DAILY NOTES SUMMER 2013 JULIA WARNER

FRIDAY-SUNDAY JUNE 21-23.

project proposal WHAT: investigating the possibility of living in los angeles, exploring un-used space, possible structures, mobility and tools for survival are important in living outside of the system. the use of camouflage as reflection of hiding within urban context. objects include temporary and mobile shelters/ structures, possibilities of growing / hunting /dumpstering / cooking food, utility clothing and fabrics for heat, warmth, breathability, cleanliness, utility modules for storage, sleeping, trash disposal, human waste management. use of materials in creating everyday tools + spaces - clothing, food, shelter -use of reclaimed materials in self-sufficient ways. primary interest is to learn how to make things by hand, from scratch, concerned with lack of connection with the objects we surround ourselves with - and the kinds of spaces this lack of connection creates. i hope to create a space with a sense of empowerment and educational tools so that others may feel empowered to learn about the source of their own products that they use and develop a deeper connection with objects they interact with on a daily basis. WHO: people who are interested in becoming part of my collaborative circle. people who are interested either in trading or using these products/ reserach/ info. or people who are interested in collaborating in other contexts, i hope to make connections with others who work in this way, and to collaborate in making together, creating spaces together. people of any background, who are interested in collaborating closely, working on a larger scale than i am able to do alone, in creating physical manifestations of these prototypes, these communities, these spaces. young - middle aged consumers + working class of los angeles who feel time + money pressures, working a job and having no time/ money/ energy for anything else. WHERE: the project will reside both online and in my working space. as a form of experimentation and documentation, all archives will live online, while the physical work will result in an installation for august. and hopefully other installation situations in other contexts as the work progresses + changes. objects will live in specific places based on function. ideally in an accessible area of the city, on a location, based on the place and the community that accesses it/ community center system/ library/ shared tools WHEN: summer: section for reserach, create resource guide/ book with explanations, info, research about these topics as well as a set of prototypes / installation/ creation of a space. HOW: experiment with various materials that can be reclaimed such as wood, metal, paper ,paint, ink, fabric, etc. using recycled material. using approaches that are widely accessible such as sewing by hand, cheap ways of printing/ binding/ using materials that are accessible, documenting diligently so others may try the same or learn from mistakes, making with a sense of freedom and personal interest, to allow collaborators to come forth , focusing on processes that are associated with self-sufficiency or homesteading in a modern/ urban context, heavy emphasis on fabrics and methods for salvaging fabric/ reusing fabric CREATIVE LANDSCAPE: Institute of Domestic Technology, 2011 swoon - haiti/ new orleans music house/ switchback sea foxfire books craftsmen of necessity shelter book bragg's products bronner's magic soap green horns open source ecology any homesteading books/ series

monica cca - fabric pieces, visual language penland/ campbell/ haystack/ craft schools microbreweries, microfood anything, made in LA/ USA slow food movement ghandi - spinning wheel, swadeshi global village, mcluhan buckminster fuller ivan illich notion of web of education archigram - moving city, connected nodes (villages) guatemalan women weaving collective tetrashed whole earth catalogue bioquip - flower press ron finley - LA green grounds spark - the movie wendell berry/ neo-luddites adam curtis all watched over by machines of loving grace snb recording studio cane's arcade names project AIDS quilt anarchist libraries/ bookstores squats green horns open source ecology WWOOF free skool swoon music house subrosa corner in santa cruz (coffee shop, internet, bike church, fabrica) kopi squat - berlin (bike shop, bar, venue, garden, etc) NOTES: --> trading system [economic], inclusion/ participation, education, information [research/ publication], channel for other texts, collection of used pieces, trash, found objects, re-use of valuable objects, valuable fabrics from goodwill, etc. -- visual languages which absorb all other languages, absorption as new visual language, shingling, adding onto, as a kind of building structural system + metaphor for social/ economic systems overcoming capital (post-capital) -- absorption and overlaying as methods for fabric/ textiles -- hand-sewing// slow fabrics// slow construction// slow food// slow village -- slowness as metaphor for a new kind of city where time is absorbed into broader goals of happiness, high-quality and conscious productivity, mindfulness, and attention toward material, away from speed/ convenience/ low cost/ quick solutions. -- dirt/ seedlings growing from seed -- hand-built structures -- screenprinted fabric -- hand-woven fabrics -- spinning wheel, yarn from wool -- paper making!!!!! take paper scraps + gel medium + screen + roll in press (elle) -- typewriting -- hand-painted signs -- away from electricity, away from shipped goods, look into local sourcing of material/ reusing local trash --> means of production - walter benjamin strengths + concerns to address -craft, hand skill, patience, passion for high quality hand made objects -too broad, hope to refine idea while expand methods of experimentation. -concerned about being true to personal interests, hope to pursue areas of the project which offer real inspiration to me personally -hope to find a rhythm of working which can continue far beyond

school overall interests: local production + distribution, craftsmanship, fabric, printmaking, gardening, food, homesteading, self-sufficiency as a model, community centers which engage urban dwellers, autonomy, autonomous zones, WHY? what purpose to what end projects that fail to give people a sense of autonomy within a city that is particularly dominated by commercial space, imagery, and advertising. also re-defining the perception of 'contribution to society' grammarly.com/blog/edu grammarly.com/edu use @student.otis.edu m-f, 8-4:30 pm/ jventurini@otis.edu ospace.otis.edu international art english, triple canopy, obfuscate monday june 24 - /20/20/ final project worksheet 11:30 email changes by noon thursdays research: lexisnexus thesis appears anywhere in introduction thesis = observation + opinion, economy of words critically address shortcomings of evidence 1. historical perspective, 2. negative example, 3. this is good positive each chapter structures similar to essay - little intro/ little thesis/ evidence/ conclusion evidence or counter-evidence -- project as case-study, failure, etc conclusion postulates further exploration/ develops new thesis/ conclusion statement leads to further research email librarian: lapl.org/about-lapl/contact-us/infonow-e-mail-information-service 5 annotated biblio entries 1. wendell berry - lecture, it all turns on affection Wendell Berry presents his own family history, and his reasons for returning to his family farm, in Henry County, Kentucky. He outlines the monopoly of the American Tobacco Company and its role in creating economic hardship for smaller farms throughout the region in the early 1900s. He describes the difference between 'boomers' and 'stickers' and also between different attitudes, and different ways of doing business. With a focus on financial operation, and the morality within ways of creating a lifestyle for oneself, berry's professional career with this lecture and many other writings has focused on the value of small communities, small economies, and the danger of being a boomer -- those who pillage and run, who want to make a killing and end up on Easy Street, and which he claims "names a kind of person and a kind of ambition that is the major theme, so far, of the history of the European races in our country." He seamlessly weaves personal stories with larger social concerns. His connection to his family and the history that he knows is largely based on land, the interpersonal relationships he has formed because of the land that he has inherited through many generations, and the life that he has because of it. Berry doesn't shy away from moral judgement, determing which kind of man he respects more, and how that is connected to the way they live, and how they do business. The point of this particular lecture is about affection and money, how they are often opposed, and how they are connected. It is related to my interest in ways of living, social relationships, and the kinds of communities in urban areas vs. rural areas. Of course both have their ups and downs, but Berry makes a strong and well-founded case for the importance of balance in life, and not forgetting the importance of family, the history of a

community in a particular place, and the benefit of a local economic tradition which is based on proactive engagement, production, resiliency, and pride. 2. self-reliance, by ralph waldo emerson 3. the homestead act of 1862 The text is written almost like an advertisement, 2 pages long, open to anyone who is the head of the family, and hasn't borne arms against the US government or given aid and comfort to its enemies. This text presents an ideal of the 'homestead' as it was seen in 1862, with the subheading: "an act to secure homesteads to actual settlers on the public domain". It presents an idea of home, family and the public domain, before the full-fledged development of industrial-style factories, corporate domination of public space, and car-centric urban structures in america. As I intend to trace the history of the homestead, and the meaning of home in America throughout the last century and a half, this document shows a window into the past, a different dialect of political speak, and a more positive outlook on the contribution of 'settlers' to our land. At a time when the majority of the american population were immigrants, this document reveals a different kind of country, open to contribution and occupation, with members of society looking for a place to create their own world, separate from the taxes . The act of building up a society is very different than keeping it closed off to more incomers, and I'm interested in this challenge to upkeep the freedom and spirit of america's founding, while the government deals with issues of filling up, loss of jobs, and global economic failures. returning to founding documents is one method of rediscovering the kind of language, policies, and rules which allowed people from so many different backgrounds to come and feel ownership of new land and new lives. 4. luddite history 5. The Case Against the Global Economy - and for a turn toward the local, chapter title: Gandhi's Swadeshi - The Economics of Permanence) by Satish Kumar This text outlines Ghandi's role in the endings of British colonialism in India as just one small part of his larger agenda to empower the local villages of india, which he saw as the true India, and key to long-term survival. The text describes an economic vision which entails local produce being traded within the community, and larger or farther distance exchanges made only when necessary and much less often. It addresses the idea of home as the community, where members provide for one another, as opposed to competitive businesses resorting to cheap practices and control. *glossary/ taxonomy/ word redefinitions? (autonomy, economy) prelim thesis the idea of homesteading is now a privileged idea,?? objects / places instilled with work of the hand, time / history, and specificity to the place create a sense of autonomy, resilience, and meaning within dense urban areas (which are dominated by corporate and prefabricated objects / places). importance of slowness / patience, personal relationships, and trust are essential in the creation of a functioning community observation = obvious, opinion = more subjective, self-governing, desire, convenience thesis: consumerism in los angeles is based on a culture of dependency. in the city with no center, or the "nowhere city" (cite), the idea of home is a complex topic; with x number of districts and x number of suburbs, a sense of community lies hidden within the abstract thoughts of each individual, or the daily routines of hundreds of drivers, sharing moments on their commute. in the face of depen-

dency on cars, iphones, and coffee stops, which characterizes the single most shared experience of los angeles, independency from these architectural and object-forms becomes an act of defiance within commercial spaces. the retreat from the cell phone, the refusal to drive a car, the avoidance of shopping centers, and even the tendency toward natural environments becomes an act of retreat to the point of absurdity. there is a prescribed use for every single space within the boundaries of the city, and action outside of that prescribed use, no matter how related it might be with survival or peaceful existence, is increasingly perceived to be criminal. homesteading is defined as ...... by wikipedia. the last homestead was claimed in 1980 in alaska by whatshisname. in contrast to this ideal of free land as related to the american dream, squatting has become more and more common since the great recession. the chronological shift from the homesteading act to the development of squatters rights reflects the increasing criminalization of self-sufficiency within an urban context. other thesis option: consumerism in los angeles is based on a culture of dependency. homesteading is independence and defiance amidst the passive acceptance of products which we feel we need. Modern homesteading is what many would call "squatting." observations: 1) LA is defined by culture of consumerism + a dependency on products: cars, homes, luxury 2) homesteading was improving upon unused land and usually in a rural setting, can be seen as a political gesture 3) today homesteading in LA is what many would call squatting. we can look at the actions, philosophy, and economics of squatters in LA as a model for a new kind of homesteading --resisting economic domination, resisting scarcity of food and products, resisting planned obsolescence judging projects on locality - how much are materials sourced locally, produced locally, and distributed locally on economic impact/ stability - how does the project effect the economic health of the region - is it continuing a larger global economy or a smaller local one? - making the region more self-sufficient or more dependent? on result/ product - does this project address the marginalization of self-sufficiency in an urban context? in a rural context? thesis: If we look at the way contemporary homesteading is policed, stereotyped, and marginalized, we can see that self-sufficiency is increasingly criminalized. there are projects that contest and resist this to varying degrees of success. (what is becoming criminalized? economics of rent/ tax, selling home grown food, meat, $, health, food, health issues) include sentence about observation #3 as part of thesis - looking at squatting as a new model for today. today homesteading in LA is what many would call squatting. we can look at the actions, philosophy, and economics of squatters in LA as a model for a new kind of homesteading --resisting economic domination, resisting scarcity of food and products, resisting planned obsolescence (policed = squatting// stereotyped = anarchists, communists, hippies, hipsters, home-crafts, jewelry and batique// marginalized = economically dominated) I. introduce modern homestead -- meant to empower citizens to improve upon unused land and -history, homesteading act of 1862 -politics of squatting, adverse possession requirements, history, difference between europe and US -

Include example of where a squat or homesteading was criminalized / marginalized so we have context / something to compare following projects to http://news.infoshop.org/article.php?story=201102251946 Following: projects support your opinion part of your thesis: models of modern homesteading II. project one: swadeshi/ swaraj, india -- resisting domination and economic dependence by british colonists - historical context, model for being self sufficient in a local area - outside of the US -history, meaning of words, people invovled -locality , strength -economic impact/ stability - communal harmony rather than independence from britain. -result/ product --historical evidence, success of denying british colonialism. legacy of revolution against colonialism, focus on the political struggle, seems to be in the past, while doesnt continue into prsent III. project two: open source ecology missouri -- resisting economic domination by farming technologies - people directly addressing a similar topic in modern context, open source -locality, not so impactful on surrounding community, not so concerned with locality except for home base concept. sourced materials aren't necessarily available ones, end goal great but beginnings out of line with goal -economic impact/ stability. super strength -result/ product, ambitious IV. project three: LA green grounds, ron finley -- resisting lack of healthy food for low income families abandoned spaces, urban farming, to promote healthy food -locality -- strength -economic impact/ stability, strength, use of abandoned spaces strength -result/ product, slow but steady growth, not completely self-sufficient, but attempting to begin skills in urban context V. project four: bike kitchen los angeles community tool shed, sharing physical tools, communal support, -locality -economic impact/ stability -result/product conclusion Tools, new tools, Where homesteading will go, strengths and weaknesses of projects? PROJECT: speculation about homesteading in a modern urban context, improvement of unused land, using available resources, camouflaging from threatening entities, element of hiding, self-sufficiency within degraded environment -- combining visual languages of homesteaders + squatters in creating a new sense of self-sufficiency, methods or tools of community building within context of los angeles laws, geography, spaces, and homesteading is a way of claiming autonomy from a workers perspective, as working begins to merge with living or simply surviving from what is available. redefine verbs of homesteading and working homesteading was once a use of unused space, while today, it has transformed project: a speculation of what it might be like to 'homestead' in the city // and to redefine what homesteading means in the context of modern times when renting and modern appliances are forced as the norm in living spaces --> to claim unused land --> criminalized

--> includes an element of hiding, while also self-sufficiency in an environmentally abused area - abandoned spaces in the city capitalist realism prelim outline "Every village community of free India should have its own carpenters, shoemakers, potters, builders, mechanics, farmers, engineers, weavers, teachers, bankers, merchants, traders, musicians, artists, and priests. In other words, each village should be a microcosm of India - a web of loosely inter-connected communities. Gandhi considered these villages so important that he thought they should be given the status of "village republics". as the concept of village shifts, there is widening gap between rural and urban ways of life, as well as the difference in business practices between local and global exchanges. homesteading practices within an urban context is a way of practicing autonomy within a intro A. homestead act vs. squatting rights (trust and openness vs. criminality and litigation)(building up/welcoming vs. keeping out) B. swoon -buildings in haiti based on meetings with people who live there, using materials already there C. bad example of projects made with ignorance toward place D. failed communes from 70s - inconsistency, lack of rules vs. persistence of the amish E. pitfalls of communist/ anarchist political thought and perception of these communities in modern society, seclusion, retreat from society F. luddites --- history based in textile workers destroying automated looms --- effects of technology on sense of place, trust, resiliency, pride in work ---(effect of gmo crops in india. failure of crops, dependency on corporations, or effect of iphones, facebook on personal relationships) G. open source ecology as sense of autonomy from dependence on farm technology - positive use of technology combined with community empowerment. 3d printing etc. H. swadeshi --- proposal for slow domestic technologies to work against colonialism , envisioning of a new local economy --->wendell berry opinions on local economies, creation of community resilience I. conclusion (how to create constant sense of building up/ creation/ place making/ change/ revolution) ** image-making as a reflection of kinds of communities which are in close connection with their immediate surroundings, immediate population, within a speculative new community. the focus would be creating a system for improving upon unused land, borrowing methods from 'squatting' in order to create more self-reliant systems and communities of improving upon unused land and making use of what we already have, to overcome stereotypes and to imagine positive uses for spaces throughout city ** homeboy/homegirl industries slideshow frame my work in beginning. how to communicate my own work in this context. 1. INTRO / WHAT - i want to investigate methods of living self-sufficiently in los angeles, explore perceptions around the ideas of

'homesteading' and 'squatting' - how they connect, and test methods of both through a series of prototypes. by drawing connections between them through methods, economics, and philosophy, my project will speculate about the role of self-reliance within los angeles, and implicitly critique the marginalization of self-sufficiency in urban spaces. -2/ 16. my own work as it relates to self-sufficiency in urban spaces? newest mudthroat - field guide theme, interest in natural environment and methods for engaging with in local flora + fauna. imagery developed from research into nomadism + smooth space. 2. CONTEXT - classic homesteading picture historical/ homestead act + pioneers coming to states such as montana, minnesota, etc. the homestead act of 1862 provided that the head of a family or person who had reached the age of 21 could file on 160 acres of land. a fee of 18.00 was charged, 14 at time of filing and 4 upon proof. the homesteader had to be on the land and start improvements within 6 months from filing date. he had to plow 10 acres into crops and establish a residence for 5 years. 3. CONTEXT - publication that documents california communities + homes 70s def. of homesteading, like shelter, lloyd khan, or domebook Wheeler's Ranch Open Land community (bill wheeler). Anyone was welcomed to live on the 300 acres; no one was refused. Bill Wheeler, the man who bought the land and freed it, was co-founder of the archetypal California commune, Morningstar. 4. CONTEXT - picture of alternative living, classic squatting picture, quickly explain adverse possession + squatters handbook in the 80s, squatting was associated with punk, and today is largely associated with anarchist philosophies, but the process of legally gaining rights to a property through adverse possession has existed since the 18th century. it was drawn from english common law, and is meant to encourage the productive use of property by providing a way to transfer title of an abandoned property to someone who will use it. in California adverse possession officially requires five years of open, continuous occupation without the permission of the owner, the absence of a challenge to that occupation, and the payment of property taxes including all years that weren't paid by the previous owner. it's also pretty dangerous based on who wants you out of the property, or how the cops treat the situation, and usually until youre an adverse possessor, youre a trespasser 5. CONTEXT - woodsy picture - living illegally in nature near city at the other end of the legal spectrum is the woodsies, or people who live in the woods in santa cruz. this is completely illegal, so the structures as well as the lifestyle is all about hiding, creating structures that blend in with the environment, or are camouflaged from any authority who would be walking along the roads searching for illegal camps. so i'm interested in this spectrum between legal ways of acquiring land historically, and how those laws have changed, what it's like now to acquire land, or live in an alternative way, and how that's marginalized 6. kopi squat berlin, history so i stayed at this squat for a few days in berlin, called the kopi squat, i included it to draw this connection between homesteading and squatting. basically a lot of the stuff ive read about people squatting here in california has a basis in people who have traveled to europe and experience squats in various cities throughout europe = where the practice is much more established, where there's a much stronger tradition of squats as community spaces, and autonomous zones within ciities, and that influencing them when they return home. so this particular one had several characteristics that reminded me of homesteading. it felt very much like the reasoning

behind living there was to life an alternative lifestyle, free from the dependency on commercial entities in berlin, they had an event space, a bar. a bike shop where they shared tools if you wanted to get free parts for your bike or just use tools to fix one, there was a squatted property across the street where they gardened, an entire trailer park where people lived, and completely welcome to travelers to stay in a common area, etc. so it felt like a community based around self-sufficiency and awareness of products in daily life. 7. valreep amsterdam, history - this is another squat i visited in amsterdam , an old animal shelter, run down building. established 2011. on the web they call themselves a social center, constantly having events, garden work parties, performances, free classes, etc. its also an example of how the tradition is much stronger in europe and how a llot of former squats now have yearly contracts with the city, based on extremely low rent, or some other types of agreement such as noise, safety concerns, etc. 8. open source ecology 9. set of prototypes - importance on prototyping as a way for creating replicable models, while allowing people to adapt them to their own desires and needs. rather than giving people products, or kits, i'm interesting in creating conceptual tools, ideas, methods, approaches, attitudes, and intellectual property that can then be tweaked or re-interpreted to most effectively benefit whatever environment and audience is being addressed. 10. WHO - people who want to have a more direct and knowledgable connection with the objects and tools which surround them someone who is involved in either of these worlds, and interested in sharing methods, based on functionality, -11. where -- LOS ANGELES as general setting, exploring abandoned spaces 12. timeline -week1- research, start gathering content for resource guide: develop sections, sketch prototype ideas, develop system for documenting process, start sketching textile designs, get silkscreens week2 - tools, plants, plant press, plant beds in front of sidewalk @ home week3 - clothing, overalls, utility bags, more textile designs week4 - shelter ideas, living spaces, photograph potential sites in los angeles, week5 - complete resource guide + prototypes + installation 13 . so i have a lot of inspiration, a huge creative landscape, i've already shown some inspiration, and i think these examples both address how i plan on testing methods, various approaches i hope to take, while also providing a social and visual context for how i see my project fitting into a larger conversation. how - speculative spaces - archigram/ superstudio/ hort band speculation of a city or environment or population, just through the use of collage/ costume, they created a whole sense or feeling of place, based on ideas about juxtaposition and navigation of the city/ of the body, user experience of a city 14. how - diligent documentation - buckminster fuller He obsessively collected his notes, sketches, ideas, life history, in what he called the Dymaxion Chronofile: it contains over 140,000 papers and 700 volumes of every single thing Fuller ever wrote from the age of four. The Buckminster Fuller Institute has a full description of the Chronofile, which is considered to be the most documented human life in history. -wired magazine fuller talked about himself like a living experiment, treated himself as a subject to document, and there are thousands of entries about his history and contextualizing himself without other inventions. at the time, he wasn't documenting online, but keeping endless archives of notes 15. how - ron finley LA green grounds, urban farming, food hubs/ production/ green horns/ planting justice urban farming, use of abandon spaces, empowerment organizes "digins" where volunteers come help plant edible gardens in peoples yards around south LA., fighting for food sovereignty, and

affordable health. 17. creative landscape - braggs food labels and bronners soap for visual language "Paul C. Bragg, was America's first true healthy food and lifestyle guru" "In the late 1960s, soap sales started to explode, due to the unsurpassed ecological quality combined with Dr. Bronners urgent message to realize our transcendent unity across religious and ethnic divides." 18. creative landscape - bioquip, botanist tools, field guides, farmers almanac, connection with immediate environment 19. creative landscape - ghandi at spinning wheel, guatemalan weaving women, monks wearing unbleached cloth, nomadic weaving, importance in fabric in all of this, how a fabric communicates a certain identity, an allegiance to a particular way of life, or mode of production. 20. creative landscape - whole earth catalogue

MONDAY JUNE 24.

how shall i start documenting? who is my audience? find projects that failed and find a problem with projects that i'm finding. make the idea more complex, what are some of my past projects that can serve as structure or content? email julie 2-3sentence project statement and 5-6 objects to make. iclude detailed schedule with more specifics , as specific as possible. am i making a case for modern homesteading? how will my object support that opinion? am i making a case for imagining new forms of rural and urban areas? am i making a case for different kinds of community structures in which we make these objects? am i making these objects for myself? what is the content i am dealing with? push yourself to think about content, why that content is important, how is that content informing my opinion, expressing my position, and making a possible solution to the perceived problem? problem: self-sufficiency is lacking in urban contexts, and engenders a culture of dependency, my solution is for people in urban contexts to reconsider how they deal with housing, food, and clothing. tumblr seems to be a huge method of finding inspiration, ideas, surprise. what is the default solution in this realm? what's wrong with that default solution? is it because it's still about the product and not about the attitude. think about project more in terms of process rather than result. --what was this referring to? think about the use of the thread as a political tool. - how does this tie into my political ideals and what i'm trying to say about convenience, dependence, speed (fast vs. slow) and immediate satisfaction vs. sustained survival. what is the problem? reinvest a site with something surprising. find a site this is abandoned, forgotten, or overgrown, and reinvest with surprising element, instill with meaning, sense of time and place, here and now, and instill with specific purpose for specific time. am i going to squat areas in LA? am i arguing for modern homesteading? am i critiquing corporate dependency? the default solution in the realm of product and corporate dependency is either getting angry and starting amateur revolutions which take over a street for a day and don't make change. the default solution is to move away from the city and start a farm, to detach from the threat rather than address it in a thoughtful way. the default solution to dependency is to deplug from the city, however, how can the city become a meditative space where independence and autonomy thrives? how will my documentation serve to help the project? who will see the documentation? if i notice a similarity between homesteaders and squatters, what's the meaning of staying in the city and attempting to work from within the system (architecturally) while acting as example to show self-reliance among people spending money and spending time. what does one spend time doing, and how does that effect their mindset? is it about attitude?

navigation? pre-existing problem, foreboding. they're saying okay what's the big plan, but this is your world. you have to say no, it's simpler than that. it's about the objects, slowness, and resisting the easy solution. modification of desire. the solution is not easy. also focusing on the but it's a foreboding problem that the economy is on the downspiral while class distinction/ widening gap between rich and poor is on the rise, so what is a possible solution for these people to rise up. for these people to empower themselves to be rich. i'm eating a bar made from dates, almond butter, honey, spirulina, wheatgrass, blaah!! i also had a smoothies this morning made from almond milk and raspberries and banana and some agave nectar. a better audience than dinner conversation. it needs to be an audience that is hungry for this solution. who would be hungry for the solution of growing food, spending time weaving, and spending time making food, spending time in nature and spending time collecting their own natural worlds. am i just speculating about new kinds of navigation in the city? or am i interested in making something happen that changes the way people live? does it matter if i state an intention? large things start as small things, usually. so perhaps a small gesture is all that's necessary to make a large difference. is the goal to make a large difference or a small difference? is time another dimension that we can predict how it will transform the other element? how is what i'm making different from everything else i showed? how will i move beyond these projects into an alternate perspective which adds to the conversation about self-sufficiency in the city? how do i move beyond moving away? stay in the city. how do i move beyond squatting illegally just like other squats? elements of legality and responsibility. cleanliness. building from nothing rather than re-using abandoned spaces. reusing abandoned spaces. --- the survival of the city rests on the idea of using what it has. the thread is the element which holds sustenance, the thread of slow, the thread of stillness, the thread of constant movement, moving constants, mobility within the structure of the city. element of mobility as survival method, as affordable housing. the role of love. there's the question of audience. how is music related? what do people in the city want? they want to have a community of people who make things, who do things, who have expertise, who work with their hands, who are creating a better world. music is a reflection of autonomous expression, want a city where people go to a place to see other people create. to go to a place to see a specific thing, a time and a place to see the band place. to have a reason to come to a house, rather than just to go out. to go to sunday revival to gather with the community and see music and have a potluck. eat food. potluck sundays. at otis. at julia's house. family gathering. the traditions: potluck, sharing food, sharing music, sharing drinks, sharing thoughts/ ideas/ library?/ study space?/, sharing tools - studio, workshop, farm, etc. , sharing clothes or fabric or tools also like sewing. switching partners. (dancing, music). having common songs, song forms to collaborate on: the blues. forms to share - the meal, dinner. forms to collaborate: chicken coop. garden beds. plants. pots. sharing stories from the past, just the act of singing now brings into the future/ contextualizes in the present. sharing stories, individual stories rather than mentioning one project from the past, but telling the nuances, what worked out what didnt. in the city - parties, shows, art shows, music shows, garden work days, work days, workshops with a tool, an expert, free skool, education, swap meet. not for me if i already know the information, but for myself to document and to contextualize myself, to share with others, to leave a legacy, a collective unconscious memory of these patters which grow from a center. SILKSCREEN COLLECTING plants BREWING BEER DESIGNING BANDANAS

SECTIONS, WHICH PROTOTYPES ARE MOST IMPORTANT ART HOUSE ON THE LEVEE what are they thinking, how will they be disappointed. there is no perfect answer. what is fun about it. it's about making things. of course there will be things, but you must think critically about what this means. remembering historical struggles, sustaining future generations. learning from mistakes which are causing economic downturn and dependency. economic failure is a reflection of dependency. independency creates production rather than consumption. specific production. what is the importance of specificity rather than something that can be taken and moved to any place. a solution has to be specific to the problem. a solution has to address the place, the local people, the local place, the local food, what is available locally.but also personal experience based on the place. any of the objects must speak to the specificity of my experience. this specificity will address the importance of being . failure of open land movement - lack of rules, anarchy, heavy policing, sanitation oversight failure of art tannery in santa cruz - beauracracy, suspicion, and lack of fluidity, lack of real community failure of political protest failure of squats in california - not enough commitment to one place failure of homesteading - more imaginable to move to city and get job and outsource jobs, rather than struggle to make ends meet, deal with unpredictable climate. and changing food prices. failure of farmers market crafts - stereotyped as idealistic, doesn't make change, just fits into a system which fits into the city on a particular day, with parking, and expectations/ norms. no curation of farmers, just based on money, free market, but just makes consumer feel better rather than produce him or herself. ATTITUDES toward how one makes a living. what is to contribute to society? What is convenient, rather than what is right? why do people stray from moral judgement? how have values become divorced from real content? how to re-instill real content in forms, which produce an opinion, a striving, a struggle, a form through which to produce, something that other people can use. project statement: i want to investigate methods of living self-sufficiently in los angeles, explore perceptions around the ideas of 'homesteading' and 'squatting' - how they connect, and test methods of both through a series of prototypes. by drawing connections between them through methods, economics, and philosophy, my project will speculate about the role of self-reliance within los angeles, and implicitly critique the marginalization of self-sufficiency in urban spaces. objects: prototype #1: compact modular spinning wheel (for yarn) from bike wheel + gears and found parts prototype #2: overalls with utility pockets for tools, harvesting pockets, field guide pockets, durable fabric and hand-sewn / exhibits unique textile design and/or natural dyes prototype #3: mobile gardening unit, planter bed on wheels for growing herbs, food, etc. prototype #4: reversible poncho + blanket / exhibits unique textile design and/or natural dyes prototype #5: small + mobile shelter based on modular wireframe + waterproof canvas covering with clear plastic windows / exhibits unique textile design + integration of utility straps for securing to ground, and also hanging on the 'walls' from the inside prototype #6: compact + mobile frame loom or backstrap loom which can be taken apart of broken down even in the middle of a weaving project prototype #7: lightweight flower press with pull-tighteners *all prototypes require more research based on site-specificity

or mobile requirements and what will be most cost, material, and time-effective for making tests* modular resource guide: existing online, can be printed in sections, or all at once, with explanation for how to print and bind, containing research, documentation, methods, drawn diagrams, inspirational, educational, philosophic texts schedule: Week 1 research, start gathering content for resource guide, develop sections explore potential sites in los angeles - determine location, either site-specific or mobile sketch prototype ideas develop system for documenting process start sketching textile designs ideas, get silkscreens write at least 1 hour every day, send draft of paper to tucker thursday first version of project statement + schedule to julie tuesday Week 2 focus on plant press, mobile garden bed, incorporating plants into textile designs experiment with urban farming techniques, various methods for weed control, lack of water availability, etc document tests + results, sketches, etc. continue writing paper, send draft thursday Week 3 focus on clothing, overalls, utility fabrics, more textile designs experiment with methods of sewing, using a machine vs. by hand document patterns on paper, and then in 3D continue writing paper, peer edit, send draft thursday Week 4 focus on shelter, living spaces explore materials for frame + fabric covering + rain fly/ waterproof ability experiment with various ways of homemaking through unique decoration or personalization continue writing paper, peer edit, send draft thursday Week 5 refine prototypes and final design/ purpose/ destination of resource guide complete and send final version of Considering Final Project paper Week 6 finalize and publish/ print copy of resource guide finalize show + presentation

claiming one's own power of self-defense, but in any case that a fight can be won by inaction or peaceful protest, this was the idea. the actions of indian at the time, when british rule was requiring registration and threatening jail, etc, were in complete self-defense, complete boycotting of non-national products, and complete engagement with political powers of autonomy such as 'civil - disobedience' or 'passive resistance' but which ghandi rather called satyagraha? which translates to "insistence on truth". Someone who practices satyagraha is a satyagrahi. he talks about the inseparable nature of the means and the ends. swadeshi was the economic form of this movement, and was even started earlier than the movement came into full fruition. swadeshi translates into "self- sufficiency" or "of one's own country". Hind swaraj means "home rule" , while hindu literally means 'home.' Independence must begin at the bottom. Thus, every village will be a republic or Panchayat having full powers. It follows, therefore, that every village has to be self-sustained and capable of managing its affairs even to the extent of defending itself against the whole world. It will be trained and prepared to perish in the attempt to defend itself against any onslaught from without. Thus, ultimately, it is the individual who is the unit. This does not exclude dependence on and willing help from neighbours or from the world. It will be free and voluntary play of mutual forces. Such a society is necessarily highly cultured in which every man and woman knows what he or she wants and, what is more, knows that no one should want anything that others cannot have with equal labour. Harijan, 28-7-1946 Widening Circles In this structure composed of innumerable villages there will be ever-widening, never-ascending circles. Life will not be a pyramid with the apex sustained by the bottom. But it will be an oceanic circle whose centre will be the individual always ready to perish for the village, till at last the whole becomes one life composed of individuals, never aggressive in their arrogance, but ever humble, sharing the majesty of the oceanic circle of which they are integral units. Therefore, the outermost circumference will not wield power to crush the inner circle, but will give strength to all within and derive its own strength from it. I may be taunted with the retort that this is all Utopian and, therefore, not worth a single thought. If Euclid's point, though incapable of being drawn by human agency has an imperishable value, my picture has its own for mankind to live. Harijan, 28-7-1946

THURSDAY JUNE 27.

TUESDAY JUNE 25.

earthy colors inform my sense of slowness.

WEDNESDAY JUNE 26.

so ghandi was influenced by henry thoreau and "on the duty of civil disobedience". this means he was reading american literature which was interpreting indian or hindu philosophy and re-interpreting it back to him. he, himself, read the gita and acknowledged its wisdom, but downplayed the emphasis on war, violent solutions, and the violent aspect of the duality of inner-self. however, thoreau's interpretation of hindu teachings proved to be somewhat successful in finding the positive aspects which ghandi then carried on, into swaraj, or the idea of self-rule. of course violence is important in

what doesn't work about homesteading? and why don't more people squat? because squats are dangerous, people get killed in abandoned buildings, they are creepy, there's no protection, these are desperate measures, not normal measures. what are normal measures? they are the way people see themselves on a daily basis, just getting by not living excessively. the default answer is to go to work and pay rent. occupy failed tremendously because there was no end to it. the only way people really made a difference was find the little bit of common sense which was hard for the police to evict them. they found public space, and so it took a while for cities to figure out how to evict occupiers. where it's hard to reason, it's hard to politically justify kicking someone off land, owned by no one. so the important critical point is that there are small windows of opportunity for people to overcome daily burdens. it is critically challenging the mode through which we see our day, our place in social structures, and the way we sustain ourselves. we feed ourselves and sleep, and get dressed every day, but only because we have money to buy things when they run out or break or rip. repairing ripped cloth is like a way of triple doing what was done once before. the role of the bandana serves two functions. one for emotional support. two for physical support. it serves as identity,

camouflage, surface, face, frontal section, it serves as the gateway , the eyes which receive the gaze, and it serves as the receiver of physical waste which is kept away from the face or hands. what is new about resource guide without being nostalgic for whole earth catalogue. don't focus on typography of old american products like bronners and braggs, but focus on process where it's about what the content is, rather than what the nostalgic feeling is. what is the content - and who is it for? if the content is about resources, is it really going to be useful? or is it just imagining what something could be? if the content is about imagination, who is that for? why is that important? can the content be a mix of information and imagination - in that case, how does it work and interact? why is it important to have both? are you trying to say there's nothing like this yet that combines practical information and imagination? how will a publication be useful? what part of your documentation / gathering process would be useful or interesting to other people? do you need a regular schedule of how often to water what particular plants? possible product labels: seed packets, clothing labels, textile designs for tents, tarps, blankets, clothes, etc, food labels, beer label, book covers, publications, websites, decoration of surface - table, chair, architecture, window, floor, ceiling, paper, instruments, bowls, plates, knives, fork, spoon, lamps, shoes, leather designs, wallet, phone, pen + pencil, tool handles. chair and table legs, pottery designs, walls designs, shelter designs (tipi). gather content: what type of content? philosophy, methods, and economics. how to get these materials for cheap? goodwill, second hand stores, and websites philosophy - follow ghandi, thoreau, emerson trail follow zizek + badiou trail methods - follow squatters trail (economics) - anarchist book shop, shared books, shared tools, sewing center, donation centers, shop, workshop, studio, free stores, free market, free skool, free church, etc. tools -- look to farming, look to permaculture - identification of plants and medicinal use of plants + herbs, foraging, look to craftsmen in the trade - what do they get first, what do they always have on them, what is mobile and cheap and the most simply tool to use BIKE TOOLS -look into what's affordable FABRIC TOOLS PLANT TOOLS - shovel, watering methods, also jars for botanist tools - how to COLLECT. collection methods, storage methods (food) paper tools - printing, binding, bookshelves, book carrying, bookshelf on wheels?? things that are heavy (wheels): planter boxes (dirt), shelves (books), clothes (mobile nomadic suitcases) SUITCASES more potential prototypes: suitcases, bookshelf on wheels, glass jar carrying case? or glass jars, or compartmentalized box for herbs, whatever. book for pressed plants, bag, suitcase, ***fanny pack***, bandana designs, stamps + postcard to mail anywhere on the go. prime sewing kit, home-made silkscreen, homemade squeegee, tea bags, tea system, homemade radio, homemade broadcaster, published treatises (civil disobedience)

FOXFIRE QUOTES AUNT ARIE "You see 'at little house right out there? Well, 'at's a smoke house. Well now, we'd kill high as four big hogs at one time; take'n cut it all up like this is. And we always salted ours th'day that we cut it up. Some people wait's t'th'next day, but I don't like that. Take 'n spread it all out an' take salt'n'black pepper - not too much black pepper - and mix it all up in a pan, we always did; an' lay it out there 'til it got cured. Then, see, that black pepper keeps th' flies off of it. An' that's preserved then; that salt preserves it..." "I"ve made lots'a baskets...I made 'em with white oak splits, an' I've made some with willers. Willer baskets is hard 'cause y'have t'go off t'th'branch, an' we ain't got no willers grows on this place like a heap a'people has. Get'cha little willers, well, long as they grow. Ain't none of 'em big as yer finger. An' y'have t'have a big pot a'water by th'fire an' keep the willers soft in that. Didn't, they'd break all t'pieces. Put 'em in hot water an' th'bark just peels off like ever'thing. Gather'em when th'sap first rises on 'e, pretty good, an y'can skin'em pretty welll without scaldin'em; but if y'don't y'have t'scald'em. I'd rather scald'em. They last longer I always think." This project investigates methods of living self-sufficiently and autonomously in Los Angeles. Through the lens of material and environment, objects within the city become prototypes for urban living. Working with materials as resource rather than pre-fab product, these prototypes speculate about the role of power-giving objects and tool-sharing in the consumer-driven architecture of urban public space. Focusing on weeds of los angeles as a metaphor for using what we already have. exploring self-reliance in los angeles. defining what self-reliance is in an urban context. how resources which are provided us are convenient, but maybe not the best way of creating independent people with appropriate knowledge and with connection to environment. when you are left with nothing, what can you use weeds for because they will be there? lists of tools -- objects as power-giving tools which give access to self-sufficiency. wilderness strategies via plants/food/fabric. edible plants. medicinal plants. canning and bottling etc. saving food. process based rather than visual outcome.

WEDNESDAY JULY 3.

TUESDAY JULY 2.

community center identity - weeds of los angeles fear of homeless people in wild areas. wildification wildization wildernize urban forestry urban wilderness citizen , denizen

i need to specify a location and use that to determine materials and parameters for making. is there some other way to define parameters for making? what is the purpose? it is to encourage urban wilderness. the purpose is biodiversity. the purpose is mental diversity. encouraging what i call thought diversity. urbandiversity. biodiversity and realitydiversity. ideo-diversity. politico-diversity. econo-diversity. income-diversity. cultural-diversity. socio-political, geo-diversity. diversity! flora! and fauna! urban citizen! denizen! people of the city! think outside! think outdoors! think without limits and produce something within reality. we must create criteria that is external to ourselves. we cannot just think within our own boundaries. we need ways of designing our environment that include the environment, itself, becoming part of the process. the idea of urban wilderness, itself, becomes part of the process of living in one. an urban and wild way of producing, embedded into the thing, itself. how can i include wilderness into the clothing, itself? how can i include wilderness and weeds into a spinning wheel and loom? how can i embed wilderness into the local system? embedding wilderness into a prototype of a plant press? how can i embed wilderness into a system of self-reliance? is self-reliance wild? how can i embed biodiversity into a self-reliant system? how can i demand consistency in a system which is forced to break

its own rules? window for political change - but i am looking for a window in design change. what does it mean to use design as a means of change? design is a word which many people associate with advertising, art, and predetermined control of a system. i am interested in looking towards the design of nature as a model for the designing of the city environment. what exactly is nature? well, we can look at the history of nature as far as we know. nature includes all living things - perhaps it's all things which exist without human intervention. nature could be everything. i define nature as systems which continue to surprise us, as humans become more and more itertwined with our own built environments, particularly dense urban areas. what are these surprising systems? they are the plants which grow in the cracks of sidewalks, the greening of copper as it ages, the hurricanes which destroy cities because of unpredictable weather patterns, the overgrowth of forgotten buildings, and even sometimes the spontaneous protests which overtake a population, even when a country could be thought of as succeeding in the general scheme of global capitalism. demand consistency with the land trust place. demand consistency with design of los angeles eco village. demand consistency within larger systems' stated goals. local governments. local community centers. the reinvention of democracy is an idea which persists in protests and but "freedom" and "democracy" are also what occupy is protesting. so what is the difference between "freedom" and "democracy" and freedom and democracy? what does it means to embed freedom in a design practice and in the products, themselves. the designs, themselves. is a design something conceived of by a single person? a single collaboration? a single project? is a design something which pervades all notions of separation? is design a way of life rather than a product? what is the difference between 'to design something' and to 'make a design.'? there is a verb and there is a noun. the 'design event' as buckminster fuller would call it might refer to the way a design acts in one moment in time, but if it lasts over a series of moments, then the situation occurs as a temporary structure within the scope of infinity. what if it is meant to last infinitely - as the land trust claims, affordable housing in 'perpetuity'? that is utopian vision of it, after all, is the fact that no structure, no government, no policy can change the fact that affordable housing is a requirement of citizens free to pursue well-being and happiness as the constitution states. so imagining time as a solid block through which we are moving, each slide of which is a moment in that time block. we can look back on the past, but for some reason, there is something blocking our full knowledge of what will happen. i suppose there also is no full knowledge of the past either. there were glimpses and documentations, but the event is the only thing true to itself, and the future is exactly the same. there will never be full knowledge of a moment, except for the fact that it happened, and itself is the only one that fully knows itself. in fact, it probably can't know itself fully either, because we as humans have a hard time with that also. to know oneself fully perhaps is the best way to communicate itself with others? if we can have criteria outside of ourselves in order to express what we know fully about ourselves, then there is an expansion of meaning and connections between selves. so perhaps in fully expressing moments in time, as evaluated by outside criteria, they can being to connect with each other more fully - and therefore separation between moments is no longer as important as the similarities which moments have to each other. what is this outside criteria? the judgement of other moments on that singular moment? how it went? what it could have done better? but is a moment not only subject to actors within it? or does the moment have some sort of agency over itself? are humans not also just moments in the large block of time which we call eternity? what kind of agency does a moment have in determining what happens inside of it? but hasn't science also proven that there is no real boundary from moment to moment, and really it is just an infinite sub-categorization of an unbroken process. has 'process' become the ultimate word for something which can't be divided

into separate parts? it is, by definition, un-definable, and un-separatable. it is not about the things which last into the future, but the things which happen in the middle. what happens in the middle or in between two defined points? how does definition of a point happen? the complexity is left out, and individuals are left standing. but an individual is indeed vulnerable. by pulling together individuals, strength can grow from within. in fact, the gathering of individuals is not just a sum of each, but something new and different altogether, representing something larger, more important, significant, and interesting. is this design - to create something which reveals all the complication behind? what is the purpose of design if not to create relationships in a global or web like context? plant press which relates the human to the plant, as we control and study them. jumpsuit which relates humans with various jobs - construction worker, business man, hipster, mother, father, child, naturalist, doctor, teacher, student. a structure which relates the home of a wealthy person with the home a homeless. which relates the urban dweller with the rural dweller. which relates the scientist with the artist, the functional with the non-functional. creating a global context makes for a cohesive understanding of the elements on earth and the relationships between them. the role of design in creating a set of relationships between human and plant, human and animal, relationships between government and individual, relationships between human and human, human and device, how do these things become a web rather than narrow and directive lines? in creating objects which create relationships between urban and rural in a web, in creating objects which create relationships between humans in the city and plants in the city. in creating objects which create relationships between business people and farmer people, in creating objects which reveal the relationships between wealthy and homeless people. what kind of object could relate the homeless person with the person driving by? or the person at home watching television, or the student in the school in class? a live feed on the street of one would definitely do this. students on the street, homeless in the schools. how can distractions be used to make sense of a global or web-like context for each element to appear without noticing how different they are? how do we measure different sizes of infinity? why make sentences into questions when they could be demands?

THURSDAY JULY 4.

location : los angeles. imagine: a world of global like villages - but not like capitalism imagines, more like how democracy relates with occupy relates with homeless communities relates with squatters relates with neighbors. objects - more in line with parameters determined by specifications. necessity of creating a global-like web-like context. not revealing one-to-one relationships, but a web. the web of life ? but one integrated in the city. integrated in the internet. and integrated in design. the purpose of design is to subtract the differences between elements. does this make relations more or less complex? reclaiming old prototypes of clothing. clothing elements which serve multiple functions: the vest, the loose work pants, the loose work shirt, working overalls, jumpsuit for travelers , leggings/ hose, oversuit / shortsuit/ longsleeves. layers for troubadors, pages, street kids, homeless, field workers, construction workers, travelers, nomads, domestic tradition, child laborers, homesteaders. to make clothes which make people feel more at home in their own bodies. multi-use clothing prototypes which allow people to imagine multiple actions. actually any action rather than just a single type of action. the effect of clothing on the attitude, feelings, and actions

of the human body. clothing as identity reveals the power of clothes to transform how people perform their role in their environment. in clothes which designate what kind of person we are, what we do for a living, or clothes which carry significance as far as how we would normally act, jumpsuits, or more universal clothing allows us to perform more identity-less actions, and therefore perform more appropriate actions as opposed to forced identity. the meaning of clothing and fabric as expression of self-identity. reclaiming self-identity through clothes that are made by hand, with fabric gotten with the utmost responsibility - meaning fabric which is sourced locally. priorities are fabrics that are knit and preferably not dyed here in los angeles. and then pushing los angeles to source the materials as locally as possible. use fabric that's made here. or vintage fabric which is used and will otherwise be shipped somewhere else. the unwanted fabrics which would get shipped. only using clothes i have that i don't wear. fabrics that exist in the house that i don't wear. making them into something usable. how to make it all look better than just patchwork - silkscreening patterns onto old fabrics. pollinator havens. cradle to cradle - seed-embedded felt which gets planted in spring, grows in summer, and harvested in fall. imagining a suit which encourages people to engage in local immmediate surroundings. using cotton from africa, jeans from wood pulp, dont grow any cotton except in africa, wool where it is, for hot climates, just using. looking into ideals about the universal jumpsuit. rodchenko "strives for an objective, impersonal art, stripped of description and narrative, and devoid of spiritual or metaphysical trappings". "art as an object that refers to nothing but itself--in Rodchenko's words, the inventing or perfecting of something, rather than a reflection or portrayal" "our duty is to experiment, make objects unfamiliar and forms difficult" "one has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again" (about photography) the constructivism movement "represents an artistic expression of the practical application fo art in everyday life" This is characterized by the application of design and artistic expression into the creation of everyday objects such as worker clothing, posters, etc. Both Rodchenko and El Lissitzky believed that art had the power to influence and prompt a change in society and should be used as a powerful and practical tool. the idea that objects should be viewed as comrades, associates in the struggle toward a socialist ideal, rather than as an object to be possessed and used. the pleasure of possession of items should not be replaced with austerity and renunciation, but by incorporating the material object as an active, almost animate participant in social life (Kiaer, Imagine No Possessions,1). Rodchenko is also represented as a designer of clothes. Reference is made to a photo of him posing in his designer worker clothes which are in unison with the message of the usefulness and partnership between objects and workers. (Kiaer, Imagine No Possessions,chapter 1). He was the arranger of the Soviet part of the International Exhibition of Decorative and industrial art. As such he was to reconcile Pariss commodity world with its overload of sights and sounds with the constructivist alternative of the object as comrade (Kiaer, Imagine No Possessions,chapter 5). "Our things in our hands must be equals, comrades," wrote Aleksandr Rodchenko in 1925. ficticious component, tribal -->outrageous with graphics..design pattern and digitally superimpose textiles onto shape, unexpected

visual language? occult/sci-fi?

SATURDAY JULY 6.

ficticious component, tribal marks. look at anarchist clothing and determine various symbols. patch language, what does it mean to wear black vs. brown, vs. green. vs neon? black could be reclaiming anarchy as a politically responsible reaction to the failure of occupy but the legacy it leaves behind. if we are not fighting for a cause, if we are not attempting to spread a good word, a worship ceremony, or an open call for help, what is our purpose? if we are fighiting for individuality, or collectivism? are they mutually exclusive? the suit is for city people to interact with their immediate environment. does this involve botany and science? does this involve tools which allow one to measure density, water volume, which way the wind is blowing, how to identify the life, and how to harvest it? what it means, but also how to communicate face to face with neighbors. what kind of tools allow people to be more engaging members in a small community? where do small communities fail? the lack of diversity? in a city like los angeles, all you need is for people to talk to each other and you have the diversity manifest. tools for communication with other humans, as well as knowledge of plant/ animal life. as well as knowledge of history of architecture and city development. is history important in this case? is consumption of knowledge important? is production of something physical important? how can i introduce an unexpected visual language or outrageous tribal graphics into this fictitious world which for the moment is completely wrapped up in the reality of los angeles and urban problems? what kind of story could lead people in rather than keep people at a specific distance which leaves itself flat, lying there for nobody to pick up? what is a riveting story which keeps people interested? is it the past of a place - perhaps real, perhaps false? museum of jurassic technology presents stories as true because they are true in people's minds. how can a fiction become completely real through alternative clothing? suits which are used to talk about prisoners, workers, and nomads.

SUNDAY JULY 7.

marks which mean the object is not meant to be sold, not made to be sold, not allowed to be sold in the market, but must change hands by other means. a built in system which resists colonization and dismemberment from its means of production. how can one resist being individualized and sold as a plant rather than remaining a weed, taking over large quantities of mono-crop fields, etc. a mark marks a fabric as separate from the market, because it can be marked . it must be a system of marks from which ancient knowledge is passed down through generations, which can change but altogether means that money cannot enter. not only marks but methods of putting together. marks which mark how something was made, and whether it is for a friend, a loved one, a profession, an act. marks which mark how something can be stamped and never taken back. if something is stamped with an x, it means it must be torn to the point of no more recognition, or completely covered, or destroyed re-pulped and sold again. boycott marketplace. but its not a political boycott, it's an actual production of wealth, in which wealth that cannot be claimed for the purpose of exploitation, but resides within those who belong to the earth, and thoxse who pledge comradery toward an alternative marked life. turning peasants into buyers, producers into consumers. "It is the market itself that introduces this violence through the modern/colonial food system in a paradigm of war." "And so, a return to a more traditional diet of their ancestral foods was not merely some trip to fantasy land for nostalgias sake; it provided them with a deep

motivation for improving their own health by blending modern and traditional medical knowledge in a way that made them feel whole. (Nabhan 2004: 184) (HALEH Z.) the practice of re-publishing papers which feed into my work as a part of the work, itself. publications which don't shy away from academic references and background support to a wealth of knowledge as it is passed on. publishing possibilities: Self-Reliance, The Modern/Colonial Food System in a Paradigm of War, wendell berry?, spontaneous vegetation in urban wilderness article, grace lee boggs on work emphasis on body-awareness. role of patchwork in design, mark making, and sign associating with hand-done or machine-done thread-work. where does the body generally need cooling? where are the chakras? where is energy held? where does there need to be reinforcement? how is the body connected with the planets? 1st dimension into 5th dimension.cooling the planet. cooling the body. importance of traditional or native foods. resistant to being sold. sign that something was made by hand and was not bought, but made or bartered. communicating the importance of local languages,vibrant local economies, permaculture, By Design... Interactive Diversity > Stability Stability > Fertility Fertility > Productivity Productivity > Vibrant Local Economies Local Economy > Community Community > Culture marx: http://www.econlib.org/library/YPDBooks/Marx/mrxCpA27. html#Part%20VIII,%20Chapter%2027 PROJECT THEORY "The aristocrats who parade as shepherds in classical or early modern pastoral, for example, partake of new roles not only to entertain themselves but to seek forms of human community that may have been blindly eschewed by advancing civilization. As such, the pastoral space is the perfect locale for those who believe themselves to be in flight from a more sober and proscriptive (though no less imaginative) space, be it a nation, a fatherland, or even one's own interpellated identity. As Andrew Ettin has suggested, in the pastoral space one finds that a "useful disguise" somehow enables more natural bonds and knowledges to be recovered, reimagined, and reestablished." (RODCHENKO) "urban pastoral" coined by William Epson (sontag). importance of artificial role-playing. those who want to abandon fixed identities. bodies marked by communities by unique signifiers of desired mobility. to take on the likeness of a desired otherness, bodies that tend to move through space in an alluring way, tacticaly subversive movement through a practiced or banal routine. community takes pains to recognize individuals who are most adept at making those tactical moves through city space. semiotic shepherd? as a guiding force for those "adventurous flocks that gathered in the liberatory spaces of the urban pastoral" "since every geography is at base level a cultural or literary construction --literally an inscription (graph) on the earth (geo) --it seems appropriate to investigate the way urban space gets written as a language." .barthes says..."correlations which can never be imprisoned in a full signification, in a final signification"..what foucault calls "heterotopias" "uncanny spaces of a radical otherness" "at some point, the shepherd is required to take off the pastoral disguise he has been wearing." to be faced with just how other a leader has become. far-flung experiences lend its flocks new conceptions of cultural space. a presence to announce an urban heterotopia's opposition to a dominating paranoia. "trying to juggle the contradictory components of modern life into something like a livable space" .."upon his hyperkinetic body were dependent the collective desires of an imagined artistic community" "playful...significations eagerly 'read' by an urban com-

munity that sought to understand the trajectory of its own spatial desires" "a site of pure movement" "a decentralized and excessively mobile sign" a "dependable barometer in the city's increasingly fractured and invidious arts scene" "the poet's body became a demarcated space made available for various people arranging to meet". "gatheringness" "a new type of mobile figure, ready for any variety of deployments" "an outdated conceptualization of fixed spatiality" --> "barely traceable point on an elusive trajectory" placelessness where one can invent oneself . "mobile marker of urban heterotopia" a poet's body codes a type of movement "expresses the projected desires of a ..community seeking alternative spaces of consciousness in the urban semeion" (TIMOTHY G. GRAY) "But my problem is, what is democracy-today? I am not saying Eastern European socialism is better - my God, I lived there. But take this country. What do you, here, decide at elections? I am just saying that something happened twenty or twenty-five years ago, with the collapse of socialism, and, at the same time, the Western social-democratic worker state losing its power of sustaining political imagination. What disappeared at that point was the belief that humanity, as a collective subject, can actively intervene and somehow steer social development. In the last thirty years, we are again accepting the notion of history as fate. Thirty or forty years ago, there were still debates about what the future will be - Communism, socialism, fascism, liberal capitalism, totalitarian bureaucratic capitalism. The idea was that life would somehow go on on earth, but that there are different possibilities. Now we talk all the time about the end of the world, but it is much easier for us to imagine the end of the world than a small change in the political system. Life on earth maybe will end, but somehow capitalism will go on." -zizek. lecutre:"The Perverse Core of Christianity." (SLAVOJ ZIZEK)

MONDAY JULY 8.

in the hitchcock film 'vertigo', there is subjective shot but which cannot be attributed to the perspective of any subject. the role of the perplexed gaze as the divider between subjective and objective. meeting with ari resnikoff wednesday night july 10th, 7:30. agenda: press beginnings: from substantial to subtle twists: content/ form/ context/ tone/ aesthetic I. content (+contributors) -- fiction, non-fiction, editorial, articles, research-based, art, design, poetry, creative writing, manifestos II. form -- magazine, book, online, journal, somewhat published, modular or alternative publishing methods, events, library, festival, temporary library or collections, movie, dvd, cd, audio, zine, newspaper, daily, weekly, monthly, quarterly, etc. III. context -- coffee shops, events, forums, happenings, show, on the wall, on a table, on a shelf with other books, newspaper stand, newsstand, online website, facebook, blog, youtube, twitter, email, craigslist, reddit, etsy, store, bookstore, free on floor as you enter, library, zine stand, mobile indie publishing sale, IV. tone -- free, expensive, http://farmerwu.wordpress.com/quotations/wendell-berry-from-the-unsettling-of-america/ (excerpts from book WENDELL BERRY) community design: Francis, Mark. Community Design. JAE , Vol. 37, No. 1 (Autumn, 1983), pp. 14-19 love compassion tolerance, union jumpsuit as union between human body and environment. whether it be industrial environment or urban wilderness. something for movement, tactical playing through city. suit within heterotopia, a shepherd in the rye, a catcher in the concrete. to embody one's place, to create place in the midst of placelessness. i'm starting to argue that the architecture and discourse of urban government of los angeles perpetuates disembodiment of individuals through the separation of the body and his or her local environment. renting

as opposed to owning, selling them products which they have no hand in producing. the encouragement to produce your own food, produce your own clothes - begs the question, where do these resources emerge? they begin with waste. waste fabric that would otherwise be dropped off somewhere else, might as well turn waste into more production. the intimate cycles with waste are now disembodied through the globalized plumbing system, 'civilized' management of human waste as toxic to our survival, when really it's not toxic, it's necessary. "He has not the power to provide himself with anything but money, and his money is inflating like a balloon and drifting away, subject to historical circumstance and the power of other people. From morning to night he does not touch anything that he has produced himself, in which he can take pride. For all his leisure and recreation, he feels bad, he looks bad, he is overweight, his health is poor. His air, water, and food are all known to contain poisons. " .-wendell berry-. suit as space of radical otherness, uncanny space, the moral order of production, consumption, and return. a kind of energy community through which elements die into each other's life. a healthy soil is full of dead plants, animals, and bodies.

WEDNESDAY JULY 10.

jumpsuit for political prisoners freedom and re-embodiment/ cotton safari suit + hat for local tourguide, flax/ canvas/ linen high-waiste crop-top suit, jeresey system for grading, a lot of torn fabric. first design in detail. sewn explorations. system of shapes from which to choose for other designs. ---which shapes am i using in this first one? and why? who is the specific character for the first one? second one?

useful functional imagery based on the role of the trade. baking rules recipes measurements for carpenters conversions banjo chords. overalls/ jumpsuits/ heavy duty for physical work/function-oriented/ active-wear fashion: event once a year, event that's outdoorsy that requires them to be durable. everyone makes it themselves, you use second-hand material, home-based, the aesthetic isn't bought, proposing alternative world in which there's a tradition that ostricizes you if you don't have one at all and encourages certain norms in how it comes out. old school field day, event day, homesteading games, teaching people valuable skills, jumpsuits allows for the success of the activities, recognition of importance of basic skills - homesteading event. tradition in the society. tradition - confirmation, event, fashion. how a functionality of a certain homemade type becomes fashionable. post-apocalyptic clothes. unique. mixed with local food movemet - converged in fashion. post-apocalyptic heterotopia. fashion. animal-share. take-apart animal , learn how to butcher interactively. engaged lifestyle suit. very personal elements -- tattoos, second skin. family tree, smething obviously specific. very personal , every one makes their own design through geometric form + embroidery. functionality + symbolic meaning/ ceremonial. specialness of something because it's so essential to daily use. rather than selling product, a new experience entering the a cube of clothing, tools of the trade, imagined bodies in suits in place (proposed visual community photo collages), suits, attachments/ pockets, bandanas *(fabric components? online and in person?), screens + examples of imagery in context, TOOLS and resulting imagery on paper/ fabric, interaction with environment and importance of local knowledge. histories of runyon canyon + portraits + suit + native camo + prisoners suit homelessness, squatting, occupy, native plants, weeds, proposal to create one's own jumpsuit, materials needed, simple sewing techniqeus, replicable, teachable methods. branding based on plants, animal parts, human parts, occupations, clothing shapes. object-as-comrade, objects in my life that are beaten up but very symbolic and functional at the same time. very best books, RETURN// RENEW LIBRARY BOOKS.... black pants. clothing shapes - educational content plant shapes with names clothing/ rag bailsgrade system functionality vs. fashion vs. symbolism/ tradition / meaning system for re-finishing seams local issues, histories, and biota post-apocalyptic heterotopia tattoos, second skin experience rather than product archetypes: urban gardener/ beekeeper---> urban api, urban builder, urban seamstress/ tailor, urban cook/baker, creation of a jumpsuit for the keeper of urban food forests and pollinator havens - archetype of the new world, focused on the urban pastoral, providing an important service to the community, with aims of strengthening local biodiversity and engagement with local surroundings. a jumpsuit for the local fabric cycler + redesign studio - archetype of the new world, focused on innovative techniques, repurposing

THURSDAY JULY 11.

what is my vision for the future? dont set goals too high, friday present: imagining each in his own suit, present shape pictures, rip more clothes and photograph. think about plants and their names as an educational aspect toward encouraging engagement with environment. how does the suit address individuals' needs and their engagement in a community. perhaps it's a community-oriented preparation for an event, the suits allow each to show his or her colors, while also showing off functionality and value added to the community. for a parade, the group gathers the night before to sew their costumes and parade their fears, their anxieties, their ambitions, the sins and their joys into the air, so as to prepare for the time ahead, would the government issue the suits upon graduation? would the suits be made at a certain age? would they speak a certain language? the suits are created in order to celebrate the under-celebrated members of society, how do they celebrate members who make less money - political prisoners, reference to prisoners, homeless, how is homelessness addressed through celebration? the jumpsuit as solidarity with members of society which are under-appreciated - prisoners, farmers, outdoor workers, construction workers, beekeepers, doctors, people who do physical labor. jumpsuit uniform, hyperkinetic bodies which. uniform for the hyperkinetic body, eternally ready deployment, which reflects its immediate environments both through reclaimed fabric and printed material which educates about locality. system for re-finishing seams. seam-ripping locally recycled clothing and reprinting local issues, histories, and biota. system of shapes based on specific needs/ preferences of whatever individual. attached to waste of local vintage/ thrift stores. system of receiving donations, selling at determined price, legalized-localized gleaning, turnover of "rags", donation of direct local communities, seam ripping action, isolating shapes and determining how to change shapes based on preferences, methods for sewing in a professional looking way,

textile designs, materials, techniques, and re-mixing fabrics which are seen as waste. protection of wildlife, pollinator havens, urban pastoral, local biodiversity papers: tactical embodiment, urban pastoral, adventurous flocks, desired mobility, liberatory shepherd, hyperkinetic bodies, a placelessness in which to abandon fixed identity clothing shapes: i've started to take clothes apart, and these are what i've come up with, as a way of simplifying the construction + deconstruction process of clothing. i'm interested in repeating this process and documenting various versions in order to create a language of shapes, resulting fits, and what my personal preference would be in terms of movement, as well as trends in current clothing looking at fashion (junya watanabe) as a lens, through which people are moved by choice, expression of identity, and constant change, interested by the fashion schedule looking an entire year ahead and the context in which fashion is placed today. urban fabric cycling and neo-archetypal fashion. --> archetype 1: urban nature interpreter + educator, biodiversity expert, spontaneous and intentional perennial vegetation, knowledge about local plants, native / non-native, medicinal, herbal, potential uses for toxin absorption and natural dyes, natural fiber, connection with various fields for repurposing of these plants -- travels by fourwheeler or golf cart through city, tending sidewalk life and city edges. -AA--urban plant naturalist, herbalist, growing, finding, harvesting, foraging herbs, making salves, medicinal and herbal weeds + spontaneous + volunteer urban vegetation, caring for those plants, finding the plants, knowing where they grow -BB--bodyworker, helps an active community stay proactively healthy, healer, holistic doctor, yoga, therapeutic stretching, restorative health things, compresses, tying methods for braces, the scientist part, low key holistic health guide, holistic health expert, teach stretching + yoga, and preventative, accupuncture, making salves, -CC--doctor -DD--spiritual guide: texts, chants. traditions. occult methods, worldly knowledge, theologist expert archetype 2: urban gardener, food forester, connection with markets, restaurants, etc, toward cycling of plants onto local tables, caring for / harvesting food archetype 3: apiary and aviary haven protection expert, connection with markets for honey, connection with urban planners toward creating more edges + homes for pollinators archetype 4: unused, abandoned, and improvable land use coordinator and/or location scout, in connection with homeless shelters, urban gardeners, reports on unused space and theorizes better uses -- travels by four wheeler archetype 5: sustained urban mobility expert - knowledge of roadways, bus systems, improvement of access to safe bike lanes + running lanes, theorizes better uses/ organization for pathway, with aim of decreasing car use and increasing human-powered movement --- travels by bike archetype 6: homelessness rehabilitation, communications, infrastructure and contribution expert archetype 7: materials, resource, and waste cycling. facilitators archetype 8: de-incarceration, exoneration, and post-prison hospitality guides half-made silkscreen designs on fabric - as a visual communication of 'in progress' plants, playing wth imagery, while still elucidating plants + names. also suits themselves always in flux. document over time how it could change. how are the clothes being docmented? writing a letter to city council los angeles about hiring these arche-

types - or archetypes of 'farm careers'; vegetable farmers, urban farmer, veterinarian, beekeeper, soil scientist, cattle rancher, baker, butcher, seasonal farm worker, chef, produce manager (markets)

SATURDAY JULY 13.

sellin my clothes, aint that bad, i never liked em anyway. well surely tomorrow i will get my pay. come back lookin for another way. nobody knows what i'm lookin for , do maybe we can find it on channel four. -stereotypes of a blue collared male. confidence, lack of self-awareness, lack of vulnerability, single narrow minded pathway toward reconciling differences and expressing a truth which exists somewhere to be brought upon the material world, whereas a cover is constantly self-aware unless there is some way of gaining ownership over a song, perhaps growing really close with author or feeling a sense of relatedness. remembering goals of restoring a traditional and sacred way of life. goals of reconnecting with clothes, expression and creation of identity, the importance of embodiment within an environment of branding, money, dependency upon products and external mobility, and agency of decision-making. references/ annotations: american georgics, yale university press, jesse buel, farmers companion (1893) center for land use interpretation newsletter winter 2006 "the landscape of corn and when not a cornfield is a cornfield" e.f. schumacher, small is beautiful. the new farmer's almanac for the year 2013, edited by greenhorns severine von tscharner fleming rick prelinger of prelinger library, san francisco, ca, founder of archive.org the new farm magazine, rodale institute, rodaleinstitute.org, "your farm is worth more than ever" by robert rodale. william a. albrecht. albrecht papers volume 1 lady eve b. balfour: speech at the international federation of organic movements, ifoam, ifoam.org, owc2014.org community development financial institutions responsible endowments coalition and the democracy collaborative Coalition of Urban Serving Universities/Association of Public and Land-Grant Universities (USU/APLU) homewood community partners initiative URBAN WATERS Federal Partnership, ambassadors pilot programs Partnership for Sustainable Communities America's Great Outdoors Initiative LA hud field office - 213-894-8000. hud.gov 888-827-5605 - santa ana. home-ownership center/ 213-683-6333, 800-339-6993 - homeless services la urban homesteadig program FHA - federal housing administration National Land Ordinance 1875? Village Building Convergence sweeping out my backhouse, i think of how far forward i am leaning. also about different ways of owning a piece of land. how one feels a new sense of engagement through sweeping, going to the dump, cleaning out a place as opposed to moving in. making improvements through the revitalization of a long and forgotten space, cluttered with things, that go useless, unimportant, obsolete, summer water excitements, or plastic-made things sold at k-mart that one week your aunt was in town. *****a system of clothing which takes inspiration from occupy wall street movements, and movements around the world which are protesting this repression, but which are happening not only in economically depressed countries, but also in countries are seemingly capitalist successes. this solidarity with a worldwide struggle as it continues year after year, seeing as occupy was a perceived failure

but continues throughout countries witnessing police brutality. clothing system which uses waste, resists capitalist systems, and gives clothes back to the people to protest and engage in an autonomous world where justice is being fought for, and meetings are being held, general assemblies are open, and clothes for people to reflect and embody the global movement. creation of a graphic design around this theme, must include graphic design of protest, squats, people in resistance, people camping on the streets, people growing their own and cooking their own meals, providing services for their local communities outside of what is provided by larger city councils, taking inspiration from occupy, black panthers, free fare movement (mpl), defining itself as a horizontal, autonomous, nonviolent, and non partisan organization with the agenda of free and decent public transportation. strategies of concrete demands. occupy national gathering. demand for homeless bill of rights, urban camping ban how is divestment related to inaction? demand for fossil fuel companies to pledge to keep at least 80% of current reserves underground forever. bonding empathy. removed from paper for saving: Homesteading, as it appears in Wikipedia, highlights shifting perceptions of land use, appropriation, distinctions between urban and rural settlement, and various legislation throughout history that aims to put larger and unattended government land holdings to practical use. This paper will argue, in part, that the discourse around public housing perpetuates itself as a continual disembodiment of the individual within the urban environment. (nickeled + dimed). will show the connections between an attitude of /approach of self-sufficiency, as emobodied in the homesteading lifestyle, and a larger quest for home-making, place-making, access to ownership of home in the urban setting, mindset/attitude/sense of ownership/engagement with place/ activation of a space. utopian visions are instrumental in this kind of self-sufficiency, particular that of ghandi, and thoreau in civil disobedience. Ghandis use of these concepts through swaraj and swadeshi around 1903 when he was beginning to mobilize indian peasants in struggle against british colonialism. swaraj - means self-rule, swadeshi - means of ones own country, satyagraha - means insistence on truth and ghandi speaks of the importance of the difference between his terms such as satyagraha versus civil disobedience which he was often associated with, but which he define himself against, because it was more strength within non-violence and the refusal to move from ones position. he also talks about temperance of desire and controlling of ones palette. (relates to modification of desire) but as the doctrine of satyagraha developed, the expression passive resistance ceases even to be synonymous, as passive resistance has admitted of violence as in the case of the suffragettes and has been universally acknowledged to be a weapon of the weak. Moreover, passive resistance does not necessarily involve complete adherence to truth under every circumstance. Therefore it is different from satyagraha in three essentials: Satyagraha is a weapon of the strong; it admits of no violence under any circumstance whatsoever; and it ever insists upon truth. I think I have now made the distinction perfectly clear." facilitating the design process, city-wide celebration around the idea of public place-making, remembering public space, idea of creating a permanent space, our village, our place, project in place on the ground, transforms beauracratic thinking, created public space how are people relating to each other, a sense of place at a crossroads or convergence of pathways, building of culture and speaking, natural building, permaculture, building of public places

include pictures of first homestead application, current homestead application, current evaluation of urban homestead program from 1981.

MONDAY JULY 15.

state. country. governments about pollinator havens. implementation of 'farm careers'; vegetable farmers, urban farmer, veterinarian, beekeeper, soil scientist, cattle rancher, baker, butcher, seasonal farm worker, chef, produce manager (markets), furthering the urban waters ambassadors program. throughout city. urban waters ambassadors. urban horticulture ambassadors program. urban pollinators ambassador, exploring these archetypes through clothing, textile use, fabric production and consumption, jumpsuits as new signifier of these urban archetypes intersection of textiles + urban vegetation as representative of the natural environment, and emerging roles / functions instrumental in the success of urban wilderness. new urban archetypes --> 1: urban naturalist: knowledge about local plants, native / non-native, weeds, tinctures, teas, medicinal, herbal, potential uses for toxin absorption and natural dyes, natural fiber, repurposing plants, concerned with biodiversity -- travels by fourwheeler or golf cart through city, tending sidewalk life and city edges. *whatshisname* 2: urban gardener + food forester: cycling of plants onto local tables, caring for / harvesting food *ron finley* 3: urban beekeeper. haven protection expert. 4: urban waters ambassador!! (real!) 5: healer for an active community, preventative doctor, yoga, acupuncture, massage, holistic health expert 6: baker 7:unused, abandoned, and improvable land use coordinator 8: urban hospitality 9: de-incarceration + re-employment 10: homeless rehabilitation support rag bail - process of using waste fabric for new archetypal society fabrics marked to communicate resistance against re-entry into capitalist market system (what is something that flies above capitalism as a flattening demarkation?) trans-capitalism. trans-modernism. enveloping capital into the folds of the suit - snippets of words/ advertisements/ logos/ - through the use of capitalist industrial waste like cheap boxes, coffee bags, packaging material--deep ecology and spirituality. added value comes transmissibility, from the ability to pass through a medium. sign over signified = skin over body, new paradigm, anti-fundamentalism, virtual as true reality. to be gifted, handmade, passed down, or transformed.(inside) marked (outside) to educate about local area biota, plant life, measurements, employing all methods possible which relate to self-reliance, diy principles, alternative and underground, anti-commercial, anti-free market capitalism, probiotic, politically engaged, and utopian 1. jumpsuits 2. planter wall 3. bandanas 4. curtains 5. tarp tent *silicone sealant* collages with people in costumes, beer + labels proposal/ letter to city/ state/ dc about encouragement of these industries. demand an urban homesteading program in la

SUNDAY JULY 14.

-AA--urban plant naturalist, herbalist, growing, finding, harvesting, foraging herbs, making salves, medicinal and herbal weeds + spontaneous + volunteer urban vegetation, caring for those plants, finding the plants, knowing where they grow -BB--bodyworker, helps an active community stay proactively healthy, healer, holistic doctor, yoga, therapeutic stretching, restorative health things, compresses, tying methods for braces, the scientist part, low key holistic health guide, holistic health expert, teach stretching + yoga, and preventative, accupuncture, making salves, -CC--doctor -DD--spiritual guide: texts, chants. traditions. occult methods, worldly knowledge, theologist expert, connection with markets for honey, connection with urban planners toward creating more edges + homes for pollinators *backward bee society* archetype 7: slow baker, whole grain, sourdough starters, archetype 8: archetype 4: unused, abandoned, and improvable land use coordinator and/or location scout, in connection with homeless shelters, urban gardeners, reports on unused space and theorizes better uses -- travels by four wheeler archetype 5: sustained urban mobility expert - knowledge of roadways, bus systems, improvement of access to safe bike lanes + running lanes, theorizes better uses/ organization for pathway, with aim of decreasing car use and increasing human-powered movement --- travels by bike archetype 6: homelessness rehabilitation, communications, infrastructure and contribution expert archetype 7: materials, resource, and waste cycling. facilitators archetype 8: de-incarceration, exoneration, and post-prison hospitality guides

polyester blends are popular, breathes silk acrylic - soft, washable, dries fast, synthetic, lightweight. retains shape and texture acetate - synthetic fiber with silky appearance, dries easily, resists moisture. clothing + home furnishings, acetate knits can sometimes be washed rayon - soft and comfortable, absorbs well, shrinks! microfiber (ultra suede and faux leather)- good for cleaning, doesn't shed lint, absorbs a lot of moisture, filters, durable, lasts a long time 1) proposing new urban archetypes in list form + graphic visualization of headless jumpsuits + explanation of parts as lens which reveals concerns, actions, tools, and mobility - with physical jumpsuits 2) jumpsuits broken down - pieces of jumpsuits, and shapes, as they fit together - several iterations made up of recycled fabric 3) example rag bail - process of breaking down fabric, printing processes of silkscreen/ woodcuts 4) urban almanac with texts, samples from historical almanacs, explanations of textile uses, shapes, and short explanations ---list other almanacs, journals, websites, organizations ---los angeles projects (bike kitchen, free clothing, la ecovillage, urban homestead, etc) ---urban gardening, plans, planting charts ---LA seed library ---permaculture. implementation at home, books, materials ---occupy LA, local news ---land legislation ---letter for city about urban homesteading program ---friends of la river, water ambassadors program. ---pollinator havens/ bug hotels ---as visualization of website -- system of blogging and selection of important components to publish in issues ---silkscreen/ woodcut/ risograph processes, printing ---fabrics and fabric uses, patterns + shapes for various clothing resource guide. alternative uses of land plants and fabrics in the urban environment. proposing new archetypes through clothing, how will i interest people in these topics if they're not already interested? re-looking at resource use and priorities -- on function for mobility and nature interpretation, unexpected, and unusual visualization of homesteading. jumpsuits which propose new archetypes of urban life based on plants and awareness of environment + body. urban naturalist, urban gardener, urban beekeeper, shown through clothing, tools, books, field guides + almanacs,

TUESDAY JULY 16.

1: urban naturalist: knowledge about local plants, native / non-native, weeds, tinctures, teas, medicinal, herbal, potential uses for toxin absorption and natural dyes, natural fiber, repurposing plants, concerned with biodiversity -- travels by fourwheeler or golf cart through city, tending sidewalk life and city edges. *functional uses for spontaneous vegetation* *field guides, clippers, water-proof option for wading in water, harvesting and sampling options for collecting, outdoor lab for experimenting with plants, herbs, edibility, water sampling, monitors animal ecosystems, smaller bottles etc for sampling 2: urban gardener + food forester: cycling of plants onto local tables, caring for / harvesting food *ron finley* *clippers, shovels, seedling pots, watering devices, knives and scythes for harvesting, clearing, cooler for seed storage, several sites in city where you go consistently to monitor food, ways of getting food to stores + restaurants, weather tracking, knee reinforcement for kneeling, and awareness of repetitive motion injury, bag for harvesting 3: urban beekeeper. haven protection expert *optional face mask, building - more construction tools as well as looking for areas which have plants fabric grading: linen, cotton, jersey, cordorouy, denim, woven, types of fabrics and their uses, their durability, and their characteristics. where to get them - what kinds of clothes make them in thrift stores? polyester - synthetic, durable, dries fast, wrinkle resistant, doesn't breathe well linen- natural fabric, irons nicely, tablecloths, sheets, curtains, and clothes, comfortable, strong nylon - synthetic, strong, lightweight, resists moisture absorption, swimwear, activewear, easy to wash cotton - easy to wash, most commonly clothing, absorbent, cotton/

WEDNESDAY JULY 17.

printing jumpsuit fabric with local plants - forms a system for social fabric through which local plants are reflected on clothing of the area to create local languages about biota and environments. tools for reflecting and interaction in local environments, looking differently at local plants and fabrics as raw material from which to create a culture around specificity and unique handmade objects. looking through jumpsuits as a way to imagine new roles in the city based on functional aspects and environmental interaction. using the depiction of clothing as the form through which one can imagine new connections between body and environment. between one's personal body and one's bodily environment (clothes) and between one's bodily environment and one's larger outdoors environment (city). a speculative project which deals with imagination of archetypes or roles as they form the urban psyche and dictate particular fashions or trends. isolating shapes of the clothing reveals building blocks through which people then have the agency

to customize their own bodily environments, and embody a more experiential city life through the designing of one's own skin. through designing one's own skin, one is then encouraged to begin designing one's own environment through the recognition of building blocks and the subsequent interpretation, remixing, and implementation of elements. as we begin to recognize these building blocks in our direct experiences, we can also begin to reshape them based on changing priorities and changing needs. we can also begin to reinterpret their uses, functions, aesthetics, and integration within larger circumstances. as we begin to decode our direct experiences into various typologies and archetypes (clothing + environment), we can begin to manipulate the codes and redesign them to be more lasting, sustainable, self-sufficient, giving, and symbiotic. through visualization and continual shaping, elements begin to have lives of their own, rather than suffer under continued enslavement based on commodification and planned obsolescence.

embodied skin, feel so comfortable in their own life map. designing your life based on what actions you want to take - i want to pick this plant so i will have this pocket right here. proposal for the jumpsuit as relevant to current urban life, how is the jumpsuit-wearer the neo-homesteader? how is jumpsuit-wearing related with use of land and practiced ownership of space? 1)process visualization 2)embodiment contents: patterns, examples of jumpsuits through history, why socially important, system of explaining which shapes are for what and where to sew, in what order, wendell berry quotes, pictures of los angeles, pictures of various panel combinations, process photos of deconstructing clothes, theory about jumpsuits from constructivist, textile design patterns, local weeds + local plants, food pattern designs, pocket shapes/ BADGES, to wear a badge of honor, similar to wearing patches of honor, quilts and memory, embodiment/ skin, environmental concerns, homesteading as city survival, nomadism by deleuze + gutarri, transforming public space *city repair, david bowie, village people, construction workers, tarot cards, constantly adding and documenting - how it becomes a suitcase with stickers. costume and importance of disguise, using your whole vote, prisoners (susan silton/ stripes), jumper, overalls + farmers, multi-use/ functional == bandanas, ponchos, tents, canvas, tarps, fabrics, curtains, uses for throwaway fabric -- besides jumpsuit, ground cover, hanging planter, wall planter pockets, collar/ no collar/ neck finish/ hood, arm shapes: short sleeves + long sleeves, front panel + back panel shapes, pant shapes, shorts shapes, zippers, buttons, clasps. patches shapes for various archetypes PROJECT STATEMENT: Dress is a symbolic act which defines identity. Embodiment + disguise + hyperkinetic movement + heterotopia combine in fabric to form the unison through which a body reflects place. Patches become badges of honor, and rips become scars. Bodily awareness is essential and primary in the process of understanding environment. One's bodily environment extends into the earth environment. The planet clothes himself in the ozone, the atmosphere, and green carpets of biota. The human clothes herself in thread, and thus reflects her sense of perfect locale. Pathways + landscapes produce a social fabric which inscribes movement and dictates one's agency in the urban future. Textile + fiber combine to form a new language and the basis of a movement to produce one's own skin as a site of change. project is about the empowerment which the jumpsuit provides for the individual both in one's own bodily environment as well as the immediate environment of the city. exploring the jumpsuit as a reflection of body + place in unison, looking at historical perspectives and examples, as well as current reasons for the relevance of the jumpsuit (archetypes, green jobs) and reclaiming the act of sewing/ creation of one's identity in current urban environment. doing that through superimposing environments on jumpsuit patterns. pictures of people in jumpsuits interacting with environment - next to jumpsuit. more suits, not so scare-crow-y. no fashion designer, more functional rather than fashion-y/ look-y. how does the publication incorporate functional patterns combined with research, visual interpretations and text, present the options and what they mean. what stitching is the best? stitchings and functions, different shaped patches for archetypes. what is my archetype - what is my function and what i need? photograph in action. imagine two others with appropriate functions, customizations, and applications. ARCHETYPE: page, knight, king, hermit

THURSDAY JULY 18.

one's body, one's bodily environment (clothing), and one's larger environment (city). in designing one's own skin, one has the power to separate the elements and the weed stands in as a symbol of ubiquity, strength, independence, and drought-resistance. using one's clothing as a form of reflection and they dont have life experience to be confident, they dont have confidence skills no business being there. jumpsuit, tent, groundcover, planter, agency over one's own clothes. the weed stands in as a symbol of self-reliance. new versions of homesteading. through the use of threads in creating an identity of a modern worker surrounded by buildings. making a reconnection with life amongst hard surfaced streets. a symbol of identity. in thinking about identity as a graphic design tool, i'm proposing a new identity for the modern worker, one that is more connected with outdoors, more connected with the aim of revitalizing urban wilderness in the city. graphic design of content of images on fabric, graphic design as way broader idea. the suit acts as an identity of one's skin, rebranding of one's skin as a collection of locally based fabric waste, and textile design as a symbol of noxious solidarity. compendium with lifestyle article, you have all the tools you need, reusing clothes so no money, ways to tailor it, wilderness. empowering the readers to philosophically engage with one piece of clothing at a time, persuaded of contextual meaning, knowledge + skills to create one for themselves, function of theory that inspires them to think of it in a higher realm which makes it more meaningful to them. easy focusing point, exact goal, theory and depth and history of a hat. the workers jumpsuit. neo-homesteader. highly symbolizing process, symbolic customizations, jumpsuit designing as life mapping. a document which presents inspiration and patters and possible options as well as theory and well chosen quotes which are inspirational toward the making of one's own clothes, the taking of action in a dependent lifestyle, the value to symbolizing one's own skin, symbolic skin, thought-embedded, they will have thought so many thoughts connected with why they are making it, and what materials they're using, fabrics, patterns, pictures of bees on flowers, europe examples of green tracts and houses with gardens in the backyard, and weed patterns, localized textile design, symbolized textile design, symbolization and embodiment skin, saturating piece of clothing with personal symbolization,

human/ social/ psychology craft/ trade entertainment food law medicine teaching arts Ksitigarbha is typically depicted with a shaven head, dressed in a monk's simple robes (unlike most other bodhisattvas, who are dressed like Indian royalty). In his left hand, Ksitigarbha holds a wish-fulfilling jewel; in his right hand, he holds a staff (called shakujo in Japanese), which is used to alert insects and small animals of his approach, so that he will not accidentally harm them. Majur is depicted as a male bodhisattva wielding a flaming sword in his right hand, representing the realization of transcendent wisdom which cuts down ignorance and duality.

By the mid-nineteenth century, wearing of traditional smock-frocks by country laborers was dying out, although Gertrude Jekyll noticed them in Sussex during her youth, and smocks were still worn by some people in rural Buckinghamshire into the 1920s. As the authentic tradition was fading away, a romantic nostalgia for England's rural past, as epitomized by the illustrations of Kate Greenaway, led to a fashion for women's and children's dresses and blouses loosely styled after smock-frocks. These garments are generally of very fine linen or cotton and feature delicate smocking embroidery done in cotton floss in contrasting colors; smocked garments with pastel-colored embroidery remain popular for babies.[5] Smocks were not worn by every countryman, and the smocks of those that did would vary in material, colour and in length. The embroidered patterns on the breast were added to the smock designs during the 19th century. The working clothes worn by men changed in appearance between the late 18th and early 19th centuries. Stockings, breeches, wide-cut shirt, waistcoat, jacket and hat were the common attire at the turn of the 19th century. By about 1840, working men were wearing full length trousers. Collarless shirts and waistcoats remained, though the wearing of coloured handkerchiefs tied round the neck became more common. Nearly all men wore hats, the designs of which altered frequently. The young labourer pictured is wearing a smock, perhaps the countryside's most distinctive garment. The smock was worn by 'country folk', living and working in rural communities, of the mid and southern counties of England, and to a limited extent, Wales. Popular in the 18th and first half of the 19th centuries, they fell out of fashion during the Victorian period and were considered unfashionable by the mid 19th century. The smocks in the collection of MERL are mainly considered to date from the last decades of the 19th century. What is my Remedy against a Robber, that so broke into my House? Appeal to the Law for Justice. But perhaps Justice is denied, or I am crippled and cannot stir, robbed and have not the means to do it. If God has taken away all means of seeking remedy, there is nothing left but patience. But my Son, when able, may seek the Relief of the Law, which I am denied: He or his Son may renew his Appeal, till he recover his Right. But the Conquered, or their Children, have no Court, no Arbitrator on Earth to appeal to. Then they may appeal, as Jephtha did, to Heaven, and repeat their Appeal, till they have recovered the native Right of their Ancestors, which was to have such a Legislative over them, as the Majority should approve, and freely acquiesce in. phrases: reform dress / surveyors of the king's woods / to destroy machinery which is hurtful to commonality/ marks of ownership/ broad arrow / livelihood protection / what the luddites really fought against / country folk / content: (black) luddites story white pine riots/ mast preservation clause joseph campbell on archetype/ mythology? aleister crowley? excerpt from doors of perception excerpt from delueze the modern/ colornial food system in a paradigm of war resolutions from design conference @ aspen iching chipko movement patch/ symbol/ archetype *diamond (trainman/ farmer)

SATURDAY JULY 27.

nobody knows what i'm lookin for stereotypes of a blue collared male find good stitchings. find good ways of quoting wikipedia HAHA

MONDAY JULY 29.

APPENDIX A: IMAGES land ordinance of 1785? first homestead application, 1862 front page of urban homestead program analysis, 1981 additional survey results from program analysis, 1981 current application for urban homestead program photo in corset: Gaches-Sarraute in her (not fashionable) reform corset from about 1892. It was in fashion from 1900 to 1913, but only after many years of hard work. "The Rational Dress Society protests against the introduction of any fashion in dress that either deforms the figure, impedes the movements of the body, or in any way tends to injure the health. It protests against the wearing of tightly-fitting corsets; of high-heeled shoes; of heavily-weighted skirts, as rendering healthy exercise almost impossible; and of all tie down cloaks or other garments impeding on the movements of the arms. It protests against crinolines or crinolettes of any kind as ugly and deforming.[It] requires all to be dressed healthily, comfortably, and beautifully, to seek what conduces to birth, comfort and beauty in our dress as a duty to ourselves and each other.[7]" prehaps use this whole source: http://web.archive.org/ web/20110722212919/http://www.glily.com/preraphs.htm From the earlier eighteenth century, the smock-frock was worn by waggoners and carters; by the end of that century, it had become the common outer garment of agricultural labourers of all sorts throughout the Midlands and Southern England. The spread of the smock-frock matches a general decrease in agricultural wages and living standards in these areas in the second half of the eighteenth century. The smocks were cheaper than other forms of outer garments, and were both durable and washable.[4] Embroidery styles for smock-frocks varied by region, and a number of motifs became traditional for various occupations: wheel-shapes for carters and wagoners, sheep and crooks for shepherds, and so on. Most of this embroidery was done in heavy linen thread, often in the same color as the smock.

*embroidered hungarian knot, floral design, yellow cord braiding *prison arrows *silhouettes of dresses, jumpsuit, overall, dress, onesie, twosie, etc. *shapes: arm, torso, legs *stitches: yellow cord braids, hungarian knots, hand stitches, machine stitches surface/ fabric/ wallpaper/ field transformed photos of existing fabrics, fields, and surfaces woven, printed 3dimensional texture patterned The Attila is a high quality black doe-skin wool with bright yellow cord braiding, gilt toggle buttons and rosettes. Five rows of ornamental yellow braiding was worn on the chest, as well as on the front, collar, cuffs and rear. The braiding was looped on both sleeves in a Hungarian knot. http://www.gutenberg.org/files/34856/34856-h/34856-h.htm http://nationaltreasures.nla.gov.au/%3E/Treasures/item/nla.intex13-s11 http://www.spartacus.schoolnet.co.uk/PRluddites.htm# http://books.google.com/books?id=GPaA4Nb0w0YC&pg=PA67&dq=Chipko+movement#v=onepage&q=Chipko%20movement&f=false http://www.wired.com/wired/archive/3.06/saleskelly.html?pg=8&topic=

Dress or costume is a rich and varied medium for the visual representation of ones individual identity or, by extension, the masking of it. Embodiment, mobility, and disguise create a heterotopia of desire a place into which extension and exploration is imagined and encouraged. New clothes from old fabrics reinvent the acts of future-thinking, life-designing, and archetype-building. The jumpsuit, overall, or one-piece, for example, is an important typology in this process, transcending the duality of top and bottom, male and female, or urban and rural. Using textiles as vehicles for the visual expression of legible meaning, a physical relationship with place (philosophical & practical) is spelled out in the readable signs of patches, symbols, weaves, and stitches. Unlike conventional fashion design, this retrograde design approach examines the collection, recycling, repurposing, post-consumer dismantling, modular componentization, and reconfiguration of found and abandoned material. The consumer gains autonomy as producer through the signification and display of his or her own identities and philosophies.Honorific status, communal membership, mastery of craft, aesthetic vision, and social engagement constitute a new rubric for the evolving skin of urban America. the groundwork for the modern and urban value of character. new modern rubric from which we evaluate experiences of ourselves and of others. PDF PRESENTATION: Hello, I'm Julia - and I'll be talking about some past projects that I've worked on here at otis, and how they have led up to my final project this summer about autonomy in urban landscapes with a focus on textiles and how clothing can reveal the interconnection of body and environment. and then a little bit about how i see my design practice continuing into the future. publication i designed 2 years ago called Schools as they Might Be, the title was inspired by a text written by william morris called 'factories as they might be' and it reflects my interests at that time in craft and craft-based education. i focused on school structures which emphasize hands-on learning, experiential learning, interaction with tools, the apprenticeship model, and how these types of education were a kind of utopian vision of school. with this project i also discovered the value of using historical reference as a theoretical foundation for my own ideas. using texts such as the bauhaus manifesto allowed me to begin articulating my own personal interests in craft, the value of cultural production and the intermingling of function and art. next project was the culmination of research and writing that i did last summer, primarily focused perception, and nature and science of holograms, hidden truths, occult symbols and iconography, and various ways that underlying structures reveal themselves, or reappear in varying forms. whether it be through mistakes, glitches, or holes. through visualizing these phenomena, my interest in historical as well as visual research has only grown, and now i have come to view my design practice as primarily research-based, with the view that nothing is truly original, but we are constantly looking back and remixing something that already exists out in the world. i was still interested in this idea of archetype, what types of symbols, characters, and icons continue to reappear in history, and which ones are temporary? i'm interested in how these archetypes are able to connect seemingly separate events or categories, and i started to read more about the work of joseph campbell and carl jung - who both talk about mythology and archetypal meaning more recently, this past spring, i had the privilege of studying in amsterdam at the sandberg instituut, where i essentially gathered a body of research about the relationship between nomadism and geopolitical state power. i found that while nomadic peoples still

FRIDAY AUGUST 2.

playing cards/ archetypes/ tarot cards-- historically occult symbology -- to current day card archetypes/ loteria oracle. i ching. fortune telling. using archetypes. story telling. book covers, use of titles and typography in old book covers. publishers which have large series of classic titles, how titles reveal kinds of knowledge about the time. clothing patterns. types of clothing patterns available based on time period. marks and symbols which have historical significance, patches which signify a particular societal role -- functional parts of clothing which are literal marks both by fabric and social status. - particular suits, which identify with the working class, particular shapes which serve as pockets, functional reinforcement, or embodiment of a philosophy/ belief.

SUNDAY AUGUST 4.
introduction:

http://www.questia.com/library/1G1-141260391/male-female-italy-flanders-michelangelo-vittoria

Bodily awareness is integral to environmental awareness. Ones body extends into the earth. The planet clothes himself in the ozone, the atmosphere and the green carpets of biota, while the human clothes herself in thread, thus reflecting her own atmosphere. Pathways and landscapes form a social fabric which inscribe movement and illustrate ones agency in the urban future. Similarly, textile and fiber forge a new language communicating the basis of a movement to recreate ones own skin as a site of change. investigation:

exist, state governments increasingly require people to declare their place of origin, or a record of citizenship. in this way, state is completely based on geography and boundaries, and the control of these boundaries. i was deeply inspired by delueze and guttari's writings on nomadism as a philosophical concept, as well as historical research about various nomadic archetypes, such as train hoppers, field workers, historical nomadic peoples ,and wanderers. i ended up with a body of work which was much more process based and research based which culminated in a reader and a portfolio of visual experiments. my final project from this summer, about this notion of autonomy, and what it means in the modern urban context. i knew i wanted to focus los angeles, i grew up in this city, and it's i have had the experience of feeling a certain kind of disconnection with place. i have memories of visiting my families farm in montana and feeling even more connected to the land there because i could see the direct relationship my uncle had with the land, and the benefits eh got from it. however in the city, i always felt as thought i was simply taking advantage of conveniences which the city affords. so i decided to start with an exploration of the physical environment. i went looking in about a 10 mile radius for places that seemed to blur the line between urban and rural. i was interested in these places which felt free from boundaries and clear ownership. i was looking for overgrown places, perhaps abandoned, or unclear as to what should happen there. i also created visuals based on plants i found in these areas, trying again to gain a closer connection with the natural environment. at the same time, i was interested in textiles and the power that clothing has to reflect our identity and the way we interact with place. merging the subjects of fiber and fabric was a way of bringing these notions of body and environment together. taking apart old clothes i wanted to show the simplicity of form in order to open up the world of people making your own clothes. in our modern times, it seems so ridiculous for someone to be making their own clothes, but it seemed the only answer for me, in feeling a greater sense of ownership over my own objects, as well as my identity. with a jumpsuit prototype, i tried to embody this idea of movement in an urban environment, using symmetry, bodily awareness, combining desire and function, using pockets to store plants, books, pencils, tools, patches to communicate philosophy. in addition to the textile work, i also compiled a reader based on discoveries which helped me understand the importance of fabric and clothing in social histories. this reader was a way for me to re-categorize my thoughts as well as provide a theoretical foundation for the marking of fabric, and the marking of identity. looking forward i see graphic design as a tool for expression, education, and empowerment. i'm interested in continuing my personal research and finding ways of communicating stories about the past in new ways. more than anything i'm interested in putting forth ideas, not claiming anything to be original, but always telling stories based on the past, without fear of sharing knowledge, but driven forward by the felt need to educate each other using collective + multiple perspectives . thats it thanks for listening.