https://www.flickr.com/photos/russellmoreton/albums/72157663430595528
Friday, 8 December 2017
Taskscapes :
Remote Sensing : Medieval Structures 004, Cyanotype Print
https://www.flickr.com/photos/russellmoreton/albums/72157663430595528
https://www.flickr.com/photos/russellmoreton/albums/72157663430595528
Monday, 6 November 2017
Photographic Memory/Image/Text : Anthropocene
Photographic Documents :
Aerial Imagery/Remote Sensing
P1170832 Photographic Evidence
Photograph (350) Anthropocene
DSC_3449 Beach Document
Photograph (13) Illuminated Cathedral
P8200276 Immateriality/Paper Negative : Anti Object, Kengo Kuma
https://www.flickr.com/photos/russellmoreton/23720740749/in/dateposted-public/
Aerial Imagery/Remote Sensing
P1170832 Photographic Evidence
Photograph (350) Anthropocene
DSC_3449 Beach Document
Photograph (13) Illuminated Cathedral
P8200276 Immateriality/Paper Negative : Anti Object, Kengo Kuma
https://www.flickr.com/photos/russellmoreton/23720740749/in/dateposted-public/
Sunday, 29 October 2017
Research Notes : Matters of The Mind/ Contemporary Art Practices
Information Processing and Performance in Traditional and Virtual Teams
The Role of Transactive Memory. Terri Griffith, Margret A. Neale
Research Paper No. 1643
Transactive Memory : A Contemporary Analysis of the Group Mind. Daniel M. Wegner.
Prehistory/Making of the Human Mind. Colin Renfrew. 2007
The Mind In The Cave. David Lewis-Williams. 2004
The Matter of Mind, Cathedrals of Intelligence/Steven Mithen
The Poetics of Space. Gaston Bachelard. 1958
The Poetics of Reverie, Childhood, Language, and the Cosmos. Gaston Bachelard. 1960
A particular cosmos forms around a particular image as soon as a poet gives the image a destiny of grandeur. The poet gives the real object its imaginary double, its idealized double. This idealized double is immediately idealizing, and it is thus that a universe is born from an expanding image.
O silence round like the earth
movements of the mute star
gravitation of fruit around the clay nucleus
May no one wound the Fruit
it is the past of joy which is becoming round.
Jean Cayrol
Reverie and Cosmos.175
The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.
The Drowned World, JG Ballard.
The Role of Transactive Memory. Terri Griffith, Margret A. Neale
Research Paper No. 1643
Transactive Memory : A Contemporary Analysis of the Group Mind. Daniel M. Wegner.
Prehistory/Making of the Human Mind. Colin Renfrew. 2007
The Mind In The Cave. David Lewis-Williams. 2004
The Matter of Mind, Cathedrals of Intelligence/Steven Mithen
The Poetics of Space. Gaston Bachelard. 1958
The Poetics of Reverie, Childhood, Language, and the Cosmos. Gaston Bachelard. 1960
A particular cosmos forms around a particular image as soon as a poet gives the image a destiny of grandeur. The poet gives the real object its imaginary double, its idealized double. This idealized double is immediately idealizing, and it is thus that a universe is born from an expanding image.
O silence round like the earth
movements of the mute star
gravitation of fruit around the clay nucleus
May no one wound the Fruit
it is the past of joy which is becoming round.
Jean Cayrol
Reverie and Cosmos.175
The sun has gone mad and stripped the earth of its ionosphere. For decades blasting radiation has poured upon earth, melting the polar caps and turning permafrost into streams, rivers, oceans. Huge deltas have been built, lakes formed, seas have risen.
The Drowned World, JG Ballard.
Biosphere (Ecology and Entropy) Cyanotype Drawing.
Sunday, 22 October 2017
Installation : Working Environments
The Drawing Board, at The Granary, Brockwood.
Drawing.
Installation and Working Sites
Architectural Glass and Ceramics
Liquid Light and Pinhole Photography
In the "process" : Working in the Granary.
Russell Moreton
Spatial Practices MA, UCA Canterbury.
Visual artist who currently uses simple descriptive gestures and processes drawn directly from the human body. His practice continues to explore issues around "Spatiality" and the "Postmodern Human Condition". The use of site specificity and materials "at hand" are employed to further underpin the practitioners sense of place, memory and dwelling. His descriptive working narratives are in effect physical working ideas, spatial entanglements between the relations of life and art.
Hidden Curriculum #2
Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School.
a thousand plateaus
Deleuze, Guattari
Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine
Camera Obscura : Kilquhanity 2011.
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011
Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".
Camera Obscura : Reflections and the dark room.
DSC_2753 Cyanotype Projection for Poetry
Yard and Meter,Winchester.
Angelus Gallery, Winchester College
Russell Moreton : Exhibition and workshop of working practices.
Artist Statement/Chapel Arts Residency
Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.
Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel 2010 into Chapel Arts as part of their research residency programme.
Drawing.
Installation and Working Sites
Architectural Glass and Ceramics
Liquid Light and Pinhole Photography
In the "process" : Working in the Granary.
Russell Moreton
Spatial Practices MA, UCA Canterbury.
Visual artist who currently uses simple descriptive gestures and processes drawn directly from the human body. His practice continues to explore issues around "Spatiality" and the "Postmodern Human Condition". The use of site specificity and materials "at hand" are employed to further underpin the practitioners sense of place, memory and dwelling. His descriptive working narratives are in effect physical working ideas, spatial entanglements between the relations of life and art.
Hidden Curriculum #2
Speculative Learning Environment : Russell Moreton.
Re- Imagining Education, Brockwood Park School.
a thousand plateaus
Deleuze, Guattari
Assemblage
Becoming
Body Without Organs
Nomad
Rhizome
Smooth Space
State
War Machine
Camera Obscura : Kilquhanity 2011.
Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011
Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive".
Camera Obscura : Reflections and the dark room.
DSC_2753 Cyanotype Projection for Poetry
Yard and Meter,Winchester.
Angelus Gallery, Winchester College
Russell Moreton : Exhibition and workshop of working practices.
Artist Statement/Chapel Arts Residency
Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.
Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel 2010 into Chapel Arts as part of their research residency programme.
Friday, 13 October 2017
Thursday, 28 September 2017
Wednesday, 20 September 2017
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
The Planet drowns in an ocean of photographic emulsion.
J G Ballard
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
The Planet drowns in an ocean of photographic emulsion.
J G Ballard
Tuesday, 25 July 2017
Monday, 24 July 2017
Alan Watts - Full Unedited Version of 'Conversation with Myself'
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. Anti-Object : Kengo Kuma
Friday, 7 July 2017
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.
Anti-Object : Kengo Kuma
» Social morphogenesis: five years of inquiring into social change The Sociological Imagination
» Social morphogenesis: five years of inquiring into social change The Sociological Imagination
Postmodernity. Second modernity. Network Society. Late modernity. Liquid modernity. Such concepts have dominated social thought in recent decades, with a bewildering array of claims about social change and its implications. But what do we mean by ‘social change’? How do we establish that such change is taking place? What does it mean to say that it is intensifying? These are some of the questions which the Social Morphogenesis project has sought to answer in the last five years, through an inquiry orientated around the speculative notion of ‘morphogenic society’.
Postmodernity. Second modernity. Network Society. Late modernity. Liquid modernity. Such concepts have dominated social thought in recent decades, with a bewildering array of claims about social change and its implications. But what do we mean by ‘social change’? How do we establish that such change is taking place? What does it mean to say that it is intensifying? These are some of the questions which the Social Morphogenesis project has sought to answer in the last five years, through an inquiry orientated around the speculative notion of ‘morphogenic society’.
Monday, 3 July 2017
Saturday, 24 June 2017
Saturday, 17 June 2017
Josef Albers : Glass, Colour and Light.
Guggenheim Museum. 1994
Catalogue
32. Skyscaper 11
1929
Sandblasted flashed glass 36.2 x 36.2cm.
30. Skyscraper 1
1927/1929
Sandblasted opaque flashed glass 34.9 x 34.9cm.
28. City
1928
Sandblasted opaque flashed glass with black paint, 33 x 55.3cm.
Badley damaged with sections of glass missing.
Alber's numerical notations in white chalk or pencil are visible on the surface.
21. Frontal
1927
Sandblasted opaque flashed glass with black paint, 34.8 x 47.9cm.
https://ia800808.us.archive.org/9/items/glascoli00albe/glascoli00albe.pdf
Catalogue
32. Skyscaper 11
1929
Sandblasted flashed glass 36.2 x 36.2cm.
30. Skyscraper 1
1927/1929
Sandblasted opaque flashed glass 34.9 x 34.9cm.
28. City
1928
Sandblasted opaque flashed glass with black paint, 33 x 55.3cm.
Badley damaged with sections of glass missing.
Alber's numerical notations in white chalk or pencil are visible on the surface.
21. Frontal
1927
Sandblasted opaque flashed glass with black paint, 34.8 x 47.9cm.
https://ia800808.us.archive.org/9/items/glascoli00albe/glascoli00albe.pdf
Richard Sennett: Craftsmanship/Craft as Code
Encountering Resistance
Skill Development
Open Source Programme
Friday, 16 June 2017
Saturday, 10 June 2017
Thoughts on Art : Janie says we all such a crush of want
The Planet drowns in an ocean of photographic emulsion.
The more civilised we are, the fewer moral choices we have to make. But the mind atrophies. A moral calculus that took thousands of years to develop starts to wither from neglect. Once you dispense with morality, the important decisions become a matter of aesthetics.
Super Cannes, J G Ballard. 2000
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