Nosukaay: Weaving the Future with Tradition and Technology

In the heart of Dakar, where tradition and modernity converge, a groundbreaking project is weaving its way into the cultural and technological landscape. Got upa mesmerizing work by artist Diane Cescuttirepresents a bold fusion of traditional West African weaving and digital technology, creating an interactive experience that bridges ancient craft with contemporary computing.

The interactive installation represents a groundbreaking synthesis of traditional textile craftsmanship and modern digital technology, embodying a hybrid creation that bridges the gap between West African loom techniques and contemporary computing. At its core, this innovative “computer” reimagines the Manjacque loom—a traditional weaving apparatus from Senegal—by substituting its traditional frames with two screens. These screens maintain only a delicate functional envelope, merging the tactile familiarity of fabric with the immersive capabilities of digital media. Through this amalgamation, the installation pays homage to both the rich heritage of Manjacque weaving and the transformative potential of digital storytelling.

Central to the installation is Nosukaay, a machine deity who narrates an alternative history, interweaving the development of computers with the intricate knowledge embedded in Manjacque weaving and mathematical principles. This narrative unfolds through a dynamic blend of texts, film documentation captured in Senegal, and 3D imagery, creating a multi-layered exploration of cultural and technological intersections. As Nosukaay tells the story, the viewer is invited to engage with the installation not merely as an observer but as an active participant, guided by the tactile interaction with the artwork.

The Manjacque loincloth, meticulously woven by the artist and Dakar-based weaver Edimar Rosa, serves as an interactive keyboard that allows viewers to navigate the narrative. By touching, stroking, and pressing the cloth, viewers make choices that influence their experience, similar to navigating a video game. This tactile engagement fosters a unique relationship between the viewer and the art piece, with each interaction revealing or concealing information based on the viewer’s path. This dynamic interaction not only enhances the storytelling but also deepens the connection between the viewer and the cultural and technological themes explored within the installation.

Got up is more than just an art installation; it’s a textile-computer hybrid that invites users into an immersive world where manjacque weaving and digital interactivity collide. The project, crafted by Edimar Rosa at the Aïssa Dione Tissus studio and the Boulevard Canal4 outdoor weaving studio in Dakar, turns the loom into a canvas for a new form of digital storytelling and gaming.

“My artistic practice starts at the loom as the origin of computing: tracing the history of computer code, I find myself entangled in the history of weaving; following the crossing of fibers, I end up with its ethereal form: its algorithm. Through speculative and narrative approaches, I explore the shared genealogies of these two technologies to imagine new aesthetics and imaginaries”

A Fusion of Tradition and Technology

The core of Nosukaay lies in its innovative blend of textile and digital elements. At its heart, the project reimagines the loom—an age-old tool of weaving—as a conduit for interactive technology. Through this textile-computer hybrid, users engage with a video game that is deeply rooted in the cultural significance of weaving and the intricate knowledge embedded within it.

In this unique digital realm, users encounter Nosukaay, a machine deity who narrates a speculative story of computing’s alternative history. This narrative intertwines the realms of traditional Manjak weaving and modern computer science, highlighting their shared mathematical and algorithmic principles. The game challenges players to respect and honor the art of weaving, echoing the cultural reverence that the West African tradition holds for this ancient practice.

The Experience of Nosukaay

As players navigate the Nosukaay world, they are immersed in a rich tapestry of text, 3D imagery, and video footage from Dakar’s weaving studios. The game’s design emphasizes that understanding and respecting the knowledge embedded in weaving is crucial. If players make choices that disregard the significance of this knowledge, they are ejected from the game and must start over, reinforcing the importance of trust and respect in the transmission of sacred knowledge.

Diane Cescutti, who recently won the Golden Nica at the Prix Ars Electronica 2024 for this interactive installation, articulates the project’s deeper significance: “Traditional and sacred knowledge cannot be transmitted unconditionally – a relationship of trust must be established.” This aspect of Nosukaay not only offers a unique gaming experience but also serves as a profound commentary on the value of cultural wisdom and the importance of maintaining respect for it.

“I pull the threads of the weft from my computer screen and trace them back to my loom. I look for the source code, the re-source. My work combines weaving, sculpture, installation, video and 3D to question our relationship with technology, textiles and computers. As part of the tradition of situated knowledge, I’m interested in the way objects are deployed as tools for transmitting knowledge, storing data and as vectors of spirituality”

Weaving as a Metaphor for Connection

Cescutti’s artistic practice is deeply intertwined with the history of weaving and computing. She views weaving as a symbolic bridge between material and digital worlds, with its mathematical and algorithmic properties echoing the fundamental principles of computer code. “Weaving really symbolizes the power to connect things without destroying them,” she explains. “It’s a story of arrangement, it’s an ‘ordorer’ and a bridge between the material and the digital.”

Her work highlights the often-overlooked contributions of weaving to computer technology. By integrating historical and speculative approaches, Cescutti seeks to uncover and celebrate these links while exploring new possibilities. Her project not only revives the historical connections between weaving and computing but also imagines future intersections of these technologies.

Weaving is the ancestor of the computer, this is the premise of my work. The problem is that the contribution of weaving to computer technology has been partially erased, so I’m trying to dig up those links and also create new ones, thinking about what weaving can tell us about computers now, but also the opposite. With a historical-futuristic approach, I go in both directions. I mix both technologies by creating e-textiles, weaving that becomes an interactive keyboard, creating mathematical woven texture in 3D, using cables as threads for weaving and turning physical weaving into 3D assets.

A Broader Perspective

Nosukaay’s innovative approach extends beyond the immediate experience of the game. Cescutti uses this fusion of weaving and technology to provoke thought about our current digital technologies. She raises questions about how the design, tactile qualities, and functionality of modern technology could benefit from the softness, versatility, and resilience inherent in textiles.

Through Nosukaay, Cescutti invites us to reconsider the intersection of technology and tradition, challenging us to think about how ancient practices can inform and enhance our modern digital experiences. In doing so, she not only honors the legacy of weaving but also opens up new avenues for creative and technological exploration.

In essence, Nosukaay is a testament to the enduring power of tradition and its ability to shape and enrich contemporary technology. It reminds us that the threads of our past can weave a richer and more thoughtful future.