Sunday, 19 July 2020

Raveningham : Exploring the aesthetic ecology of things

Collected Notes : Raveningham Sculpture Trail 2020

Studio Blackboard

ODYSSEY Aesthetic Intervals/Timbre/Traces

Immateriality/Temporal/Transitions material and movement/Human agency
A Species of Spaces

Forming, slowness and repetition, elements of painting
Assemblage, sensation, surface, objects and spaces between them gathered/thresholds
Sheltering/Weathered/ Exploring a fragility of a painting in the landscape

Robert Mangold, Paintings and Architectural Forms

Fragments from sketchbooks

Ephemeral Architecture

Canvas as spatial verb
Yellow Ochre, Molochite, Gesso, Canvas, Paper, Textiles,Wood, Lead, Nails

Canvas as folded construction/shelter/place
Operative Design, A Catalogue of Spatial Verbs

Georg Simmel, text Frames, Handles, Landscapes and the aesthetic ecology of things

Friday, 12 June 2020

Discursive Documents : Enchantment/Somantic Affects/Assemblage

DSC_8759 Discursive Documents : Enchantment/Somantic Affects, Jane Bennett Assemblage : Aesthetic Convergence Cultivation Field/Vibrant Matter Becoming complicit with materials Realist Magic, Objects, Ontology, Causality. Timothy Morton. 2013 Matter and Desire, an erotic ecology. Andreas Weber. 2017 Vibrant Matter, a political ecology of things. Jane Bennett. 2010 Therese Oulton Paintings and new digital prints Lines of Flight. 2006 Being Alive Essays on Movement, Knowledge and Description Tim Ingold. 2011 MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION MATERIALS THEMSELVES become the TOOLS of PERCEPTION Enchantment from the potential of things. The Fabric of thoughts The invisible within the visible (energy,magic,causality) RELATEDNESS, connected to the Place and Function of Things within a Field. Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant. We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships. EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler The World is a Collage Collage and montage are quintessential techniques in modern and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble. Juhani Pallasmaa Hapticity and Time Notes on a fragile Architecture The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold See Yourself Sensing Redefining Human Perception Madeline Schwartzman STILLNESS IN A MOBILE WORLD Bissell, Fuller

Thursday, 11 June 2020

Ecological approaches/affordances to aesthetic perception

When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.

Jane Bennett

Be not inhospitable to strangers
lest they be angels in disguise

Jackie Leven, The Dent In The Fender And The Wheel Of Fate
David Childers, Heart In My Soul

Thursday, 16 April 2020

Oculus : A Living Circle/Stilled Space/Mined

Thirty spokes unite at the wheel's hub
It is the centre hole that makes it useful

Shape clay into a vessel
It is space within that makes it useful

Cut out the doors and windows for a room
It is the holes which make it useful

Therefore profit comes from what is there
Usefulness from what is not there

Lao Tzu, Tao Te Ching XI

The Way Of Raku
Pottery and Writings
Christa-Maria Herrmann

Sunday, 12 April 2020

Espace-Milieu : Painting as Environment

 Social Mappings. Winchester Cathedral : 
 Space for Peace 2011.

Crafting the mind : Human Inhumation/Containment

Julian Stair
Quietus/The Body Politic

Jonathan Sacks

Co-Existing with the Virus

Jozef Van Wissem
Grand Central Confessional

Nature Boy
He said that in the end it is beauty
That is going to save the world, now
Nick Cave and The Bad Seeds

Monday, 6 April 2020

Melancholy Landscapes : The Plague/Vermilion Sands

Film Collages, hybrid processes and temporal states
Liminality : Literature/Philosophy/Visual Art

Landscapes : entering/intruding/emerging (holga819)
Existential Gestures : Looking away from the sea
Ballard : Vermilion Sands  :  Speculative Fields/Spatial Practices

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times