The word mitochondrion comes from the Greek μίτος or mitos, meaning thread and χονδρίον or chondrion, meaning granule (thanks! wikipedia). But this isn’t about the mitochondrion itself.  Rather, this is a story about how the genetic information that helps mitochondria reproduce and silk threads are rewoven together.

What is a mitochondrion? It’s an organelle (kind of like an organ in your body) for a cell.  They generate much of the chemical energy used by a cell to carry out its different processes.

I have been working on a project for the last few months that extends work on what I call Silking Systems. By calling it Silking Systems, I’m trying to emphasize the patterning of silk and textile production as a set of relationships, things and interactions to accomplish varieties of silk/non-silk relationships, rather than as modes of behavior or production which are static – or should I say pre-threaded?

In 2008, some of my students researched How Silk is Made (after How Stuff is Made) for my class on Design for Sustainability. Their work documents the collection and processing of the silk fiber from cocoons to the thread you find in finished textiles.

About a year later, I worked with students at CEMA to develop square cocoon.  Yes, a square cocoon.  However, we also succeeded in learning a lot about sericulture – the raising of silk moths and worms – for silk cocoons which are then turned into thread.  You can see some of process for making a square cocoon – as well as a lot of other aspects of silk production – in this flickr set documenting some of our work on Silking Systems.

In attempting to learn about sericulture from scratch, I visited some local producers in Karnataka, India and pulled in some textual research and advice – including Joseph Needham’s classic series on Science and Technology in China (1998 ed).

The most recent concept that I want to document here is pretty simple. Human mitochondrial genome sequences are woven in sequence using silk to produce a pattern that matches the mitochondrial nucleotide patterns.

Before I go further, I should acknowledge the assistance of Ashwathnarayan who aided me tremendously is becoming knowledgeable about silk production and weaving.  He also did all of the weaving by hand with some help from me in reading the sequence. Nonetheless it was a true collaboration throughout. David Matthew was also instrumental in helping to build some of the loom pieces as well as providing emergency translation from Kannada to English when my conversations with Ashwathnarayan became difficult or too complex. At the beginning too was Millie who accompanied us to a silk production house in Vijayapura, Karnataka – just north of Bangalore. Millie did some great translation acrobatics using her English and knowledge of Tamil to translate for me and to speak with Ashwathnarayan – who in turn was speaking with the silk producers in Kannada.

I have a few implicit goals and a few explicit ones as well. An implicit one is that I am attempting to push the relationship between craft, production, economic agency, and hybridity. I am drawing to some extent from the idea that economic value is generated through recombination – that goods and/or services emerge and create value when they are mixtures of other (especially unrelated) things.

Transferring the silk thread for the weft from Gabriel Harp on Vimeo.

Eric Beinhocker details this concept of value through hybrids along with an evolutionary algorithmic perspective on economics in his book The Origin of Wealth (2006). The book was recommended to me by Cesar Hildago, a Research Fellow at Harvard University’s Center for International Development. Cesar’s work on complex networks has also influenced this project, starting with his article on the Product Space of Nations (2007) and continuing with images like figures 1 and 2 which came out of his research. The network graphs make it easy to see how different economies differ in the products they export.

My thinking is that by challenging some aspects of the status quo in silk and textile production, new value propositions might be found. This comes, perhaps, by demonstrating that square cocoons are possible or by remixing molecular genetics and weaving to create a series of silk stoles based on a mitochondrial haplotype found frequently in southern India.

Preparing the shuttles from Gabriel Harp on Vimeo.

Another goal is to simply visualize the mitochondrial genome – and to make it as accessible for teaching and learning as possible. Making it tactile and making it in silk allows people to touch, feel, and to see individual sequence variation. Silk thread is a good scale for this sort of thing – not too small and not too big either. So in viewing these stoles (which measure about 5 meters each in length) one is challenged to look for patterns and they are rewarded with the same.

The process is pretty simple. I started with the stored Genbank sequence of the M2 haplotype which is traceable to early settlers of India. I took the nucleotide sequence information (atctcgctagatagacat, etc) and printed it out in BIG type so that we could follow the pattern easily. By assigning a color to each base type, patterns will reveal themselves. For our first prototype, I chose yellow, blue, green, and red. These are used commonly in genomic sequencing and prediction software (at the University of Michigan, for example) and I wanted to start with something that would resonate with biologists and would also suggest a playfulness associated with childhood and formative development.

Weaving silk using a mitochondrial sequence from Gabriel Harp on Vimeo.

Weaving the pattern is excruciatingly slow. In fact, this kind of work goes against a lot of how silk waving is organized from a production standpoint. There are no repeated patterns and each thread is individually sequenced – that’s the point!  We accepted that we might introduce our own errors into the fabric, but then that fits well with the concept; as we try to speed up we might lose fidelity with the original sequence. There are a handful of good correspondences between the weaving process and DNA replication, and they are themselves teachable moments for students that encounter the project. It also gets them thinking critically about what correspondences do or do not exist, as a way of developing their own comprehension.

I’ll expand this article as the project develops further, but I’ll end now with one nagging curiosity. The pattern that is being produced is engaging and pleasing. It makes me wonder if it in some ways exploits a bias we humans may have towards certain arrangements. Specifically I’m thinking about pink noise patterns…but I need to search more.

References

Needham, J., & Kuhn, D. (1988). Science and civilisation in China: spinning and reeling. Vol. 5. Chemistry and chemical technology. Pt. 9. Textile technology. Cambridge University Press.

Beinhocker, E. D. (2006). The origin of wealth: evolution, complexity, and the radical remaking of economics. Harvard Business Press.

Hidalgo, C. A., Klinger, B., Barabasi, A., & Hausmann, R. (2007). The Product Space Conditions the Development of Nations. Science, 317(5837), 482-487. doi:10.1126/science.1144581