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PATTERN RECOGNITION METHOD, teaching, artistic process, healing generational lineages with meditation, drawing/visual art, movement, writing, video. This method began developing from 2014 through 2021, for action oriented psychological and physiological healing. The methods are founded in research and modalities in cognitive behavioral therapy, neurolinguistics, subject/object ontology, Steiner methods, kinaesthetic learning, and somatics. The process was formed for the basis of artistic research, guiding learning, and counseling practice, and is protected by intellectual property rights; for interest, permissions of usage, contact:


The method of Pattern Recognition informed the artistic research projects Solfége Souche, Afjordance, and ÆSTHETIC RESONANCES. Pattern Recognition developed through the intersection of researching Embodied Cognition and A.I. Further application of principles in John Haugeland’s book on Artificial Intelligence and pedagogical writings on Locus of Control, the methods of healing involve learning through doing over time. Designed to develop critical thinking skills while forming healthy relationships and understandings with terrains and temporality, the methods serve as means for new connections and realizations within the practitioners preserving their individuation and sense of agency in increasingly complex and globalized societies. 


Trauma healing is a sensitive subject with legal, medical, and ethical considerations. Therefore there are no medical claims to be made in this process and the results are based upon that of the practitioner. Imaging and labs are advised under licensed medical conditions, as they articulate invisible but real aspects of psychological trauma. The damage to soft tissues is not often visible from the outside, but can be revealed in medical imaging and labs. The availability of such resources impacts societies through the quality of life of the people. Resources notwithstanding, the practices in this program are designed to be for all, whether access to medical imaging is available or not. The intention is to share the methods to improve the quality of life for survivors to transform trauma into wisdom and self-actualize.



Meditation, drawing, and physical movement create visual results within individuals and group dynamics. The Pattern Recognition projects work dynamically with memory, behavior, lineage, choices, and agency with individuals through the Vision and Body Relationship, including coordination and motor skill development. There are presently seven segments with room for performance, sound and technology collaborations. 





The first step is to experience a sensitized exploration of the environment, such as the practice of Forest Bathing. City environments can also be used. Through meditation and movement to go into contact with intuition. The intuition guides the gathering of materials from the environment.




The second step is to draw materials from the environment. Following an axial rotation similar to the scientifically reported rotation of the earth, the faces (planes) of the dimensional materials are drawn. In this example, drawings were made, the tracings make the under-layers visible on the new top layers of tracings. The concept is to make the impressions of the dynamic modes of axial rotation visible. The practice brings awareness to the memory and sensory ways a visible detail can fade in visibility but remain within under-layers.





The third step is involves Visual and Somatic Memory. The lines drawn in the previous exercise are performed as body movements. Exercises are practiced independently, leaving room for personal interpretation. A group environment affords the opportunity to coordinate independent movements into a group arrangement of movements. Records of these practices are used for reflection and to witness development of reflexive awareness over time.




To experience nature and nurture understanding of the concepts of transference: two transferable materials are used with water and pigment. Other materials can be considered for this exercise. For the sake of providing an example, gouache paintings with two pieces of paper follow 2 different impulses: 1 impulse to paint from memory. The 2nd impulse to paint from a photo. To look at the difference between making something look like something else or using memory (embodied sense of experience) – the gouache painting exercise was carried out by making compositions based on memories of witnessing detailed areas of water flow, and composing paintings based on looking at a photograph. Viewers could immediately see the difference of reference from memory or image. The gouache paintings were done on the “wrong side” of Japanese Washi paper, to transfer the pigments onto acid-free, black papers. The pigments left traces similar to the way a memory becomes a trace of lived experience or ways communication of forms become transferred onto what is underneath or nearby. In addition to discerning difference in how forms are made by hand from referencing external or internal referents, is also considering the process of transfer. As the original can become a symbol for reading-as reading a book or remembering a book, the paint transferred to the surface under becomes the information absorbed.




A mirroring exercise, completed with language and/or illustration. By writing a letter in reverse, to see how it appears through a material and in a mirror. The practice is based on the mechanics of a single-reflex camera and the way the eye perceives reality directly which is then flipped in the brain. This practice develops understanding of communication and the two-way nature of the way read symbols are transmitted and interpreted.





A relational exercise, completed with vision, drawing, space and relating. Participants have each a drawing tool and paper. They interlock arms and being to simultaneously draw a portrait of the other. While drawing the awareness of space, cooperation, coordination, patience and additional soft qualities are activated. After the process is complete, a portrait reveal and discussion follows the activity. This practice develops understanding of the dynamic relating skills people engage with their vision and experience of reality. 





The method builds a process to be performed. The activity can be performed as a solo, duo, or in a group organization. There is no limit to the number of participants, only that the processes are done a priori to the perfuming of the lines and learning with the body. The next two segments can be one or the other, or both of them. The performance is to be recorded. The performance can be done in private or to an audience.




Based on the recorded performances, there can be used intersections of A.I. research, algorithmic sound composition, witness/viewer feedback. Through the performances the memories of the performer are recorded and reflected. The aim is to not procure an echo chamber or simply encouragement of future performance, but to engage in a process of understanding lines between fiction and reality. With regards to intelligent technologies, subjects of agency, lineage, and space for all stories and perspectives is aimed for the realm of tolerance and expansion. This questions the validity of violence, even subtle violence, as a form of ignorance, while also engaging in the questions about integrity and vulnerability such that an individual does not lose their personal agency or embodies other people’s ideas- but rather is allowed to have their own.

The following documentation highlights the use of technology for feedback review.












Based on visual records of geological data from magnetic resonances created by rocks in places of the earth and radiation, the data is used to create textiles. These textiles are used for tapestries, scenography, costumes. The working title for the Textile Segments is: ÆSTHETIC RESONANCES and are intended to engage in material and resources research. This segment weaves aesthetic movements from the perspective of earth’s history. A history informed by geological time and now amalgamated from technological sensors. This history has the potential to be conflated as human history but remains also problematic as the machine sensor differs so widely from the bodied sensors. Magnetic emanations from the earth are woven to form visual representations. The textiles create an earth-based narrative from a geological perspective of time. Demarcated by textures and colours woven based on the recordings from the earth, the invisible forces from within the earth become Visual, Sensual (tactile), and Actual (woven). The textiles reveal understandings in human relationships with nature and present iterative opportunities to make textile(s) of the magnetic records at a variety of sites. Potential themes could be, but not limited to, locations of cultural and historical significance such as shrines, pilgrimage routes, or political and humanitarian organizations.





The foundation of this research is based on the graduate research project for MFA at Otis College of Art and Design in Los Angeles, California (2015). Making Sense dealt with the way memory, temporality, liminal space are navigated by the body, and the various ways senses and affect can alter reality to create fantasy or be used as a tool to bring about clarity.  The research took up obscured stories from WWII history in the development of imaging technologies. The apparatus and history of photography proved to be a ripe area with often looked over nuances useful for agency and understanding.



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