediates

traditional

relations of craft and the forms of

human

-object

value,

care, and creativity built around them. We

also chart

new

forms of creative practice an

d material flow tha

t emerge

from this encounter,

and show how remediations of craft in

the Castle studio

may pose

questions and opportunities

for

wider CSCW concerns around craft, creativity, and design.

Author

Keywords

Craft; fine art; studio; digital fab

rication; post

-digital;

computer

-aided design; handwork

ACM Classification Keywords

H.5.m. Information interfaces

and presentation

INTRODUCTION

…in the Machine lies the only future of art and craft

– as I

believe, a glorious future; that the machine is,

in fact, the

metamorphosis of ancient art and craft; that we are at last

face to face with the machine

– the modern Sphinx

-whose

riddle the artist must solve if he would that art liveÉ.

Frank

Lloyd Wright, 1901

The pace of technological creation and its

incorporation into

everyday life alters the power

, shap

e, and meaning

of

human

practice

. Relationships between people, social and

natural environment

s, work and leisure, and how we

conceptualize and interact with the material world are

being

(re)mix

ed as a

result of this

encounter

. Artists, as

sophisticated makers, are

often

at the forefront of this

process

. They

act as

creative and critical users of tools

Ð both computational and otherwise

Ð whose practi

ce has the

potential to reveal

new insights and unde

rstandings

abo

ut

the world in which we live

, while

also

generating new

theoretical frameworks

that may apply to other contexts of

human

-computer interaction

[3]. Digital fabrication tools

such as 3D scanning and printing and Computer Numerical

Controlled (C

NC) robotics

can expand the practice of artist

s by enlarging

artistic

repertoires

and open

ing

up design to

new physical possibilities.

New computational

tools

may

also

enter

into

and remix sites of ideation and imagination

themselves,

(re)

imagining concept

s and outcomes and

redistribut

ing

collaborative

practices

and relations

within

complex work

environments.

These

processes

may

at the

same time challenge and restructure

relationships

and

values

at the interface of technology

, design

, and

creative

productio

n. In this paper we

explore

the studio practice of

American

fine art furniture maker Wendell Castle, who

for more than

forty years has

kept his studio precariously balanced on the

edges of contemporary technological practice and

traditional woodworking te

chniques. Referred to as Òpost

-digitalÓ [

28] by contemporary craft scholars, Castle is

internationally

regarded

as

both

an

innovator and master

craftsman whose work

bridge

s the fields of industrial

design,

fine art furniture production,

and sculpture.

Cast

leÕs

studio couples highly

complex com

putational tools

(including Computer Numerical Controllers

) with

traditional woodworking practices in

innovative, playful

and interdisciplinary

ways

. From a CSCW perspective,

CastleÕs

studio

presents an

intriguing cas

e study

around

the adoption of complex

computational tools in collaborative and creative work

environments

. It brings to the

fore larger

questions and

concerns

around the nature of

creativ

ity and innovation,

and

what it means to

design, create

, and make

in an increasingly

computational

world.

The paper that follows analyzes CastleÕs evolving studio

practice in light of theories of

craft,

creativity,

and

materiality

drawn from CSCW, HCI, and the social

Perm

ission to make digital or hard copies of all or part of this work for

personal or classroom use is granted without fee provided that copies are

not made or distributed for profit or commercial advantage and that copies

bear this notice and the full citatio

n on the first page. To copy otherwise,

or republish, to post on servers or to redistribute to lists, requires prior

specific permission and/or a fee.

CSCW Õ14,

February 15

Ð19, 201

4, Baltimore

, Maryland

, USA.

Copyright 201

4 ACM

xxx

-x-xxxx

-xxxx

-x/xx/xx…$1

5.00.

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