Pattern Recognition: Process & Pedagogy, (development began in 2015), meditation, drawing, movement, writing, video.
A process for multiple applications such as art making, teaching and workshops, psychology and counsel. Pattern Recognition Projects apply principles and ideas in John Haugeland’s book on Artificial Intelligence to develop a method of learning through doing. These methods of learning are designed to form healthy relationships and understandings with terrains and temporality. The following information presents researching and developing practices within the field of embodied cognition. The Pattern Recognition Project works with the Vision and Body Relationship, coordination and using motor skill development to bring about independent and critical thinking.The Pattern Recognition Project works closely with memory, behavior, lineage, choices, and agency. There are presently 5 Steps contained in this process. The Pattern Recognition Project is followed by documentation for Afjordance, the technical aspect of the research.
The first step is to experience a sensitised exploration of the environment. Through meditation and movement to go into contact with intuition. The intuition guides the gathering of materials from the environment.
The second step is to draw the materials, following an axial rotation similar to the scientifically reported rotation of the earth. The drawings were made, then traced with the visible under-layers onto the new top layers with the idea of impressions being visible in memory only up to a point until visibility fades but does not erase the existence of the under-layers.
The third step is involves Memory. The lines are performed as body movements. The exercises are carried out independently, and then if in a group environment coordinated independent movements to arrange a group movement. Records of these practices are used for reflection and to witness the development over time, among different groups and various places.
To experience nature and nurture concept of impression and transference, two transferrable materials are used with water and pigment. Other materials can be useful. For the sake of providing an example, gouache paintings with two pieces of paper follow 2 different impulse. 1 impulse to paint from memory. The 2nd impulse to paint from a photo.
To look at the difference between making something look like something else or using memory (embodied sense of experience) – the gouache painting exercise was carried out by making compositions based on memories of witnessing detailed areas of water flow, and composing paintings based on looking at a photograph. Viewers could immediately see the difference.
The gouache paintings were done on the “wrong side” of Japanese Washi paper, to transfer the pigments onto acid-free, black papers. The pigments left traces similar to the way a memory becomes a trace of lived experience or ways communication of forms become transferred onto what is underneath or nearby.
In addition to discerning difference in how forms are made by hand from referencing external or internal referents, is also considering the process of transfer. As the original can become a symbol for reading-as reading a book or remembering a book, the paint transferred to the surface under becomes the information absorbed.
A mirroring exercise can be completed with language and/or illustration. The exercise in writing a letter in reverse, to see how it appears through a material and in a mirror. The practice is based on the mechanics of a single-reflex camera and the way the eye perceives reality directly which is then flipped in the brain. This practice develops understanding of communication and the two-way nature of the way read symbols are transmitted and interpreted.
Proposal for Artistic Research Journal
Matter, material, physicality, the tactile. From a desire to transform the visual into the tactile, the gouache works through differences of being of nature and being in nature.Â The pattern recognition project serves as a templates for pedagogical process and a textile project. Forming slowly since moving from the United States to Norway, in 2015, Rachel began working intuitively, to see how landscapes inform human development and Becoming processes.Â Considering ideas about balance, terrain, and certainty of actions by choices in working-with and not in dominance-of living processes. Â Born out inquiry into what creates a body and what makes someone who they are, instead of the idea of using nature, taking it up, seeing nature as pure resource, Rachel gathered rocks from hikes, numbered, and archived them.Â She transposed the line forms from the rock faces into drawings, the line drawings into choreography, and the feeling of the movements into the template for the visual textile project.Â In reaching to realise the impossible act of hugging a visual field and the probability of becoming a place, Rachel sees textiles as a way to make sharp things soft, and the absolute and brutal beauty of the changing landscape to physically reach for comfort, understanding, and reprieve. Rachel is seeking to work in cooperation and partnership. The project and processes involved can be used as pedagogical tools in classrooms, to form cooperative group work in individual and business settings, and a business for sustainable design.Â The value of labor, of our body, our nature, and life through the weaving of thread to remind us of the wholeness and warmth we already have within the unity with nature.