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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
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bear this notice and the full citatio
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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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