PROJECTS ABOUT CONTACT  

Digicraft

 
  The Digicraft project focussed on creating embroidery patters using the classic commodore 64
gameconsole, using custommade software made by Raquel Meyers & the C64 group Hack & Trade.
Blending the tradition of scandinavion demoscene artistery, with another scandinavian tradition:
classic embroidery.
In this workshop we created analog translations from a digital root. Mainly to the eld of Embroidery,
that as a craft has a long history. By using the Commodore 64 gameconsole as a canvas, new embroidery
patterns can be created that call for innovative use of form, colour, language,punctuation marks, special
symbols, and graphics.

 

 
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  Scandinavian Demoscene
The DemoScene was born in the computer underground in the mid 70´s all troughout Scandinavia (Norway,
Sweden, Denmark, Finland) and Germany. Demo´s are the product of extreme programming and selfexpression.
Forming an important piece of cultural history in Scandinavia and Beyond.
 
   
 

Bunad History
Bunad is a Norwegian umbrella term encompassing, in its broadest sense, a range of both traditional rural
clothes (mostly dating to the 19th and 18th centuries) as well as modern 20th-century folk costumes.
In its narrow sense the word bunad refers only to clothes designed in the early 20th century that are loosely
based on traditional costumes.
The bunad movement has its root in 19th-century national romanticism, which included an interest for
traditional folk costumes not only in Norway, but also in neighbouring countries such as Denmark and notably
Germany. However, in Norway national romanticist ideas had a more lasting impact, as seen in the use of folk
inspired costumes.

 
   
 

Digital Embroidery aims to blend these two scandivian traditions, and reinvent both of these crafts (coding
with computers and embroidery) through the workshop

With a generational shift for computers that were made over 25 years ago, we are seeing the current
‘Internet generation’ take a liking to computers that xisted from the ‘golden age’ of computing when things were
simpler and more tangible. Raquel Meyers examines the use of antique video game hardware used to make
modern visual art , mainly Raquel’s use of the Commodore 64 (C64) that she has reinvented as an animation
and live performance tool, as well as a design environment for output to patterned streetart, embroidery
and teletext imagery, created with a non-mistakable estheatic of raw shapes and colours from the Commodore64

 
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