Sunday, 18 April 2021

Corpus/Borderlands : A Society in Excess, Marc Auge.

Corpus : Photographic drawings from human outlines

Borderlines : Cley 19, speculative submission for exhibition







ANTHROPOLOGICAL NOTIONS AROUND ISSUES OF SPACES, ORIGINS, SOCIAL RITUALS AND TABOOS.








CREATING CREATIVE ANTHROPOLOGY INTO TEMPORAL SITES, between the concrete and the spatial.

Utilising processes and strategies and terminologies. 

Demarcation, set the boundaries or limits.

Acculturate, assimilate to a different culture.

Ethnology, the study of the characteristics of different peoples and the differences and relationships between them.

NON- SPACES, Introduction to an anthropology of super modernity. Marc Auge. My working practice intuitively reflects and responds to what Marc Auge considers to be the condition of Supermodemity, briefly his defining parameters on the idea of Supermodemity are.

Overabundance of events. 

Spatial overabundance.

The individualization of references. A SOCIETY IN EXCESS.

My creative practice attempts to reconstitute spaces from this condition of Supermodemity into temporal sites, places from which to solicit a sense of a mobile anthropology, a dwelling that is both intimate and public and promotes solitudes and subjectivity.

Marc Auge states the twenty-first century will be anthropological, not because the three figures of excess are just the current form of a perennial raw material which is the very ore of anthropology, but also because in situations of supermodemitiy the components pile up without destroying one another.1

Contemporary Practitioners like anthropologists will attempt to make sense, they will attempt to resolve, to make or rather remake meaning through the processes of observing the phenomena of acculturation. 

1  Marc Auge, Non-Places, introduction to an anthropology of super modernity. (London: Verso, 1992) page 41.


Submission Guidelines

All proposals must be for new work that addresses the brief, artists are encouraged to experiment, be playful and push the boundaries of their practice.

BORDERLINES

Artists translate cultural moments and offer responses to their environment, whether geographical, political or spiritual. Inviting artist's to respond to the theme Borderlines as it requires an inquisitive approach to the site that surrounds them and to the climate in which we live.

Geographical Environmental Landscape

Terrain

Migration (Wildlife/Humans) Transmigration

Socio Political Departure

Borderlands

Borderlines

Borders

Lines

Spiritual Embodied Walking

Wandering 

Wanderlust 

Movement






Borderlines, simultaneously both boundary and threshold.

Visible, Existential, Imaginative, Porous, Contingent, Reflexive, Nowness, Un-Knowing, Awkwardness, Liminality, Territory, Subjectivity,






Concrete Collage : Raku fragment, clay form/photograph, drawing, handwriting and painted surfaces.

 Ancient Lights : Abstract Painting and Constructional Drawing for Architectural Glass. 

Anthropological Landscape : Drawing from archaeological dig, liquid light, field chalk, charcoal. 

Cley, St Margaret's South Entrance : Collage, Sketchbook, working ideas for small glass panels. 

Cell, Court, Domain, Field : Layered paper, paint, and absent objects.

Architectural Concerns : Collage ,drawing, installation, blue prints, historical building plans. Scriptorium : Architectural model for a reading space within a pastoral landscape or community.






Working Notes/Extracts and Fragments from site visit. St Margaret's Church

Silence and stillness, social/historical shelter from/within the landscape

A place acting through our sensate/spiritual world, a space crafted by the specificity of its making/usage. 

An interior sensing space of a protected and defended/fortified silence, affirming beliefs and community.

Subtle and muted, stillness, embodiment from the patina of use. Bleached woodwork, lightness, dryness and the humidity of absences.






Empty and eroded stone mullion windows/ancient lights, architecture framing its un-making worn, broken and repaired flooring surfaces, ceramic and stone.

What does Borderlines mean to you? Boundary and Threshold

Visible, existential, imaginative, porous, contingent, reflexive, nowness, un-knowing, awkwardness, liminal, territory,

Material Process/Inquiry, Praxis, Content, Context

Form, Existential Qualities/Values AGENCY


Mindfullness of the brief to discover things through the inquiry and engagement with the site. 

Develop Inquiry

Documentation, Artist Book, and other media mixed media painting

Small series of glass panels ceramic tiles/facades

Photographic material/photograms, drawings/hangings on Chinese paper


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 modem 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


Walking into Emergent Landscapes 






Walking/Thinking/Physical Entanglements in the Landscape

Deeper Darkness, Photographic Memory/Process, Metonymy, Negative,

Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,




Walking into Emergent Landscapes : Covehithe Beach

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

 Edward Thomas not only thought on paths and of them, but also with them.”



“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”



Friday, 16 April 2021

Speculative Reading/Making : Life outside the circle of architecture

In troubled times they all sought to experience life away from social definitions of success or failure. From there, these primitive huts marked personal, original inquires into the ever-mysterious nature of human existence.

Anne Cline. A Hut of One’s Own
Life Outside The Circle Of Architecture.


The realisation of my interiors project consists of two separate but relational elements that are presented into a built environment. The small ‘Scriptorium’ conceived as a space as a refuge, an intimate minimal construction that features a doorway and an interior that contains a place for objects, perhaps books, as well as a small sitting area. 
This construction, an open cell perhaps is evocative to a state of contemplation between the fabric of the everyday. The rather hybrid design appropriates a merging of minimalism, modernism and the plastic architecture of a ruined Cistercian Abbey. The construction comes into close contact with its occupant, it is a restricted spatial apparatus that attempts to promote through its awkwardness distinctive experiences. In particular the apparatus of the Scriptorium and its materiality is attempting to promote a sensory intensification that is further underpinned by the cognitive processes of reading and perhaps other social dialogues. The sensory intensification of a hut like space promotes a haptic sensibility, allowing the nearness and intimacies of both the built space and the imaginative, virtual realm to become entangled. 
Ultimately the Scriptorium is trying to build on unique human subjectivities that are manifested through a kinaesthetic repertoire or script that helps to enact further spatial experiences. It might be useful to think of this constructed space as itself still under construction, a site that acts as its own vessel within the multiplicities of human perception itself. The influence of the Cistercian Order, the site of Waverly Abbey and its pastoral landscape, have all contributed to a sense of the design process, The Scriptorium like the ruins themselves is open to the elements. Waverley Abbey remains as a sensory site between the remains of architecture and its society and the effects of our own global culture in the information age.



Spatial Practice could be a program and a site for a critical approach to social engagement and interdisciplinary collaboration.

A HUT WITHIN THE INFLUENCE AND NATURE OF ARCHITECTURE 

The tendency of technological culture to standardize environmental condition and make
the environment entirely predictable is causing a serious sensory impoverishment. Our buildings have lost their opacity and depth, sensory invitation and discovery, mystery and shadow.
Juhani Pallasmaa. Hapticity and Time. Notes on Fragile Architecture. 2000 

The Scriptorium
Description of Work

The ruined site of the abbey at Waverley, near Farnham has been appropriated as a site and as a place within which to position and develop architectural and sociological inquires. The design processes of interiors have been employed as a tool to both critique and to create how we might further develop the contents of architecture. This Spatiality and its diffractions of differences and similarities, narratives and subjective experiences are what my interior spaces attempt to initiate.
Design as a interactive structure, an interlocutory interior in the making of space and spatial relations.
Interior design presented as an interactive and immersive spatial inquiry
The Scriptorium brings together a varied and discursive set of objects, texts and interior architectures. This work seeks to understand how the virtual changes physical
architecture and how this affects the space between people and buildings. The
“performativity of research" is presented through specifically designed apparatuses and partitions. These designed components, made objects together with annotated texts and drawings conspire to create a complex design led inquiry a “Place Study” staged in a niche-like space. This interior presents itself as both distinct and relational to the other projects in the MA Interiors Show. The interior presents the many manifestations of creative research, structures and even symposia that have been developed through engaging with the site. The visualization of the research and the relational architectures rendered through montage and collage explores digital and analogue technologies. This hybridisation and the use of pinhole photography and film footage further explore interests in the field of performance as an immaterial architecture drawn in the presence of place.

Praxis could be the energy produced between combining research and creative embodiment as speculative strategies/assemblages.










The Reading Room
Materials and Objects in Social Space
Spatial Practices in The Politics of Things


'Ordinary things contain the deepest mysteries'

The Social Condenser in Operation.
Five figures and a stature distributed evenly in its isotropic space; a picture of the socialized as opposed to the sociable.

Robin Evans,
Figures, Doors and Passages

Project Proposal Waverley Abbey Site 2014.

Exploratory project centred around the proposal to return the site with its Cistercian origins and its surviving ruins into a self sustaining pastoral and educational retreat.

Secular Retreat, Peter Zumthor
 
Krishnamurti Centre

Brockwood Park School, Holistic, Sustainable, Education.

This site requires a new working order much the same in stature as before its dissolution. This holistically based institute would operate as both a learning centre with research facilities and practical workshops that would facilitate in the development and maintenance of the site and its structures.
It is envisaged that new enclosures will articulate the project space as a whole and help to regenerate this once prolific pastoral community. The choice of materials and building practices is being reviewed and extended to allow the hybridising of the vernacular with the technological advancements of new building processes and materials. The new structures built into the existing site will mutually accommodate any existing feature or surface.

The scaffolding systems of construction will inform the envelope of the internal frames and built components will be incorporated as single spatial entities within the headroom of the structure. The seductive densities of materials and substances will theatrically inform space and surfaces.
Rooms can become thematic, theorised even through their content of substances, materiality, space and ambient light.

It is a design feature that these new adaptations for dwelling spaces should in some way index and register the spaces that have been erased by a process of over writing in the sense of a double occupancy, a place reopened back to a site. New surfaces become facsimiles of existing forms (use of clay impressions as floors) from which to create within the building a series of subtle palimpsests.
Spaces become fused with the monumentality of the existing historical remnants. Corridors navigate both the passage of individuals and the interventions that set-up possibilities for spaces between walls and floors.

The adaptation of this ruinous mass of historical architectural forms becomes enmeshed through sensitive and site responsive adaptations; living architectures that can playfully through a vocational necessity that (a being close at hand) crafts evocative, poignant and precise interior spaces.



Photographic Collage with text fragments and disparate images










Originally published 14 February 2017, revisited 2021 

Thursday, 15 April 2021

Localities of experience and research : Making Entangled

Making Entangled : An eclectic synthesis of knowledge fields


Confronting Spatial Intelligence-tracing the use of spatial intelligence. 

What are we learning about in the concrete particularity of this space?

Leon van Schaik : Spatial Intelligence

‘Architecture is the product of our spatial intelligence, of its workings in establishing the mental spaces of every individual, and of the spatial values shared by groups.’

The Retreat, Upper Lawn Pavilion. 1959

This country retreat presents itself as a glass box but is grounded by its relationship to the pre-existing masonry of a walled garden. 

Leon van Schaik comments that the little glass house retreat built by Peter and Alison Smithson around a walled garden evokes for him memories(mental spaces) of being a schoolboy working in a conservatory in a walled garden at Cliveden, such that the notion of a retreat is this ideal of being built into the walls of an existing walled garden.

You rise up into its glazed upper storey with views over the rolling hills beyond and perch atop the wall on the edge of a threshold space carved out of the woods, or remove yourself from view sink down to the ground and sit with your back to the wall.

Kenneth Frampton subscribes to a general theory of architecture independent of any local articulation beyond adaptations to meet the needs of local climatic conditions.

Dalibor Vesely, an architectural theorist who spent his teaching life demonstrating that in the modern era the unity of time, place and culture that is essential to architectural reality has been fractured. Leon van Schaik comments as a consequence in architecture today our spatial knowledge is either buried deep within our unconscious, or it is surfaced in a highly simplified (adolescent) form.

Architecture as ‘a purveyor of esoteric spatial luxuries to domestic elites’ (Schaik, 2008:84)

It follows that this fractured reality is deeply problematical to architecture, to the increasing number of architectural practices that have no ready connection to the daily expectations of citizens, resulting in a brutal instrumental policing of space (and our mental spaces) via the architecture that underpins the politics of our corporate or governmental interests.

Mediators for spatial experiences.






Interior design presented as an interactive and immersive spatial inquiry

The ruined site of the abbey at Waverley, near Farnham has been appropriated as a site and as a place within which to position and develop my practice. The Abbey, its buildings, and its grounds have provided a valuable source of the material evidence for thinking about hapticity and time in a pastoral setting.

The Scriptorium presents the “performativity of research” through specifically designed apparatuses and partitions. These designed components, made objects, together with annotated texts and drawings conspire to create a complex interior design, a “Place Study” staged in a niche-like space. This interior presents itself as both distinct and relational to the other projects in the MA Interiors Show. The interior presents the many manifestations of creative research that have been developed through engaging with the site.

The small ‘Scriptorium’ conceived as a space as a refuge, an intimate minimal construction that features a doorway and an interior that contains a place for objects, perhaps books, as well as a small sitting area. This construction, an open cell perhaps is evocative to a state of contemplation between the fabric of the everyday. The rather hybrid design appropriates a merging of minimalism, modernism and the plastic architecture of a ruined Cistercian Abbey. The construction comes into close contact with its occupant, it is a restricted spatial apparatus that attempts to promote through its awkwardness distinctive experiences.

Libraries with research conduits for immersive and interactive cognitive mappings, allowing a praxis to enter the practicability of the everyday, a crafted philosophical inquiry, building new livelihoods.






Colour Texture Surface Enclosures Voids

Sample Materials: Relationships through Localities/Mood Boards/Technical and Physical Details.

Erasure in drawing and architectural planning (space voids) as a methodology to superimpose multiplicities.

Erasing : Kirosan Observatory, Anti-Object, Kengo Kuma. 

Multiplicities and Memory, Peter Zumthor.




Learning Spaces as a performative spatial practice through a process of tuning and minimizing. Noh stage in the forest, Kego Kuma.

PLANNING DOCUMENT use GRAPHIC DESIGN, theories and applications to visualize, design and map out the nature/interior spaces and experiences of this proposal.

Natural Connections: Retreat and Awareness through Architecture (Architectural Experience).

Experiencing The Phenomenology of Place at Waverley Abbey

INTERIOR ARCHITECTURE through a sensitive adaptation of place studies, and using materials and built spaces to form the container/scaffold/stage for an activity not its contents. Working spaces that can be given a multiplicity of tasks that can accommodate the humanities and the life sciences.

Architecture and landscape, together with the localised weather, and the sheltering buildings all contribute to finding the mental spaces for the retreat.

APPARATUSES DURATIONS EFFECTS

THINGS-MAKING-PEOPLE-IN THE WORLD

Heightening the experiential experiences of place. Ramps, stairs and passages as devices (movable) to examine and to create immediate architectural interventions. Notion of the observatory (part built/part still under development) (monuments as instruments, Japor). The camera obscura’s darken room becomes a stage and a cinema; a drawing black boarded room for making creative reciprocal social practices.

MAKING SPACES PARTIAL to the material flows and currents of sensory awareness in which IMAGES and OBJECTS reciprocally take shape/meaning.

The Body in Space: merging/mediating/climbing over architecture and its territory in the landscape.


Keywords,

Place Studies : Spatiality : Phenomenology of Place : Spatial Intelligence :

Relational Aesthetics:

Retreat, Sensing Spaces, Experiential, Pastoral, Architectural Fabric, Ruined Buildings, Historical Community/Order, Neo Romantic, Camera Obscura, Mortality, Consumption, Palimpsest, Remote Sensing, Architectural Interventions, Material, Massing, Body, Objects and Things, Craft, The Physical Body (Historical/Postmodern), Contemporary Art Practices, Tim Ingold

‘Making’ and the inter relationships of Archaeology, Anthropology, Art and Architecture.

Assets of Site

Listed Historical Site, Tranquil (of road site in parkland), Otherness (ruination and romance), Water, Archaeology (building), anthropology (significant settlement Cistercian Abbey)

CREATING FORMS AND MESSAGES

The Way Things Are Connected (or the stickiness of dependence between things and humans)

Kengo Kuma. Anti-Object

Not Networks, but rather Entanglements or Meshworks/Mesh (implying infinite connections and infinitesimal differences) or Mess (resists neat compartmentalization and order). 

Mark Dion. Archaeology

The Work, its Shelter, the Collection and its Process and Furniture (Agency)

The Wunderkammer as a structural feature (De Waal, V&A )

The Mapping/Charting Table (conduit, meeting/passing place)

Tim Ingold. Making

Ian Hodder. Entangled: An Archaeology of the Relationships between Humans and Things.

Peter Greenaway. The Physical Self.

The Self in a Spatial/Social/Corporeal Situation The Tactility/Closeness of Learning (Craft)


DESIGN CREATIVELY/COLLABORATIVELY AND STRATEGICALLY THINKING IN THE RUINS

THINKING IN THE FICTION OF RUINS

THE ABBEY AS A REMNANT OF ITS WORLD, IN WHICH WE HAVE COME TO LATE,

TO A WORLD THAT HAS SEEN TOO MUCH.

POLITICS OF PLACE, English Heritage/Listed Building, has been used as a filming locating in contemporary cinema ranging in genres from the historical to the dystopian. Recently use of the site as a film location allowed the building of a temporary tower structure situated in close proximity to the existing ruinous fabric of the site.

POETICS OF SPACE/Bachelard AETHETICS OF DECAY/Trigg

THE WAR OF DREAMS/Marc Auge 

The Theatre of Operations.








Ruins, as a notion and a phenomena are slowly disappearing from our western cities, out of a lack of time (faute de temps) Marc Auge further comments that we are condemned to produce waste, not remnants of the past.

LOCATION, Streetfinder O/S. GPS Locality and access options/experiences.

World placing with solar and astronomical positioning. Scale and proximity

HISTORY, site, occupations, ruination, dereliction, reclamation into a garden feature. SITE SPECIFIC to GLOBAL CONCERNS

LOCALITIES and HISTORIES


HUMAN EXPERIENCE, Qualitative and Quantitative

DWELLING, LEARNING, RUINS, AND MEMORY> WHAT REMAINS? 

MAPPING/REMOTE SENSING using the palimpsest of this landscape/of its human occupation, of its demise to re-instate and re-imagine the cultural and anthropological shifts that have affected humanity.

RE-INSTATING a gathering with intellectual concerns in the humanities.








SPEAKERS/REASEARCH POSTERS/EXHIBITIONS and ART WORKS/SCREENINGS.

Oren Lieberman, Immediate Architectural Interventions/Intraventions. 

Mark Dion, Thames Dig, tents, taxonomies, teeth and texts.

Kate Whiteford, Land Drawings, installations and excavations

Colin Renfrew , Remote Sensing, aerial photography of sites (WW2) being used to re­ image specific archaeological notions of place.

Tim Ingold, MAKING, on the entanglements of Archaeology, Anthropology, Art and Architecture.

METHODOLOGIES

Temporary structures, blue screens, stage flats, projection, surfaces and skins, envelopes and membranes, optics and materials, programmes and debate, exhibition and research, global networking and virtual presentations, workshops around the phenomenology of place and its interrelationships with critical spatial practice. Presentations and Symposium, Curriculum and Practices, Site Specific Work and Performance.

Public Intimacy in Social Spaces. Architecture and The Contemporary Arts.

Learning through Making, (The Parallel of Life and Art) Anthropology, Archaeology, Art and Architecture.

Visitor’s Centre, with interpretive exhibition (Stonehenge/Denton Corker Marshall) or an immersive intervention (Winchester Cathedral,Anima-Animus/Elferova and Wilson). A place where the interior space evokes a sense of place/a becoming (Existential, Historical, Social, Cultural) see ‘The Physical Self exhibition curated by Peter Greenaway. The Fate of Place/Human Sociology.

A contemplative space or spiritual/secular retreat featuring a series of interventions (Follies/Pavilions/Huts/Heidegger/Tschumi) that focuses the gaze on a particular view or detail, framing a distant reference (landmark or natural phenomenon, research into Lutyen’s ‘Thunder House’ for Gertrude Jekyll).

Museum of Wisdom. Kengo Kuma. 

Noh Stage In The Forest. Kengo Kuma. 

Hortus Conclusus. Peter Zumthor.

The Solar Pavilion. Alison and Peter Smithson.

The Secular Retreat, Living Architecture. Peter Zumthor. 

Heidegger’s Hut, Bachelard’s Poetics, Ingold’s making.

Spatial Apparatuses, Buildings and Social Devices/Agendas 

Events as Interventions producing Intraventions from Sociology, Architecture and the Humanities/Contemporary Arts.

USING the existing site to host concerns and education through a light footprint of temporary structures and intermediary arts based events.

THEMATIC SPACES in literature and the arts locate themselves within the ruins; become new creative points of departure, new narratives that add to the spatiality of the events experience.

CRITICAL SPATIAL PRACTICES (Architecture/Fine Art and Performance) as a methodology for engaging with the transformative processes now emerging is of vital scholarly concern for design practices and professionals.

Inclusions of observation and practice.

Experiential experiences from a place by the river, under the canopy of dappled sunlight; a secluded proximity of the monks dormitory through the pleasing decay that is aging beautifully.

Variegated and mutable veiling of transparencies through sunlight and a gentle breeze.

Shadow (voids) and Forms (layered movements) Permeable membrane (time passes through here)

The River (Jackie Leven/Kenneth Patchen, The Skaters) a corporeal presence on loss, memory/absence, subjectivity and flow.

Kengo Kuma. Complete Works, Kenneth Frampton.

‘Our aim is to create architecture that confronts and fuses with the earth’

‘Architecture should not be cut off from the ground like a building designed and transported to the site’

Kema’s ‘anti-objective’ architecture is anti-perspectival in that it is categorically anti­ thetical to the subject/object split of the occidental tradition.

‘The asymmetrical projection of the Water/Glass volume, derived from the diagonal platform of the Noh stage, makes it explicit that there is no single ideal point from which this waterborne scene may be experienced.’ (Frampton, 2012:12)

Katsura Aesthetic.

Non Corporeal Architecture ( 2001 A Space Odyssey, the final room with its dematerialised phantom character of absence and voyeurism)

Japanesse Vernacular, Void/Ma space, Translucency, Sequence of Spaces,

Siddig El’Nigoumi’s pots hold an interior space that cannot itself be transposed only broken ; they are in effect testimonial silences to his humility and his agency working with clay. In my mental space on these inner spaces of Nigoumi’s ceramics I can reach a correspondence, a pitch with its distinctive mutual timbre that is still active. The existential trait left in the innerness of these vessels is irreducible to my own subjectivity.

Site drawings, archaeology of found objects, anthropological observations, time based media, architectural plans.

Interior Spaces/Making and the adaptation of existing.

Photographic drawings, collage, montage, interventions through designed walls/pathways/interactions.

“Hut” Sensing Spaces/Building.

Materials, aesthetics, volumes, dwelling, social, light and dark, place.

Localities of experience and research.

Negative Capability Exhibition (art works in response to archaeological sites),Winchester University.




Wednesday, 14 April 2021

EMOTIVE SPATIAL ENCOUNTERS : Performativity/Unbounded Outcomes

 

MATERIAL and AFFECT

EMOTIVE SPATIAL ENCOUNTERS

RUINS and SUBJECTIVITY

Encounter with place through transpositions/re-deployment of materials/technologies and design

The rules followed by medieval cathedral builders could not and did not prescribe their practice in every detail, but instead allowed scope for action to be precisely fine-tuned in relation to the exigencies of the situation at hand. The cathedral and the laboratory, MAKING, Tim Ingold

PATHS alert us to how we are scattered as well as affirmed by the places through which we move. Edward Thomas.






THE GEOGRAPHY OF WHAT HAPPENS: SPACE, POLITICS and AFFECT.

Nigel Thrift

VISUAL FINE ART / TRANSACTIVE through Digital Technologies POETIC / EVERYDAY ABSTRACTIONS

MAKING / MANIFESTING FORMS / STRANGE TOOLS

INDEXICAL / ITERATION ( new version, repetition, closer approximation, scrutiny, observations, sequence, finding a solution/perception to a problem)

UNBOUNDED OUTCOMES / ITERATION becomes the starting point of the next iteration PROGRESSION through PERFORMATIVITY

AGAINST SPACE

Making : anthropology, archaeology, art and architecture.

Tim Ingold

Immaterial architecture creation and contemplation artist and architect

The contemplation of art is primarily a form of visual awareness, of a single object by a single viewer, in which sound, smell and touch are as far as possible eradicated. Placed in a hermetic enclosure and protected against decay, the artwork is seen and not used. The viewer leaves no trace or mark because touch would undermine the artwork’s status as an idea and connect it to the material world.

To translate the drawing into the building requires an intimate knowledge of the techniques and materials of drawing and building.


ATMOSPHERES

THE EPIPHANY OF ARCHITECTURE

CIRCULATION, ENCLOSURES and their LIGHT


TOTAL ARCHITECTURE, Walter Gropius

TOTAL ART, Theo van Doesburg/DE STIJL


GESAMTKUNSTWERK, all embracing aesthetic, where art becomes architecture and architecture art. A synthesis, and revolving intersection where each medium exists at the service of formal innovation; a kind of essentialist discourse or tradition that might be buried in the past.

Brian Clarke, Nerves of Ecstasy by Robert C. Morgan, PACE 2013.


ARCHITECTURAL FORMS OF ENCOUNTER/DEBATE

HISTORIES, PHILOSOPHIES, AESTHETICS

Katsura Detached Palace. Kenzo Tange, Walter Gropius. 1960

(extended in a modular fashion and adapted to changing royal needs over the centuries)


Katsura consolidates all qualities in history but not in a creative way. Since it lacks in the strength of its unifying all members, its impression is lyricism but lacking unifying tension. KenzoTange


Ise : Prototype of Japanese Architecture. Kenzo Tange, Noboru Kawazoe. 1961

(Ise Shrine rebuilt every 20 years with new materials)

Ise Shrine manifests primate yet powerful, simple yet noble, and serene yet ecliptic qualities, which cannot help moving us. Tange


THE PRIMATIVE

JOMON POT, 2000 BCE, (Jomon period 14,000 BCE-300 BCE)

Jomon, (means Rope pattern) wildly decorated pottery, idols, and thatched pit dwellings. The style comes to stand for the savage and dynamic.

Jomon appeals to us with the flooding energy of the fundamental life of the people. It has a resilient strength and a sense of mass, which comes out of through their wild battles with nature: it also has a free and agile sensitivity. Kenzo Tange



THE ARISTOCRATIC

YAYOI EARTHENWARE, 350 AD, (Yayoi period 300 BCE-250 BCE)

In the Yayoi period, earthenware becomes more refined, and structures like granaries are raised on stilts, building developments reflect the emergence of social hierarchies.

In Yayoi, man and nature are synthesized to create a calm lyricism, acknowledging nature’s blessings. A passive attitude, submitting to the surroundings prevails. A flat equilibrium and quiet balance with no dynamism are left in a transient mood.

Kenzo Tange is originally drawn to the Yayoi style, but starts to oscillate with the Jomon style in the late ‘50s’ For Tange and the future Metabolists there is no conflict in their simultaneous study of tradition and modernism. Tange insists on exploiting tradition as a means of innovation, while building prolifically in a modern mode and strategizing the high-tech avant-garde of Metabolism.



There’s more truth about a camp than a house. Planning laws need not worry the improvised builder because temporary structures are more beautiful anyway, and you don’t need permission for them. There’s more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we’re just passing through.

Wildwood, A Journey Through Trees. Roger Deakin.2007


PAO, a structure that you can repeatedly put up and dismantle. Because of occupant’s nomadic life, it needed to be lightweight, and be able to be built very quickly and have the ability to be taken apart and re-built many times. Even materials that have already been used can be reused so long as they are disassembled correctly and preserved properly.

To maximize the reuse of components one needs to standardize them so they can be pre-fabricated. The order of construction becomes important as it influences the disassembling of the structure; the technical features of joints, assemblages of materials and their localities can become both conceptual to the experience of the space and its architectonics and to the actual innovative building process.

In the Mesopotamia city of Ur, they bricked over houses buried in the mud and built new houses in the same spot over and over. Its been learned that they repeated this eight times. There was apparently a very strong impulse to create an eternal building.

Kiyonori Kikutake


Rem Koolhaas

SO THE MUD HOUSE BECAME THE RENAISSANCE AND THE TENT BECAME METABOLOLISM?

Kiyonori Kikutake

YES, IT BECAME A METABOLIST STRUCTURE MADE OF WOOD. AND I THINK THE NOTION OF ATTAINING ETERNITY WITH A MUD HOUSE-OR ATTEMPTING TO-IS REALLY FASCINATING.



In The Making : Hollowing out Space through Innerness and Difference. 

Quietus : Interiors of Silence and Space.

Innerness : A (sensorial) space or even a place interior to its environment. 

Sensing Spaces : Through displacements and hidden volumes.

Defined Interiors : By material, agency and social and private architectures. 

Interiors of Pots : Analogies with the Hut as both being dwelling places made from the inquiry of form and the need for a reflective solitude. Fragment as a broken shard, from notebook March 2014.


Innerness

The light of reflection and our immediacy moves from light to dark and from dark to light; from surface to interior and interior to surface. The pot becomes a cyclical vessel reflecting our geocentric origins.

The Hut is a vessel in the making for reflective dwelling.

The Pot with its interior underpins its fidelity, its completeness.

Some pots are tuned and balanced for their “innerness”; others promote their surfaces (noise) at the expense of their interior integrity (quietness).

Vessels of Defined Spaces : Creatures of Light and Dark



In sensing a pots interior from its surface, we are as it were in some intimate tacit correspondence with its spatial sensing centre. We become known to it through its maker’s creative gesture of innerness. This anthropological inner space linking us to the potter is both sensual and distant; its vacancy allows us dwell in the maker’s absence.

Reflections on Heidegger,

We traverse from light to dark many times as we gather in the pots (thingness) as it were unfolding in our presence (nearness).

Vessels as Spatial Metaphors around Innerness and Difference. 

The Jar




Heidegger as a pouring and gathering social metaphor. Anecdote of the Jar.

Dominion over the Unmade.

Wallace Stevens, poem cited by Edmund de Waal.

WORKING at the transitional surface/stage in the HUMANITIES as it re-boots itself into THE POSTMODERN.

A SOMATIC ARCHIVE, of subjectivities whose perceptions and environments are going to change forever; like the particularities of the analogue trace in photography that is now becoming a distant experiential condition, an orphan extinct from the subjectivities of its originating culture/organism.

The imagination and process aesthetic of the Posthuman Condition 


A Theoretical and Semantic search amongst Ruins and Archetypes 

Historical Perspectives

Dwelling/Poetics Heidegger Archetypes/Symbols Jung

Flesh and Stone, Richard Sennett

Flesh and The Logic of Sensation, Deleuze/Bacon 

Feminist Geographies The Posthuman

Posthuman thought inscribes the contemporary subject in the conditions of its own historicity.

Posthuman Subjectivity : Rosi Braidotti 

LIGHT into SOMANTIC SPACES

Continuum and Chora (light and the shadow of chora)

Life expresses itself in a multiplicity of empirical act: there is nothing to say, but everything to do. Life, simply by being life, expresses itself by actualiizing flows of energies, through codes of vital information across complex somatic, cultural and technologically networked systems. (Braidotti, 2013:190)

De Architectura, Vitruvius

Architecture consists of order, arrangement, proportion or eurythmy, symmetry and decor, and distribution.

Arrangement as an “Idea” refers to the Aristotelian notion of “Image­ representation” as phaantasia a precondition to drawing, effectively occupying and revealing a space between Being and becoming.


INTERIOR DESIGN UCA FARNHAM

DESIGN AND RESEARCH PROJECT 2015 SPACE BETWEEN PEOPLE.



SITE-PLACE-DIALOGUES

THE RUINED ABBEY, stands as architectural remnants of a pastoral community now set in parkland and open to the public as a site for recreation.

The Abbey and its experiential values and feelings have been employed as both a reality of a lived experience and as a virtual diffractive site for thinking through contemporary issues in arts (relational aesthetics), and architectural design through exploratory spatial inquires with the specifics of place studies.

What this project is not

Gift Shop and Visitors Centre What this project might become

Proposal for a symposium,

Personal Structures, artists and writers talk about “Time, Space and Existence”. Setting for an exhibition that can promote the symposium.

A room containing a virtual work of design that challenges and opens up the physical architecture.

A design for a interactive (mobile) component, a structure that can act as an interlocutory apparatus in the transposition of the phenomena of place.

Building Partitioning of Space.

Architectures as atmospheres that promote the contents and support the interaction of things including humans.

Design as a tool of transposition, of layering and collaging different spatial values both cultural and experiential.

Painting Subjectivities, matter drawn and crafted from site inquiry.

LIGHT VALUES

The Transmission of Light,

Instantaneous psychological effect that stimulates the senses. The Specificity of Colour

Synergistically working with place and symbolizing abstract concepts and thoughts.

Humans use colour in their surroundings for decorative purposes or to chronicle their every day lives and other important events.

Earthy, Corporeal, Spiritual, Pastoral. Capricious.

Colour has always been used symbolically, whether pained directly on the body or worn in garments to announce the wearers’ social status, their tribe or country’ or other significant group.

The Abbey, On-Site (qualitative research with stained glass samples) Analogous Colour Fields with Monochromatic Features, utilise complementary colours or forms to focus the difference and diversity of the design installation.

Red, Flashed Ruby glass.

Brown is the ultimate earth colour associated with a “durability” of terra-cotta, clay.

Amber, Light, Medium and Dark. Yellow, Orange, Imagination/Enlightenment, Intensity, Sunlight.

Purple, Red/Blue, Spirituality, New Age, Cutting Edge Technologies. Diversity, Complexity, Artistry, Uniqueness.



THE ABBEY AND THE CISTERCIAN ORDER

THE PHENOMENOLOGY OF CONSTRUCTION : Caruso St John

HISTORY IS THE RAW MATERIAL OF ARCHITECTURE. Aldo Rossi


TRADITION AND MODERNISM

CONTINUITY-LEGACY-TOWARDS AN ONTOLOGY OF CONSTRUCTION


Today the nuances of language that make up these architectures only exist as an intellectual discourse and do not operate at the emotional level that would have engaged the original inhabitants, or audiences of these buildings. And yet we are still emotionally affected by these structures. Denied access to the specific culture of their iconography. We respond, at a more visceral level, to the more general culture of their construction.

Adam Caruso on the medieval ruins of Fountains Abbey, Yorkshire.

Towards an Ontology of Construction, Knitting Weaving Pressing. 2002

Thinking with Walking/Paths/Huts

WALKING was a means of personal myth-making, but it also shaped his everyday longings; Edward Thomas not only thought on paths and of them, but also with them.

The Old Ways, A Journey on Foot. Robert Macfarlene


ON REFLECTION

What do I know when I am in this place that I can know nowhere else?

What does this place know of me that I cannot know of myself?

For Edward Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses-between the conceptual, the spectral and the personal occur often without signage in his writing, and are among its most characteristic events.

HE IMAGINED HIMSELF IN TOPOGRAPHICAL TERMS


HEIDEGGER’S HUT

A TOPOLOGY OF BEING, PLACE, WORLD. Jeff Malpas



METHODOLOGIES OF DESIGN

GESALT, GRISAILLE, LEITMOTIF, MATRIX, FORMAL PATTERN, SURFACE


VISITORS : A film by Godfrey Reggio

MEANING IN THE FORM OF THE FILM

THE ACTIVITY OF PERCEPTION

We have art so that we may not perish by the truth. Friedrich Nietzsche



SENSORIUM AND STILLNESS, MOVEMENT AND MIRROR

A MIRROR ON WHAT IT IS TO BE HUMAN


THE RECIPROCAL GAZE :

The screen is gazing at us; we are framed by our own looking. A direct relationship (what the image tells me); a singularity held by the vivacity of the image, through the activity of perception and introspection.

THE SPECTATOR MAKES THE JOURNEY into the PREMORDIAL IMAGINATION OF THE CAMERA.

CONCRETE PHOTOGRAPHY, PHOTOGRAMS, IMPRESSIONS, TRACES


THE SENSATE AND THE CONCEPTUAL

PAINTING, Robert Mangold.

TRANSFORMATION AND PROPHECY

BEUYS-KLEIN-ROTHKO

ARCHITECTURAL LEXICON OF STRUCTURES AND SYMBOLS


WORKING NOTES 20 August 2018

Fragments/Thoughts CONSTELLATIONS NIGHT DRAWINGS

OUTPOST URBAN FROTTAGES/ Drawing Strategies


SCULPTURE TRAIL/ Minimalist, Post Modem, elements, assemblage, collage REFLEXIVITITY / AGENCY / POST STUDIO


Mobius Strip, experiential feedback into REAL LIFE / NOWNESS SEARCHING for creative anthropologies from the landscape.

ACTIVE and creative engagements. PERFORMATIVITY LANDSCAPES

SENSORY WALKS

USING the topology close to hand, the unique geographies of the rivers from source to sea.



Tuesday, 13 April 2021

An asperity of thoughts/Vibrant Matter : Braking Down/Diffracting The Apparatus of Reading/Research

Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.

Research as a discursive activity gathering new forms of expression. Duration, Steven Holl

Building Uncertainties into the explorations of making





.

REVIEW into INTERIORS MA UCA 2013-15 Research into new forms of translation/transmission

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 modem 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

ECOLOGICAL approaches/affordances to aesthetic perception ART and AESTHETIC PATTERNS : into an ecology of mind.

Going beyond what it may represent into the important psychic information that it contains. Camouflage is addressed, perhaps, less to architecture itself than to the subjective processes by which 

human beings experience architecture. Illustrated by the photographic practice of Francesca Woodman, we see her seemingly absorbed by her environment in way that shows a desire to both identify with, and become part of her surroundings.

A desire/transgression met and mediated through a certain sensitivity and openness to the environment, fostering a sense of connectivity between human beings and their environment.

Neil Leach

EXISTENCE, SPACE and ARCHITECTURE Christian Norberg-Schulz




A child 'concretizes' its existential space.

Developing the idea that architectural space may be understood as a concretization of environmental schemata or images, which form a necessary part of man's general orientation or 'being in the world.'

SUBSTANCES guide the kinds of practical actions that the organism senses from elements of the environment, creating affordances/utilities for the human body.

SURFACES separate substances from medium, the wall and roof of my house afford comfort by separating me from water and too much air.

AFFORDANCES as aesthetic sensations determined both by the environment and qualities we impose through observation, sensation and perception.

Without arousal of perception, no aesthetic experience is possible. The rational organization of society has its own Aesthetic Attraction

Symmetrical Patteming/redundancy : provides for the observing mind a maximum of insight with a minimum of intellectual effort.

Colour Light Time

Quintessentially relational phenomena in which location, background, density will provide for different perceptual relations.

Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.


WORKING TEXT: 16/May/2020 The R Value in Academia

Reading/Reflexivity/Research with precision and indeterminacy 






Research Material : Studio/Archive 2004-2020

The Language of Specitivity/Places of Inquiry Extradisciplinary Investigations

Social Utilities/Contemporary Art Practices imported from Political Philosophy

The return of limited and ancillary projects where the human being is the fulcrum and the fire of research in replacement of the medium and the instrument.

A whole range of materials and topics that do not fit, that can create an eclectic synthesis of knowledge fields.

Arte Povera, an aesthetic-philosophical movement, artists that chose to live with direct experience and feel the necessity of leaving intact the value of the existence of things. An art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen.

Germano Celant 1940-2020 






Developing discursive reading 

WORKING DOCUMENT/LANDSCAPE LANDSCAPES/Thinking Spaces

Concepts of space-time/Ecologies, embodiments through identity, individuality and environments. Our universe is evolving in time as our views are evolving

RIVERS/Eddies and husbandry

(in/with the phenomena of water, thinking with the fish in mind) 

Research as a discursive activity gathering new forms of expression. Duration, Steven Holl

Time is only understood in relation to a process or a phenomenon.

The duration of human beings alive in one time and place is a relational notion.

The time of one's being is provisional; it is a circumstance with an adopted aim for the time being. SPACE-and ARCHITECTURE-exceeds the provisional

Architecture/Built Environments Ecology/Political Philosophy






Spatial Practice, Culture, Creativity and Environment

Diffractive erotics of the body in her speculative post studio practice 

Asperities of flesh, dirt and the built environment

Neil Leach, Camouflage, F Woodman

 

The Enchantment of Modem Life.

Attachments, Crossing and Ethics

The performativity of social representations

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

Spatial Practice Interior Design

Building a precision/working praxis that is both aesthetic and technical that can give an intimate understanding of the material and its situation.

Subjectivities interwoven through light and media Asperities of fabric and texture : White Collaged Postcards

CREATING AN ANTHROPOLOGY TOR BEING IN THE LANDSCAPE DEVELOPING MATTER AND DESIRE IN ART BASED ACTIVITIES

WORKING NOTES, 24 October 2018

SETTING UP THE CRITICAL DISTANCE / DISCURSIVE FIELDS OF ANALYSIS MEASURING AFFECT

PERFORMATIVITY ITS EXPERIENTIAL QUALITIES/PSYCHIC IMPACT RESEARCH IN LANDSCAPE AND ENVIRONMENTAL DESIGN Visiting the Archive : Exploratory Workshop

September 1, 2018. W&BA Harleston

CREATING THE FEEDBACK LOOP

BLURRING THE BOUNDARIES BETWEEN PARTICAPANTS AND ARTISTS RADICAL INTERVENTIONS INTO THE EVERYDAY

Walking and Making with Clay, Brockwood, Speculative Learning Program

' the clay itself seemed to absorb them into a wandering relation with the landscape' A Field Guide To Getting Lost, Rebecca Solnit.

In this investigation into loss, losing and being lost, Rebecca Solnit explores the challenges of living with uncertainty.

Tracks Across The Landscape

Setting up a critical spatial practice within the walking landscape of the everyday. Edward Thomas, Paths

John Piper, Covehithe, South Bank Show, painting/drawing both on site and in the studio. 

Watts Gallery, analysis and audit of activities from which to develop visitor programs and the experiential circulation of those who visit.


Melancholy and The Landscape, Jacky Bowring.

Locating Sadness, Memory and Reflection in the Landscape. Investigation into the creative membership and activities of W&BA.

Sculpture Trail, Curatorial Strategies/Market/Audiences

From newsletter to art themed walks, Historic Culture/Landscape and Tourism Plotting points of social interactions, asking Why Here, Why Not There?

What directs events, governs outcomes? Success and failures?

Management and event led, members as audience? MA Arts Management

New Cultural Diversities

10 Days at the Laundry, Winchester 2009.

Group of creatives based in and around Winchester School of Art, use of fallow site in which to respond and to create for 10 days a contemporary arts festival. This original event 'fused' new creative partnerships that went on to produce other groups and exhibitions. The follow-up event 10 Days in the City, was funded, had more prestigious venues, but lacked the cohesion and community of the first site.

Supplementary content, resources, dossier outlining the inquiry of which the work is a part. MOVING THE CULTURE

DISCURSIVE FIELDS FOR NEW TYPOLOGIES/OPERATIONS AND TACTICS CONCRETE POETRIES

LOWER GREEN, NORWICH

' At the surface, the gorgeous materiality of Okon's work is seductive but her intention to breach superficial readings is much more serious. This conjugation of material is also a conjuration, an earnest attempt to attempt to imagine and materialise new possible realities.'

Matter and Desire, An Erotic Ecology, Andreas Weber.

SITE SPECIFIC EMBODIMENT, working, making, discovering. Post Studio Practices, Daniel Buren. Deep Arts Ecology Investment and Nurturing, 'it always begins with the art, Hans Ulrich Obrist. 

The heavy, awkward investment of actually getting people to 'place' to participate is difficult. New technologies could offer solutions that could in turn promote innovative creative ecologies.

NEW TOPOLOGIES FOR BEING IN THE LANDSCAPE NETWORKS, MESHES, NODES, CONNECTIONS

Becoming embodied within the making of the work, within an intimate dwelling place. Strange Tools, Art and Human Nature, Alva Noe.

Crafted Scenography, 

Exhibition, 

Visual Art, Tacita Dean

Shadowcatchers 


OUTPOST

STUDIO as a discursive site for un-doing and re-making relations/aesthetics between objects/the social/the everyday.

STUDIO ANALYSIS 2018-2020 21 September 2018-19 August 2020

Art School Spaces Outpost Studio Spaces Urban Fallow Institutional Buildings 

Open Plan Office Spaces

Studio 3.16, Central Norwich, nearby parking, Floor area/footprint 5.0mx5.0m, wall spaces 2x2.4mx5.0m, well lit, open plan, large making table 1.2mx2.4m. Electricity, small heater, lighting, running water WC, access 24/7.

Projects/Contexts bought into the studio space

Drawings/Southampton roof rubbing, drawings/art works as sociological shelters/habitats Immaterial Paintings/Cyanotype, layered papers

Raveningham sculpture elements from intervention Cley, sketch books and paintings

Re-presentation of drawings/collages with new research material/contexts

Paintings displayed with large analogue phonographic images and collages Architectural concerns, coloured glass, aesthetic surfaces, paintings with raw materials Installation of research bookcases as diffractive elements/spatial practice within the studio White paintings, used layers of paper texts, meshes and cloth

Ceramic objects on field paintings/grounds

Research material, folders, wrapped ceramics with fabric, yellow ochre on paper

Canvas painting, inclusions, shells/stones, cyanotype/yellow ochre, gesso/white paint, pierced 

STUDIO WORKS

Paper/canvas paintings 1.5mx2.4m Canvas re Raveningham Shelter, 2.4mx2.4m

Spray paint, large floor works left undisturbed during making Future proposals Cley 2021, Artpocket activities, Project Space,

WORKING NOTES

OUTPOST 12/09/2019

A Philosophy of Solitude

Hand Bookbinding

Lead/Waxed Paper

Art puts US on Display

Strange Tools

Art and Human Nature

The Politics of Things

The properties of Light

Fred Sandback/Luis Barragin

On Pictures and the Words that Fail Them Melancholy and the Landscape Process-Relational Philosophy

Jannis Kounellis

Christopher Wilmarth

The Ground of The Image

Sally Mann, The Flesh and The Spirit 

The Eyes Of the Skin