Sunday, 18 February 2018

Architectures For Perception : Ceramic/Glass/Wood/Paper

ReThinking Matereriality
The engagement of mind with the material world
Elizabeth DeMarrais, Chris Gosden, Colin Renfrew

The Affordances of Things
Towards a  Theory of Material Engagement
Aesthetics, Intelligence and Emotions
Relationality of Mind and Matter

Material Agency
Towards a Non-Anthropocentric Approach
Carl Knappett, Lambros Malafouris

At The Potter's Wheel : An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things
Material Engagement and the Extended Mind
Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality
Michael Wheeler

Communities of Things and Objects : A Spatial Perspective
Carl Knappett

Imagining the Cognitive Life of Things
Edwin Hutchins

Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts
Charles Goodwin

Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach

Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life

Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they  need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)

The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from  the message they convey.

MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas

Organising Structures : Socially Shared/Culturally Shaped

Organising Structures : Artist Notebook, Body/Landscape

Architectural Surface : Constructional Forms in Glass













https://www.flickr.com/photos/russellmoreton/24505820206/in/dateposted-public/



Saturday, 17 February 2018

Working Ideas : Eye Catcher, Folly, Hut, Sculpture

Ann Cline
A Hut of One's Own
Life Outside The Circle of Architecture.

Herzog  and De Meuron
NATURAL HISTORY







Reading Into the Visual : Another Photography/Exploratory Images

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,
Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,





















Thursday, 8 February 2018

Mapping Under The Dome : Dark Tones

Darkness is a better form of freedom
Therese Oulton, in conversation, January 2013
Women In Dark Times
Jacqueline Rose

Jozef Van Wissem & Jim Jarmusch
The Mystery of Heaven
Sacred Bones Records. 2012

Everyone Stands Under His Own Dome of Heaven 1970

'Each man has his own dome, his own perceptions, his own theories. There is no one god for all'
Anselm Kiefer

In paintings of often stunning luminosity, Therese Oulton manages to paint us into the darkest spaces of our times.
A form of experience permanently menaced by itself.
Jacqueline Rose





https://www.flickr.com/photos/russellmoreton/39854735761

Wednesday, 7 February 2018

Drawing Rooms : Cyanotypes/Collages/Photography

Slow Philosophy. 2017
Reading against the institution
Michelle Boulous Walker

Saturnian Form : Lead and Library Dates
Russell Moreton

Emilio Prini
The filter and welcome to the angel, 1967
Environment with participants, doves, artificial green grass, socks, ultra-violet light.
Dimensions variable,
Installation, Studio Bentivoglio, Bologna.

Artist-run exhibition space

Emilio Prini well illustrates the spirit of Arte Povera: the artist is not the creator of artefacts, nor even of a documented 'happening'. In the transferral of energy and subjectivity into matter or an event, the work exists in the instant it comes into being and is simultaneously received.

To document his work in photographs and present these as a record of it contradicts the very basis of Prini's art.
Arte Povera, Themes and Movements
Carolyn Christov-Bakargiev

Intermedia Chart
Dick Higgins
Molvena, Italy. 1993





















Tuesday, 30 January 2018

Working Title, Re-Working Aesthetics/The Everyday

Everyday Aesthetics : Ordinary Lives

If the everyday can be considered an ecology where passions cirlute in a perpetual state of intensification and entropic decline, the empirical self (and not just David Hume's version of it) is essentially in a state of flux. This posits the human as an organism constantly adjusting to its passionate environment, with a self that is constantly appearing and disappearing, crystallising and dissolving.
Ben Highmore

The Architectural Plan

An Anthropology of Architecture

Embodiment and Architectural Form
Process-Relational Philosophy


Building The Drawing
The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.
Immaterial Architecture
The Illegal Architect
Jonathan Hill

Oak Tree
Oil
Paper
Plaster
Rust
Sgratfito
Silence
Sound
Steel
Television
Weather

Frosted Light
Index of immaterial architectures

TRANSPARENCY : LITERAL AND PHENOMENAL
Colin Rowe, Robert Slutzky

Interactions of the Abstract Body
Josiah McElheny

Object Lesson
Interactive Abstract  Body (Square)
The Spatial Body (After Fontana)

Tracing Eisenman
Stan Allen
Indexical Characters

FABRIC=MASS+ FORM
Alan Chandler
The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.


ANTI OBJECT
Kengo Kuma
We are composed of matter and live in the midst of matter. Our objective should not be to  renounce matter, but to search for a form of matter other than objects.
What that form is called- ARCHITECTURE, GARDENS< TECHNOLOGY is not important.

ReThinking Matereriality
The engagement of mind with the material world
Elizabeth DeMarrais, Chris Gosden, Colin Renfrew

The Affordances of Things
Towards a  Theory of Material Engagement
Aesthetics, Intelligence and Emotions
Relationality of Mind and Matter

Material Agency
Towards a Non-Anthropocentric Approach
Carl Knappett, Lambros Malafouris

At The Potter's Wheel : An Argument for Material Agency
We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things
Material Engagement and the Extended Mind
Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality
Michael Wheeler

Communities of Things and Objects : A Spatial Perspective
Carl Knappett

Imagining the Cognitive Life of Things
Edwin Hutchins

Things and Their Embodied Environments
Architectures for Perception
Structuring Perception through Material Artifacts
Charles Goodwin

Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach

Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life

Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they  need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)

The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from  the message they convey.

MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas

PLENUMS : RETHINKING MATTER, GEOMETRY AND SUBJECTIVITY
Peg Rawes

ARCHITECTURE
IN THE AGE  OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production
Dalibor Vesely
The Nature of Communicative Space
Creativity in the Shadow of Modern Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture

The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it

Analysing ARCHITECTURE
Simon Unwin
Geometries of Being
Architecture as Making Frames
Space and Structure













Saturday, 27 January 2018

Art as Experience : Interactions of Color/Albers Folder

GLASS-COLOUR-LIGHT-INTERIOR-LANDSCAPE

ART AS EXPERIENCE
Josef Albers

Life is change-day and night, cold and warm, sun and rain. It is more in-between the facts than the facts themselves.
I believe it is now time to make a change of method in our art teaching, that we now move from looking at art as a part of historical science to an understanding of art as part of life.
In art we can still experience revelation and wonder.

On Glass Pictures

Opaque Glass/Sandblasting
Colour Intensity
The flatness of the design elements offer an unusual and particular material and form effect.
Colour Intersection/Instant and a Spatial Flow

Colour Interaction
Square-on-square studies, of closely observed colour events staged within a controlled setting.

Oral History
Interview with Josef Albers, 1968 June 22-July 5
The role of art in society to reveal visually the attitude of our mentality

Working in Collage and Stained Glass under Itten
Collage to Montage
His belief that he teaches a philosophy (of how to see) not technique.  

A Spiritual Documentation of Life
Marco Pierini

Art is something that cannot be taught, what can be taught is craft
His program focused mainly on the study, analysis, manipulation, assembly and transformation of matter.
Albers structured his teaching method as a natural, consistent consequence of his unusual training.

He brought to life works of art that are never merely the result of a thorough process or of the correct application of norms and rules. Rather, they are works of art that discover their own rules in the very process of their making.

Art is not an object but experience

The Artist as Alchemist
Nicholas Fox Weber

He (Albers) saw his art as representing an ideal for the integration of the individual in society both in its tone and in the simultaneous independence and interdependence of its forms and colours. 

TEACHING FORM THROUGH PRACTICE 1928
Learning is better than teaching because it is more intensive : the more we teach/examine, the less the students can learn.
Learning and practising techniques develops insight and dexterity, but not creative energies. Inventive construction and an attentiveness that leads to discoveries are developed, at least initially through experimentation that is undisturbed, independent, and thus without preconceptions. This experimentation is initially a playful tinkering with the material for its own sake. That is to say, through experimentation that is amateurish (ie not burdened by training).   

The Three Ecologies Institute
An Open Laboratory for Thinking in the Making

THOUGHT IN THE ACT
Passages in the ecology of experience
Erin Manning
Brian Massumi