The design process in Kashmiri carpet weaving is a distributed process encompassing a number of actors and artifacts. These include a designer called naqash who creates the design on graphs, and a coder called talim-guru who encodes that design in a specific notation called talim which is deciphered and interpreted by the weavers to weave the design. The technological interventions over the years have influenced these artifacts considerably and triggered major changes in the practice, from heralding profound cognitive accomplishments in manually driven design process causing major alterations in the overall structure of the practice. The recent intervention is by the digital technology: on the one hand, it has brought precision and speedy processing in the design process, and on the other, it has eliminated some of the crucial actors from the practice. This paper, which forms part of a larger study on the situated and distributed cognitive process in Kashmiri carpet-weaving practice, describes the technological makeover of the design artifacts involved in this practice over the years and their resultant cognitive impact on the design process as well as on the practice.
This article describes various ways actors in Kashmiri carpet weaving practice deploy a range of artifacts, from symbolic, to material, to hybrid, in order to achieve diverse cognitive accomplishments in their particular task domains: information representation, inter and intradomain communication, distribution of cognitive labor across people and time, coordination of team activities, and carrying of cultural heritage. In this repertoire, some artifacts position themselves as naïve tools in the actors' environment to the point of being ignored; however, their usage-in-context unfolds their cognitive involvement in the tasks. These usages-in-context are shown through artifact analysis of their routine, improvised, and opportunistic uses, where cognitive artifacts like talim-the central artifact of this practice-are shown to play not only multifunctional roles beyond representation, but are also complemented by trade-specific skills bearing strong cognitive implications in a task.
The design process in Kashmiri carpet weaving is distributed over a number of actors and artifacts and is mediated by a weaving notation called talim. The script encodes entire design in practice-specific symbols. This encoded script is decoded and interpreted via design-specific conventions by weavers to weave the design embedded in it. The cognitive properties of this notational system are described in the paper employing cognitive dimensions (CDs) framework of Green (People and computers, Cambridge University Press, Cambridge, 1989) and Blackwell et al. (Cognitive technology: instruments of mind-CT 2001, LNAI 2117, Springer, Berlin, 2001). After introduction to the practice, the design process is described in 'The design process' section which includes coding and decoding of talim. In 'Cognitive dimensions of talim' section, after briefly discussing CDs framework, the specific cognitive dimensions possessed by talim are described in detail.
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