Spatial Mediators and Intercessors : Creating Loops/Rhetorical Silences/Strange Tools

Immaterial Architectures
Painting/Form for Reading Spaces/Intervals
Pattern and Chaos/Liminality/Tectonics
Architectural surface for a Library,  raw materials, light, silence and solitude.

Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space

Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.

The Architecture of Natural Light : Henry Plummer

EVANESCENCE
Orchestration of light to mutate through time

Intensity and integrity of Wilmarth's practice/vision.

PROCESSION
Choreography of light/moving eye

VEILS OF GLASS
Refraction of light/diaphanous film

Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.

ATOMIZATION
Sifting of light/through a porous screen

These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.

CANALIZATION
Channelling of light/through a hollow mass

The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.

ATMOSPHERIC SILENCE
Suffusion of light with a unified mood

Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme. To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.

LUMINESCENCE
Materialization of light in physical matter

Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.

"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality  and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.


White Noise : Nocturnes of Silence

Behind Appearance
A Study of the relations between painting and the natural sciences in this century
C. H. Waddington

Adam Fuss
Home and the World

Strange Loops
Art, Science and Consciousness
An Exploration of Mind, Matter and Form through the Work of Susan Derges
Stephen Gaughan

The Music of Waves
The Poetry of Particles
Thoughts on Implicate Order for Susan Derges
Martin Kemp

Adam Fuss
Eugenia Perry

Aesthetic Allure
Rhetorical Silences/Strange Tools

the sensual energy of the dimension in which causality/aesthetics happens

Graham Harman, Timothy Morton

Paintings/Research/Archive/Art Practice
Cyanotype material,objects on canvas.
Russell Moreton 2018

https://www.flickr.com/photos/russellmoreton/40286364403/in/dateposted-public/

Spaces/Aesthetics : 'Spatiality' between Objects, Concepts and Beings

In his discussion of mediators, Gilles Deleuze (1995,121) describes being taken up in the motion of a big wave. He notes that instead of looking for 'points of origin' attention should be directed to mediators that enable a 'putting-into-orbit' that facilitate the movement of concepts, sensations and matter without recourse to origins or destinations.

Katve-Kaisa Kontturi uses the term 'intercessor' instead of  'mediator' as it aligns better with Deleuze's argument, where importance is placed not on mediating between already formulated shapes or beings, but on opening beings up to movement through a third actant.
For Deleuze (1995,125), Intercessors are about entering into or creating a series.

Gilles Deleuze. 1995, Negotioations, 1972-1990.
Translated by Martin Joughin. New York: Columbia University Press.

Notes, Introduction
Ways of Following
Art, Materiality, Collaboration
Katve-Kaisa Kontturi

Open Humanities Press
London 2018



Immaterial Architectures : Raveningham Pavilion #1
DSC_3283 Raku Beakers : Lead Glaze/Yellow Ochre
DSC_4049 Field Aesthetic : Causality/Layered Drawings
DSC_3776 Sacred/Secular : Vessels on Painting
DSC_4097 Field Aesthetic : Causality/Layered Drawings
DSC_8923 Artists Studio : Collage/Photography/Painting

Outpost Studies
Norwich
UK

Astronomical Mappings/Hybrid Musical Sources : Amorphous Analogue Photography : Star Trails/Earth Objects

Amorphous Photography : Star Trails

Inscriptions of Birth/Becoming : Poetics of Memory


Side C
10. Sola Gratia (Part 2)- Jozef Van Wissem et SQURL

Spatial Abstractions : Photogram/Collage/Drawing/Mapping

Art practice/agents of a discursive social praxis : Building on Differentiated Data/Collage

Folder Cover, The Thinking Hand
TheThinking Hand: Existential and Embodied Wisdom in Architecture.

Juhani Pallasmaa

Frameworks with Enclosures

Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a  project of the mind.

Tim Ingold 'Making'

Openings and Conclusions
Text Fragments

Aerial Imagery/Remote Sensing

Openings and Conclusions 3
https://www.flickr.com/photos/russellmoreton/14618816405/in/photostream/

Collage on paper,written fragments and images from Peter Greenaway, Josef Albers and Robin Evans. Photo montage of The Physical Self (Greenaway) and Waverley Abbey UK.Visual research as part of The Waverley Project/Obscura and Reading Room.

On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species-the collective (generic) work of the species-on the model of what used to be called "art" ; indeed, it is still so called, but art no longer has any meaning at the level of an "object" isolated by and for the individual.

Henri Lefebvre, Openings and Conclusions. from On Installation and Site Specificity (introduction) Erika Suderburg

Working Drawings : Spatial Agency/refigurations on the everyday possibilities between movements and social space

The Making/Production of Space

We All Make Space/The Social Production of Possibility

Space and the Social becomes Spatial Agency (a continuity of action and occupation)

Life Drawings : The nature of minor everyday movements/narratives. Becoming responsive and flexible with materials to the dynamics of social structures/contexts. Drawings become reshaped as they are enacted through their working conditions and beyond (a here and an elsewhere, John Berger)

Drawing into the everyday, calling upon an anthropology of the here and now, so as to reveal the spatial and temporal inscriptions of present-day social practices. Marc Auge, Non-Spaces. 

Agency means being able to intervene in the world or to refrain from such intervention with the effect of influencing a specific process or state of affairs. Anthony Giddens/Jeremy Till.

The defining point of agency is namely its potential to transform the given.

 ‘Everyday life is lived in the medium of cultural form. Its phenomenological immediacy is the sedimented result of myriad repetitive practices, yet it is constantly open to the randomness of the chance occurrence, the unexpected encounter, the surprising event, as well as to the refiguration of its meanings by more explicit forms of social intervention.’ The everyday thus acknowledges the historical constitution of the now, but also its very incompleteness demands an active (political) response to what could happen, to the ‘social production of possibility’. It is through such temporalisation that one escapes a myopic entrapment in the present and moves into viewing the everyday as a site for transformative practice. 

Peter Osborne, The Politics of Time. Jeremy Till, Architecture in Space,Time.

Layered Drawings : Architectural Screens/Modulations of Translucency

Space Between People

How the virtual changes physical architecture
Stephan Doesinger

This book shows how the virtual has completely changed the physical world around us. If architecture is the construction of space between people, what happens when that space exists in a virtual world? That question is the starting point for this collection of revolutionary projects by a new generation of designers. The book begins by examining the important issues that have emerged as technology reshapes our idea of place and proceeds to present the four winning projects from the first architecture competition held within the explosively popular Internet community known as Second Life. Chosen for their inventiveness and aesthetic excellence, these structures - a cloud that can be inhabited; a meta-museum; an interactive sound scape; and a snow palace of discarded objects - illustrate the mindbending possibilities of digital design. In the books final section, media artists share their real-time experiences conceptualizing and creating projects for the virtual world.


Non Spaces/Digital Still Image : Fire escape Winchester School of Art

Meshworks/Norwich, moving analogue source : Midway/Dante
Beginning as one always does in the middle, in mediis rebus, one experiences a sense of disorientation, a sort of cartographic anxiety or spatial perplexity that appears to be part of our fundamental being-in-the-world. It is an experience not unlike that of Dante, in the opening lines of his Commedia:

Midway along the journey of our life,
I woke to find myself in a dark wood,
for I had wandered off from the straight path.

( Dante 1984 : 67)
Introduction : Spatiality .
Robert T. Tally Jr.
the New Critical Idiom, Routledge 2013

Art as Spatial Practice.
Space folds : Containing "Spatialities around historicality and sociality"

"All that is solid melts into air"

Karl Marx, Friedrich Engels,
(Poetic observation concerning the constant revolutionizing of social conditions)

Perceptions now gathering at the end of the millennium. Spatiality, Robert T. Tally Jr. 2013

Sensuality, Drawing and Astronomical Space.
Architectural Translucency (Tracing Layers)
DSC_8860 Pavilion : Borderlands

Andreas Horlitz : Simulacrum. 2006

Brian Clarke : Lamina. 2005

Gathering Energies/Planetary Movements/Reveries on Reverie : Blue Drawing 9549

Presentation Slide,  The Architecture of Continuity : Lars Spuybroek, essays and conversations. Rotterdam 2008. The Poetics of Memory "The Cinema of Robert Lepage : Alexsander Dundjerovic. London 2003. Spatiality : Robert T. Tally Jr. London 2013. The Poetics of Reverie "Childhood, Language, and the Cosmos" : Gaston Bachelard (trans Daniel Russell). Boston 1971.

Reveries on Reverie/Reveries toward Childhood

Childhood sees the World illus­trated,  the World  with  its original colors,  its true colors.  The great once-upon-a-time (autrefois) which we relive by dreaming in our memories of childhood is precisely the world of the first time.

For those of us who can only work on written documents, on documents which are produced by a will to 'edit,' a certain indecision cannot be obliterated in the conclusions which terminate our inquiries. In point of fact, who writes? The animus or the anima?

These seasons find  the means to  be singular while remaining universal.  They  circle in  the sky  of Childhood  and  mark  each childhood  with  indelible signs.  Thus our great memories lodge within the zodiac of memory, of a cosmic memory which does not need the precisions of the social memory in order to be psycholog­ically  faithful.  It is the very  memory  of our belonging  to  the world,  to  a world  commanded  by  the dominating  sun.

Gaston Bachelard

Drawing/Openings and Conclusions/Collages for the Reading Room : Heuristic/Discursive/Practical/Agency

Ordinary things contain the deepest mysteries

On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species-the collective (generic) work of the species-on the model of what used to be called "art" ; indeed, it is still so called, but art no longer has any meaning at the level of an "object" isolated by and for the individual.

Henri Lefebvre, Openings and Conclusions. from On Installation and Site Specificity (introduction) Erika Suderburg

Is there still an aesthetic illusion? And if not, a path to an “aesthetic” illusion, the radical illusion of secret, seduction and magic? Is there still, on the edges of hypervisibility, of virtuality, room for an image?

Jean Baudrillard : The Conspiracy of Art, 2005

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.

A Hut of One's Own : Ann Cline

Texts, Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines, 

Collage on paper, written fragments and images from Peter Greenaway, Josef Albers and Robin Evans. Photo montage of The Physical Self (Greenaway) and Waverley Abbey UK. 

Visual research as part of The Waverley Project/Obscura and Reading Room. 

A heuristic technique (/hjᵿˈrɪstᵻk/; Ancient Greek: εὑρίσκω, "find" or "discover"), often called simply a heuristic, is any approach to problem solving, learning, or discovery that employs a practical method not guaranteed to be optimal or perfect, but sufficient for the immediate goals.

Other ways, other than buildings of making : Reading Rooms/Performative Collages and Models

Spatial Agency : Other ways of thinking about social space and its architectural structuring.

Other ways, other than buildings of making a spatial difference.

Collage and Architecture. Jennifer A. E. Shields

Collage Methodologies in Architectural Analysis + Design

Architecture as Collage

Social Space, is dynamic space, things happen, and its production continues over time and hence it is not fixed to/by a single moment of completion.  

Performative Collages : Dualities of agency and structure, linked but separately identifiable conditions or proposals.

Agents are neither completely free as individuals, nor are they completely entrapped by structure. They are negotiators of existing conditions in order to partially reform them. 

Spaces are charged with the dynamics of power, empowerment, interaction, isolation, control, freedom, alienation.

Social space is intractably political space, in so much as people live out their lives in this space.