Avie ADAD1002 2016 @avieadad1002 - Tumblr Blog

Process of making the book

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Process shots of making the page showing Copernican ideas of the universe Tea stained paper and watercolour

“Perhaps the most remarkable early follower of Copernicus was Thomas Digges (c. 1545-c.1595), who in A Perfit Description of the Coelestiall Orbes (1576) translated a large part of Book I of De Revolutionibus into English and illustrated it with a diagram in which the Copernican arrangement of the planets is imbedded in an infinite universe of stars”

http://galileo.rice.edu/sci/theories/copernican_system.html

Digges, Thomas. A Perfit Description Of The Ceolestiall Orbes (1556). 2016. Web. 1 Oct. 2016.

In Copernicus' model a spherical Earth rotates daily on it axis whilst it and the other planets each orbit the Sun. The period of the planets' orbits increases with increasing distance from the Sun. The Sun was not exactly at the centre of the planetary orbits thus strictly speaking the model is heliostatic rather than heliocentric. There were several advantages of Copernicus' model over that of Ptolemy: It could predict planetary positions to within 2°, the same as that of Ptolemy. Retrograde motion of planets was explained by the relative motion between them and the Earth. Distances between planets and the Sun could be accurately determined in units of the Earth-Sun distance (ie Astronomical Units). Orbital periods could be accurately determined. It explained the difference between the inferior planets (Mercury and Venus) that were always observed close to the Sun and the superior ones (Mars, Jupiter and Saturn). It preserved the concept of uniform circular motion without the need for equants. It preserved Aristotle's concept of real spheres nestled inside one another. Unlike Ptolemy's model it did not require the Moon to change in size. Copernicus' model also had several problems which contributed to its failure to immediately supplant Ptolemy's model: No annual stellar parallax could be detected. Copernicus explained this as due to the fact that the stars were a vast distance hence any parallax would be very small and difficult to detect. It required a moving Earth, This would contradict Aristotelian physics and Copernicus presented no new laws of motion to replace Aristotle. By removing the Earth from its natural place it was philosophically and theologically unacceptable to many scholars. It was no more accurate than Ptolemy's in predicting planetary positions. It was actually more complicated then Ptolemy's model. In his efforts to avoid the equant but retain uniform circular motion he had to introduce more devices to fit his observations. http://www.atnf.csiro.au/outreach/education/senior/cosmicengine/renaissanceastro.html

the planets orbit the Sun along circular paths. The Moon orbits the Earth which in turn spins on its axis. There are several reasons why Aristarchus' model did not gain wide acceptance and was in effect lost for 18 centuries until Copernicus redeveloped it. Firstly his original writings were lost in the destruction of the Great Library of Alexandria in AD 415. Secondly his concept of a moving Earth defies common sense. We do not feel the Earth spinning or moving through space. His idea contradicted the prevailing view of motion as espoused by Aristotle. The final key objection to his model was the failure of observers to detect any stellar parallax. Under Aristarchus' model, the closer stars should show a periodic shift in position to and fro against more distant stars over the course of a year as the Earth orbited the Sun. In fact this was not detected until 1838 following careful telescopic observations. Aristarchus had underestimated the distance of the earth from the Sun thus the size of possible parallax was overestimated. http://www.atnf.csiro.au/outreach//education/senior/cosmicengine/classicalastronomy.html

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now-groupassessment

Thousands of years ago, all these basic queries were treated as secondary, for the primary concern seemed well in hand: Earth was presumed to be the stable hub of the Universe. After all, the Sun, Moon, and stars all appear to revolve around our planet. It was natural to conclude, not knowing otherwise, that home and selves were special. This centrality led to a feeling of security or at least contentment—a belief that the origin, maintenance, and fate of the Universe were governed by something more than natural, something supernatural. The ancients thought deeply and well, but not much more. Logic was paramount; empiricism less so. Their efforts nonetheless produced such notable endeavors as myth, religion, and philosophy. Eventually, yet only a few hundred years ago, the idea of Earth’s centrality and the reliance on supernatural beings were shattered. During the Renaissance, humans began to inquire more critically about themselves and the Universe. They realized that thinking about Nature was no longer sufficient. Looking at it was also necessary. Experiments became a central part of the process of inquiry. To be effective, ideas had to be tested experimentally, either to refine them if data favored them or to reject them if they did not. The scientific method was born—probably the most powerful technique ever conceived for the advancement of factual information. Modern science had arrived. Today, all natural scientists throughout the world employ the scientific method. Normally it works like this: First, gather some data by observing an object or event, then propose an idea to explain the data, and finally test the idea by experimenting with Nature. Those ideas that pass the tests are selected, accumulated, and conveyed, while those that don’t are discarded—a little like the evolutionary events described on this Web site. In that way, by means of a selective editing or pruning of ideas, scientists discriminate between sense and nonsense. We gain an ever-better approximation of reality. Not that science claims to reveal the truth—whatever that is—just to gain an increasingly accurate model of Nature.

https://www.cfa.harvard.edu/~ejchaisson/cosmic_evolution/docs/fr_1/fr_1_site_summary.html (via now-groupassessment)

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Researchers now sense that the cutting edge of knowledge resembles a thinning haze rather than a sharp boundary. The research front resembles the “fog of war,” meaning that scientific work is hardly ever crystal clear in real time, while the work is underway. Rather, the intellectual landscape is often revealed only later, after the subjective confusion has abated and a certain objective reality has emerged. That’s because the enterprise of science is now advancing rapidly, acquiring new information at a phenomenal rate and requiring novel interdisciplinary ventures to put it straight. Less than a hundred years ago we didn’t understand how stars shine, how heredity works, that the Universe is filled with galaxies, or even that it had a definite beginning. Furthermore, much of science as a “work in progress” involves the human condition, which ensures many false starts and occasional botched logic among the many valid, proven ideas. As a fair assessment, we might say that a pencil sketch of the answers to some of the most basic questions is now at hand, but that many specifics are yet wanting.

https://www.cfa.harvard.edu/~ejchaisson/cosmic_evolution/docs/fr_1/fr_1_site_summary.html (via now-groupassessment)

now-groupassessment

Nothing, however, has been more revolutionary than the idea that this entire universe is in a state of constant change, as planets, stars and galaxies are born and die. This story of the life of the universe, and our place in it, is known as cosmic evolution. Although the idea has roots in the 19th century, and was occasionally invoked in the first half of the 20th century by astronomers such as George Ellery Hale, it really came into its own only in the Space Age. Already in 1958, in his classic book Of Stars and Men, Harvard College Observatory Director Harlow Shapley wrote that the Earth is “on the outer fringe of one galaxy in a universe of millions of galaxies. Man becomes peripheral among the billions of stars in his own Milky Way; and according to the revelations of paleontology and geochemistry he is also exposed as a recent, and perhaps an ephemeral manifestation in the unrolling of cosmic time.”

http://www.nasa.gov/exploration/whyweexplore/Why_We_13.html (via now-groupassessment)

now-groupassessment

One hundred years ago most astronomers considered the universe to be about 3600 light years in extent, less than a billion years old, and with our solar system near its center. Astronomers today have seen objects 13 billion light years away in a universe 13.7 billion years old containing hundreds of billions of galaxies. We are peripherally located in one of those galaxies, known as the Milky Way.

http://www.nasa.gov/exploration/whyweexplore/Why_We_13.html (via now-groupassessment)

now-groupassessment

Definitions of Dark Matter from Wikipedia and Encyclopaedia Brittanica - exploring temporality of ‘truth’ by overlaying crowd source 'fact’ and the institution of 'fact’

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In class work exploring noise/glitch

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now-groupassessment

First Published in a Book - found by researching ‘Artists Books’

“Futurists insist that literature will not be overtaken by progress; rather, it will absorb progress in its evolution, and will demonstrate that such progress must manifest in this manner because Man will use this progress to sincerely let his instinctive nature explode. Man is reacting against the potentially overwhelming strength of progress, and shouts out his centrality. Man will use speed, not the opposite (see art. 5 and 6).

Poetry will help Man to consent his soul be part of all that (see art. 6 and 7), indicating a new concept of beauty that will refer to the human instinct of aggression.

The sense of history cannot be neglected: this is a special moment, many things are going to change into new forms and new contents, but Man will be able to pass through these variations, (see art. 8) bringing with himself what comes from the beginning of civilization.

In article 9, war is defined as a necessity for the health of human spirit, a purification that allows and benefits idealism. Their explicit glorification of war and its "hygienic” properties influenced the ideology of fascism. The Futurist Party, for example, became part of the Combatto Fascisti before the latter’s assuming power. F. T. Marinetti was very active in Fascist politics until he withdrew in protest of the “Roman Grandeur” which had come to dominate Fascist aesthetics.

Article 10 states: “We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.”“

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Research into 'artists books'

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Brainstorm on ‘Now’ from class

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A link to articles about our concept of our future selves

“What Is Affective Forecasting?

Affective forecasting is predicting how you will feel in the future. As it turns out, we’re terrible at it. We’re not good judges of what will make us happy, and we have trouble seeing through the filter of the now. Our feelings in the present blind us to how we’ll make decisions in the future, when we might be feeling very differently.”

https://www.psychologytoday.com/basics/affective-forecasting

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Initial research for how ideas about self affect 'now'

now-groupassessment

Assessment Overview

The future is big in art and design right now. Futuring (a way of thinking about possible alternative frameworks for living), speculative aesthetics, posthumanism, and so on, are all very popular in contemporary practice and theory. For this final assessment, we want you to think about now. We want you to think about this present moment – however you might define it – and the issues, problems, questions, and opportunities that make up our shared ‘now’. Below is a list of some possible paths you could take. Please note these are merely suggestions, not instructions! You’ll have plenty of time in class to consider further options and ideas. • ‘Now’ might refer to today, this year, this century, this millennium, global culture since the 2008 financial crisis, or any other time period. You can set the limits for ‘now’. • ‘Now’ is a temporal concept – it refers to a period, moment. Your work might consider ‘nowness’ in terms of time-based or temporal practice (like performance, archival art, video work, durational aesthetics, epics or miniatures, etc.) • ‘Now’ implies urgency, desire. Think of political slogans: What do we want? Freedom! When do we want it? NOW! You could think about nowness in terms of what you demand of and for this moment and of and for history. • Every moment is a ‘now’ – history is the accumulation of different ‘nows’, looked at from a variety of positions and perspectives. You could approach ‘now’ as a historical concept and consider what it is that makes our ‘now’ particular. What does our now feel like? How do media, technology, ecology and so on affect our sense of the now?

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Concept Statement Assessment 2

All Clothes Are Handmade Who Made Yours?

For this work I wanted to explore the binary of handmade/factory-made focusing in on the textiles industry and how the binaries we apply to our clothing impacts both how we value the item and alternately highlights or makes invisible the people who made the item. I landed on this binary after brainstorming what the extension of my last assessment, ‘REAL NEEDS FAKE, might be. I was particularly interested in how the value of two objects made of exactly the same materials can differ so greatly depending on who we think made it and what kind of environment we believe it was made in. In the context of luxury brands, the perception of the ‘makers’ leans more towards skilled artisans in studio like settings somewhere in Europe, whereas the fake luxury branded bags are associated with ‘workers’ who ‘manufacture’ or ‘assemble’ the fake in a factory setting in countries like China, Vietnam and Bangladesh. In thinking about how we assign value to an item, depending on who we think made it, I thought of the positive reactions I get from customers when I point out that the item from the market stall I work at is handmade and how on sites like Etsy one can choose to see only handmade items in search results. I made the connection, that when it comes to our clothing no matter where it is made, it is always handmade because we do not yet have the machinery to remove human labor from the equation.

I did a lot of research into the garment industry and how clothes are made in those settings and confirmed my assumption that the making of clothing is an extremely labor intensive process that largely requires someone sitting at a sewing machine, working on one piece of clothing at a time, irrespective of that person being seen as an ‘artisan’ or a ‘textile worker’. The research helped me see that the binary of handmade/factory-made is so powerful because it helps us as consumers make invisible the human labor that goes into making every single item of our clothing and thus diminishes the responsibility we feel to make sure the clothing we buy is made in safe factories with fair working conditions.

During my research, I focused in on the garment industry of Bangladesh as a lot of research was done about the industry and its workers after the tragedy of the Rana Plaza collapse (24th April 2013) which killed 1129 people and injured 2500, it is considered the deadliest garment-factory accident in history. Women account for 85% of 4 million workers in Bangladesh’s garment industry. Bangladesh is the No.2 garment producer in world (after China) with lowest paid workers in the world, with many making less than 24 cents an hour equating to just $38 a month. The predominance of women in the industry means that there is higher risk of exploitation, unsafe work conditions and high job insecurity.

The research highlighted that the garment industry being demand driven rather than supply driven means that as consumers we have a lot of collective power to influence the conditions and pay of the people who make our clothes by choosing to buy only clothes that are sustainably and ethically made.

I wanted to alter a ‘factory-made’ clothing item by adding an obviously ‘handmade’ element to it to try to highlight that binary. I also wanted to focus in on the garment industry largely comprising of women, which is a big reason why the pay and conditions can be so dire. I selected an image of a row of Bangladeshi garment industry workers at their sewing machines and sketched the image to into a simple line drawing and experimented with different ways of applying that to a white shirt. First I used watercolour to directly pain onto the fabric, with the intention of adding elements later but I it came out too literal and representational and I wanted to create something that spoke more of the wide array of people working in the garment industry who are often invisible to the consumer. I tried a number of embroidery and applique methods and settled on using scraps of my old clothing to create a quilted/embroidered collage. I embroidered the words “All Clothes Are Handmade, Who Makes Yours” above the image. I used embroidery and quilting, because I wanted a medium that is associated with women to try to communicate an issue that largely affects women.

Bibliography

Bain, Marc and Jenni Avins. “The Thing That Makes Bangladesh’S Garment Industry Such A Huge Success Also Makes It Deadly”. Quartz. N.p., 2016. Web. 12 Oct. 2016.

“Counting The Cost - Bangladesh: The Cost Of Fashion”. YouTube. N.p., 2016. Web. 1 Oct. 2016.

"Fine Art Focus: Ana Teresa Barboza". Design*Sponge. N.p., 2016. Web. 12 Oct. 2016.

“Ina System - T-Shirt Production”. YouTube. N.p., 2016. Web. 1 Oct. 2016.

"Kirsty Whitlock Interview: Embroidery Transforms - Textileartist.Org". TextileArtist.org. N.p., 2016. Web. 12 Oct. 2016.

Parry, Simon. “The True Cost Of Your Cheap Clothes: Slave Wages For Bangladesh Factory Workers”. South China Morning Post. N.p., 2016. Web. 1 Oct. 2016.

“Sweatshops In Bangladesh”. War On Want. N.p., 2015. Web. 12 Oct. 2016.

Wages And Working Hours In The Textiles, Clothing, Leather And Footwear Industries. Geneva: ILO, 2014. Print.

Walton, Sarah. 2016. Web. 12 Oct. 2016.

Yogi and Boo,. Clothing Manufacturing & Production. 2016. Web. 1 Oct. 2016

Final Work Assessment 2

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