This workshop positions weaving as the entanglement of theory, craft, and technology, offering an embodied lens to explore how these domains influence and shape one another in practice.

Weaving serves as both a metaphor and method for intra-action: the patterns and structures reflect conceptual and symbolic thinking, the act of weaving engages embodied and tactile knowledge, and the loom itself exemplifies the mediating role of technology in shaping creative processes. By engaging participants in weaving, the workshop fosters embodied and collaborative knowledge production, creating a space for reflection on the biases embedded in tools and methods across fields.

Weaving invites participants to reimagine their own tools and practices, offering a critical lens on the disciplinary boundaries of art, architecture, and design. As a process-oriented and inclusive activity, weaving facilitates interdisciplinary connections and a shared community of practice, enabling participants to not only critique canonical narratives but also propose alternative, more equitable frameworks of knowledge-making.

COLLABORATORS

Anne Sullivan (York University) is a researcher and designer whose work bridges software engineering, critical game design, co-creative AI, and human–computer interaction. Drawing on over a decade of industry experience, her research examines inclusive, narrative-driven interactive systems for education, craft, and play. She has published extensively on generative tools, queer storytelling, and computational learning, including NSF-funded research on teaching computational thinking through quilting, and her work has been exhibited internationally, including at the Smithsonian American Art Museum.

Etta Sandry (University of Colorado, Boulder) is an artist, educator, and facilitator whose material-focused research is rooted in weaving and extends across sculpture, writing, and installation. She completed her MFA in Fibre and Material Practices at Concordia University in 2021 and has exhibited work throughout the United States and Canada, including as the 2022 Experimental Weaver in Residence at the Unstable Design Lab. Her teaching and organizing work centers on fibre structures, critical writing, and sustained engagement in artist-run and community-based arts organizations.

Hayri Dortdivanlioglu (Organizer, Dartmouth College) is a Postdoctoral Fellow at the Dartmouth Society of Fellows, affiliated with the Studio Art Department. His scholarship examines the intersection of craft, architecture, and technology, focusing on how established frameworks have historically separated theoretical knowledge from material and embodied processes in architectural discourse. His research critiques the canonical foundations of the architectural discipline, addressing the exclusionary practices that have shaped the field of architecture.

Ishani Saraf (MIT) is an Assistant Professor of Science, Technology, and Society (STS). She studies technoscientific discards and their methodological potential for interpreting social life and political matter. Her current work focuses on the trade and transformation of discarded machines and metal scrap across South Asian and the Indian Ocean spaces, exploring their uncharted transnational routes of circulation, the social worlds they become embedded in, and the novel contexts they in turn generate

indira allegra is a conceptual artist and founder of Cazimi Studio, a practice that uses weaving as a framework to creatively transform tension across sites through performance, publication, and spiritually grounded design approaches. Their work explores connection, embodiment, and care, interlacing poetic thinking with material and choreographic processes. allegra is the author of Tension Studies and Dispersal of a Feeling: Bloodnotes on Choreography and Illnessand the monograph Blackout, and has received numerous awards including Creative Capital, United States Artists Fellowship, and the Burke Prize. They are the 2026 Jacob Lawrence Legacy Resident at the University of Washington.

Jacqueline D. Wernimont (Dartmouth College) specializes in long histories of digital media, histories of quantification, and technologies of commemoration. She also has active research on the resource consumption of intensive computing applications, using digital tools to understand and communicate medical history and practices, and on the use of off-the-shelf tools to transform data into something we can engage with all 5 senses (data visceralization).

Kira Dominguez Hultgren (School of the Art Institute of Chicago) is an artist and educator whose research explores material and embodied rhetorics, re-storying material culture, and weaving as a performative critique of the visual. Their practice engages the material afterlife of a multiracial family history, using textile processes to examine cultural transmission, appropriation, codeswitching, and misrecognition. Dominguez Hultgren is an assistant professor in Fiber and Material Studies at the School of the Art Institute of Chicago and has exhibited work nationally, including at the Museum of Arts and Design. They are a 2024 United States Artists Fellow.

Michelle Charest (Rhode Island School of Design) is an anthropologist, archaeologist, and textile artist whose work centers on traditional Indigenous and historic fiber arts. As a Senior Lecturer at RISD, her teaching and research engage Indigenous art and architecture in global contexts, emphasizing Indigenous rights, repatriation, and critical approaches to cultural appropriation. Her material practice spans the full textile production chain—from sourcing fibers and pigments to spinning, dyeing, weaving, and preservation—and extends to ongoing research on Indigenous ways of making, plant-based pigments in temperate North America, sound and spatial histories, Indigenous and Afrofuturist imaginaries, and disability-centered creative practices.

Nathalie Miebach is an artist whose work explores the intersection of art and science through the translation of scientific data related to meteorology, ecology, and oceanography into woven sculptures and musical scores and performances. Using basket weaving as a tactile, spatial grid, she transforms complex datasets into three-dimensional and auditory forms. Her practice investigates how visual and musical aesthetics shape the interpretation and understanding of dynamic scientific systems, particularly weather.

Pamela Wilson is a multidisciplinary artist working in clay, fibers, and artist-made pigments. Her work, rooted in traditional techniques and community engagement, offers a vital hands-on perspective that complements the workshops’ focus on embodiedknowledge. As co-conductor of the weaving workshop, Wilson will guide participants through the tactile and collaborative processes of weaving, fostering a direct engagement with the themes of craft, technology, and theory. Her practice exemplifies the transformative potential of making as a form of knowledge production.

Rebecca Elizabeth Biron (Dartmouth College) specializes in Latin American literary and cultural studies, literary theory, gender studies, and Mexican cultural criticism. Her research examines the relationship between narrative and violence, particularly in relation to masculinity, Latin American urban history, and Mexican literature and film. She currently serves as Director of the Leslie Center for the Humanities and is Professor of Spanish and Portuguese with a joint appointment in Comparative Literature.

Tricia Treacy is an artist, designer, publisher, and educator; (Professor + Chair of Studio Art at Dartmouth College), whose practice operates at the intersection of print media, installation, story-telling, and artist books. For over twenty years, she has worked on blurring the boundaries between art and design, craft and technology, human and machine, memory and tradition, structures and chaos, while extending the notion of a book as a means to disseminate art.

Vernelle A. A. Noel (Carnegie Mellon University) is an architect, design scholar, artist, TED Speaker, and Director of the Situated Computation + Design Lab at Carnegie Mellon University, where she investigates traditional and automated making and their intersections with society. Using interdisciplinary approaches, she builds new frameworks, methodologies, and tools to explore social, cultural, and political aspects of computation and emerging technologies for new reconfigurations of practice, pedagogy, and publics.