MAGNETICS IN-MATERIAL

Objective

Magnetics In-Material weaves aesthetic translations of movements from the earth. Based on the idea places make people, magnetic emanations are recorded and woven to form visual representations. The textiles create a narrative from privileging the geological perspective of history and time, demarcated by textures and colours woven based on the recordings from the earth. The ways places make people as the unifying theme explores connections between the Visual, the Sensual (tactile), and Actual (woven) structures of the earth and the artwork. By making invisible forces from the earth visible, the textiles reveal new understandings in the human relationship with nature. With the formal and aesthetic references to specific sites, the visual story of each place is woven from the actual emanations from the earth. Each place  investigated in Magnetics In-Material will have a textile(s) of the magnetic records from within the earth. Potential unifying themes of these sites potentially based on, but not limited to, locations of cultural and historical significance such as shrines, pilgrimage routes, or present day organisations such as NATO and UNESCO. 

 

 

Goals

In creating a cultural way to connect with the movements deep within the earth through touch, Magnetics In-Material weaves together several disciplines in art, technology, and social psychology. The actualised weaving techniques are to be determined, and at present focus on a jacquard weave to show the top and inside, as interrelated surfaces. The aim of the research and project is the hope people maintain contact with an understanding a reality exists whether or not they are there. The premise of this project is based on the motive and relates to the theory of a people making a place: the more we study nature both free from and related to our ideas, societies can live more in touch with the nature itself. This concept has been highly politicised, and so I will work diligently with facts and observations in creating the cultural and site specific textile weavings. The concise underlying theory and artistic works intend to opens up conversations on: 

    • Theory Test: How Places Make People, as a viable concept for geographic empathy.
    • Redefinition of value-structures by cultural movements in migration.
    • Ways touch and subjective experience contribute to quests for objectivity.
    • Creating sites for understanding, intuition, and subjectivity in technocratic culture and climate changes. Art in service in ethics, transitions, and integrations. 
    • Usefulness of statistical data models in evaluating Intelligence. 
    • Responsibilities of data science and influences on social policy. 
    • Artwork as supporting diversity in cultural rituals and identities.
    • To what extent can culture support the disintegration of identity politics in favour of earth-based perspectives in the history of human behaviour, environmental fluctuations, social formations.
    • Can materials and production afford reliable alternatives to present-day socio-economic models.

 

 

Process

Utilise magnetic data from organisations such as the Norge’s Geologiske Undersøkelse and International Geoscience Organsiations, to source actual recorded data to inform the dimensional textile artworks. 

   

 

Project Outline

Organisation and design of the textiles, production, quality control and compiling the artworks to an exhibition. The goal is to eventually one day have one of the designs created by hand at Gobelin. 

    • Gather and Organise Geographic Data 
    • Establish Structure for Project Elements and Publishing
    • Generate a Database of Texts, Sounds, and Visual Translations
    • Converting Geologic Frequencies into Sounds and Colour Spectrums in a Unique Aesthetic Database
    • Experimentation with Textiles for Conductivity, Sound, and Luminance Materials 
    • Programming for Machine Output and Materialisation 
    • Finalised Textile Production Through Machine Weaving (future goal production at Gobelin, FR)
    • Publishing of Project Elements and Results 
    • Public Exhibition and Performance 

 

 

Provisional Time Table and Work Plan

Year One

    • Gather and Organise Geographic Data
    • Establish Structure for Project Elements and Publishing
    • Generate a Database of Texts, Sounds, and Visual Translations
    • Converting Geologic Frequencies into Sounds and Colour Spectrums in a Unique Database 
    • Implementing Pattern Recognition Methodology to Formulate Textile Designs
    • Experimentation with Textiles for Conductivity, Sound, and Luminance Materials 

Year Two

    • Programming for Machine Output and Materialisation 
    • Body Practices and Data Records
    • Continue Textile Experimentation 
    • Pedagogy Curriculum Draft Outline:
      • individual gathering and drawing of materials from the nature
      • tracing over the drawings
      • painting the materials from memory 
      • forming a personal colour lexicon
      • writing a review of the findings and understandings
      • performing results with body/voice

Year Three

    • Finalised Textile Production Through Machine Weaving
    • Publishing of Project Elements and Results 
    • Public Exhibition and Performance 
    • Finalisation & Publishing of Pedagogical Methodology (Possible Therapeutic or Social Integration Uses)

Year Four and Beyond: In addition to the publishing of the dissertation, repeat the process, production and exhibition in as many sites as possible.

 

 

Budget

Potential Project Related Expenses

    • Studio workspace for production, shipping or storage of textiles
    • Labor cooperation (assistants or hiring) or use of weaving machine: https://www.digitalweaving.no/product/
    • Sourcing yarns, fibres, and experimental materials (ex. copper or fibre optics)
    • Scholarships, Embassy Support, private donors, teaching fellowship, public workshops. 
    • Norge’s Geologiske Undersøkelse data is openly available for use
    • Travel for conferences, exhibitions, professional presentations, necessary networking

 

 

Background

Magnetics In-Material developed out of the Pattern Recognition project serving as template for both teaching and artwork. Formed during the first 6 years after moving to Norway from the United States, the process came about by looking deeply into ways landscapes inform human (temporal and sensorial) development. The project considers ideas on balance, terrain, socially acceptance systems, practices, boundaries, and locus of control questions related to the orientation of working-with what is and not in dominance over. The orientation emerges from inquiry into a biological question: what creates a body? What makes someone who they are as a whole? Growing from the work Land Artists of the 1970’s, the project and process is looks at ways of working in relationship with nature, instead of purely using, or looking at nature as pure resource. Gathered rocks from meditative hikes were numbered, archived, and drawn. The rock faces were made into drawings, the drawings into choreography, and the feeling of the movements into the template for the visual textile project. In searching to realise the impossible act of hugging the visual field and the possibility of a body becoming in relationship with a place, the textiles make sharp textures and experiences soft, the absolute and brutal beauty of weather patterns into physically engaging comfort materials. Magnetics In-Material has several aims including giving people a sense of understanding through experience, and reprieve from alienation through belonging by connecting with nature. Woven fibers serve as temporal and sensorial reminders of wholeness and warmth in the idea of relenting relations with nature.

 

 

Texts, Books, Journals, Research

Norske Geologiske Undersøkelse https://www.ngu.no

https://www.britannica.com/ science/remanent-magnetism

Remanent magnetism, also called Paleomagnetism, or Palaeomagnetism, the permanent magnetism in rocks, resulting from the orientation of the Earth’s magnetic field at the time of rock formation in a past geological age. It is the source of information for the paleomagnetic studies of polar wandering and continental drift. Remanent magnetism can derive from several natural processes, generally termed natural remanent magnetism, the most important being thermo-remanent magnetism. This arises when magnetic minerals forming in igneous rocks cool through the Curie point and when the magnetic domains within the individual minerals align themselves with the Earth’s magnetic field, thus making a permanent record of its orientation.

A second mechanism operates when small grains of magnetic minerals settle into a sedimentary matrix, producing detrital remanent magnetism. It is hypothesised that the tiny grains orient themselves in the direction of the Earth’s magnetic field during deposition and before the final consolidation of the rock. The magnetism thus introduced appears to persist through later alteration and compaction of the rock, although the details of these processes have not been fully studied.

Rocks may acquire remanent magnetism in at least two other ways: (1) rocks made up of nonmagnetic minerals may be chemically altered to yield magnetic minerals, and these newly formed minerals will acquire remanent magnetism in the presence of the Earth’s magnetic field; and (2) igneous rocks already cooled may ultimately acquire remanent magnetism by a process called viscous magnetization. The difference between these several types of remanent magnetism can be determined, and the magnetic history of a particular rock can therefore be interpreted.

There are six basic types of magnetisation: (1) diamagnetism, (2) paramagnetism, (3) ferromagnetism, (4) antiferromagnetism, (5) ferrimagnetism, and (6) superparamagnetism. Diamagnetism arises from the orbiting electrons surrounding each atomic nucleus. When an external magnetic field is applied, the orbits are shifted in such a way that the atoms set up their own magnetic field in opposition to the applied field. In other words, the induced diamagnetic field opposes the external field. Diamagnetism is present in all materials, is weak, and exists only in the presence of an applied field. The propensity of a substance for being magnetized in an external …(100 of 7885 words)

 

Bibliography

Batchelor, David, Chromophobia, Reaktion Press, 2000.

Batchelor, David, The Luminous and the Gray, Reaktion Press, 2014.

Dragesund, Tove, and Alice Kvåle. “Study protocol for Norwegian Psychomotor Physiotherapy versus Cognitive Patient Education in combination with active individualized physiotherapy in patients with long-lasting musculoskeletal pain – a randomized controlled trial.” BMC musculoskeletal disorders vol. 17 325. 5 Aug. 2016, doi:10.1186/s12891-016-1159-8, https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4974790/

Eco, Umberto, The Open Work, Harvard Univerity Press, 1989.

Eco, Umberto, Travels in Hyper Reality, Gruppo Editoriale, 1983

Eco, Umberto, Chronicles of a Liquid Society, Houghton Mifflin Harcourt, 2016.

Ghezzo, Marta Arkossy, Solfege, Ear Training, Rhythm, Dictation, and Music Theory: A Comprehensive Course 3rd Edition, University Alabama Press, June 2005.

Haugeland, John, Artificial Intelligence: The Very Idea, A Bradford Book, 1985.

Johnson, Don, The Protean Body, Harpercollins, 1977.

Klempe, Sven Hroar, Cultural Psychology of Musical Experience, Information Age Publishing, 2016.

Mansoor, Asma, De-Anthropologising the Human and its Impact on Racism: A Third World Perspective Proceedings of A Body of Knowledge, Embodied Cognition and the Arts Conference CTSA UCI, 8-10 Dec 2016, https://escholarship.org/uc/item/1ds0r585

Mate, Gabor, When the Body Says No: Understanding the Stress-Disease Connection. Wiley, January 2011.

Mate, Gabor, In the Realm of Hungry Ghosts, Close Encounters with Addiction, North Atlantic Books, 2008.

Noë, Alva, Strange Tools: Art and Human Nature, Hill and Wang, September 2015. Noë, Alva, Varieties of Presence, Harvard University Press, 2009.

Noë, Alva, Why You Are Not Your Brain, and Other Lessons from the Biology of Consciousness, Hill and Wang, February 2009.

Sapowlsky, Robert, (neuroendocrinologist, author, professor of biology, neurology and neurological sciences) Stanford Lectures, published by Stanford University on YouTube: https://www.youtube.com/watch?v=NNnIGh9g6fA

Scarry, Elaine, The Body in Pain, Oxford University Press, 1984.

Scarry, Elaine, On Beauty and Being Just, Princeton University Press, 1999.

Scarry, Elaine, Thinking In An Emergency, W.W. Norton & Company, March 2014.

Scarry, Elaine, Resisting Representation, Oxford University Press, 1994.

Scwhenk, Theodore, Sensitive Chaos, Rudolf Steiner Press, 1965.

Van Der Kolk, Bessel A. M.D., The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, Penguin Random House, September 2014.

 

Artists

Ingrid Aarset’s work with textiles and technology. Insightful uses of space is an important consideration for both machine production and the installation aspect of the exhibition.

Lygia Pape and Lygia Clarke, for their contributions to performances using textiles and groups of human bodies.

Pedro Gomez-Egaña for the spiritual in the technological age and his insistence on making language, tone, and critical reflections are not too academic.

Amanda Steggel’s, Mind the Gap, work with synthesia and for mapping the way sounds relate to colors and energy centres of the body. Her work relates to the way I plan to implement sound frequencies and magnetic resonances in colour for the textiles. https:// www.researchcatalogue.net/view/148376/149067/0/8

Dorothea Tanning’s multi-disciplinary work with surrealism to make the invisible but felt senses of lived experience tactile, formal, pictorial and spacial. Her raw, experimental, and courageous oeuvre highlight energy and light through abstract and figurative works are at once poetic and moving.

Live Bugge’s, The Other Wild, for investigations on the boundaries on behavior and transgressions is interesting and would be seen as on the extreme end of human behaviours. Magnetics In-Material looks at the colors, forms and textures people feel is comfortable to create daily rituals in dress and comfort in encounters (such as in public installation). https://khioda.khio.no/khio-xmlui/handle/11250/273784

Katrine Koster Holst’s work on the landscape and how it changes over time. While she relates the work to ceramics based practice, I am interested in the way the landscapes changes humans over time-the way the human body is affected by the environment. https://www.researchcatalogue.net/view/590895/628932

Geir Harald Semuelsen’s work with light. His works found possible visual results of the Magnetics In-Material textile formed from magnetic resonance data.

Francesca Capone’s direct, literal, blocks discerning patterns in her project. Magnetics In-Material will be realised with more fluidity in visual aesthetics to convey the complexity of translation and the aspect of drawing which is organic in form. Instead of using language as a defining block-code, the translations of the frequencies (as a sound) is colorised to closely match the frequency of colour in the visual field. The fluidity in formal representation, is an important laye

 

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Ethical Considerations

Privacy, GDPR, internet laws and regulations to access and storage of data, legal consent, public information, and privacy of individual contributions will be considered.

Translating data must be understood from the perspective of artistic choices, underlined by the effort to maintain elemental integrity. Considering subjectivity in processes borrowed from scientific methodology, actual realised results cannot be considered wholly objective. This shall be acknowledged, questioned, written, and shared in presentations, publications, and future developments from the Magnetics In-Materials project.

The research methodologies to be considered as critical or negotiable features for future research methodologies and with the possibility for other institutional use, pedagogical developments in the realm of private or government institutions, or public domain.

The research and pedagogical approach developed during the project are free to be used for running workshops and courses alongside the project. These courses can be used for enriching local cultural exchange, as an educational resource and site for additional funding of the project.

Resourcing local production to minimise international shipping or travel expenses.

Insurance for the artwork, machines, materials, and data, to be purchased and maintained throughout the duration of the research and productions thereafter.

Language, writing and documentation will be reviewed for facts and technical accuracy. The number of unforeseeable ethical considerations will be consulted through the advisory team, faculty, and staff, considering international copyright and intellectual property laws.