Landscape/Sensorium : Journeys in Art, Architecture, and Film.
Sensorium : A Partial Taxonomy, Caroline A. Jones.
Drawing into the contemporary sociological imagination
Contemporary artists aim to produce specific relations with the technologies they adopt and adapt;
This schematic offers a partial taxonomy.
Caroline A. Jones, Sensorium : Embodied Experience, Technology and Contemporary Art 2006 Immersive
the "cave” paradigm, the virtual helmet, the black-box video, the earphone set
Alienated
taking technology and "making it strange," exaggerating attributes to provoke shock, using technologies to switch senses or induce disorientation
Interrogative
work that repurposes or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systems
Residual
work that holds on to an earlier technology, repurposes or even fetishizes an abandoned one Resistant
work that refuses to use marketed technologies for their stated purpose; work that pushes viewers to reject technologies or subvert them
Adaptive
work that takes up technologies and extends or applies them for creative purposes, producing new subjects for the technologies in question
Atlas of Emotion : Journeys in Art. Architecture, and Film. Giuliani Bruno.
The development of subjectivity as spatiality hinges on architectural construction and is written in the very articulation of architectural discourse.
The Mobile Home
Post Studio Practices, Daniel Buren. Rem Koolhaas
A space is something that has been made room for... A boundary is not that at which something stops, but as the Greeks recognized, the boundary is that which something begins its presencing. That is why the concept is that of horizons, that is, the horizon, the boundary. Space is in essence that which room has been made, that which let into its bounds. That for which room is made is .. . joined, that is, gathered, by virtue of a location, that is by such a thing as a bridge.
Martin Heidegger. ’Building Dwelling Thinking’ Pattern and Chaos/Liminality/Tectonics
Architectural surface for a Library, raw materials, light, silence and solitude.
CELL, COURT, DOMAIN FIELDS : Experimental surfaces and actions on layered paper.
House (Gendered House) is actually, both a private museum and a public library. It is a laboratory built on the threshold of diverse and interpretive and creative perimeters, binding architecture to the cinematic/everyday drama of statis and movement in the sensing of space.
The Voyage of Modernity, Guiliani Bruno.
The spatial practices of exhibition and education.
The humanities and architecture, Heidegger/Bachelard/Ingold/Herzog and De Meuron/Zumthor.
The politics of things/sociology and everyday life/dwelling and making. Natural History learning/thinking through things/situations and vocations. Contents/Contexts and Presentation.
TEXT FRAGMENTS 27 August 2018
MORE FORMING THAN FORM
ART as an inquiry into the phenomena of perception of ourselves and a conduit for others Artwork create our/new futures, connections as yet unknowable
Room Obscura, etched glass ground,
Space Between People, Josiah McElheny
Glass Structures, Warm Glass/Kiln Forming Techniques Penone/Fontana, CLAY
Those that work with Clay and those that work with CERAMICS Adolbe Constructions, Albers paintings, Terracotta, Kiln forms. Hut,
Oscar Tuazon,
George Kubler, Shape of Time,
A CHRONOPHOTOGRAPH contains INFORMATION about interval, duration, speed and other DERIVATIVES OF SPACE TIME.
Used as a metaphor for describing more abstract ideas of space/time, ie the notion of Time as a series of INSTANTS or PLANES of SIMULTANEITY.
Robert Mangold, Josef Albers, Constructed Spaces/Intervals : Minimalist
Creative Praxis, an articulation in the process of making/field The Drama/Performativity of the art work.
Merging into the painterly and its sensate abstraction/nature/materiality of evocative surfaces and textures. WANDERLUST/WONDEROUS into imaginative/visionary environs of the everyday, the quotidian detail/MARKS of life/Becoming Experiential.
Walking is indexical to the landscape as is the thinking that is experiential produced through its agency. Leper Grave Poetry
INTRA- Spaces
Encoding DATA, LANGUAGE
Entanglements of Visual Data and Abstract Language CATHEDRALS OF INTELLIGENCE
The Urban Documentary, Text, Sebald, The River : The Colour of Light
Albers/Colour Perceptions
Vernacular Architectures, Building/Making beyond the design
Footings, Voids, Roof Structures, Cavities, Between Walls, Sensing Spaces in the very making of the building.
The Architectural plan/model and its proposal became the real virtual space for architectural energy and innovation.
TRANSACTIVE MEMORY Texts, Contents, Particulars. Process,
Working through ideas with things/devices/apparatuses Cognitive Landscapes /Relationalities ? Possible Worlds Subsumed by the causality of relationships/culture
Mies van der Rohe The Art of Sculpture
Moholy Nagy The New Vision Abstract of an Artist
Light brings the moment in time to us
Presence, Praesentia, exactitude of light on place and time LAND. LANDSCAPE, CLAY
Pot, Shard, Remnant, Culture, Jug, Dominion/Grounded Temporal/Spatial Perspectives
Light/Dark Room : Towards a new Interior Experimental Vision : Research Collage
Aesthetics of the Everyday Creative, Human Praxis
Working Towards a Secular Retreat in the Landscape
TRACE, LIGHTNESS, EXACTITUDE the abstractions of loss/disappearance Matter and Desire, an erotic ecology
Things held captive by the presence of light/loss of gravity Modulation-Sensate-Mapping-Post Studio-SITE
Visceral and Ephemeral Research: T Oulton
MAKING-CREATING-CURATING through experiential process /praxis Notes from the work in progress/Cell, Court, Domain
ANTHROPOLOGY URBAN MATERIALITY
The Movement of Body Politics
Heidegger, Dewey : Landscapes of Everyday Aesthetics
Cell Court Domain : Capitalism/Consumerism created the house-wife. Threats are within the layers of things
Being Animal, Deleuze
Simple structure, construction that is mindful of an austere aesthetic, a liminal zone of contemplative solitude and lightness. Causality at play in the practice creating cognitive and playful frames of subjectivity. Art works by finding things and experiencing something that is beyond themselves, beyond being into the space oor interval of becoming.
LANDSCAPE and the authorship/design aesthetic of the picturesque Ownership of the land and those who live on it. Gillian Rose/Landscape/Feminism
Worked with the nature of the river, lived in accord with its ancient spring. Now we take ownership, straighten and pollute it and market it as picturesque. It is this particularly contemporary incarnation of landscape that perfectly reflects the anthropocene nature of our postmodernism.
The photographic pathology of the image creates the empty depths, a mourning on modernity.
BLUE, Melancholy and Creative Energy.
Absences and the passing/(imprinting of memory) of time spent/becoming self. Militaristic aesthetic at work, distillations and meditations
A pictorial environment of slowtime, an ephemeral apparition. Creating sensibilities that are meanings that are residing in thee process. Encompassing accidents and chance.
Cyanotype Documents/Natural History
Creating propositions/absent abstractions into a theater of experimentation.
Records the physicality of an objects displacement/nature and documents its qualities of translucency and opacity.
SHADOWCATCHERS : The casting/performativity of shadows and their aura/otherness Proximity, distances between object, light and the recording surface.
Luminosity, Liminality, Numinous,
Subjectivity, the conscious and unconscious thoughts and emotions of the individual, it is not stable but constructed in relationships with others and in everyday practices.
Entanglements that theorise (an analysis that enables) the social and the natural together, ie intra-acting with matter of our worlds in ways that are transformed by matter and ourselves and vice versa. (Barad)
The meditation of absence/touching lightness
Stones as a matrix of gathering slowness.
Paintings as cognitive landscape
Creating subjective thoughts and readings embedded through an awareness of space and time. Opportunities for something instantaneous to happen and be recorded.
Empirical, Indexical, Experiential, Involuntary,
Taxonomies and Subjectivity/Spatial Narratives of Layered Space (Spatiality) Mark Dion, Thames Dig.
Herzog and De Meuron, Archaeology of the Mind/Natural History. Peter Greenaway, The Physical Self/Architecture and Allegory.
Postmodern : Ever Changing, Fleeting, Positive, Nihilistic,
"There are no simple concepts. Every concept has components and is defined by them.
It therefore has a combination [chiffre]. It is a multiplicity, although not every multiplicity is conceptual...
Not only do Descartes, Hegel, and Feuerbach not begin with the same concept,
they do not have the same concept of beginning... Every concept has an irregular
contour defined by the sum of its components, which is why,
from Plato to Bergson, we find
the idea of the concept being a matter of articulation,
of cutting and cross-cutting.
The concept is a whole because it totalizes its components, but it is
a fragmentary whole.
Only on this condition can it escape the mental chaos
constantly threatening it, stalking it, trying to reabsorb it."
Gilles Deleuze and Felix Guattari, What is Philosophy?, pp. 15-16.
ABSURDITY POLEMIC POETRY CONFLICTING DYSFUNCTIONAL
TETHERED FOLLY against a fabric of time.
ART AS INDETERMINATE, able to arrest perceptions into different states (becomings) Stone Worlds
Narrative and Reflexivity in Landscape Archaeology Architecture and Ritual, how buildings shape society. Bought to Light
Photography and The Invisible 1840-1900 CURATORIAL / DEVICE / BENCH / INTERLOCATOR
Jannis Kounellis, Theatre, stage crew shifting actors during a performance.
Interconnected, between contexts, opening places between the social fabric.
Making spaces, expanding vision to create spaces 'between' in which to write ourselves. CONTEXT AND CONSIDERATIONS / MAKING, EXHIBIT, VIEW
ART MUSEUM CULTURE
THE CONTEXT FOR CONTEMPORARY ART IS THAT WE MAKE, EXHIBIT AND VIEW
MUSEUM DIRECTOR, CURATOR, COLLECTOR, ARTIST
None of that means anything anymore. Artists are now more DIVIDUALISTIC. They discover themselves not by securing a role within the historic narrative of a chosen medium. But by INTERGRATING into a more DIFFUSE ECOLOGY that involves not only making art, but also putting on shows, publishing, organizing events, teaching, networking.
THE STUDIO is no longer a retreat, but it now INTEGRATES, IT IS ALL EXTERIOR. THE NETWORK places the artist as a 'like' ITEM within an INTEGRATIVE
INVENTORY or DATABASE.
Melancholy And The Landscape
Locating Sadness, Memory And Reflection In The Landscape Jacky Bowrin
Path : Analogue Film Process St Catherine's Hill, Winchester
Anthracene : Nick Cave and the Bad Seeds, Skeleton Tree. Walberswick : Beach Slides/Digital Pinhole
Covehithe : Walking/Thinking/Physical Entanglements in the Landscape Walking into Emergent Landscapes : Covehithe Beach
The OLD WAYS, a JOURNEY ON FOOT, Robert Macfariane
“ 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.”
Landscape : Entanglements of Affect
Deeper Darkness, Photographic Memory/Process, Metonymy, Negative, Analogue, Negated Nocturne. Walking, Others, Presence, Becoming,
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