Book contents
- Frontmatter
- Contents
- List of Illustrations
- List of Contributors
- Acknowledgments
- Introduction: A Crosscurrent of Contemporary Latin American Women Multimedia Writers and Artists
- 1 The Transliterary: The Novel and Other Multimedia Horizons Beyond (and Close to) the Textual
- 2 Commentary on Fe/males: Sieges of the Post Human (Transmedia Installation)
- 3 An Anthropophagic Ch’ixi Poetics
- 4 My Relationship with Artistic Creation Began with Words
- 5 Imagetext
- 6 Voices/Bodies
- 7 Redefining Meaning: The Interweaving of the Visual and Poetic
- 8 The Territory Is Home
- 9 Reflections on a Multimedia Practice
- 10 Digital Weaving
- 11 Eli Neira, Regina José Galindo, and Ana Clavel: “Polluting” Corporealities and Intermedial/Transliterary Crossings
- 12 The Digital Condition: Subjectivity and Aesthetics in “Fe/males” by Eugenia Prado Bassi
- 13 The Transmedia, Post-Medium, Postnational, and Nomadic Projects of Pilar Acevedo, Rocío Cerón, and Mónica Nepote
- 14 The Art of the Hack: Poets Carla Faesler and Mónica Nepote and Booktuber Fátima Orozco
- 15 The Places of Pain: Intermedial Mode and Meaning in Via Corporis by Pura López Colomé and Geografía del dolor by Mónica González
- 16 Words, Memory, and Space in Intermedial Works by Gabriela Golder and Mariela Yeregui
- 17 Fungibility and the Intermedial Poem: Ana María Uribe, Belén Gache, and Karen Villeda
- 18 Hypertext and Biculturality in Two Autobiographical Hypermedia Works by Latina Artists Lucia Grossberger Morales and Jacalyn Lopez Garcia
- 19 Dialogues Across Media: The Creation of (New?) Hybrid Genres by Belén Gache and Marina Zerbarini
- Bibliography
- Index
- Tamesis
10 - Digital Weaving
Published online by Cambridge University Press: 17 December 2023
- Frontmatter
- Contents
- List of Illustrations
- List of Contributors
- Acknowledgments
- Introduction: A Crosscurrent of Contemporary Latin American Women Multimedia Writers and Artists
- 1 The Transliterary: The Novel and Other Multimedia Horizons Beyond (and Close to) the Textual
- 2 Commentary on Fe/males: Sieges of the Post Human (Transmedia Installation)
- 3 An Anthropophagic Ch’ixi Poetics
- 4 My Relationship with Artistic Creation Began with Words
- 5 Imagetext
- 6 Voices/Bodies
- 7 Redefining Meaning: The Interweaving of the Visual and Poetic
- 8 The Territory Is Home
- 9 Reflections on a Multimedia Practice
- 10 Digital Weaving
- 11 Eli Neira, Regina José Galindo, and Ana Clavel: “Polluting” Corporealities and Intermedial/Transliterary Crossings
- 12 The Digital Condition: Subjectivity and Aesthetics in “Fe/males” by Eugenia Prado Bassi
- 13 The Transmedia, Post-Medium, Postnational, and Nomadic Projects of Pilar Acevedo, Rocío Cerón, and Mónica Nepote
- 14 The Art of the Hack: Poets Carla Faesler and Mónica Nepote and Booktuber Fátima Orozco
- 15 The Places of Pain: Intermedial Mode and Meaning in Via Corporis by Pura López Colomé and Geografía del dolor by Mónica González
- 16 Words, Memory, and Space in Intermedial Works by Gabriela Golder and Mariela Yeregui
- 17 Fungibility and the Intermedial Poem: Ana María Uribe, Belén Gache, and Karen Villeda
- 18 Hypertext and Biculturality in Two Autobiographical Hypermedia Works by Latina Artists Lucia Grossberger Morales and Jacalyn Lopez Garcia
- 19 Dialogues Across Media: The Creation of (New?) Hybrid Genres by Belén Gache and Marina Zerbarini
- Bibliography
- Index
- Tamesis
Summary
When I returned to Bolivia for the first time in 1969, I noticed that there were weavings everywhere. Some were handmade, old and rough and woven out of natural fibers using natural dyes. Others were hand-woven – some very fine using alpaca wool and some were woven in cotton, using modern dyes of bright pinks, greens, and blues. I was captivated by the variety of weavings and how the indigenous people used them. They wore them as ponchos and skirts. They folded them into cradles and placed them on their backs to carry their possessions or babies. At the outdoor market, called the “cancha,” the women put the weavings on the ground and sat on them along with their products to sell. I knew that weavings were more than just fabrics.
Weavings hold a special significance for the Andean cultures. In Europe, painting and sculpture are the highest artistic expressions of the culture, while in the indigenous Andean culture, textiles are the epitome of art. Although the Spanish conquerors tried to destroy Inca culture, Andean women have preserved the indigenous beliefs, rituals, and symbols for their people through the language of weaving. Andean weavings, particularly those of the Altiplano in Bolivia, are the voice of a culture that refuses to disappear. These weavings are the tangible expression of a worldview that is distinctly non-Western. By weaving both the traditional and the modern, my artistic and digital work is a homage to this precious, yet obdurate, cultural legacy.
In 1979, when I bought my first Apple II computer, I learned that computer graphics were based on a grid and that each point on that grid was a specific color, which is true for most weavings and fabrics from the 1970s. The resolution of the screen of the Apple II was about one-thousandth of the resolution of a computer, circa 2006. However, I had no problem adjusting to the low resolution because of my experience working with fiber and textile art. I saw the stair steps of the pixels on the screen like the stair steps of points on weaving or needlepoint.
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- Publisher: Boydell & BrewerPrint publication year: 2023