LINSTROM-STAHL (2014) Patchworking Ways of Knowing
LINSTROM-STAHL (2014) Patchworking Ways of Knowing
LINSTROM-STAHL (2014) Patchworking Ways of Knowing
- ----------------------·-·--~·-
Patchworking Ways of
l(nowing and Making
•• 0 Q
''
Calls for new ways of knowing have been articulated across practice-based research,
social-' science and design research in recent years ·(Haraway 1994; Law 2004; Lury and
Wakeford 2012; Savage 2013; Jungnickel and Hjorth 2014; Brandt et al. 2011; Andersen
2012; Buscher et al. 2011). While these calls come from different positions and to some
extent have different objectives, some overlapping concerns are how to know 'mess',
uncertainties and entanglements in technological society. They also put a focus on the
unavoidable world-making of research.
In this chapter we :propose what we articulate as the patchworking ways of knowing,
which partly draws on our art project Threads - A Mobile Sewing Circle. Threads was
touring to rural community centres and other cultural institutions in Sweden between
2010 and 2013. Participants have, during this time, been invited to spend some time
together with others that they did not necessarily know, whHe embroidering their text
messages by hand or with a machine connected to.a mobile phone with bespoke software.
Threads in itself could be seen as a way of patchworking old and new, digital and physical
technologies and ways of meeting. Patchworking can thus be understood as concretely
taking what is at hand and putting it into new relations, for example an embroidery
machine off-the-shelf connected to a mobile phone. Or, when a participant in Threads
sent her first-time-ever text message and then had the SMS embroidered on a piece of
linen fabric that she had kept in her hope chest for decades. She thus re-patterned
materials and mixed temporalities through care and curiosity.
Patchworking, in this context, is thereby not only the making of a textile object, but
the collective making of a patchwork of different kinds of knowledges, experiences,
histories, and anticipations in relation to ways of living with technologies. Staying with,
and knowing over time and through multiple presents is a particularly important ·
aspect of patchworking ways of knowing and we consider it neglected in practice-based
research.
What we propose is that the patchworking ways of know ing is both to make and to ··
know ways of living with technologies. It is both epistemology and ontology - to know
and to make the world in one move . .·
,...,
1.R()QUCl~IC>N
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~1 d1 sc1p 111 ' . •
h.wc been ongoing c1·
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l ~. . >lh· Ju1:usc!.> :
t our " h.te ~liJrJ1.f . 1 n •ll rr.11.lic1 ..)11.J . •h t·ren Ji ms ro cur across such pracritts'(gr<ip. hie
• J ' II c1.. ll"-• 1.
\ \ h1.1 ~·~l> -.'.~I~
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. <l f krH)\\· eo,:-.t: ,
er .ti. l tJ 1 .· ~, · . tlt wh.H ktn o . e~1gn
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111 the early ] 980s, Cross (l 982) arg
tJ b in earn~ . Ju('tt0n. . .. . . lled h
. k l JS in rh1s pro . .
wllud ,._ 1 J' er\ \\or third are.1. <. >f educatton and }· research, 111 Para!J eI w t ath
or . e~ ~I IJ be rrc:.ued a~ 3 h
1 . • • •
t cited scholars on t 11s issue is Frayling (1 it
'"k-,1gn ~ w u .. One of r e mos d . B 993)
~..:1en1..e J.n
. '. d hununines.
. researc on, h for and through estgn. randt er al ()
. . d · · · --011)
·h disrin~uishes hern c:en d . theorv design studies, es1gn science and Prac .
\\ J o L • • b . veen es1gn ., ... h . h . 1· . ttce.
ke che distincnon en h terizes the last approac ts t at, tn ine With rese
m . . ·h \'V'hat c arac . . . arch
!used design reseJrL · .. . crice and auns to explore new terrams for design
r hro U<=> ah desi•.1:11 rJ ' ic starts oft tn pra and
knowledge on how to improve practices (cf. Eriksen 2012; Brandt et al. 2011; Hallnas ca
and Redstrbm 2006).
fl',
Our own pracrice-b~1sed research is an attempt to contribute to methodological
assemblages in social sciences, design research, humanities and artistic research.
Our practice is Threads - A Mobile Sewing Circle. Ir was a travelling exhibition,
workshop and sewing circle where participants were invited to embroider their text R
This is .o ne version of how the two of us have invited peop.le to Threads -A Mobile Sewing
Circle. Importantly the invitation has also been performed by a range of other actors, such
as the collaborating partners and local . hosts, and through a range of materialities and
technologies, such as posters, the project website, phone calls, and how the room has
been set up.
The first time we invited participants to embroider text messages from their mobile
phones was in 2006. At the time a developer was trying to connect an embroidery machine
to a mobile phone for us, but the participants of this first sewing circle could only
embroider by hand. As we could take an embroidery machine with a USB-port off the
shelf, another developer could help us reverse engineer it and connect it to a mobile
phone. It thereby became possible to forward an SMS to our mobile phone that was
connected to a computer and to transfer it to the embroidery machine in a file format so
that the embroidery machine could embroider the message. Since then this assemblage
has gone through more iterations. The latest version, a mobile phone d irectly connected
to an embroidery machine, was developed for a collaboration where the sewing circle
went on tour around Sweden between 2010 and 2013 (see Plate 5.2). The partners were
Swedish Travelling Exhibitions, Vi Unga, the National Federation of Rural Community
Centres, StudiefOrbundet Vuxenskolan and M almo University - where we were based.
During this period about 100 sewing circles were hosted, by us and local hosts.
The invitation to Threads was a rather specific one. It was an invitation to look into
your mobile phone in-box, choose a message and a fabric to embroider it on; and it was
also an invitation to sit down for a couple of hours together with other participants that
you might not have met before. The reason for the gathering in Threads is no t that the
participants already belong to a community or share a predefined issue that they want to
solve. For some the invitation sparked curiosity. As time went by and we were hosting
more and more of those sewing circles, we came to think of the invitation as an expression
of an area of curiosity: ways o/ living with technologies.
The expression living with implies an ongoingness, that technologies are always in the
making, and that it is a mutual becoming of technologies and other actors such as humans.
Another emphasis in the living with is that technologies are not .1'.'ade from scratch.
Rather, they are made in relation, with contingent and temporary enttnes and also become
with sedimentations of what has come before them.
· Such understanding of technology is inspired by feminist technoscien~e that rests on
relational ontology and an understanding of agency as mutually constituted between
::·::··:- · . ' ._.·.:··' .• '! . ....... ..
\ - .. ' .~ ; ' .· ·
. ..-1 · . whrn ltost1111! senunars, when wntmg rcxts (Lmdstrom and Sti\hl 2012), ),
J1ave h~c1.. 11 ._, . . . . ••.
when hosting sewing circles a11d when wnnng our collabor:anvt' chest~. We h;ive puc the
6•uration to work differemly in differenr contexts. Of interest in relation to the
p;tchworking ways of knowing is that our and others' eng::1gemcnr ~ith wh~t is ar hand
]ms also become ;i way to explore the nm-yet·-ex1st1ng. Or, pm in a shghtly different way,
ro cry ro undersrnnd the world through making new configurnrions of agencies. In line '
I
ii
with much other prn<.:ticc-based resi:arch, patchworking we1ys of knowing thus offers i
·.,- anocher approach compared with, for example, social sciences, which usually answers the
quescion how.
By. putting the focus on the making of the nor-yet-existing, chrough engaging with .
what is ar hand, the patchworking ways of knowing suggesrs a specific engagemcnr with j;
i<:l che world char is closely entangled with multip!e Le111poralities and matcrialiries. For
I.
<t~ ·,;· example, most of the things that are part of Threads, such as mobile phones, re.xt messages, '
'es:~ threads and needles, arc also used in a variety of other conrexrs. In Threads they are pur
)fri -..,, togerher in new relations, like patches in a P<ltchwork. The patchworking that goes on in
:r,, : Threa,/s is, however, far from perfect. The pieces are imperfectly stitched together and are ,.
;
igi ~ cominuouslr reorden:d. Yet another aspect of rhe patchworking ways of knowing is that
it i~ done collectively. 'fo start with, the rwo of us have been pursuing this work together.
and subsequently written this chapter and other texts collaboratively. However, there are .,,
.l
>
tr.i ., also ocher actors, including collaborarms, participants, hosts and technologies, who in ~
!r: ;':.,
different capacities, ar different tirne~ and in different spaces h~ve participated in the
ongoing patchwo·rking. I~1tcbwvrkillg is thus opernring in sociomarerial entanglements,
!.
J
gi·,.
.... -~ mess and complexir.v.
'" ' What we suggest then is that rhe patchworking ways of knowing is interventionist in
;.\
'::
:: the sense thac ic is making relational re-orderings. Furthermore, the parchworking
r~~
·<
,, intervention is a kind of collecrive making. Finally, our :iim is not to so.Ive or resolve
:':: ····t ' something, but r.o stay with the complexities and mess of these collective interventions.
'.i
~· To know through irnerventions is nor unique for the patchworking wttys of k11o·wing,
'.·( !
but has several aspecrs similar to cxperimenrs and explorations, wh.ich are used in practice-
'
~;
.. ,.
bascd research (d. Koskinen cc al. 2012; l.lrnndt et al. 2011 ). Rt!dsrrom (2007) wrices
that the aim of design experiments is tO crearc concrete images of what is possible, rathe~
·,;~
j
rlian making abstract images of the acmal. The aim is thereby not to produce claims of . ,·:
:~
truth, bur to make difference differently. J\y using the word intervention we want to
·«.f
crnphasize that the patchworking ways of knowing is noc .a bouc setting up an experiment
.<~ froll\ scrntd1 in a restricted !ab, bur m engage and inrervcne in niatcrialitil!S, te1i1poralities,
··:;~
:,t' knowledges and more that already exist. Or ro intervene from within. The patchworki11g
: :~
~·~:( ways of knowing does in that sense also have commonalities with research done in the
., . wi/d (Callon and. Rabeharisoa 2003) or in living labs (Uden 20:1 I; .Bjorgvinsson er al.
~ :- 2012; Lowgten and Reimer 2013; Einder er al. 20l:ia) that conduct research outside of I,.
f(.;i ·. Well-confined labs. This mode of research usually also involves a range of actors in the
~, .. ,. · pwduction of knowledge. · · · · · ·
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THE HANDBOOK Of"fEXln , . . . ·. I w,. ! .11&} :s' '
-I!. ci11:r .. : ~t f '# ,, v· ;o~ c~
72 ~~ . i111'',pc~.l ilt
P~ ~ tftrS O. frl. •
. . ., . . . !'·1 . }
f 1 patchworkmg ways of kno . .
.
.I .
J rion o r ie ,
our arncu a
.
.
d .h W111g .
collective an stay wit . This is. is lQ ,}rJr
i
. 11
rl"
~i'nCi (,1 ·.
· ruc1a in
Whar 1s c . 1 'e aspects: 111
· tervent10n, I f h
. ·an know but a so or t e World. Otrq~
imp t
l r~ t~oJSr l ''·rll'
rel·
rP
combination of its r ire_not only for how we c, s We kno..'. . ',i ~111''°.J~ . ,i~ , Jlel C
P' i ,r . 0 (l' ~~
i1111 rfi .~1S 11 ; v1· (r .
. h. nsequences . . "
since t is co · 11 rs tbe focus 1s often on the Phase f .
an
d make
. . . .or and senior e t:>
d sian researc e· l
ranee For ex amp e, w 11en we first st
o Ide .
ation
,,~· 11 'iJli
1P1 ,,iO tdCO1. '5 w·r i£l'
1r ·...ill0 i..er
·- rP~r ,,~ere'5e(01'11C 1~
•
not on Ya way . t>> h0 ways of living with rechnologtes becomes over time ad J·1 zi [hUS CO •
becomes a way of know~ng : ' n are dbrtf
1·n use rather than how it was invented. .. L past, an d
h, h 1
Ot ers ave a so reac
ted towards the temporalmes
. I of research.
. Stengers (2011) for
. ' "b1 aki·ng tn. Threa ,5
!'lf:1~i.riesoftue
I h d to· marnstream research r . :iarl~ Ill
examp e, aS atgue f Or what she calls slow scrence. n contrast • )JmU -;I . • nrcame
to
that feeds the current state of knowledge economy, slow science' is meant to be a.ble to ' ir~e:oparnctpa . ex eri·
grapple with complexities of the common world. To allow for ... a reembeddrng of , J-sneaianot bnng Ph
science in a messy world' (Stengers 2011: 10) implies dealing with issues, questions and ~c ,tasanapronthats'
concerns that do not ari~e and become re.lcvant rn · l! .we11.-co~tro11 ed c~nfines
· t he re Iat1ve ·Jiro homherhopechest.
11Jn~lucu
of the lab. Slow science is thus, through its focus on temporalit1es, m dialogue wnh the ~- ./ , Wtext se
· t I1at range f rom d1scuss1ons
·above-mentioned calls f or new ways o f knowmg · . on methoels /Jrorownte
' · ane · .d, ,
(Law 2004), to the positions of researchers (Callon and Rabeharisoa 2003 ). Slow research ootka~on. The text sai :
for us is to stay with the collective intervention of patch working. Staying with, in this iir.i;u:ioo as well as swearii
context, also means not to rush to solutions or to resolve problems, but to stay with ~'\iJtJcomposingand co1nr
something, with complexities, mess and troubles. M~ll(1eePlatP \ ,) \\'I.
What we argue is that patchworking ways of knowing is to know the world thrmwh 'iiii~ilit~h
f
. I ,we t
'J,J_.
making and that this making or intervention is collective. Since issues of living with ~ ~ no ogres, r
teclm0Jog1cs a.re continuous, never fully resolved, we have also ar"ued for staying wit! h..i,~= :,~to do Wit]
such interventions. 0 ai~aai· l tKnown It.
I· ~ng and brin . . I
~rn lhrea~ ging t<
PRACTISING CARE AND CURIOSITY n,~· to ~ b she founc
We_h~ve suggested above that our invit . . . . , esses ~~- tought .
cunos1ty. We engage with · .· h ation to part1c1pate 111 Threads also expr ~1h . int(
. curiosity t rough th h . . I I as not
resulted in any snappy conclLt · . b · e pate Working ways of knO\·Vlllg. t 1 d '~'·tn11~U\J()~)'i
. i11e C...
. s1ons in ullet . f ke co
map, for example, the text . point · orms, although we have been as . b
. wit a
~·1 l~ ~ ataqe . ta_hslh
.
comparative study of different
messagmg of . . .
f
.
part1c1pants 111 order to come up hs ~1~ c%e tized b I '
· ·
instead generated a variety of s't
parts o Sw d · ·
I e en. The Patchworkina ways of knoumtg 'th
· a i\ Pr\\\~is as~Ule ~ ..
te h l ·
c no ogies. But perhaps more 1111
l llatec
· '
lo d «> 1· w1
cate ' partial ·stories of how we ive e
tl
'~1
~aft,~~ ' lQ i1aL · dt•"l~
argue c 1 b POrtantly th k wing, \11 ~ ~~ ~~L· 11~ th··
t h ' an a so ecome a way of pracri· . e Patchioorkini;; ways of no . ..jth q~· 111~ 1 e
'~~ c.1es it .s liw
'
ec nolog . smg care . d . ' f 1· ng ''
y. · · an cunosity towards ways o ivi
For example, before h .
where we h
r I
creativity is not about crafting the new through a radical break with the past. It's a
~~a.rrer of dis/continuity, neither continuous nor discontinuous in the usual sense. It
seems to me that it's important to have some kind of way of thinking about change that
doesn't presume there's either more of the same or a radical break. Dis/continuity is a
curring together-apart (one move) that doesn't deny creativity and innovation but
, I
understands its indebtedness and entanglements to the past and the future.
We\). -Barad, quoted by Juleskjaer and Schwennesen 2012: 16
•..
To crafr things well, as patchworking reminds us, is not about the cult of the new, but
about continuous working with patches that have a genealogy, and through the relational
reordering reconfiguring the world and relations in a responsible way. The interventions
of patchworking are thus to attend with care and curiosity to histories, materials, and
genealogies of the past, and bring these into future configurations.
Similarly, making in Threads has the potential to enact both care and curiosity. For
example, a participant came to Threads without much prior experience of text messaging.
While she did not bring experiences of mobile phone use to Threads, she brought other
things, such as an apron that she had made out of her hand-woven linen cloth that she had
picked up from her hope chest. Since she did not have any text messages to embroider she
i
decided to write a new text, send it to the embroidery machine, and have it embroidered \•
. • Jr
·on the apron·. The text said: 'Svetten lackar', which can be understood as sweating in I '
anticipation as well as sweating because of the hard work. In this case the hard work ,1
( \
included composing and completing her first text message as well as finding reception for
the SMS (see Plate 5.3). We take this to be an example of the co-articulation of an issue
of living witb technologies, made through the practice of making. More precisely, this
•I
co-articulation has to do with how to handle the familiar in combination with the less
known, or not yet known. It is also an example of how making in Threads becomes a way
of practising and bringing together thoughtfulness, care, curiosity and making. ln the
making in Threads she found ways for her hopes from the past and her apprehension of
the new to be brought into the present. Doing so demanded tremendous effort and
courage.
In the book The Craftsman, Sennett describes craftsmanship as a kind of citizenship
which is characterized by ' ... the desire to do a job well for its own sake' (Sennett 2008:
9):' To become a skilled craftsman takes time and practice and is not always an easy and
~: 1.:
joyful process. To have the skills of a craftsman, Sennett argues, is of great importance,
since craftsmanship is a way of knowing the material conditions of the world, a knowing
~hat also makes it possible to engage with and transform it. His support of craftsmanship
15 als? a critique of the separation between making, on the one hand, and thinking,
debating and judging on the other. These schisms can be traced to industrialization. To
avoid this separation, Sennett argues for a kind of craftsmanship that is an ongoing
engagement, that enacts curiosity directed not only to what it is possible to make, but also ~:
'
to address why. We find parts of his work useful as it suggests a temporal shift - from
. an after-the-fact ethics to a more ongoing engagement that involves both curiosity
. and care.
__
11-Tf'. l·,ANDBOOK
l
OF TEX"ftl"'i:. C"lJ.
. ll't!l\t
. ·raft (cf. Rosner 20] 0)
1akwg, c ' . . • Il <lt1c[
_i 4 . nt:cred Ratto, 111sp1nc )y Latour h
1 II
, as <It,tePaj.'
1 I · · kcrs I -1ve con le 1\1att h . l
' l . g, rarher t an simp Y car •ng b '~ 6l!·~
. r i111
Sevt:rnl (1t it:r. ) with Lare
1 J· ·orn1ng
. ' . f 01· exa!llP
I care
,
~.
fcor sorrier, 111 ·ec oneself as pan of the1 . a
' ans to s . . tssu ,
o~I
'C 1Jen fort ,(. eiweuc er /'or also me, · . ni ng is also Ill line With St he and
I . k. '"" " "" . h reaso '' o
rh<Jt ma ing l1c·re is rhat
.. , Ke
, . onsible. Sue
II resp I sugge' StS that in order to be resP<ln s1b1 .· lan\
b
The dittere1 b ·na parria '! nnbilit)' t 1at . h. extended networks of socio e for
, Isa ci n I . ccou ' I · wit in · tnat .
rhere } a
002) conccp t of locarcc ,1 I
d ro ora re ourse ves .
I w recog . nize what one can . do is to " k hCt1a1
"'so o,
;~:~ly o~ tlesig:~oi
(l we dc.,;gn, we"" . lute conrrol, '"t
,f working relations. While her
;:t;t'.on" Not to seek with thtS set technologies, often made by.
can proceed resp he development I r the everyday demands of l1vi11g .ts
?nebased. primarily
is on r cou Id be said a )OU
. he same IV11n
and eng111eers, r
technologies.
CONCLUSION
h k . . his chapter is. nor only the making ofl ad textile object' bUt
J>are wor . as we. present ir m rhwor k o f different
111g' . kinds of · I e ges,
l know h experiences'
h lie
hr e co .crive makmg . of1a · pateto ways of living with tech . no. ogtes. kn ot der Words,
k What
. h ·es, and hopes
1sron . m re 1 at10natchwor k.
mg ways of knowing IS to ma ekan to now Ways
1
of Jiving with rechnologres. e1rP.ts. both ep1sre
we ave proposed 1s tha .
t t . . mology and ontology - to now and to rnake
. in one
the. world · hrougnL ma k'mg 1·s certainly not unique to our .work. Many others
· k move.
h ot nowmg
fhe. idea • onnectedness
t ' . . betwe en epistemology and ontology.
. .What characterizes
argue
h. tort e same c
hworking ways o nowmg f k . is the corn. bi nation of be mg mterventionist
I h and
collective
r e pa.re and rhc staymg . Wt'th · These charaeterisrrcs, we have arguec, · ·1avef consequences
f I
not only or 1ow we now, k · what we . know. We have • pnman . .y ocused on the
. but also
staymg
· w1 .
'th c .omp, arec·l to rn11ch other practice-based research that puts the focus . . on, for
.
example, ideation phases, to stay with allows us to know how ways of 11v1ng with
technologies become over time through a continuous patchworking.
Howe~er, through the composition of Ibreads we have not aimed at privileging
slowness as a given value. One point with Threads is that the efficiency of industrializatio~
the meditative, the digital, the physical, the here, the now, the past, the human and tht
nonhuman are all gathered at the same table. To be able to handle the co-existence of
various ways of Jivmg With technologies and complex relations that span time and space,
we argu~ that there 1s a need to practise care and curiosity. One way of practising this, we
suggest, is through a continuous patchworking, Without a final solution. This is also to
suggest a way 111 whICh to acknowledge one's ow n respons1·b·1·
societies. . . . technological
1 Htes in
NOTES
Threads has been just one among many expressions of an interest in the combination
l. of textiles and computation. In Sweden alone there have been three major exhibitions
ernrh:1sizing slightly diffeQrenr aspects of living with mundane technoiogies and textile
c.:rafr: C:raftwerk 2 .0 (cf. Ahlvik and von Busch 200.9 ; We make money not art 2010),
Open Source Embroidery (cf. Carpenter 2012, n.d.) and Points of departure (cf. Fiber Arr
Sweden n.d.).
2. This chapter is a revised version of chapters in our collaborative thesis, written across the
I
disciplines 'interaction design' and 'media and communication studies' at Malmo University
and published as Lindstrom and St~hl 2014.
3. To make Threads portable we have put together rhe materials chat travel with Threads in
rwo blue cases. T he cases are made so that they can fit into a car and include durable goods
such as needles, fabrics, and threads, an embroidery machine, cable cloths to embroider on,
clothes lines to hang embroideries on and much more.
I
4. We here follow the earlier mentioned ANT(a) (cf. Latour 2005; Law 2009) and feminist
technoscience (cf. Barad 2007; Suchman 2007; Haraway 2008; Lindstr6m and Stahl 2014)
thread, which emphasizes relational and mutual becoming, which means that objects and
subjects are always in the making and become together.
II
5. It is noticeable how scholars and artists in a variety of contexts work with an expansion of "
the category of citizenship. These expansions move beyond citizenship as solely discursive
and parliamentarian by including D IY-citizenship that emerges through direct action and
maker cultures (Ratto and Boler 2014), citizenship pe rformed through sensing technologies
in relation to environmental issues (Gabrys 2013; Pritchard 2013) and various kinds of
material participation in the everyday life (Marres 2012).
REFERENCES
Ahlvik, Clara and von Busch, Otto. 2009. Handarbeta for en biittre viirld. Jonkopings !ans museum.
Andersen, Tariq, Osman. 2012. Prototyping a Collective: On Ethnography_, Design, and Use
of a Personal Health Record. PhD thesis, University of Copenhagen. Retrieved from:
http://curis.ku.dk/ws/filcs/43 997087( fariq_Andersen _PhD_Thesis_2012_Prototyping_a_
Collective_with_papers_1_5_.pdf (accessed 13 August 2015).
Barad, Karen. 2007. Meeting the Universe H alfway: Quantum Ph) Sics and the En-tanglement of
1
~t
THE HANDBOOK Or ·n'v·r1
•'\ l.p '
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