Weaving is traditionally considered a feminised activity and has, as such, been valued and remunerated less than other forms of labour, whereas computers are, still to this date, largely masculinised. While the histories and operational principles of coding and weaving seem unalike, they are closely connected. I take inspiration from mathematician Ada Lovelace (1815–52) and her groundbreaking innovation that would become the very first computer programme, alongside artists who, each in their own way, both cite and search for ways to transcend digital and other binaries. In this article, I will explore the code used in digital computers alongside the warp and weft components of weaving. Is there an alternative to the binary system? The zeros and ones of digital code that echo the reductionist divide between male and female genders in Western cultures, between nature and culture, between organic and technologic, between us and them, as well as numerous other dichotomies? I long for ways of troubling or glitching these divides, as they too often cause damaging oppositions, produce static hierarchies and result in various modes of oppression.
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