Institut HyperWerk, Basel August 2018Diciassette, 2017/18

Stitching InterconnectednessJennifer Ruesch

Stitching InterconnectednessJennifer Ruesch

Table of Contents:

1. Introduction — Page 5

2. Contextual and Theoretical Background — Page 7 2.1 Society — Page 7 2.2 Ecological Systems Theory — Page 7

3. Method: Open Process — Page 9

4. Projects - Taction — Page 11 4.1 Stitching Blast Part I — Page 11 4.2 Open House — Page 13 4.3 Sister Fusion I — Page 13 4.4 Museum Nacht — Page 15 4.5 Woman at Work — Page 15 4.6 Then Came Three — Page 15

5. FIVE THEMES — Page 17 5.1 Language — Page 17 5.2 Ritual — Page 17 5.3 Discipline — Page 19 5.4 Transformation — Page 19 5.5 Interconnectedness — Page 19

Stitching Interconnectedness

6. Conclusion — Page 21

7. References — Page 23

8. Additional Information and Attachments — Page 25 9. Glossary — Page 27

10. Acknowledgements — Page 29 10.1 Family — Page 29 10.2 HyperWerk, HGK — Page 29 10.3 Sister Fusion I — Page 29 10.4 Museum Nacht — Page 29 10.5 Woman at Work — Page 29 11. Personal Background 11.1 Open House — Page 31 11.2 Sister Fusion I — Page 31

12. Contact

4 Jennifer Ruesch

« Everything that really matters today, is all the things you can’t download. It’s all the things that you have to upload

one human being to another »Thomas Friedman

(Friedman, 2017, 1:09:05 - 1:09:16)

5 Introduction

Introduction

To better experience, explore and share cultural interconnec-tedness there is an immediate need for people, regardless of cultural background, religious belief or career orientation, to come together in designed spaces where there is the oppor-tunity for artistic expression. Creating these spaces is the ca-talyst for the project Stitching Interconnectedness. This parti-cipatory art project invites people to stitch together; through the handcraft of stitching, participants have the possibility to experience a collaborative feeling of oneness. A June 2010 study by Mary Schwartz and Dr. Karen Yair found that it is important to bring people, “new creative ex-periences, relevant to their situations and interests but also providing new ways to express themselves. Uniquely craft of-fers the opportunity for people to work with materials, make objects with meaning and permanence that they own whi-le engaging in conversations that build individual worth and community value” (Schwartz und Yair 2010). This project is designed with this idea in mind, and it is inspired by the sti-tching tradition of the indigenous West Bengali and Odissi household handcraft of Kantha [1]. The motivation behind the project as a design work was to see how it would evolve into and possibly ultimately grow into something very different than its Kantha inspired origins. While witnessing these transformations through taking action (taction), observing the journey of Kantha inspired stitching and incorporating an Open Process (Section 3), I amStitching Interconnectedness.

6 Jennifer Ruesch

ANU, Canberra, Australia 2016

University of Botswana , Gaborone 2016

Banasthali University, Jaipur, India 2018

7 Contextual and Theoretical Background

Contextual and Theoretical BackgroundIn March 2016, I was in Gaborone, Botswana at the University of Botswana, Department of Industrial De-sign & Technology at a workshop Project Week / Water with HyperWerk’s research project Cultural Spaces and Design (CS) [2]; I observed a togetherness of spirit and intention. The workshop focused on the importance of recycling “black water” [3] and its impact on the com-munities there.

In April 2016, while attending another CS workshop Points of View – Connotations in Material (Culture) [4] in Canberra, Australia at ANU, I felt a personal connection to Penny Evans’s [5] work, Stranded at the 2nd Tam-worth Textile Triennial [6]. It was evident that the work depicted society, relating to family structures and the non-verbal communication over the generations. Arts speak as a language connecting people; it was then that I was first introduced to the term interconnectedness. [7]

In October 2016, I founded Ort 4 Art [8] and in January 2017- Sister Fusion [9], where through various projects I continued to explore interconnectedness. At this time, I started to investigate water issues, environmental, so-cietal issues, and women’s issues through the vehicle of art; I created a platform Water, Women, and the Arts. [10] It was my desire to experience more of these inspired in-terconnected moments using art as my mode of langu-age. I attended a HyperWerk workshop entitled Stories of Kantha led by Himadri Hiren Ghosh from Banasthali University [11], India for the final CS Atelier [12] at the HGK in Basel, Switzerland. It was after this workshop that I realized I wanted to use Kantha inspired stitching to explore, through crafting, how interconnectedness can be felt and understood.

I decided to use the history and practice of stitching a Kantha, a special embroidered muslin from West Bengal India, as my muse into my diploma year of WIR HALTEN HAUS. Kantha is a handcraft that is made by women of all social and economic backgrounds. This unique and highly personalized handcraft has been passed down from mothers to daughters over many generations. It tells the folk tales, dreams and daily lives of women. I felt this handcraft uniquely mirrored my interest my diploma work, my personal focus is on women, the woman I am, and my relationship to women in communities around me.

SocietyAs woman designer I feel deeply compelled to reflect on my story, the stories of others around me and to tell my story in relationship to the world, much like Frida Kahlo [13] did in her portraits and paintings. The project fo-cused on stitching within Urie Bronfenbrenner’s micro, meso, exo, and macro systems ( Ecological Systems Theory 2018) which correlates directly with society as

a whole, arts, design and my place in these ecological systems. Through sharing a selfconstructed Open Pro-cess method (Section 3) within these ecological systems the goal was to find a deeper understanding of my per-sonal themes, methods and contexts, and awareness of how handcrafts, language, ritual, discipline, transforma-tion and interconnectedness can add value to a com-munity and strengthening community spirit. It is through people’s engagement in storytelling within these sys-tems, that authenticity and self are created. Only later into the project did Prof. Matthias Böttger [14], Director of the Institute HyperWerk suggest that my project was also possibly working against “alienation”. I prefer so-ciologist Melvin Seeman’s term social isolation (Cross-man 2018).

Ecological Systems TheoryThe Ecological Systems Theory from Urie Bronfenbren-ner inspired the framework of this project. He states “…a child typically finds himself simultaneously en-meshed in different ecosystems, from the most intimate home ecological system moving outward to the larger school system and the most expansive system which is society and culture. Each of these systems inevitably interact with and influence each other in every aspect of the child’s life” (HQ 2013).

Keeping the Diploma theme, WIR HALTEN HAUS in mind, I organized various projects with an eye to an ex-ploration into different sytems: the self, my community, and the others and how each interact with one another. Therefore, I created a system method where I studied stitching in the context of multiple environments. It is within the interaction and influence of each system that I feel interconnectedness is apparent. Through using the arts and handcraft interconnectedness is more tangible.

Within each system I have encountered new difficulties often due to the lack of language comprehension. There has also been varied levels of participation during my projects depending on particular ecological characte-ristics such as location and environmental influences. I have found that my work within the various systems in society has definitely allowed me to grow as a designer.

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Stitching Blast I 2017

9 Method: Open Process

Method: Open ProcessAlthough Urie Bronfenbrenner inspired the main frame-work and methodology for the practical output of this project, it is worth mentioning that it is having been ex-posed to methods of Design Thinking [15] and Habit Ha-cking [16] workshops given by Prof. Sabine Fischer [17], Professor of Management and Economic Capability, and other workshops throughout my studies at HyperWerk that I became very interested in developing my own me-thod for approaching my diploma year. With the desire to create new models for collaborating, interconnecting and sharing with one another I remained open to new methods in planning, designing and creating. Hence, I coined my exploration into an expectation-free method as the Open Process (not to be confused with Open De-sign Process) [18].

My definition of Open Process: 1. (n.) The ability to let live, let move, let flow as it may. No boundaries, no limitations hence no fear. 2. (n.) Freedom to try, but also freedom to fail.

An Open Process to me is to be expectation-free. One can start over, add new ideas and thought processes as the project progresses. One is free of judgement and remains open to new possibilities, challenges and ideas.

From the very beginning of my project I chose to fol-low an Open Process because I wanted to see If I would be able to design and create without the idea of having a finished product or outcome. In this Open Process I have deliberately chosen to leave the length of time, as well as where and with whom I choose to be stitching, free from limitations. It is within this Open Process that I engaging in my personal discovery into my own storytel-ling in relationship to my environment.

Using an Open Process while creating and developing an idea creates more freedom for discovering than my previous method of envisioning an expected outcome and working towards fulfilling it. I was more willing to en-gage in experimentation and see if I would discover new approaches to my thinking. I was amazed at how quickly I let go of ideas that no longer had importance to me; in contrast to situations in the past where I adamantly kept an idea out of fear of not having any better ideas.

The benefit and importance of an Open Process as a method is truly freeing oneself of expectation and deli-very, thus enabling to “aushalten” (tolerate in German) the unknown outcome. I had a lot less societal pressu-re to please someone, and I focused mainly on gaining more insight into my project through continued change and engagement.

10 Jennifer Ruesch

Sister Fusion II 2018

11 Projects - Taction

Only through a process of “doing”, taking action or taction as I coined it, we engage with our creative and inspired selves, where innovation, design and storytel-ling can then blossom.

Taktion:

1. (v.) to take action 2. (n.) movement in progress

Stitching Interconnectedness encompasses eight pro-jects. The initial five are summarized below with a focus on material, form, theme, an anecdote, observation and /or reflection.

Stitching Blast Part IStitching Blast Part I was an exploration into the self. Working on my own stitching and actively engaging within a microsystem has given me the opportunity to expe-rience and discover my own desires and wishes to use stitching as a method and form of communicating with society.

Engaging in self-practice is very important for authenti-city of a project; it aids in understanding material, form, themes, and the need for handcrafts. Within this phase discipline was imperative and creating ritual was essen-tial to be able to fully explore the evolution of the project.

I stitched every day for two months on a cotton cloth given to me by a Kantha inspired artist, Amandeep Kaur. With DMC thread [19], a needle, scissors and a journal as an exploration kit, I stitched daily. Quickly I noticed, I preferred making designs and motifs that did not reflect my dreams and wishes for my children or folktales, as a traditional Kantha would, rather I intuitively challenged myself to design a different motif daily that were inspired by events in my life. Discipline became easier, as long as I did not apply the boundaries of time.

There is a meditative effect to the ritual of daily stitching. I explored new techniques like closing my eyes, creating patterns, short stitches, longer stitches or a combination of the two. Without consistent self-critiquing the Open Process I employed enabled me to create with a feeling of limitlessness and effortlessness. Confronted with my own stereotypes regarding stitching in public, I felt at times self-conscious about being a women performing such a traditional handcraft.

This realization caused annoyance, as it gave credence to the stereotypes placed on women. As a result, I was motivated to shed light on these stereotypes. The pro-ject Women at Work (Section 5.5) is example of this tac-tion. At this point Stitching Blast Part I was the catalyst for a transformation that took place in my project. My

focus narrowed to observing how others reacted to the idea of stitching, rather than what was being stitched. Although I became disappointed with myself when I stopped stitching daily, the method of using an Open Process enabled me to let go of the idea of being a per-fectionist (an old habit) and embrace the process and experiences this project had to offer.

Projects - Taction

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Open House, HyperWerk, HGK 2018

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Open House Stitching Interconnectedness at the Open House [20] on January 12th, 2018 at the HGK in Basel, Switzerland involved the theme of a participatory installation based on the form of the Kantha; participants were encoura-ged to stitch, on cotton cloth three meters long using any colored DMC thread of their choosing, their indivi-dual dreams and life stories in any motif or design they desired. The event lasting roughly four hours was the first time Stitching Interconnectedness was in a public space. The installation attracted many people, both young and old. The visitors underwent a transformation while par-ticipating. Some said they were going to quickly stitch something, but many ended up staying for longer pe-riods of time. Providing food and beverages became an unplanned motivational tool; I asked participants to stitch before they ate. Although an incentive, it did not encourage hurried involvement. Interestingly enough the idea of taking care and valuing the act of artistic expres-sion had participants sitting, talking and stitching their individual stories together.

The elderly’s reactions to the time and care in those in the younger generation took while stitching was in-teresting to observe; one elderly participant said she was surprised at how much care they took. Passers–by stopped to take photographs of young men stitching, it was such a sensation. A gentleman, over 60, stated he was stitching for the first time; his story was of a woman crossing a bridge to the tree of life. We were all surprised when he said he was a novice, as his artwork was so visually strong. These memorable moments shared gave notice to a connected spirit among the participants.

The obviously transformation was not limited to the sti-tching being done on the cloth, but the act of doing a handcraft facilitated communication on various levels, whether it was non-verbal, verbal or a combination of both. What struck me the most was the amount of time and care taken by most participants, even when they initially said that they would quickly stitch; in the majori-ty of cases, the value of experiencing and creating was strong.

Sister Fusion IWithin the mesosystem, during two different events, I began engaging and interacting with my family and community. Creating within the mesosystem, surroun-ded by people you know well, facilitates fewer problems in communication. At the first event, I set the task of stitching a sign entitled Stitching Interconnectedness, and the participants sho-

wed a strong sense of discipline in their work. The con-versation flowed around the topic of handcraft and each participant was involved both verbally and physically through stitching. The flow of conversation and motion of the hands lent an air of ritual to the project. Open discussions about one another’s particular style, experi-ence or simple light conversation, were always present. Each individual handcrafted letter gave credence to the collaborative spirit and transformation of the moment.

In an effort to expose people to embroidery from ano-ther culture under the theme of cultural exchange, I in-vited Sabahate Mulaj to teach a workshop to the parti-cipants of Sister Fusion on April 11, 2018. She taught the stitch (or gendis), mekvima and rokoko, a traditio-nal handcraft she learned from her mother in Vendlindja Gjakov, Kosovo.

The participants we’re asked to write their name on a cotton cloth and with the use of DMC thread of their liking, they began to learn to stitch this traditional hand-craft. Everyone was eager to learn and although each person was individually stitching their name, the collec-tive process of stitching the same motif brought about an interconnected spirit. One women was so inspired by the event that she created a birthday card for a friend using the stitches she learned.

Although Mrs. Mulaj normally is not a teacher, she felt empowered by the willingness of the workshop partici-pants to learn about and appreciate her cultural hand-craft. It is projects and workshops like the above men-tioned that Ort 4 Art: Empowering women through the Arts and Sister Fusion wish to continue in the future with Stitching Interconnectedness.

Projects - Taction

14 Jennifer Ruesch

Jennifer Ruessch with a Art Basel Gallerist, June 16, 2018 (Photographed by Debolina Dubois)

15

Museum Nacht I was invited to contribute to the KJPP Museumsnacht [21], on March 16th, 2018 in Bern, Switzerland. This pu-blic space participatory installation’s theme was of ini-tiating a dialog thru material. Again using the Kantha as inspiration, participants interacted through connecting their stitching. Within this exosystem, I was pleasantly surprised at the willingness of individuals to stitch with me.

Participants were again allowed to choose the color DMC thread they wanted. They stitched their stories on a four meters long cotton cloth. One young girl stood out and showed me what a project like Stitching Inter-connectedness could contribute to society on a macro-systems level.

She engaged with the group through conversation; how-ever, when asked to stitch with her friend, initially refu-sed. She explained that while in school her teachers told her that her stitching skills were subpar. Despite these traumatic experiences, with a little encouragement I convinced her to start a new memory by challenging her to stitch anything. She eventually took up the challen-ge and stitched a rose, similar to her friend. What was remarkable was her transformation, where with each stitch she became more and more confidant. We wit-nessed her change as a collective and were moved by the empowerment she experienced. Thus, successfully creating another moment where we as a collective crea-tive group were connected and drawn in.

Woman at Work During Art Basel week, [22] from June 11-17, 2018, I created a solo performance, Woman at Work, using the theme of imperceptible provocation and engagement. I stitched with a single embroidery hoop within the venu-es, asking visitors to join me. To paraphrase Enrique Fontanilles’s comments during the Art Basel Conversa-tions [23], within public space, one does not know the outcome nor what to expect … what is so interesting is the conversation and reactions you have with a mixed group of people (Basel 2018, 27:56- 28:24 ). I was plea-santly surprised, within this exosystem, at the willing-ness of individuals to join-in and stitch with me.

The motif, a design I had created, was already establis-hed. Each participant was asked to stitch where the last participant had left off. People engaged with me. Once again women made comments about their inabilities to stitch; they held on to old belief systems, stereotypes and or cultural conditionings. After a bit of encourage-ment, the women gave stitching another try.

Most participants copied the design that came before them. Only two individuals stitched freely, doing their own design, they were from India and seemed quite comfortable with stitching techniques.

Then Came Three Alpha Doggie, Sister Fusion II, and Stitching Blast Part II are three projects I plan to do as a continuation into exploring interconnectedness through stitching. I hope to gain more insight into the relationship between hand-craft and society within the United States of America.

I think it would be pretentious of me to say I have wor-ked within the macro system during my diploma year; however, I am sure that this project has the potential to have an effect on global scale. Each project is setting a seed that can blossom into something greater.

I know that by doing Stitching Interconnectedness and sharing the experience, I am creating and designing on many levels. I am excited to see my personal growth as a desiner and I have a strong intention to continue this project within Ort 4 Art and Sister Fusion after my studies at HyperWerk. My diploma work has evolved and has ultimately grown into an opportunity to apply intervention and activism art, a very different approach than the origins of Kantha, reflecting my uniqueness, as a woman, artist, and designer within society.

Projects - Taction

16 Jennifer Ruesch

Five Stitches by Jennifer Ruesch 2017

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Throughout Stitching Interconnectedness, the process of stitching, “one complete movement of a threaded needle through a fabric” (stitch 2018) and repeating this process one step after another, one project after ano-ther, I chose to study and focus on the five themes of language, ritual, discipline, transformation and inter-connectedness.

LanguageMy initial question regarding the word language was “What form of communication will I have to use or not use to connect with my community?” This transformed into “When do I use what form of communication?”

My definition of language: 1. (n.) Anything verbal or non-verbal that facilitates understanding. 2. (n.) Interconnectedness felt between living beings. 3. (n.) “Words” experiencing an Open Process.

I have observed through language that there is a neces-sity for clarity when writing and explaining a project. The difference in cultural backgrounds, even dialects, can lead to misunderstandings and confusion. The word interconnectedness was unfortunately seldom understood and often difficult for people to pronounce. Although frustrating at times, it was part of my Open Process to stay unblocked and except the lack of com-prehension as a challenge.

With each project discovering how delicate it is to com-municate, especially with strangers, made my choice of questions engaging and inviting instead of overwhel-ming. As the project evolved, I decided not to ask too many questions but instead to simply engage with my participants in light conversation so to avoid people ha-ving the feeling they are being interviewed or pressured to talk.

Instead I chose to communicate non-verbally with smi-les, hand-gestures and/or nods. The amount of people who reacted positively by participating in the project af-ter my non-verbal gestures proved to me that on this le-vel of non-verbal communication I could speak less and yet we were connected and communicating while stit-ching. “Truly original expressions can never be planned in advance. Surprise rather than predictable results rule the process in which creations reveal themselves.” (McNiff 1998, 60).

This form of communicating through the act of stitching, while verbally as well as non-verbally engaging with one another, has real advantages while working in society. It leaves room for each person to be their own individual

without the pressure to communicate or conform. This can be useful especially when dealing with individuals that are shy. Participants have the freedom to speak ornot to speak but still be engaged in stitching which is another form of communication. As curiosity grows questions are formulated without pressures. There is no wrong or right stitching, just stories.

Each participants image stitched was a language that told a very personal story. It was my curiosity and some-times the participants need to share that allowed one another to interconnect and understand more deeply what exactly was being shared, the stories that were being stitched.

Limitations women put on themselves based on expe-riences from their past, such as feeling their stitching would not be good enough based on early childhood traumas or long held stereotypes of handcrafts, lead me to conclude that this project needs to be continued after my graduating. More than ever, I realized the need to use handcrafts in society as a form of communication, and I am determined to communicate and help formu-late awareness of “positive language” in my community.

I will continue to observe what happens with communi-cation and language within the projects that I do at Ort 4 Art and with Sister Fusion. The concept of language I have only begun to explore, and it is definitely complex and ambiguous yet so essential for society, more than I had initially realized.

Ritual My original question regarding ritual was “How will having a daily ritual effect and/or influence my process?”

My definition of ritual: 1. (n.) To do something continuously without hesitation or procrastination. 2. (v.) Re-do-all (re-tu-al) is what we achieve by repeating a process regularly.

The act of doing something continuously allows me to reflect and then react and interact through making ch-anges in the process. I learn the value in practicing a ri-tual but most importantly having discipline while having a ritual. Without ritual and discipline in Stitching Blast Part I, I would only have been led by my thoughts and assumptions, and I would not have gained the aware-

FIVE THEMES

FIVE THEMES

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Sister Fusion I 2018

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Discipline“How will I experiment with boundaries and/or limita-tions?” turned into “Is discipline based on who you are working for or/and working with?”

My definition of discipline:

1. (v.) Taktion as a ritual. 2. (n.) The ability we all need but might not want. Antonym: disregard

A saying I often follow to support discipline “Practice what you preach.” I also like to use visualization where I go through a project step by step in my mind and use the process as motivation.

I see myself as a disciplined person; therefore, I expec-ted to follow through with the Stitching Blast Part I until the end of my Diploma year. The evolution of the Open Process and development of my projects- Taction, have shown me that despite stopping the micro system expe-riment, I exerted discipline on different levels. I witnes-sed how one can play with limitations and boundaries and am curious to see if a person can bring out discip-line in others. Or is it simply self-structured and modi-fied?

I also challenged myself by doing another Stitching Blast Part II to see if I can gain even more insight into my per-sonal point of view regarding Stitching Interconnected-ness after having been actively involved in the project for almost a year. Transformation “How will doing inspired Kantha for a year transform me personally in regards to my dreams as an artist and desi-gner and what will I eventually design using my women’s work in relationship to household and textile handcraft artworks?” Transformed into “Would there be stereoty-pes while stitching and would the participants experien-ce interconnectedness, a feeling of oneness on some level, or is it already present?”

My definition of Transformation:

1. (n.) What can happen when awareness, ritual and discipline play together in life. 2. (n.) When we can closely look at a situation and observe what in time has changed. 3. (n.) Results of an Open Process. 4. (n.) Organic growth. 5. (n.) What a HyperWerk student will go through during their three-year journey.

The only expectation I had on the term transformation was that I was certain through-out the Open Process and evolution of the project that transformation would be happening, not just within the project, but within my-self. Interconnectedness My original question was “How will I be able to connect on different levels whether it be in a microsystem, meso-system, exosystem and/or macrosystem through sharing this process?”

My definition of Interconnectedness:

1. (n.) The awareness of all living beings connecting, coming together within, during and throughout moments in life. 2. (n.) Are moments of connectedness that happen between living beings. 3. (n.) A foundation for living together as a society. Antonym: loneliness

In the quest for researching interconnectedness I disco-vered a Scientist, Astrophysicist, Engineer, Inventor and Entrepreneuer, Tom Chi who stated that, “everything is connected” (Chi 2016, 1:22-1:25). What he describes, proves that everything is connected through three sto-ries he tells of “the Heart, the Breath and the Mind” (Chi 2016, 2:10-2:18). He speaks against the notion that this is just an esoteric idea, and through practical reasoning to believe that interconnectedness exsists; something I have felt but now know.

My personal ambition is that the term interconnected-ness is used more commonly within society. I hope to contribute to that intention by sharing my experiences with interconnectedness.

FIVE THEMES

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Museums Nacht 2018

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While working on my thesis, I have discovered a new term, social artist [24] which to me means someone who focuses on engaging with society through artistic ex-pression.

After the experience of Stitching Interconnectedness, I feel compelled to continue this project by designing a platform which will enable me to continue as a “so-cial artist”. I will re-use the themes and methods from my project of participation, intervention, re–enactment, performance, imperceptible provocation and workshops to engage in broader issues such as violence against women, gender inequality, alienation, depression and issues related to globalization and economic instability (Friedman 2017, 169).

Through Stitching Interconnectedness, I realized that I am not only physically slowing down to stitch and en-gage, but I am also metaphorically inter- “stitching” with society, thus connecting people together and facilitating space for intimacy and oneness. Ultimately we are all social beings looking for connections.

Could this project have been an instinctual, maternal and subconscious part of the female “social artist” that I am? Creating and designing a platform against social isolation as well as “anomie- a sense of normlessness that fosters social alienation” (Crossman 2018) was I un-consciously creating a platform where people can feel secure, can feel cared for, can trust, can experience so-cial empowerment and taction?

Stitching Interconnectedness is part of the mother in me; the mother who wrote in her application letter to attend HyperWerk “I am interested in creating an organi-zation, a movement and observing the power of change and the strength behind how society can grow together and become connected through art”.

Lastly, is this project, similar to the handcraft of the Kantha, a woman’s subconscious interconnectedness to the women of generations who came before her? Is this women wanting to bring awareness that we are so-cial beings, needing togetherness and artistic expressi-on to exist in the fast paced, digitally charged environ-ment and society of growing loneliness, where physical spaces for social, as well as creative forms of commu-nication are essential for healthy living, food for the soul and community (Suttie 2009)? Either way the journey into Stitching Interconnectedness has just begun!

Conclusion

Conclusion

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Stiching Blast I 2017

23 References

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5. Penny Evans, Ceramic. Arts. Design., 2009-2018,: https://pennyevansart.com/, June 18, 2018

6. 2nd Tamworth Textile Triennial, Penny Evans Ceramic. Arts. Design., January 1, 2015,: https:// pennyevansart.com/2nd-tamworth-textile-trien nial-30-jan-30-oct-2015/, June 21, 2018

7. Interconnectedness, English Oxford Living Dictio- naries, 2018,: https://en.oxforddictionaries.com/ definition/interconnectedness, January 21, 2018

8. Ort 4 Art, January 11, 2018,: www.ort4art.org, June 21, 2018

9. Sister Fusion, January 11, 2018,: www.sister- fusion.ch, June 18, 2018

10. Water, Women, and the Arts, 2018,: www.ort4art. org, June 21, 2018

11. Himadri Hiren Ghosh, Banasthali University, Vidya- pith University,: http://www.banasthali.org/banas thali/wcms/en/home/lower-menu/faculties/ban asthali_institute/faculty.html, June 18, 2018

12. CS Atelier, Cultural Spaces and Design– Pros pects of Design Education,: http://culturalspace sanddesign.net/events/atelier/, June 21, 2018

13. Frida Kahlo, Wikipedia,: https://en.m.wikipedia. org/wiki/Frida_Kahlo, March 11, 2018 14. Prof. Matthias Böttger, Director of the Institute Hyperwerk,: https://www.fhnw.ch/de/personen/ matthias-boettger, June 18, 2018

15. Design Thinking, Think 360, What Is Design Thin king and Design Thinking Process? Novemeber 17, 2016, :https://think360studio.com/what-is- design-thinking-and-design-thinking-process/, March 18, 2018

16. Habit Hacking, Women Speaker Foundation,: http://www.women-speaker-foundation.de/spea ker_Prof__Dr__Sabine_Fischer?PHPSESSID=d62 a1af80624547646769addd2498da7, June 21, 2018

17. Prof. Sabine Fischer, Institut Integrative Gestal tung und am Institut HyperWerk FHNW, :https:// www.fhnw.ch/de/personen/prof-dr-sabine-fis cher, June 21, 2018

18. Open Design Process, Open Design Kit,: http:// opendesignkit.org/process/, June 21, 2017

19. DMC thread, DMC, About Us,: https://www.dmc. com/us/p-us-about-us.html, June 21, 2018

20. Open House, FHNW, HyperWerk, HyperMagazine, December 14, 2017,:https://www.hypermagazine. ch/hypermagazine/openhouse-2018/, June 21, 2018

21. KJPP Museumsnacht, 2018, Universitäts Klinik der Kinder und Jugendpsychiatrie und Psychothe rapie,: http://psychiatrie-museum.ch/wp- content/uploads/2018/03/MN_2018_PRO GRAMM-da.pdf, June 21, 2018

22. Art Basel, May 2018,: https://www.artbasel.com/ basel/buy-tickets, June 3, 2018

23. Art Basel Conversations, Art Basel, 2018,: https:// www.artbasel.com/basel/conversations-show, June 21, 2018

24. Social Artist, Wikipedia, Social Artistry, June 3, 2016,: https://en.wikipedia.org/wiki/Social_artitry, June 21, 2018

Additional Information and Attachments

Additional Information and Attachments

26 Jennifer Ruesch

Sister Fusion I 2018

27

Below listed from A-Z are some of the key words I have discovered and therefore deconstructed and redefined:

A-ZAwareness- 1. (n.) When mindfulness teams up with discipline and ritual. 2. (n.) A prerequisite when applying an Open Process.Blue ballpoint pen- (n.) memories -positive and strong energy. Collaborations- (n.) togetherness at its best.Discipline- 1. (v.) Taktion as a ritual. 2. (n.) The ability we all need but might not want. Antonym: disregardEngagement- 1. (n.) Willingness regularly to give freely of one’s time and energy. 2. (n.) Gives birth to Utopien. 3. Ritual’s- Sister Discipline’s- Brother Transformation’s- Father Utopia’s- Mother Engagement’s- Twin Interconnectedness’s - SoulmateFun- (n.) A memorable moment where I laugh and giggle.Guest- (n.) A possibly new friend.Handcraft- (n.) Sensual living. Interconnectedness- 1. (n.) The awareness of all living beings connecting, coming together within, during and throughout moments in life. 2. (n.) Are moments of connectedness that happen between living beings. 3.(n.) A foundation for living together as a society. Antonym: loneliness Journal- (n.) A foundation for storytelling.Kantha- (n.) A special embroidered muslin from West Bengal India.Language- 1. (n.) Anything verbal or non-verbal that facilitates understanding. 2. (n.) Interconnectedness felt between living beings. 3. (n.) “Words” experiencing an Open Process.Meditative Moments- (n.) Requirement for creativity to exist.Names- (n.) The first step, introduction, to getting to know someone.Open Process- 1. (n.) The ability to let live, let move, let flow as it may. No boundaries, no limitations hence no fear. 2. (n.) Freedom to try, but also freedom to fail.Photograph- (n.) A moment captured in life.

Quote- (n.) Value given to someone else’s words.Ritual- 1. (n.) To do something continuously without hesitation or procrastination. 2. (v.) Re-do-all (re-tu-al) is what we achieve by repeating a process regularly. Stitching- (v.) A way of communicating with other people.Taktion- a word created by Jennifer Ruesch 1. (v.) to take action 2. (n.) movement in progressUnfair- (adj.) Life without hand-craft, art, and design.Volunteer- (v.) Valuing the need to give.Women- (n.) Nurturer. Givers of life. X-perience- (n.) Priceless, engaging, a necessity for learning.Yes- (n.) Being open to everything.Zoo- (n.) Like life: wild, instinctual and untamed.

Glossary

Glossary

28 Jennifer Ruesch

Museums Nacht 2018

29

Acknowledgements

FamilyFirstly, I would like to thank my wonderful family for their continuous love, support, patience and guidance whi-le I was completing my studies at HyperWerk. Without their consistant understanding, love and support I never would have been able to finish and finally achieve my long term goal of getting my Bachelor Degree.

HyperWerk, HGKI would also like to thank my very loving life-coach, Vere-na Routt, then my coaches, Oli Rossel, Ralf Neuberger, Andrea Iten, Max Spielmann, Catherine Walthard, Vasi-liki Tsaknaki and Debolina Dubois for their guidance and direction throughout September 2015 until September 14th, 2018. A very special “thank you” goes to Elise Ra-himi, for convincing me to go back to school and helping me thoroughly edit my thesis paper during memorable moments of laughter and special moments of “bodily action movements” (She knows exactly what I mean by this). Thanks to all of you I have learned to take ideas that are important to me and to create and design an outcome with them.

HGK, Sister Fusion- Basel, and KJPP BernWithout opportunities projects are often a lot harder to realize. I thank the HGK, but specially HyperWerk for being an institution that not only created opportunities for me but allowed me to fulfill my dreams of Ort 4 Art and Sister Fusion. A special thank you to the Techni-cal Department at HyperWerk, Martin Sommer, Martin Schaffner and Rasso Auberger.

I am also grateful for the support and encouragement I received from Barbara Messerli, Ateleirleiterin Bildne-rishes Gestalten at the KJPP in Bern. Asking me to par-ticipate with Stitching Interconnectedness at the 2018 Museum’s Nacht in Bern, Switzerland which gave me the confidence I needed to know that my project was being understood and appreciated.

NYC, Sister Fusion-Washington, D.C. and Chevy Cha-se, MarylandThe value of friendships and acquaintances, whether old and new, is indispensable for growth, reflection and en-during life. Without the support of the wonderful women in the Washington, D.C area and the participants in New York City, Washington Square Park. I would not have been able to grow and have the taction to formulate a deeper understanding of my Open Process.

Ort 4 Art TeamA very special thanks goes out to all the individuals who worked on the many various projects I have realized while at HyperWerk starting with the present project Stitching Interconnectedness.

A special Thank You goes out to Amandeep Kaur, Dome-nic Emr, Anouk Stucky, Angel Sotelo Velazquez, Flavio Durate, Frau Sabahate Mulaj, Vanessa Gygax, Debolina Dubois, Skylar Buser, Coby Buser, and Christoph Buser.

Lastly I want to Thank my Ort 4 Art team and Sister Fu-sion teams for all of their support, time, energy, com-mitment and talent shared consistently and collectively, starting with Anouk Stucky, Laura Antonietti, Flavio Durate, Domenic Emr, Angel Sotelo Velazquez, Kathari-na Kemmerling, Debolina Dubois, Kardelen Alakus, Ca-rolina Alves, Eugenio.

Everyone mentioned above has helped me create me-morable moments of interconnectedness and taction.A heartfelt Thank you to you all!

Acknowledgements

30 Jennifer Ruesch

Mouse 1982 (Jennifer Ruesch Stitching for the 1st time)

31 Personal Background

Personal BackgroundBorn in Washington, D.C. and growing up in a family with both Swiss (white immigrant mother) and African American (father) parents, I have been exposed to an in-tegrative understanding of people, culture and religion. The 70’s multi-cultural neighborhood Adam’s Morgan where I grew up in and then later New York City’s SoHo district were truly integrated urban neighborhoods. Whi-le learning how to deal with a lot of different personali-ties, characters and egos, this has shaped and enabled me to work, socialize and move comfortably in varied social circles and groups within our society. Having the opportunity to grow up in America, I had the privilege to believe in possibilities, to crave innovation, and embra-ce opportunities. My upbringing also taught me to be socially astute allowing me to understand the importan-ce of communication, being politically aware, and kno-wing how to network.

My experiences with a Muslim Bengali family care-giver as a toddler is possibly part of a subconscious influence in my project with the Kantha stitch, along with six years of Urban Public Schools, three years of taking care of a Jewish family’s two young boys in NYC, 21 years of being a wife, 17 years of being a mother, and 48 years of traveling between North America, Europe, Asia and Australia interacting with and within society. It has hel-ped me to develop the way I look at people, life, and the world we live in. It is the foundation of “my house” within WIR HALTEN HAUS, our Diploma theme at HyperWerk. It is what enables me to engage in interconnectedness and helped to develop a hypothesis that speaks of an importance for more spaces to create and connect.

Ort 4 Art

Since before joining the Institution HyperWerk issues concerning families, specifically women and children and how their issues affect our society; towns, cities and schools, especially in an era of rapid technology and consistent globalization struggles, interested me. To quote Thomas L. Friedman again, “And, finally, it will take societal innovation, learning to build new social contracts, lifelong learning opportunities, and expanded public-private partnerships, to anchorand propel more diverse populations and build more he-althy communities (Friedman 2017, 213).”

One can find the organization Ort 4 Art (established in October of 2016 here in Basel and the Baselland area: www.ort4art.org), in reference to my initial application letter sent to HyperWerk which stated: “I will create a foundation that uses the arts as a common denominator for bringing people together, a place – “Ort”, for people to grow as a collective, exposing them to new creative experiences. Ideas of Re-use, Re-cycle, Re-joice, Re-connect, Re-bel, Re-lax, Re-new, Re-member, Re-defi-

ne, Re-visit, and Re-invent will be the focus of the orga-nization.” This place encourages and empowers individuals, espe-cially women to come together, create, explore and dis-cover their possibilities and dreams: where ideas come to life and the individual as well as the group imagination is cultivated.

Sister Fusion

Similar to the idea of empowerment and encouragement to have an intuitive understanding of ones’ womanhood, Sister Fusion (founded on January 11, 2017: www.sis-terfusion.ch),grew out of the belief that women need to have the op-portunity for regular interaction and communication with one-another outside their regular networks and circle of friends. That there is a need for a different kind of wo-men’s network, an organic network, where you are not simply added by a click of a button. A network that is not limited by age, religion, culture, nationality or titles which comes together every 11th of the month to support, ex-perience and grow collectively.

32 Jennifer Ruesch

33 Contact

Jennifer Rueschjennifer.ruesch@hyperwerk.ch

Date: August 10, 2018Text: Stitching InterconnectednessProject Coach: Catherine WalthardExternal Project Coaches: Vasiliki Tsaknaki and Debolina DuboisProofreading: Elise Rahimi

Institut HyperWerkHochschule für Gestaltung und Kunst FHNWFreilager-Platz 1PostfachCH-4002 Basel

mail@hyperwerk.chwww.hyperwerk.chwww.fhnw.ch/hgk/hyperwerk

Ort4Art

Guterstrasse 143CH-4053 BaselSwitzerland+41 76 336 98 31 jennifer.ruesch@ort4art.org www.ort4art.org

SISTER FUSION

Guterstrasse 143CH-4053 BaselSwitzerland+41 76 336 98 31 jennifer.ruesch@sisterfusion.ch www.sisterfusion.ch

Contact

34 Jennifer Ruesch

«In today’s society I believe strongly that there is a need for this idea of interconnectedness.

I think through designing a project like Stitching Interconnectedness it can be experienced

and cultivated.»

Jennifer Ruesch