Formation | 2017 |
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Website | www |
The Tempestry Project is a collaborative fiber arts project that presents global warming data in visual form through knitted or crocheted artwork. The project is part of a larger "data art" movement and the developing field of climate change art, which seeks to exploit the human tendency to value personal experience over data by creating accessible experiential representations of the data.
Tempestries are made by knitting or crocheting rows in specified colors that represent respective high temperatures each day for a year. Multiple works are typically displayed together to show change over time. The project began in 2017 in Anacortes, Washington, US, and has since spread throughout the country and around the world.
The word "tempestry" is a portmanteau of "temperature" and "tapestry."
The first tempestry was created using 2016 data from the Naval Air Station on Whidbey Island, Washington. [1] Emily McNeil, Marissa Connelly, and Justin Connelly, having read about climatologists trying to preserve climate research data in preparation for anticipated removal of such data from US government websites by the Trump administration, were "joking" that "we should return to more concrete forms of data storage." [1]
In January 2017 McNeil, [2] Marissa Connelly [3] and Justin Connelly founded the project in Anacortes, Washington [4] to encourage other fiber artists to produce "striking visuals that communicate changes at an intimate, local scale." [5] According to Justin Connelly, "The science articles talk about what's happening at the poles. For many people, that's not their experience and so they don't relate to it in a powerful way...but even here [outside Seattle], in a temperate place, you can see stark change over the last 40 years or so. It puts it in their backyard." [5] The project name is a portmanteau of the words "temperature" and "tapestry." [5]
The organization offers kits including yarn, instructions, and a data sheet of daily temperatures in a given location. In 2017 they sold 40 kits and in 2018, 500. [1] The 2018–19 United States federal government shutdown temporarily affected production for the US, as the National Oceanic and Atmospheric Administration (NOAA) restricted access to the databases used to provide historical weather data for the United States. [6]
The concept was inspired by a similar fiberwork concept called a "temperature blanket", an afghan- or bedspread-sized project commemorating a particular year by working stripes or bands of colors representing each day's high or low temperature for a year. [5] [7] [8]
As of December 2018 projects had been created by fiber artists in nearly every U.S. state and in 20 other countries. [2]
Each tempestry is knitted or crocheted, one row each day, [9] in the specified color for each date's high temperature [3] starting on January 1 and ending on December 31 for a given year in a single location to form a banner the size of a scarf [3] [10] that graphically represents a year of daily high temperatures in a single location. [2] [11] [12]
Colors for each five-degree temperature range are standardized and temperature data is collected from the NOAA [13] so that collected displays of work by different artists working in different locations and on different years can be interpreted as direct comparisons. [5]
Because gauge is different between crochet vs. knitting, for different knit stitches, and among different crafters, finished tempestries will vary in length and width depending on whether they're created by the same crafter using the same stitch or are created by different crafters using a variety of stitches. Some crafters' gauge varies, and two works created even by a crafter with a very stable gauge using the same stitch will inevitably vary slightly. [14]
Tempestry banners are typically hung vertically, the first row (representing January 1) at the bottom and the final row (December 31) at the top, in groupings of two or more to show how daily high temperatures have changed year-to-year in a given location. [2] [12]
Project pieces were first publicly displayed in Anacortes, Washington. [2] In 2018 projects were displayed at the Museum of Northwest Art [15] and at the Creative Climate Awards in New York City. [5] [16] In May 2019 a project consisting of 27 tempestries representing 100 years on Orcas Island in 4-year increments was displayed at the Pacific Northwest Quilt and Fiberarts Museum. [17]
In 2020 pieces were displayed at the San Juan Islands Museum of Art [18] and at Temple University's Ginsberg Health Sciences Library. [19]
In 2019 a group of US knitters organized a National Park Tempestry Project, inviting crafters to create a tempestry for 2016 – the year of the National Park Service Centennial – and one for the earliest year for which data was available for each US National Park. [6] [18]
In 2019 the Schuylkill Center for Environmental Education near Philadelphia organized a project using data provided by the Franklin Institute to create tempestries for the city, one for every fifth year from 1875 through 2018. [1] Crafters in Mexico City organized a similar project. [1]
According to data journalist David McCandless, tempestries and similar creations are part of a larger data art movement in which data is represented in novel ways. [20] Grace Ebert, writing for Colossal, calls such projects "part of a larger movement to document micro weather changes that may serve as indicators of broader climate issues." [21] [22] Electronic literature writer and scholar, Anastasia Salter, uses Tempestry scarves to illustrate the fusion of craft and computation in procedural electronic literature. [23]
Faculty at North Central Michigan College produced a similar exhibit in 2018 inspired by The Tempestry Project. [24] [25] Pennsylvania State University professor Laura Guertin contributed a poster to the American Geophysical Union's 2017 Fall meeting displaying similar works for January through April 1917, 1967, and 2017. [26]
Some fiber artists have created banners similar to tempestries, but using daily low temperatures. [3]
Other artists and scientists are experimenting with climate change art as a way to overcome humans' hardwired tendency to value personal experience over data and to disengage from data-based representations [27] by making the data "vivid and accessible". [28] [21] In 2018, artist Xavier Cortada's project Underwater Home Owner's Association placed signs in front yards throughout Miami, Florida indicating each property's height above sea level to illustrate what sea level rise would flood that property. [27] [29]
In 2016, Ed Hawkins, a climate scientist at the National Centre for Atmospheric Science and the University of Reading, created "Climate Spirals," a series of data art representations of climate change, and followed in 2018 with "warming stripes," a series of color stripes representing chronologically ordered average annual temperature anomalies for a given location. [27] [31]
In 2015, University of Georgia marine scientist Joan Sheldon produced a scarf illustrating average yearly temperature from the 1600s to the present using one row per year. [32]
In 2012, filmmaker Jeff Orlowski made Chasing Ice , documenting photographer James Balog's Extreme Ice Survey, which uses time-lapse photography to show the disappearance of glaciers over time. [28]
In 2007, artist Eve Mosher used a sports-field chalk marker to draw a blue "high-water" line around Manhattan and Brooklyn, showing the areas that would be underwater if climate change predictions are realized. Her HighWaterLine Project has since drawn high-water lines around Bristol, Philadelphia, and two coastal cities in Florida. [28]
In 2005, the Knitting Map, a European Capital of Culture project in Cork, Ireland, recorded the city's daily temperatures and citizen walking patterns to create a "fiber representation of the city." [6]
Sarah-Marie Belcastro uses knitting to explore mathematics, such as knitting a "non-orientable surface of genus 5". [33] Pat Ashforth and Steve Plummer call these types of data artists "mathekniticians". [34]
Crochet is a process of creating textiles by using a crochet hook to interlock loops of yarn, thread, or strands of other materials. The name is derived from the French term croc, which means 'hook'. Hooks can be made from a variety of materials, such as metal, wood, bamboo, bone or even plastic. The key difference between crochet and knitting, beyond the implements used for their production, is that each stitch in crochet is completed before the next one is begun, while knitting keeps many stitches open at a time. Some variant forms of crochet, such as Tunisian crochet and broomstick lace, do keep multiple crochet stitches open at a time.
Knitting is a method for production of textile fabrics by interlacing yarn loops with loops of the same or other yarns. It is used to create many types of garments. Knitting may be done by hand or by machine.
A crochet hook is an implement used to make loops in thread or yarn and to interlock them into crochet stitches. It is a round shaft pointed on one end, with a lateral groove behind it. The point eases the insertion of the hook through the material being crocheted and the groove makes it possible to pull a loop back through the material. The shaft is then divided into a working area that determines the hook's nominal diameter and ensures the uniform sizing of the loops formed on it, and a handle.
Knitting is the process of using two or more needles to pull and loop yarn into a series of interconnected loops in order to create a finished garment or some other type of fabric. The word is derived from knot, thought to originate from the Dutch verb knutten, which is similar to the Old English cnyttan, "to knot". Its origins lie in the basic human need for clothing for protection against the elements. More recently, hand knitting has become less a necessary skill and more of a hobby.
Nålebinding is a fabric creation technique predating both knitting and crochet. Also known in English as "knotless netting", "knotless knitting", or "single-needle knitting", the technique is distinct from crochet in that it involves passing the full length of the working thread through each loop, unlike crochet where the work is formed only of loops, never involving the free end. It also differs from knitting in that lengths must be pieced together during the process of nålebinding, rather than a continuous strand of yarn that can easily be pulled out. Archaeological specimens of fabric made by nålebinding can be difficult to distinguish from knitted fabric.
Craftivism is a form of activism, typically incorporating elements of anti-capitalism, environmentalism, solidarity, or third-wave feminism, that is centered on practices of craft - or what has traditionally been referred to as "domestic arts". Craftivism includes, but is not limited to, various forms of needlework including yarn-bombing or cross-stitch. Craftivism is a social process of collective empowerment, action, expression and negotiation. In craftivism, engaging in the social and critical discourse around the work is central to its production and dissemination. Practitioners are known as craftivists. The word 'craftivism' is a portmanteau of the words craft and activism.
Stitch 'n Bitch is a name that has been used to refer to social knitting groups since at least World War II. Before the slang term "Stitch 'n Bitch" was used, groups of women in the 1940s would join to knit and talk in organized Stitch and Bitch clubs. The term was further used in the 1980s as part of the book Social History of American Knitting by Anne Macdonald. It is partly due to the book's success that the modern day Stitch 'n Bitch knitting groups have emerged in cities around the world. The groups, mainly women, meet to knit, stitch and talk. Typically, attendees knit, though others crochet, and still others engage in cross-stitching, embroidery, and other needlecraft. Nowadays, the groups have been analyzed by scholars as expressions of resistance to major political, social and technological change in Western societies. However, political discussion is not unusual at these events, and at least some participants are proponents of progressive, liberal, and/or leftist social and political change. Furthermore, the term Stitch 'n Bitch is now used by women from across the globe to connect with others in the virtual space seeing as the term has re-emerged in a world where the public sphere is the cyberspace.
A knitting club is a social group in which knitting and crochet enthusiasts gather to do needlework together. They are a feature of the 21st-century revival of hand knitting which began in America and has spread to most of Europe. Despite the name, knitting clubs are not limited to knitting; both crochet-centered and knit-centered clubs are collectively called "knitting clubs." While knitting has never gone away completely, this latest reincarnation is less about the make-do and mend of the 1940s and 1950s, and more about making a statement about individuality and developing a sense of community.
A dye lot is a record taken during the dyeing of yarn to identify yarn that received its coloration in the same vat at the same time. Yarn manufacturers assign each lot a unique identification number and stamp it on the label before shipping. Slight differences in temperature, dyeing time, and other factors can result in different shades of the same color between different dye lots of otherwise identical production. Although the component elements of a dye lot number are of interest only for internal business recordkeeping, retail yarn consumers have an interest in ensuring that they purchase a given color of yarn from identical dye lots.
Knitta Please, also known as simply Knitta, is the group of artists who began the "knit graffiti" movement in Houston, Texas in 2005. They are known for wrapping public architecture—e.g. lampposts, parking meters, telephone poles, and signage—with knitted or crocheted material, a process known as "knit graffiti", "yarn storming" or "yarnbombing". The mission is to make street art "a little more warm and fuzzy."
Hand knitting is a form of knitting, in which the knitted fabric is produced by hand using needles.
Ravelry is a free social networking service and website that beta-launched in May 2007. It functions as an organizational tool for a variety of fiber arts, including knitting, crocheting, spinning and weaving. Members share projects, ideas, and their collection of yarn, fiber and tools via various components of the site.
I Knit London is a knitting organisation based in London, England, UK, comprising a knitting group, knitting shop and knitting events. I Knit London was formed in December 2005, and is run, by Gerard Allt and Craig Carruthers.
Yarn weight refers to the thickness of yarn used by knitters, weavers, crocheters and other fiber artists.
Yarn bombing is a type of graffiti or street art that employs colourful displays of knitted or crocheted yarn or fibre rather than paint or chalk. It is also called wool bombing, yarn storming, guerrilla knitting, kniffiti, urban knitting, or graffiti knitting.
Knit the City is a group of "graffiti knitting and crochet" street artists founded in London, England in 2009. The collective is credited with being the first to go beyond the simple 'cosies' of early graffiti knitting to tell 'stitched stories', using knitted and crochet amigurumi creatures and objects in their public installations. This practice has been taken up by groups internationally.
Illusion knitting or shadow knitting is a form of textile art, in which the knitting is viewed as simply narrow stripes from one angle, and as an image when viewed from another angle. Illusion knitting has been recognised as an art form since 2010, largely due to the advances made by Steve Plummer who has created several large and detailed pieces. Similar effects occur in Tunisian crochet.
Climate change art is art inspired by climate change and global warming, generally intended to overcome humans' hardwired tendency to value personal experience over data and to disengage from data-based representations by making the data "vivid and accessible". One of the goal of climate change art is to "raise awareness of the crisis", as well as engage viewers politically and environmentally.
Warming stripes are data visualization graphics that use a series of coloured stripes chronologically ordered to visually portray long-term temperature trends. Warming stripes reflect a "minimalist" style, conceived to use colour alone to avoid technical distractions to intuitively convey global warming trends to non-scientists.
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