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MAGNETICS IN-MATERIAL/ÆSTHETIC RESONANCES

The contents of this page are protected by Intellectual Property and Copyright Laws. Images and Ideas contained or attached to this page cannot be used by individuals or organisations without direct prior written permission, license, or agreement given by Rachel Wolfe. Reviewers please refer to the PDF linked here: 2023_Project Proposal_Rachel Wolfe

 

MOTIVATION

Looking into the ethics of human survival with environments and each other, I sought to take the study of geological and geopolitical empathy down to the detail of invisible matter, to then expand into fully sensorial experiences. Being sensitive to didactic or prescriptive outcomes, I spent approximately 8 years in dialogue with peers and mentors, to ensure the project incites rigour accompanied by transformational experiences. 

 

Since research lends itself to great failure and therefore great potential for insights, discovery, and innovation through professional networked contexts, I am committed to seeing this work out beyond the 3 years of the PhD program. My commitment to the context and the project arises from a lifelong curiosity in the tensions between ideas and physical reality found in technological innovation, conservation, and education, and the ways those tensions between ideal and real inform international, metropolitan, and local notions of sustainability and progress. Through a fundamental value for compassionate perspectives, I am motivated by exploring ways cultural movements can harmonise current tensions in society, commerce, and innovation. 

 

The structural methods described are intended to be durable and adaptable to the rapidly changing demands of environments and technology, while joining the specificity of scientific fields, with the public through art. At the onset of forming a project everyone can relate with while looking into the ways places make people, I sought to translate frequencies of colours into sounds, and then create visuals for scenographic art to interact with musicians, dancers, and audiences. After testing the ways origins of visual information are evident to the viewer, I came upon magnetic resonant technologies, often used in civil engineering, resource mining, and object dating. As a specific way of recording and studying invisible emanations, the data from magnetic resonant recordings added an important layer to forming art-research method of working with earth and data. Creating a visual language formed from invisible emanations affords both iterative site and production studies, in colours and tactility, interactive sounds and performances. Working with resonances to create material out of the immaterial, this truly interdisciplinary method involves collaboration with musicians, dancers, and scientists. 

 

Building upon my formative years’ in a rural environment, training in classical dance and music (piano and voice), my graduate work at Otis College of Art and Design, informed by the Frankfurt School’s critical theories on society, with independent studies in Rationality and Irrationality, assisting art history courses in Modernism to Conceptualism and Photography, I root the research in a structuralist approach on materials to analyse the ideas prescribed in narratives in current discourse.

 

FORMAL AND OBJECTIVE SUMMARY

Involve the gamut of senses: sound, space, touch, light, time. Exploring ways places make people delves into:

 

  • Creating ways to repurpose existing technologies to study the aetiologies of social behavior.
  • Looking into ways earth-based perspectives in culture and material production support cultural harmony more effectively than prescribed narratives such as identity politics, for example.
  • Answers to ways geographic and geopolitical empathy be established through art-research and cultural experiences.
  • The efficacy of cultural production to cooperate with sciences to ethically revaluate subsumed labor and assumed socio-economic situations to postulate reliable models of structure for the future. 
  • Can joining data and art provide overlooked insights to developing sustainable and benevolent cultural movements purely data-driven models and siloed research overlook?

 

Transforming the use of technologies for resource mining and geological surveying into tools for relating the significance of the land with the people, the proposed art-research looks into the resonances of the earth in relationship with behavioural biology. By emphasising the pragmatic actualities within the physicality of earth and life, through the lens of compassionate understanding, the art-research serves to deeply realise environmental relationships connecting science and art, performers and audiences, bodies and landscapes. Using a model of ‘artist as organiser of synesthetic sense information’, the interdisciplinary art-research project works with structural and systematic methods in recording, sound, textile production, and performances.

 

  • Make develop site-specific textiles, based on remnant magnetism from site-specific recordings.
  • Build upon the combined histories of 1970’s Land Artists and Indigenous performance traditions.
  • Explore materials, for example: wool, alpaca, copper, lab generated materials using wood or mycelium. 
  • Measuring actualities of landscapes, the remnant magnetism recordings can be specific to trees, stones, bodies of water, marine life, or objects. Therefore, making the plan open to development during PhD.
  • The textiles afford application in fields of traditional art, installation, scenography for performances, sound, decoration, and potential model for ethical commerce.
  • The research methods lend the possibility of being useful to scientific fields by including aberrant data and new perspectives on technological and creative uses of resource mining and historic dating technologies. 
  • Site-specific textiles make invisible phenomena obvious and tactile, to make the Intuitive able to be analysed for peer and public review. 
  • Exploring new ways materials grow and are formed, ways to generate and make frequencies visible, tactile and experiential in concert with performers and viewers. 
  • The open yet structured methods in the proposed plan aim to inform human and environmental well-being by bringing relationships with nature closer together through experiences of compassionate vision. This means, instead of information being used to exploit nature, the recordings are transformed into ways we can relate with our bodies and nature, using all the senses. 
  • The visualisations are likely to appear abstract, with colours speaking to diverse cultures, therefore affording musical and performative harmonising in spontaneous and beautiful experiences.
  • Use of a weaving machine, or software interface and printer hacked to be a weaving machine, the art-research looks at the ways places make people by orchestrating scenography, sounds, and choreography based on researching geologic sciences for epistemic review by peers and audiences in performances.

 

 

BACKGROUND, CONTEXT, GOALS, METHODS

Magnetics In-Material/Aesthetic Resonances developed by looking into the ideas and views of my peers in installation, sculpture, music, design, animation and ideas used in A.I., conservation, landscape photography, and 1970’s American Land Art. Through my background in piano, voice, dance, photography including the Virtual Material body of work, Making Sense master’s thesis, and Pattern Recognition project, I found ways to orient and collaborate with artists across disciplines, with a shared goal of working with nature, and not in dominance of nature. This orientation formed towards creating a compassionate vision to address biological and ontological questions, such as: what creates a body? Using this view to situate Magnetics In-Material/Aesthetic Resonances in context of of today with methods to produce new possibilities to use technologies toward working more harmoniously with nature. Another aim in the methods is to avoid heuristic errors common within siloed logic and data analysis. 

 

Similar to the ways invisible but real phenomena of bacteria and viruses struggled to become accepted as what civilisation now understands as Intuitive (common sense/knowledge): hygiene promotes wellbeing, Magnetics In-Material/Aesthetic Resonances looks at the ways invisible phenomena of places make people. In that Intuitive (common sense/knowledge) must be founded in something (f)actual to be considered reason, the project proposes a significant ethical area of the morality of human behaviours relative to their environments and each other. Through carefully considered repetition, weaving invisible emanations of places through the visual tactility of textiles, the project aims to create sensual and shared understandings of that which is before and within us.

 

As an interdisciplinary art-research project involving art and craft, geological sciences, technological work, sound, performance, etiological and anthropological imaging structures as textiles, the research looks at ways poetic and empirical experiences are felt and understood, from a bottom-up approach. 

 

  • Offering viewers sensed understandings of complexities through experience
  • Reprieve from alienation by creating belonging through connecting with nature
  • Temporal and sensorial reminders of wholeness and warmth in relation with nature
  • Realise the impossible act of hugging the visual field 
  • Physically relating with a place
  • Sharp textures becoming soft experiences
  • Absolute and brutal beauty of weather patterns transform into physically engaging comfort materials

 

The pursuit of an earth-based narrative from a geological perspective of time allows the art-research to reveal new valences in epistemologies, and repair alienation by making the realms of the invisible and imaginary both visible and tactile. Woven fibres offering additional qualities such as sound, sound dampening and sound channeling. In creating a cultural way to connect with movements deep within the earth through vision, touch, and experience, Magnetics In-Material/Aesthetic Resonances weaves traditions in art with emerging technologies in music, sound, media, environments, and social psychology. 

 

Magnetics In-Material/Aesthetic Resonances realises palpable visualisations of elemental emanations, done in iterative studies, to reveal ways human development and behaviour are formed in social contexts, to achieve greater harmony with each other and the environment. Using an iterative research and production model, the study of several sites opens-up examination of discrete emanations. As the emanations become translated into data and colour charts, the data becomes a language applied within and beyond coding, to create materials for textiles, sounds, and choreographies for exhibitions and performances. Using this method, an invitation is open up to consider ways our transitions with technologies facilitate nuanced and enriched relationships with nature. Examining ideas within narratives in progress, the goal is to see and touch the truths of multiple sites in physical and ideological realities, such as geological locations, philosophies, and cultural revelations. In the proposal stage, the notion of site could be cultural and historical significance, shrines, pilgrimage routes, political, humanitarian organisational activities, objects. Refinement is to emerge through the onset of the PhD project with supervision, and continue for as many years as needed after.

 

 

PROCESS AND REFLEXIVE DOCUMENTATION

Utilise remnant magnetic data from research organisations, such as: Todig, NGU and International Geosciences, to create interactive textiles and performances. Jacquards can be made with TC2 Loom technology, to show the top and inside, as interrelated surfaces, which is an important distinction from using knots, knitting, or sublimation printing. Another possibility is cooperating with software developers and coders to hack plotting printers, to make textile printers out of defunct machinery.

 

Demarcated by textures and colours woven based on recordings from measuring devices often used in resource mining, the subtle pre-formative forces become Visual, Sensual (tactile), and Actual (woven). Developing within and upon traditions in textiles makes a way to connect anthropogenic sensibilities to technological developments reaching toward the future with a holistic vision of healthy symbiosis, instead of a dominance based vision of nature. Fluid and adaptive pieces themselves, the textiles based on records of nature afford and invite use for wall hangings, installations, and scenography for cultural performances with musicians and dancers. The methods of textile production afford an additional sites of meaning making by exploring the sustainable production of the materials used in creating the textiles themselves, such as in use of mycelium and experimental fibres.

 

Creating collaborations with musicians and dancers, by choreographing and facilitating the methodological structures for performing the research makes a unique process for collaboration, improvisation within a structure and documentation in the form of videos, images, charts, cultural impressions/experiences. The research will also formed a recorded database, for future references, archiving, and applications by researchers and those in scientific fields. An example of a formative process is described in the Pattern Recognition process. This project will also produce documentation of the process and form an archive including photography, video, presentations, database, textiles, and performances. The project can serve as a grounds for establishing a company to bridge gaps between science, art, commerce, rural cultures with cities. 

 

Organisation and design of the textiles, production, quality control and compiling the artworks to an exhibition. One of the goals could be to eventually have designs created by hand at Gobelin. Though at this time, the aim is to produce as many site specific textiles and performances as possible. Recordings of those performances offer additional documentation to be used in the future by colleagues in science and art fields.

 

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

 

The process of the art-research project based on the theory of how places making people, formed out of the established field of Pattern Recognition, will be based on study of pre-existing natural, magnetic phenomena. Magnetics are related to knowledge production in physics, the ontological question of existence whether or not humans observe the phenomenon. The process therefore involves ideas on documentation to bring human understanding into greater sensitivity with nature. The fields have become politicised, and so the process and documentation will remain diligent to cite and source facts from peer-reviewed organisations, while cooperating with musicians and performers in the interaction with the tactile results. By exposing observations and facts alongside the experience based art projects, the research can come into public awareness alongside the textiles, creating site specific sounds, visual references, and experiential performances.  

 

 

PROVISIONAL TIME TABLE AND WORK PLAN

  • Year One  
    • Gather magnetic resonant recordings with scientists
    • Organise and establish a database of recordings, production structure, web archives, and documentation 
    • Color-frequency assignments to form a reference database 
    • Textile designs from this database 
    • Material Experimentation: Conductivity, Sound, Luminance 
    • Choreography for 5 dancers
    • Produce Digitally Woven Samples
  • Year Two 
    • Textile production via digital/machine weaving 
    • Establish archive for reflexive documentation for shared access with institutions (including video) and results 
    • Choreography for the final exhibition 
    • Public exhibition and performance 
    • Finalisation & publishing 
    • Process for therapeutic or social integration
  • Year Three +Beyond
    • Final textile productions, using machine weaving
    • Continue to contribute to archive and publishing of research and results 
    • Public exhibitions and performances 
    • Finalisation of pedagogical methodology (with potential therapeutic or social integration uses)
    • After initial publication of dissertation and exhibition, continue the processes and production at different sites for exhibitions and performances

 

BUDGET: POTENTIAL PROJECT RELATED EXPENSES

  • Workspace, shipping, textile storage, costs associated with knitting printers or hacking a printer
  • Labor (musicians, dancers, assistants) or travel for machine usage: https://www.digitalweaving.no/product/ 
  • Yarns, fibres, experimental materials (ex. copper, fibre optics, wood, lab grown materials)
  • Scholarships, Embassy Support, Private Donors, Teaching Fellowships, Public Workshops
  • While NGU data is openly available for use, expenses for access to resources or recording devices
  • Travel for conferences, exhibitions, professional presentations, necessary networking 

 

 

TEXTS, BOOKS, JOURNALS, RESEARCH

Remnant Magnetism, https://www.britannica.com/science/remanent-magnetism
Norske Geologiske Undersøkelse, https://www.ngu.no
SEAS, Moss http://www.seas.no   

Remanent magnetism (Paleomagnetism) or 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 is the source of information for the paleomagnetic studies of polar wandering and continental drift. Remanent magnetism can derive from several natural processes. 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.  Rocks may acquire remanent magnetism in at least two other ways: (1) rocks made up of nonmagnetic minerals chemically altered to yield magnetic minerals, and these newly formed minerals acquire remanent magnetism in the presence of the Earth’s magnetic field; and (2) igneous rocks already cooled may acquire remanent magnetism by a process called viscous magnetisation. The difference between these types of remanent magnetism can be determined; magnetic history of a particular rock can therefore be interpreted via 6 basic types of magnetisation: (1) diamagnetism, (2) paramagnetism, (3) ferromagnetism, (4) anti-ferromagnetism, (5) ferrimagnetism, (6) superparamagnetism. 

 

 

SELECTED 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

Noë, Alva, Strange Tools: Art and Human Nature, Hill and Wang, September 2015.

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.

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.

Woolard, G.P. and Malahoff, Alexander, Magnetic Surveys Over the Hawaiian Islands and Their Geologic Implications, Pacific Science, Vol. XX, July 1966.

 

 

SELECTED ARTISTS

Jennifer Steinkamp’s algorithmically generated trees and movements.

Bill Viola’s body of work on interiority using sound and visuals.

Sarah Charlesworth’s work on ways images influence our lives.

Camille Norment’s sound performances and installations. 

Lindsay Seer’s multimedia installations.

Twyla Tharp’s work in dance. 

Peter Fischei and David Weiss’s systemic structures to create eventual outcomes.

Michael Snow’s oeuvre of works using music, installation, and multimedia

Nina Torp’s work with anthropological site digs to inform sculptures.

Christina Kubisch work with sound generating textiles. 

Daniela Bergschneider’s sculptural work with Visual Tactility.

Peter Knudsen’s compositions in music and jazz improvisation.

Mudi Hachim’s work with clay, sound, water and Sumerian artifacts.

Seshen’s “Lineage” thesis and body choir workshops with voice and dance. 

Ingrid Aarset’s work with textiles and technology.

Nina Rodin’s multimedia work with daily documentation and iterative performances. 

Kimsooja’s multimedia installation work taking traditions into contemporary experiences.

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.

Amanda Steggel’s, Mind the Gap, work with synthesia and for mapping the way sounds relate to colors and energy centres of the body.

Dorothea Tanning’s surrealism sensed lived experience tactile, formal, pictorial and spacial. 

Live Bugge’s, The Other Wild, for investigations on the boundaries on behavior and transgressions. 

Katrine Koster Holst’s work on the landscape changing over time.

Geir Harald Semuelsen’s work with light. 

Francesca Capone’s direct, literal, blocks discerning patterns.

 

 

FOUNDATIONAL PROJECTS

A selection of work made during residencies, in collaboration with musicians, artists, and researchers is shared to establish my history of commitment to the field of art-research. Using uncertainty and play, deconstructing the apparatus of photography, critical examination of allegory and narrative, the projects look into byproducts of systems and assumptions, opening up conversations and insights for international colleagues in the Nordics, USA, EU, and Asia, in fields of academia, conservation, agriculture, engineering, UX/UI, Human Genetic/Genome projects, architecture, and civil engineering. I work to place non-violent orientations within cultures. Archive of projects starting in 1999: https://rachelwolfe.com/bio/ Videos: https://rachelwolfe.com/category/videos/  Selected Art-research: https://rachelwolfe.com/category/artistic-research/  PhD Proposal Project Outline: https://rachelwolfe.com/magnetics-in-material/ 

 

Body Line, 2021, video, a collaboration with music artists in Germany for an exhibition in the Netherlands during corona lockdowns. The water nymph archetype is explored as notions of agency and subjectivity in context of health and society crisis.  https://rachelwolfe.com/body-line/ 

Blåtime Sol, 2020, video, a collaboration with music and sculpture artists while at Kjerringøy Land Art residency. The project was done alongside researching poisonous plants and teaching. The experience was to gain more knowledge of video editing while working with ritual and allegory.   https://rachelwolfe.com/blatime-sol/

Afjordance, 2019, video, body meets wire frame generation algorithmic composition. Choreography based on Pattern Recognition process drawing lines as seen on a rotation axis and performing those lines. Took up concepts used in A.I. development: Affordance and Pattern Recognition. for humanistic, philosophical and psychological discourses. https://rachelwolfe.com/afjordance/ AWMAS Conference, UCSB, 2020 https://rachelwolfe.com/awmas-2020/ 

Solfége Souche, 2018, video, realises forms of body and forest in a narrative of light, looking at the audible and material ways identification distracts or attracts significance as well as assumptions about nature. https://rachelwolfe.com/solfege-souche/

Mouvements, 2015 – ongoing, photo/installation, (formerly Bevegelsene) look at the ways oil, water, and gas resources intersect visual information as technologies coincide with innovations in screen and navigation interfaces. The aesthetic makes a holoscopic iridescence and is also being proposed for international sites for permanent public installations. https://rachelwolfe.com/mouvements/ 

Teknovisuell Experience, 2015 – ongoing, photo/installation, began as a way to expose the losses and reformations in information uploads and downloads through the internet. One of the details was permanently installed at Otis College of Art and Design in Los Angeles, CA.  https://rachelwolfe.com/teknovisuell-experience/ 

Pattern Recognition, 2015 – ongoing, artistic research method and pedagogical tool. The process was developed for the fundamental artistic research methods, as well as developing language around relating subjectivity and environment, or the body with the landscape psychologies. https://rachelwolfe.com/pattern-recognition/ 

Sublime Timescapes, 2000 – ongoing, photo, image documentation project utilising the camera as a means to send ourselves back obscured information about our relationship with time and nature of the mind. Additional photography series made out of researching space and landscape relative to historic perspectives in conflicts and war. : https://rachelwolfe.com/sublime-timescapes/  Additional photography projects: https://rachelwolfe.com/manganese/ , https://rachelwolfe.com/heavy-water-tungtvann/ , https://rachelwolfe.com/every-time/ , https://rachelwolfe.com/postmodern-postcards/

Omniscient, 2015, photo, from Making Sense thesis exhibition. The monolithic image and poetic text of Imagining a New EuEurasia exhibition in Gwangju, South Korea. https://rachelwolfe.com/monoliths/ 

Suspended Planes, 2015, installation, placed 2 acrylic panels in a room with a video projection of a hand touching a hand, to understand the ways image making obscures visual materials, and the erasures of potential virtual realities reemerge subliminal or inverted fantasies. https://rachelwolfe.com/suspended-planes/

Making Sense, 2015, installation, researching the philosophy in photographic imaging technology including WWI history, social policy, cultural and economic leveraging of consumer goods and creative capital. https://rachelwolfe.com/making-sense/ video making/digital imagine praxis followed, for example: https://rachelwolfe.com/bora/ 

Damocles, 2019 – ongoing, sculptures with found materials, The nature of relationships and visual knowing of weight, softness, histories of pain, punishment, abjection as well as beauty, peculiarity and purpose.https://rachelwolfe.com/damocles/

Underwater Prism, 2016 – , sculpture mockup with glass, water, prism, photography gel to look at ways objects can be hidden in plain sight. https://rachelwolfe.com/under-water-prism/ 

Veveri, 2009- ongoing, began as a way to personally stop smoking, but became a way to understand the value of labor, the place for bespoke goods and handcraft in today’s social challenges with trust, care, kinship. https://veveri.co Yoto, 2011 – 2020, legal trademark branding project in USA born out of teaching meditation and yoga. The teaching became uncomfortable to me as I felt individual agency paramount to verbal instruction. Formerly https://yotostudio.com 

Elvelangs: Vesper Monumenter, multi-media installation, was a continuation of the previous year of contributing to Oslo’s family art night. This offered me the opportunity to see how families and children responded to political, technological and mythologically motivated art. https://rachelwolfe.com/elvelangs/

 

 

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 project(s).

 

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, documentation to 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. 

 

Special thanks to the critical support of my parents, family, and friends, as well as mentors and reviewers: Maja Shoemaker, Chris Sisson, Nada Miljkovic, Annetta Kapon, Rob Gershom Sprjuit, John Wagner, Lucia Otero, Francesco Bentivegna, Thomas Saenger, Øyvind Brandtsegg, Ane Vigdis Øverås, Odd-Wiking Rahlff, Peter Knudsen, Savory Yarrow, Richard Grossinger, David Ulansey.

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