It would probably not be wrong to define the extreme phase of capitalist development in which we live as a massive accumulation and proliferation of apparatuses.
To recapitulate, we have then two great classes: living beings (or substances) and apparatuses. And, be tween these two, as a third class, subjects. I call a subject that which results from the relation and, so to speak, from the relentless fight between living beings and apparatuses. Naturally, the substances and the subjects, as in ancient metaphysics, seem to over lap, but not completely. In this sense, for example, the same individual, the same substance, can be the place of multiple processes of subjectification.
I shall call an apparatus literally anything that has in some way the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviors, opinions, or discourses of living beings.
What Is an Apparatus? Giorgio Agamben 2009.
Alternative Photography : Photography and Architectural Space.
Photogram, a numinous construction, spaces amongst and within other spaces
Catching The Light.
The Entwined History of Light And Mind. Arthur Zajonc
PROXIMITY OF SPACE
INTIMACIES IN SOCIAL SPACES
SCRIPTORIUM
THREE STAGE METHODOLOGY (Kikutake) Mitsuo Taketani
KA ‘ESSENCE’
KATA ‘SUBSTANCE’
KATACHI ‘PHENOMENON’
Characteristics of an architect
CHI ‘BLOOD’
TACHI ‘TEMPERAMENT’
KATACHI ‘EMBODIMENT’
The Phenomenology of Reading. GLAS, Derrida Literature and Language.
The Stride of The Mind
Reading Rooms. Figuring Space. Text/Fumiture/Dwelling Reading with Paths
The Production/use of Space into Places to engender Societies.
A site specific induced inquiry into dwelling and building through/by way of an attentive awareness (anthropological) to people and place.
‘What I am post interested in now is inverting the structure of a culture that is centred around the city.’
‘The richness and strength of that (their) culture cannot be understood until one has worked with the people who live their- until one has eaten their food, drunk their sake, talked together with the craftsmen and made things with them.’
Kengo Kuma, Complete Works, (preface) 2012
Relativity/Relationality through Walking and Thinking. Subjectivity. Space - Politics - Affect
Waverley Abbey. Cistercian Monastery
The peculiarity of the ruin is defined in that it demythologises the impression of seamlessness and linearity. In the ruin, we are at once removed from dichotomised and levelled down space by entering a place at the threshold of experience. At the threshold, we return to the pre- spatial, if primordial, landscape, yet to submit to the suppression of space and site. Instead the place of ruin creates protrusions, which desolates the category of clean space.
The Aesthetics of Decay, An Uncanny Place. Dylan Trigg
Immaterial Architecture : The Glass Observatory
Photograph (132) Cyanotype Alternative Photography
Documents from research archive
Tracing Light: Petworth House, West Sussex 2000 David Alan Mellor, Garry Fabian Miller.
Light And The Genius Loci
For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun in the system of perception'.
Mutations Of Light
Petworth Window, 6 July 1999 Light's Windows And Rooms
Passing towards the Invisible.
The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent theme in William Henry Fox Talbot's early speculations.
CATCHING THE LIGHT
The entangled history of light and mind Arthur Zajonc
BROUGHT TO LIGHT
PHOTOGRAPHY AND THE INVISIBLE 1840-1900 Sight Unseen
Picturing The Universe Corey Keller
Invisible objects, penciled by nature's own hand.
In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself.
The Social Photographic Eye Jennifer Tucker
Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.
An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand.
Invisible Worlds Visible Media
Tom Gunning
William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.
Techniques Of The Observer
On Vision And Modernity In The Nineteenth Century Jonathan Crary
The Camera Obscura and its Subject
Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world.
UNDER THE SUN
By The Light Of The Fertile Observer
Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.
An Epiphany Of Light
David Alan Mellor
Christopher Bucklow, Guests Jeanette Winterson, Gut Symmetries
Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality.
From The Adamantine Land
Variations on the art of Christopher Bucklow David Alan Mellor
Etienne-Jules Marey
A Passion For The Trace Francois Dagognet
Painting, Photography, Film Laszlo Moholy-Nagy
A Bauhaus Book
L. MOHOLY-NAGY:
DYNAMIC OF THE METROPOLIS SKETCH FOR A FILM
ALSO TYPOPHOTO OSKAR SCHLEMMER
MAN
Interaction of Color Josef Albers
The Elements of Color Johannes Itten
Pedagogical Sketchbook Paul Klee
The New Landscape in art and science Gyorgy Kepes
The Colour of Time Garry Fabian Miller
The Majesty of Darkness Adam Nicolson
The Unmade
The Pregnant
The Half Erotically Unmade
Camera Obscura of Ideology Sarah Kofman
An optical instrument, which used in drawing, allows one to see at the same time the objects being drawn and the paper.
I Am Not This Body
Barbara Ess
Working Collages
Ann Wilde, Ulrike Meyer-Stump
A German Tradition of Photographic Typology
Collages made from contact prints from Blossfeldt's negatives, showing the isolation of particular motifs. The working collages were an archive, not for the negatives but for motifs.
The viewer is less interested in the subjects of the pictures, than in the effect created by the formal system subsuming them.
His photographic archive of plant forms is not a finished work, but material awaiting processing.
Enchantments and Crossings : Somatic Effects
Spatial Methodologies. Worlds and Thresholds.
The Fanciful and The Scientific.
The Playful and The Reverent.
The Material and The Metaphysical.
Tensions in built spaces.
Between Evanescence and Substance.
Between Illusion and Specificity.
Between Slickness and Tactility.
Today there is not even a single instant in which the life of individuals is not modeled, contaminated, or controlled by some apparatus, In what way, then, can we confront this situation, what strategy must we follow in our everyday hand-to-hand struggle with apparatuses?
What Is an Apparatus? Giorgio Agamben 2009.
Making Places where times and tastes, human fabrications and accidents of nature, all collide; in these situations under the shelter of a forming/becoming architecture these ‘spatial texts’ or ‘visual conversations’ of one sort or another are suggested and are manifested and explored through a praxis of inquiry and making.
Facility and retreat for cross-disciplinary inquiry (Humanities and the Social Sciences).
Repository and archive of artefacts, texts and objects.
Exhibition and making spaces, workshops and residential living spaces. Walled garden complex containing a reading pavilion and library.
Philosophy of Solitude, thresholds/spaces of serenity, a poetics of dwelling.
Relationships between Art, Photography, Craft and Building. Expanded through Exhibition, Performance, Teaching and Making.
Realized as a dialogue/delivery (Built Work) into Architectural Terms between Sites of Collection and Sites of Construction.
Art as Spatial Practice.
Catalyst Events/Situations to engender the experience of learning.
West Dean, Singleton. Residential courses in the arts, both the grounds and the house are fully utilised in the social activity of learning.
Kilquhanity,Scotland. Free School in country setting, used as a site for exploratory fine art practices(converted a pottery into a camera obscura and drew a garden from the movements of the sun across a specific terrain).
Brockwood Park School, Bramdean. Re-imagining learning, conducted a walk across a landscape with clay, and hidden curriculum in the library with objects and texts centred around philosophy and architecture.
Space folds : Containing "Spatialities around historicality and sociality"
Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013
"All that is solid melts into air"
Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)
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