This essay have collected texts from the philosophers Giles Deleuze and Felix Guattari, science anthropologist and professor Bruno Latour and science biologist writer Janine Benyus, focused on bio mimicry. The essay is called “Moving Matter” and is focused on how these writers relate to materials and how it connects to nature and furthermore to ecology. In the first part of my study I connect, through a personal reading, these writers because I found shared views on materials , nature, as active, trans-disciplinary, related to science and part of a big collective. I divided the text by chapters of each writer where I try to build my case with examples from each author. What I try to conclude is that for these writers materials are not only a single matter waiting but to be formed, it is an active moving agent which contains complex chemical and biological structures, connects to history, have a social, cultural and political role. All this complex relations could be said to form a kind of science related material culture of materials, a moving matter. By using this method an implicit ethical relations to nature and ecology is created, a Geo philosophy In the second part, “Connecting the Material”, I wish to conclude and summarize how this theories discussed in the first part could be relevant working and treating materials both as makers ,consumers, wearer of jewelry. I wish to use the so called functions of jewelry by adapting the thoughts from the first part of the essay and also by including works from different jewelry artists. By this I am posing the question: -What could it mean when we say that materials are active and intelligent in the context of Jewelery and Jewelery art?

The study begins by examining economic, political, and social conditions in Tsarist Russia that prompted the Zale family to immigrate to the United States. They eventually settled in Texas where, as a boy, Morris Zale was introduced to the jewelry business. In his first store in Wichita Falls Zale developed the idea of mass marketing his merchandise, and in order to do so he offered credit to his customers. He also made extensive use of advertising. Both of those approaches were revolutionary in the retail jewelry industry. This study examines various methods used by Zale's to expand its holdings. In addition, attention is given to Zale's diversification in the late 1960's and early 1970's. Emphasis is given in the study to Zale's development of a vertically integrated structure. By purchasing diamonds directly from the Diamond Trading Company, Zale's has been able to process the stones at each stage—cutting, polishing, mounting, and marketing. Such an arrangement eliminated middlemen at each step, permitting Zale's to reduce markups and margins and still maintain necessary profit levels. This study examines several serious adversities that have confronted the company—racial and religious prejudice, the Depression, shortages brought on by World War II, potential competition from a synthetic diamond, and an internal scandal involving Zale's chief financial officer. In each case Zale's managed to emerge from the adversity stronger than it had been previously. From the outset Zale's objective has been to sell the greatest amount of jewelry to the greatest number of people at the lowest possible price, and this study indicates how successful the company has been in reaching that goal.

Reconfigured found objects shape scenes of everyday life, questioning the structural histories that go into defining an identity. Engaging in a multidisciplinary approach of making, my work reimagines the function of ornamentation and its relationship to the body. I approach new materials and found objects with the eye of a jeweler, highlighting and exploiting the subtle, and often invisible, links between material histories and their connection to identity. Material debris patinated with age like skillets, baseballs, and furniture are used to penetrate normative structures around identity, gender, and sexual desire. Using adornment as a support in my installations I propose a new lens for viewing function through the use of ornamentation. In doing so I highlight the bodie’s impact on objects, and call into to question the role these objects play in shaping our understanding of identity—An identity that is never singular, constantly evolving, and more often than not contradictory and confusing.